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Lot 132
A unique collection of magic lantern slides depicting the construction of Beachy Head lighthouse during the years of 1900-1902.71 numbered and annotated slides, housed in two fitted wooden cases.Case one contains 45 slides showing almost all stages of construction, from the 'Bottom Anchorage commencement' up to the installation of the lantern. There are many unposed images of the workforce going about all aspects of the build. Views taken from the top of the cliffs, in the cable car, down on the sea stage beside the lighthouse and on site, within the foundations.The second case continues the series, showing the final stages - 'The erection of the lantern roof' and even the tidy-up: 'dismantling of the sea stage'. There is also a charming image of the engineer's dog.In addition to the construction slides, the second box also contains 11 distinctly posed images of the new lighthouse's uniformed keepers, inside and outside their new home, also interior views of oil tanks, the lanterns, revolving gear etc. The box also contains four views of the lighthouse at sunset, twilight, night etc, signed by the Eastbourne photographer Ellis Kelsey. There is also a hand coloured slide of the completed lighthouse, but still with the sea stage and cable car alongside, annotated WH Carpenter. The un-posed, intimate nature of these slides and the fact that they document the entire construction process, would indicate that most of them were taken by a person who had continuous access to the site. We can find no other archived images of this quality in the public domain, which would indicate that they were not taken by a professional photographer for public consumption. In 1900, photography was on the edge of becoming much more widespread, but it was still a gentleman's pursuit. It is most likely that these uniquely rare images were taken by one of the engineers working on the construction of the lighthouse. (See illustration)Note:Beachy Head lighthouse was designed and built by the Cornish-born, Engineer-in-Chief of Trinity House, Sir Thomas Matthews. Matthews also designed Pendeen Watch, Lundy and Spurn Head lighthouse, although Beachy Head is considered his most significant achievement. The resident, on-site engineer was Albert Havelock Case.Completed in 1902, the lighthouse took two years to build and was constructed from 3,660 tons of Cornish granite, mined and shaped on site at the De Lank quarry near St Breward in North Cornwall. The dovetailed granite blocks were numbered to aid assembly. The construction site of the new Beachy Head lighthouse at the base of the cliffs required a cofferdam to be built in order to protect the groundworks. Men and materials were winched down in a cable car or aerial ropeway which was erected from the top of the cliffs for this purpose. The site was also accessed by a hair-raising series of ladders, that ran all the way up the cliffs of Beachy Head.
Lot 946
ASTRONOMY. A SET OF SEVEN BRASS, MAHOGANY AND PAINTED GLASS MECHANICAL MAGIC LANTERN SLIDES BY WATKINS & HILL, LONDON, MID 19TH C with turned ebonised winding handle and printed blue paper descriptive label, 10 x 18cm, stencilled WATKINS & HILL OPTICIANS 5 CHARING CROSS and a related 30pp booklet with light blue wrappers A Familiar Introduction to the Science of Astronomy... adapted to accompany a Set of Diagrams Painted on Glass for Exhibition in the Phantasmagoria Lantern London Printed for Rayner & Hodges (8) ++The slides free from serious faults or losses the metal parts with some corrosion making the gearing sometimes awkward or slipping in operation but entirely original and unrestoed, the booklet showing signs of age but complete and acceptable
Lot 103
2 1:18 limited issue promotional issue models made for Standox automotive paint manufacturer. Both models have been professionally finished in the Companies special paint. One produced by Exoto Racing Legends, a Shelby Cobra Daytona in a deep metallic green ‘Magic Bird Monte Carlo Magic’ with black interior. a highly detailed model. Plus a ‘Bburago for Standox’ Ferrari 550 Maranello in a metallic yellow gold ‘Suzuka Sun’ with tan interior. Both in special Standox boxes, light cleaning required. Vehicles Mint.
Lot 524
Approx 400 B&W Magic Lantern Slides, Tapestry, Textile & Weaving etc. Captioned with subject and location. Features photographs of wall hangings, tapestries, samples of stitching styles, samplers, lace, bobbin lace, needle point, embroidery etc. from various British Stately Homes, churches & cathedrals, museums etc.
Lot 525
Approx 200 B&W Magic Lantern Slides of British Stately Homes, Churches & Cathedrals etc. Including Coombe Abbey, Harewood House, Hatfield House, Penshurst & others. Featuring interiors, exteriors, room settings, gardens etc. captioned with subject and location. Probably related to previous lot.
