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Click here to subscribeEdward Montgomery O`Rourke Dickey (Irish, 1894-1977), "The Road to Coed Coch", signed, pen and ink wash, 21 x 27cm.; 8.25 x 10.5in, together with a male portrait by the same artist, signed in pencil in the margin, woodcut, image size 14 x 11.5cm.; 5.5 x 4.5in (2). Artists` Resale Right ("droit de suite") may apply to this lot. `Condition report: see terms and conditions.`
An early 20th century jadeite and diamond cluster ring, circa 1920, the oval cabochon jadeite panel measuring 14.48 x 11.08 x 5.00mm, within a surround of eight cut diamonds, approximately 0.65 carats total, the shank stamped `18ct & plat`, finger size O. Offered for sale with The Gem and Pearl Laboratory Jadeite Jade Report, Number 08790, Dated 25 October 2013, stating: Jadeite Jade, no evidence of treatment was observed.
A French sapphire dress ring, circa 1950, the polished geometric setting centred with a cushion shaped sapphire, weighing 4.43 carats, stamped with French poin?on, finger size O. Offered for sale with The Gem & Pearl Laboratory sapphire report, number 08570, dated 17th September 2013, stating: Natural sapphire, no evidence of heat treatment was observed.
A STAFFORDSHIRE EARTHENWARE OVAL PLAQUE painted by J F Cartlidge, signed, with pheasant and rabbits at the edge of a wood, in gilt rim, 49 x 37cm, inscribed with the title Nearing the Guns, c1900 ++On the reverse a fine hairline crack at 9 o`clock which is not apparent from the front, no retoration
TWO MEISSEN CUPS AND SAUCERS with gilt wishbone handle, painted with watteauesque scenes reserved on a turquoise ground, saucer 12.5cm diam, the larger saucer matched, crossed swords in underglaze blue, gilder`s C inside the footrim, c1740 ++Saucer cracked at 7 o`clock. The two cups and the associated saucer in good condition
Thos. Russell & Son, Liverpool, an 18 carat gold pocket stop watch, hallmarked Chester 1895, no. 89390, with a plain four piece case, the white enamel dial with black Roman numerals, seconds outer index and blued steel spade hands, centre seconds stop/start slide at 2 o’clock, jewelled three quarter plate movement with bimetallic split balance and overcoil balance spring, 55mm diameter, 138.8g gross
Aquastar, Regate, a gentleman’s stainless steel wristwatch, circa 1970, ref. 1121128, the two piece screw down case with silvered dials, five circular apertures at 12 o’clock, when push set change colour every five minutes, blue, red, and silver, blued steel cathedral hands and orange centre seconds fly back hand, 17 jewel Aquamaster automatic movement, cal. LWO 1345, no. 3253731, the case 45mm including lugs, on a blue rubber strap
Girard-Perregaux, a gentleman’s stainless steel automatic wristwatch, 4703 696, the two piece screw down case with blue dial, minute index, baton numerals and hands and day/date aperture at three o’clock, 17 jewel Swiss automatic movement, cal. A.S. 1882/3, the case 37mm including lugs, on a stainless steel block link bracelet with fold over clasp, in a Girard-Perregaux box with outer card packaging
Heuer, Monaco, a gentleman’s stainless steel automatic chronograph wristwatch, circa 1974, the two piece square case with crown at 9 o’clock, stop-start pushers at 2 and 4 o’clock, the blue dial with baton numerals, polished red hands, red centre seconds fly back hands, subsidiary dials running hours and minutes and date aperture at 6 o’clock, 17 jewel Heuer automatic chronograph movement, cal. 12, the case 47mm including lugs, on a block link bracelet
Jaeger LeCoultre, an Art Deco gentleman’s 14 carat gold wristwatch, circa 1940, ref. 771614, the two piece rectangular case with two tone silvered dial, tapered baton and dot numerals, Arabic 12 o’clock, Dauphine hands and subsidiary seconds dial, 17 jewel LeCoultre movement, cal. 424, no. 293962, the case 37mm including lugs, on a brown strap
Universal, a gentleman’s 18 carat gold wristwatch, ref. 1719626, no. 10216 2, the two piece case with silvered dial, Arabic 12 o’clock and dart numerals and Dauphine hands, 17 jewel Universal bumper automatic movement, cal. 138SS, the case 43mm including lugs, on a block link bracelet, with ladder snap clasp
Patek Philippe, an Art Deco gentleman’s 18 carat gold wristwatch, circa 1945, ref. 628608, the two piece rectangular case with hidden lugs, the rose gold dial with Arabic numerals at 2, 9 and 12 o’clock, dot index and subsidiary seconds dial, 18 jewel Patek Philippe movement adjusted to heat and cold isochronism and five positions, the case 34mm including lugs, on a brown strap
Franck Müller, Transamerica Megaople, a gentleman’s stainless steel chronograph wristwatch, circa 2005, no.11/250, cal. FM7000, the two piece case with a screw case, and screw down stop/start flyback pushers, the black dial with white second index, and Arabic luminous skeleton hands and numerals, subsidiary dials running seconds, hours and minutes, city and date aperture at 3 o’clock, 26 jewel Franck Müller chronograph automatic movement, the case 49mm including lugs, on a black strap, in a Franck Müller case with outer box and certificate
