A large 19th century carved oak coffer, with moulded edge above a carved frieze with centre carved panel depicting a chariot, flanked by pilasters and raised on an ogee moulded base. Width 137 cm (see illustration). CONDITION REPORT: The coffer is structurally very sound. There is no evidence of any rot or woodworm. The top is generally flat and meets the front as it should. There is a stress fracture running from right to left along the join between two of the plank tops. This veers away from the join at the right hand side but stops at the crossbanded edge. There is a similar stress fracture at the rear of the top by the metal pin that holds the hinge in place. The hinges are probably later more substantial replacements but operate as they should. The interior is in generally good condition. The original lock is missing. The carved front is in generally good condition with no significant issues. There is a stress fracture across the centre of the chariot scene which runs all the way across the panel. The sides of the piece are in generally good condition. The back boards are original. The plinth and base mouldings are in good order with only minor scuffs and marks as one would probably expect.
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A Chinese 19th century Famille Rose charger, with figures. Diameter 40.5 cm. CONDITION REPORT: The plate is in generally good condition with no repairs and no restoration. There are no hairline cracks. The gilding is a little rubbed to the rim. The paintwork is in generally good order with only very minor surface scratches. The gilding around each panel is rubbed. There are some scratches to the circular centre gilt band but no serious condition issues.
A George III oak and mahogany crossbanded candle box, with slope front and drawer. Height 42 cm. CONDITION REPORT: Other than the missing pieces of crossbanding (which we do not have) the condition of the box is generally very good indeed. There are no cracks to any of the panels. The hinges appear to be original. The drawer knob maybe later. There are no holes indicating this however marks around the base of the handle suggest one with a slightly larger backplate. The crossbanding to the drawer front has had replacement sections. This is probably the case with the upper panel also. There is a small scuff to the front left hand bottom corner of the base.
A Regency mahogany cheval mirror, the rectangular mirror set between turned columns and raised on downswept legs with brass castors. Height 170 cm, width 69 cm. CONDITION REPORT: The mirror frame is in generally good condition and is structurally sound. There has been one old repair to the front right hand leg. There is evidence of a covered peg just below the top of the leg and a visible crack to the upright behind the leg. There is no movement here and the repair is secure. There is a further peg at the bottom of the rectangular block just above the same leg. All castors are original and not loose. The rear panel of the mirror is in good order. The adjusting knobs on the right appear to be period. They do however seem to have been moved slightly. There is evidence of a single further hole just above the top of each bracket. There is also a small drill hole to the turned section immediately above the handle block. It may simply be that the mirror has had candle sconces which have been removed. It is difficult to tell.
A Chinese 18th century Canton Famille Rose charger, with six character mark verso. Diameter 46 cm. CONDITION REPORT: Very good condition with no damage, repairs, chips, cracks or restoration. There is some rubbing to the gilding around the rim and around the centre panel. The paintwork is crisp with only very minor losses and no significant scratches.
A part 17th century and later child's highchair, with carved panelled back, shaped arms, solid seat, turned legs and stretchers. Height to top of back 102 cm, width across arms 40 cm (see illustration). CONDITION REPORT: Structurally sound. Only partially correct. Arms later. Corner spandrels (ears) later. Supporting blocks to the rear feet. Replacement supporting panel to rear beneath panel. Seat appears old, very old nails possibly later replacement, footrest missing. Approximately 60% “right”.
An Edwardian inlaid mahogany dressing stand, with centre oval mirror, marble top, frieze drawer and flanked on either side by hinged full length mirrors. Width closed 93 cm, height 189 cm (see illustration). CONDITION REPORT: The dressing stand requires some restoration. There are numerous scratches, scuffs and dents which should be visible from the attached images. There are some loose joints but the piece is generally fairly stable. The oval mirror plate is showing some signs of perishing but is serviceable. The left and right hand mirrors are in better condition. None have any cracks. The marble is in good condition. The centre drawer has a later handle. Some of the hinges have missing and loose screws. There are no significant breaks to the piece other than that shown on the back of the right hand bowed panel. We can see no evidence of any woodworm.
