![ƟSeamus Heaney, Works, first or limited editions, many signed by the author [most London, 1966-2010]a group of 20 volumes, co](https://cdn.globalauctionplatform.com/61d004a3-74d2-402a-81aa-a9f500d7e3ea/2e94ba6b-8365-468f-9f81-a9f500e32ee3/468x382.jpg)
ƟSeamus Heaney, Works, first or limited editions, many signed by the author [most London, 1966-2010]a group of 20 volumes, comprising: Death of a Naturalist (1966, the author's first work, dust-jacket spine a little faded, as often), Door into the Dark (1969, small closed tear to upper edge of front cover of dust-jacket), Wintering Out (1972, unsigned, paperback edition), North (1975, unsigned, paperback edition), Field Work (1979, unsigned), Preoccupations (1980), Selected Poems 1965-1975 (1980), Station Island (1984, unsigned), The Haw Lantern (1987, paperback edition), New Selected Poems 1966-1987 (1990, unsigned), Seeing Things (1991, unsigned, paperback edition), The Redress of Poetry (1995, unsigned), The Spirit Level (1996, unsigned), Open Grounds (1998), Beowulf (1999), Electric Light (2001, dust-jacket spine faded), Finders Keepers (2002), District and Circle (2006, with original wrap-around dust-jacket), Human Chain (2010), Human Chain (2010, number 12 of 300 limited edition copies, original slip-case), signed by the author unless specified, all original cloth or wrappers, dust-jackets present where applicable, an excellent set overall, 8vo Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
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ƟAldous Huxley, Brave New World Revisited, and Island, together two first editions, one signed by the author [London, Chatto & Windus, 1959-1962]two volumes, comprising: Brave New World Revisited (1959, title of the work and signature inscribed by the author on front free endpaper, original light blue cloth, outer corners and spine ends very slightly bumped, dust-jacket very crisp and clean, a fine copy), Island (1962, small book label to upper pastedown, original red cloth, spine ends a little faded, lightly rubbed, dust-jacket spine faded, some small chips and nicks to extremities, lower cover a little rubbed), both 8vo Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
![ƟDoris Lessing, Works, first and limited editions, signed by the author [most London, 1950-2007]a group of 14 volumes, compri](https://cdn.globalauctionplatform.com/61d004a3-74d2-402a-81aa-a9f500d7e3ea/9dc33970-48da-429a-a31c-a9f500e333e0/468x382.jpg)
ƟDoris Lessing, Works, first and limited editions, signed by the author [most London, 1950-2007]a group of 14 volumes, comprising: The Grass is Singing (1950, the author's first work, slight shelf lean, spine a little faded, small closed tear along upper crease of dust-jacket), This was the Old Chief's Country (1951, dust-jacket with some light surface soiling), Martha Quest (1952, slightly spotted at endpapers, dust-jacket chipped at extremities with some loss to head of spine, price clipped), Martha Quest (1952, duplicate copy), Five (1953, dust-jacket spine creased at head and foot with slight loss, price clipped), A Proper Marriage (1954, small tear to lower crease of dust-jacket), The Habit of Loving (1957, lower cover of dust-jacket with some light surface soiling), A Ripple from the Storm (1958), Landlocked (1965, dust-jacket spine darkened and head and tail a little chipped with loss), The Four-Gated City (1969), The Good Terrorist (1985, number 93 of 250 specially bound copies signed by the author), Three Stories (1988, number 185 of 350 copies signed by the author), The Story of General Dann and Mara's Daughter Griot and the Snow Dog (2005), Doris Lessing Nobel Prize Lecture (2007, copy “S” of 26 hand bound full leather copies signed by the author), all signed by the author, original cloth or boards, original dust-jackets present where applicable, overall very presentable and clean collection, 8vo Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
