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Click here to subscribeLouis Vuitton Brown Monogram Coated Canvas Ellipse GM Bag. Golden brass hardware, vachetta straps. Interior of brown canvas with zippered pocket. Labeled appropriately. Good condition with light wear and toning on handles from use. Measures 15" L x 12" H x 6-1/2" D. Shipping $75.00 (estimate $450-$550)
Louis Vuitton Brown Monogram Coated Canvas Speedy 40 Tote. Golden brass hardware, vachetta straps. Brown canvas interior with slot pocket. Labeled appropriately. Cadenas and keys included. Good condition with light wear, toning from use. Measures 15-3/4" L x 9" H x 7-3/4" D. Shipping $65.00 (estimate $600-$700)
Louis Vuitton Flashy Red Monogram Vernis Reade PM Handbag. Golden brass hardware, red canvas interior with zippered pocket, vachetta handles. Labeled appropriately. Good condition with small loss to top corner, light toning to handles from use. Measures 9" L x 7" H x 4" D. Shipping $48.00 (estimate $300-$400)
Burberry Pink/Beige Nova Check Coated Canvas Tote. Silver tone hardware. Beige fabric interior with zippered and patch pockets. Beige leather straps. Labeled appropriately. Good condition with a couple of very small light stains. Measures 11-3/4" L x 10-1/2" H x 3-3/4" D. Dustbag included. Shipping $48.00 (estimate $100-$150)
Gucci Light Beige Suede And Leather Bamboo Backpack. Brushed gold hardware, monogram fabric interior with zippered pocket. Labeled appropriately. Serial # 003-1998-0016. Good condition with light wear and soiling to edges from use. Measures 12" L x 12" H x 4" D. Dustbag included. Shipping $58.00 (estimate $350-$450)
Attributed to: Diego Rivera, Mexican/American (1886 - 1957) Oil on Canvas, Young Woman Writing the Word, Signed Top Right. Craquelure to canvas, Good conserved condition, light spotting from age. Measures 12-1/4" H x 11-1/8" W, frame measures 14-1/2" H x 13-1/4" W. Shipping $68.00 (estimate $1500-$2500)
Louis Vuitton Brown Monogram Coated Canvas Alma PM Tote. Golden brass hardware, vachetta straps. Brown canvas interior with slot pocket. Labeled appropriately. Good condition with light wear, toning from use. stains. Measures 12" L x 9-3/4" H x 6-1/2" D. dustbag included. Shipping $65.00 (estimate $500-$600)
Louis Vuitton Brown Monogram Coated Canvas And Leather Looping GM Handbag. Golden brass hardware. Beige suede interior with zippered and patch pocket. Vachetta straps. Labeled appropriately. Good condition with light wear and soiling on handles from use. Measures 11" L x 12-3/4" H x 4-1/4" D. Shipping $52.00 (estimate $450-$550)
Prada Blue Canvas Denim Tote PM. Gold tone hardware. Interior of canvas with one zippered pocket and a slot pocket. Canvas shoulder strap included. Labeled appropriately, Made In India label. Good condition with very light wear. Measures 11-1/2" L x 8" H x 5-1/2" D. dustbag included. Shipping $58.00 (estimate $400-$500)
Louis Vuitton Brown Monogram Coated Canvas Saumur 25 Double Strap 2 Sided Crossbody Messenger Bag. Golden brass hardware, vachetta straps. Brown canvas interior with slot pockets. Labeled appropriately. Serial # AR0935. Good condition with very light wear, toning to leather from use. Measures 11" L x 9" H x 3" D. Shipping $95.00 (estimate $400-$500)
Celine Orange Smooth Leather Luggage MM Tote. Gold tone hardware, the interior matching dark orange leather with zippered and patch pockets. Labeled appropriately. Good condition with light wear, scuff on back. Measures 10-1/2" L x 10" H x 5-1/2" D. Dustbag included. Shipping $58.00 (estimate $1000-$1500)
Chloe Light Pink and Black Mini Alice PM Smooth Calf Leather Handbag. Gold tone hardware, fabric interior with slot pocket. Optional strap included. Labeled appropriately. Serial #01-15-63-65. Very good condition with only slight signs of wear, small glue residue upper front left. Measures 12" L x 6-1/2" H x 6" D. Shipping $42.00 (estimate $250-$350)