Lot 530
A Fascinating Collection of B&W Stereo Slides from European Motor Trips. Mostly From 1937/9. All cut in half and with many stored in small envelopes and meticulously captioned with time, date & place plus exposure and photographer's details. To include Motor Trips & UK scenes, inc royalty. Also 2 Boxes of Magic Lantern slides, mixed subjects inc late Victorian to Edwardian scenes, UK, Brittany, France, WWI etc a few in colour.
Lot 533
Over 300 B&W and Coloured Magic Lantern Slides, Mostly Kent Scenes. From Edwardian era to 1960’s, mostly captioned, from Kent, inc. Tunbridge Wells, Chislehurst and surrounding towns and villages. Featuring churches, cathedrals, stately homes, interiors and exteriors, plus general mixture, inc May Day & May Queen etc.
Lot 306
A rare Derby blanc de chine figure group of children at a peep show after the Sevres original. Modelled with a boy leaning against a magic lantern and a girl kneeling upon a rock to look inside. Incised 94 and with patch marks c1780, 18cm wide. Condition Report. To be used as a guide only. There is a third figure lacking from the back of the group. Patches of old discoloured restoration throughout. Firing tears in the base.
Lot 721
DANCE/DISCO/POP/SOUL/HIP HOP/RAVE 12" - Ace collection of around 130 x 12" releases. Artists include The Future Sound Of London, Urban Soul, Bomb The Bass, Bill Withers, Age Of Love, Dread Zone, Last Rhythm, L L Cool J, Alfredo, S - Bam, Cerone, Kevin Saunderson, The Forge Masters, DJ Pierre, and T 99. Labels include Disco Magic, React, Def Jam, Network Retro, Warp, Go Beat, Emphasis and Aries. Condition is generally VG to Ex+.
Lot 253
DYERBALL (J): 'Things Chinese being notes on various subjects connected with China..' London, 1893: second edition: 8vo, publisher's yellow cloth, a bit rubbed and marked: CHESTERTON (G K): 'The Coloured Lands...' London, 1938: 4to, pub yellow cloth, dustjacket creased and torn with loss: 'Principal Excursions of the Innerleithen Alpine Club during the years 1889-94...': Scottish Border Record Office, 1897: second edition: 8vo, pub red cloth gilt, VG: TOGETHER WITH a quantity of other books over 3 shelves to include other travel, cookery, canary-keeping, magic and natural history, various formats and bindings. (3 shelves)
Lot 121
A Vintage Children's Book entitled 'The Fairy Picture Book', illustrated by E Stuart Hardy and printed in Bavaria, together with a vintage Children's Talking book entitled 'The Magic Wood', the story and music written by Harry Phillips, illustrated by H. Paul and published by T.P.L. Ltd 1948 (78 RPM record included with faults)
Lot 361
Sixties EPs / Singles, approximately one hunderd and fifty mainly Sixties EPs and 7" singles including a large number of Demo releases. Artists include The Rolling Stones, The Beatles, Manfred Mann, Alexis Korner, Magic Lanterns, Buffalo Springfield, Donovan, The Cats, Spencer Davis Group and many more - various years and conditionsincludes approximately thirty demos / promos
Lot 96
George Campbell RHA (1917-1979)Farmers at Bus Stop, RhondaOil on board, 75 x 62.5cm (29½ x 24½'')Signed; signed again and inscribed with title Exhibited: ‘George Campbell, Directions’ the Gallery 22, November, 1978, Cat No. 2 Attracted to Andalucía’s warm climate and low cost of living, Campbell annually traveled to Spain where he frequented Malaga’s La Buena Sombra, a large Inn where locals gathered to discuss literature, music and art. During his visits, Campbell liked to walk around the city making sketches of the people going about their daily lives, singing, dancing, shopping, selling tickets or waiting for trains and buses. Campbell first visited Ronda in the 1950s and returned to the prehistoric city in the 1960s and 70s to seek out subject matter. ‘Farmers at Bus Stop, Ronda’ was probably executed from a sketch when he traveled to the city in the late 1970s. The exhibition at The Gallery 22 in November, 1978 was to be Campbell’s last solo show in Dublin. Months earlier Campbell had contributed to the group exhibition with friends, Arthur Armstrong and Richard Kingston at the newly opened gallery by the Minister for Health, Charles J Haughey. In the mid 1970s Campbell introduced a new softness into his work. Gentle fluent strokes replaced abstract shapes. Colour continued to suggest mood, but an element of mystery emerged from his subjects by changing how he handled paint. Ruined buildings, landscapes in Connemara and figurative paintings were stripped back and forms emerged with less detail. The posture of the men leaning against a wall and the single man standing are central to this work. Commenting on Campbell’s final works, Arthur Armstrong stated that Campbell enjoyed breaking down his paintings into ‘little bits of pure magic.’ (George Campbell RHA, A Tribute, RTE, 1979)By 1978, Campbell enjoyed the status of being a celebrity in Spain and Ireland from media appearances. Wishing for a quieter life, he purchased land in Laragh, Co. Wicklow with a view to spending longer periods away from the city of Dublin. For the first time since the early 1950s George and Madge Campbell did not go to Andalucía for the winter months. With their new house in Laragh almost finished, they went on a three-week holiday instead around the North of Spain. Speaking to a writer during the exhibition, George commented on his life as a painter ‘Well I have always regarded myself as a worker painter…. I don’t see painting as a kind of thing apart. It is part of my life, part of my whole fabric part of breathing and reading and eating and sleeping and walking and moving…’ (The Irish Times, 10/11/78, pg.10) Six months later, George Campbell died suddenly from a brain hemorrhage and was buried in Laragh, on a quiet tree-lined hill overlooking Glendalough.Karen ReihillOctober, 2017
Lot 142
Patrick Collins HRHA (1911-1994)Heavy Water on the BogOil on canvas, 40.5 x 49 (16 x 19¼”) Shaped, signed and dated (19)84; inscribed with title and dated (19)86 (Sic) versoProvenance: The Eamonn Mallie CollectionThis colourful work by Patrick Collins reflects the colour in my relationship with the original owner of the work my late friend and collector Vincent Ferguson from Sligo. We were both crazy romantics who indulged our passions with periodical exchanges of paintings. 'Heavy Water on the Bog' tells its own story, and Vincent's love affair with Collins' paintings. This work stirs many memories of a wonderful day in the late Vincent's ever welcoming home at Rosses Point where he and his wife Noleen were the perfect hosts. When Paddy passed away Vincent decided to mark the occasion with the scattering of the artist's ashes on the waters of the Garavogue River in Sligo where Collins was born. Ciara Ferguson - Vincent's daughter who witnessed the scattering of Patrick Collins' ashes on the water crystallised the extraordinariness of the moment: of Patricia and Penelope Collins she said… Patricia was in a velvet cape and she and Penelope were like Patrick's handmaidens tossing the ashes where he played as a boy. Ciara continued “… the image that stands out in my mind is the moment that the ashes are being scattered on the water to the strains of a lone piper, then in the background I heard the flapping of the wings of a single swan taking off from the water. It was just perfect. Vincent Ferguson held the view that Collins saw his Sligo roots as a child as the source of his magic in his art and he feared that in returning to that spot where he played as a child the mystery of the place might be diffused. That spot was Collins' Shangri La. According to Vincent, Patrick Collins only returned to that river bank a few years before he died. I joined the ashes scattering gathering back at the Ferguson home for drinks and eats. My lasting memory of that afternoon was the sight of Basil Blackshaw, TP Flanagan, Sean McSweeney and Barrie Cooke all gravitating towards their own works on the Ferguson walls, ignoring their fellow artists' images. Blackshaw, Flanagan, Cooke, writers Anthony Cronin, Dermot Healey and Vincent who were all present that day in Rosses Point are now all ar shlí na fírinne - ar dheis Dé go raibh an-anamacha. Tá an t-ádh orainn go maireann 'Heavy Water on the Bog'. Eamonn Mallie
Lot 28
Louis Le Brocquy HRHA (1916-2012)Study towards an Image of W.B. YeatsWatercolour, 22 x 17.5cm (8¾ x 7'')Signed with initials and dated (19)'75Exhibited: The Dawson Gallery (Label verso); 'Louis le Brocquy’, Arts Council of Northern Ireland, Belfast, January - February 1976, where purchased by the current owners; ‘Louis le Brocquy: A Recherche de Yeats’, Musée d’Art Moderne de la Ville de Paris, October - November 1976, Etude 73; ‘Louis le Brocquy: Edinburgh Festival Exhibition’, 1977, Richard Demarco Gallery.Yeats, the most varied mind of the Irish race, the last - and perhaps the only - Romantic poet in English to manage a full career. Le Brocquy, the most dedicated Irish painter since Yeats’ brother died, with an intuitive sympathy for literature and mythology, an increasingly rare reverence before