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Click here to subscribeA modern silver and resin walking cane, the handle depicting an Art Deco lady, her hat stamped .925 together with a similar walking cane (the cane af) another walking cane, the handle being a 1920s ladies head wearing a cloche hat, stamped .925, a further cane, the handle modelled as a resin flower head with silver garlands of flowers, stamped .925 and another walking cane with plastic flower head handle (af) (5)
Duncan Grant (Scottish, 1885-1978) Ornamental urns in Charleston garden oil on canvas, signed and dated `D Grant \ 72` lower left, `No 2` in red chalk verso 20½ x 17½in. (52 x 44.5cm.) * Charleston was the East Sussex home of Duncan Grant and his wife Vanessa Bell (sister of Virginia Woolf), both pivotal figures within the Bloomsbury Group. Grant was also a founding member of the Camden Town Group in 1911, exhibited with the Grafton Group in 1913 and became a member of the London Group in 1919. He was represented at the Venice Biennale in 1926 and 1932, and his work was included in the Coronation Exhibition of Contemporary British Artists at Agnew and Sons, London, in 1937. The Tate Gallery held a retrospective of his work in 1959 and an exhibition at the Tate Gallery was held in 1975 in honour of his 90th birthday, together with an exhibition at the Scottish National Gallery of Modern Art. The urns in this painting can be seen in a photograph on the cover of `The Garden at Charleston: A Bloomsbury Garden through the Seasons` by Sue Snell, pub. 2010 by Frances Lincoln.
An Art Deco silver Modern Grecian pattern canteen for twelve, by The Goldsmiths and Silversmiths Company, London 1936, the handles with a crest, comprising: twelve table forks, twelve table knives, twelve dessert forks, twelve dessert knives, twelve egg spoons, twelve soup spoons, twelve dessert spoons, six tablespoons, twelve teaspoons, a pair of sauce ladles, and a three-piece carving set, in a limed oak case, approx. weight 126oz.
Assemblage, Lois Anderson, DresserAssemblage constructed of a wood support structure adorned with found objects including: Christian, Buddhist, and Hindu icons, porcelain figurines, buttons, dominoes, and much more, ``The Altar,`` 1978-1982, by Lois Anderson (Californian, 1929-2006), overall: 100``h x 96``w x 62``d. Artist Information and Selected Exhibitions: Lois identified herself as a former Beatnik and later a Hippie; she was known among her friends in the 60`s as ``Lotus Carnation.`` She was one of a small group of ``outsider`` artists who were known as ``The Gluers.`` The Gluers created a genre of assemblage art that epitomized the 70`s art scene in the Bay Area. Their work was featured in a famous gallery in downtown Mill Valley known as The Unknown Museum (later the location of Smith and Hawkins).In 1984, The Oakland Museum of California purchased one of Lois Anderson`s pieces, ``The Dresser,`` for their permanent California Collection. In late 1999 until early 2000, The San Francisco Museum of Modern Art, conducted an exhibition called ``Far Out: Bay Area Design from 1967 -73``; Lois Anderson`s ``The Throne`` was the featured centerpiece of that exhibition. The Altar: Between 1978 and 1982, Ms. Anderson, funded by a grant from The National Endowment for the Arts, constructed her flagship piece, ``The Altar.`` The Altar became the property of the Oakland Museum in January 2006.Starting Price: $1000
After Demetre Haralamb Chiparus - a modern Art Deco style brown patinated cast bronze figure of a female dancer wearing Eastern costume and a cap, standing on tiptoes with her arms outstretched, the rectangular base with cast signature `D.H. Chiparus`, raised on a stepped marble plinth, height approx 48.5cm.
Eric Harald MacBeth Robertson (1887-1941) Modern allegorical subject, with four female figures Watercolour, unsigned 21 x 17 cm Footnote: Eric Robertson and his first wife, Cecile Walton (daughter of the painter E A Walton) were an artistic couple of exceptional talent in the first few decades of the 20th century. Their story is told in `The Two Companions` by John Kemplay (Edinburgh, 1991). Besides exhibiting at the Royal Scottish Academy, they were members of the Edinburgh Group, a Society that exhibited more challenging art between 1912 and 1921. The couple`s lifestyle raised eyebrows, as did Eric Robertson`s highly charged erotic subjects. Cecile Walton`s most famous painting is her self-portrait as a nursing mother (called `Romance`) in the Scottish National Portrait Gallery.
