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Click here to subscribeA late 19thC ebonised wooden marble finish mantel clock, in the classical manner with rectangular top raised above 15cm dia. Arabic dial revealing an eight day movement flanked by lion mask handles and columns, on a stepped base, 26cm high, and a modern folk art lidded box in painted birch. (2)
Various art and other glassware, etc., to include a Kosta Swedish Bergh Kristall Art Deco decanter with shaped stopper and rounded shoulders, 28cm high, a Lalique style frosted glass shade marked Made In France, two modern Whitefriars style glasses part etched with barley and flower heads and various other drinking glasses. (a quantity)
CHARLES WILLIAM ADDERTON (1866-1944) THE PAPS OF JURA signed, signed again and inscribed with the title and artist's address Ockbrook near Derby on an exhibition label verso, watercolour, 35 x 49cm Exhibited: Nottingham, Museum & Art Gallery Local Artist's Exhibition. ++Sporadic spots of foxing, several larger than others but a colourful painting. In modern narrow gilt frame
A small collection of silver vesta cases to include a silver vesta case of typical form with central circular rose gold cartouche by Cornelius Saunders & Francis Sheperd, London 1897; a modern Art Nouveau style vesta case by Douglas Pell, London 1998; a vesta case marked Chester with inscribed central cartouche amidst a foliate design; and various Birmingham hallmarked vestas of varying ages & design, gross weight 9.1 tr.oz. (12)* Condition: Mostly good, some with small knocks & dents, one with stone inlay missing.
‡ Laurence Stephen Lowry RA (1887-1976) Figure study Signed and dated 1949 Oil on canvas 22.5 x 15cm Provenance: Alex Reid & Lefevre Gallery, London, 1953, where purchased by the present owner L.S. Lowry was already drawing at the age of 8. After leaving school at 16 Lowry worked full time for a firm of accountants until his retirement aged 65. Partly as a result of his full time employment he remained a solitary figure in the art world and developed a unique approach to painting, creating a style and intensity of observation that never waned throughout his career. After he moved to Pendlebury in Lancashire with his parents in 1909, Lowry initially stopped painting his surroundings, but in 1916 he was waiting for a train and became captivated with workers leaving the factories and mills in the area and it suddenly dawned on him that he was surrounded by inspiration for his work. This event set the mould for his painting for the next 30 years and his views of Manchester and the surrounding industrial areas have become icons of Modern British Art and are now appreciated on a global level. Lowry's use of just four colours and white, applied directly from the tube gives his work an abrupt feel which suited the subjects he chose, but the complexity of the application of the paint, often building up the layers methodically to create depth was a technique he formulated on his own. The present painting, from 1949, was painted at a time when Lowry was beginning to tire of industrial scenes populated with his trademark small figures. Many of the mills had been modernised and for the painter this reduced the appeal. However he moved on to observing the people of the area and was especially preoccupied with those that had clearly lived in the area for all their lives. He depicted young and old, and painted them exactly as they were, with no idealisation. Lowry remained a remote figure in the art world even in his last years despite the acclaim he received in his lifetime. He turned down a knighthood as well as other accolades, but perhaps his stoic refusal to be swayed by the outside world is what kept his work so genuine and distinctive.-
‡ William Roberts RA (1895-1980) The Rape of the Sabines Signed Pencil and watercolour, squared for transfer 50 x 34cm Provenance: Ernest Cooper Esq Sotheby's, London, 22nd November 1972, lot 90A Christie's London 5th March 1999 lot 62, purchased by the present owner Exhibited: Southampton Art Gallery Worthing Art Gallery Paintings and drawings by William Roberts, 1972 no. 55 The Arts council of Great Britain William Roberts catalogue no. 198 This study was originally in the collection of Ernest Cooper (who also owned the finished oil), a friend and loyal patron of Roberts and it sold in the same sale as the original in 1972. They were part of a series of large canvases painted around this time, many of which depicted Bible stories and classical Mythology interpreted in a modern style which shows influence from artists such as Sir Stanley Spencer RA The Rape of the Sabine women was a Roman mythological tale where Romulus, in an effort to populate his new city of Rome, set out to find wives for his men. Women were abducted from surrounding communities and the word 'rape' in this context technically relates more closely to the word 'abduction'.-
WILLI SOUKOP R.A. [1907-95]. The following 14 lots are from a private family collection of Soukops - they were close friends of Willi Soukop and acquired all directly from the artist between 1960 and 1995 Laban, 1979. bronze Signed under the base. 16 cm long overall. Soukop sculpted this to celebrate the 100th anniversary of the birth of Rudolf von Laban [1879-1958], who was a pioneer of modern dance [Soukop's wife was a dancer and so Willi took a close interest]. Willi Soukop was a Royal Academician and regularly exhibited at the RA Summer Exhibition - for many years he was the most interesting sculptor there. He was also a great teacher and taught Robert Clatworthy and Elisabeth Frink at Chelsea School of Art. A very underrated sculptor. [very good condition]. Buyers premium of 20% + VAT is payable.
δ Nigel Cooke (British b.1973) - Francis Bacon's Studio Oil on canvas 25.5 x 35.5cm (10 x 14in.) Painted in 2000. Provenance: Modern Art, London Acquired directly from the above by the present owner in 2007 Cooke is known for his realist paintings tinged with abstraction. His work often depicts scenes of urban decay symbolising the degeneration of the cultural landscape. Many, like the present work, make direct reference to art history and, in particular to his artistic influences such as Van Gogh, Philip Guston and Francis Bacon. Bacon was one of the Cooke's formative influences. The rawness of Bacon's paintings appealed to Cooke who described Bacon's work as " magical, this real presence of the uniqueness of the vision. I was spellbound by the idea of living with something that you make, that's like a character, but a thing in the world that's got its own life." (quoted in 'Interview Magazine', 21st September 2015). IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rosaleen Brigid Ganly HRHA (1909-2002) NUDE, 1951 oil on canvas laid on board signed in monogram and dated lower right; with inscribed artist's label on reverse; also with artist's retrospective exhibition label on reverse Collection of a Ms Elizabeth Guinness, 1986;Private collection 'Brigid Ganly Retrospective Exhibition', Hugh Lane Municipal Gallery of Modern Art, Dublin, 24 April to 11 May 1998;'Irish Women Artists 1870-1970 - Summer Loan Exhibition', 8-31 July, Adam's, Dublin & 7 August to 5 September, Ava Gallery, Clandeboye, Co. Down, catalogue no. 94 Eds. Christina Kennedy and Mamie Winters, 'Brigid Ganly Retrospective Exhibition', Hugh Lane Municipal Gallery of Modern Art, Dublin, 1998, p.21 (illustrated) The Gorry Gallery hosted a retrospective of the artist's work in 1987 and later there followed a retrospective in the Hugh Lane Municipal Gallery in 1998. Brigid Ganly (neé O'Brien) was the daughter of RHA past president Dermod O'Brien and sister-in-law to Kitty Wilmer O'Brien. Born in Limerick but raised in Fitzwilliam Square, Dublin, Ganly entered the Metropolitan School of Art in 1925 where she studied painting under Seán Keating and Patrick Tuohy and sculpture under Oliver Sheppard. Her first exhibit with the RHA was in 1928 and she was elected Associate of the RHA the same year. Although she was an accomplished sculptor (she won the California Gold Medal for the Taylor Scholarship in 1929) it was in painting where she focused her talents. In 1930 she won the Taylor Scholarship and three years later travelled to Italy taking a studio in Florence for six months. In 1935 Ganly had her first solo show with the Dublin Painters Gallery, was elected a full member of the RHA and completed her first commission for All Saints Church, Blackrock. The following year she married Andrew Ganly, B.D.S. The period between the mid 1940s and early 1950s Ganly exhibited with Kitty Wilmer in Dublin, travelled to America to execute portrait commissions and represented Ireland in an Exhibition of Contemporary Irish Painting. Later she travelled to Paris to study briefly under André Lhote. On return to Ireland a solo show took place at the Dawson Gallery (1965) and by the late 1960s her conflicting attitudes with RHA on the matter of the Modern school of painting and the 'Living Art' group of artists" led to her resignation from the Academy (1969). She was made an Honorary member of the RHA in 1972. Ganly continued to show work nationally during the 1970s and 1980s and a retrospective exhibition was held in the Gorry Gallery, Dublin in 1987 and later at the Hugh Lane Municipal Gallery in 1998. Her work can be found in the collection of the Hugh Lane, Crawford Gallery, Cork and the National Self Portrait Collection among others. 21 by 18in. (53.3 by 45.7cm)