ƟEdna O'Brien, the Complete Novels, plus short stories and dramas, first and limited editions, most signed by the author [most UK, 1960-2015]a group of 37 volumes, comprising: The Country Girls (1960, author’s first novel, dust-jacket with some slight surface soiling, extremities a little creased, price clipped), The Lonely Girl (1962, dust-jacket head of spine a little creased), Girls in their Married Bliss (1964, dust-jacket with a few faint scuffs), August is a Wicked Month (1965, dust-jacket slightly foxed, price clipped), Casualties of Peace (1966, head of dust-jacket chipped with slight loss), The Love Object (1968, head of dust-jacket chipped with slight loss), A Pagan Place (1970), Zee & Co (1971, signature on cutting tipped-onto front free endpaper), Night (1972), A Scandalous Woman (1974), Mother Ireland (1976), Johnny I hardly Knew You (1977, dust-jacket spine faded), Arabian Days (1977, photobook), Mrs Reinhardt and other Stories (1978), Some Irish Loving (1979, price clipped), Virginia (1981), James and Nora (1981, letter K of 26 signed copies, spine faded, slip-case), Returning (1982), Returning (1982, closed tear to upper edge of dust-jacket), The Dazzle (1981, original printed boards), The Dazzle (1981, unsigned copy, original printed boards), A Fanatic Heart (1984, limited edition, t.l.s. by the publisher loosely inserted, original buckram, gilt edges), A Fanatic Heart (first American edition), Tales for the Telling (1986, illustrations throughout), The High Road (1988), Lantern Slides (1990), Time and Tide (1992), House of Splendid Isolation (1994), Dow by the River (1996), Love Lessons (1997, limited edition illustrated by Cozette de Chamoy, original wrappers), Wild Decembers (1999), James Joyce (1999), In the Forest (2002), On the Bone (2002, original printed wrappers), The Light of Evening (2006), The Light of Evening (2006), Country Girl (2012, number 5 of 100 specially bound copies, slip-case), The Little Red Chairs (2015, number 52 of 100 specially bound copies, slip-case), all but one signed by the author, original cloth or boards, dust-jackets present where applicable, overall an excellent set of works, 8vo and 4to Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
![ƟGeorge Orwell, The Road to Wigan Pier, first edition [London, Victor Gollancz Ltd, 1937]complete, some very light spotting,](https://cdn.globalauctionplatform.com/61d004a3-74d2-402a-81aa-a9f500d7e3ea/3a037489-4dfd-4faf-a3f6-a9f500e3387a/468x382.jpg)
ƟGeorge Orwell, The Road to Wigan Pier, first edition [London, Victor Gollancz Ltd, 1937]complete, some very light spotting, original orange limp cloth, spine a little darkened, 8vo; together with three volumes by the same, comprising: Shooting an Elephant, and other essays (first edition, London, 1950, dust-jacket), Such Were the Joys (first American edition, New York, 1953, dust-jacket), The English People (first edition, London, 1947, dust-jacket), 8vo Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
![ƟGeorge Orwell, The Lion and The Unicorn, first edition [London, Secker & Warburg, 1941]complete, pencil markings removed fro](https://cdn.globalauctionplatform.com/61d004a3-74d2-402a-81aa-a9f500d7e3ea/68835f9b-8c07-41ec-a47d-a9f500e338e6/468x382.jpg)
ƟGeorge Orwell, The Lion and The Unicorn, first edition [London, Secker & Warburg, 1941]complete, pencil markings removed from front free endpaper, small stain to outer edge of lower pastedown, original cloth, spine lettered in green, a few light smudges, head and tail of spine stained pink, original dust-jacket, extremities and spine a little darkened, small closed tear to edge along lower crease of upper cover, spine ends chipped with slight loss, small 8vo Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
![ƟGeorge Orwell, Nineteen Eighty-Four, first edition [London, Secker & Warburg, 1949]complete, some very slight discolouration](https://cdn.globalauctionplatform.com/61d004a3-74d2-402a-81aa-a9f500d7e3ea/b40032e2-8402-41a3-91cc-a9f500e339b6/468x382.jpg)
ƟGeorge Orwell, Nineteen Eighty-Four, first edition [London, Secker & Warburg, 1949]complete, some very slight discolouration to pastedowns, original green cloth, spine lettered in red, corners a little bumped, spine and extremities a little darkened, volume cocked, original maroon dust-jacket, spine faded (as often), some light scuffs to covers, tape marks to inner edges of flaps, a few edges reinforced with old tape, small tear with slight loss to lower edge of back cover and small nick to spine with fractional loss, 8vo Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
![ƟGraham Swift, the Complete Novels, including non-fiction and short stories, signed by the author [UK, 1980-2016]a group of 1](https://cdn.globalauctionplatform.com/61d004a3-74d2-402a-81aa-a9f500d7e3ea/dfe69a65-0d01-47e0-aaf7-a9f500e33dd2/468x382.jpg)
ƟGraham Swift, the Complete Novels, including non-fiction and short stories, signed by the author [UK, 1980-2016]a group of 14 volumes, comprising: The Sweet Shop Owner (1980, the author's first novel, fine copy), Shuttlecock (1981), Learning to Swim (1982), Waterland (1983), The Magic Wheel (1986), Out of this World (1988), Ever After (1992), Last Orders (1996), The Light of Day (2003), Tomorrow (2007), Making an Elephant, writing from within (2009), Wishing you were Here (2011), England and other Stories (2011), Mothering Sunday (2016), all signed by the author, all original cloth with dust-jackets, a fine set Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