STONE, George S. A Glossary of the Construction, Decoration and Use of Arms and Armour in all countries and in all times, together with some closely related subjects, New York 1961, in its slipcase; GARDNER, J. S. Armour in England from the Earliest Times to the Seventeenth Century, London 1898, gilt cloth covered boards; BLACKMORE, H.L. The Armouries of the Tower of London, I Ordnance, London 1976; DIXON, N. Georgian Pistols, the Art and Craft of the Flintlock Pistol, 1715-1840, London 1971; MAY, W. E. & ANNIS, P. G. W. Swords for Sea Service, London 1970 (Volume 1); BELOUS, Russell E. Arms and Armour, Los Angeles 1969, in its slipcase; HOWE, James V. The Modern Gunsmith, New York 1946 (2 Volumes); and two further volumes
Francis BACON (1909-1992) Portrait de Peter Beard, 1976 Eau-forte et aquatinte, épreuve signée et numérotée 74/100.Frontispice de l`ouvrage La Mysticité charnelle de René Crevel, texte d`Eddy Batache, édité en 1976 par les Editions Georges Visat et Cie, Paris 38 x 28 cm (la planche), 26,4 x 22,4 cm (l`image) Provenance : Sims Reed Gallery, Londres Collection particulière, Paris Bibliographie : Bruno Sabatier, Francis Bacon, Oeuvre graphique - Catalogue raisonné, JSC Modern Art Gallery, 2012, reproduit page 35
Alan Davie, Scottish b.1920- "Zurich Improvisations IX"; lithograph printed in colours, signed, inscribed `IX` and numbered 10/75 in pencil, 58.5x83.5cm, (may be subject to Droit de Suite) Provenance: with The Savage Gallery, Old Brompton Road, according to the label attached to the reverse Note: Alan Davie is one of Scotland`s most internationally recognised artists with works in public collections across the world. Davie studied at Edinburgh College of Art from 1938-40. As a young man he developed a love of the arts, wrote poetry and played the saxophone in a jazz band. Davie was inspired by American Abstract Expressionism as well as Surrealism and the Cobra group. He developed his own unique form of expression combining mythic imagery, enigmatic symbols, later taking inspiration from African and Oceanic Art as well as Zen Buddhism. The Scottish National Gallery of Modern Art held a retrospective exhibition in 2000 which was followed by a survey held the following year at the Cobra Museum for Modern Art in the Netherlands. In 2003-2004, the Tate St. Ives exhibition Jingling Space celebrated Davie`s significant contribution to painting.
An Early 20th Century Amethyst and Seed Pearl Pendant, an oval cut amethyst in a yellow millegrain setting, in a seed pearl set openwork foliate frame, measures 3cm by 3.8cm, on a modern fine twist link chain, length 46.5cm, and An Art Nouveau Style Brooch, three green stones centre a scrolling form, a further green stone drop pendant from the base, measures 3.2cm by 2.8cm not illustrated
Norah McGuinness HRHA (1901-1980) Shells and Rusted Wire Oil on canvas, 40.5 x 56cm (16 x 22") Signed Exhibited: Norah McGuinness Exhibition, The Dawson Gallery, April 1968, where purchased by the current owner Derry born artist Norah McGuinness won a three year scholarship to study at the Metropolitan School of Art in Dublin at the age of 18, where she was taught by Harry Clarke, Patrick Tuohy and Oswald Reeves before moving to London to study at the Chelsea School of Art. In 1923 she won an RDS medal and the following year exhibited for the first time at the RHA. During these years McGuinness supported herself by designing sets and costumes for the Abbey and Peacock theatres and illustrated books. Under the advice of Mainie Jellett she travelled to Paris to study for a period under André Lhote. In 1957 she was elected an honorary member of the RHA, but resigned in 1969. A founding member of the Irish Exhibition of Living Art, she served as president from 1944 to 1971. McGuinness exhibited regularly at the Dawson and Taylor Galleries as well as in London, Paris and New York. She also represented Ireland at the 1950 Venice Biennale with Nano Reid. A retrospective of her work was held at Trinity College Dublin in 1968 where she was awarded and honorary doctorate in 1973. Her work can be found in the National Gallery of Ireland, Irish Museum of Modern Art, Dublin City Gallery, The Hugh Lane, Ulster Museum and Crawford Gallery.