Philip Kelly (1950-2010) BAR, SLIGO / MEXICO [CONNOLLY'S] 2005 oil on canvas signed, titled and dated on reverse "Colourful, exuberant painter with a passion for Mexico" is how Phil Kelly was described in his obituary in the Irish Times on 7 August 2010 while The Guardian noted, "an extraordinary and gifted painter… [whose work] captured the imagination of collectors and supporters worldwide, including the poet Seamus Heaney, for whose wife, Marie, he completed a set of book illustrations, and the chef Rick Stein, for whose Seafood Restaurant in Padstow, Cornwall, Phil created a mural."Although raised in Ireland and England, Kelly lived in Mexico City from 1989 and became a Mexican citizen in 1999. Three years previously an exhibition entitled Babel Descifrada, devoted to the work of Kelly, was held at the Museum of Modern Art in Mexico. Later in Ireland, in 1997, the Frederick Gallery hosted an exhibition of his work, followed by a show at Hillsboro Fine Art in Dublin. According to the Times, "…in the 1990s, Kelly played the role of Ireland's unofficial cultural attaché in Mexico. The then Mexican ambassador to Ireland, Daniel Dultzin, routinely suggested that Irish visitors call on him. A formidable number did and enjoyed the experience. They included President Mary McAleese during her first term, Seamus Heaney, Síle de Valera, Robert Ballagh, broadcaster Rodney Rice, painter Philippa Bayliss and many more." 19.75 by 23.75in. (50.2 by 60.3cm)
MATISSE HENRI: (1869-1954) French Artist and renowned Painter. A leading figure in modern Art. An excellent A.L.S., `H Matisse', with drawing, one page, 4to, n.p., n.d. [1949-50], [to his son?], in French. The letter bears at the heading a sketch in Matisse´s hand, depicting a child face with a crown on his head, and states in part `Happy father and mother of this beautiful child! Thank you for thinking in showing to us this masterpiece.. All goes well here, good health, the chapel goes well too..´ and further concluding `I give up wanting to understand people…´ Written and drawn in bold blue ink by Matisse, an attractive document with sketch. About EX £4000-6000The present letter is probably written to his son Pierre Matisse (1900-1989) and refers to one of Matisse´s grandchildren. The chapel Matisse refers to is the Chapelle du Rosaire at Vence, a village between Nice and Antibes in the south of France. He worked on the chapel project using the cut-out method from 1948 to 1951. Matisse was diagnosed with abdominal cancer in 1941 and surgery left him chair and bed bound. Painting and sculpture became almost impossible physical challenges which made him turn to creating cut paper collages and decoupages with the help of assistants. His closest collaborator was Monique Bourgeois, a student nurse who helped Matisse after his surgery, also his model, who became a nun in 1946, and the reason of this chapel work by Matisse. Bourgeois joined Matisse in Vence and helped him to achieve his chapel painting project.
DE CHIRICO GIORGIO: (1888-1978) Greek-Italian Surrealist Painter. Signed Museum of Modern Art postcard by De Chirico, showing to the front the Painter´s work The Great Metaphysician. Signed `Giorgio de Chirico´ to the front white left border, in bold black ink, with his name alone. EX £100-150
MOTHERWELL ROBERT : (1915-1991) American Painter. The youngest member of the New York School, phrase he coined. Signed Museum of Modern Art postcard by Motherwell, showing to the front the American Painter´s work Elegy to the Spanish Republic. Signed `R. Motherwell´ to the front white lower border, in bold blue ink, with his name alone. EX £80-100
A modern bronze and brass coffee table in the Art Nouveau taste, the top inset with five leaf shaped glazed panels amongst sinuous branches in brass, raised on a tree trunk pedestal with sinuous branches on an oval mahogany veneered platform to brass foliate decorated feet, 142.5 cm wide x 72 cm deep x 45 cm high CONDITION REPORTS Probably a relatively modern piece, late 20th Century ? Verdigris starting on brass and the body. Various scratches and and impact marks, pitted type marks throughout. The base is missing veneer in various places. Glass with various scratches and scuffs. All over various general signs of wear and tear throughout. Glass tear drops are slightly loose in the fittings - suggest viewing in person for further details. Some cracks to the base
Seán Keating PPRHA RSA RA (1889-1977) Homo Sapiens: An Allegory of Democracy (1929-30)Oil on canvas, 115 x 95cm (45¼ x 47¼'')Signed; inscribed with title 'Homo Sapiens' on label versoWaddington Gallery 1930: RA London 1932: Oldham Art Gallery 1932: Atkinson Art Gallery, Southport 1932: Usher Art Gallery, Lincoln 1932: Exhibition of Irish Art, Chicago World’s Fair 1933: RHA 1934: Waddington Gallery 1940, 1941: Contemporary Irish Art, National Library of Wales, Aberystwyth 1953: Seán Keating Retrospective Exhibition, Hugh Lane Gallery 1963: RHA 1966: Collection of the Artist: Private Collection.Unlike earlier depictions of Ireland’s heroic citizens, Seán Keating’s Homo Sapiens: An Allegory of Democracy presents universal man estranged from self-created modernity. The painting was Keating’s only submission to the Royal Academy Exhibition, London, in 1930, where it was described by one critic as a ‘cry of despair in paint, an acidly truthful satire on human progress’. Begun as the Wall Street Crash laid the vagaries of capitalism bare, the artist deliberately depicted his model as ill at ease, confused, and unstable, as if to represent the state of the world at the time. His personal notes on the painting reveal the true meaning:‘In all ages and cultures, dress, particularly the hat, has played an important part as a means of arousing emotion, enthusiasm, and fear. So that today an inherited instinct enables us subconsciously to classify men according to their hats … Homo Sapiens revolves around the repulsive gas mask, and the idiotic tin hat … The picture might be described as a criticism of the soundness of man’s claim to sapience, expressed in terms of hats, or it might be called a portrait of the hat-fearing animal’. (1)Moreover, and with sceptical reference to manufactured modernity, Keating further commented that the painting represented a ‘universal’ depiction of man as singularly unimproved in ‘mind or body’ by the nature and extent of his activities over time. By activities, the artist meant ‘deification of the law, jurisprudence and academia’, ‘imperialist aggression’, ‘brute force’, and ‘the hounding of the common man by dignitaries of all churches’, symbolised in the painting by the presence of attendant hats. Homo Sapiens: An Allegory of Democracy was reproduced as poster by Victor Waddington in 1930, and later that year, as if to underscore his opinion of the modern human condition, the artist had the image made into a Christmas card for family and friends. Painted before the Second World War, and exhibited by the artist in various shows until 1963, the allegorical meaning in the work has as much relevance in today’s contemporary world has it had in 1930.Dr Éimear O’ConnorOctober, 2017Author of Seán Keating: Art, Politics and Building the Irish Nation (Irish Academic Press: Kildare, 2013)1. Reproduced in Éimear O’Connor, Seán Keating: Art, Politics and Building the Irish Nation (Irish Academic Press: Kildare, 2013), pp. 144-45, and fn 60 and 61.