Saint Laurent Electric Blue Smooth Calf Leather Sac De Jour Baby PM. Gold tone hardware. Black leather interior with slot pocket. Optional strap, cadenas and clochette included. Labeled appropriately. Pre-Owned As New Condition with a few light scuffs from handling. Measures 10-1/4" L x 8" H x 4-1/2" D. Original paperwork and dustbag included. Shipping $75.00 (estimate $1500-$2500)
Chanel Black Quilted Leather Classic Double Flap Bag 26. Gold tone hardware. The interior of burgundy leather with patch pockets. Chain interlaced with black leather. Labeled appropriately, serial # 7152859. Good condition with light wear and scuffs. Measures 10" L x 6" H x 2-3/4" D. Box, dustbag and card included. Shipping $62.00 (estimate $3000-$4000)
Louis Vuitton Brown Monogram Coated Canvas Montsouris MM Backpack. Golden brass hardware, vachetta leather. Brown canvas interior with slot pockets. Labeled appropriately, serial #SP0989. Good condition with light wear, toning and spots on leather. Measures 10" L x 10-1/2" H x 4-1/2" D. Shipping $65.00 (estimate $750-$850)
Louis Vuitton Brown Monogram Coated Canvas And Leather Gibeciere PM Shoulder Bag. Golden brass hardware, vachetta leather straps. The interior with zippered pocket. Labeled appropriately, serial # AR1902. Good condition with light wear. Measures 10" L x 7" H x 2-1/2" D. Shipping $48.00 (estimate $400-$500)
Louis Vuitton Damier Azur Ivory Coated Canvas Naviglio Messenger Bag. Golden brass hardware. Beige interior with pocket, canvas strap. Labeled appropriately. Good condition with light wear and soiling to strap from use. Measures 11" L x 9-1/2" H x 4-1/2" D. Shipping $65.00 (estimate $500-$600)
Chanel Black Quilted Leather Mademoiselle PM Handbag. Gold tone hardware. The interior of burgundy leather with zippered pocket. Chain interlaced with black leather. Labeled appropriately, serial # 5185377. Good condition with light wear. Measures 8-5/8" L x 7" H x 2-3/4" D. Box and card included. Shipping $62.00 (estimate $2000-$3000)
Chloe Crème/Light Beige Grained Leather Paddington MM Handbag. Brushed gold tone hardware. The interior of black canvas with zippered and phone pockets. Labeled appropriately, serial # 03-06-51-5276. Good condition with light wear and soiling on handle from use. Measures 14" L x 7" H x 10" D. Shipping $65.00 (estimate $200-$300)
Chanel Black Quilted Chevron Motif Leather Double Flap Bag 23. Gold tone hardware. The interior of burgundy leather with patch pockets. Chain interlaced with black leather. Labeled appropriately, serial # 1895468. Good condition with light wear. Measures 10" L x 6-1/2" H x 2-3/4" D. dustbag and card included. Shipping $62.00 (estimate $3000-$4000)
Man's Vintage Jaeger Le Coultre 18 Karat Yellow Gold Reverso Automatic 8 Day Power Reserve Model 240.1.15 with Italian Alligator Strap and 18 Karat Yellow Gold Deployment Buckle. Signed, stamped 18K 750. Serial # 2182089. Light surface wear, scratches from normal use. Running. Please note the gallery does not warranty the running condition of watches. Case measures 45mm (lug to lug), 31mm W (with crown). Approx. weight: 125.3 grams. Shipping $34.00 (estimate $8000-$12000)
Gucci Beige Monogram Leather Indy Hobo Guccissima MM Bag. Gold tone hardware. The interior with patterned fabric, zipper and phone pockets. Optional strap included. Labeled appropriately. Good condition with very light wear, specifically the hardware with light scratches and minor pitting. Measures 15-1/2" L x 13" H. dustbag and care card included. Shipping $75.00 (estimate $400-$500)
Gucci Beige Supreme Monogram Canvas And Leather Positano PM Tote. Gold tone hardware. The interior of brown fabric with zippered pockets. Gucci scarf accent. Labeled appropriately. Serial # 162879 467891. Good condition with light wear. Measures 12" L x 8" H x 4-1/2" D. Shipping $56.00 (estimate $300-$400)
