Gerard Dillon (1916-1971) THE FISH EATERS, 1946 oil on board signed lower right; Arts Council of Ireland label on reverse 17¼ x 21in. (43.82 x 53.34cm) C.E.M.A. Collection, Tyrone House;Arts Council of Northern Ireland;Sotheby's, 24 November 1993, lot 29;Private collection;Sotheby's, 13 May 2005, lot 97;Private collection 'Gerard Dillon Retrospective', Municipal Gallery of Modern Art, Dublin, 5 January to 4 February 1973, catalogue no. 24 S. B. Kennedy, 'Irish Art & Modernism 1880-1950, Belfast, 1991, p.141 (illustrated) In The Fish Eaters Gerard Dillon draws inspiration from Celtic manuscripts and the relief carving on the High Crosses that he studied while staying with his friend, the artist Nano Reid, in Drogheda. Dillon and Reid went out sketching to Monasterboice and Mellifont Abbey in the Boyne Valley where they studied the architecture and the relief carving on the monumental High Crosses which date from the tenth century. While staying with Reid in 1950, Dillon wrote to the Australian art historian Bernard Smith, 'I've done a lot of watercolours from early Christian carvings on an old Celtic Cross near here, they are wonderful - all the male figures have got big walrus moustaches like Douglas Hyde, the last President.' (1)The 'big walrus moustaches' that Dillon admired, one of which can be seen in The Fish Eaters, originate on Muiredach's Cross at Monasterboice. Like the Tall Cross at the same site, Muiredach's Cross is a 'scripture cross' carved with scenes from the Bible. In later paintings such as Holy Island, Dillon included balding figures with long curling moustaches that are comic self-portraits. The resemblance between the moustached figure in The Fish Eaters and the artist is not as obvious as it is in later works but this may still be an instance of the artist putting himself into the painting. As Niamh NicGhabhann has pointed out in her essay in the catalogue for the exhibition Nano Reid and Gerard Dillon, the images that Dillon borrowed from the high crosses were often changed or rearranged to suit his needs. (3) In this work, he has utilised the stylised figurative style and flattened perspective from high crosses to create a scene of four figures eating a meal of fish and potatoes. The bottle of Chianti in its traditional fiasco bottle, brings a contemporary note to what could otherwise be a timeless scene. From the window a west of Ireland landscape is visible and the statue of the Madonna and Child also helps to contextualise the scene. Unlike the similar work, Fast Day, which is now in the Drogheda Municipal Collection at Highlanes Gallery, The Fish Eaters does not feature the stylised patterning taken directly from Celtic manuscripts such as The Book of Kells. And yet, the simple dress and bare feet of the four figures, which appear to be two men and two women, are more austere than other paintings of this period. The unadorned interior, simple clothes and dominance of the statue of the Madonna and Child may suggest that this is an image of a religious community eating the traditional Friday meal of fish, or simply a very poor and pious household. Nano Reid's painting Friday Fare, painted in 1945, a year before The Fish Eaters, also depicts a table laden with fresh fish, wine, fruit and vegetables, ready to be made into Friday's dinner.In his biography of Dillon, James White suggested that the high cross carvings plus the influence of manuscript illuminations, allowed Dillon to move away from the literary nature of much Irish art and to combine narrative painting with modernist flatness. In The Fish Eaters, Dillon is not illustrating any particular story but does hint at a narrative that is neither ancient nor modern, but timeless. Dr Riann CoulterApril 20161. Letter from Gerard Dillon to Bernard Smith, 1950, CSIA, National Gallery of Ireland. 2. Niamh NicGhabhann, 'Ancient and Modern', Nano Reid and Gerard Dillon, exhibition catalogue, Highlanes Gallery, Drogheda, 2009, p.52. L
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Nano Reid (1900-1981) SHELTERED GRAZING oil on board signed lower left; inscribed and with exhibition labels on reverse 20 x 24in. (50.80 x 60.96cm) Dawson Gallery, Dublin;Gerard Byrne, Dundalk;Taylor Galleries, Dublin, August 1987;Private collection;Whyte's, 29 November 2005, lot 20;Collection of Jim O'Driscoll SC Dawson Galleries, Dublin, August 1973, catalogue no. 2;'Nano Reid Retrospective', Hugh Lane Municipal Gallery of Modern Art, Dublin, and the Ulster Museum, Belfast, November 1974 to February 1975, catalogue no. 100 (lent by Gerard Byrne, Dundalk);’Exhibition of Paintings Presented by the Dundalk Art Promotions Committee’, supported by P. J. Carroll & Co. and the Arts Council of Ireland / An Chomhairle Ealaíon, [date unknown], catalogue no. 30 (lent by Gerard Byrne, Dundalk);’Nano Reid 1900-1981, Retrospective Exhibition', Droichead Arts Centre, Drogheda, 5 April - 31 May 1991, catalogue no. 46 (illustrated p.14 of the catalogue) L
Barrie Cooke HRHA (1931-2014) FOREST TRIPTYCH, 1976 oil on canvas; (3) each canvas signed, titled and dated on reverse; two of three with Hendriks Gallery labels on reverse 70 x 60in. (177.80 x 152.40cm) Acquired directly from the artist by the present owner Barrie Cooke has always been influenced by the natural world. 'His involvement with the land emerges from his obsession with nature and its continual change - changing light, changing reflections in water, and the powerful changes brought about by growth itself.' (1) The motto 'everything flows' inscribed on his studio wall could describe the style of his flowing paint at the command of nature. Forest Tryptych was likely influenced by a trip to the rainforest of the Malaysian Borneo 1975. Cooke has described the profound influence of this tropical environment as 'the only time in my life where the paintings almost made themselves'.Cooke settled in Ireland in 1954 but was born in England and educated at Harvard, Skowhegan and Kokoschka's School of Seeing in Salzburg. A founder member of Independent Artists and Aosdána, he served on the boards of the Douglas Hyde Gallery and the Butler Gallery. He exhibited regularly at the Hendriks Gallery, Dublin, and, from 1986, at the Kerlin Gallery.Footnote:1. Walker, Dorothy, Modern Art in Ireland, The Lilliput Press, Dublin 1997, page 74 P
