ROLEX Neo Vintage Day Date "Borke", Ref. 18248. Armbanduhr. Ca. 1990er Jahre. Gold 18K, Armband und Lünette mit "Rinden" Muster; Lünette teilweise mit Diamanten. Automatik-Werk, Kaliber 3155. Serien Nr. X258XXX. Sehr guter Zustand, leichte Gebrauchsspuren an Band und Gehäuse. Kompletter Service durch Rolex, 04/2022. Service-Garantiekarten anbei, 06/2012 und 04/2022. Geh.-Durchmesser ca. 36mm (gemessen ohne Krone).| ROLEX Neo Vintage Day Date "Bark", Ref. 18248. Wrist watch. Ca. 1990s. Gold 18K, band andbezel with "bark" finish; bezel partly with diamonds. Automatic-movement, calibre 3155. Serial no. X258XXX. Very good condition, light signs of wear on case and band. Fully serviced by Rolex, 04/2022. Service warranty cards enclosed, 06/2012 and 04/2022. Diameter ca. 36mm (measured without crown).
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ROLEX Milgauss 'Blue', Ref. 116400GV-0002 Edelstahl. Automatic-Werk, Kaliber 3131. Sehr guter Zustand, leichte Gebrauchsspuren an Band und Gehäuse. Box und Papiere anbei, Kauf 08/2018 bei Juwelier Wempe. LC100, Deutschland. Geh.-Durchmesser ca. 40mm (gemessen ohne Krone).| ROLEX Milgauss 'Blue', Ref. 116400GV-0002. Wrist watch. Stainless steel. Automatic-movement, calibre 3131. Very good condition, light signs of wear on case and band. Box and papers enclosed, bought 08/2018 at Juwelier Wempe. LC100, Germany. Diameter ca. 40mm (measured without crown).
Schmuckset Collier und Ohrhänger mit Amethysttropfen und zahlreichen hellen Smaragden (transluzent), Silber, 102,7 gr, 20./21. Jh., leichte Tragespuren. (3)| Jewellery set necklace and ear hangers with amethysts and numerous light green emeralds (translucent), silver, 102.7 gr, 20th/21st century, minor signs of wear.
ROLEX Datejust 41 "Azzuro Blue", Ref. 126300-0017. Armbanduhr. Edelstahl. Automatik-Werk, Kaliber 3235. Sehr guter Zustand, leichte Gebrauchsspuren an Band und Gehäuse. Box und Papiere anbei, Kauf 05/2019 bei Juwelier Scheuble. LC100, Deutschland. Geh.-Durchmesser ca. 41mm (gemessen ohne Krone).| ROLEX Datejust 41 "Azzuro Blue", Ref. 126300-0017. Wrist watch. Stainless steel. Automatic-movement, calibre 3235. Very good condition, light signs of wear on case and band. Box and papers enclosed, bought 05/2019 at Juwelier Scheuble. LC100, Germany. Diameter ca. 41mm (measured without crown).
ROLEX Pearlmaster 29 "Perlmutt", Ref. 80318. Damenuhr. Ca. 2000/2010er Jahre. Gold 18K, Lünette teilweise mit Diamanten; Perlmutt-Zifferblatt. Automatik-Werk, Kaliber 2235. Serien Nr. K591XXX. Guter Zustand, leichte Gebrauchsspuren an Band und Gehäuse. Kompletter Service durch Rolex, 03/2022. Service Garantiekarte anbei. Geh.-Durchmesser ca. 29mm (gemessen ohne Krone).| ROLEX Pearlmaster 29 "Mother of pearl", Ref. 80318. Ladies watch. Ca. 2000/2010s. Gold 18K, bezel partly with diamonds; mother of pearl dial. Automatic-movement, calibre 2235. Serial no. K591XXX. Good condition, light signs of wear on case and band. Fully serviced by Rolex, 03/2022. Service warranty card enclosed. Diameter ca. 29mm (measured without crown).
BREITLING AVI 1953 Re-Edition, Ref. RB0920131B1X1. Herrenuhr. Gold 18K. Automatic-Werk, Kaliber B09. Limitierte Edition von nur 253 Stück weltweit, Serien Nr. 4347XXX. Lederband mit originaler Stiftschließe in Gold 18K. Sehr guter Zustand, leichte Gebrauchsspuren an Band und Gehäuse. Box und Papiere anbei, Kauf 12/2021. Geh.-Durchmesser ca. 41mm (gemessen ohne Krone).| BREITLING AVI 1953 Re-Edition, Ref. RB0920131B1X1. Men's watch. Gold 18K. Automatic-Werk, Kaliber B09. Limited edition of only 253 pieces worldwide, serial no. 4347XXX. Leatherband with original pin buckle clasp in gold 18K. Very good condition, light signs of wear on case and band. Box and papers enclosed, bought 12/2021. Diameter ca. 41mm (measured without crown).
