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Lot 505
Burns (Thea & Saunier, Philippe). L'art du pastel, 2014, numerous colour illustrations, original cloth in dust jacket and slipcase, large 4to, together with Macquoid (Percy), A History of English Furniture, Bracken Books, 1988, numerous colour and black and white illustrations, original cloth in dust jacket, covers slightly rubbed to head and foot, folio, plus Sanger (Martha Frick Symington), The Henry Clay Frick Houses..., USA, 2001, numerous monochrome illustrations, original cloth in dust jacket, large 4to, plus other modern art reference and related, mostly original cloth in dust jackets, G/VG, 8vo/folio (5 shelves)
Lot 294
MODERN BOOKBINDINGS, 2 VOLUMESCURSITER, S. SCOTTISH ART. 1949 4to, modern red morocco, blindstamped and with orange, maroon and dark blue onlays, typescript Judges comment for [unnamed] Scottish Crafts competition loosely inserted, slipcase; Young, F.B. Portrait of a Village. 1937. Large 8vo, blue morocco gilt, blindstamped and with circular green, red and brown morocco onlays, two corners slightly bumped (2)Provenance: From the collection of Larry Hutchison
Lot 3
ART AND ARCHITECTUREA QUANTITY, INCLUDING WARTON, T. & OTHERS. Essays on Gothic Architecture. 1802. 8vo, 12 plates, modern half cloth, spotted; Munn, C.A. Three Types of Washington Portraits. New York: Privately Printed, 1908. 8vo, presentation copy, limited to 225 copies, original cloth, uncut; Wright, T. The Romance of the Lace Pillow. 1919, 8vo, original cloth; Clark, H. Bokhara Turkoman and Afghan Rugs. 1922. 4to, original cloth, faded; Sherman, F.F. John Ramage... Portrait Miniatures. New York, 1929. 4to, quarter cloth; Le Corbusier und Pierre Jeanneret ihr gesamtes Werk von 1910-1929. Zurich: Verlag Dr. H. Girsberger & Cie., 1930. Oblong 4to, original wrappers, soiled and rubbed; Gombrich, E.H. The Story of Art. 1960, blue morocco with brown and green geometric onlays (with a pencil note stating bound by Dugald C.H. Lang, Glasgow, c.1966), cloth box; Schurmann, U. Caucasian Rugs. 1968, dustwrapper; Remnant, G.L. A Catalogue of Misericords in Great Britain. 1969, dustwrapper; Godfrey, E.S. The Development of English Glassmaking 1560-1640. 1975, dustwrapper; Whistler, L. The Image on the Glass. 1975, 4to, dustwrapper; Cecil, Lord David A Victorian Album, Julia Margaret Cameron and Her Circle. New York: Da Capo Press, 1975. Folio, original green cloth gilt, dust-jacket; and a collection of othersProvenance: From the collection of Larry Hutchison
Lot 219
* ALISON WILDING RA (BRITISH b 1948), STARLINGS I; and STARLINGS II (A PAIR) a pair of photographic contones both signed and numbered 50/50 in pencil Each 17cm x 25.5cm Both mounted, framed andunder glass Note: Alison Wilding is known for her abstract sculptures, which embrace a wide range of materials and processes, on all scales from the handheld to the almost-monumental. Wilding studied at Nottingham College of Art from 1967 to 1968, Ravensbourne College of Art and Design, Bromley, Kent from 1968 to 1971 and subsequently at the Royal College of Art from 1971 to 1973. She came to prominence in the 1980s as one of a group of sculptors including Richard Deacon and Antony Gormley. Wilding’s first major solo exhibition was at the Serpentine Gallery in 1985, and Projects , her first international solo show, was held at the Museum of Modern Art, New York in 1987. A retrospective exhibition entitled Alison Wilding: Immersion – Sculpture from Ten Years was held at the Tate Gallery, Liverpool in 1991. Since then she has shown extensively throughout the UK and abroad and has been acquired into major public collections in the UK. She was elected Royal Academician in November 1999.
