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Click here to subscribeA French grey marble and ormolu clock garniture, 11cm diam with Roman numerals, Lemerie Charpentier & Co, 8 Rue Charlot, Paris, the clock with flowering urn finial, arched case with fruiting bud to angles, fluted columns, breakcentre base, set with musical trophies, two light candleabras, the nozzles case with stiff leaves and flowering swags, bun feet, 37cm high, c.1870
A pair of Chinese porcelain coral red ground and gilt orchid bowls, with rounded deep body and gilt floral rim, body covered in light coral red ground, gilt decorated with branches of orchid and poetic prose. 19th century. 9cm diam. In good condition. Properties from a local Hampstead collector purchased in 1990 in Shanghai, complete with invoice.
Candido Portinari (Brazil 1903-1962). A portfolio, limited to 1,000 copies, of fourteen large pencil studies of Brazilian life by Candido Portinari, published by Carlos Drummond de Andrade, Sao Paolo, undated. The numbering of this 1,000 limited edition is, confusingly, from 3,301 to 4,300, this one numbered 4,037. Print size varies, mostly 41x30 cm. Very good condition, cover has light surface rubbing.
A good early 17th. century polychrome tile of a kingfisher on a branch, trefoil quadrants, together with four 18th. century blue and white tiles. CR. The polychrome tile has small chips around the edge, a larger chip at the top left hand corner and some very light surface pits. The other four tiles have minor chips (5)
A Flight, Barr & Barr (Worcester) pastille burner or night light holder and stand: in the form of a rustic cottage with thatched roof and 'Gothic' lower front windows, painted around the walls and from a grassy bank with hollyhocks, roses, honeysuckle and other flowers, impressed mark to stand, script marks with London House/Coventry Street address to both pieces, circa 1825-30, 17 cm high [cracked].*Notes Cf. Henry Sandon 'Flight and Barr Worcester Porcelain' plate 174 for a similar example in the Dyson Perrins Museum.* Provenance The O'Donoghue Collection
Limited edition commemorative pedestal glass bowl with etched inscription to the bowl relating to reign of Edward VIII, the knopped stem with commemorative coin and a frosted glass crown, the base numbered 1/50 and with retailers mark 'Thomas Goode & Co Ltd', 12cm high, a green glass light shade with light fitting, a glass bowl with painted strawberry and moulded strawberry decoration, a Uranium glass two-handled basket and various other items (11)
Quantity of Victorian and later blue pressed glass including a bust of Queen Victoria by Thomas Kidd, 9cm high, a pair of lion ornaments on oval bases, 16cm long, a pair of glass light shades commemorating the coronation of Edward VII in 1902 decorated with crowns and union flowers, 9cm high and various other items (13)
French lilac pressed glass tobacco jar and cover by Portieux, the cover modelled with a seated figure smoking a pipe, with tobacco leaf decoration below, 22cm high, two white pressed glass busts of Queen Victoria, 20cm and 14cm high, a blue satin glass light shade, a blue pressed glass wall pocket decorated with seaweed and two other items (7)
An American large oval two handled tea tray, Baroque by Wallace, with acanthus, bead, leaf scroll and floral handles and border, 73cm across ,a similar five piece tea and coffee service, of lobed and fluted form and a pair of three light candelabrum with detachable branches for use as candlesticks, all by Wallace (8).
John Shinnors (b.1950) Strawboy 3 (2004) oil on canvas signed lower right 40½ x 40½cm (16 x 16in) Taylor Galleries, Dublin (label verso); Private Collection Taylor Galleries, Dublin: Catalogue No.3 November - December 2004 John Shinnors was born in Limerick in 1950 and studied at the Limerick School of Art and Design. He has exhibited nationally and internationally since the 1980's with the Taylor Gallery, Dublin as his principal gallery. He is a member of Aosdána and is involved in the promotion of the arts through the Shinnors Scholarship and the Shinnors Drawing Award. Shinnors is represented in many private and public collections and was the subject of the RTE 1 documentary "Split Image John Shinnors". Shinnors paints reoccurring themes and this allows him to paint portraits with dramatic contrasts of light and dark, these dark and light tones are a major element in his work with shapes taking precedence over line. The shapes are nearly square in format with broad flat strokes. The blacks and whites are rich with yellow and gold hues. The work is textured with great atmosphere and energy compelling the viewer to be involved.