A Georgian walnut bureau, with four long graduated drawers with brass drop handles and raised on bracket feet. Width 89.5 cm. CONDITION REPORT: Requires restoration. Generally a little tired. Left hand end panel sprung from joints. One lopper detached, one lock plate missing, handles appear to be original, bracket feet original.
An Edwardian rosewood twin drop flap occasional table, with frieze drawer and low shelf. Width 46 cm. CONDITION REPORT: The table is structurally sound. There is no evidence of any woodworm. The top surface has one old ring mark and several minor scuffs and scratches. The polish is a little dull. The centre inlaid panel has some small losses to the bone on the right hand side. There is also a 1.5 cm section of boxwood stringing missing in the top left hand corner. Both flaps are flat and not warped. The drawer is in good condition with original handles. The legs are in good order. The low shelf and gallery are in good condition with only minor surface marks. The castors are original.
A Victorian walnut and coromandel wood marquetry breakfront side cabinet, with centre panelled door flanked on either side by a glazed door and all raised on a plinth. Width 190 cm (see illustration). CONDITION REPORT: The cabinet is in reasonable condition. Our images of the top will show some nibbles to all edges and small veneer losses and minor old repairs. The worst affected area is to the rear left hand top corner and less so the rear right. The top has no splits. The sides of the cabinet are in good order without any splits. The centre door closes as it should. It is not warped. There is a small section of ebony and boxwood veneer missing to the top left hand corner. There are minor nibbles to some of the marquetry but no significant issues. The door panel is not warped but a little loose in its mount. The left hand door has a small ebony veneer loss to the top right hand corner. The marquetry is a little dry but there are no significant losses. The right hand door is again not warped. There are minor nibbles to the veneers and small nibbles but no significant losses. The right hand pilaster is a little faded and slightly dry. The two middle pilasters are in good order with no significant issues. The left hand pilaster is in good order. The plinth base has the usual scuffs and marks that one would expect. There are nibbles to the very front bottom edge of the base, the right hand corner and to the bottom edge of both returns. The cloth lined shelves to left and right are discoloured and worn. The same comments apply to the centre shelves. The overall colour is generally good.
A George III mahogany toilet mirror, shield shaped, with bowfronted base fitted with frieze drawers and raised on bracket feet. Width 47 cm. CONDITION REPORT: The mirror surface is beginning to perish. It is serviceable but silvered. The mirror frame is in good order. The right hand upright has had a break and a repair. The repair is effective but the colour could be improved where there is some small area of filler. The top of the base is in generally good order. It is slightly undulating and has a stress mark to the centre. There is no movement. The right hand return has approx 7cm of boxwood stringing missing. Veneer repairs are needed to the top rear, the top and bottom right hand side panel at the rear. The left hand panel needs a similar small veneer repair to the top. The cross banding around the left hand drawer has had some replacement. The feet are original. All are present. The back board is original as is the base.
Barrie Cooke HRHA (b.1931)Nude (1985)Oil on panel, 19 x 20cm (7½ x 7¾'')Signed, inscribed with title and dated (19)'85 versoProvenance: From the collection of the late Gillian Bowler.Exhibited: 'Barrie Cooke Exhibition', Hendriks Gallery, under title 'Study for Nude and White (1), where purchased by Gillian Bowler, April 1986'.