Lot 809
Skellet, Paul and Weitzman, Simon - "Golf: The Bible of Golf" 1st ed 2014 publ'd Wonderland Publications- divided into 2x Chapters Front Nine and Back Nine c/w silk ribbons, gilt edges pages - fully illustrated - in full black leather and embossed gilt boards and spine - overall 13.25" x 11.25" appears unread- unique book combining tradition and modern form of art - appears unread
Lot 18
Patrick DesJarlait Sr. (1921 - 1972). Modernist color pencil and graphite drawing of a Native American family in profile. Signed along the lower right.Provenance: Private collection, Minnesota.Biography: Patrick DesJarlait was a successful Ojibwe artist devoted to painting scenes of his traditional culture. He grew up on the Red Lake Reservation in Minnesota, and later made his home in the Twin Cities. Throughout his career he painted iconic scenes of Ojibwe life, such as wild rice harvesting, walleye fishing, and dancers in traditional costumes. DesJarlait explained: “I felt compelled to tell the story of my people through my paintings.”DesJarlait grew up in a cozy log cabin in the woods near Red Lake, with his parents and 6 brothers and sisters. Like other Ojibwe families of the 1920s, they didn’t have a lot of money, and lived off the land as much as they could. The climate could be harsh up in northern Minnesota, but each season brought new opportunities. In the spring, many families made a temporary camp and harvested maple syrup. Desjarlait liked to sketch everyone at work, giving him the nickname “little boy with the pencil.” In the fall they harvested wild rice, and throughout the year they fished and hunted. Every summer the Red Lake Ojibwe celebrated with their annual pow-wow, and DesJarlait always looked forward to watching the elders dance in their traditional beaded costumes.In his early years, DesJarlait developed a strong connection to his land and his people, and expressed this through his many drawings. During elementary and middle school, he was sent to various boarding schools for Native American children, as part of the government’s program to indoctrinate them into mainstream culture. Ojibwe language, games and crafts were prohibited for the children. Desjarlait continued to create drawings during his study time when allowed, although his subject matter was somewhat restricted.In High School DesJarlait returned home to Red Lake and attended public school. There were no art classes available, but the drama teacher encouraged him to create elaborate set designs for each of their productions. She also helped him obtain a scholarship to study art at Arizona State College in Phoenix. He never imagined a life beyond the reservation, and this opportunity changed his life. At Arizona State he took Art Appreciation classes, along with drawing, painting, and ceramics. He was impressed with the styles of Native American painters of the Southwest, along with other modern artists like Picasso and Rivera.While he was in Arizona, the U.S. entered World War II. DesJarlait was recruited by the Army to work in a nearby Japanese-American Internment Camp. At the camp he organized art classes for the detainees, some of whom were accomplished artists themselves. Next he moved to San Diego, where he worked for the Navy making instructional videos on topics like assembling torpedos. Some of these films were animated, so he began to learn more commercial artistic practices as well. While in San Diego, an art gallery held the first solo exhibition of his paintings.After the war, Patrick DesJarlait moved back to the Red Lake reservation and married Ramona Needham. Encouraged by his experiences in the Southwest, he spent the next year trying to create his own unique artistic style. He preferred working with watercolor, but added minimal water to his pigments to achieve a bright color palette. Painting was a slow and painstaking process for him, each brushstroke was small and intentional. The brushstrokes were not blended together, but each remained clearly visible in the final piece. “These individual little strokes were to me like the tiny particles that make up our world and everything in it.” His subject matter focused on the traditional way of life of his people. Red Lake Fishermen and Maple Sugar Time, both dated to 1946, were the first paintings in his new signature style.After his year at home on the reservation, DesJarlait and his wife moved to the Twin Cities, where they would raise their 5 children. He found a job in advertising, making print ads and commercials. Several well-known logos were his creations, such as the Land O’Lakes logo with the Native American woman and the Hamm’s Beer bear. He continued to work on his own paintings in the evenings, and eventually was successful enough to make a living with his art. When he passed away in 1972, he was buried with one of his favorite paint brushes to take with him to the spirit world. Today his work is popular with corporate and private collectors around the country and held in many prestigious museums. His paintings are treasured both for their visual beauty and their cultural record of the Ojibwe people.Dimensions: Sight; diameter: 7 3/4 in. Matted; height: 12 in x width: 12 in.Condition: Good condition; for a detailed condition report, please contact us.
