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Lot 161
A Royal Worcester fruit painted cabinet plate, to a raised gilt ground by H. Ayrton dated 1926, a Minton cabinet plate with raised gilt flowers to an eggshell blue ground, and a Wedgwood example with neo-classical design to the border also with raised gilding 27.5 cm dia., and smaller (3)Royal Worcester Fruit Plate:Several very light scuffs and rubbing to the guild.Slight rubbing to the plate base.Minton:Very light chips and rubbing to the base.Wedgwood:Very slight scratching to small areas of the decoration.Slight rubbing to the underside.Overall the plates are in very good condition.
Lot 502
A Meiji period signed Japanese ivory ryusa netsuke, of circular design with pierced decoration of scrolls, vases, mons etc, signed to front Ogaki Kokusai, 4.1 cm diameterScuffs and scratches to the edges with four cracks and a distinct area of pitting.Areas of discolouration.Multiple small chips around the pierced decoration (likely as a result of the carving process).Light scratches to multiple areas of the ivory.No apparent repairs or restoration.
Lot 30
A pair of Victorian glass moon flasks, the flattened ovoid bodies supported on four gilt bracket feet each bearing enamelled decoration of floral sprays and butterflies, 23 cm highRubbing to the gilt (particularly around the rim).Light scratches to areas of the main body.Chip to a bracket foot, has since been repaired.Slight tarnishing to the floral decoration.
Lot 609
Roland Knight (1879-1921), pair of oil on canvas salmon fishing pictures 'The Gaff' and 'The Rise', each signed lower left 15.5 cm x 20.5 cm in later gilt frames (2)Light scratching to the paintwork with small areas of cracking.Two holes are visible in the upper and lower right side corners of both paintings (likely a result of attaching the canvases to the boards.Slight yellowing and discolouration to the sky.
Lot 2
A pair of Chinese celadon glazed scroll weights, with seal marks to underside, decorated with fighting dragons and flaming pearls, 15 cm high together with a pair of white metal oval baskets, 14 cm, and hardstone grapes, 22 cmGrapes:Display several small cracks and chips.Two grapes are missing.Wire is exposed on some areas of the stem.Baskets:Tarnished with light scratches.Do not stand evenly.Slightly uneven threading on one of the baskets.Weights:Cracks to the bases and area of yellow residue on one example.Noticeable chip underneath one of the dragon's heads.Both dragons have one ear missing.Light scratches and chips to the sides.
![Arthur K. Maderson (b.1942) FIGURE AGAINST EVENING LIGHT [THE ARTIST'S DAUGHTER] oil on board signed lower left; inscribed on](https://cdn.globalauctionplatform.com/0e01362d-3120-4278-855a-a7e700fce6d6/2728f649-fc1d-4312-9179-8e78f155cd9f/468x382.jpg)
Lot 11
William John Leech RHA ROI (1881-1968) THE GARDENS, MAIDA VALE, LONDON oil on canvas signed lower left Collection of Louis Kinlen;Thence by descent to Judge Dermot Kinlen;His sale, Adam's, 28 May 2008, lot 30;Private collection William John Leech first met the Botterell family through his brother Cecil Leech after his return to London from Holland, at the end of the First World War, in February 1919. Percy Botterell, an eminent London lawyer had been a commercial attaché to The Hague and Cecil Leech, a major in the Royal Artillery, worked with the Botterells to repatriatesoldiers back to Britain. Leech’s life changed irrevocably, as did the Botterell family, when Leech was commissioned, by Percy Botterell to paint his wife, May Botterell. This led to the break up of Leech’s marriage to Elizabeth and of May’smarriage to Percy. May moved out of the Botterell family home in Hampstead to a flat at 24, Hamilton Terrace, Maida Vale, in 1920, close to where Leech had rented a studio at Hamilton Mews from 1919 until 1928.The Gardens, Maida Vale depict the pervading low sunshine which highlights the blocks of apartments beyond and the peaceful gardens in front, with May reading, wrapped in a warm coat and hat, sitting on the garden bench. This is a similar scene, painted on the same size of canvas, as Paddington Gardens with the same garden and the large terraced houses behind with May reading, sitting on the same bench but painted from a different angle. Leech uses a palette of chrome yellow and acid greens to capture the greens of the garden in Spring, contrasting with the warm pinks of the red brick walls, paths and tiled roofs. Increasingly, the gardens of London replace the landscape and seascapes of France as in these two works, in which Leech brings all the power he has acquired as a colourist, to produce scenes ofvivacity and light. The focus of May in the foreground, sitting, reading on the park bench, brings an air of domestic peace and from the 1920’s onwards, especially after both his parents’ death in 1921, May Botterell, became Leech's model and soul mate until her death in 1963. In 1923, Leech exhibited Kensington Gardens at the Goupil Salon andagain exhibited the same work in Derby, in 1924, giving his address as The Studio, Hamilton Mews. Paddington Gardens and The Gardens, Maida Vale possibly belong to this period c. 1920-28 before Leech moved to his new Steele's Studio, off Haverstock Hill in 1928.Dr Denise FerranSeptember 2017 10.25 by 13.50in. (26 by 34.3cm)