Jack Butler Yeats RHA (1871 - 1957) A Hooker and a Nobbie (by Roundstone Quay) (1911) Oil on panel, 23 x 35.5cm (9 x 14") Signed This was painted on Yeat's first visit to Roundstone in the Summer of 1911. Provenance: Purchased from The Victor Waddington Galleries 1942 by the current owner's father and thence by descent. Exhibited: 1912 The Walker Art Gallery, London "Jack B. Yeats: Pictures of Life in The West of Ireland" Cat. No. 15; 1914 Mills Hall,Dublin "Jack B. Yeats: Pictures of life in The West of Ireland" Cat. No. 4; 1942 Munster Fine Art Club ,20th Annual Exhibition,Cork (Group Show); 1977 Wexford Arts Centre,"Irish Art from Private Collections 1870 - 1930" Cat No. 41 Literature:"Jack B. Yeats - A Catalogue Raisonné of the oil paintings" Vol. 1 Cat. No. 24 P 24. Illustrated again Vol III P12. This early oil depicts a scene in Roundstone Harbour, the setting of another work by Yeats of the same year. It depicts two traditional West of Ireland vessels, a Galway hooker and a nobbie, which was used for carrying turf, tied together at the quayside. Yeats who was passionate about boats and sailing has managed to let aesthetic concerns stand over any technical presentation of the boats and their rigging. The dramatic cut-off composition results in an almost abstract painting dominated by geometric forms of colour and line. The blue elements of the sea and the sky are separated by the expanse of the pink of the harbour wall. The resulting painting is extraordinarily modern in the simplicity of its subject and in the formal tension that builds up between the different elements of its construction. It demonstrates Yeats's innate sense of design and his early willingness to experiment with the medium of oil. Applying the paint very thickly Yeats creates an intricate arrangement of forms in which constant variations in brushstroke are evident. This, as in Yeats's later work, draws attention to the process of painting and makes the viewer aware of the decisions made by the artist in his creation of the artwork. Dr. RóisÃn Kennedy April 2012
Colin Middleton RHA RUA MBE (1910-1983) Seaman's Wife (1952) Oil on canvas, 75 x 59.5cm (29.5 x 23.4") Signed; signed again with title and dated 1952 Artists Ref. 150 Provenance: From the McClelland Collection and on loan from them to IMMA 1999-2004; Sale in these rooms 25th May 2005, Lot 97 where purchased by current owner Exhibited: 'Colin Middleton Exhibition', Irish Museum of Modern Art, January - June 2001 Literature: 'Colin Middleton: A Study by Dickon Hall 2001, Illustrated page 34 Colin Middleton moved to Ardglass, a small fishing village near Strangford, in late 1948 or early 1949. He had just begun his association with Victor Waddington, which was to establish him as one of the leading painters in Ireland, and Ardglass became the first home in which Middleton seems to have felt settled with his second wife and young family. This was also the period during which Middleton produced his most consistent and arguably his greatest work. He became absorbed by the people and the local way of life, particularly the mythology surrounding the sea and the fishing community. 'Seaman's Wife' is one of a series of paintings of single female figures removed from their environment, which are often de-individualised and become almost totemistic. This particular painting is slightly different; there is a great sense of pathos and of the life of this woman. She appears to be pregnant and with her hands protecting her stomach, a reminder of her absent husband and of the constant shadow of loss that hangs over the fishing village. The work of this time is particularly moving in its expression of the artists compassion with the suffering of others, and his sense of a common humanity inspired by the unimaginable horror and tragedy of the war in Europe. Dickon Hall
Robert Ballagh (b.1943) Homage to le Brocquy Mixed media with acrylic on board, 43 x 28cm, (17 x 11") Provenance: David Hendriks Gallery, Dublin, where purchased by Dr & Mrs J.B. Kearney and their sale in these rooms December 2007, lot no 1; where purchased by the current owner Ballagh's paintings and screenprints depicting the works modern masters being viewed in the gallery space are well known and widely exhibited. The works contain an element of reflexivity in that often they depict the work of Pop artist, a label that has been applied to Ballagh himself. The best known of these types of works include Andy Warhol's and Roy Lichtenstein's, the internationally renowned kings of Pop. In making the viewing of these works the subject of his own practice, it may be that Ballagh is caught in the act of self-promotion, attempting to - and perhaps succeeding in - putting his own work on a par with the Americans. Homage to Le Brocquy is different. Here Ballagh refers to himself only in that the style of the male figure and the composition of the work are recognisable as his alone. Yet the true subject of this work is Le Brocquy's unparalleled contribution to the Irish art world. Here Ballagh steps down and allows another to take the limelight. This work is unusual not only in its reference to Le Brocquy, but the media used is remarkable. While other works in this style are screenprints or flat grids of square paintings, this work boasts a real sense of space. The Le Brocquy is not merely represented in paint but is given a great sense of presence as it appears as a real canvas within the tray frame. The apparent difference between the style of the rendered Le Brocquy and the male figure that stands before it on the glass of the picture draws attention to the disparity of the two artist's styles. More significantly, it demonstrates the way in which artists whose works are perceived as entirely different may continue to draw influence from, and have masses of respect for, each other.