the human. Their meeting has an aspect of inevitability. In the last decade le Brocquy has reinvented for himself the idea of portraiture, moving through family and friends to contemplate master spirits of his country, like Joyce and Beckett. As he says ''simply because by their works I know them, and am drawn to peer through their familiar, ambiguous faces which mask and at the same time embody - the great worlds of their vision''. And now Yeats, whom le Brocquy knew as a boy. Fascinatingly, the ideals and techniques of the two artists have much in common. One of the foolishnesses of modern psychology is to believe that we have only a few, usually warring, selves. But a Prospero, like Yeats, may live many lives, inhabit many faces, while achieving a unity in variety. At an early stage, he began to play with his doctrine of the Mask, the anti-self, as a discipline for spiritual or physical plenitude. ''I call to my own opposite'', he says, ''all / That I have least looked upon''. Let us examine his selves, as they pass before us, in slow procession. There is the dreamy young man who pressed himself to the earth of Sligo and Howth, like a lover. He wanted to go and live on an island, or in a cave, like Shelley's Alastor, a young man burdened with dreams. But dreams can be harnessed and that young romantic, a cowslick of hair carefully plastered over his brow, is a more wily customer that he seems. George Moore might wickedly compare his cawing voice to a crow's, his solemn poet's robes to an umbrella left behind at a picnic, but he also testified to his intellectual strength. It took a masterful man to found and manage the Abbey Theatre, to propagandise for an Irish Literary Renaissance. So the tuneless crow becomes a sacerdotal heron, a high priest of the arts. And the gaunt celibate becomes a great lover, who kneels before Maud Gonne, the English army captain's daughter who was his personification of Ireland, as Petrarch did before Laura, Homer before Helen. Love has as many allotropes as carbon - from soot to diamond - and Yeats weathered all the stages, crying out in frustration for the bosom of his ''faery bride'', swearing friendship with Olivia Shakespeare, collaborating with Lady Gregory, achieving a profoundly psychic exchange in his marriage with his medium wife. For Yeats was a trained mystic, a member of the Order of the Golden Dawn, who did not play with, but actually practised magic. Technically, le Brocquy's method is akin to that of certain noble poems of Yeats where he names and numbers his friends, living and dead, or sets different aspects of himself to dialogue, even to dance. So the painter invokes faces of the poet, public and private, to challenge and exchange. Compare earlier and later visages. The short-sighted sighing inventor of the Celtic Twighlight is now a ''smiling public man'' (No. 5). The right eye sharp, the left hooded, he exudes a satisfied power, like a replete bird of prey, ''the lidless eye that loves the sun''. The cowslick becomes a crest, a ruffled plumage, and the wide black riband, falling from the tortoise-shell- rimmed glasses, is set like a bar across his face. Significantly le Brocquy moves towards whiteness, the full majesty of paint, as the poet moves towards wholeness, definition. But with friends, Yeats could still display the full battery of his moods, changing from rage to affection, from solemnity to boyishness, in a single instant, like sun chasing shadow across a West of Ireland field. For behind the silver-haired Senator, the majestic black hatted Nobel Prize winner, with his carefully rehearsed gestures, is still the young poet, the spiritual fanatic in search of truth. Crow, heron, eagle, scarecrow, le Brocquy dwells with wonder on the changing roles of Yeats; but my supreme favourite among these psychic portraits, these attempts to show how the spirit speaks and shines through the casket of the brain, the exposed or retreated eye, the chosen regalia, is one which combines the earlier and later selves (No. 3). The eyes are lifted triumphantly above the glasses, the lips are widening to smile, the hair is in disarray; this man has lived a strenuous life of achievement, has glimpsed truth and is not afraid of death: his ''ancient glittering eyes are gay''. We acknowledge our thanks to the late John Montague who had granted us permission to reproduce his preface to catalogue ‘Louis le Brocquy. A Ia Recherche de Yeats’ which had included this piece.
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