Frederick Arthur Bridgman (American, 1847-1928)After the bath, Cairo, 1882Oil on canvas25 x 20 inches (63.5 x 50.8 cm)Signed and dated lower right: F A Bridgman / 1882 PROVENANCE:The artist, at least until 1885;D.B. Hatch;Private collection;Private collection, Dallas, Texas, inherited from the above;Private collection, Dallas, Texas, gift from the above, 2022.EXHIBITED:(Possibly) Salon, Paris, 1882, no. 357 (as Le Bain en famille, interieur, au Cairo);(Probably) National Academy of Design, New York, autumn annual, 1885, no. 457 (as After the Bath, Cairo);Interstate Industrial Exposition, Chicago, Illinois, 1885 (as After the Bath, Cairo).We wish to thank Ilene Susan Fort, Ph.D., F. A. Bridgman authority and Curator Emerita, Los Angeles County Museum of Art, for confirming the authenticity of this painting and preparing the following essay:Après le bain, Cairo is an intriguing painting in Bridgman's oeuvre.Ever since the early nineteenth century when Ingres created his harem bath scenes, Orientalist painters have favored exotic bath scenes because they permitted the Western male to enjoy the beauty and sensuality of the nude body of Eastern women. The American Frederick A. Bridgman produced few of these mythic baths and "after the bath" scenes during his long career; several of his bath interiors were actually of a child being washed in a tub. One reason for this was the puritanical culture that still prevailed in the United States, as indicated by the rejection the artist experienced when he tried to exhibit in a late 1870s New York annual a painting with an Eastern woman attired in a revealing diaphanous costume. Après le bain, Cairo, 1882, is perhaps his earliest exception. Yet, Bridgman's presentation of the nude woman from the back does indicate his reluctance to expose her private parts. During the previous decade, Bridgman presented figures in dark interiors that were more staged presentations before black backdrops. By the mid-1880s, the artist had become fascinated with natural sunlight so illuminated his interiors and often moved his narratives to outdoor settings. His frequent inclusion of a window with a view of the sunny outdoors demonstrated this fascination with natural light, here evidenced by the small aperture on the wall of Après le bain, Cairo. Although the shadowy quality of this scene relates to his 1870s interiors, the room is not cast in the even staged lighting of the earlier ones. The painting is transitional in another way: Bridgman had not yet established his standard way of posing reclining figures, as exemplified by the figure on the bed, who is wrapped in a cloth in a manner that does not appear again in Bridgman's paintings.Après le bain, Cairo does demonstrate Bridgman's masterly draughtsmanship as well as the beginning of his loose, exuberant, impressionistic handling in the fabric details of the textiles and in the view through the window. HID12701242017
Josephinische Garnitur bestehend aus 6 Sesseln 92 x 52 x 50 cm und einer Sitzbank 92 x 117,5 x 50 cm. Geschnitztes Nussholz und helle Polsterung, teilweise Gebrauchsspuren. Inklusive Hussen. | Josephine set consisting of 6 armchairs 92 x 52 x 50 cm and a bench 92 x 117.5 x 50 cm. Carved walnut and light upholstery, partial traces of belly. Covers included.
GLASS TABLE LAMP,with lobed circular base, 71cm high overallNot tested, no guarantee of working order, fixture stands at an angle from the glass column, the metal tarnished and discoloured, exposed joint between reservoir and column (see picture), some light scratches and general wear, some fritting and nibbles to foot
Actor, Tony Curtis signed 10x8 inch black and white photograph. Curtis (June 3, 1925 – September 29, 2010) was an American actor whose career spanned six decades, achieving the height of his popularity in the 1950s and early 1960s. He acted in more than 100 films, in roles covering a wide range of genres, from light comedy to serious drama. In his later years, Curtis made numerous television appearances. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
![Cary Grant signed 6x4 inch colour photo. Cary Grant (born Archibald Alec Leach;[a] January 18, 1904 – November 29, 1986) was](https://cdn.globalauctionplatform.com/0469aaca-aff8-40df-8b7d-ae92010e0f5d/49a7cc7e-44d0-4040-82b0-ae9700a2e4e2/468x382.jpg)
Cary Grant signed 6x4 inch colour photo. Cary Grant (born Archibald Alec Leach;[a] January 18, 1904 – November 29, 1986) was a British-American actor. Known for his transatlantic accent, debonair demeanour, light-hearted approach to acting, and sense of comic timing, he was one of classic Hollywood's definitive leading men from the 1930s until the mid-1960s. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Basil Bradley (1842-1904)Irish Cabin Interior Showing a Man and Girl Making Súgán RopeOil on canvas laid down on panel 34.5 x 44.5cm (13½ x 17½”)SignedStraw was one of the most important organic materials in the economy of Irish rural life, and was used in fields as various – and vital – as clothing, building and agriculture. It also accrued religious, ritual and magical significance as well as developing rich linguistic associations. Straw was used for the fabrication of St Brigid’s crosses, for mummers’ costumes, fishing nets, toys and, as is shown here, rope – in Irish súgán or súgán cotháin.Basil Bradley portrays the weaving process as a collaborative effort between different generations of the family with the household’s two dogs noticeably indifferent to the task at hand. The artist’s ‘meticulous observation’ of detail has been noted and here the furniture, interior setting and costume are rendered accurately giving the painting great documentary value (Claudia Kinmonth, Irish Rural Interiors in Art (2006) p. 88).The work is closely comparable, especially in its earth-based colour scheme, to Bradley’s, Irish Cabin, Spinning and, as is in that work, the ‘women’s red petticoats’, which provide the one chromatic highlight, ‘suggest that the home is a western one’ (ibid.). In addition to its harmoniously controlled palette, there is a subtle deployment of light effects to evoke presence. Clearly, two sources of illumination are in play. The light from the window which silhouettes the standing girl’s profile is the most obvious. But there is also a secondary source from which light floods the left foreground of the image, bathing the seated man in its rays. This can only be from the cabin’s door and it is easy to imagine that this is the spot where Bradley has set up his easel. This makes him simultaneously a, literally, liminal presence – but also, rather suggestively, a witness as to the scene’s verisimilitude – standing very close by, just on the other side of the picture plane.Also enhancing the veracity of the scene is the way in which Bradley crops into the body of the bare-footed girl at the right-hand edge, rather than composing the scene into a balanced, classically-conceived composition. This is a technique more associated with the advanced Parisian modernity of Degas, than the stylistically retardataire tradition within which most painters of Irish rural life worked.While Bradley is careful to depict very scrupulously what he saw before him when visiting this particular cabin, his analytical viewpoint is not merely ethnographic, or at the expense of human interest. Instead, the image is both an endearing depiction of familial life and shared endeavour and an unmediated testament to the hardness of existence in the rural communities of the West of Ireland.Born in England, and excelling from an early date as an animal painter, Bradley was a careful recorder of the Irish landscape (for example in his View Of The Nine Pins, Connemara, 1873) and sympathetic chronicler of rural life (in for instance his Interior of an Irish Cabin in Connemara, 1879). Bradley exhibited with the Old Watercolour Society and, between 1873-99, with the Royal Academy. His Irish work is rare but examples of his art can be found in leading museum collections internationally including the Victoria and Albert Museum, London, Manchester Art Gallery and the Art Gallery of New South Wales, Sydney.
George Barrett Snr RA (c.1730 - 1784)Sun Rising: An Extensive Wooded Landscape with Fishermen Oil on canvas, 101.5 x 126 cm (40 x 49½")Engraved: by Robert Laurie (Fig 2), published by Robert Sayer and John Bennet, No 53 Fleet Street, London, 10 July 1774Literature: Taking Stock, Acquisitions, 2000-2010, Exhibition Catalogue, National Gallery of Ireland (Dublin, 2009) p. 13: ‘a smaller but equally high-quality version of this picture recently appeared on the London art market’One of the most compellingly dramatic paintings by George Barret, and a masterpiece of eighteenth-century Irish art, this landscape has recently been identified as a painting entitled in the artist’s lifetime Sun Rising.Here, in a work directly inspired by the beauties of the Wicklow landscape, Barret offers a magically rendered account of the moment when, at dawn, the sun emerges anew.Since the builders of Newgrange, sunrise has acquired associations with myth and religion and become richly freighted with symbolic charge – hope for renewal, rebirth or even resurrection. While playing with these multiple and complex resonances, Barret also evokes with great bravura of technique the sheer wonder that dawn presents and offers us a masterly rendering on canvas of the elemental beauty of nature.The painting relates directly to a somewhat larger work in the National Gallery of Ireland, (Christie’s 12/5/2005, £512,000, approx. €615,000) (fig. 1).That the present work is the prototype of the composition and the NGI picture a later reworking, seems apparent from the presence here of distinct pentimenti – signs of where the artist has changed his mind while working on the canvas – and also the evidence of an engraving by Robert Laurie made in 1774 some years after the work was painted (fig 2). This shows two figures in the boat in the foreground (as here), rather than single figure as in the National Gallery of Ireland painting, clearly indicating from which work it was taken. The larger NGI painting, painted on an anomalously sized canvas, is likely to have been a commission to rework this successful composition for a specific location.The print is titled Sun-Rising, and presumably was so christened with Barret’s blessing as he must have made his composition available to the printmaker to copy, or encouraged its purchaser to lend it. Indeed the engraving is a great rarity as its seems to be the only print commissioned after one of his Irish, or Irish-inspired, paintings, suggesting that it was a landscape with which Barret was particularly pleased and proud.Barret, born in Dublin’s Liberties, rose to be one of the most successful landscape painters in eighteenth-century London, and a founding member of the Royal Academy. Here by looking at nature afresh he moves beyond the classical tradition of followers of Claude like Richard Wilson and shows himself a proto-Romantic and, indeed, an important precursor of Turner. This is most apparent in the swirling vortex of light almost entirely surrounded by cloud, a compositional device (with pronounced symbolic charge) that Turner in his late period – many decades later – would take further. Here Barret stands as a pioneer of European landscape art.This aspect of Barret’s practice was astutely commented on by his friend Edmund Burke. Burke writes how the artist: ‘presents you with such a glorious assemblage, as I have sometimes seen among high mountains rising into unusual agreeable appearances while the early beams of the sun sport themselves ... through the vast arcades and sometimes glances on a great lake whose ascending vapours spread themselves like a veil over the distance’. Burke