* Rolex, Day-Date, a gentleman’s 18 carat gold wristwatch, circa 1999, ref. 18238, no. A592477, the two piece screw down case with white dial, gold Roman numerals, baton hands, day aperture at 12 o’clock and date aperture at 3 o’clock, 31 jewel Rolex automatic movement adjust to five positions and temperature, cal. 3155, no. 3-7995127, the case 44mm including lugs, on an 18 carat gold block link bracelet with fold over clasp
Nathaniel Hone RA (1718-1784) THE SILVER BIRCH oil on canvas signed with initials lower right 17 by 27in., 42.5 by 67.5cm. L Collection of Dermod O`Brien PRHA (no. 458 in an inventory of his collection); Dr Brendan O`Brien, by descent; Adam`s, 17 May 1987, lot 143 (£4,000); Private collection; Gorry Gallery, Dublin; Private collection ‘Paintings of the 18th, 19th and 20th Centuries’, The Gorry Gallery, November 2003 This is a rapidly painted landscape with firs and mountains, probably painted on the Continent. The relaxed manner in which it is painted belies the skill with which the artist can convey the essence of the landscape. The figures of the standing man and the woman who bends towards the ground add a pleasing human quality to the scene. In many later landscapes Hone deliberately subdued his colour range, with a sort of “less is more” philosophy, and here the palette of olives, silvers and ochres is original. He employs an interesting ‘scuffed’ technique to indicate the lightness or movement of the trees on the right. Dr Julian Campbell (Reprinted courtesy of the author and The Gorry Gallery, Dublin)
Daniel O’Neill (1920-1974) RUINS IN A LANDSCAPE oil on board signed lower right 13.25 by 17.5in., 33.125 by 43.75cm. L By descent to the current owner from a relative of the artist (by marriage) Also with this lot ENVOY, A Review of Literature & Art, Vol. I, No. 1, December 1929 which includes a contribution by Cecil Ffrench Salkeld entitled Daniel O`Neill, A Critical Appreciation, pp.31-43.
Daniel O`Neill (1920-1974) TWO WOMEN BY THE SEA oil on canvas faintly signed upper left; inscribed with title, artist`s name and numbered [no. 33] on original label on reverse 20 by 24in., 50 by 60cm. L Two Women by the Sea is a beautifully balanced double portrait that brings together O`Neill`s two great passions, landscape and women. The mood is typically quiet with a subtle sense of disconnect lingering between the subjects, neither of whom engage the viewer but rather stare off in opposite directions. Their humour is somewhat mirrored in the environment around them. The waters barely break a wave on the shore but there is a hint of turbulence lurking in the clouds which appear to be growing darker from the left of the composition. The palette is a harmony of blues and greys warmed by flesh and earthy tones favoured by the artist. This finish is textured with impasto adding another dimension to the work. Although exhibition records for Two Women by the Sea have not been traced, its size and presentation - in a hand-carved Waddington frame - would suggest it must have been included in a significant exhibition at some stage, possibly with the Waddington Gallery in London or Montreal. The title is inscribed on a label on reverse and it is numbered thirty-three.
Cecil King (1921-1986) VERGE, 1985 oil on canvas with typed Oliver Dowling Gallery label on reverse 36 by 48in., 90 by 120cm. L Oliver Dowling Gallery, Dublin;The Collection of Jim O`Driscoll SC possibly shown in Oliver Dowling Gallery, Dublin, 11 April - 3 May, 1986 (catalogue listing not traced)
Tony O`Malley HRHA (1913-2003) BURREN, 1993 oil on board with collage element signed with initials lower left; signed again in Irish, titled, dated [04/93] and with artist`s archival number [No. 2670] on reverse; also with Taylor Galleries exhibition label on reverse 19.5 by 5.25in., 48.75 by 13.125cm. P Taylor Galleries, Dublin;The Collection of Jim O`Driscoll SC `Tony O`Malley at 80, Recent Work`, Taylor Galleries, Dublin, 21 October - 6 November 1993, catalogue no. 41
Louis le Brocquy HRHA (1916-2012) THE TÁIN. CUCHULAINN CONFRONTING FERDIA and HORSEMAN, 1969 (A PAIR) lithographic brush drawings on Swiftbrook paper; (each no. 12 from an edition of 70) each signed and numbered in pencil lower right; each with Dawson Gallery label on reverse 20.75 by 14.5in., 51.875 by 36.25cm. P Dawson Gallery, Dublin; Collection of the late Professor James Lydon, Trinity College, Dublin Framed and mounted uniformly.Printed by Frank O`Reilly, Dublin as part of The Tain Portfolio, which contained different prints or lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. The present examples are nos. 1 and 19 in the series."