Mary Swanzy HRHA (1882-1978)The StormOil on canvas, 63 x 76cm (24¾ x 30'')SignedProvenance: From the estate of P.J. Mara; originally in the collection of Pat and Antoinette Murphy and sold by them at their inaugural exhibition at the Peppercanister Gallery in October 1999. The artist told Pat Murphy that the two figures in the maze represented the artist and her sister. Exhibited: 'Analysing Cubism Exhibition', IMMA Feb/May 2013, The Crawford Gallery,Cork June/Sept 2013, The FE McWilliam Gallery, Banbridge, Sept/Nov 2013; ’Opening Exhibition of Irish Art’ The Peppercnnister Gallery October/November 1999 Cat. No. 1 where purchased. (Illustrated front cover of the catalogue). Literature: 'Analysing Cubism', The Crawford Gallery, Full page illustration p.96.Julian Campbell has linked the large constructions in The Storm including to that of Semur-en-Auxois, a town in Burgundy. This is, according to Campbell, the equivalent to Pablo Picasso’s Horta de Ebro, the Spanish mountain top town that inspired several of his key cubist landscape paintings. Semur is a medieval city built on an outcrop of pink granite and famous for its ramparts and towers. It is dominated by an imposing fortress, whose features can be detected in The Storm. The centre of the painting is made of a series of vortexes made of geometric configurations of light. These swirling forms swirl over the battlemented city flattening and fragmenting its solidity into facets of radiance and colour. These create a sense of speed and movement akin to the experimental style of the Italian Futurists, whose work Swanzy would have seen in Florence where she lived briefly before the World War One. The centre of the city struck by stylized rods of lightning which can be seen darting across the surrounding hills. This dramatic vision of a storm is presented as seen from above as though from an airplane or some celestial vantage point. Fascination with force and speed and the aeronautical perspective became fashionable amongst avant-garde artists in the 1910s and 1920s through the influence of futurism and Orphic Cubism, the colourful style associated with the work of Robert Delaunay and Sonya Terk. Their work was shown at the Salon des Independants in Paris before the war at a time when Swanzy also participated in the exhibitions. Many of Swanzy’s cubist inspired works of the late 1920s and 1930s reveal her keen understanding of this aesthetic which sought to transmit the energy and sensation of living and seeing in the modern age in images of flight and of the city. In this work Swanzy replaces the ubiquitous symbol of the Eiffel Tower, preferred by Delaunay, with the medieval town. A Storm also takes a slightly different perspective to that of Orphic Cubism in its inclusion of tiny figures. Two can be seen in the bottom centre of the composition, struggling to keep their balance on the rampart walkway. These signal the future direction of Swanzy’s work which be the 1940s was moving away from Cubism towards more imaginary themes. As early as 1934, roughly around the time this work was painted, a review of an exhibition of her work in London, described Swanzy as a ‘Surrealist working in a Cubist convention’. In The Storm the Surrealist aspect is most notable in the large arrow that lies embedded in the centre of the cylindrical forms of the city. This play on proportion and scale adds a dimension of mystery to the painting suggesting the destruction of the citadel and the terror of its citizens. Dr Róisín Kennedy
Norah McGuinness HRHA (1901-1980)Above the BayOil on canvas, 51 x 89cm (20 x 30'')SignedProvenance: From the collection of the artist's sister, Rhoda and bequeathed to the current owner.Exhibited: 'Norah McGuinness', The Leicester Galleries, London, 1963, Catalogue No.25, where purchased by the artist's sister Rhoda; 'Norah McGuinness', The Frederick Gallery, April - May 1996, catalogue No.18, on loan from Rhoda McGuinness; 'Norah McGuinness Centenary Loan Exhibition', Dalkey Castle Heritage Centre, 2002, Catalogue No.19, under title 'From Bray Head'.Norah McGuinness painted the east coast of Ireland extensively. Living in Dun Laoghaire, she developed a passionate interest in the seashore, its birdlife and the patterns of the water, the sand and the mud flats of Dublin Bay. This work is a panoramic view of a coastal town in Co. Wicklow, possibly Greystones. A solitary figure in a white dress stands on the crest of the hill giving perspective and scale to the surrounding vista. Her isolation contrasts with that of the groups of figures on the strand behind her. Above the Bay, like many of McGuinness’s other works, is strongly influenced by her close but increasingly flexible understanding of cubism which she learned in Paris with the Cubist artist André Lhote in the 1920s. She had earlier studied design with Harry Clarke in the Metropolitan School of Art in Dublin and she worked extensively as an illustrator and window designer in London, New York and from 1939 in Dublin. She brings this experience to bear in her treatment of the landscape in this work. The vagaries of nature are transformed into a rich densely coloured and patterned surface. The land and distant mountains are presented like a tapestry of differing green and brown squares. The sky is blocked out into larger geometric shapes of greys and white. The sea is composed of broad brushstrokes of turquoise, blue, grey and white. In contrast the town appears like a series of childlike blocks that enable bright green, pink and yellow to be introduced into the painting. There is a distinctive and decidedly cosmopolitan quality to this rendition of the landscape. The skilful blocking of form and colour makes the view appears consciously modern and stylized. McGuinness’s assured understanding of form, as seen in this work, has enabled her to construct a vivid and graceful painting that succeeds independently of reality. Dr. Róisín Kennedy
Louis Le Brocquy HRHA (1916-2012)Pigeon Landing (1984)Oil on canvas, 50 x 50cm (19¾ x 19¾'')Signed with initials; signed and dated (19)'84 versoInscribed with title on stretcher (AR 515)Exhibited: 'Louis le Brocquy: Procession of Lilies and Other Work' exhibition, The Taylor Galleries, Dublin, March/April 1985, Catalogue No.29, where purchased; 'Louis le Brocquy, Image, Single and Multiple 1957-1990', Japan touring exhibition, The Museum of Modern Art Kamakura, January/February 1991, Itami City Museum of Art, Hyogo, February/March 1991, Hiroshima City Museum of Contemporary Art, April/May 1991, in association with the Irish Embassy.Literature: 'Louis le Brocquy, Image, Single and Multiple 1957-1990', illustrated p.74.Pablo Picasso's globular, iconic spirit was preoccupying Louis le Brocquy when in 1984 he took time out to paint this lyrical Fantail Pigeon - 'Pigeon Landing’. While Picasso was ''a being in whom the power and joy of life were uniquely personified'' for the artist. Here is sheer, effervescent pleasure in life and liveliness hovering at the moment of landing. Unguenty swathes of oil, applied as though breathlessly, must achieve the almost impossible task of picturing fluttering, feathery being. Slow, laborious matter - the heavy oil - meets rapid, gestural action. The art is in the moment. The very delightfulness of the image and the sight that inspired it draw attention away from the challenge at stake. How can oil paint make movement appear Viewers may wonder how such flickering, flirtatious fantails seem to scatter lines of movement in internally-mirrored arcs, using painted marks that echo the moving pictures of twentieth-century cinema as well as Duchamp's early experiments in capturing motion and velocity in two dimensions. ''Perhaps this is simply a temporary release from the heads and their rather intense reflective consciousness, their tragic aspect,'' le Brocquy thought aloud to an interviewer that year, ''a return to a simple state of being, emerging in its own nature, filling out its little volume of reality with the various natural possibilities of its form. Picasso's own painted doves had worked allegorically as a way of picturing peace and love, of imaging aspirations beyond everyday limitations. Not for nothing did the cliché speak of being 'free as a bird'. The birds signalled wonder.”Yet Le Brocquy's pigeons reached further back into the decaying Georgian streets of his Dublin childhood as well to the Parisian boulevards he would stroll later. An early dove painting appeared in 1955. Then in 1956, le Brocquy found himself feeding a flock of white doves who deigned to reside in the courtyard of Casa Pezzoli, his lodgings while staying in Foggia-Ischia. He sketched them and made images in oil. At Les Combes, Le Brocquy's French home, his house and studio hung on a vine-clad valley where fantail pigeons soared and dived by day, gliding back to their dovecotes each evening for an interlude of billing and cooing. Here began the specific series to which this painting belongs. Our thanks to Medb Ruane whose previous writings on the artist formed the basis of this catalogue entry.