could have been specifically thinking of the present work in which ‘the early beams of the sun’ are individually visible.Writing of the National Gallery of Ireland replica Brendan Rooney notes how it is a ‘profoundly atmospheric painting, the apparent serenity of the river and relaxed activity of the figures upon it are countered by a sunburst that breaks though the trees to the left and the huge, ominous arc of cloud that glowers over the scene’.As Dr Rooney notes, the composition ‘owes a considerable debt to the artist’s experience working in the Dargle Valley’, in county Wicklow. Until recent research made the obvious link with the NGI work, and, indeed, the engraving, the present picture was described quite inaccurately as a Welsh view, ‘Llanberis and Dolbadarn Castle’.It is unclear if a specific location in Wicklow is intended. Perhaps most likely it is based on sketches made in the Dargle Valley worked into a pleasing but not topographically accurate whole.Described by one contemporary visitor as ‘most exceedingly romantic and beautiful’, the scenery of the Dargle which inspired Barret here was instrumental in the swift rise of the Dublin School of Irish landscape painting, pioneered by Barret in the 1750s and ‘60s. Under the patronage of Viscount Powerscourt, and the inspiration of Edmund Burke, Barret painted repeatedly in the area.The Dargle scenery continued to inspire Barret and his first two exhibits in the Society of Artists in London in 1764 were of the Powerscourt Waterfall and the Dargle River. Dr Rooney suggests this juncture in Barret’s career as the date of the present composition, when the young Irish artist, recently arrived in London, was still inspired by the Wicklow scenery with which he had recently so fruitfully engaged. Equally, it is possible that this is one of the paintings that Barret brought with him from Dublin to London.We thank Logan Morse for her assistance in preparing this catalogue entry.
Nicholas Condy (1793-1857)Interior of an Irish Inn at BallyboylebooOil on canvas 47 x 63.5cm (18½ x 25”)SignedExhibited: London, Royal Academy, 1843, No. 415Exhibited at the Royal Academy in 1843, Condy’s recently rediscovered depiction of an Antrim interior populated by twenty very different individuals and with a rich variety of objects on display is an invaluable portrayal of Ulster country life in the middle of the nineteenth century. Although he described the picture as Interior of an Irish Cottage at Ballyboyleboo, what is shown is an inn, tavern or shebeen, making it a rare early depiction of an Irish public house. In contrast, however, to the small body of work showing Irish pubs by artists such as Charles Henry Cook, Erskine Nicol and Nathaniel Grogan, which invariably feature the Catholic Irish peasantry in stereotyped attitudes often verging on the caricature – here the clientele seems distinctly more mixed in terms of class and confession with a noticeably military flavour. The primary interaction in the painting is between the doubly amputated figure standing on the right in smart but sober attire and the seated black man at left who has suffered the loss of just one foot and who leans back in his chair as he raises a toast. This is an extraordinarily rare image of racial equality in an Irish genre scene of this date. Where black figures appear at all in Irish painting of the period it is invariably as marginal, often servile, subsidiary figures as, for example, in Erskine Nicol’s The 16th, 17th (St Patrick’s Day), and 18th March (National Gallery of Ireland). It seems likely that equality – or at least the superficial appearance of equality – has been gained through shared endeavour on the battlefield, and that the seated black man is a veteran toasting his former commanding officer. Certainly the deportment and dress of the man standing, very comfortably it must be said, on his double prosthetic limbs, suggests his elevated social position. The gathering includes both army and naval elements. An advertising bill on the right seeks able seamen, while the format of Condy’s signature, ‘Lt. Condy bf 43rd regt’ reminds us that he had begun his career as an army officer, serving in the Peninsular War, and retiring on half-pay at Christmas 1818. Continuing the military theme, a bust of the Duke of Wellington looks down from a shelf at upper left in the somewhat indecorous company of candlestick and brass kettle (and with a canoodling couple directly beneath his gaze). Prints of naval victories adorn the walls while to the side of the chimney hangs a toleware candle box and pair of bellows. A drunken sailor has passed out under the table his clay pipe and glass lying smashed in front of him while a serving woman brings more refreshments to those at table – a punch bowl, small glasses for toasting and pipes. Music is provided by a fiddler in the background.Claudia Kinmonth notes that Condy’s Ulster subjects ‘convey a real sense of how poor people’s homes in Antrim may well have been in the 1840s’ (Claudia Kinmonth, Irish Rural Interiors in Art (2006) p. 94). However, he also mixes Irish and English elements within his work, sometimes reusing still-life motifs or even whole figurative groups with which he was pleased. On the shelf to the left, the silver-plated vessel with a pouring spout and a handle on the side was used for serving hot chocolate, a delicacy unlikely to be widely available in Irish pubs of the 1840s, and indeed it, and other elements of the composition, appear again in Estate Workers in a Kitchen Interior (Mount Edgcumbe House). Similarly, a small work in the Royal Albert Memorial Museum and Art Gallery, Exeter, repeats almost verbatim the seated man shown here smoking a pipe. This is clearly a reduction from the present work, rather than the other way round, as the man’s motivation for turning round and looking upwards is lost when the figure is shown in isolation and