Lot 24
Le Pho (1907-2001). Oil on canvas depicting flowers. Signed along the lower left.Provenance: Wally Findlay Galleries, Chicago. Private collection, Minnesota.Biography: Le Pho was born in Vietnam in 1907. As a child, he was constantly finding opportunities to make art. As the son of the Viceroy of Tonkin, he had the opportunity to study art at the newly established Ecole des Beaux-Arts in Hanoi under Victor Tardieu (1870-1937), a well-respected French painter. In 1931, he traveled to France with Tardieu, where he studied at the Ecole des Beaux-Arts in Paris on a scholarship. He then traveled to Italy to do research, also visiting the Netherlands and Belgium in his tour of Europe.After returning to Vietnam, Le Pho became a professor at the Ecole des Beaux-Arts in Hanoi. During his professorship, he decided to continue his education by making trips to China to study and make art. While in China, he studied traditional Chinese sculpture, visited museums, and even had the opportunity to paint the Emperor and Empress.In 1937, he was sent to Paris to work on the Indochina Pavilion at the International Exposition of Art and Technology in Modern Life. He stayed in France after the Exposition, where he found great success as an artist. His first solo exhibition was in 1938, and soon after, his work began getting international exposure. His works were widely distributed, particularly in the United States because of an exclusive contract he signed in 1964 with Wally Findlay Galleries, an American company.Despite his expatriate status, Le Pho kept close ties to his homeland. He was active in the Vietnamese community in Paris, and worked with Vietnamese dignitaries and intellectuals to advocate for better treatment of the colonized Vietnamese people. His ties to his homeland are also evident in his subject matter. His paintings featured women and flowers, which he depicted in ways influenced by Vietnamese traditions and aesthetics.Dimensions: Sight: height: 6 in x width: 9 1/2 in. Framed; height: 12 1/2 in x width: 15 in.Condition: Good condition; for a detailed condition report, please contact us.
Lot 10
Patrick Hennessy RHA (1915-1980)Herding the HorsesOil on canvas, 62.5 x 88cm (24½ x 34½'')SignedProvenance: David Hendriks Gallery, October 1975, where purchased by Brian Friel.Cork artist Patrick Hennessy’s painting skills were recognised early in his career, winning a scholarship to study at Dundee College in Scotland in the mid 1930s, and a further one which enabled him to travel to Paris and Rome. During his time at Dundee he met his future partner, artist Henry Robertson Craig and both were taught by James McIntosh Patrick RSA.Hennessy travelled widely throughout Europe and to Morocco, but returned to Ireland in 1939, dividing his time between Cork and Dublin, where he joined the Society of Dublin Painters and exhibited regularly at the Hendriks Gallery. From 1941 he exhibited regularly at the RHA and he was elected a member of the Academy in 1949. His style has been associated with Surrealism while his subjects range from still life and interiors to landscapes and portraits.His works can be found in major public collections such as the National Gallery of Ireland, Irish Museum of Modern Art, Hugh Lane Gallery, Ulster Museum and Crawford Gallery.
Lot 13
Tony O’Malley HRHA (1913-2003)Abstract CompositionOil on board, 92.5 x 17cm (36½ x 6¾'')Signed with initialsProvenance: The collection of Brian and Anne FrielKilkenny born painter Tony O’Malley began painting full time in 1958 having worked as a bank clerk, while painting in his spare time. He is best known for his paintings done in Cornwall, where he lived for thirty years after visiting St Ives in 1955. He returned to settle there in 1960. While he was strongly influenced by the St Ives artistic community, his relationship was one of engagement rather than direct participation, although he did meet and work with Peter Lanyon and Patrick Heron. In the 1970’s O’Malley married his wife Jane, an artist and they spent their winters in the Bahamas. Influenced by the light and surroundings of the Carribean, much of his work from this time became more colourful and vibrant, moving away from the more sombre tones of his work in the 1950’s and 60’s. His work has been exhibited at the Royal Hibernian Academy, Taylor Galleries,Dublin, the Coram Gallery in London and he represented Ireland at ROSC ‘80. An honorary member of the RHA (elected 1990), he was elected Saoi of Aosdana in 1993 and the following year received an Honorary Doctorate from Trinity College Dublin. When he died in 2003 he was rightly regarded as one of Ireland’s leading painters.The Irish Museum of Modern Art held a major retrospective of his work in 2005.