USA 1976 exhibition poster "American Film Comedy" 1977 at the Museum of Modern Art, new York. Features a Mae West publicity still from 1934. Good general condition. 31 x 73 cm. This may be tube rolled for posting.See our Important Sale Information page here on the-saleroom.com for packing and postage information, or opportunities for personal handover location information. We try to make it as easy as possible for you to get hold of auction lots.
LEONARD BASKIN [1922-2000]. Poet Laureate, 1963. Bronze, edition of 15 [11/15]. Signed, 16 cm long [excluding base]. Provenance: Luba Glade, USA in 1969 [1922-2009] – her ownership is recorded in the Jaffe book [see below]; private collection, UK, 2010 [acquired from her estate]. Literature: ‘The Sculpture of Leonard Baskin’, I. Jaffe, Viking Press, 1980, p.214. An excellent abstract head by this hugely underrated US artist, but very difficult to photograph to show the true quality. Most major public collections include his work including the Museum of Modern Art [New York] and the Tate Gallery. [good condition].
A Lorna Bailey limited edition 'Egyptian' vase in the Art Deco style, a Lorna Bailey Apedale Valley Art Deco style vase, a Lorna Bailey Ellgreaur pottery vase, two Brian Wood Art Deco style jugs, a reproduction Art Deco style jug marked 'Crown Devon', a Brian Wood Art Deco style small circular dish, five modern Wedgwood Clarice Cliff style plates, decorative glassware and other ceramics, etc
Amarna Period, 18th Dynasty, 1353-1336 BC. A rectangular limestone relief fragment depicting a profile head facing left with full lips, heavy jawline and lentoid eyes, hatched ties to the rear, six rays terminating in elongated hands extending from the upper edge, the upper part of a frieze of lotus flowers beneath. 7 kg, 56cm overall (22"). Fine condition; repaired. Property of a London gentleman; acquired Bonhams, New Bond Street, London, UK; 1 May 2008, Lot 43; with a print-out of the catalogue entry and a copy of the purchase invoice. The head is that of Nefertiti, queen and Great Royal Wife, of the Pharaoh Akhenaten, and whose name means the beautiful one is here. Nefertiti and her husband were known for a religious revolution, in which they worshipped one god only, Aten, or the sun disc. Akhenaten and Nefertiti were responsible for the creation of a whole new religion which changed the ways of religion within Egypt. With her husband, she reigned at what was arguably the wealthiest period of Ancient Egyptian history. Some scholars believe that Nefertiti ruled briefly as Neferneferuaten after her husband's death and before the accession of Tutankhamun. Her husband abandoned the old royal capital of Thebes due to its association with the old gods, particularly the state deity Amun. Akhenaten issued a ban on the worship of the gods and had the temples closed down, thus marginalising the wealthy and powerful priesthood. As part of his religious revolution Akhenaten built a new capital several miles north of Thebes at a site called Akhetaten, meaning the Horizon of the Aten, now modern Amarna. The new capital had a number of important open air shrines dedicated to the Aten which were profusely decorated with scenes depicting the royal family making offerings to the sun disc. The architects employed a new way of constructing and decorating the temples by using small stones that were carved with sections of the larger friezes, which are known today as talatat, of which this is an example. The scene on this relief depicts Nefertiti standing before an altar table, the top part of which is visible as a line, and offering lotus flowers to the Aten. The Aten was depicted as a disc from which descend beams of light that end in hands; these hands hold the ankh, hieroglyph for life to the noses of the royal family. In scenes found on the talatat, Nefertiti appears almost twice as often as her husband. She is shown appearing behind her husband the Pharaoh in offering scenes in the role of the queen supporting her husband, but she is also depicted in scenes that would have normally been the prerogative of the king. After the death of Akhenaten it is believed that Nefertiti may have started the process of abandoning the worship of the Aten and a return to the old gods, a move that was essential for the political stability of Egypt that had started to disintegrate under the rule of her husband, particularly diplomatic contacts with neighbouring kingdoms. This scene clearly displays the so-called Amarna style in art which broke with long-established Egyptian conventions. Unlike the strict idealistic formalism of previous Egyptian art, it depicted its subjects more realistically. These included informal scenes, such as intimate portrayals of affection within the royal family or playing with their children, and no longer portrayed women as lighter coloured than men. The art also had a realism that sometimes borders on caricature, but which had a lasting effect on Egyptian art.