Paul Henry RHA (1877-1958)Gubellaunaun from the BogOil on panel, 26.5 x 39.2cm (10½ x 15½'')SignedOld printed fragment from an exhibition list verso with title and No.26, 5.5 (five guineas)Provenance: Hector Boyd Hanna (1886-1982), thence by descent. A label on the back of the painting reads: ‘26. Gubellaunaun from the bog by Paul Henry’, which may be the number in an exhibition catalogue, but it has not been traced.Hector Hanna attended the Royal Belfast Academical Institution (Inst.) from 1900 to 1905. Paul Henry also attended Inst. for two years, from September 1891. After graduating from Oxford in 1909 Hanna became assistant to Professor Robert Henry, Paul’s brother, in the Department of Latin at Queen’s University in Belfast. He returned to Inst. as a master in 1916 and was appointed Headmaster of the Classical Department in 1930. The Hanna family believe that their grandfather, Hector Hanna got to know Paul Henry through Paul’s brother Robert and that having lent the young artist some money was offered in return a small selection of paintings. They have remained in the Hanna family since then. Gubellaunaun from the Bog is similar to A Bog by the Sea, Winter c.1930, reproduced in S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale University Press, New Haven & London, 2007, p. 213, catalogue number 549, but the latter picture is probably earlier in date. Also, the latter represents Gubellaunaun in the distance and it was on Gubellaunaun that Henry thought of returning to London, but quickly dismissed the idea. ‘The currents of life had carried me to this remote spot [Achill Island], and there seemed no current strong enough to carry me away….I made another of my quick decisions, which I never regretted and taking my return ticket to London out of my pocket tore it into small pieces and scattered the fragments into the sea which foamed round the rocks of Gubellaunaun’, Henry later wrote in his autobiography, An Irish Portrait (1951). Henceforth he would be a landscapist and would work in Ireland. Gubellaunaun from the Bog is numbered 1317 in S. B. Kennedy’s on-going cataloguing of Paul Henry’s oeuvre.
Jack Butler Yeats RHA (1871-1957)Early Morning, Cliffony (1941)Oil on panel, 23 x 36cm (9 x 14¼'')SignedExhibited: RHA Annual Exhibition 1942, Catalogue No.187; Jack B. Yeats Exhibition, York City Art Gallery, 1960, presented as part of 'The York Festival', Catalogue No. 22; Images in Yeats Exhibition, Cente de Congrés, Monaco June 1990; The National Gallery of Ireland July 1990, Catalogue No. 26.Provenance: Sold to Mr & Mrs Michael Burn in 1942; and later in the collection of Miss Harnett; sold in Christie’s Irish Sale, Dublin, May 1989, where purchased; from the collection of the late Gillian Bowler.Literature: Jack B. Yeats: An appreciation and Interpretation by Thomas MacGreevy, Dublin 1945, p.31/2; Images in Yeats (1990) by Hilary Pyle, illustrated p.53, plate 26.Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, by Hilary Pyle, Andre Deutsch 1992, Catalogue No.518, p.477Yeats painted this small vibrant work in 1941 at the beginning of one of the most productive decades of his career. It depicts the countryside near the coastal Sligo town of Cliffony. According to Hilary Pyle, the view is looking eastwards away from the town at the dramatic Dartry mountain range which includes such famous peaks as Ben Bulben and Truskmore. The Bunduff river, which marks the border between Connaught and Ulster, is surging through the foreground. On the extreme rights its banks are lined with saplings. The paint is applied with great variety of technique, from the sketchy dark leaves of the trees to the sculptured cliff faces of the mountains. The palette contrasts pale blues and mauves with bright reds and yellows. This and the dynamic way in which the forms are depicted creates an animated surface, suggestive of the energy of nature. The elements of rocky mountain, open sky and fast-flowing river are subtly demarcated by the lush colours of the grass, trees and vegetation of the land. The countryside of north Sligo appears as a fluid, constantly changing vista. Pyle has suggested that Yeats made pure landscapes like Early Morning, Cliffony, as an alternative and perhaps as a respite from his creation of large-scale fantasy works such as Tinkers Encampment, Blood of Abel, (1940, Private Collection) and Two Travellers, (1943, Tate). The production of both kinds of painting flourished in his oeuvre of the 1940s. Both refer to the West of Ireland and particularly to Sligo. The latter was closely connected to Yeats’s childhood, the memories of which formed a crucial source for his painting at this later stage in his life. Sligo also forms the backdrop to the myths and legends of ancient Ireland such as those associated with Queen Medbh and Diarmuid and Grainne whose stories are connected to specific locations in the Dartry mountains. Landscapes such as Early Morning, Cliffony were painted in the studio from memory, sometimes aided by earlier sketches made on the spot. They can be understood as settings for human events and affairs both real and imaginary. But as Thomas MacGreevy put it, ‘With Yeats, the landscape is as real as the figures. It has its own character as they have theirs’.Early Morning, Cliffony, with its yellow flecks of morning light and the vibrancy and movement of the foliage, sky and water is an important example of this type of painting. It expresses the energy and drama of this terrain as the artist remembers it and recreates it. On seeing the work at the RHA in 1942, MacGreevy described it as a small gem of pure landscape. It featured in the 1990 exhibition, Images in Yeats, shown at Monaco and the National Gallery of Ireland, as a quintessential example of Yeats’s pure landscape paintings.