Lot 18
Patrick Scott HRHA (1921-2014)Silver Painting (10/90)Tempera and silver leaf on canvas, 122 x 122cm (48 x 48'')Signed and inscribed versoProvenance: The collection of Brian and Anne FrielPatrick Scott began his trademark Silver and Gold paintings on unprimed canvas as long ago as the early 1970s. The great orbs in silver or gold emerged from similar painted forms that were assumed to refer to the sun and the moon. This was especially the case when planet earth seemed to be threatened by destruction through nuclear activity following the bombings at the end of World War II, and in Ireland, proposals to build a nuclear reactor in County Wexford. Scott though, despite a consistent interest in the environment, was even more psychically connected to the basic forms of circles, squares, cubes and combinations of these architectural and geometric elements.Self-taught as a painter, his professional training was in architecture and design and led straight to an appointment in the offices of Michael Scott and Robin Walker, where his design skills were immediately put to effective and varied use in projects such as Bus Aras, theatre designs for the Abbey Theatre, uniforms for Coras Iompar Eireann, and Christmas lighting for Grafton Street.Scott was an idealist. His art has been dedicated to the sublime and the elemental - the perfect geometric forms that he, like Plato, believed to lie beneath every aspect of our world. For Scott, that also meant the materials used to embody those forms. Looking to the Italians of the Early Renaissance on the one hand and Japanese Zen design on the other, he magicked landscapes out of elemental forms, using real gold, silver or palladium leaf which he attached to pure, unprimed canvases so firmly that he could take the garden hose to them without damaging their glittering surfaces.Silver painting 10/90 was made in 1990, the same year in which he painted Sun Window andMoon Window. All three share the same square format, the same dimensions and the simple combination of an orb hovering seductively above an architectural element. Everything is in its proper place. Nothing remains to be said.Scott won numerous awards during his long career, was elected Saoi of Aosdana and his work can be found in all Irish major collections as well as in the Museum of Modern Art, New York, The Joseph H. Hirshhorn Museum, Washington, the European Parliament, Strasbourg, the Mitsubishi Bank, Tokyo and many national and international private and corporate collections.Catherine Marshall,August 2018
Lot 19
Norah McGuinness HRHA (1901-1980)Evening FlightOil on canvas, 51 x 76cm (20 x 30'')SignedProvenance: The collection of Brian and Anne Friel; The Keys Gallery, Derry.Exhibited: ‘Norah McGuinness Exhibition’ The Keys Gallery, Derry, April/May 1979 Cat. No. 2 (Illustrated).Norah McGuinness was born in Derry and kept a close connection with the northwest throughout her life. Despite living in Dublin, London, Paris and New York at various stages in her career, her northern origins were always a major part of her identity. For several years, she had a studio at Rathmullan on the banks of Lough Swilly, where she painted many landscapes of north Donegal. In 1976, towards the end of her life, the Keys Gallery in Derry held an exhibition of her work. Brian and Anne Friel share her association with Donegal and Derry and it is natural that work by her features in their collection.In the foreground of Evening Flight, curlews, with their long beaks and mottled plumage, peck at the piles of seaweed, left behind by the outgoing tide. A large white gull swoops across the picture plane, adding a sense of movement and drama to the scene. (This device of the gliding bird is also seen in McGuinness’s painting, Seaweed Shapes, (1965, Crawford Art Gallery, Cork).) The distinctive chimneys of the Pigeon House and the outline of cranes and the industrial structures of Dublin port are discernible in the background and on the horizon in the painting.In her later years, in the 1960s and 1970s, McGuinness did several paintings of the coastline of Dublin in which she contrasted the vibrant sea-bird life with the more solemn urban aspects of the location. In these works she continued to refine her deployment of cubism, which she had learnt in the studio of André Lhote in Paris in the 1920s. Traces of it can be seen in this work in the schematised form of the seagull and in the geometricized treatment of the buildings. She was particularly fond of Sandymount strand from which both residential and industrial edifices were visible and which would seem to be the inspiration for this work. Subtle and unpredictable colour combinations of blues and pinks unite the diverse elements of the painting. McGuinness produces a refreshingly modern image of Dublin Bay, in which the forms are elegantly orchestrated to create a dynamic and harmonious painting. Much more than a topographical landscape, however, the work is a decorative and skilful arrangement of colour and form. Róisín Kennedy, August 2018
Lot 81