Lot 78
Patrick Hennessy RHA (1915-1980) CAVALCADE c.1974 oil on canvas signed lower left; inscribed on David Hendriks Gallery label on reverse Northern Bank collection;Private collection RHA, Dublin, 1974, no. 103 The present painting was one of four works shown by Patrick Hennessy at the RHA in 1974. That year - though based in Morocco - Hennessy exhibited, care of his agent, David Hendriks, at Oireachtas and a joint show with his partner Henry Robertson Craig at the Cork Arts Society Gallery and in Dublin with his gallerist. Cavalcade is a tour de force exhibition painting and it employs several devices which have become synonymous with the artist. The viewer is invited into the scene by the figure of a young boy riding bare back on a white horse which enters the canvas from the right as the penultimate rider in this procession. His gaze is captivating and the viewer is encouraged to join the parade and follow the imprints in the sand of the party further ahead. The intensity of the heat is felt in the cloudless sky with only a little relief provided by a breeze felt in the swish of the horses tails. This picture is powerful in both subject and execution and it is not surprising the artist revisited the same theme in his 1976 submission to the RHA (Sunset Cavalcade, exhibition no. 175). Patrick Hennessy was the subject of a major retrospective - Patrick Hennessy: De Profundis - at the Irish Museum of Modern Art from 24 March to 24 July 2016. This show formed part of their Modern Irish Masters series, a strand of programming that looks at the post war period to shed light on artists who have been critically neglected; but also to reflect on what their work might mean to audiences today. 24.50 by 34.25in. (62.2 by 87cm)
Lot 29
Jack Butler Yeats RHA (1871-1957) AGAINST THE STREAM, 1945 oil on panel signed lower left; inscribed with title on reverse; also with inscribed Dawson Gallery label on reverse and typed Waddington Galleries, London label on reverse Sold by the artist to R.N. Flynn, 1945;Christie's, 17 June 1960;Where purchased by Waddington Galleries, London;Collection of Mr and Mrs F. Hess, London;Collection Mrs Y. Tucker;with Waddington Galleries, London;Where purchased by a Mr Daniel O'Keeffe;Private collection;Whyte's, 26 November 2012, lot 44;Private collection Pyle, Hilary, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, André Deutsch, London, 1992, Vol.II, p.639, catalogue no. 708 A man walks briskly along a river bank pulling a small barge in the water along behind him. The dramatic contrast in scale between him and his passengers suggest that the latter is a toy or that some fantastic scene is before us. Yeats' intricate handling of the paint conveys a breezy day with the trees on the bank blowing in the gentle wind. The bright blues of the sea and river compliment the dark greens and yellow tones of the surrounding vegetation and suggest the warmth of a summer's day. The blue paint of the water has been scrapped back in parts to reveal the white of the canvas underneath. This denotes the reflected light of the sky on the surface of the river, while drawing our attention to the physical construction of the painting. The pink shirt and grey trousers of the ferryman while contrasting in hue with that of its environs are blended into the composition through the way in which the artist has sculpted the form out of paint. Rivers and ferrymen are a major theme in Yeats' work. The ferryman, like the pilot man who guided the ships in and out of port is symbolic of an innate wisdom and a keen understanding of the complexities of the sea and the tide. The title of this work, Against the Stream, indicates the skill of the man as he manoeuvres the boat upstream. The disconcerting discrepancy in scale between the giant male figure and the tiny doll-like forms of the passengers equally evokes a world of make-believe. One of Yeats' great pleasures as a young man was making paper boats and floating them on the River Gara close to his Devon home of that time. The poet John Masefield, a close friend of the artist, often joined in this pursuit. Several of Yeats' paintings of the mid 1940s such as The Launching (1945, Private Collection) and A Beach in Lilliput (1944, Private Collection) refer back to memories of this time. Another work, The Model Ship (1945, Private Collection) depicts a sailor looking at a model yacht sailing in the water below. [1] Rivers are moving forces and as such they represent the unending progress of life and nature. The sense of journeying is keenly expressed in this work through the movement of trees, the water and above all by the striding figure and the boat. The wide spread of the composition takes in the breadth of the river and its opposing bank and thus sets the expedition of the man and the boat within the much greater context of natural forces. In a playful manner Yeats uses the work to pose quite profound questions about the purpose of an individual life set against the bigger forces of the natural world. Dr. Róisín KennedyAugust 20171. Hilary Pyle, Jack B. Yeats. A Catalogue Raisonné of the Oil Paintings, André Deutsch, 1992, no. 637, II, p.581 9 by 14in. (22.9 by 35.6cm)