Jack Butler Yeats RHA (1871-1957)The Fern (1943)Oil on panel, 23 x 35.5cm (9 x 14)SignedProvenance: Sold through Leo Smith, The Dawson Gallery to Senator Joseph Brennan and thence by descent.Literature: Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, by Hilary Pyle, Andre Deutsch 1992, Volume I, Catalogue No.565This still-life painting centres on the vivid form of a fern, its leaves conveyed through thick impasto paint. The plant sits in a large lustre jug whose shiny handle is constructed out of strong reds and yellows. The shadowy outline of a window frame on the left reflects blue light onto the plant. Touches of bright blue and yellow convey the impact of light and shade on the delicate fronds. Beyond the edge of the brown wooden board on which the fern is sitting, an area of greys and greens indicate moving water. Yeats returned to the same motif in a later painting, The Fern in the Area, (1950, Private Collection). The work is a complicated exercise in paint and illusion. It brings together two distinct types of painting - the visceral surface of the jug and plant, and the flat surface of their surroundings. The latter by contrast appear obscure as if in motion. Their subtle gradations of colour and shape are reminiscent of the work of the French post-impressionist painter, Pierre Bonnard. Yeats’s work was compared to that of Bonnard by several contemporary commentators, including his close friend, Thomas MacGreevy. The Dublin based artist May Guinness owned an important example of Bonnard’s work, A Boy Eating Cherries, which is now in the collection of the National Gallery of Ireland. A work by Bonnard was included in a group exhibition at the Contemporary Picture Galleries in Dublin in 1939, directly before Yeats held a solo show at this venue. Bonnard, like Yeats, enjoyed the physical quality of paint and used it to create perplexing and highly decorative compositions that provoke the viewer’s curiosity, encouraging them to make sense of the intriguing perspective and arrangement of form within the work. Yeats uses a similar strategy in his painting, although in The Fern, the three-dimensional quality of the central motif disrupts the otherwise tranquil nature of the work. The Fern was bought from the artist by the dealer Leo Smith, a prominent admirer and supporter of his work during the Second World War when this work was painted. The collector Senator Joseph Brennan acquired the painting from Smith and it has since remained in the family’s possession. Dr Roisin Kennedy
Patrick Collins HRHA (1911-1994)The BathOil on panel, 60 x 120cm (23½ x 47¼'')Signed lower left; inscribed with title versoProvenance: From the collection of The Dubliners' singer, the late Luke Kelly, and acquired by Gillian Bowler from the singer's partner, Madeleine Seiler, who was then a neighbour on Dartmouth Square. It is thought that Luke Kelly acquired the work from his friend, Paddy Collins, directly, so this is the first public viewing of this important work.Patrick Collins once described Paul Henry, whom he greatly admired, as a ‘modest man who painted Ireland like an Irishman’. Collins himself came to be prominently identified as someone who painted Ireland, its land and less frequently, its people, like an Irishman. He had a keen sense of mission to identify some kind of essential qualities of ‘Irishness’ or ‘Celticness’ and to express that in a visual language that was distinctive and recognisable. The writer Brian Fallon thought of him as having been ‘wholly original from the start’ (1), a view that Fallon held despite him and others regularly asserting that Collins was the Sligo inheritor of Jack B. Yeats’s legacy.What Fallon and others, especially Collins’ biographer, Frances Ruane, particularly admired was the artist’s ability to combine a sense of that Irishness with modernism at a time when those two qualities appeared almost contradictory. Collins is best known for his dreamy, nearly monochrome landscapes, which are usually bathed in soft grey light. The figurative elements in these