Aloysius O'Kelly (1853-1936)The Gate of Bab ZuwaylaOil on canvasSigned and inscribed 'Cairo'From childhood, Aloysius O’Kelly lived and breathed a mixture of art and political sedition in Ireland, Britain, France, and the United States, as well as outposts of empire such as Sudan and Egypt. In 1883, he and his brother James were drawn into the vortex of violence surrounding the Mahdi in Sudan, James as war correspondent for the Daily News and Aloysius as illustrator for the Pictorial World. O’Kelly’s illustrations of the jihad in Sudan were part of a plan to thwart Britain in Ireland. By distracting Britain overseas, they sought to destabilise the coloniser in Ireland. The conventions of Orientalism were problematic for O’Kelly, because he was bound by them aesthetically, but resistant politically. O’Kelly subverted the insidious representation of the East as exotic by rendering it ordinary. The Egyptian stereotype was of an unreasonable, superstitious, ignorant, indolent, sexually incontinent, deceitful and dirty people in need of civilising by their colonial masters (much like the Irish). Indeed, there are ethnographic continuities between O’Kelly’s North African and Irish paintings, as manifest in his Mass in a Connemara Cabin and The Harem Guard.This painting was executed in the mid 1880s. It shows the Bab Zuwayla gate in Cairo.1 The old city was divided into quarters, separated by gates, manned by porters. On the left, the ever-present donkey and donkey-boy, and on the right, the watercarrier, pass through. While O’Kelly, and his master, the Orientalist Jean-Léon Gérôme, shared an interest in ethnographic realism, O’Kelly was clearly concerned with modern Cairo - as it was rather than as its colonial masters thought it was, or should be - a benign view of a stigmatised setting.O’Kelly’s topographical competence is undeniable; the red and white coursed stone work, the deep shadows and bright sunlight attest to his skills as an enchanting urban portraitist. But Cairo in the 1880s was a tinder box, a source of great anxiety to the colonial authorities. The savage repression of the Egyptian nationalist movement had created massive social problems - the narrowness of the streets may have kept the inhabitants cool in the heat, but there were political consequences for a population packed together. This has the initial appearance of a highly finished painting, evident in the detailed treatment of the architecture, but on closer inspection the brushstrokes are looser, more vibrant and gestural than one associates with conventional Orientalist painting. Prof. Niamh O’Sullivan1. I am grateful to Prof. Bernard O’Kane at the American University in Cairo, for identifying the location
Lot 90
William Scott OBE RA (1913-1989)Nude (1956)Charcoal on paper, 48 x 64cm (19 x 25¼'')Signed and dated (19)'56Provenance: With On the Wall Gallery, Belfast, where purchased by current owner.Exhibited: Belfast, Ulster Museum; Dublin, Guinness Hopstore; Edinburgh, Scottish National Gallery of Modern Art; 'William Scott Retrospective 1986, Catalogue No.80, lent by the artist.William Scott was born in Greenock, Scotland, but moved to Enniskillen with his family at the age of 11. His formal art training began at the Belfast College of Art and later won a scholarship to study at the Royal Academy Schools in London where he took classes in both painting and sculpture. From the mid-1930s, Scott moved numerous times, living in Cornwall, Italy, the South of France and Pont Aven. When World War II broke out he returned to the UK and joined the army, working at the lithography and map-making section of the Royal Engineers in North Wales. His output stayed consistent after the war and after visiting New York where he met Martha Jackson, she held six solo shows for Scott and introduced him to painters Jackson Pollock, Mark Rothko and Franz Klein.The present work dates to 1956, a period when the artist was exploring the nude in various mediums including a series done with charcoal on paper. In ‘Nude’, Scott has reduced the form of the woman to a series of simple, thick black lines, compressing the form within the parameters of the page and consequently eliminating the head with the exception of the model’s chin. Norbert Lynton in his 2004 monograph William Scott quotes Scott: 'for me, the first act in making a drawing is looking at the space I am going to work upon; and my primary object will be to relate the image to the edge of that space'. Hilton Kramer, in his review of Scott's exhibition of the 1950s’ period drawings at the Martha Jackson Gallery in New York noted that the figure, for Scott, is in effect 'reinvented' to conform to the shape of the space it occupies on the sheet of paper. A certain eroticism is wedded to a tough-minded aestheticism'.The artist himself lent the present work to his 1986 Retrospective at the Ulster Museum. He also exhibited at the Irish Exhibition of Living Art, ROSC ’80 and represented Britain at the 1958 Venice Biennale. Retrospectives of his work have been held at the Whitechapel, Tate Britain, Irish Museum of Modern Art, Ulster Museum, Kunsthalle Berne and the F.E. McWilliam Gallery & Studio, Banbridge.
Lot 747
MORRISON, Stanley, Modern Fine Printing, Ernest Benn, London 1925, Ltd 75/1015. Fo. 47 x 34cm, stains and bumps with ALEMBIC PRESS, OXFORD 'Specimens of Wood Type' 1993, poster form on hinged binding, 50 x 35cm plus BRADSHAW, Percy 'The Art of the Illustrator', a boxed set of 20 folders, 42 x 29cm (3)
Lot 26
Micheal Macliammoir, 1889-1978 OIDHCHEANNA SIDHE – FAIRY NIGHTS Pen abd watercolour, 14 1/2" x 10" (70 x 25.5cm), signed and dated 1919 Exhibited: All for Hecuba, Hugh Lane, Municipal Gallery of Modern Art, Dublin 4th October-2nd November 1978 (Cat No. 4). An exhibition to mark the Golden Jubilee for the Edwards- MacLiammóir partnership of the Gate Theatre 1928-1978 (Catalogue Available with purchase) The Catalogue note reads: Title Page from Oidcheanna Sidhe, published by the Talbot Press in 1922, captioned “d’Feacg sí trid na crainnte” (“she peeped through the trees”). Provenance: Collection of Micheál Ó hAodha, Abbey Theatre Director and biographer of Micheál MacLiammóir, and by descent to the previous owner.
