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Click here to subscribeWARD-JACKSON, Peter. Italian Drawings. London: H.M.S.O., 1979-1980. 2 vols., 4to (227 x 214mm.) Numerous illustrations. (Light browning.) Original cloth, dust-jacket (backstrips faded). Provenance: ex public library (labels, ink stamp verso of title, labels to dust-jackets). – And a quantity of others, most of reference interest (a quantity).
RAILWAYS, MIDLAND RAILWAYS. – Robert GRATTON & Stuart R. BAND. The Ashover Light Railway. Didcot, Oxon: 1989. 4to (174 x 213mm.) Numerous illustrations. (Light browning.) Original cloth, dust-jacket (soiled). – And a quantity of others, the majority relating to the Midland Railway (a quantity).
RAILWAYS. – P.B. WHITEHOUSE. The Story of the Tralee & Dingle Light Railway. London: [n.d.] 8vo (176 x 125mm.) Illustrations. (Light browning.) Original cloth, dust-jacket (slightly soiled and browned). – And a quantity of others of railway interest, including a few others relating to Ireland (a quantity).
Walter Frederick Osborne RHA ROI (1859-1903) SUNSHINE AND SHADOW, [LA RUE DE L`APPORT], DINAN, 1883 oil on canvas signed and dated lower left; signed again in pencil on stretcher on reverse; with Spence`s Fine Art Gallery [Sackville St., Dublin] label on reverse 17.5 by 13.5in., 43.75 by 33.75cm. P RHA, Dublin;Private collection;Christie`s, London, 9 May 1996, lot 69 as La Rue de l`Apport, Dinanwith Cynthia O`Connor Gallery, Dublin;Private collection RHA, Dublin, 1884, catalogue no. 333 [£21-0-0];Irish Paintings for the 31st Antique Dealers Fair, RDS, Dublin, 26-29 September 1996, catalogue no. 5 as as La Rue de l`Apport, Dinan (illustrated) Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, p.115, catalogue no. 76 (listed);Campbell, J. Peintres Irlandais en Bretagne, Musée de Pont Aven, 1999, p.48 Lovers of Irish art may feel a sense of familiarity with his picture by Walter Osborne, even if they have not seen it before, or visited Dinan in Brittany. For it shows the same motif: gateway at Dinan which is featured in the much -admired painting The Hôtel Beaumanoir`s Portal, Dinan, 1883 also known as Old Convent Gate, Dinan, 1883, by Osborne`s contemporary Joseph Malachy Kavanagh, in the National Gallery of Ireland (NGI. 1194).The medieval walled town of Dinan in the district Cote d`Eméraude in the north of Brittany, was often the first port-of-call for Irish and English visitors to the Continent, quite easily accessible by ferry from Southampton to St. Malo, and then by local steamer down the River Rance. Strategically situated on a hill above the river, Dinan was a picturesque medieval town encircled by a stout wall, notable for the port, the imposing St. Servan Church, the Tour d`Horloge dating form the 15th Century, and the Jardin Anglais; as well as for its cobbled squares and streets, stone entrance gates, and stone bridges. There was a long-established English colony there, and throughout the 19th Century, Dinan attracted many artists, including Dagnan and Stanfield in the Romantic period, the Pre-Raphaelites Seddon and Boyce, History painters Ward and Lady Elizabeth Butler, and French Realists Corot and Bonvin. Shortly before Osborne`s visit the old stone Porte de Brest had been demolished. Of more significance to Walter Osborne was the fact that young English contemporaries, such as Ralph Todd, Blandford Fletcher, William Breakspeare and Edwin Harris (some of them students in Antwerp) had painted in Dinan c.1879-80. After completing their studies in Antwerp Osborne and Kavanagh travelled to Brittany in spring or early summer 1883. In spite of the town`s historic sites Osborne preferred the more quiet or secluded corners of Dinan, for example the narrow Rue de l`Apport leading from the Place des Merciers, and the Rue du Jerzual, which led downhill to the port. The large gateway (entitled Old Convent Gate in Kavanagh`s picture) is situated on the Rue de l`Apport, the Renaissance portal to the Hôtel Beaumanoir, built in the 15th Century. Rather than showing the gate from outside, bathed in sunlight, the artist represents it from inside and largely in shadow. Framed by the gateway, an elderly street cleaner with a long-handled twig broom pauses from his work, standing in reflection, or looking at the viewer. He wears the plain costume of the Dinan worker: wide-brimmed hat, blue jacket, faded trousers and wooden clogs. The painting is a fine piece of Social Realism. Yet the man stands in shadow, and Osborne`s attention is given as much to the architectural features of the scene, and contrast of sunlight and shadow, as to the human presence. Although small in scale, the picture is well constructed, and painted with a kind of rapturous verisimilitude. Osborne was attracted by the variety of rough textures: old stone, weathered wood, cobbles, slates, tiles, grass and foliage, on which sunlight falls. He shows the imposing gateway with its latticed upper area through which the sun pierces. The gate and the workman`s hut appear in a state of neglect, the timberwork battered, and weeds growing. (Behind the artist was a small square in which the manor was situated, while the top of the gate`s exterior was decorated by a religious statue and curling fish motifs). Warm sunlight in the street begins to enter through the arch, falling on the woodwork and cobbles and along the top of the gate. The area of sunlight at the top right is balanced by a small section of blue sky in the top left corner. The fruit or vegetable stall outside the gate is in shadow, but the sturdy stone house captures the sunlight. Osborne even observed such details as the plaque bearing the name of the street, Rue de l`Apport, and a globe-like glass lamp hanging from the gate.Osborne enjoyed working in the company of fellow-artists, and the close similarity of his painting with Kavanagh`s suggests that the two artists were painting