* NIVINSKY, IGNATY (1880-1933) Two Female Figures (Venus) , signed and dated 1916. Oil on canvas, 159 by 112 cm. Provenance: Private collection, Europe. Authenticity of the work has been confirmed by the experts E. Ivanova and A. Kiseleva.Exhibited: Ignaty Ignat’evich Nivinsky, 1880-1933. Vystavka k stoletiyu so dnya rozhdeniya, Pushkin State Museum of Fine Arts, Moscow, 1980, No. 357.Literature: V. Dokuchaeva, Ignaty Nivinsky, Moscow, Sovetskii khudozhnik, 1969, p. 42, No. 14, illustrated, titled Venera.Exhibition catalogue, Ignaty Ignat’evich Nivinsky, 1880-1933. Vystavka k stoletiyu so dnya rozhdeniya, Moscow, 1980, p. 74, No. 357, listed.Nivinsky’s reputation as a painter came from the nudes that he painted in the spirit of Neoclassicism in 1916. In these works the “confirmed Italianist”, as the artist called himself, tried to engage with the methods of the great painters of the Renaissance. It is no coincidence that Nivinsky even chose titles for his paintings in keeping with traditional examples of Italian art. Thus the present lot, entitled Two Female Figures, was long known as Venus, and other similar studio compositions were called Adam and Eve, The Upbringing of Diana and finally the darling of Italian art, Saint Sebastian.It is not only the names of the pictures; it is first and foremost the look of the models he selected, which brings to mind the Venetian masters who inspired him. Nivinsky’s aim in his pictures was to create something equivalent to the Renaissance ideal of beauty. Somehow he sets a full-blooded sense of life, health and harmony against the elegance and refinement extolled as the aesthetic ideal by Art Nouveau and Symbolism, and against Cubism’s distortion of form. The renowned art critic Yakov Tugendhold wrote: “Nivinsky has this remarkable urge to rehabilitate the Renaissance beauty of the human body in modern Cubist art with its emphasis on the tangible and material”.The artist’s chief source of inspiration was Italian monumental and decorative painting. Having made several trips to Italy in the early 1900s with Zholtovsky, the renowned Neoclassical architect, Nivinsky was enthralled by the magnificent legacy of the Renaissance artists. He produced many sketches and pictorial copies of paintings in the cathedrals and palazzi of Rome, Assisi, Mantua, Pisa and Ferrara.In painting, Nivinsky was striving for what Zholtovsky was then trying to do in architecture - to revive the classical tradition. Nivinsky carries many of the conventions and methods of decorative and monumental painting over to his smaller easel compositions: vigorous, intensely vibrant colour covering large flat surfaces, a treatment of form in which the evocative silhouette acquires special importance (the artist sometimes emphasises it by outlining the figure) and a precision in rendering rhythm. Nivinsky combines different principles in his work - monumentalism and easel painting, tradition and modernity. For this reason, his canvasses always evoke pictorial associations.Two Female Figures with its painterly quality, richness and opulence of tone, and sensual beauty of the female body is reminiscent of the art of the Venetians. His treatment of the image shows the artist operating in his characteristic borderline space. Nivinsky depicts his nude subject neither in an interior setting, though the drapery to the right continues this tradition, nor in a natural setting, though beyond the figures to the left a landscape is clearly visible. His composition is built on contrasting the gentle elastic movement of the crouching figure with the figure thrusting out its arms, yet equilibrium and stability are preserved. The extraordinary tonal richness and painterly artistry with which Nivinsky communicates the sprightly fragility of the human body put Two Female Figures (Venus) among the most successful examples of the artist’s mythological easel work.
AIVAZOVSKY, IVAN (1817-1900) Gibraltar by Night , signed and dated 1844. Oil on canvas, 58.5 by 87 cm. Provenance: Collection of Charles E. Sorensen, Principal of the Ford Motor Company 1925-1944, Detroit.Acquired from the above by a private American collector in the early 1950s.Thence by descent to the previous owner.Private collection, UK.Authenticity of the work has been confirmed by the expert V. Petrov.Exhibited: The Hague, 1844.Literature: N. Sobko, Slovar’ russkikh khudozhnikov, 1895, p. 316, No. 110.The work will be included in the forthcoming monograph Light, Water and Sky by G. Caffiero and I. Samarine, to be published in November 2012.Ivan Aivazovsky’s painting Gibraltar by Night in a way sums up his tour of Europe which he undertook after his graduation from the Imperial Academy of Arts. It is thought to have been painted in 1844 in The Hague from the artist’s fresh impressions of a visit to Gibraltar, and was then exhibited in the same city.By this time the young artist had managed to cover a good half of Europe in four years, and everywhere he went his journey was extraordinarily successful. Aivazovsky’s travels were accompanied by personal exhibitions in capital cities, the attention of the Pope and other highly important people, ubiquitous praise for his talent as a marine artist and the accolade of academician at three European Academies of Arts.The artist met with no less honour on return to his homeland. His colleagues immediately submitted a petition to the Board of the Petersburg Academy eloquently listing the artist’s achievements abroad: “Having made his name in Italy and in Paris, he acquired a reputation as the prime artist in Holland and England, travelled around the Mediterranean as far as Malta, busied himself in Gibraltar, Cadiz