Interesting and rare oak cased barrel piano, bearing the makers' plaques to the front and side inscribed Fabrique de Pianos, R. Leleux fils & V. Servranckx, Maison Fondee en 1903, 25 Rue Verte, Porte de Tirlemont, Louvain, fitted to the left hand side with a twenty centime payment slot, crank handle and tune selector dial, also fitted with light switches to the back, within Arts & Crafts style foliate carved panelled and mirror-backed case, 83" high, 52.25" wide, 33" deep overall
Boxed Nikon Manual & Autofocus Equipment, inc 20mm Ai-s Lens. To include Nikkor 20mm f3.5 Ai-s #227033 (condition 5F); Nikon EM body with 50mm f1.8 Series E "Pancake" lens (both condition 5F) and ERC; Nikkor 36-72mm f3.5 (condition 6F); Nikon SB15 flash etc. Also Nikon F80 (sticky covering) with Sigma 28-105mm, Nikkor AF 50mm f1.8 etc. Several items in makers boxes. Also TZ2020 flash and Starblitz 1000 Auto ring light (not pictured).[Q]
RARE Complete Set of View Master Chinese Art 3D Reel & Viewer Pack. William Gruber, inventor of the View Master 3D system was very interested in the then fairly unknown world of early Chinese art. In 1960/2 his interest piqued when it was announced that the Imperial Collection of Chinese art was to tour the USA. He had tried to photograph similar objects before but was not happy with the colours the then slow Type A Kodachrome produced under artificial light. At around this time Kodak announced an up-dated version of Kodachrome with better colour rendition and twice the ASA rating of the original. Gruber knew this was exactly what he had been waiting for and arranged to photograph the collection. In addition he travelled to the UK to photograph various examples in public collections. Although Gruber died in 1965 his project finally came to fruition in 1969 when 1,260 of his 3D photos were published in an impressive 4-volume set, containing a total of 180 View Master reels. Although Volume 1 states that the issue was limited to 1,000 sets, it is thought that in reality the number is unlikely to exceed 500, possibly as few as 350. When launched the 4-volume set of reels was accompanied by a "3-Dimension Viewing System" pack. Unusually this lot is comprised of both sets. The pack of reels is literally as new and only one volume has been carefully opened to ensure the reel are still in good condition, which they are. Unfortunately the viewing pack had a custom foam insert which always degrades into a sticky residue. This pack has been cleaned but the result is that the Model D viewer, although still in working order, its' cosmetically in poor condition, as is its' custom designed stand. The reel can still be viewed in 3D with any View Master viewer. Each of the two packs is still contained in the original outer shipping boxes.[O]
Nathaniel Hone RHA (1831-1917)Malahide Sands with FiguresOil on canvas, 59 x 90cm (23¼ x 35'')Signed with initialsProvenance: Important Irish Art Sale, these rooms, December 2008, Lot 91, where purchased by present owner.When Nathaniel Hone returned to Ireland in 1872 it was almost twenty years since he had first gone to Paris to study at the studio of Yvon. On his return he married and settled at Seafield, Malahide, the family estate. While there he continued to paint and to farm and indeed many of his paintings from this period carry the influences of his Barbizon period and it can be difficult to distinguish untitled landscapes or coastal views as to whether they are French or Irish.The present work is doubtless Malahide, with it's great expanse of sands reflected in the similarly vast open sky. There are strong similarities with 'Evening, Malahide Sands' from c.1883 (Hugh Lane) with its afterglow of sunset seen across reaches of sand and water. The open sky, the expanse of air and light reflected in the extent of water and wet sand, convey an astonishing sense of space and freedom. ( E.J.G. The Irish Times 1901)Unlike the Hugh Lane painting the two figures in the present work look the part of two North Dublin locals gathering kelp, complete with shawls and long skirts and are set against the reflected light of the outgoing stream which frames them in the centre of the composition. This device also provides the sense of scale which gives the landscape its vastness.