James Mahony ARHA (1810-1879)The Official Opening of 'The National Exhibition of the Arts, Manufactures and Products of Ireland' Cork, 1852Watercolour, 74 x 66cm (29 x 26'')This large watercolour by James Mahony depicts the building designed by John Benson for the “National Exhibition of the Arts, Manufactures, and Products of Ireland” held in Cork in 1852. The exhibition took place on the Corn Exchange site on Albert Quay-where City Hall now stands-and was opened by the Lord Lieutenant, Archibald Montgomerie, 13th Earl of Elginton, on June 10th of that year. The watercolour depicts a long line of eminent citizens, waiting to be introduced to the Lord Lieutenant, who stands on a carpeted dais in the foreground. A tipstaff announces the names of those who are to ascend the steps to the dais; they appear to be mainly men, while the audience looking on from both sides is composed mainly of women. First in line is a man, hat in hand, wearing a blue sash and medallion. Galleries on either side of the hall are also packed with spectators. Benson was a brilliant engineer and architect, who used innovative building methods; the roof of the Cork Exhibition hall, with its four transepts, was constructed of laminated wood trusses, bent into semi-circles, and linked together to form a strong but light structure. Large skylights admitted light into the building. The same system was used in his designs for other Cork buildings, including the Butter Market, the Firkin Crane and the English Market. Following on from his success in Cork, Benson was engaged to design the buildings for the Dublin International Exhibition in 1853. Unfortunately, being constructed mainly of wood, over the years all of Benson’s Cork buildings have been destroyed, or have lost their original truss roofs, as a result of fire. When the Cork National Exhibition ended, the building was dismantled and sold to the trustees of the Royal Cork Institution. Three years later it was re-erected, on a site beside the Cork School of Art (now the Crawford Art Gallery). Titled “The Atheneaeum”, it was inaugurated by the Lord Lieutenant, George Frederick Howard, Earl of Carlisle, and over the following decades was used mainly for lectures, exhibitions and performances. Re-named the Cork Opera House in 1877, it hosted many theatrical and opera performances before being destroyed by fire in 1955. Mahony’s watercolour depicts the first inauguration of the building in 1852. He depicts an ornate but functional interior, one that combined conventional architectural elements, including Corinthian columns, with proto-Modernist construction methods. When the building was re-erected as the Athenaeum three years later, it was a simpler structure, and by the time it was remodelled as the Cork Opera House in the later nineteenth century, it had lost most of its original embellishments. A contemporary wood engraving by Mahony, published in The Illustrated London News, shows another transept in the Cork Exhibition complex, the Fine Arts Hall. Born in Cork in or around 1810, James Mahony specialised in views of historical events and paintings with religious themes. He first exhibited in the 1833 exhibition of the “Cork Society for Promoting the Fine Arts” and during the following years travelled extensively on the Continent, mainly in France and Italy. Returning to Ireland, he settled at the home of his father, a carpenter, at 34 Nile Street. The date of his return has not been established precisely; Strickland gives it as 1841, but in 1839 Mahony painted a large watercolour of the blessing of the Church of St. Mary’s on Pope’s Quay, a painting now in the Great Hunger Museum in Quinnipiac, Connecticut. During those years Mahony also set about founding, along with fellow artist Samuel Skillen, a Cork Art Union. The concept of an Art Union, where works of art from an annual exhibition were distributed by lottery amongst a group of subscribers, had already been put into operation in London and in other cities. An Art Union in Dublin had been founded two years previously, and there was also one in Belfast. Each member paid an annual subscription of one pound. This gave the subscriber (and up to three friends) free admission to the exhibition, as well as participation in the lottery of paintings. In the first year of the Union's operation in Cork, it was reckoned that more than £100 would be spent on the purchase of paintings, to be distributed amongst the subscribers. The first exhibition