and Granada, earned praise and awards as no other prizewinner ever had the fortune to gain for himself, I regard it as my duty to propose, out of respect for his aforementioned merits, that the rank of academician be conferred on him”. Nine days later, on 13th September 1844, the Board of the Academy of Arts unanimously awarded Aivazovsky the title of academician.In fact, despite Aivazovsky’s rather tender age, in his work of the mid-1840s he comes across as a fully established master who has found his trademark theme and compositional metier in art, to which he remains true throughout his life. The ship foundering in the waves of a stormy sea, and the silhouette of a sailing vessel in the moonlight are depictions that have entered the treasury of motifs of Russia’s greatest marine artist. He created the majority of his compositions of this kind guided by the dictates of his heart. His visual memory, made many times more powerful by his lively creative imagination, allowed him, without precisely copying reality, to reproduce in his paintings a variety of emotional states in nature, by recalling a landscape motif committed to memory in its most general features, but charging it with imaginary effects of light and feeling, often disregarding whether this was true to life in the literal sense. Gibraltar by Night, however, evidently had a basis in reality. The artist, who visited London and the British crown possession of Gibraltar in 1843, had certainly heard a lot about the tragedy that took place that year in the Strait. In 1843 the British Navy’s new paddle steamer Lizard was lost off Gibraltar through collision with a French steamship. This was probably the event, agitatedly discussed in the British press, that inspired Aivazovsky to create his canvas.Through the historic collision, the artist’s favourite theme of the shipwreck was enriched by conceptual overtones that led him to enhance the drama of what happened. The modern ship driven by a steam engine comes to grief, her sailors - desperate to be saved - stretching out their arms towards a sailing vessel in the background proceeding peacefully at the will of the waves. At the same time, Aivazovsky intentionally shifts the dramatic scene away from the centre to the right-hand side of the canvas to give the viewer the chance to appreciate the dazzling seascape with its solitary rock on the horizon and his famous, masterfully painted path of moonlight sparkling in a multitude of gradations and splashes of colour on the foaming waves.The relationship in Aivazovsky’s paintings between main and secondary elements was prompted by artistic instinct. The main elements are the spectacular luminous effect, unique rhythmic structure and unity of light and air. Outward verisimilitude - perspective, the distribution of light, the working of compositional detail - are secondary. Aivazovsky was always faithful to this principle. The artist himself acknowledged: “I believe that my paintings are distinguished not only one from another, but also from the work of many others, by their luminous strength; and those pictures whose main strength is the light of the sun, moon etc., but also sea waves and surf, should be considered my best”.This painting is a variation in romantic tones on the theme of the insignificance of human progress when confronted by the elements. The artist takes the opportunity to build his composition on the contrast of the illuminated night sky and sea with the dark silhouette of the sinking steamship, strangely lit by the glow of red sparks flying out of her funnel. Aivazovsky seems to have explored to the limit the spectacular but simultaneously tragic phenomenon of the shipwreck. His aim was to heighten the emotional tension in his compositions. As he later wrote: “I frequently painted shipwrecks, but they were seen only in the distance, by viewers who had to imagine in their heart the horrors unleashed within the ship as her fracturing wooden walls were destroyed by the waves...” The artist felt a special excitement in suggesting that the viewers should work out for themselves the ending to a situation that was invariably presented to them together with much eloquent, symbolic detail. In the case of Gibraltar by Night this is a buoy being tossed by the waves that precisely centres the composition and a sailing vessel that has appeared not far away, inspiring hope. This device, often used by the artist, when combined with virtuoso effects of colour and light could be relied on to impart an emotional charge to the scene.
30 Collector`s Cards Albums 1) 4 albums "Movie Stars" and "Cinematic Art". - 2) 4 albums "Flora". - 3) 7 albums "Classic and modern painting". - And: 4) 15 albums "Fauna". - 1 album not complete. 30 Sammelbilder-Alben 1) 4 Alben "Filmstars" und "Filmkunst". - 2) 4 Alben "Flora". - 3) 7 Alben "Klassische und Moderne Malerei". - Und: 4) 15 Alben "Fauna". - 1 Album nicht komplett. Condition: (3/-) Starting Price: €80
Micheál MacLiammóir 1899-1978 OIDHCHEANNA SIDHE 1919-1921 (FAIRY NIGHTS) Watercolour, 14" X 10" (35 x 25cm), signed and dated 1919. Exhibited: All for Hecuba, Hugh Lane, Municipal Gallery of Modern Art, Dublin 4th October-2nd November 1978 (Cat No. 4) An exhibition to mark the Golden Jubilee for the Edwards- MacLiammóir partnership of the Gate Theatre 1928-1978 (Catalogue Available with purchase) The Catalogue note reads: Title Page from Oidcheanna Sidhe, published by the Talbot Press in 1922, captioned "d`Feacg sí trid na crainnte" ("she peeped through the trees") Provenance: Collection of Micheál Ó hAodha, Abbey Theatre Director and biographer of Micheál MacLiammóir, and by descent to the current owner.