19th century AD. A Colt six-shot single-action 1851 model Navy percussion revolver in .36 calibre; the 19cm hexagonal rifled barrel with loading lever below (lacking main pivot screw and one dowel peg) and brass blade foresight (a later fitting?), numbered 126155/2 inscribed with '- ADDRESS COL. SAML COLT NEW-YORK U. S. AMER[ICA -]' to top face, cut through the last letters by the modification fitting of a separate V-backsight, the barrel key with modern retaining screw; six-chambered cylinder with nipples, numbered [24]305 (traces only of engraving); brass trigger guard, numbered 24305 and backstrip, mahogany grip with diamond mother of pearl and rectangular German silver insets to left; naive small heart emblem cut into right; frame with trigger and hammer assembly (lacking/broken mainspring) with some screws being modern replacements, numbered 126155/2. 1.12 kg, 33cm long (13"). Property of an Essex, UK collector; acquired on the UK art market, 1980-1990. Serial number 24305 was given to a .36 calibre Navy Colt made in 1853; serial number 126155 was allocated to a matched pair of .36 calibre Navy Colts made in 1862. [No Reserve] Fair condition; surfaces pitted and lacking elements as noted. An iconic firearm.
3rd millennium BC. An alabaster bifacial idol, flat in section, with trapezoidal body and two large pierced and rimmed eyes above. 20 grams, 34mm (1 1/4"). Very fine condition. Ex Rihani family collection; acquired 1980s. Today the remains of Tell Brak covers a massive forty-hectare area. It was first excavated by Max Mallowan in 1937-1938 when he found the remains of early religious practices represented by hundreds of votive objects, including the so-called 'eye idols'. Tell Brak must be considered as one of the oldest cultural sites in the world it was still in use during the Mitannian empire [1,500 - 1,360 BC]. During the Hellenistic and Roman eras, the site lay silent. Tell Brak was known as Nagar in Antiquity. Although they date from roughly 3200 BC, eye idols look remarkably modern. Simple and abstract, they represent the human form with a flat trapezoidal body and oversized eyes. Hundreds of these figurines were found in a monumental building known as the 'Eye Temple' in Tell Brak, north-eastern Syria. The idols vary in size from about 3 to 6 cm in height, and are made of either white or black alabaster. Because of the huge numbers of idols found, the monumental building where they were found has been called the 'Eye Temple.' The interior decoration was lavish - the altar was decorated with a frieze made from colourful stones, silver nails and gold foil, and on the floor and walls were mosaics made from coloured clay cones. Eye imagery and designs are found in the frieze and carvings in the temple, suggesting that the eye was a powerful magical and religious symbol. The large number of eye idols found and their size suggests that they were left in the temple as votives (gifts to the gods), perhaps representing the people who dedicated them as offerings. The decoration of the idols varied, and it seems that they may have been personalised; those on display in the Fitzwilliam are examples of the simplest type, but others have carved lines and zig-zags on their bodies depicting clothes. There are even examples of group idols representing more than one figure - some of which have a smaller 'child' figure carved onto the front. Eye Idol from Tell Brak (WAE.5.1966) Although Tell Brak is in north-eastern Syria, both the decoration and plan of the Eye Temple resemble that of south Mesopotamian temples, such as those in Uruk and Eridu. Eye symbolism was also popular in Mesopotamia around this time, and eye designs have been found on objects from the Royal Cemetery from Ur as well as in temples. The eye idols of Tell Brak, however, are completely unique and have no parallels, in either Syria or Mesopotamia. For more information: D. Collon, Ancient Near Eastern Art (London, 1995), 47, fig. 26. M.E.L. Mallowan, Excavations at Tell Brak, Iraq 9 (1947), 32-8; 150-9; 198-210.