was held in September 1841 at Marsh's Rooms on the South Mall, and in spite of the bad weather was an immediate success, with Mahony and Skillen both amongst the exhibitors.Mahony showed again in 1844, submitting two paintings to the Cork Art Union Exhibition, Strada di son Giardino a Subraio, and Nella Chiesa di San Maria della Fiore a Genzano vicino di Roma, both priced at four pounds and four shillings. In November 1846, his view of the Fr. Matthew Memorial Tower at Glanmire was presented to Queen Victoria. Around this time, he resumed his travels, spending a number of years in Spain, before returning to Ireland. In 1852, as well as depicting the inauguration of the Cork National Exhibition, he showed several watercolours in the Fine Arts section, including The City of Cork from the river near the Custom House and Queens College, Cork, along with views of Venice and Rome. Settling in Dublin four years later, he exhibited at the RHA, and was also made an associate of the Academy. A large panoramic view of Dublin, in the National Gallery of Ireland, shows his talents in rendering architectural detail. Also in the NGI is his watercolour depicting the visit by Queen Victoria and Prince Albert to the 1853 Dublin Exhibition. In 1859 Mahony moved to London, where he worked as an illustrator, until his death in 1879. While he produced paintings of notable building, and civic and cultural events, Mahony is best known nowadays for his graphic images of the effects of famine in Co. Cork, which were published in The Illustrated London News in the 1840’s. These harrowing images influenced public opinion, and helped changed the British government’s official stance of indifference to the Great Famine. James Mahony is not to be confused with a later Cork artist, James Mahoney, who also painted in watercolour. (See Julian Campbell Irish Arts Review Vol 28, No. 2 (2011) p. 98]Peter Murray, April 2018
Walter Frederick Osborne RHA ROI (1859-1903)Beached Rowing Boat and Figures by the ShoreOil on board, 25 x 21cm (9¾ x 8¼'')Provenance: Sale, Adam's, 16 June 1993, Lot 69, where purchased by the late Gillian Bowler.Walter Osborne’s picture depicts a sloping, high river bank upon which small rowing boats are moored. Just over the brow is a large pavilion-like building with steep roof, tall chimneys and masts. On the left, a figure in hat and white smock stands silhouetted against the sky, while in the right foreground another man in white sits in his boat, moored below the steps which climb the banks. The smooth water below reflects the boat and river bank, complementing the dark shape of the building above. Osborne’s scene is viewed against the light, so the tone of the picture is subdued. Yet a quiet sense of mystery is evoked, the two men conversing with one another perhaps, or lost in their own thoughts. Osborne’s scene has echoes of small, intimate pictures of heath or quarries by earlier landscapists such as John Crome and William Mulready.Osborne spent much of the period 1884 to c.1891 painting in English villages and coastal towns in the summer months. The setting of the present picture is probably at Rye in East Sussex.Rye had been an old fortified town on the river Rother on the Sussex coast and became one of the ‘Cinque ports’. But in the 16th century the harbour began to silt up, so that the town became situated two miles inland. The Flemish portraitist Anthony Van Dyck painted beautiful watercolours there c.1633. Osborne was working in Rye c.1889-1890, and was inspired to paint some of his finest paintings there. These include ‘Cherry Ripe’, c.1889 (Ulster Museum); ‘The Ferry’; ‘When the Boats Come In’; small oil studies such as ‘On the Quay at Rye, 1889 and the present picture; and the wash painting ‘Boats in Rye Harbour’ (National Gallery of Ireland); and he also took photographs there (NGI).English villages provided Osborne with interesting subject matter and also inspired a new palette in his paintings, the warm russets, oranges and maroon colours of brickwork and roof tiles, the browns of old woodwork, often being lit up