removed from its context.Condy’s composition is artfully created and rather than the mere ‘slice-of-life’ recording of an interior and the objects within it, he offers knowing and witty allusions to the art of the past and also perhaps to that of his contemporaries. He relishes the chance to paint textures as different as scaly fish, metal, glass and ceramics and to record the differing way that light falls on each. The beautifully painted still-life in the lower right corner consisting of earthenware jug, crutch and broom resting on a barrel offers a deliberate reference to the art of David Teniers who time and again places a similar grouping of objects with a prominent diagonal formed by a brush or similar object to lead the eye into the composition. Similarly the still-life of fish may reference Teniers’s ‘well-kept kitchen compositions’ (‘de welvoorziene keuken’). The quotation of Teniers would have been recognised widely, as the seventeenth-century Flemish artist was synonymous with ‘low-life’ genre scenes such as this and his work was avidly collected and frequently engraved.Even more fundamental as a source of inspiration, however, was the phenomenally successful career of David Wilkie who applied the compositional dynamics of Teniers to modern-life subjects. Like Wilkie, Condy here deliberately echoes Teniers earthy ‘old master tonalities’ and shows a similar ‘delight in details and in rough irregular surfaces’ (David Solkin, Painting out of the Ordinary, Yale University Press, 2008, p. 12). Wilkie had also introduced a black soldier into his famous Chelsea Pensioners (Apsley House). Unlike Cushendall, the subject of another Ulster work by the artist, there is no townland in Antrim called Ballyboyleboo. It seems to be an Anglicization – exaggerating the Irishness of the name – of Ballyboley. In the rich account of life in Ulster of a couple of decades earlier written by John Gamble (published as Society and Manners in Early Nineteenth-Century Ireland, edited by Brendán Mac Suibhne, Dublin, 2011, p. 280, n. 4), Gamble records how he stopped ‘at a lone public house between Larne and Ballymena’ and enjoyed a session in which tall stories were narrated. Mac Suibhne suggests that this may be ‘the premises now call the Ballyboley Inn’. An earlier building on this site may also be the setting for Condy’s work, though an older inn only a few miles distant at The Battery is also a possible candidate.
Harry Clarke RHA (1889-1931)St Hubert, St Luke and St George (1927) Colour Scheme for the memorial window, St. Brigid's Church of Ireland, CastleknockWatercolour, 34.5 x 22cm (13½ x 8¾'')Provenance: With Grants Fine Art Gallery, label verso; with The Fine Art Society, label verso.Exhibited: 'The Stained Glass of Harry Clarke', The fine Art Society, 1988, catalogue no.46.In May 1927 when the commission for the Brooke memorial window for St Brigid’s Church of Ireland, Castleknock had been confirmed Harry Clarke noted in his diary ‘…bear in mind to give the maximum light and rich colour. Excellent light and position. Will stand rich colour and treatment… Subjects in base could be seen.’(1) When Harry Clarke and other stained glass artists of the period were in the process of designing a window, a key aspect was the creation of small-scale designs (usually made at the scale of one inch to the foot) to establish the composition and to determine the colour scheme; this example falls into the latter category.Raymond Brooke had commissioned Clarke to create a window to commemorate military, hunting and artistic members of his family. Three male saints were selected: St Hubert is depicted in the centre light and is in memory of Sir George Frederick Brooke, 1st Baronet of Summerton (the name of their home in Castleknock) who although a wine merchant and banker preferred to spend his time hunting, maintaining a prestigious pack of harriers that later became the North Kildare Harriers, and hence the choice of St Hubert, patron saint of hunters (note also Clarke’s inclusion of a poised hunting dog in profile). According to his daughter Rose Brooke, Sir George was a great admirer of Harry Clarke’s work and often used to go into his studio.’(2)The left light depicts St George, and it was in memory of the only son from Sir George’s first marriage, also named George, who was a member of the Irish Guards and who died at the Battle of Aisne in 1914. The choice of St George being appropriate not only as it is the deceased soldier’s name but also of course as he is a notable soldier saint, who along with St Michael, is one of the most popular saints for war memorial depictions. The right light was erected in memory of Sir George’s second wife Emily Alma (née Barton) a deeply religious and artistic individual who died several years ahead of both her husband and step-son. In addition to the full-length depictions of the three saints, each of the lights contain a predella panel at the base, and the one beneath St Luke shows the saint in his role as patron saint of artists, standing at an easel painting a portrait of the Virgin and Child.The apex of each light accommodates an angel bearing an heraldic shield, and behind and above them, in the three spandrels which comprise the tracery, is what the late Dr Nicola Gordon Bowe (the leading authority on Harry Clarke), referred to as ‘a deep blue sky threaded with gossamer and brightly coloured galactic phenomena’, a visual device she noted that Clarke had employed in his previous window for Tullycross Church but used here, in her opinion, to even greater effect.(3)Dr David CaronQuoted in Nicola Gordon Bowe, ‘Harry Clarke 1889–1931: His Life and Work’, PhD thesis, University of Dublin, 1991, vol. 2, p. 743.Ibid, vol. 2, p. 769 (quoting a letter from Rose Brooke to Nicola Gordon Bowe, 24 February 1974).Nicola Gordon Bowe, Harry Clarke, The Life and Work (Dublin: The History Press, 2018), p. 268.