Lot 1203
Original vintage advertising poster for Osram Nitra lights featuring a great image of the ancient Greek goddess Ariadne, the Mistress of the Labyrinth, holding a chain with an Osram light bulb at each end to lit up the maze with the stylised text above and below in white letters. Osram lamps were developed in 1906; the company was founded in 1919 with headquarters in Munich Germany. Good condition, stain on top margin, small tears and and faint creases on margins, small tape on corners. Country: Denmark, Year: 1920s, Artist: R. E., Size (cm)95x64
Lot 5605
Original vintage movie poster for Cuban release of British film El Caso Morgan directed by Karel Reisz starring Vanessa Redgrave, David Warner and Robert Stephens. Great vivid colours illustration made using silkscreen printing by Alfredo Gonzalez Rostgaard features wild western search poster with a red nose and smiling mouth inside purple silhouette on a light green background with stylised lettering below. Good condition, small tears and creases on margins, pencil sign by Rostgaard on the right margin, stains and big tear on the top left white edge. Country: Cuba. Year: 1967. Designer: Alfredo Gonzalez Rostgaard. Size(cm): 76 x 51.
Lot 4620
Original vintage French propaganda poster published by the United Front in Support of South Vietnam to denounce the Communist attacks. Printed in France by Imprimerie Speciale, Paris. Very good condition, folds and light creases. Country: France. Year: 1960s. Designer: Unknown. Size (cm): 39.5 x 30.
Lot 4305
Original vintage Italian propaganda poster showing the scheme of British aircraft carrier Southampton in section. HMS Southampton was a member of the first group of five ships of the Town class of light cruisers. She was built by John Brown & Company, Clydebank, Scotland and launched on 10 March 1936. Southampton saw service in World War II, and initially served as the flagship of the 2nd Cruiser Squadron with the Home Fleet. On 5 September 1939 she intercepted the German merchant Johannes Molkenbuhr off Stadtlandet, Norway, but her crew scuttled the ship before she could be captured. The crew was taken off by the destroyer Jervis, and Johannes Molkenbuhr was then finished off by destroyer Jersey. Southampton was later damaged on 16 October 1939 whilst lying at anchor off Rosyth, Scotland, when she was struck by a 500 kg bomb in a German air raid. The bomb was released from only 150 metres (490 ft) height by a Ju-88 of I/KG.30, and hit the corner of the pom-pom magazine, passed through three decks at an angle and exited the hull, detonating in the water. There was minor structural damage and temporary failure of electrical systems. She was repaired and at the end of the year she was one of the ships involved in the hunt for the German battleships Scharnhorst and Gneisenau after the sinking of the armed merchant cruiser Rawalpindi. She then served with the Humber Force until February 1940, and then went to the 18th Cruiser squadron at Scapa Flow. On 9 April 1940, Southampton was operating off the Norwegian coast when she sustained splinter damage in a German air attack. The main battery director was temporarily knocked out. After being repaired, she had anti-invasion duties on the south-coast of England until she returned to Scapa Flow in October. On 15 November Southampton sailed for the Mediterranean. She participated in the action off Cape Spartivento on 27 November. In December the cruiser was moved to the Red Sea to escort troop convoys, and at the same time took part in the bombardment of Kismayu during the campaign in Italian East Africa. On 1 January 1941 she joined the 3rd Cruiser Squadron and took part in Operation Excess. In the early afternoon of 11 January, both she and fellow cruiser Gloucester came under attack from 12 Stuka dive bombers of II Staffeln, Sturzkampfgeschwader 2, Luftwaffe. She was hit by at least two bombs south-east of Malta and caught fire; the resulting blaze spread from stem to stern and trapped a number of men below decks. 81 men were killed with the survivors being picked up by Gloucester and the destroyer Diamond. Heavily damaged and without power, Southampton was sunk by one torpedo from Gloucester and four from the cruiser Orion.Good condition, folded, image losses on fold, paper loss in the middle of the poster. Country: Italy. Year: 1930s. Designer: Unknown. Size (cm): 34.5 x 100.
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