in Dinan together. However, Kavanagh`s picture is larger in scale, and his viewpoint further back in the square. The man is viewed from behind, and sunshine enters the square more fully, suffusing the cobble stones with warmth. And the little glass globe is omitted from Kavanagh`s picture.In one of Osborne`s sketchbooks in the National Gallery is a tiny pencil drawing of his painting (NGI no. 19, 201 facing p.3, iv), entitled Sunshine and Shadow. This, surprisingly, may be the title of the picture, rather than Rue de l`Apport whose name he identifies in the street sign in the painting. Both pictures were exhibited at the RHA in 1884, along with several other Breton works. (Sunshine and Shadow, along with later titles such as Light and Shade, indicate Osborne`s plein-air as well as topographical preoccupations). There is a small black and white photograph of the exterior of the gate, La Porte du Couvent, in Osborne`s photographic album in the National Gallery (NGI, CSIA). The arch appears to have a grill with an open doorway in it. Osborne`s painting has an important historical significance, for it shows the house outside the gate as it was in 1883. It was later destroyed (perhaps during World War II), and a fine handsome, traditionally-styled house built on its site. However, the ancient Hôtel de Beaumanoir with its fine doorway, staircase and gate, has been beautifully restored. Dr Julian CampbellJanuary 2014
Golden Oak Arts & Crafts 2 Door Bookcase, lower section with pair panelled doors, copper lacquered hinges, upper section with pair 24 pane leaded light glazed doors with coppered lacquered hinges, pair wing supports, adjustable small shelves, square section supports, cornice applied with ebonized detail JuDGe NoT a BooK By THe CoVeR
A mid 19th Century Davenport dessert service, grey, white and gold trellis on a white ground, comprising a comport, six shaped dishes and ten plates, puce mark Condition Report: Comport with a cracked handle. The stem is secured with a bolt. Hairline crack to stem approx. 2in. long 1 rectangular dish with some stained crazing 1 plate with a chip to the underside of the rim Most plates with wear to gilding at centre and some light scratches
A named plate finely painted a Winchat (1898) and three birds to the border, Dartford Warbler, Hoopoe, Kestril, puce marks, 25cm (10") diameter Condition Report: There is a stained hairline crack approx. 4in long horizontally through the centre. A hairline crack of 1.5" long from the rim at 3 o'clock. Light scratching to the glaze.
A Royal Commemorative mug for the marriage of the Prince and Princess of Wales, 10 March 1863, and five further Royal commemoratives, mainly Queen Victoria Condition Report: Prince and Princess of Wales mug - glaze fritting to rim, handle and foot. Minor areas of staining Queen Victoria mug - light crazing Queen Victoria plate - several small flat chips to underside of rim Larger Victorian Diamond Jubilee plate - 2 rim chips to front. Extensive stained crazing
A child's transfer printed mug 'The Little Gleaner', a transfer printed jug with poem and a two-handled mug Condition Report: The Little Gleaner - minor rim chipping. Crazing and staining Jug - glaze fritting to spout and handle. Crazing and light staining 2-handled jug - extensive crazing and staining
A tortoiseshell paper knife with silver mounted handle Condition Report: Light scratches to blade, particularly to base near silver handle. Some glue residue to join of blade and handle suggesting a possible repair or perhaps a replaced blade. Slight dent and split to seam at tip of handle. Other very small dents, wear and scratches to silver. Small hole in silver near join with blade. Makers mark possibly HA, Birmingham, date letter illegible but presumed late 19th Century.
A Scottie Wilson Royal Worcester tea and dinner service, black swan, flowers and fish design on white ground, approximately seventy pieces Condition Report: 1 of the larger sandwich plates has small flat chip to underside of handle. Some light stained crazing to centre of tray. Smallest bowls - 3 out of 6 have a small chip to underside of rim 1 cup with star crack to base 1 cup with short hairline to rim, both with staining 1 coffee cup with shallow rim chip 1 coffee cup with short stained hairline crack to rim A few coffee cups with one or two minute rim chips 3 soup plates with chips to underside of rim 3 dinner plates each with a chip to underside of rim Overall some minor light crazing, scratches, wear to enamels, in line with age and usage
A Wilkinson honey glazed jug, painted Little Bo-Peep, inscribed Joan Shorter aged 9, 15cm (6") high and a similar plate, 17.5cm (6.75") diameter and saucer, 14cm (5.5") high, both inscribed Joan Shorter Condition Report: Plate - deep scratch at 11 o'clock, rubbing to enamels of figure dressed in green, extensive crazing. Jug - small glaze chip to arm of Little Bo Peep, light scratching
A Scottie Wilson Royal Worcester part service, decorated black swans on a white ground, comprising: two coffee pots, cream jug, teapot, milk jug and cover, sugar basin, large plate [7]/see illustration Condition Report: Teapot lid - small impact crack to flange Milk jug cover - flat chip to side of knop 1 coffee pot - extensive stained crazing to the lower part, a small chip to the side of handle and some flaking of enamels 1 coffee pot - small chip to spout Some light crazing to all pieces except cream jug
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![RAILWAYS. – P.B. WHITEHOUSE. The Story of the Tralee & Dingle Light Railway. London: [n.d.] 8vo (176 x 125mm.) Illu](http://lot-images.atgmedia.com/SR/10123/2902926/3251-2014219154641_468x382.jpg)
![Walter Frederick Osborne RHA ROI (1859-1903) SUNSHINE AND SHADOW, [LA RUE DE L`APPORT], DINAN, 1883 oil on canvas signed and](http://lot-images.atgmedia.com/SR/10092/2901686/35-20142316453_468x382.jpg)