3rd millennium BC. A steatite(?) idol, flat in section, with trapezoidal body and two pierced discoid eyes above. 29 grams, 47mm (1 3/4"). Very fine condition. Ex Rihani family collection; acquired 1980s. Today the remains of Tell Brak covers a massive forty-hectare area. It was first excavated by Max Mallowan in 1937-1938 when he found the remains of early religious practices represented by hundreds of votive objects, including the so-called 'eye idols'. Tell Brak must be considered as one of the oldest cultural sites in the world it was still in use during the Mitannian empire [1,500 - 1,360 BC]. During the Hellenistic and Roman eras, the site lay silent. Tell Brak was known as Nagar in Antiquity. Although they date from roughly 3200 BC, eye idols look remarkably modern. Simple and abstract, they represent the human form with a flat trapezoidal body and oversized eyes. Hundreds of these figurines were found in a monumental building known as the 'Eye Temple' in Tell Brak, north-eastern Syria. The idols vary in size from about 3 to 6 cm in height, and are made of either white or black alabaster. Because of the huge numbers of idols found, the monumental building where they were found has been called the 'Eye Temple.' The interior decoration was lavish - the altar was decorated with a frieze made from colourful stones, silver nails and gold foil, and on the floor and walls were mosaics made from coloured clay cones. Eye imagery and designs are found in the frieze and carvings in the temple, suggesting that the eye was a powerful magical and religious symbol. The large number of eye idols found and their size suggests that they were left in the temple as votives (gifts to the gods), perhaps representing the people who dedicated them as offerings. The decoration of the idols varied, and it seems that they may have been personalised; those on display in the Fitzwilliam are examples of the simplest type, but others have carved lines and zig-zags on their bodies depicting clothes. There are even examples of group idols representing more than one figure - some of which have a smaller 'child' figure carved onto the front. Eye Idol from Tell Brak (WAE.5.1966) Although Tell Brak is in north-eastern Syria, both the decoration and plan of the Eye Temple resemble that of south Mesopotamian temples, such as those in Uruk and Eridu. Eye symbolism was also popular in Mesopotamia around this time, and eye designs have been found on objects from the Royal Cemetery from Ur as well as in temples. The eye idols of Tell Brak, however, are completely unique and have no parallels, in either Syria or Mesopotamia. For more information: D. Collon, Ancient Near Eastern Art (London, 1995), 47, fig. 26. M.E.L. Mallowan, Excavations at Tell Brak, Iraq 9 (1947), 32-8; 150-9; 198-210.
3rd millennium BC. An alabaster idol, flat in section, with trapezoidal body and two large lentoid eyes above. 10 grams, 42mm (1 3/4"). Fine condition. Ex Rihani family collection; acquired 1980s. Today the remains of Tell Brak covers a massive forty-hectare area. It was first excavated by Max Mallowan in 1937-1938 when he found the remains of early religious practices represented by hundreds of votive objects, including the so-called 'eye idols'. Tell Brak must be considered as one of the oldest cultural sites in the world it was still in use during the Mitannian empire [1,500 - 1,360 BC]. During the Hellenistic and Roman eras, the site lay silent. Tell Brak was known as Nagar in Antiquity. Although they date from roughly 3200 BC, eye idols look remarkably modern. Simple and abstract, they represent the human form with a flat trapezoidal body and oversized eyes. Hundreds of these figurines were found in a monumental building known as the 'Eye Temple' in Tell Brak, north-eastern Syria. The idols vary in size from about 3 to 6 cm in height, and are made of either white or black alabaster. Because of the huge numbers of idols found, the monumental building where they were found has been called the 'Eye Temple.' The interior decoration was lavish - the altar was decorated with a frieze made from colourful stones, silver nails and gold foil, and on the floor and walls were mosaics made from coloured clay cones. Eye imagery and designs are found in the frieze and carvings in the temple, suggesting that the eye was a powerful magical and religious symbol. The large number of eye idols found and their size suggests that they were left in the temple as votives (gifts to the gods), perhaps representing the people who dedicated them as offerings. The decoration of the idols varied, and it seems that they may have been personalised; those on display in the Fitzwilliam are examples of the simplest type, but others have carved lines and zig-zags on their bodies depicting clothes. There are even examples of group idols representing more than one figure - some of which have a smaller 'child' figure carved onto the front. Eye Idol from Tell Brak (WAE.5.1966) Although Tell Brak is in north-eastern Syria, both the decoration and plan of the Eye Temple resemble that of south Mesopotamian temples, such as those in Uruk and Eridu. Eye symbolism was also popular in Mesopotamia around this time, and eye designs have been found on objects from the Royal Cemetery from Ur as well as in temples. The eye idols of Tell Brak, however, are completely unique and have no parallels, in either Syria or Mesopotamia. For more information: D. Collon, Ancient Near Eastern Art (London, 1995), 47, fig. 26. M.E.L. Mallowan, Excavations at Tell Brak, Iraq 9 (1947), 32-8; 150-9; 198-210.