Louis le Brocquy HRHA (1916-2012) THE TÁIN. METAMORPHOSIS, 1969 lithographic brush drawing on Swiftbrook paper; (no. 1 from an edition of 70) signed, numbered, dated and with edition number in pencil lower right 21.5 by 15in., 53.75 by 37.5cm. P Printed by Frank O`Reilly, Dublin as part of The Tain Portfolio, which contained different prints or lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 10 in the series from portfolio 1."
Edward McGuire RHA (1932-1986) PORTRAIT OF ULICK O`CONNOR, 1975 oil on canvas board signed with initials and dated lower right; with Dawson Gallery label on reverse; with retrospective exhibition details also inscribed on reverse 20 by 15.5in., 50 by 38.75cm. P Acquired by the present owner from the artist`s widow RHA, 1976, catalogue no. 169 [NFS];`Edward McGuire RHA 1932-1986 Retrospective Exhibition`, RHA, Dublin, 30 October - 17 November 1991, catalogue no. 35 Fallon, Brian, Edward McGuire, RHA with a catalogue by Sally McGuire and Poems & Memoirs, Irish Academic Press, Dublin, 1991, catalogue no. 77, p.123 (illustrated); p.124 (listed) This portrait of the writer, Ulick O`Connor, was painted in 1974 and expresses the artist`s most restrained and relaxed handling, possibly as an antidote to the subject`s high-profile and challenging approach at the time. He depicts O`Connor as a flamboyant figure, hair shoulder-length, but with a look that is faintly uncertain despite his readiness to enter controversies, mainly those about the arts.Ulick O`Connor (b.1928) is an Irish writer, historian and critic born in Dublin and best known for his biographies of Oliver St. John Gogarty, Brendan Behan, his studies of the early 20th century Irish troubles and the Irish Literary Revival. His own autobiography, The Ulick O`Connor Diaries 1970-1981: A Cavalier Irishman (2001), is noted for documenting the progress of the Peace Process and of the Northern Ireland Assembly as well as recording his encounters with distinguished Irish and international personalities, ranging from the political, such as Jack Lynch and Paddy Devlin, to the artistic, Christy Brown and actor Peter Sellers. He is a member of Aosdána.
Martin Gale RHA (b.1949) THE WEATHER IN MAYO, 1999 oil on canvas signed lower left; signed and dated on reverse; with inscribed exhibition label on reverse 42 by 48in., 105 by 120cm. L Taylor Galleries, Dublin;Where purchased by Jim O`Driscoll SC `Martin Gale Paintings`, RHA, Dublin, 17 September - 24 October 2004 and 2 December -27 March 2005, plate no. 37, (full-page illustration) in catalogue (loaned from the O`Driscoll Collection)
Peter Deighan (b.1941) PORTRAIT OF VINCENT O`BRIEN AND NIJINSKY, 1983 oil on canvas signed and dated left of centre 30 by 40in., 75 by 100cm. L Other horses featured include: Alleged, Roberto, Cottage Rake, Golden Fleece, Hatton`s Grace, Ballymoss, Long Look, Lomon, Larkspur, Caerleon, Boucher, Gladrags, Gladness, Valoris, The Minstrel, Quaretimes, Royal Tan, Early Mist, Knock Hard, Sir Ivor.
Terence P. Flanagan RHA PPRUA (1929-2011) A FLOWERING POST, 1980 charcoal and chalk pastel over pencil with incising signed lower right; titled lower left; inscribed with title on David Hendriks gallery label on reverse 32 by 23in., 80 by 57.5cm. P David Hendriks Gallery, Dublin;The Collection of Jim O`Driscoll SC `T.P. Flanagan`, David Hendriks Gallery, Dublin, 22 November - 20 December, 1980, catalogue no. 14 From 12 - 21 September this year Taylor Galleries, Dublin hosted an exhibition entitled `T.P. Flanagan: Painter of Light and Landscape, an exhibition of selected work by T.P. Flanagan (1929-2011)` to accompanies the launch of Dr. S.B. Kennedy’s newly published monograph on the artist.
Tony O`Malley HRHA (1913-2003) SELF PORTRAIT, 1964 oil and crayon on paper signed with initials lower centre; dated lower right; with Taylor Gallery exhibition label on reverse 11.25 by 7.5in., 28.125 by 18.75cm. P Taylor Galleries, Dublin;The Collection of Jim O`Driscoll SC Taylor Galleries, Dublin, exhibition dates unknown, catalogue no. 68 The Butler Gallery, Kilkenny presents `Tony O`Malley Self-Portraits: A Centenary Exhibition 2013`, (from 19 October to 22 December, 2013) the first exhibition dedicated entirely to the self-portraits of the Kilkenny artist who was born in 1913.
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