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Lot 86
Beckmann, J: A Concise History Of Ancient Institutions, Inventions, And Discoveries In Science And Mechanic Art. In 2 vols. Bound in 1. Whittaker, 1823. 1st? Half leather with raised bands, gilt decoration to spine and gilt lettered label, and Buchan, W: Domestic Medicine. Strahan, 1798, 6th Edn. Full leather binding. CONDITION: Scuffing to covers; cut to side of spine; o/w VG; CONDITION: Covers worn and chipped; internally clean
Lot 257
Corgi Classics: Chipperfields Circus 11201 ERF KV Artic, 97887 Bedford O Articulated Horsebox, 97303 Bedford O Articulated Truck, 97092 Bedford Pantechnicon, D46/1 British Railways Transport of the 50s & 60s and TY96205 Doctor Who Collector’s Set, in original boxes, VG-M, 97887 lacks cab, boxes F-VG (6)
Lot 31
Harry Kernoff RHA (1900-1974) FROM THE CUSTOM HOUSE STEPS, DUBLIN, 1933watercoloursigned and dated lower leftL11 by 15.25in., 27.5 by 38.125cm.Purchased at a Harry Kernoff` exhibition in Dublin c.1940-1950 by a friend of the artist;Adam`s, 23 March 2005, lot 35;Private collection`Harry Kernoff (1900-1974) 30th Anniversary Exhibition`, Gallery 4, Dublin, January – February, 2005O`Connor, Kevin, Harry Kernoff, The Little Genius, The Liffey Press, Dublin, 2012 (full colour illustration, captioned watercolour of Custom House Dock, viewed by the ancient Mariner from the North Quay")"A signed copy of Harry Kernoff, The Little Genius by Kevin O`Connor accompanies this lot.This topographical watercolour records working life on the Dublin Quays eighty years ago and highlights the dramatic changes to this stretch of Dublin`s cityscape since the 1930s. The most familiar surviving element is Tara Street railway station seen to the far right where a steam train approaches the bridge to cross the Liffey. The haphazard Dutch gabled dwellings seen on Burgh Quay (now the Ulster Bank offices) house a hive of activity while their decorated windows with flags, including a tricolour and county colours, suggest a festival or sporting event. A hairdressing salon is recorded at the street corner with plenty of pedestrian traffic out front. A horse drawn cart brings its load to the edge of the dock where a ship is berthed ready for loading. The scene is observed from the north side of the Liffey on Custom House Quay by the artist and two prominent figures in the foreground, an aging stevedore to the right and a eager-looking youth to the left.
![Harry Kernoff RHA (1900-1974) BOLAND`S MILL [GRAND CANAL DOCK] 1931watercolour over pencilsigned and dated lower leftL11.5 b](http://lot-images.atgmedia.com/SR/10092/2876358/32-201357152637_468x382.jpg)
Lot 32
Harry Kernoff RHA (1900-1974) BOLAND`S MILL [GRAND CANAL DOCK] 1931watercolour over pencilsigned and dated lower leftL11.5 by 16in., 28.75 by 40cm.Whyte`s, 22 February 2005, lot 23;Private collection`Aonach na Nodlag [sic], 1931`, Mansion House, Dawson Street, Dublin, 11-19 December, 1931, catalogue no. 52 [£7-10-0];`Harry Kernoff (1900-1974) 30th Anniversary Exhibition`, Gallery 4, Dublin, January – February, 2005A signed copy of Harry Kernoff, The Little Genius by Kevin O`Connor published by The Liffey Press, Dublin [2012] accompanies this lot.Boland`s Mills on Great Brunswick Street (now Pearse Street) was one of the buildings held by the Irish Volunteers during the 1916 Easter Rising. Eamon de Valera was commander of the garrison, which was the last to hold out against the British army. Kernoff has portrayed the rear of the building as seen from the Grand Canal Basin. This stretch of the canal is now home to Google headquarters as well as other business and apartment complexes.