Lot 1044
Clare Winsten (1894 - 1989), oil on canvas - Lamplight, unframed, 41cm x 51cm.Illustrated: Modern English Art by Christopher Blake, 1937, pages 26-27. The Subject is Clare's husband Stephen in discussion with George Bernard Shaw. Stephen Winsten was Bernard Shaw's biographer. Sold together with a copy of the book
Lot 88
Victoria (1837-1901), gold Proof Five Pounds, 1839, young filleted head left, front fillet with six full scrolls cresting to right, rear hair fillet with eleven leaves, W WYON. RA. raised on truncation for engraver and designer William Wyon, legend and ornamental toothed border surrounding both sides, VICTORIA D: G: BRITANNIARUM REGINA F: D:, rev. The Queen as Una leading the British lion left, holding orb and sceptre, thick plain ground line, date in Roman numerals below, MDCCCXXXIX, W. WYON R.A. curving below, legend around upper half, DIRIGE DEUS GRESSUS MEOS. edge inscribed in raised letters of upright orientation to obverse, wire line raised border above and below, rose stops, DECUS ET TUTAMEN * ANNO REGNI TERTIO *, weight 39.26g (L&S 17 dies 2AW; W&R 278; S.3851). Toned with a light red colour, number of light handling marks and hairlines in the fields both sides, small dig on neck, two light hairline scratches in obverse field behind head, the raised design both sides, relatively problem free, tiny black spot on reverse field below second G of legend, otherwise in UK grading terms good extremely fine and rare; has been graded and encapsulated by NGC as PF62 Cameo. NGC certification 4697969-001. Provenance: Ex Spink Coin Auction 141, 22nd March 2000, lot 351. Illustrated on front cover. The Latin legend upon this coin translate as on the obverse “Victoria, by the grace of od, Queen of the Britons, Defender of the Faith,” and on the reverse as “May God direct my steps,” a Psalm from the Bible. The edge inscription translates as “An ornament and a safeguard, in the third year of the reign,” a reference to safeguarding the coin from the then defunct illegal practice of edge clipping gold coins. The gold “Una and the lion” Five Pounds of 1839 represents the pinnacle of the modern milled British gold coin series. Amongst the most classic of the coin designs in the entire British series, engraver William Wyon’s master work at the height of his career, was produced as the key coin for the anticipated proof set of all the young head denominations that are dated 1839. Royal Mint record shows that some 400 sets were issued, which were sold gradually over the following decade or more, though undoubtedly single coins like this were available too. The obverse design depicts the young Queen then only around 20 years of age with her hair bound and filleted, the leading front fillet ornamented with six full scrolls like cresting waves passing to the right; the rear fillet with ten pairs of leaves pointing upwards along a stem, with an extra one at the lower extreme and a partial extra pair at top. The Wyon name is displayed prominently raised on the truncation of the neck, with his credentials as a member of the Royal Academy of Art. The reverse depicts a classical scene of the Queen as Una leading the British lion which is based on one of the longest poems ever written “The Faerie Queene” by the Tudor poet Edmund Spenser (1553-99). The Queen as “Una” represents Truth, as truth is one, and is depicted in book one of the fable upon adventures with the Patron Saint of Great Britain, St George. They are driven by a storm into the “Wandering Wood” where they shelter in Hypocrisy’s cell together. Once the storm has passed, St George then leaves Una behind, who is then attended to by the lion and leads her onwards in her quest to ultimately reunite with St George.g This item is sold under the investment gold scheme. VAT may be reclaimed on investment gold lots by VAT registered traders.