William Scott OBE RA (1913-1989)Blue and White (1964)Oil on canvas, 44 x 44cm (17¼ x 17¼'')SignedProvenance: From the collection of the architect Michael Scott and his sale, Christies Dublin, May 1989, Lot No. 89. Exhibited: 'William Scott: Recent Paintings', The Hanover Gallery, London, September - October 1965, Catalogue No.6; 'William Scott', The Dawson Gallery, January - February 1967, Cat. No. 14, where purchased; ‘Modern Irish Painting’, Major European Touring Exhibition which started in Helsinki October 1969 and travelled to Goteborg, Norrkoping, Stockholm, Copenhagen, Bielefeld, Bonn, Saarbrücken, London, Leeds, Glasgow, Dublin, Donegal and Mayo. Literature: 'William Scott: Catalogue Raisonne of Oil Paintings', Catalogue No.570, illustrated.When the late Anne Crookshank, as a young curator of visual art at The Ulster Museum in Belfast in 1958, appealed to local pride and begged her fiscal overlords to agree to purchase a painting by William Scott - a local man, if not actually born in Ulster, at least raised and educated there, she played up the considerable fame he had just acquired as Britain’s highly acclaimed representative in the Venice Biennale of that year. However, despite his fame and the fact that one of his Venice paintings had immediately been purchased and donated to the Metropolitan Museum of Modern Art in New York, she still felt it necessary to ask her colleagues at the Arts Council in England to include it in a travelling exhibition they were organizing of his work, so that by the time her trustees had a chance to view their new acquisition, they would have adjusted to its modernity. Her strategy paid off. While the painting was touring, Scott was commissioned to paint the biggest mural painting in Ireland at Derry’s Altnagelvin Hospital, a great reassurance to her trustees. The purchase went on to raise the profile of contemporary art at the Ulster Museum to the level that under Anne Crookshank the collection there led the field in Ireland for buying good contemporary art.Blue and Whites was painted in 1964, just 6 years after the Ulster Museum’s purchase. In many respects, it can be seen as a continuation of the abstract formal language of the hospital mural but, perhaps more importantly, it connects Irish art directly to the greatest precursors of International Modernism. The irregular white rectangle that floats upon the square white ground pays a discreet homage to Malevich’s ground breaking ‘White on White’ in the early days of twentieth century modernism, while the luscious blue triangle thrusts itself outward towards the viewer, just as Franz Klein’s blue paintings had thrust themselves at Scott when he first encountered that artist’s work in New York a decade earlier. Anne Crookshank, who maintained her regard for him over the decades remarked that ‘He handles blue with the greatest skill and achieves superbly luminous passages.’ In this painting that is augmented by the textural impact of the paint itself, applied in thick downward strokes.The painting does exactly what Scott intended it to do; it presents a dialogue between the elements of painting itself, between the formal thrust of the blue triangle and the two levels of white ground from which it emerges, without recourse to any narrative or literary qualities. The drama of space, light, texture and colour are all manifested through the artist’s manipulation of them in a way that is coherent and self-contained, and utterly compelling. Scott was quoted as saying about his work that ‘what matters to me is the indefinable’. He achieves that in this painting through the elements of the medium itself, which in his use of them, offer more than the sum of their various parts. It is no surprise that the architect, Michael Scott, that guru of Modernism in Ireland was one of the owners of this work in its earlier life. Catherine MarshallOctober 2017
Jack Butler Yeats RHA (1871-1957)By Merrion Strand (1929)Oil on canvas, 35.5 x 53cm (14 x 21'')SignedProvenance: From the collection of Richard McGonigal SC who purchased it at The Contemporary Picture Galleries, 1940; Later in the collection of Aer Lingus, purchased circa 1965 and their sale, Dublin, November 2001, where purchased by current owners.Exhibited: ‘Jack B. Yeats’, The Alpine Club Gallery, London, February 1929, Cat. No. 15; ‘Jack B. Yeats’, Engineers Hall, Dublin, October 1929, Cat. No. 13; ‘Jack B. Yeats’, Contemporary Picture Galleries, Dublin, October - November 1940, Cat. No. 6; ‘Jack B. Yeats National Loan Exhibition’, NCAD Dublin June - July 1945, Cat. No. 70; ‘Jack B. Yeats’, Waddington Galleries, London, February - March 1965, Cat. No. 7; ‘Irish Art 1900 - 1950”, ROSC Chorcaí, The Crawford Gallery, Cork, December 1975 - January 1976, Cat. No. 155; ‘Jack B. Yeats’, Hugh Lane Municipal Gallery, Dublin, June - October 1988, Cat. No. 60 (Label verso); ‘Art Inc Exhibition of Art from Corporate Collections’, Cothú Guinness Hop Store, Dublin, April - May 1991, Cat. No. 6.By Merrion Strand is a wonderfully freshly coloured work painted in the late 1920s in the period in which Jack Yeats was moving into his later more expressionist style of painting. It depicts a young woman standing at a stall with a view of Dublin bay behind her. The purple of the Wicklow mountains, possibly the Sugar Loaf, can be deciphered beyond her left shoulder. On her right another woman sits on a wooden deck-chair with a large bouquet of flowers in her arms. The two figures are women who have come to sell flowers and fruit to the pleasure seekers and holiday makers who flocked to beach at this time. The outline of several of these day trippers can be deciphered on the sand and in the waters behind. Some stride across the blue of the sea, a reference to the nature of the current at Merrion strand which is notable for its expanses of shallow waters at low tide. The subject of working class women recurs in many of Yeats’s paintings of the 1920s revealing both a sentimental and sympathetic interest in them. Among the most notable are Paper Bags for Hats (1925, Private Collection) and Flower Girl, Dublin (1926, National Gallery of Ireland). Like By Merrion Strand these bring some of the most impoverished and overlooked citizens of Dublin into focus. The composition of the woman silhouetted against the sea and sky is also very similar to that of By Drumcliffe, Long Ago, (1923, Private Collection), a work that is based on a memory of County Sligo. The pale blues and touches of white and yellow in the work produce the effect of sunlight on a bright summer’s day. The white of the central figure’s arms and neck compared to the darker tones of her face subtly suggest the demarcation of her tan line. This intimates that this is one of the first hot days of the year. As in Yeats’s other late work the loose application of paint evokes movement of light, air and the figures most notably in the stall holder herself whose head is turned to look back towards the viewer’s space. The painting was included in an important one-man exhibition of Yeats’s work in 1940, the first solo exhibition of his work at the Contemporary Picture Galleries in Dublin. It was bought at this show by Richard MacGonigal, a notable collector of his work. The exhibition encouraged the development of Yeats’s reputation as one of Ireland’s foremost modern artists leading to his adoption by Victor Waddington during the war years, in whose gallery Yeats’s status continued to flourish. Dr. Róisín Kennedy
Ancient Egypt - Art, Architecture, Medicine, Mythology & Miscellaneous - Richards (Janet), Society and Death In Ancient Egypt, Cambridge University Press, Cambridge 2005, h/b, d/j, 4to; Assman (Jan), Death and Salvation in Ancient Egypt, Translated from the German by David Lorton, Abridged and updated, Cornell University Press, Ithaca & London 2005, h/b, d/j, 8vo; Lefebvre (Gustave), Romans et Contes Égyptiens de l'Époque Pharaonique, Traduction Avec, Notices et Commentaire, Librairie d'Amérique et d'Orient, Paris 1949; Pinch (Geraldine), Magic In Ancient Egypt, British Museum Press, London 1994; Robins (Gay), The Art of Ancient Egypt, British Museum Press, London 1997; other British Museum Press title; other academic presses; large White Star Publishing Egyptology photograph books, various titles, h/b, d/j, crown folios; Fletcher (Joann), Egypt's Sun King: Amenhotep III, Duncan Baird Publishers, London 2000, h/b, d/j, 4to; other biographies/studies of pharaohs, various; Tombs of Ramesses VI: Plates, Recorded by N Rambova, Photographed by L.F. Husson, modern reprint of the 1954 edition; facsimile papyri scrolls; qty