by lovely sunlight. In the present scene, which is observed against the light, the tones, dark maroons, plum colours, raw siennas (lighter at the top of the bank) and dark blues, are more subdued. But the sky is bright, covered by light cloud and with touches of blue sky breaking through. Osborne’s brushwork is light but expressive. On the riverbank, for example, changes in direction are visible as his brush moves quickly over the picture surface, while in the clouds fluid, horizontal brush marks can be seen, creating blurred edges where the building meets the sky.Osborne’s painting belonged in the collection of Gillian Bowler, founder of Budget Travel. A very similar subject was exhibited at the Dublin Art Club in 1890.Julian Campbell, April 20181) ‘The Ferry’, Important Irish Art, de Vere’s, Dublin, 27th November 2013, Lot 39.2) ‘When the Boats Come In’, 19th Century European, Victorian and British Impressionist Art, Bonhams, London, 1st March 2017, Lot 62.3) ‘On the Quay at Rye’, 1889, Irish Sale, Sotheby’s, London, 18th May 2001, Lot 165 - this was a gift from Osborne to fellow painter Blandford Fletcher.
Walter Frederick Osborne RHA ROI (1859-1903)Counting the Flock (c.1885/86)Oil on board, 33 x 40cm (13 x 15¾'')SignedProvenance: Given by the artist to Sarah Purser; by descent; Irish Sale, Christie’s, 19th May 2000, Lot 212 (mis-titled); Irish Sale, Christie’s, London, 15th May 2003, Lot 37 (mis-titled) where purchased by the current owner.Exhibited: Probably exhibited Dublin, Royal Hibernian Academy, 1886, No.161, £20; Walker Art Gallery, Liverpool, Autumn Exhibition 1886, No.219, £15.Literature: Thomas Bodkin, ‘Four Irish Landscape Painters’, Dublin and London 1920, Appendix XI, p.119; Jeanne Sheehy, ‘Walter Osborne’, Ballycotton, 1974 , Catalogue No.138, page 120.A shepherd stands watching over his flock of sheep, at the edge of a flat landscape which stretches into the distance, beneath a magnificent sky of rolling clouds. The man wears a tall felt hat and a white coat. His hand rests a stick on the ground, and there is another staff crooked under his left arm. A faithful black dog with a collar sits upright at his heels, watching over the flock of black-faced sheep and waiting for his master’s orders. The sheep are calm, some facing the shepherd or resting on the grass, while the majority of them are grazing. Being the son of animal painter William Osborne, the younger Osborne had a real understanding of animals and he observes the dog and sheep skilfully. The shepherd’s coat being the same off-white as the sheep, he is nearly one with his flock, creating a tranquil mood to the picture.He is standing in the left foreground, viewed from behind, inviting the viewer to look into the landscape. To the left, a shepherd’s or farm workers’ hut with wheels can be seen in the middle distance. A flight of seagulls rises into the air, suggesting some agricultural activity behind. The grassy plain stretches back to the horizon, where to the left there may be low buildings and to the right low hills. Yet, in contrast to the calm of the pastoral scene, much of the composition is dominated by the lively sky above. Like his fellow Irish landscapist, Nathaniel Hone, Osborne was fascinated by cloudscapes and changing skies. Here, clouds appear beyond the horizon and roll towards us, their upper parts white, their lower edges a pale pinkish-grey, with areas of a cheerful duck-egg blue sky above them, creating a summery mood.In the foreground, Osborne employs more subdued tones: light moss greens and browns, duns and off-whites, but a sprinkling of red flowers, perhaps poppies, provide joyous points of colour.