A rare Liberty’s terracotta Floralis pattern sundial, designed by Archibald Knox circa 1905 stamped designed and manufactured by Liberty’s & Co. the plate also signed 107cm.; 42ins high It is extremely rare to find a sundial plate also signed by Liberty’s. Exotic terracotta garden pottery , designed by both Archibald Knox, who was Liberty’s chief designer and Mary Watts of the Compton Pottery were offered for sale in Liberty and Co’s Yuletide Gifts catalogue of 1903-4. In 1899 Archibald Knox began designing for Liberty particularly the new Celtic design work such as Cymric’ and ‘Tudric’ range. Their Cymric catalogue states, |The feature of this development is, its complete breaking away from convention in the matter of design treatment|. In addition to metalwork and jewellery Knox designed terracotta garden ornaments, carpets, wallpaper and fabrics for Liberty & Co, seemingly mastering each discipline with ease. He was held in such high esteem that, even after his association with Liberty & Co had ended, in 1917 he was commissioned to design the headstone for Arthur Lasenby, the founder of Liberty’s grave where it still stands at Lee, Buckinghamshire. Literature; See Archibald Knox & Mary Seton Watts, Modern Celtic Art Pottery , 2005 for an identical sundial, page 35 see additional illustrations
John William Waterhouse (1849-1917) - Watercolour sketch - "Interior at Pompeii", 8.5ins x 11.75ins, unsigned, in modern walnut and gilt moulded frame and glazed Provenance : By family descent from artist to vendor - Exhibited at The Mappin Art Gallery, Weston Park, Sheffield, 14th October to 19th November 1978, No. 34
John William Waterhouse (1849-1917) - Watercolour sketch - "Neapolitan Shop" - Showing a fruit stall with a seated figure to foreground, 9ins x 11ins, unsigned, in modern gilt and walnut frame and glazed Note : By family descent from artist to vendor - Exhibited at Mappin Art Gallery, Weston Park, Sheffield, 14th October to 19th October 1978, No. 32
William Crozier HRHA (1930-2011) THE RIVER IN THE WOOD, 1991 oil on canvas signed lower left; signed again, titled and dated on reverse; with inscribed label also on reverse 24 by 30in. (60.96 by 76.20cm) The River in the Wood shows William Crozier engaging with two of his favourite motifs - the tree and the river. Scottish by birth, later becoming an Irish citizen, Crozier`s landscapes avoid any of the characteristics of national stereotype. Crozier settled in West Cork in 1983 although he continued to travel and work abroad. His vibrant, almost abstract paintings of the landscape of West Cork, such as this example, were a revelation when they came to wider public attention in Ireland after a retrospective of Crozier`s work at the RHA Gallery in 1991. Jim O`Driscoll, a native of West Cork, clearly recognised the novelty of Crozier`s engagement with the locality. He was an important collector of his work. In The River in the Wood strong vivid colours are applied directly onto the white primed canvas, visible in the red branches of the trees to the right. Using a flattened perspective, Crozier creates a rich varied surface of competing forms, juxtaposing the rushing flow of the river and the vertical shapes of the trees. The blue water severs the composition separating an island of deep red and green trees from a sunlit group of pale green and orange woods to the left. The latter introduce a subtle sense of movement into the composition in contrast to the more dynamic form of the river. This work, like other paintings by Crozier, is deceptively simple in its construction. However the careful selection of colours and control of form reflect a deep understanding of both historical and modern European art. It evokes the iridescence of Gothic stained glass as well as the expressionist vigour of French Fauvism. The work is a direct response to nature. As Crozier declared, `I cannot invent anything. I`ve got to see it`. The painting is then made in the studio directly on the canvas, without preliminary drawings. Through this intuitive approach, the final work becomes an internalised response to not just a specific location but to a particular moment and to the combination of psychological and physical forces which influenced Crozier while painting it. One of his stated aims in creating a painting was to `invest it with an epic quality`. The understated yet dramatic combinations of forms and colours make The River in the Wood such an epic landscape. Dr. Róisín Kennedy Apr-12 1. Quoted in P. Vann., `A Man of Imagination`, in ed. C. Crouan, William Crozier, Lund Humphries, 2007, p.20. 2. Ibid, p.39. Jim O`Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O`Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation. This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks. (£8,100-£12,150 approx)
Tony O`Malley HRHA (1913-2003) PEDRO BARBA - ISLA DE GRACIOSA, 1993 oil on board signed with initials and dated lower left; signed again, titled and dated on reverse; also with artist`s archival number [no. 2466] on reverse; with typed Taylor Galleries exhibition label on reverse 48 by 36in. (121.92 by 91.44cm) Provenance: Taylor Galleries, Dublin Exhibited: `Tony O`Malley at 80. Recent Work`, Taylor Galleries, Dublin, 21 October - 6 November 1993, catalogue no. 17 (illustrated on front cover of catalogue); `An Advocate For Art : A Tribute To Jim O`Driscoll SC`, Irish Museum of Modern Art, Dublin, 6 July - 15 August, 2010 Literature: Ed. Lynch, Brian, Tony O`Malley, Scolar Press in Association with the Butler Gallery, Kilkenny, 1996, p. 310 (full page illustration) Pedro Barba, on the island of Graciosa, is close to Lanzarote in the Canary Islands. The island is surrounded by an uninhabited archipelago which is a nature reserve. It has formed the subject of another work by O`Malley`s now in the collection of IMMA. The painting, like much of O`Malley later oeuvre, can be considered joyful in mood. This is