Jack Butler Yeats RHA (1871-1957)Talk (Egglers) (1905)Watercolour, 26.5 x 36.5cm (10½ x 14¼")SignedProvenance: With Victor Waddington, London; N.Bernstein, Dublin; Private Collection, Dublin.Exhibited: London, Baillie’s Gallery, February/March 1905, cat.no.69; Dublin, Leinster Hall, 1905, cat.no.18; London, Waddington Galleries, 1961 as Talk.Literature: Studio162 (July 1961) 27 (repro); Hilary Pyle, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, 1993, cat.no. 552, illus.Yeats’s painting was first exhibited at the show, Sketches of life in the West of Ireland at Leinster Hall, Molesworth Street, Dublin in 1905 and in London the same year. It depicts two men in a darkened interior. Their heads are close together and one is whispering into his companion’s ear. A distinctly conspiratorial tone is evoked. A contemporary reviewer in 1905 described the figures as ‘typical countrymen … bargaining or preparing to bargain’. The enclosed interior is contrasted by the open view to the left through which a streetscape and shop front is evident. This introduces light and colour into the composition and reinforces the sense of claustrophobia and menace embodied in the two men. The pencil marks of the under drawing are visible in the outlines of the mens’ features alongside the dark brown of the watercolour. White paint is used to highlight the contours of the faces. The figure on the right bears a resemblance to Jack B. Yeats who may have used himself as a model in the work.The original title of the painting was Egglers. Egglers were men who dealt in eggs, an industry that was dominated by women in the Ireland of their day. The period in which this work was painted saw major attempts by the government through the Congested Districts Board and by the Irish Agriculture Organisation Society to regulate the poultry industry. The IAOS paid high prices for eggs from Irish countrywomen in order to counteract the activities of the egglers or gombeenmen whose dealing had a negative impact on the price of this important commodity, as well as affecting the income of many Irish women who depended on the sale of eggs and a fair price for the produce. Like many of Yeats’s other watercolour paintings, this work explores in a humorous manner an important aspect of life in contemporary Ireland. Its exaggerated use of colour and form make this a highly original and expressive painting. As another reviewer noted, ‘everyone who takes an interest in art, and good and rugged art at that, should look in at Jack B. Yeats’s art in Molesworth Street.’Dr Roisin Kennedy, May 2022
Jack Butler Yeats RHA (1871-1957)The Bridge at Skibbereen (1919)Oil on canvas, 46 x 61cm (18 x 24")SignedProvenance: Sold by the artist to Dr Carey, London, 1950; Victor Waddington, London; With Theo Waddington Fine Art; Private Collection, DublinExhibited: Dublin, August 1920, Society of Dublin Painters; Limerick, September 1945, Goodwin Galleries; New York, November 1971, Coe Kerr Gallery, Centennial Exhibition; Dublin, September/October 2004, Douglas Hyde Gallery, Jack B. Yeats Amongst Friends, cat.no. 3; Dublin, October 2010, IMMA ‘The Moderns’; Skibbereen, Co. Cork, July/October 2018, Uillinn, West Cork Arts Centre, Coming Home: Art and the Great Hunger.Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings, Andre Deutsch, London 1992, No. 116, vol.1In the summer of 1919 Jack B Yeats visited Skibbereen, in Co. Cork, drawing and sketching the surrounding landscape. He wrote to the American collector, John Quinn, telling him that ‘There was good painting ground near to the town. All the creeks and islands of the bay were delightful…’.[1] Yeats produced several oil paintings based on the scenery of Skibbereen and Schull. The Bridge, Skibbereen is the largest and most ambitious of these works and was exhibited at the inaugural show of the newly formed Society of Dublin Painters in 1920.Two boys and two young women stand on a bridge overlooking the river Ilen. Below them is an expansive view of the surrounding hills and the undulating flow of the water through the countryside. Two horses stand in the field below. The bridge is the old metal bridge which spanned the Ilen river and which was removed in 1963 and replaced by the more modern John F. Kennedy Bridge, the following year. The bridge was located beside the West Cork Hotel, a popular destination for tourists.