3rd millennium BC. An alabaster idol, flat in section, with trapezoidal body, two large lentoid eyes and six-stage hairstyle above. 16 grams, 51mm (2"). Fine condition. Ex Rihani family collection; acquired 1980s. Today the remains of Tell Brak covers a massive forty-hectare area. It was first excavated by Max Mallowan in 1937-1938 when he found the remains of early religious practices represented by hundreds of votive objects, including the so-called 'eye idols'. Tell Brak must be considered as one of the oldest cultural sites in the world it was still in use during the Mitannian empire [1,500 - 1,360 BC]. During the Hellenistic and Roman eras, the site lay silent. Tell Brak was known as Nagar in Antiquity. Although they date from roughly 3200 BC, eye idols look remarkably modern. Simple and abstract, they represent the human form with a flat trapezoidal body and oversized eyes. Hundreds of these figurines were found in a monumental building known as the 'Eye Temple' in Tell Brak, north-eastern Syria. The idols vary in size from about 3 to 6 cm in height, and are made of either white or black alabaster. Because of the huge numbers of idols found, the monumental building where they were found has been called the 'Eye Temple.' The interior decoration was lavish - the altar was decorated with a frieze made from colourful stones, silver nails and gold foil, and on the floor and walls were mosaics made from coloured clay cones. Eye imagery and designs are found in the frieze and carvings in the temple, suggesting that the eye was a powerful magical and religious symbol. The large number of eye idols found and their size suggests that they were left in the temple as votives (gifts to the gods), perhaps representing the people who dedicated them as offerings. The decoration of the idols varied, and it seems that they may have been personalised; those on display in the Fitzwilliam are examples of the simplest type, but others have carved lines and zig-zags on their bodies depicting clothes. There are even examples of group idols representing more than one figure - some of which have a smaller 'child' figure carved onto the front. Eye Idol from Tell Brak (WAE.5.1966) Although Tell Brak is in north-eastern Syria, both the decoration and plan of the Eye Temple resemble that of south Mesopotamian temples, such as those in Uruk and Eridu. Eye symbolism was also popular in Mesopotamia around this time, and eye designs have been found on objects from the Royal Cemetery from Ur as well as in temples. The eye idols of Tell Brak, however, are completely unique and have no parallels, in either Syria or Mesopotamia. For more information: D. Collon, Ancient Near Eastern Art (London, 1995), 47, fig. 26. M.E.L. Mallowan, Excavations at Tell Brak, Iraq 9 (1947), 32-8; 150-9; 198-210.
5th-4th century BC. A flat-section bronze mount in the form of the stylised beast-head with scrolled tendrils, mounting loop to reverse. 28 grams, 56mm (2 1/4").Fine condition. Property of a gentleman; acquired in the late 1960s-early 1970s. Cf. Moorey, P.R.S. et al. Ancient Bronzes, Ceramics and Seals, Los Angeles, 1981, item 850. The Scythians were a nomadic tribal people who covered an area from modern day Kazakhstan to the Baltic coast of Poland and Georgia, but who were mostly centred on the Pontic-Caspian Steppe. Their characteristic art was produced between the seventh and the third centuries BC, after which they were displaced from most of their territory by the Sarmatians. In the earlier period Scythian art included very vigorously modelled stylised animal figures, such as this example, shown singly or in combat, that had a long-lasting and very wide influence on other Eurasian cultures as far apart as China and the European Celts.These animal figures often display contorted features that include a melding of several animals, and it is believed that they represent the shamanic belief in shape shifting.
18th-19th century AD. Two polychrome glass beads and various shaped coral beads; fixed to a matched pair of modern gold earrings, each a hoop with wire closure, plaque and dangles; modern pearls. 9.60 grams total, 51-52mm (2"). [2] Fine condition. Property of a Hertfordshire, UK collector; acquired London art market, 1960s-1980s.