Lot 33
Seán Keating PRHA HRA HRSA (1889-1977) ARAN WOMAN (also known as THE MATRIARCH), c.1952-1955pastel and conté on tinted papersigned lower right; with Victor Waddington Galleries label preserved on reverse; also with BOI collection number [2945] on reverseP17 by 14in., 42.5 by 35cm.The Collection of the Bank of Ireland;Their sale, Adam`s, 24 November 2010, lot 5;Private collectionAlthough the identity of this Aran woman is unknown, Seán Keating did at least three paintings or drawings of her between 1952 and 1955, all of which were based on a black and white photograph. He was fascinated by the ageing process, and by the wisdom of old age. As a young child growing up in Limerick, Keating`s paternal grandfather, Michael, lived in the family home in Newenham Street, where he gave guidance and inspiration to his grandchildren until his death at the age of ninety four. Michael`s son, Joseph, was Keating`s father. In later years, Joseph Keating lived with his grown up children in Windsor Road, Rathmines. He too, was a source of encouragement and advice to his children, and later, his grandchildren, until he passed away at the age of ninety two. Indeed, the artist himself lived to be eighty eight years of age, having raised two sons, given grandfatherly reassurance to five grandchildren and documented his own aging process in a series of extraordinary self-portraits. Given his personal experience, it is not at all surprising that Keating was so concerned to recognise and to pay tribute to the hard-won intuition that is so acutely evident in this fine example of his work. He has portrayed the old woman in a calm and meditative mood that seems to mirror her acceptance of life from the perspective of her years. When she was a young woman she worried about life, but according to this image, she knows that there is no point in such troubles. The drawing is an excellent example of Keating`s intuitive perception of the dignity of old age.Dr Éimear O`Connor HRHAResearch AssociateTRIARC-Irish Art Research Centre, TCD.Eimear O`Connor`s book, Seán Keating: Art, Politics and Building the Nation, is published in full colour by Irish Academic Press (April 2013) and is available in soft back, hard back (signed limited edition) and slip case (signed limited edition).
Lot 92
Estella Frances Solomons HRHA (1882-1968) SEAMUS O`SULLIVAN ON THE STRAND, COUNTY KERRYoil on canvas laid boardinscribed with artist`s name, address [Morehampton Road, Dublin], title and original price on reverseL11.5 by 17.5in., 28.75 by 43.75cm.Solomons married poet and publisher Seamus O`Sullivan (1879-1958) (also known as James Sullivan Starkey) in 1929.
Lot 112
Louis le Brocquy HRHA (1916-2012) EIGHT PORTRAITS IN WORDS AND WATERCOLOUR, 1990off-set lithograph print (no. 0324 from an edition of 1000)signed and numbered on the colophonP10.5 by 9in., 26.25 by 22.5cm.Commissioned by Marie Donnelly on behalf of the Irish Hospice Foundation. Each print is loosely inserted in a glassine sleeve on which is printed a written profile of the sitter. The 8 Irish art collectors featured in the set include; Dermot Desmond, Vincent Ferguson, Charles Haughey, Paul McGuinness, Martin Naughton, Vincent O`Brien, Tony O’Reilly and Michael Smurfit. The entire set is presented in a folding case of black linen and papered boards with a matching slipcase. A very fine production.