largely due to the light tonality, bright colours and almost playful juxtaposition of forms that appear to float across the space of the wood. O`Malley preferred to paint on wood or board as opposed to canvas. The former enabled him to carve and scrap into the surface and to create almost sculptural work rather than being restricted to conventional painting. In Pedro Barba, Isla de Graciosa, O`Malley`s interventions into the wood are very evident. He has drilled sequences of holes into various parts of the painting. For example such lines are visible in the large blue rectangular element in the upper part of the composition and along the edge of the yellow element in the lower right. The holes, which appear to be made by a screwdriver or nail are highlighted in different coloured paints. Elsewhere scratch marks make what could almost be described as existential marks which disrupt the painterly surface and introduce a more tangible quality into the work. Dr. Róisín Kennedy Apr-12 Jim O`Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O`Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation. This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks. (£16,200-£24,300 approx)
Louis le Brocquy HRHA (1916-2012) THE TÁIN COLLECTION Aubusson tapestry; Atelier René Duché (each no. 4 from an edition of 9) signed with initials in the weave on reverse by maître-lissier, René Duché and numbered lower right; with certificate of authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duché 72.50 by 110in. (184.15 by 279.40cm) Provenance: Agnew`s, London; Where purchased by the current owner Exhibited: `Louis le Brocquy Aubusson Tapestries`, Agnew`s, London, 3-29 May 2001, The Táin Tapestries Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland`s oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin. The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce`s Finnegans Wake drew on its meandering style - but Thomas Kinsella`s Táin was the first widely-accessible version, especially when Oxford University Press` 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass` Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation. The images le Brocquy called `shadows thrown by the text` became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in these tapestries. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post. Le Brocquy`s innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. This shows immediately in Army Massing, where marks cascade in rivulets that resemble both chain mail and hand-writing, and in the H-shaped Cúchulainn confronting Ferdia. Different ages and cultures whisper through the images - and through these twenty tapestries made during 1998-2000, when le Brocquy collaborated with maître-lissier René Duché, whose firm had recently been awarded the honour Meilleur Ouvrier de France. Cuchulainn`s Warp Spasm, for example, speaks both of calligraphic marks from Sun Tzu`s The Art of War and Yves Klein`s bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples. The translation into tapestry, via le Brocquy`s Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché`s subtly-textured cottons and wools freed le Brocquy`s black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book`s relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or sentence. They belong together. The tapestries were last seen at the Irish Museum of Modern Art in 2003, when they were acquired under the Heritage Tax Scheme. It is profoundly moving to see them together in these weeks after the artist`s passing on 25 April 2012. Le Brocquy`s hand reaches out through them. Medb Ruane April 2012 (£202,510-£243,010 approx)
Alice Maher ARHA (b.1956) COMA BERENICES, 1999 etching and aquatint (no. 14 from an edition of 30) signed in the margin lower right, titled centre and numbered lower left 19 by 16.50in. (48.26 by 41.91cm) Provenance: Acquired directly from the artist by the present owner Sheet size: 29 by 25ins. Coma Berenices was the theme of the artist`s solo show entitled, `Knot: Alice Maher Draws from the Collection` at the Hugh Lane Municipal Gallery of Modern Art, Dublin, 21 April to 10 June 1999. The image was later illustrated on the cover of Paul Durcan’s celebrated work, Greetings to Our Friends from Brazil: One Hundred Poems, published the same year. (£320-£410 approx)
Alice Maher ARHA (b.1956) COMA BERENICES II, 1999 etching and aquatint (no. 13 from an edition of 30) signed in the margin lower right, titled centre and numbered lower left 19 by 16.50in. (48.26 by 41.91cm) Provenance: Acquired directly from the artist by the present owner Sheet size: 29 by 25ins. Coma Berenices was the theme of the artist`s solo show entitled, `Knot: Alice Maher Draws from the Collection` at the Hugh Lane Municipal Gallery of Modern Art, Dublin, 21 April to 10 June 1999. The image was later illustrated on the cover of Paul Durcan’s celebrated work, Greetings to Our Friends from Brazil: One Hundred Poems, published the same year. (£320-£410 approx)
Leonid Borisov, Russian b.1943- Untitled geometric abstract composition; oil on canvas, signed and dated 1986 to verso, 60x65cm Note: Leonid Borisov was initially recognised as a Soviet Nonconformist Artist, he concentrated on geometric abstraction which was closer in style to the nonconformist art in Moscow than his home town of Leningrad. In 1978 the Ministry of Culture granted him a solo show at the Krupskaia House of Culture which was a feat of success in itself as unofficial shows were banned in Leningrad after 1976 particularly. More recently he contributed work in 1991 to the exhibition `Modern Artists-Homage to Malevich`, the State Tretiakov Gallery have two of his paintings in their collection and his work is also in the collections of the Penza State Art Gallery, the Dresden State Art Gallery and the State Russian Museum. Borisov continues to work in a geometric abstract style and lives in St. Petersburg.