‘Counting the Flock’ may be set in Hampshire or Berkshire, where Osborne was working c.1886. After he had studied in Dublin and Antwerp, and painted in Brittany, Osborne felt the need to live abroad further, and he spent much of the period 1884 to c.1891 in England, enjoying staying in small towns and villages with fellow painters, valuing an independence from his family and painting rural subjects and landscapes in the open air. He produced some of his finest works during this period.Osborne was fascinated by the flatness of the landscape and the rolling downs and attracted to landscapes with domestic or farm animals. He painted a number of scenes of shepherds with sheep, men ploughing with horses, a boy guarding pigs, girls feeding chickens and so on. Here, during the mid-eighties, he made several small studies on panels and larger pictures of sheep, for example the sunny ‘Sheepfold Shepherd and his Sheep’, 1887 and ‘The Return of the Flock’, 1885.The subject of shepherds with sheep was frequently depicted by 19th century artists. ‘Counting the Flock’ belongs to the noble tradition of rustic naturalism, in which artists such as Jean-Francois Millet, Charles Jacque, Julien Dupré, Anton Mauve and George Clausen painted scenes of peasant figures with their flocks of sheep, goats or herds of cattle. In some French pictures, the guardian of the sheep is a shepherdess, but in Osborne’s he is a man. As in several works by the artist’s friend Joseph M. Kavanagh, he is viewed from behind. He is standing still, watching over, or counting, his flock, looking into the landscape, or lost in thought. He is treated in an unsentimental, naturalistic manner. Indeed, with his hat and white coat, he is quite a modern figure, like a traveller about to embark upon a journey, a character in a play by Beckett - a kind of everyman.‘Counting the Flock’3 is probably the painting of the same name which Osborne exhibited twice in 1886: at the Royal Hibernian Academy in Dublin and at the Walker Art Gallery, Liverpool’s Autumn Exhibition.Julian Campbell, April 2018(I am grateful to Niamh MacNally, National Gallery of Ireland, for assistance in my research).1) Jeanne Sheehy, ‘Walter Osborne’, Ballycotton, 1974, p.28.2) ‘The Sheepfold’, c.1885, exhibited ‘Walter Osborne’, NGI 1983, No.22, catalogue by Jeanne Sheehy, illustrated p.74; and ‘A Shepherd and His Flock’, 1887, Sheehy, 1974, Catalogue No.152.3) ‘Counting the Flock’ has often been mis-titled as ‘The Return of the Flock’. However, the latter picture (Sheehy, 1974, cat.no.128), shows a boy driving sheep through a village street.
Norah McGuinness HRHA (1901-1980)The LiffeyOil on board, 40 x 59cm (15¾ x 23¼'')SignedThe Liffey dates to the late 1940s or early 1950s when Norah McGuinness produced several paintings of the city of Dublin and its main artery. It depicts the Liffey quays looking southwest with Guinness’s brewery, St. Augustine’s Church and Merchants Quay dominating the view. Its bright colours and the inclusion of two young women, one very fashionably dressed, manage to make Dublin look like Paris, a city that McGuinness knew well having studied there in the 1920s. The sweeping branches of the quayside trees add a note of intimacy to the barren banks of the river. The interaction of the figures with the gulls that sweep over the Liffey adds to the tranquil ambiance. The attention that McGuinness pays to this component, including the depiction of a large swan swimming in the waters below, is prophetic of her later passion for painting seabirds in urban environments.This is the kind of painting that McGuinness showed at the Venice Biennale in 1950 when she and Nano Reid represented the new Republic of Ireland. Her painting has a distinctly cosmopolitan air. Its representation of Dublin as urban and industrial but also stylish and modern was a radical way of depicting Ireland. Equally, while a rather idealized view, the work captures the combination of informality and open space that characterises the city of Dublin. McGuinness subtly deploys her knowledge of French modernism in her treatment of the painting. She had studied cubism in Paris with Andre Lhote. The elements of the composition are subsumed beneath a delicate matrix of patterned brushstrokes. This is evident in the brickwork of the quay wall, the line of lamps across the bridge, the elegant forms of the chimneys and especially the distinctive green dome of St. Patrick’s Tower, the defunct windmill, of the former Roe Distillery on Thomas Street, (on the extreme right). The refined deployment of blues, pinks and yellows heightens the sense of light and space. This is a charismatic painting of city life that includes many of its diverse elements and yet manages to also succeed as an appealing example of modern painting. Róisín KennedyMay 2018