Lot 115
Tony O`Malley HRHA (1913-2003) THE ISLAND OF ARAWAKS, 1982oil on boardsigned with initials and dated lower right; signed again, titled, dated and with artist`s archival number [521] and address [St. Ives, Cornwall] on reverseP48 by 36in., 120 by 90cm.Taylor Galleries, Dublin;Private collectiondeVere`s, 12 June 1996, lot 119;Private collection`Tony O`Malley`, Taylor Galleries, Dublin, from October, 1986When, in 1974, Tony O`Malley began winter visits to his wife`s family in the Bahamas, its warmth and sunshine led to paintings that celebrated the sea, sun, exotic birds and foliage of this tropical paradise. He continued to go there yearly until 1987, leaving a body of upbeat work that is quite distinct in feeling from his Irish contemporaries.O`Malley`s work is always permeated by a strong `sense of place` but not in an obvious way. Paintings like The Island of Arawaks go beyond a mere literal description. He draws on the totality of his experience, the seeing plus the feeling, and works like a poet to distil this into a concise abstract composition. The glorious colour of this painting has the lightness and luminosity associated with O`Malley`s Bahamian works. It has a bold vertical composition with an intricately patterned central panel set between calmer blue bands. One can imagine the artist`s experience of the island with all his senses bombarded by the novelty and strangeness of exotic birds, butterflies, flowers and fish. O`Malley has taken bits from all of these and has woven them into the surface of the painting. He was also inevitably influenced by the bold, colourful fabrics worn by the locals, the brightly costumed festival dancers and the music, which uses cowbells, drums, horns and whistles. The central panel expresses the cacophony of noise, colour, pattern and movement that epitomises island life. And, against all that is the liquid calmness of the sea, suggested by ethereal blue bands at either side.There is a sense of internal harmony in O`Malley`s work which he achieves by subtle repetition of shapes. An orange leafy shape punctuates and animates the main panel in several spots. This shape is expanded and reappears throughout the composition, most noticeably in the centre as pale, fish-like lozenges. A kind of feathered wing motif appears all three sections. Although the painting is made up of three dramatic vertical columns, O`Malley softens the composition by the repetition of sinuous curves. He forces the eye to wind through the painting, in and out of all three sections in fluid curvilinear paths. Frances Ruane HRHA April, 2013
![Gwen O`Dowd (b.1957) BOW RIVER, BANFF, ALBERTA [CANADA], 1990encaustic on canvassigned, titled and dated on reverse; with ex](http://lot-images.atgmedia.com/SR/10092/2876358/147-201357152440_468x382.jpg)
Lot 163
Mark O`Neill (b.1963) STILL LIFE WITH CHINESE BOWL AND GRAPES, 1998oil on boardsigned and dated lower rightL12.5 by 23in., 31.25 by 57.5cm.Forge Gallery, Collon, Co. Louth;Private collectionPurchased from one of the artist`s earliest exhibitions in the Forge Gallery & Restaurant , Collon, Co. Louth.
Lot 704
Diamond ring, set three graduated brilliant cut diamonds claw set in white metal to the plain white metal shank, stamped ‘W.M.B & S 18ct’, size O Centre diamond 0.25ct approx 4mm diameter, 2 x diamonds 0.10ct each approx 3mm diameter, total 0.45ct approx. diamonds - white/slightly tinted, SI-Il, slight wear to bezel and claws - ** General condition consistent with age
Lot 708
18ct white gold ring, claw set a brilliant cut diamond, approx 0.70ct with baguette cut diamonds channel set in the outswept shoulders, size O½ LMG valuation, 0.70ct approx, H/I colour, Sil - S12 clarity, 22 x baguette cut diamonds 0.53ct approx, G/H colour VS clarity - ** General condition consistent with age
Lot 759
Omega-1970s period Speedmaster Automatic Chronograph, ref: 176.0012, cal 1045, with stainless steel case, charcoal dial, centre chronograph hand, English day ring and date apertures at 3 o’clock, 12 hour counter at 6 o’clock, continuous small seconds at 9 o’clock, 24-hour indicator and day/night display at 12 o’clock. Screw down back with Seamaster logo. Movement no: 41920915, on an Omega ref 1162 stainless steel bracelet with 172 ends. 42mm diameter There are generally signs of heavy usage. The `glass` is heavily scratched and is chipped at 9 o`clock, the dial and all hands appear to be original and in fairly good condition. Crown is signed Omega. Movement currently functions. The bracelet clasp func
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