Sean Keating PPHRHA, 1889-1977 BLESSED BE WINEOil on canvas, 30" x 36" (76 x 91cm), signed, inscribed on the stretcher verso; with a painting verso of a female holding a fan; old exhibition label versoExhibited: The RHA, Dublin, 1933 (No. 58, £100); Exhibition of British Art, Stockholm, 1929; Helen Hackett Gallery, New York, 1930; Irish Art Rooms, New York, 1931-32; Royal Hibernian Academy, 1933; Waddington Gallery, Dublin 1941 - 44; Goodwin Gallery, Limerick, 1944; sold to private collection from the Goodwin Gallery, Limerick, 1945; Seán Keating Retrospective, Municipal Gallery of Modern Art, Dublin, 1963; private collection
15th century AD. A D-section gold hoop with raised elliptical bezel; the shoulders each with a reserved panel of fleshy curled acanthus leaves with cruciform finial; the bezel with beaded edge, reserved image of crowned Virgin Mary and nimbate Christ on her lap. Cf. Oman, C.C. Victoria and Albert Museum Catalogue of Rings, reprinted Ipswich, 1993, items 484, 485 for type; Scarisbrick, D. & Henig, M. Finger Rings from Ancient to Modern, Oxford, 2003, plate 12, item 4 for Virgin and Child iconography. Accompanied by an Art Loss Register certificate. 9.92 grams, 23mm overall, 18.49mm internal diameter (approximate size British Q, USA 8 1/4, Europe 18.0, Japan 17) (1"). From an important jewellery collection; part of the Smigielski collection; acquired in continental Europe in the 1990s. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. [A video of this lot is available on the TimeLine Auctions website] Very fine condition. A large wearable size.
2nd century AD. A finely-grained white marble bust of a youthful female, possibly a muse, eyes turned and looking upward, mouth slightly open; hair swept back from a centre parting and tied at the back in a bun with tresses of hair falling across the neck; mounted on a custom-made stand. 7.83 kg, 33cm including stand (13"). From an old British private collection; formed between 1975 and 1985. The treatment of the hair and the soft facial features display similarities to a statue of a Muse from Cremna in modern day Turkey, and now in the Getty Villa, Malibu. The upward gaze of this piece and the open mouth would also indicate that the head is that of a Muse, possibly Euterpe the goddess of music, song and lyric poetry. The hair is also in the Greek style that was popular during the reign of the Emperor Hadrian and his successors and which was copied by female members of the Imperial family. The statue would have formed part of a group along with the other eight Muses and with Apollo as the central figure and would have reflected the refined tastes of the owner as a patron of the arts and literature; such groupings of statues of the Muses and Apollo are known as a 'Mouseion', or shrine of the Muses. Similar arrangements have been found in the villa gardens of the Roman rich, and Cicero describes statues of the Muses that decorated the garden of his villa at Tuscullum, and he states that 'to live with the Muses is to live with education and refinement.' The Emperor Hadrian also had a arrangement of statues of the Muses at his villa near Tivoli and which reflected his taste for Greek art and culture. [A video of this lot is available on the TimeLine Auctions website] Fine condition.
1st millennium BC and later. A mixed group of glass and mineral beads of varying shape, including composite amulet in the 'mano fico' gesture, two rock crystal beads; a glass amulet case; glass melon beads and agate, ancient to modern. 101 grams, 52cm (20 1/2"). UK art market, acquired prior to 2000. [No Reserve] Fine condition.
A Brass and Copper Vulcan Mascot in the form of a Blacksmith, fitted to a polished and turned aluminium base with engine turned decoration, 15cm high; a copper advertising ashtray by Metal Art of Pretoria, 15cm diameter; two chrome and enamel AA badges; a pair of modern Mercedes Benz cufflinks, in fitted case; a cased travel cribbage set; and a brass horse and jockey mascot, fitted to a wooden display base, 19cm (2) Buyer's premium of 20% (+VAT) applies to this lot
Group of five art exhibition posters: 1. Original vintage advertising poster for Edvard Munch Lithograps Etching Woodcuts Exhibition held in Los Angeles County Museum of Art. Very good condition, few creases on margins. Country: USA. Year: 1969. Designer: Edvard Munch. Size: 75.5 x 52.5. 2. Original vintage adverising poster for Sanfilippo National Gallert of Modern Art Rome. Very good condition, small creases on margins. Country: Italy. Year: 1980. Designer: Sanfilippo. Size: 100 x 63.5. 3. Original vintage adverising poster for Giuseppe De Gregorio Palazzo della Permamente. Good condition, small tears and creases on margins, unnoticeable paper loss on bottom. Conutry: Italy. Year: 1980. Designer: Giuseppe De Gregorio. Size: 100 x 69. 4. Original vintage adverising poster for A. Chighine Palazzo Dei Diamanti. Good condition, small creases and tears on margins. Country: Italy. Year: 1978. Designer: A. Chinghile. Size: 100 x 70. 5. Original vintage adverising poster for Antoni Gaudi Palazzo Vecchio. Very good condition, few creases on margins. Country: Italy. Year: 1979. Designer: Unknown. Size: 99.5 x 67.5
Group of five art exhibition posters: 1. Original vintage advertising poster for Afro National Gallery of Modern Art Rome. Good condition, few creases on margins, small paper loss in the lower right corner. Country: Italy. Year: 1978. Designer: Afro Basaldella. Size: 98 x 65.5. 2. Original vintage adverising poster for Horniman Museum in Forest Hill, London. Illustration features Afo Mother and Children sculpture. Good condition, small tears and creases on margins. Country: UK. Year: 1966. Designer: Harold King. Size: 75.5 x 51. 3. Original advertising poster for Yoruba Religious Cults Exhibition held in the Museum of Mankind in London. The Yoruba religion, comprising the traditional religious concepts and practices of the Yoruba people, is found primarily in southwestern Nigeria and the adjoining parts of Benin, and Togo, commonly known as Yorubaland. Good condition, small creases on margins. Country: UK Year: 1974. Designer: Unknown. Size: 73.5 x 48.5 4. Original vintage advertising poster for Campigli Palazzo Dei Diamanti. Very good condition, creases on margins. Country: Italy. Year: 1979. Designer: Campigli. Size: 100 x 67. 5. Original vintage advertising poster for Louvre Renaissance Collection Musee de Brest. Very good condition, few creases on the image. Country: France. Year: 1974. Designer: Jean-Pierre Rosier. Size: 60 x 41.
Group of five art exhibition posters: 1. Original vintage advertising poster for Arts and Culture in Italy in Thirties Exhibition held in Palazzo Reale Milan. Good condition, creases on margins, tear on bottom. Country: Italy. Year: 1982. Designer: Unknown. Size: 96.5 x 68.5. 2. Original vintage advertising poster for Cubist Painters Exhibtion held in Petit Palais Geneve. Excellent condition. Country: Italy. Year: 1972. Designer: Unknown. Size: 69 x 49. 3. Original vintage advertising poster for Firenze Restaura Florence. Good condition, small tears on margins. Country: Italy. Year: 1972. Designer: Unknown. Size: 97.5 x 61.5. 4. Original vintage advertising poster for Agora 2 Strasbourg Museum of Modern Art. Good condition, creases and tears on margins. Country: France. Year: 1974. Designer: Unknown. Size: 58 x 61. 5. Original vintage advertising poster for Santomaso Opere 1939-1982 Museo Correr Venice. Good condition, creases on the image. Country: Italy. Year: 1982.Designer: Cerri. Size: 98 x 68.