Erskine Nicol RSA ARA (1825-1904)Past WorkOil on canvas, 100 x 133cm (39¼ x 52¼'')SignedExhibited: The Royal Academy, 1873.Erskine Nicol’s prolific career spanned the 19th century and encompassed an era in which Europe was awakening to post-revolutionary freedom and a rising power of the middle classes. Such political change altered the way in which artists conducted their work. No longer were they solely reliant on commissions from a wealthy few, but, instead, artists were able to produce work for exhibition to a wider market, who would in turn buy pieces as took their fancy. Accordingly, we consequently see a rise in paintings depicting working class subjects and the everyday man, images that would be sympathetic to the bourgeoisie buyer.An acclaimed artist, Nicol often exhibited in Britain and Ireland, however his art also brought him further afield to Paris, where he undoubtedly came into contact with the works of Gustave Courbet and Jean-François Millet. ‘Past Work’ represents itself as a beautiful fusion of the artistic styles of these two men. In the painting, we are introduced to an old fisherman who appears resigned in his retirement. Slumped against a wall, his once strong body no longer supports him as it should, whilst the lines of his weather-beaten face lay bare the physical struggles that he has endured. In this, we are reminded of the grittiness of workers as portrayed by Courbet in his art - a social statement as to the daily turmoil of their occupation. Hand in hand with this, we see the romanticism favoured by Millet, where the physical labourer is idealised and softened through the use of warm tones and a subdued glowing light. This sentimentality echoes that held by Nicol for each of his subjects, regardless of their nationality or social status. Unlike much of Nicol’s oeuvre, ‘Past Work’ is devoid of humour. Instead, Nicol has imbued this piece with a raw emotion that ensnares its viewer with empathy. Surrounded by a world to which he once belonged, the old fisherman seems lost in his inability. In contrast to the workers behind him, his gnarled hands can no longer deftly move through fishing nets and his weak legs would buckle under the strain of a heavy load. In a perfect picture of the continuance of life, we are presented with a timeline, the central man a stark reminder of the effect of living.Helena Carlyle, February 2019
May Guinness (1863-1955)Portrait of a WomanOil on canvas, 84 x 61cm (33 x 24'')Exhibited: Dublin, IMMA, 'Analysing Cubism', February/May 2013; Cork, Crawford Gallery, Cork, June/September 2013; and Banbridge, F.E. McWilliam Gallery, September/November 2013.Literature: 'Analysing Cubism 2013', full page illustration, p.31.This undated work is likely to have been painted after 1922 when Guinness had thoroughly familiarised herself with modern French painting. She studied with the cubist Andre Lhote from 1922 to 1925 but had already spent many years in France. Born in 1863, Guinness first visited Paris before 1910 where she studied art with the Dutch artist Kees Van Dongen, an expressionist painter. She continued to visit the city regularly and to develop her understanding of modernism right into her sixties and beyond. This portrait depicts a young woman wearing a bright strikingly modern costume of coloured stripes with a pink band of material across her head. Her hands are held dutifully in her lap while her detached expression suggests the ennui associated with posing for long periods. Although called a portrait the work can be considered in terms of its abstract design and use of form. Guinness was strongly influenced by French expressionism or Fauvism and especially by the work of Henri Matisse and Van Dongen. This is evident in this painting. The thinly applied paint with its flat texture suggests the technique of fresco painting. It is a style that Matisse used in a number of his paintings most notably in his Portrait of André Derain (1905, Tate) which was shown in the inaugural Fauve exhibition at the Salon d’Automne in 1905. Guinness painted murals at her family home, Tibradden House in the 1920s (now destroyed) in which she may have deployed a similar effect. The strong pinks and oranges of the shadows cast on the face in Portrait of A Woman are typical of Fauvist art which exaggerates the effects of light and shade to create highly decorative and expressive paintings. Guinness was well aware of this idea. Her one-woman exhibition in London in 1922 was called ‘Decorative Paintings and Drawings’. In this painting she builds up the composition in blocks of strong colour to create a consciously modern work of art that exudes the artist’s energy and freshness of vision.Dr Roisin Kennedy
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