Lot 1022
•JOHN (JACK) ROBERTSON NOTMAN RIBA (SCOTTISH 1927 - 2009) A COLLECTION OF COSTUME AND THEATRICAL SET DESIGNS (Including ephemera such as prints, photographs, etc) Gouache on board, majority signed, 38 x 25.5cm (15 x 10") (largest) (a lot) Note - Jack Notman was an outstanding architect and designer and his career spanned an extraordinary portfolio of work including buildings, renovations, theatre, opera and movie sets, television productions, and a list of houses that reflects his life-long friendships and associations with film and theatre stars and those working in the arts. He won the Glasgow Institute of Architects' Awards of 1980, 1984, and 1990, and the Civic Trust Awards of 1981 and 1990 for his works on the Henry Wood Hall, the Clydesdale Bank Headquarters, and Hutchesons' Hall. Notman was a guest lecturer at the Glasgow School of Art and the University of Strathclyde. He was a Trustee of the National Galleries of Scotland with particular involvement in realising the Scottish National Gallery of Modern Art in Edinburgh. Condition Report: Available upon request
Lot 615
Small French film posters to include; "The Manchurian Candidate" st Frank Sinatra, "Taxi Driver" st Robert de Niro, dr Martin Scorsese plus large Taxi Driver, Brigitte Bardot in "En Cas de Malheur,", Interpol Contre X, Nosferatu, Quiller Memorandum, (Mascii art), Outsiders, L Ennui, Les Mysteres D Angkor, Gestapo, plus "L Assassinant de Trotsky" st Alain Delon, Juge Coulbe, Les Gens de la Pluie, Vapeurs, Du Grabuge chez les Velves, Music Box, L Aveu, Le Goulle, Le Fils de Caroline Cheri, Fievre sur le ville, Gideon of Scotland Yard plus plus 7 modern posters. all folded, various conditions. [R]
Lot 649
13 Famous Monsters of Filmland magazines modern and vintage to include; Vol 4 No 6 (Feb 1963) Basil Gogos art by "Bride of Frankenstein", Vol 5 No 1 (April 1963) featuring Bela Lugosi as Dracula, Vol 5 no 2 (June 1963), Vol 5 no 3 (August 1963) Werewolf of London, No 27 (March 1964) Harryhausens creation "One Eyed Cyclops" from the 7th Voyage of Sinbad, Vol 5 no 4 (Oct 1963) King Kong, plus modern issues inc 210, 214, 219, 220, 221, 222, 225. Various conditions, some with UK cover stamps. (13) [ZF]
Lot 228
2 comic boxes of mainly Modern Marvel comics some variants titles inc. Avengers VS Atlas, Avengers Children's Crusade, Young Avengers, Avengers; Classic 1, 3, 5, Avengers (2013) 37, The Coming of the Avengers, Dark Avengers, Avengers; Earths Mightiest Heroes, House of M; Avengers, I Am an Avenger, Avengers Infinity Gauntlet, Avengers; The Initiative, annual 1, Avengers; Invaders 1 x 6, Marvel Adventures The Avengers, The Mighty Avengers; The Initiative nos 2 thru 22 w/ gaps & duplicates. Daredevil 266 thru 286 - art by John Romita Jr, Daredevil vol.2 52, 54, 69, 75, 77, 87, 92, 93, 94, 96, 97, contains duplicates, 98, 99, 101, etc vol 3, 21 (1st app Superior Spider-man), 26, annual 1, Daredevil; Battling Jack Murdock 1-3, Daredevil; End of Days 1-8, Daredevil; Father, Daredevil; Noir, Daredevil; Reborn, Daring Escapes, Daring Mystery Comics (70th ann) 1, Dark Horse Comics, Dark Horse Presents 25, 38, 46, 3, Dark Ivory, Dark Kingdom (Frazetta), Dark Matter 1, Dark Reign, Dark Tower (Stephen King) Gunslinger Born 1 - 7, long road home etc contains duplicates all NM. in 2 boxes. [II]
Lot 251
AN ART NOUVEAU STYLE BRASS STANDARD OIL LAMP, converted to electricity, the reservoir in an enclosed bowl frame, cylindrical column with three scrolling tendril style supports linked to similar legs with a leaf shaped foot, with a modern fabric shade, together with an early 20th Century brass based standard lamp, reeded column with three scrolled supports linked by swags, triangular base with trowel shaped feet, with fabric shade (2)
Lot 235
A Melba Gramophone on stand, by the Gramophone & Typewriter Ltd, with brass Morning Glory horn (early, Industria pattern), 12-inch yielding turntable on cupped spindle, triple-spring bevel-drive motor, G & T Exhibition soundbox and ebonised case with brass repoussé panels and corner columns and ivorine Angel plaque, on stand with gilt and green stained incised Art Nouveau motifs, frieze drawer with original drop handle, Angel plaque and internal divisions for record storage (lacking lion's mask corner mounts) -- the stand 39¾ in high, the horn 22½ in diam, circa 1904 Good overall condition; some (old) worm infestation in plinth at back of gramophone case. Four modern lions mask handles are present, only one attached. (Drawer handle is original). Nickel dull, brass panels and horn have been polished in the past, but not for many years.