Group of five art exhibition posters: 1. Original vintage advertising poster for 200 Years of American Painting Exhibition held in National Gallery of Modern Art Rome. Fair condition, small paper losses and tears on margins, few stains on bottom. Country: Italy. Year: 1976. Designer: Unknown. Size: 100 x 70. 2. Original vintage advertising poster for Mane-Katz Petit Palais Geneve. Good condition, small creases in the lower left corner. Country: Italy. Year: 1970s. Designer: Mane-Katz. Size: 68 x 48.5. 3. Original vintage advertising poster for The Disturbing Muse-Masters of Surrealism Civic Gallery of Modern and Contemporary Art Turin. Very good condition, pin holes in corners. Country: Italy. Year: 1968. Designer: Rene Magritte. Size: 88 x 64. 4. Original vintage advertising poster for American Hyperrealists and European Realists Rotonda Di Via Besana Milan. Good condition, creases on margins, paper defect on the right side. Country: Italy. Year: 1974. Designer: Tino Petrelli. Size: 68.5 x 99.5 5. Original vintage advertising poster for Willi Sitte Kunstverein Hamburg. Good condition, creases on margins. Country: Germany. Year: 1975. Designer: Willi Sitte. Size: 84 x 59.5.
Group of five art exhibition posters: 1. Original vintage adverising poster for European Expressionism exhibition held in the National Museum of Modern Art in Paris in 1970. Very good condition. Country: France. Year: 1970. Designer: Edvard Munch. Size: 60 x 40. 2. Original vintage advertising poster for Max Beckmann Exhibition held in Kunstverein Hamburg. Very good condition, small white stain in the upper part, few small tears on margins. Country: Germany. Year: 1979. Designer: Max Beckmann. Size: 84.5 x 59. 3. Original vintage adverising poster for Gustaaf De Smet Retrospective Exhibition held in the Royal Museum of Fine Arts, Antwerp in 1961. Gustaaf Franciscus De Smet was a Belgian painter. Together with Constant Permeke and Frits Van den Berghe, he was one of the founders of Flemish Expressionism. Good condition, creases and small tears on margins. Country: Belgium. Year: 1961. Designer: Gustave De Smet. Size: 71.5 x 54. 4. Original vintage adverising poster for Maria Helena Vieira da Silva exhibition held in the National Museum of Modern Art in Paris in 1977. Maria Helena Vieira da Silva was a Portuguese-French abstractionist painter. Excellent condition. Country: France. Year: 1977. Designer: Maria Helena Vieira da Silva. Size: 67 x 46.5. 5. Original vintage advertising poster for Hans Hartung Exhibition held in the National Museum of Modern Art in Paris. Hans Hartung was a German-French painter, known for his gestural abstract style. He was also a decorated World War II veteran of the French Foreign Legion. Very good condition, small creases on margins. Country: France. Year: Undated. Designer: Hans Hartung. Size: 60 x 41.5.
Group of five art exhibition posters: 1. Original vintage advertising poster for 200 Years of American Painting Exhibition held in National Gallery of Modern Art Rome. Good condition, small paper losses and tears on margins. Country: Italy. Year: 1976. Designer: Unknown. Size: 100 x 70. 2. Original vintage advertising poster for Pop Art Evolution of Generation Exhibtion held in Palazzo Grassi Venice. Good condition, small tears and creases on margins, tears in the lower right corner. Country: Italy. Year: 1980. Design: Cerri. Size: 98.5 x 68.5. 3. Original vintage advertising poster for David e Roma Villa Medici Rome. Very good condition, crease in the upper left corner. Country: Italy. Year: 1981. Designer: Unknown. Size: 67 x 92.5. 4. Original vintage advertising poster for Greco Castel Sant'Angelo Rome. Very good condition, small crease in the lower left corner. Country: Italy. Year: 1983. Designer: Giuseppe Montanucci. Size: 97.5 x 69. 5. Original vintage advertising poster for Mafai Palazzo Barberini Rome. Good condition, few creases and unnoticeable tears on margins. Country: Italy. Year: 1969. Designer: Mario Mafai. Size: 99 x 68.
Group of five art exhibition posters: 1. Original vintage advertising poster for Surrealism Exhibition held in Louisiana Museum of Modern Art Humlebaek. Very good condition, small crease in the upper right corner. Country: Denmark. Year: 1978. Designer: Dali and Magriette. Size: 100 x 62. 2. Original vintage advertising poster for Peter Nagel Exhibition held in Kunsthalle zu Kiel. Fair condition, tears and creases on margins, white spots on top. Country: Germany. Year: 1978. Designer: Peter Nagel. Size: 85 x 59. 3. Original vintage advertising poster for Venice and Byzantium Palazzo Ducale. Good condition, creases on margins. Country: Italy. Year: 1974. Designer: Unknown. Size: 98.5 x 68.. 4. Original vintage advertising poster for Painters And Sculptures A New Figuration Perouges. Held in Maison Des Princes De Perouges. Marc Giai-Miniet - Thierry Leproust - Olivier Brice - Gerard Le Cloarec - Gerard Larguier. Very good condition, creases on the left margin. Country: France. Year: 1978. Designer: Unknown. Size: 72.5 x 52. 5. Original vintage adverising poster for Gruppo Zebra Exhibition - Dieter Asmus, Christa e Karlheinz Biederbick, Harro Jacob, Peter Nagel, Dietmar Ullrich held in National Gallery of Modern Art Rome. Very good condition, few creases on left margin. Country: Italy. Year: 1979. Designer: Unknown. Size: 98.5 x 70.5.
Group of five art exhibition posters: 1.Original vintage advertising poster Le Corbusier. Printed by L. Chiovini. Good condition, creases in the upper right corner and on top. Charles-Édouard Jeanneret, known as Le Corbusier, was a Swiss-French architect, designer, painter, urban planner, writer, and one of the pioneers of what is now called modern architecture. Country: Italy. Year: Unknown. Designer: Unknown. Size: 99 x 68. 2. Original vintage advertising poster for Gene Davis Walker Art Center Minnesota. Good condition, few creases on margins, small stains in the lower left corner. Country: USA. Year: 1978. Designer: Gene Davis. Size: 60 x 76. 3. Original vintage advertising poster for Ceroli Forte di Belvedere Florence. Good condition, creases on margins, few unnoticeable stains on the image. Country: Italy. Year: 1983. Designer: Unknown. Size: 100 x 69.5. 4. Original vintage advertising poster for Folk Sculpture USA The Brooklyn Museum New York. Good condition, creases on margins, few scratches on the image. Country: USA. Year: 1976. Designer: Thomas B. Wedell. Size: 91.5 x 61.5. 5. Original vintage advertising poster for Bai Exhibition held in Palazzo Reale Milan. Good condition, tape marks on corners. Country: Italy. Year: 1974. Designer: Unknown. Size: 100 x 70.