[2] Its stone capstone and metal railings separate the figures from the view, creating an unusual and modern composition. The fashionably dressed young women seem to belong to the more urbane world of travel and fashion than that of the wild nature that extends before them. Their genteel poses are counteracted by those of the youths, one of whom has his arm around his companion’s shoulders, emphasizing their shared elation at observing the horses.The height of the surrounding hills has been exaggerated to create a more dramatic environment but one in which a sense of calm prevails. The outskirts of the town are visible on the hill to the left, with smoke emanating from the chimneys and walled gardens extending down the bank. The distant mountain is made of tones of green and blue and the sky is streaked with salmon pink and grey clouds. This palette is subtly picked up in the pink and blue costumes of the women in the foreground, completing a tightly composed work in which all the components of form and colour subtly compliment and enrich each other.Dr. Roisin Kennedy, May 2022[1] Letter of Jack B. Yeats to John Quinn, 8 October 1919, quoted in H. Pyle, Jack B. Yeats. A Catalogue Raisonne of the Oil Paintings, 1992, I, p.102.[2] I am grateful to Finola Finlay for this information.Dusk is gently setting in, the evening light drawing out and casting pale pink highlights across the clouds. The sunsets’ reflection is captured in the still waters of the river below, while deep blue shadows fall across the rolling hills in the distance. A street of houses stretches off to the left-hand side of the composition and bends swiftly out of view. Smoke can be seen rising slowly from the small townhouses of Skibbereen village. The two boys standing with their backs to us on the bridge appear animated, looking down on a scene below. Their excitement is wonderfully captured in the young boy reaching his arm across his companion to share in his delight. We notice a smile on the other boy’s face with his cheeks lifting in amusement. The boys’ interest seems to be directed at the two horses who are seen grazing in the field beyond. They pay no heed to these on lookers, continuing their evening meal, necks bowed gracefully. The face of the white horse is beautifully rendered by Yeats, the ears tucked back, large eyes searching in the long grass. He even manages to capture the tension of the muscles in the horse’s jaw while eating. Yeats has a wonderful ability to suggest or gesture towards moments in his compositions without fully revealing the whole scene. We are not aware of any relationship between the figures, it seems as they have all by chance happened upon the same vantage spot. The two boys may be visiting the village on holidays, excited by seeing horses in the wild for the first time. Or are local to the town and thrilled at being allowed to stay out later than usual in the summer evenings, stopping by the bridge to visit the paddock. Their excitement does not seem to have affected the two female figures who gaze calmly out into the distance, enjoying the sunset. This work is an excellent example of this earlier period in Yeats style dominated by Romantic depictions of the West coast of Ireland, of its landscape and people. There is a strong use of line in the work and it reflects his time working as an illustrator, sketching in ink and watercolour the experiences of both rural and urban Irish life. While his style will become much more abstracted in the immediate years following this work, in this example the figures are painted with great attention to detail. In particular the features of the woman’s profile, the sharp angle of her jaw and nose, a glimpse of her red hair peeking out from under her hat. For the other figure who is turned away from us, her hat is adorned with a beautiful arrangement of blue summer flowers. He expertly handles the drapery of both women’s coats, showing the cut and folds of the fabric. They complement each other, standing side by side in dusky pink and pale blue. Although the scale of work is extensive, he uses a closely contained composition, placing the figures in the foreground of the picture plain, to create a greater sense of depth and distance to the surrounding landscape. The upright pillar of the bridge juts dramatically out into corner of the work directing our eyeline across the middle of the composition to the town and hills in the distance. There is an openness and breath to the painting. By using the bridge as horizontal plain, Yeats has provided us with a similar vantage point to that of the figures, as if we are standing behind them revelling in the shared twilight spectacle. Niamh Corcoran, May 2022
André Kertész (Budapest 1894 – 1985 New York). Arm and Ventilator, New York. 1937Silbergelatineabzug, 1973. 23,2 × 19,6 cm (9 ⅛ × 7 ¾ in.). Auf Originalkarton (45,6 x 35,6 cm) aufgezogen, darauf unten rechts mit Bleistift signiert, unten links Prägestempel: „5“.Eines von 10 Motiven des in einer Auflage von 50 Exemplaren erschienenen Portfolios „André Kertész. Portfolio Volume II (1930-1972)“, hg. von Light Gallery, New York, 1973. [2034] Wir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.