Cretaceous Period, 145-65 million years BP. Three fossil hadrosaur Charonosaurus eggs on matrix, from Xixia basin, Henan Province, China, retaining evidence of the original leathery surface. 6 kg, 27cm (10 1/2"). Fine condition. UK art market, acquired prior to 1980. The hadrosaurs are known as the duck-billed dinosaurs, due to the similarity of their heads to those of modern ducks. In addition to the duck bill, Charonosaurus also had a large head crest.
Cretaceous, 110-125 million years BP. A fossil hadrosaur Charonosaurus egg on matrix, from Xixia basin, Henan Province, China, retaining evidence of the original leathery surface. 246 grams, 14cm (5 1/2"). Fine condition. Acquired on the London art market prior to 1980. The hadrosaurs are known as the duck-billed dinosaurs, due to the similarity of their heads to those of modern ducks. In addition to the duck bill, Charonosaurus also had a large head crest.
A PAIR OF PHOTO-BOOKS WITH CONSTRUCTIVIST COVER DESIGNS, 1928-1930comprising:a) POSTROENIE AGIT-ZRELISHCHA. First Edition, signed; Moscow: TeaKinoPechat`, 1930. Author: Nikolai Lvov; 8vo (218 x 150 mm), text in Russian, paperback, 160 pages. Inscribed and signed on the title page (1930)b) TEKHNICHESKOI BYT I SOVREMENNOYE ISKUSSTVO [Technical Way of Life and Modern Art]. First Edition, Moscow-Leningrad: GIZ, 1928; 8vo (218 x 150 mm), text in Russian, paperback, 258 pp, illustrated constructivist cover; 3000 copies.THIS LOT IS BEING SOLD WITHOUT RESERVE.
PINCHAS LITVINOVSKY (ISRAELI-RUSSIAN 1894-1985)Portrait of David Ben-Gurion, oil on paper86.5 x 65.5 cm (34 x 25 3/4 in.)signed lower left LOT NOTES Pinchas Litvinovsky (nee Piotr Vladimirovich), born in Ukraine to a family of Jewish merchants, immigrated to Israel in 1912. Throughout the beginning of his artistic career, Litvinovsky traveled back and forth between Israel and Imperial Russia, studying at various art schools. In the 1920s, he settled down in Israel and joined the young modern artists' movement. His unique manner of painting emerged from the influences of both Russian constructivism and contemporary Hebrew art. In the 1930s, Litvinovsky made several trips to France, discovering the art of Cubists and the School of Paris, which made another great impact on the style of his painting. The present lot, a portrait of the primary founder of the State of Israel and its first Prime Minister, David Ben-Gurion, is an exceptional representation of the personality of an important historic figure through the eyes of his contemporary.
SIR ALFRED JAMES MUNNINGS, (BRITISH, 1878-1959), 'HRH THE PRINCE OF WALES ON FOREST WITCH', coloured print signed in pencil by the artist, copyrighted to the Modern Arts Society (England) Ltd., and the Field Press Ltd. Fine Art Trade Guild backstamp. 585 x 710cm. CONDITION REPORT: Retaining what appears good colour but showing some evidence of backboard stains, particularly in the sky above the horses head and around the border. Appearing original frame, some damage and losses to it.
![[INDIA] a very large quantity of modern books, mostly travel, art & general.](https://cdn.globalauctionplatform.com/beea3b6d-f344-4b0a-a062-a602009ea7be/90f9ec30-313e-40b0-ef01-a323ac92c2d2/468x382.jpg)
§ Gwen Hardie (Scottish, b.1962) Being, 1999 oil on canvas, shaped, unframed 88 x 89cm (34 x 35in) Other Notes: Born and educated in Scotland , Gwen Hardie lived and worked in London and Berlin before settling in New York City in 2000. Hardie’s work was recently represented in the British exhibition; “Reality: Modern and Contemporary British Painting” at The Walker Art Gallery, Liverpool, July- Nov 2015 (previously at The Sainsbury Centre in Norwich) with Lucien Freud, Jenny Saville and others. Other recent shows include; “Skin Deep” a solo show at The Smoyer Gallery, Roanoke College, US in April/May 2014, “Borderline; Depictions of Skin” at Garis & Hahn, New York City and “Skin; An Artistic Atlas”, with John Coplans, Marlene Dumas and others at The Royal Hibernian Academy in Dublin, Ireland. Her solo show “Boundaries”, was in the Hebrides, Scotland, at An Lanntair and Taigh Chearsabhagh in 2012 / 2013 . Unframed and fine.