Group of five art exhibition posters: 1. Original vintage advertising poster for Sto Una Storia Lunga Millione Exhibition held in Palazzo Delle Esposizioni. Good condition, small tears and creases on margins, creases on the image. Country: Italy. Year: 1979. Designer: Unknown. Size: 100.5 x 70. 2. Original vintage advertising poster for Searching For Identity Exhibition held in Palazzo Reale Milan. Issued by ENIT. Very good condition, few scratches on margins. Country: Italy. Year: 1974. Designer: Birelli. Size: 97 x 67.5. 3. Original vintage advertising poster for Gromaire National Museum of Modern Art Paris. Very good condition, small creases on the left margin. Country: France. Year: 1980. Designer: Gromaire. Size: 70.5 x 50. 4. Original vintage advertising poster for Mario Cavaglieri Exhibition held in Accademia dei Concordi Rovigo. Good condition, scratches and small tears on margins, big tear on top. Country: Italy. Year: 1978. Designer: Mario Cavaglieri. Size: 100.5 x 68. 5. Original vintage advertising poster for Ben Nicholson Exhibition held in Albright-Knox Art Gallery New York. Very good condition, rough edges. Country: USA. Year: 1978. Designer: Ben Nicholson. Size: 91 x 58. 5.
Group of five art exhibition posters: 1. Original vintage advertising poster for Piet Mondrian Centennial Exhibition held in the The Guggenheim Museum in 1971. Pieter Cornelis "Piet" Mondriaan, after 1906 Mondrian, was a Dutch painter and theoretician who is regarded as one of the greatest artists of the 20th century. Good condition, tape marks on the top corners, small tears and creases on margins. Country: Austria. Year: 1971. Designer: Size: 88.5 x 58.5. 2. Original vintage adverising poster for Lucio Fontana Exhibition held in the Royal Palace, Milan in 1978. Lucio Fontana was an Italian painter, sculptor and theorist of Argentine birth. He was mostly known as the founder of Spatialism and his ties to Arte Povera. Good condition, folded, small tears and creases on margins. Country: Italy. Year: 1978. Designer: Unknown. Size: 69 x 49.5. 3. Original vintage adverising poster for Marino Marini XX Century's Characters held in the Galleria d'Arte Moderna, Milan in 1973. Marino Marini was an Italian sculptor. Good condition, tear and few stains on the bottom, creases on margins. Country: Italy. Year: 1973. Designer: Unknown. Size: 70 x 50. 4. Original vintage adverising poster for Chryssa held in the National Museum of Modern Art in Paris in 1979. Chryssa Vardea-Mavromichali was a Greek American artist who worked in a wide variety of media. An American art pioneer in light art and luminist sculpture widely known for her neon, steel, aluminum and acrylic glass installations. Very good condition. Country: France. Year: 1979. Designer: Chryssa. Size: 70 x 50. 5. Original vintage adverising poster for 100 Years of Museum für Kunst und Gewerbe Hamburg. The Museum für Kunst und Gewerbe Hamburg is a museum of fine, applied and decorative arts in Hamburg, Germany. It is located centrally, near the Hauptbahnhof. Good condition, small tears and creases on margins. Country: Germany. Year: 1976. Designer: Unknown. Size: 84 x 59.5.
Group of five art exhibition posters: 1. Original vintage advertising poster for Apollinaire e l'Avanguardia Exhibition held in National Gallery of Modern Art Rome. Excellent condition. Country: Italy. Year: 1981. Designer: Picasso. Size: 97.5 x 57. 2. Original vintage advertising poster for Matisse Villa Medici Rome. Good condition, small tears and creases on margins, small paper loss on top. Country: Italy. Year: 1979. Designer: Matisse. Size: 99.5 x 68. 3. Original vintage advertising poster for Enea Nel Lazio Exhibition held in Capitoline Hill. Very good condition, small creases on margins. Countr: Italy. Year: 1981. Designer: Maurizio Di Puolo and Alessandro Palombi. Size: 99.5 x 68.5. 4. Original vintage advertising poster for Horniman Museum Forest Hill London Ethiopian Hunting Scene. Good condition, creases on margins. Country: UK. Year: 1966. Designer: Unknown. Size: 75.5 x 50.5. 5. Original vintage advertising poster for E. L. Kirchner Kunstverein Hamburg. Good condition, small creases on margins. Country: Germany. Year: 1969. Designer: E. L. Kirchner. Size: 84 x 59
Group of five art exhibition posters: 1. Original vintage advertising poster for Rauschenberg Exhibition National Museum of Modern Art Paris. Very good condition, small creases on margins, unnoticeable tear on the right margin. Country: France. Year: 1968. Designer: Rauschenberg. Size: 70 x 53.5. 2. Original vintage advertising poster for Painting In Focus Holbein Exhibition held in National Gallery. Very good condition, small creases on margins. Country: UK. Year: 1974. Designer: Holbein. Size: 76 x 51. 3. Original vintage adverising poster for Advertising Poster Beppe Devalle Exhibition held in Palazzo Chiablese Torino. Good condition, stains on the image. Country: Italy. Year: 1979. Designer: Beppe Devalle. Size: 99.5 x 70. 4. Original vintage adverising poster for Morandi Exhibition held in National Gallery of Modern Art Rome. Good condition, creases and tears on margins, small scratches on the image. Country: Italy. Year: 1973. Designer: Morandi. Size: 100 x 68.5. 5. Original vintage advertising poster for Horses of San Marco by Olivetti Exhibition held in Palazzo Reale Milan. Good condition, creases on margins, small tears on bottom. Country: Italy. Year: 1981. Designer: Unknown. Size: 99 x 68.5.
Group of five art exhibition posters: 1. Original vintage advertising poster for Il Futurisme 1909-1916 Exhibition held in the Nation Gallery of Modern Art Paris. Good condition, creases on the image, scratches on margins. Country: France. Year: 1973. Designer: Unknown. Size: 60 x 40. 2. Original vintage advertising poster for Apollinaire e l'Avanguardia National Gallery of Modern Art Rome. Very good condition, white spot in the lower left corner. Country: Italy. Year: 1980. Dseigner: Unknown. Size: 98 x 69.5. 3. Original vintage advertising poster for il Werkbund 1907 Palazzo della Permanente Milan. Good condition, small paper loss on the right margin, few stains on bottom. Country: Italy. Year: 1976. Designer: Unknown. Size: 100 x 69. 4. Original vintage advertising poster for Bernard Moninot Exhibition held in National Museum of Modern Art Paris. Excellent condition. Country: France. Year: 1980. Designer: Unknown. Size: 62 x 47. 5. Original vintage advertising poster for 4 Danish Artists Exhibition held in Palazzo Reale Milan. Good condition, creases and small tears on top, few unnoticeable stains on bottom. Country: Italy. Year: 1977. Designer: Unknown. Size: 100 x 70.5.
Group of five art exhibition posters: 1. Original vintage advertising poster for Francis Picabia Civic Gallery of Modern and Contemporary Art Turin. Good condition, creases and small tears on margins. Country: Italy. Year: 1974. Designer: Francis Picabia. Size: 89.5 x 65. 2. Original vintage adverising poster for Paul Klee held in Florence in 1981. Paul Klee was a Swiss-German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Very good condition, few creases on the image. Country: Italy. Year: 1981. Designer: Paul Klee. Size: 68 x 48.5. 3. Original vintage advertising poster for Ben Nicholson Exhibition held in Hirshhorn Museum Washington. Good condition, creases in coreners. Country: USA. Year: 1978. Designer: Ben Nicholson. Size: 91.5 x 58.5. 4. Original vintage adverising poster for Pietro Consagro's Graphic Works and Drawings Exhibitions held in Rome in 1977. Pietro Consagra was one of Italy's leading postwar sculptors. Good condition, few stains on the image, small tear on top, creases on margins. Country: Italy. Year: 1977. Designer: Pietro Consagro. Size: 70 x 50. 5. Original vintage advertising poster for Vespignani Between Two Wars Padiglione d'arte contemporanea Ferrara. Very good condition, small creases on margins. Country: Italy. Year: 1979. Designer: Vespignani. Size: 98 x 68.