Paul Henry RHA (1877-1958)A Bog Pool in WicklowOil on board, 23 x 33cm (9 x 13'')Signed; Inscribed in pencil versoProvenance: Sold in these rooms 27 May 1998, lot 32, as Sunset in the Mourne Mountains, reproduced in colour; Christie’s, London, ‘The Irish Sale', 15 May 2003, as Sunset in the Mourne Mountains, reproduced in colour.Exhibited: 1936, Toronto, Canada (5); 1937, Dublin (13); 1938, Dublin (17).Literature: S.B. Kennedy, 'Paul Henry - Paintings, Drawings, Illustrations, Catalogue No.912, as In the Mourne Mountains illustrated p.280.Reviewing Henry’s 1938 Dublin exhibition, entitled ‘Recent Paintings’, The Irish Times (12 November 1938) noted this picture for its ‘high atmosphere’. There is considerable impasto in the painting of the mountains, which is usual for Henry, with their direction of light clearly indicated. The sky too, as well as the foreground has much impasto. The foreground appears as scrub land, the water has an indication of paint dragged downwards, to the right is general recession, while the strip of blue paint is common in Henry’s work and the mountains are employed to halt the eye’s recession. This is a general view of the Wicklow Mountains. Previously it was known as 'In the Mourne Mountains' but that is incorrect. Dr. S.B. Kennedy, April 2018
Jack Butler Yeats RHA (1871-1957)The Belle of Chinatown (1943)Oil on canvas, 35.5 x 46cm (14 x 18)SignedProvenance: Purchased at the 1943 exhibition by well-known collector Jack Toohey. Sold in these rooms 11th December 1990 Lot 45, thence by descent.Exhibited: 'Later Paintings' Jack B Yeats Exhibition, Victor Waddington Gallery, Dublin Nov 1943, Cat. No. 12;'National Loan Exhibition' Jack B Yeats Exhibition June/July 1945, Cat. No. 126;'From Yeats to Ballagh' Arts Council Exhibition, Lunds Konsthall, Sweden, April-May 1972, Cat. No. 52Literature: 'Jack B Yeats: A Catalogue Raisonné of the Oil Paintings' Hilary Pyle, Vol 11, Cat. No. 582 p535The genesis of this intriguing work is found in sketches of 1904 and 1905. In 1904 Yeats travelled to New York where an exhibition of his work had been organised by John Quinn. Whilst there he was intrigued by the sights of the city, especially its cosmopolitan mix of races and its streetscapes of signs and advertisements. He visited and sketched Chinatown several times. The young girl with the large flowery hat, the Belle of Chinatown, is found in the pages of one of these New York sketchbooks (83, X180, Yeats Archive, National Gallery of Ireland). He drew a second sketch of the figure a year later when he was staying at Freshford with J. M. Synge. This is inscribed 'Chinatown, New York'. Yeats has elaborated on these earlier drawings a great deal in this painting created forty years later. The child stands in the daylight in front of a darkened side-street. Next to her in the full glare of the light is a stall on which are displayed an array of hats at 5 c each. An old man, the vendor, is seated behind it. The contrast between youth and age is sharply observed with the man's gaze directed at the bizarre sight of a tiny girl wearing the enormous hat. The dramatic changes in light caused partly by the scale of the buildings also fascinated Yeats. On the left hand side numerous marks of yellow and red indicate the colourful signs and banners of Chinatown. The richly textured use of paint conveys the steep perspective of the streetscape while imparting a strange vignette of the city, reconstructed and enriched by Yeats's combination of memory and imagination. A related painting is The Public Letter Writer, 1953, (Private Collection) which is also based on his memories of New York, highlighting again cosmopolitan life. Dr. Roisin Kennedyi. Hilary Pyle, Jack B. Yeats. A catalogue raisonné of the oil paintings, 1992, II, p.535.