§ Douglas Swan (American/Scottish, 1930-2000) Still Life signed lower right "D Swan" oil on canvas, in a cream painted frame 40 x 50cm (16 x 20in) Provenance: The Piccadilly Gallery, 16 Piccadily Arcade, London, SW1, September 1957. Other Notes: Douglas Swan (1930 - 2000) was born in Connecticut, USA of Scottish parents, moving to Carnoustie, Scotland in 1936. After National Service and studying at Dundee Art College, he began exhibiting at the Royal Scottish Academy. Awarded the RSA scholarship in London in 1954, he met and formed a lasting friendship with the artist William Scott. They painted together in Somerset and Cornwall and Swan exhibited at Gimpel Fils in London in 1957. Swan, together with other St Ives artists, Patrick Heron, Peter Lanyon, Anthony Benjamin and Trevor Bell, was awarded a British Council Scholarship to study in Italy in 1958. In the late 1960s Swan moved with his wife to live in Switzerland, and then to Germany in the mid 1970s, becoming an important and established abstract painter. Throughout his life he would return to his parental home at Carnoustie on the east coast of Scotland to paint. He died in Germany in 2000. During his career, Swan showed with the Royal Scottish Academy, Edinburgh, Scottish National Gallery of Modern Art, Young Contemporaries, The London Group, Artists International Association (AIA), The Scottish Gallery and with notable London galleries including Gimpel Fils, Piccadilly Gallery, and Waddington Gallery. From 1957 he exhibited widely with solo shows in Italy, Belgium, Germany, The Netherlands and Switzerland. Solo exhibitions in the UK include Stone Gallery, Newcastle upon Tyne (1959 & 1964) and Bradford City Art Gallery (1960), and a touring exhibition organised by Artsite Gallery, Bath in 1986. With original Piccadilly Gallery receipt. Surface dirt present throughout. Area of paint loss to lower left edge. Scuffing and abrasions to paint surface along this entire lower edge. Thickly applied paint in areas, particularly in upper left area. Gap in between the lower edge and the frame. Frame has some dirt, scratches and abrasions.
§ Alan Reynolds (British, b.1926) Moth Barn Interior III, 1952 signed on the reverse in ink "Reynolds" on the back top right-hand corner oil on board 33 x 46cm (13 x 18in) Provenance: The Redfern Gallery Ltd., 20 Cork Street, Burlington Gardens, Bond Street, London, W1, February 1953. The Piccadilly Gallery, 16A Cork Street, London, W1, January 1961. Purchased from the Piccadilly Gallery 31 December 1960 (with original receipt) Other Notes: Alan Reynolds achieved considerable acclaim as a painter of the countryside and later as an abstract artist in the 1950s and early 1960s. Reynolds was born on 27 April 1926 at Newmarket, Suffolk, where his father worked as a stableman. He studied at the Woolwich Polytechnic from 1948 to 1952 and in 1954, and at the Royal College of Art from 1952 to 1953. He taught at the Central School of Art and Design from 1954 to 1961 and, from 1961 until he retired, at Saint Martin's School of Art where he became a senior lecturer in painting in 1985. His work is in the permanent collections of the Museum of Modern Art, New York, the National Museum of Canada, the V&A and the Tate. In good conditions. Abrasions around the edges of the paint layer caused by framing. Localised area of paint with craquelure at the centre of bottom edge, but stable. A few accretions on surface. Some staining to canvas fabric on frame but generally fine.