Group of ten art exhibition posters: 1. Original vintage advertising poster for John Heartfield Exhibition held in Munich Stadtmuseum. Good condition, creases on margins, tears on bottom. Country: Germany. Year: 1978. Designer: John Heartfield. Size: 87 x 59.5. 2. Original vintage adverising poster B76 La Biennale Man Ray. Man Ray was an American visual artist who spent most of his career in France. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. Good condition, small tears on margins, few creases on the image. Country: Italy. Year: 1976. Designer: Unknown. Size: 49 x 68.5. 3. Original vintage adverising poster Eugene Atget Venezia 1979. Eugène Atget was a French flâneur and a pioneer of documentary photography, noted for his determination to document all of the architecture and street scenes of Paris before their disappearance to modernization. Very good condition. Small creases on margins. Country: Italy. Year: 1979. Designer: Eugene Atget. Size: 68 x 47.5. 4. Original vintage adverising poster for Mario Nunes Vais photography exhibition held in the Palazzo Venezia, Rome in 1978. Good condition, small creases on margins. Country: Italy. Year: 1978. Designer: Mario Nunes Vais. Size: 70 x 50 5. Original vintage advertising poster for G58 Hessenhuis Exhibition held in Koninklijk Museum Antwerp. Good condition, small scratches on margins creases on top. Country: Belgium. Year: 1973. Designer: Jan Gruyaert. Size: 42 x 61. 6. Original vintage advertising poster for Photo-Realism Exhibition held in Serpentine Gallery. Good condition, creases on margins, small tear on bottom, tape marks in the upper corners. Country: UK. Year: 1973. Designer: Unknown. Size: 76 x 51. 7. Original vintage advertising poster for Images of America In Crisis Pompidou Centre. Very good condition, few creases on margins. Country: France.Year: 1979. Designer: A. Rothstein. Size: 70 x 50. 8. Original vintage advertising poster for Heinrich Zille Kunstverein Hamburg. Very good condition, small crease in the lower right margin. Country: Germany. Year: 1975. Designer: Heinrich Zille. Size: 84 x 59.5. 9. Original vintage adverising poster for Roma 1911 National Gallery of Modern Art Rome. Good condition, Country: Italy. Year: 1980. Designer: Unknown. Size: 100 x 68. 10. Original vintage advertising poster for Venezia '79 La Fotografia Museo Correr Venice. Very good condition, small scratch on bottom. Country: Italy. Year: 1979. Designer: Unknown. Size: 98 x 68.
Group of five art exhibition posters: 1. Original vintage advertising poster for Francis Picabia Exhibition held in Civic Gallery of Modern and Contemporary Art Turin. Good condition, creases on margins and on the image. Country: Italy. Year: 1974. Designer: Francis Picabia. Size: 89.5 x 65. 2. Original vintage advertising poster for Naum Gabo Tate Gallery. Good condition, creases all over the poster, few stains on the right margin. Country: UK. Year: Unknown. Designer: Unknown. Size: 75.5 x 50.5. 3. Original vintage advertising poster for William Turnbull Tate Gallery. Good condition, few creases and small scratches on the image, small stain in the lower right corner. Country: UK. Year: 1973. Designer: Unknown. Size: 76 x 50.5. 4. Original vintage advertising poster for Hyperrealism in Belgium Exhibition held in Royal Museum of Fine Arts Antwerp. M. Maeyer, A. De Clerck, R. Wittevrongel. Country: Belgium. Year: 1970s. Designer: Unknown. Size: 56.5 x 37. 5. Original vintage advertising poster for Medardo Rosso Exhibition held in Palazzo della Permamente. Very good condition, small creases on margins. Country: Italy. Year: 1979. Designer: Unknown. Size: 99.5 x 69.5.
Group of five art exhibition posters: 1. Original vintage advertising poster for Salvador Dali's Museum. Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquis of Dalí de Púbol, known professionally as Salvador Dalí, was a prominent Spanish surrealist artist born in Figueres, Catalonia, Spain. Very good condition. Country: Spain. Year: 1975. Designer: Salvador Dali. Size: 47.5 x 34.5. 2. Original vintage adverising poster for Contemporary Norwegian Crafts Exhibition held in the The Cinquantenaire Museum, Brussels in 1974. Good condition, creases in the upper left corner, few creases on the image. Country: Belgium. Year: 1974. Designer: Unknown. Size: 58 x 34. 3. Original vintage advertising poster for Dali Exhibition held in the 22e Salon de Montrogue in 1977. Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquis of Dalí de Púbol, known professionally as Salvador Dalí, was a prominent Spanish surrealist artist born in Figueres, Catalonia, Spain. Very good condition, small creases on margins. Country: France. Year: 1977. Designer: Salvador Dali. Size: 47 x 36. 4. Original vintage advertising poster for Guacci Exhibition held in Fifth International Art Fair Basel. Good condition, few creases and small stain on top, signed by Guacci. Country: Switzerland. Year: 1974. Designer: Unknown. Size: 70 x 50. 5. Original vintage adverising poster for Gruppo Zebra Exhibition - Dieter Asmus, Christa e Karlheinz Biederbick, Harro Jacob, Peter Nagel, Dietmar Ullrich. Held in National Gallery of Modern Art Rome. Good condition, few creases on margins. Country: Italy. Year: 1979. Designer: Unknown. Size: 98.5 x 69.5.
Group of five art exhibition posters: 1. Original vintage advertising poster for Jean Dubuffet Coucou Bazar Turin. Palazzo della Promotrice Valentino Turin. Very good condition, small creases on margins. Country: Italy. Year: 1979. Designer: Jean Dubuffet. Size: 86.5 x 61.5. 2. Original vintage adverising poster for Paul Klee held in Florence in 1981. Paul Klee was a Swiss-German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Fair condition, paper loss and stain in the upper right corner, small tears on the right margin. Country: Italy. Year: 1981. Designer: Paul Klee. Size: 68 x 48.5. 3. Original vintage advertising poster for Tapies Exhibition held in National Museum of Modern Art Paris. Very good condition, crease in the upper left corner. Country: France. Year; 1973. Designer: Tapies. Size: 72.5 x 50. 4. Original vintage advertising poster for Honegger Exhibition held in National Museum of Modern Art Paris. Excellent condition. Country: France. Year: 1978. Designer: Unknown. Size: 60 x 40. 5. Original vintage advertising poster for Rudolf Lichtsteiner Kunsthaus Zurich. Excellent condition. Country: Switzerland. Year: 1980. Designer: Rudolf Lichtsteiner. Size: 64 x 45.
Group of five art exhibition posters: 1. Original vintage advertising poster for La Ruche Et Montparnasse Exhibition held in Musee Jacquemart-Andre Paris. Chagall - Leger - Modigliani - Soutine - Zadkine - Archipenko… Good condition, small crease in the lower right corner and unnoticeable tear on the right marign. Country: France. Year: 1978. Designer: Chagall. Size: 74 x 54. 2. Original vintage advertising poster for Sculptures In The Mountains Poeme in Space Miro Mont-Blanc. Good condition, few creases on margins and on the image. Country: France. Year: 1973. Designer: Joan Miro. Size: 85.5 x 55. 3. Original vintage advertising poster for German Expressionism Padua. Good condition, folded, small image losses on folds. Country: Italy. Year: 1977. Designer: Otto Dix. Size: 84.5 x 59. 4. Original vintage adverising poster for Max Klinger National Gallery of Modern Art Rome. Good condition, small creases on margins. Country: Italy. Year: 1979. Designer: Max Klinger. Size: 100 x 68.5. 5. Original vintage advertising poster for Gruppe Zebra Kunsthalle Bremen. Good condition, scratches on the image, tears on top. Country: Germany. Year: 1978. Designer: F. Bahruth. Size: 84 x 59.5.
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