Sir John Lavery RA RSA RHA (1856-1941)Evening on the House Top, Tangier (1920)Oil on canvas, 63 x 76cm (24¾ x 30'')Signed; also signed, inscribed and dated 1920 en versoProvenance: Given by the artist to his friend, Donald Jenkins; Sale, Christie's, 1999; Private Collection.John Lavery was born in Belfast in 1856, son of Henry Lavery, a wine and spirit merchant and his wife Mary. His father died in a ship wreck off the Wexford coast and his mother died heartbroken, a few months later. Now an orphan John was sent to live with an uncle in Co Down before moving to Scotland. In 1874 he enrolled in the Haldane Academy in Glasgow before moving to Paris to study under Bouguereau at the Académie Julian. By 1888 he was back in Glasgow and was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition. This launched his career as a society painter and he moved to London soon after. Snoddy notes that Morocco first attracted him in 1890 and that his 1891 show at the Goupil Gallery in London contained quite a number of North African subjects.Professor Kenneth McConkey has written of the present work: In Evening on the Housetop, Tangier Lavery refreshes one of his first and most successful North African themes. On his first visit to Tangier in January 1891, the painter was enchanted by the 'white city' overlooking the Straits of Gibraltar. Pacing the narrow alleyways of the Medina and the bustling marketplace, he found scenes that washed the dull light of the Glasgow studio from his eyes. Like Edith Wharton, he would often hear music coming from the upper storeys of buildings and, surveying the city from the top of his hotel, he found that young women, forsaking the drab costumes of the street, would dance and sing in the cool of the evening on the flat roofs, wearing their most colourful attire. During the next two years on longwinter visits, his objective was to paint such a scene and it culminated in A Moorish Dance, a picture shown at the Royal Academy in 1893.Thereafter Lavery's career blossomed; he moved to London, worked in Rome and Berlin and in the late nineties returned to his student stamping ground at Grez-sur-Loing. Nevertheless the memory of Tangier remained vivid and in 1903 he returned for an extended stay, eventually purchasing Dar-el-Midfah, a house on Mount Washington to the south-west of the Medina as a winter studio. On this flat-roofed Moroccan villa he would recreate the indolent harem atmosphere of the original Moorish dance in Evening, Tangier 1908 (Birmingham City Art Gallery). Other variants such as Night, Tangier (Ulster Museum, Belfast), followed, and in other instances the rooftop motif was maintained until, with the outbreak of war in 1914, Lavery's winter visits to the 'white city' were halted.They only resumed six years later on what was to be the last occasion when Evening on the Housetop was painted. Looking out over the Straits his favourite theme revived - the figure standing by the wall looks towards the spectator waiting for the song to begin and the old ritual to re-commence. It was an envoi. Lavery was never to go back to Tangier and in 1923, Dar-el-Midfah was sold.We are grateful to Prof. McConkey for his assistance in the cataloguing of this work.
CARLTON WARE 'ROUGE ROYALE' TWIN LIGHT CANDELABRUM, 'New Mikado' pattern with two trumpet form branches and circular base, 5 3/4" (14.6cm) wide, DITTO TWO HANDLE CANDLE HOLDER, 3" (7.6cm) high and OBLONG BOX AND COVER, 5 1/2" (14cm) wide in the 'New Mikado' pattern and a PLAIN ROUGE ROYAL moulded VASE, 6" (15.2cm) high (4)
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