Godfrey (Captain John). A Treatise Upon the Useful Science of Defence, Connecting the Small and Back-Sword, and shewing the Affinity between them. Likewise Endeavouring to weed the Art of those superfluous, unmeaning Practices which over-run it... also An Examination into the Performances of the most Noted Masters of the Back-Sword... with Some Observations upon Boxing, and the Characters of the most able Boxers within the Author's Time. 1st edition, printed for the Author, by T. Gardner, 1747, engraved head and tail-pieces, first and final leaves toned (title a trifle chipped at fore-edge), armorial bookplate on front pastedown, red sprinkled edges, modern tan calf, gilt lettered leather spine label, small faint superficial scratch on lower cover, 4to Scarce text on fencing, which also contains the first significant discussion of the skills required in boxing and a description of some of the renowned boxers of the day. Describing the basic principles of armed and unarmed combat Godfrey tells how the champions of his day fought with swords, sticks and fists. Godfrey himself was an intrepid pupil of James Figg (1684-1734), the first English bare-knuckle boxing champion, generally regarded the father of modern boxing. (1)
Labat (Maitre d'Armes). The Art of Fencing, or, the Use of the Small Sword. Translated from the French of the late celebrated Monsieur L'Abbat; Master of that Art at the Academy of Toulouse, by Andrew Mahon, Professor of the Small Sword in Dublin, 1st edition in English, Dublin: printed by James Hoey, 1734, twelve engraved plates by Lud. du Dempsy showing various fencing techniques, engraved head and tailpieces, generally toned, contemporary inscription at head of title-page, endpapers sometime renewed, front pastedown with later ownership name of Edward Roberts and modern armorial bookplate, manuscript note on front free endpaper, contemporary sheep, rubbed, sometime rebacked, 8vo in 4s Scarce. (1)
Roland (George). A Treatise on the Theory and Practice of the Art of Fencing, illustrated with twelve highly finished plates, and continued by Easy and Progressive Lessons, from the Simplest Position to the Most Complicated Movements, 1st edition, Edinburgh: Archd. Constable, 1823, half-title present, twelve lithographed plates, scattered spotting, marbled endpapers, armorial bookplate on front pastedown, all edges gilt, modern tan polished calf by Frost & Co, Bath, with ink stamp on verso of front free endpaper, a few faint superficial scratches, gilt lettered contrasting leather labels in second and third compartments, remainder with central fleuron tool and flower garland cornerpieces, covers with gilt double fillet border, gilt decorated edges and turn-ins, tall 8vo (1)
Staley (Allen). The Pre-Raphaelite Landscape, new edition, Yale University Press, 2001, numerous colour and black and white illustrations, original red cloth in dust jacket, large 8vo, together with Webster (Mary), Johan Zoffany 1733-1810, 1st edition, 2011, numerous colour and black and white illustrations, original green cloth in dust jacket, large 4to, and Foister (Susan), Holbein and England, 1st edition, USA, 2004, numerous colour and black and white illustrations, original maroon cloth in dust jacket, large 4to, plus 55 further volumes of modern British art and artist reference, including A Selection from the Liber Studiorum by J.M.W. Turner, parts 1-4, 1890, contemporary gilt decorated blue cloth folder, mostly orignial cloth in dust jackets, G/VG, 8vo/folio (57)
Burlington Fine Arts Club. Exhibition of Ancient Greek Art, 1904, 112 black and white illustrations, some minor spotting, original gilt-decorated red cloth, boards marked, spine faded and rubbed to head and foot, folio, together with Smith (A.H.), A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, volumes 1-3, 1892-1904, black and white illustrations, uniform original blue cloth, covers and spine slightly rubbed, tear to spine of volume 1, 8vo, plus A Catalogue of the Greek and Etruscan Vases in the British Museum, volumes 1 & 2, 1851-70, some light spotting, previous owner label to front pastedowns, original blue cloth, spines and labels faded with minor loss, 8vo, plus other modern Greek and Roman art and antiquity reference and related, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (2 cartons)
Edwards (Ralph). The Dictionary of English Furniture, from the Middle Ages to the late Georgian Period, volumes 1-3, 2nd edition, 1954, numerous colour and black and white illustrations, all original red cloth in dust jackets, boards slightly marked, spine slightly faded and rubbed to head and foot, large 8vo, together with Tolnay (Charles De), Hieronymus Bosch, 1st UK edition, 1966, numerous colour and black and white illustrations, slight spotting to text block, original cloth in slipcase, slipcase slightly faded, large 4to, plus Claessens (Bob & Rousseau, Jeanne), Our Bruegel, Antwerp, 1975, numerous colour and black and white tipped-in plates, original gilt-decorated brown cloth in dust jacket and slipcase, large 8vo, plus ohter modern art reference, mostly original cloth in dust jackets, G/VG, 8vo/folio (3 cartons)
Maskell (Alfred). Wood Sculpture, 1911, 59 black and white illustrations, with tissue guards, original gilt decorated red cloth, rear board slightly rubbed, spine lightly faded, 8vo, together with Heaton (Charles), The History of the Life of Albrecht Drer of Nrnberg, 1st edition, 1870, 31 black and white illustrations including portrait frontispiece, bookplate to front pastedown, some light spotting, front guttering split, original gilt decorated red cloth, boards slightly marked, spine slightly rubbed to head and foot, 8vo, and Hotson (Leslie), Shakespeare versus Shallow, 1st edition, Nonsuch Press, 1931, 9 black and white illustrations including frontispiece, ex-libris book plate to front endpaper, original blue cloth in dust jacket, spine slightly toned and rubbed to head and foot, 8vo, plus other modern art and literature reference and related, including King Penguin publications, mostly original cloth, some in dust jackets, some leather bindings, G/VG, 8vo/4to (6 shelves)
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