landscapes, traveller families, animals, birds, the occasional church spire or ancient stones, hover out of mists of paint as if time has blended them with the overall atmosphere of the country. Yet Collins also painted the female nude, and was one of the first Irish artists to popularize the genre in his own country. Not only that, his early gestures in this field reveal an element of defiance in the face of Ireland’s Catholic prudishness in the 1960s. Thus 'Nude 1', from the Basil Goulding collection in the Butler Gallery, Kilkenny, shows the figure peeling off the last of her clothes for the artist, as if to say, it is the duty of art to reveal all. The figure is outlined more boldly than is typical in Collins’ work but is set into his trademark blue-grey, halo like ground.'The Bath', is relatively unusual however, not in the use of the nude, but in its open homage to the work of Pierre Bonnard, and in particular Bonnard’s 'Nude in the Bath', 1937 in the Petit Palais, Paris, which Collins would have seen when he lived in France in the 1970s. In making his own of Bonnard’s composition however, Collins typically reduced the palette, so that the nude is scarcely distinguished from the surrounding bath, the shape of which enables his penchant for a soft ‘frame within a frame’. The pose of the figure is given more energy in Collins' version, more upright, than Bonnard’s supine image. 'The Bath', was one of the first paintings Collins executed after his arrival in France, from where he continued to send pictures for exhibition to the Richie Hendriks Gallery, Dublin. It was purchased by the singer Luke Kelly of the Dubliners, and acquired from his partner Madeleine Seiler after the singer’s death in 1984.Collins was one of the first artists to be given a solo exhibition at Dublin’s Hendriks Gallery. It was he who introduced fellow painter Barrie Cooke to the gallery where both men regularly exhibited throughout the 1960s and ‘70s. Despite an irregular output, perhaps related to his bohemian lifestyle, Collins continued to be highly regarded. He was selected to represent Ireland at the Guggenheim Awards in 1958. He was elected honorary RHA in 1982 and became Saoi of Aosdana in 1987.'Patrick Collins, Through Sligo Eyes', formed part of the RTE Art Lives series, screened March 10, 2009.Catherine Marshall, April 2017(1) Fallon, Brian Fallon, 'Patrick Collins; A Modern Celt', Irish Arts Review, Spring, 2009.
Robert Janz (b.1932)Spring Tulip (1985)A set of six, oil on canvas, each 60 x 38cm (23½ x 15'')All inscribed with title, Panel Six signed and dated (19)'85Oliver Dowling Gallery labels versoProvenance: From the collection of the late Gillian Bowler.Exhibited: 'Robert Janz Exhibition: Moving Pictures', The Douglas Hyde Gallery, TCD, June/July 1985, Catalogue No.3.“In this work I have concentrated on drawing and painting flowers because their life cycles are so compact and succinct - and because their intense functional beauty opposes so powerfully their transience. The content of this work for me, then, is not just time passing time spans, time arcs, time whole”.Robert Janz (1985)
![LEVAN LAGIDZE (GEORGIAN B. 1958)Untitled [A Diptych], 2012oil on canvasoverall: 180 x 130 cm (70 7/8 x 51 1/8 in.)each panel](https://cdn.globalauctionplatform.com/1f190a61-2d64-4063-b62e-a773017b81eb/14f546eb-145e-4a37-9e69-f38a291ffb40/468x382.jpg)
![VITALIY KOMAR & ALEKSANDR MELAMID (RUSSIAN B. 1943; B. 1945)Urban Angels [A Diptych], 1993stenciled oil glaze on oxidized ste](https://cdn.globalauctionplatform.com/1f190a61-2d64-4063-b62e-a773017b81eb/c077c92b-6218-49c9-8cf6-d894be385475/468x382.jpg)
VITALIY KOMAR & ALEKSANDR MELAMID (RUSSIAN B. 1943; B. 1945)Urban Angels [A Diptych], 1993stenciled oil glaze on oxidized steeleach panel: 91.5 x 71.5 cm (36 x 28 1/4 in.)signed and dated lower right on right panel; numbered 14/50 lower left on left panelPROVENANCEMimi Ferzt Gallery, New YorkLITERATUREAleksander Kronik, His Circle. Artists-Nonconformists from A. Kronik`s Collection, Moscow: Iskusstvo-XXI Century, 2010, pages. 92-93.