Lot 248
Yeats, William Butler, signed autograph letter to Ellen Duncan and Lady Agusta Gregory's 'The Rider's Song'.From The Nassau Hotel, Dublin, undated, notifying Duncan of the postponement of dress rehersals for 'The Well of the Saints' and cancelling his participation in a 'discussion' but offering 'to get in a chat before the discussion'; together with a third-party transcript of Lady Augusta Gregory's poem, 'The Rider's Song' with autograph note by the poet, signed with initials and WB Yeats' signature, on a paper fragment, tipped on. (2) Other Notes: Ellen Duncan (1850-1937) was the first curator of the Municipal Gallery of Modern Art, she frequently worked with WB Yeats in various fundraising activities for the gallery.
Lot 330
Exhibition of Irish Art and Manufactures gold award medal, 1882.Obverse: A recumbant blacksmith being aided to his feet by a female figure, 'Self Reliance' and 'Labor Omnia Vincit' (Work Conquers All). To Martin Mahony and Brothers, Blarney, award sponsored by Cash and Co. 50mm, 65.6g, 15ct gold. Provenance: Collection of F.E. DixonOther Notes: 289 medals were awarded to participants in the Dublin Exhibition 1882. The bulk of these were bronze, however the recepient of a major award in a section was entitled to have it struck in gold at their own expense (£10). Additionally there were eight gold medals, one presented by the Exhibition Board, five by Sir John Arnott and two by Messers Cash and Co. Martin Mahony and Bros. Ltd received four medals in section XII, Class C (Textiles), two being those sponsored by Cash and Co.In 1750 Timothy Mahony established a small textile mill in Blarney, Co. Cork. His grandson Martin Mahony expanded the business and built a modern mill on the site in 1824. This mill was destroyed by fire in 1869. The building which was built to replace it had an additional two floors to accommodate the Mahony's expanding business. The business survived until 1973 when it closed due to competition from cheaper synthetic textiles. In 1975 the mill was bought by Christy Kelleher, a former employee, who established Blarney Wollen Mills. The company he established continues to trade from the mill built by Mahony in 1870.
Lot 2112
Hans Weisshaar & Margaret Shipman - Violin Restoration, A Manual for Violin Makers, first limited edition 1615/2000, also Kevin Coates - Geometry, Proportion and the Art of Lutherie, volumes 7 and 8 of The Modern Carpenter and Joiner and Cabinet Maker; also two other small books relating to violin repair (6)
Lot 3
Lull (Ramon). De secretis naturae sie quinta essentia libri duo. His accesserunt, Alberti Magni... De mineralibus & rebus metallicis libri quinq[ue], [edited by Walther Ryff], 1st edition, Strasbourg, Balthasar Beck, 1541, [4] + 183 + [4] leaves, with 8 woodcut illustrations to text of chemical apparatus (one of which is full-page), without blank leaf at end, title relined and with slight loss of blank fore-edge and foot of inner margin, early two-tone blind-decorated French full calf, with gilt coat-of-arms of an unidentifid French bishop to upper cover, 8vo Provenance: Alfred Scott Gatty (1847-1918), with gift inscription to him dated 1882 to front blank, when he was Rouge Dragon Pursuivant of Arms In Ordinary, and with his bookplate to front pastedown. B. E. J. Pagel (1930-2007), astrophysicist, with his handwritten label tipped-in to verso of front endpaper. Duveen 369. Wellcome 3897. Ferguson II, 54. Thorndike II, 862-873 & 517-592. Adams L1703. Rare first edition of Strasbourg physician Walther Herman Ryff's presentation of alchemical tracts. The attribution to Lull of De Secretis Naturae is disputed (generally now accepted as pseudo-Lull) but it was a standard work in early modern alchemy. With it is published Albertus Magnus' De Mineralibus & Rebus Metallicis, on metals and minerals with essays on stones, gold and silver, the assaying of metals, their colours, on nitre, salt, lead and other substances and their properties. The tract by Albertus Magnus belongs to the authentic writings of this author. Thorndike devotes much space to a thorough analysis of this remarkable work and points out the stress laid by Albertus on personal investigation and experiment.Lull's metaphysics worked a revolution in the history of philosophy. He invented an "art of finding truth" which centuries later stimulated Leibnitz' dream of a universal algebra, and the development of modern scientific method. (1)
Lot 2238
Pair Compton Potters Art Guild Celtic terracotta jardinieres with stands, designed by Mary Seton Watts, cast in low relief with scroll motif, impressed circular wheel stamp mark, Reg. No 409999 58cm. diam. Literature: Veronica Franklin Gould Archibald Knox and Mary Seton Watts, Modern Celtic Art Garden Pottery, page 29 for a contemporary photograph illustrating this design, circa 1899 (One with repair and significant loss to one side)
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