Donald Teskey RHA (b.1956) Garage (2012) acrylic on paper signed lower left 76½ x 100½cm (30 x 39in) Private Collection Donald Teskey was born in County Limerick in 1956. He graduated from Limerick College of Art and Design with a Diploma in Fine Art in 1978. He came to prominence as an artist during the 1980s, with several significant solo exhibitions as well as being the recipient of awards in EVA and the Claremorris Open Exhibition. In 2003 he was elected a member of the Royal Hibernian Academy. He applies his paint thickly, a creamy impasto, and the images reflect his response to the formal elements of composition; shape, form and the fall of light. Works are made in his studio but based on extensive studies and detailed notes. The result is powerful images of instantly recognisable parts of the Irish landscape with large abstract passages and surfaces which articulate the relentless energetic and elemental force of nature.
Nathaniel Hone RHA (1831-1917) The Road to Bourron. Landscape with Cattle, Roadway and Tree oil on canvas signed 'N.Hone' lower left 40 x 62¾cm (16 x 24in) Important Irish Art, James Adams with Bonhams & Doyle, 9th December 1998 Lot 41; Oriel Gallery, Dublin 2006; Private Collection Possibly Royal Hibernian Academy, Dublin 1906, no.92 entitled Road to Bourron; Foundations 1850-2006; Oriel Gallery, Dublin: November - December 2006. J. Campbell: Nathaniel Hone The Younger, NGI 1991, p.84 illustrated, figure 48; Nathaniel Hone,The Road to Bourron; Important Irish Art, James Adams 1998 p.19; Foundations 1850-2006, Oriel Gallery, 2006 p.10-11. Born in Dublin in 1831, Nathaniel Hone studied Engineering at Trinity College Dublin, and worked as an engineer in the expansion of the railways to the West of Ireland. But, suddenly deciding upon a change of career in his early twenties, he went to Paris to study art, c.1853-1857. Much of the art student's time was spent in the studio, drawing and painting from the figure, and the Louvre, copying from Old Master paintings. However, Hone's real love was landscape, and he was soon drawn to the artist's colonies in the Forest of Fontainebleau, south of Paris, where French artists of the Barbizon School were painting farming and woodland scenes in a realistic manner. Bourron-Marlotte were two adjoining villages in the Seine-et-Marne region, on the southern edge of the Forest of Fontainebleau. In the mid-nineteenth Century they began to attract a community of artists and writers, including the writer Henri Murger (author of La View de la Boheme), the Goncourt brothers and the painters Theodore Rousseau, Jules Bretoin, Renoir and Sisley, the Bohemian painter Pinkas and the Romanian Grigorescu and Nathaniel Hone from Ireland. He resided here for much of the1860's, giving the village of Marlotte as his address in the Salon catalogues of 1865 and 1868. Hone seems to have visited Bourron-Marlotte as early as 1855, painting studies of the old church and of a shepherdess in an interior, 'A Girl in a White Shawl' 1857 (NGI cat. No. 1479) and he spent much of the period, c.1857 - 1870 here and in Barbizon painting small studies from Nature and larger canvases such as 'La Mare aux Fees' (The Fairy Marsh). He met some of the Barbizon masters and several of his Fontainebleau paintings were exhibited at the Paris Salon. There are three versions of the subject The Road to Bourron extant, featuring a diagonal farm track leading through the flat landscape from right to left, beneath a tree in full leaf, towards a farmhouse at the edge of the village of Bourron among trees. One quite dark-toned picture on board An Old Road with Trees (NGI cat. No. 1518) shows the scene with cattle grazing in the grass. A Second picture on board also shows the subject, but is much more verdant and freshly painted. The present painting, on canvas, initially appears quite sombre in tone, suggesting the influence of Seventeenth Century Dutch landscape painting, for example, Jacob Ruysdael with his atmospheric landscapes with dark trees, rural figures and animals on rutted tracks and dark skies. Yet Hone's painting also shows the contemporary naturalistic influence of Corot, with his moss green tones and broad brushstrokes. Hone includes three figures; those of a girl, tending her two cows and a woman and child upon the track. Compared to the more careful, detailed manner of landscape, as practiced in Ireland and England, Hone takes a more generalised approach, painting in a bold, even rough manner in places, using broad, sweeping brushstrokes in the foreground and cursive strokes in the tree to indicate a breezy day. He skilfully balances dark and light areas in the composition. For example a warm sunlight falls upon the pinkish track and upon the field, upon one of the cows and the gable end of the cottage. Most characteristic of Hone is the skilful treatment of the sky: gleaming white above the village, then overall a warm pinkish-mauve, with a bright white upper cloud and with patches of blue showing through. After his return to Ireland in c.1872 Hone painted the skies above his Irish Landscapes with particular breadth and sensitivity. Indeed, the present painting has much in common in colour and breadth with his later Co. Dublin landscapes. One of Hone's 'Road to Bourron' paintings was exhibited in the RHA in 1906. It is possible that the present picture was acquired by one of Hone's great patrons, Sir George Brooke. Julian Campbell, March 2017
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