Philip Osborne (1926-1994) British. "The Human Race coming upon Giants Asleep", Oil on Panel, Inscribed on a label on the reverse, Unframed, 45" x 48". Provenance; John Moores Liverpool Exhibition 9, 1974 - Mentioned in the archive newsletter from the Leslie-Lohman Museum of Gay and Lesbian Art, New York, as being a lost art work.
LATE 18TH CENTURY WELSH OAK 30 HOUR LONG CASE CLOCK, marked: J. Jenkins, Cardigan, the case with arched hood over arched aperture flanked by bead moulded pilasters, shaped and string inlaid waist door below a geometrically inlaid frieze and flanked by bead moulded quarter pillasters on a strung outline panel base with platform support. Well repainted arched face with Roman numerals, floral spandrels and scenic arch, also with arched date aperture. 30 hour movement strikes on one bell. Face 15" x 10.5".(B.P. 24% incl. VAT) CONDITION REPORT: in good clean condition overall, the face having been well repainted.
17TH CENTURY PRIMITIVE OAK PLANK CHEST OR COFFER having a hinged top, standing on end supports. 107 x 38 x 47cm.(B.P. 24% incl. VAT) CONDITION REPORT: Overall sound but has been altered with the top frame the wrong way round and the wrong panel, the original front panel now at the back with a large hole covered in metal plate, the current front with a later lock. Rather dry, stained, marked and worn, commensurate with age.
EARLY 19TH CENTURY INLAID MAHOGANY FALL FRONT BUREAU, the moulded fall revealing fitting interior of drawers, pigeon holes and centre cupboard, all with satinwood strung outlines, two short and two long cock beaded and fan inlaid drawers below, with brass swan neck handles, standing on bracket feet. 110 x 52 x 114cm(B.P. 24% incl. VAT) CONDITION REPORT: a little dry and faded, some losses to cock beading on the deep drawers, scuffs and marks around feet and other wear and tear commensurate with age, split to one end panel.
Military interest:- The Arthur Ryland cup, a Victorian Rifle Volunteers shooting prize goblet, maker's mark indistinct, ? & Co., Birmingham, 1861, on trumpet foot, sides applied with a disc-shaped panel chased in low relief with a group of Rifle volunteers shooting at a range and wearing unusual helmets, the opposite side with an applied oak leaf wreath inscribed within "Presented by Arthur Ryland Esq., Mayor of Birmingham as a prize to be competed for at 200 yards by members of the Birmingham Rifle Volunteer Corps, won by Mr. Edwin Appleby, No. 10 Company, Septr. 23rd., 1861", band of scrolling foliage around rim, 18.6 cm. high, wt. 219 gm.A few small dings around sides, slight wear to the soldiers on disc.
A large bone model of a pagoda in original box, the eight storey tower with pierced panels and bells at the corners of the tiled roofs at each level, the entrance way with attendant figures, trees and surrounding fence. Ht. 63cm. The box, shaped to suit the model, is in unfinished pine , one side handle missing , the front removeable panel missing part of its surround. In generally very good condition,the wooden base of the model warped, raising and spreading the bone, very few losses.
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