A collection of Oriental and English ceramics to include a 19th Century Chinese baluster shaped vase decorated with scholars in a landscape with script to the side and six character mark to base, three Chinese blue and white ginger jars and covers, a large Delft candlestick, a modern baluster shaped vase, a Doulton Lambeth Carrara vase decorated in the Art Nouveau taste and bearing printed and incised marks to base, and a 19th Century oval basket (8) (PART ILLUSTRATED)
Collection of 19th & 18th Century Magazines: To include Modern Art & Literature 1894, The Gentlewoman 1898, Pears Annual 1898, Coronation King Edward 1902, London News Victory 1919, Western Home Monthly Nov 1914, June 15, July 15, August 15, 6 copies of 1915 The Canadian Countryman, 3 copies The Illustrated London News Coronation Record Number 1937, Sphere Silver Jubilee 1935, Sphere 1936 and 5 later magazines
Betty Joel, An Art Deco sycamore dining suite, comprising table, six chairs and a sideboard, the rectangular table top with curved ends, raised on a pair of curved supports with stepped bases, the chairs with lattice backs, and the sideboard with three central drawers flanked by cupboard doors to either side, the reverse bearing label inscribed `Token hand-made Furniture, Designed by: Betty Joel, Made by: G. Butcher at Token Works, Kingston By-pass, July 1935`. See: Plate XXXIV, Modern Cabinet Work, Furniture & Fitments, Wells & Hooper, fifth edition, 1938
* Austin Wright (British, 1911-1997), Beach Figures; and Figure Group, signed bottom right with initials "A.W", ink wash, 49 x 62cm (19 x 24in). Provenance: Private collection, Cambridge. Austin Wright was born in Chester and spent his early life in Wales before graduating in Modern Languages at Oxford and taking up teaching. From 1946 he lived and taught in Upper Poppleton near York with his wife. Early success was rapid and by 1954 he had given up teaching all together and had devoted his time to drawing and sculpture. After exhibiting in "Modern Art in Yorkshire" in 1955 alongside well known artists such as Paolozzi, Armitage and Frink, he was invited by The British Council to show in "Younger British Sculptors", an exhibition that toured Sweden in 1956. Despite the other illustrious and gifted exhibitors, it was of Wright that the art critic, Charles Sewter, wrote: "It would not be outrageous to claim that Wright is the most gifted sculptor working in Britain today". He produced works for the University of York, and was on the founding committee for Yorkshire Sculpture Park, as well as contributing many public artworks in Yorkshire. A centenary exhibition was held in York Art Gallery in 2011, bringing together works from the 1940s to the 1980s, including sketches and finished sculptures. These document Wright`s fascination with the world around him and his ability to translate his ideas into stimulating and challenging forms.
* Gwen Raverat (British, 1885-1957), Stream and Woodland, signed lower right with initials "GR", oil on board, 38 x 30cm (15 x 12in). Provenance: Private collection, Cambridge. Gwen Raverat was the daughter of Sir George Darwin, Professor of Astronomy at Cambridge University and the grand-daughter of Charles Darwin. She studied at the Slade from 1908-1911 and was a self-taught wood engraver. In 1911 she married Jacques Raverat, a fellow art student. The pair were close friends of Eric Gill, Stanley Spencer and Andre Gide. In 1920 Gwen Raverat became a founder-member of the Society of Wood Engravers and an Associate of the Royal Society of Painter-Etchers and Engravers. Raverat`s role within the revival of wood engraving cannot be underestimated. She published books containing modern wood engravings from 1915 and illustrated a huge quantity of books throughout her life. Darwin College, Cambridge, occupies both her childhood home and the neighbouring Old Granary where she lived for the last years of her life.
" Modern Practical Farriery forming a complete system of veterinary art, with numberous illustrations and a series of anatomical plates, and added is an essay on the diseases and management of Cattle, Sheep and Pigs" William Mackenzie (n.d)ills. plates etc, half leather, front board and back strip detached, McBride J. A. " Anatomical Outlines of the Horse", third ed. Cirencester, Baily and Son, frontis, numerous plates, pencil inscription ffep, Day, Son and Hewitt "Half Crown Key to Farriery or Vetinary Practice at Home` London 1900, and three other related vols.
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