A PAIR OF GEORGE III SILVER AND SHEFFIELD PLATE CANDELABRA, S.C. YOUNGE & CO., SHEFFIELD, 1815 with lobed bands and reeded borders interrupted by scrolling foliage throughout, each loaded silver stick with circular base engraved twice with a crest and tapered stem below a knop and campana shaped sconce, each Sheffield Plate three-light candelabra branch with a pair of reeded scrolled arms, complete with Sheffield Plate nozzles, the central lights with alternative flowerbud finials sticks 27.5cm high, 50cm high overall
THREE LADY'S WRIST WATCHES comprising: one Art Deco with rectangular guilloché dial, black Arabic numerals and blue metallic hands, the oblong platinum and white gold case with a bezel of single-cut diamonds on a grosgrain strap, stamped PLAT. and 18ct gold Birmingham hallmarks for 1931; one with rectangular bronzed dial with black Arabic numerals and steel hands between hinged geometric shoulders set with single-cut diamonds on cord strap, interior to case back engraved 'PLATINUM'; and one gold example with small circular dial with fan shaped shoulders, signed Studio with cream face, gold baton indicators and hands, Swiss 18 carat gold marks, on a gilt-metal chain bracelet ++Large rectangular watch with light scratches to the glass and small cavity to the side of the glass by the 7. Numbers 5, 8 and 7 are worn in places. Light scratching to the metal. Grosgrain ribbon should be replaced as dirty, small clasp stamped 9ct. Dial measures 16mmx9mm approximately. Other diamond watch has blackening on dial...
TWO DIAMOND RINGS comprising: a ring claw set with three circular diamonds and a ring vertically set with two circular stones between single-cut diamond shoulders sizes N and E½ respectively ++Central stones gauges approximately 0.25 carats, H/I colour, chip to girdle VS1, sides 0.13 carats similar colours one with slightly off round symmetry and cavity to girdle. Indistinct stamp to the back of the shank, light wear. In good condition. Two stone ring 2 x 0.3 carats (measuring approximately 5.5mmx4.7mmx2.4mm) I/VS one of the stones has a surface cavity Si1)
A 19th century French gilt-bronze and champleve enamel figural candlestick, the stem modelled as a Classical cherub holding a dove in one hand and the single light in the other, with blue floral enamel details to the sconce and a glass drip pan, raised on a circular base with winged paw feet, 22 cm high
Oryon History Napoleonic Series 6027 Royal Scots Greys 1815. 6004 Polish Lancers, 6018 71st Foot, 6028 28th Foot (two), 8012, French 1st Regt. Hussar, 8015 71st Foot, 8019 King's German Legion Light Dragoon and another figure, all but the last with original boxes (Condition Excellent, boxes Good)
Britains Canadian Forces set 1633, Princess Patricia's Light Infantry in original ROAN box (Condition Excellent, additional man substituted for officer, box Good, sticky tape applied), two sets 9257, Governor Generals Horse Guards (one trooper missing), Royal Canadian Moounted Police: two Officers turned in saddle, two marching (one arm replaced with rifle), two sets 9256 mounted with Officers (one officer's horse one horse leg broken and set 9160 Fort Henry Guards 89th Foot 1812 (Condition Excellent-Very Good, 89th bayonets bent, one bayonet missing, two Good) (35)
Britains set 146, Army Supply Corps two-horse GS Wagon fumed metal finish, light harness in original faded gold on dark red background label box (Condition Good, one seated man and one horse leg missing, driver head loose, box Poor), with set 28, Mountain Artillery (Condition Fair, one mule Poor, officer mismatched) 1924 (8)
Britains RARE Paris Office French Infanterie in steel helmets seven in light horizon blue, three darker, black equipment and straps, brown strap round helmets, and three standard London figures (Condition Fair-Poor, one hole in body, nine arms missing, damaged or bent, London figures Good) (13)
John Tunstill's Soldiers Soldiers sets 104 5th Dragoon Guards attention, KRRC at attention in box 104B (two), 14J Types of the Light Infantry, 19C Spanish Infantry, 19A Royal Greenjacket Buglers, 19B Confederate Infantry, 19F Austrian Infantry, 14C Artists Rifles (two) and 17C Gibralter Infantry in original cube boxes (Condition Excellent, one arm loose, boxes Good) (88 in 11 cube boxes)
John Tunstill's Soldiers Soldiers British Army Working Parties: set 13 Royal Regiment, set 13 South Staffs Regiment and set C136 Somerset Light Infantry, set 10D Volunteer Batt. Royal Scots, set 2/4/11 Volunteer Battalion, 2/20 Volunteer Rifles, 2B Army Service Corps, 2C GPO Rifles and 2D County of London Rifles (three) in original cube boxes (Condition Excellent, boxes Good-Fair) (88 in 11 boxes)
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