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Lot 433
Ayrton Senna Early Press Photographs: Black & White 13 x 18 cm Mostly Personnel shots in the Pitts Ayrton Senna da Silva 21 March 1960 – 1 May 1994) was a Brazilian racing driver who won three Formula One world championships. He was killed in an accident while leading the 1994 San Marino Grand Prix. He remains the last driver fatality in Formula One Approx 50 in Total
Lot 625
Ipswich Town Specials: Including, testimonials for Wark, Mills, Sivell, Yallop, Viljoen, Whymark, D`Avray, Stockwell and Gray, 19 European Home and 11 European Aways, 12 away Friendlies, 10 Home Friendlies, 25 Reserve Team Single Sheets, many contain press reports, Also includes Wembley 78 Players Brochure and 1973/4 Supporters Club Handbook. All good condition (102)
Lot 1
A German parcel gilt tankard, probably by Antoni Mietelski, Breslau c.1749, of cylindrical form on spreading circular foot with an incurved angular scroll handle, the detachable cover with a bud finial supported by three scroll brackets, the sides and cover inset with 17th and 18th century coins and medallions chased between with foliage against a matted background, engraved with two inscriptions on the body, one at top ‘Seinen Gott und Eltern ehren, thut der Kinder Wohlfahrt mehren’, and the other at the base ‘A P Humphry Winner of the Cambridge Cup 1878’, the underside of the base engraved ‘D.B. 1749’, gilt interior, 25cm high, 34oz There are two accompanying letters addressed to Mr Humphry. The first dated Jan 29th 1879 is from Lamberts of London, who evidently sold the tankard to this gentleman and mention that they will engrave it for him whenever he wishes. The second letter mentions that the tankard was in an exhibition at the Ironmongers’ Hall in 1861, apparently known as the Wrexham Exhibition. The catalogue was compiled by the London & Middlesex Archaeological Society. It states that the German inscription on the tankard translates as ‘It is becoming in children to honour God and their parents’. Alfred Paget Humphry was the only son of Professor George Murray Humphry of The Leys, Cambridge and was born there in 1850. He was admitted pensioner at Trinity, 27 February 1869. He was a famous rifle shot, excelling in long distance shooting, and is reputed to have tested his marksmanship from the tower of the Pitt Press, aiming at the targets on the University range. In 1877, 1880, 1882 and 1883, he was a member of the British team which shot against America for the Championship of the World. He was winner of the Canada Shield for shooting in 1878. Provenance: Heimerdinger of Munich? Lamberts, London. A P Humphrey Esq. Hence by descent. With thanks to Jacqueline Cox, Deputy Keeper of Cambridge University Archives, the Goldsmiths’ Library and Colin Longmore Esq.
Lot 19
*DS Emma Stibbon (b.1962) Stair Hole Lulworth Colour woodcut Initialled and dated 99 in pencil, lower right, numbered 4 from an edition of 5, 109 x 120cm (43 x 47 1/4in). Exhibited: Royal Academy, Summer Exhibition, 1999. With an abstract etching and aquatint by Hugh O`Donnell, with an indistinctly signed screenprint, by John Ichel, and the frontispiece to the Paragon Press`s The London Portfolio (4)
Lot 1276
A DATED GEORGE III OAK PRESS, PROBABLY NORTH WALES with cavetto cornice and enclosed by a pair of doors carved with the initials and date MD 1768 above three raised-and-fielded panels, the base with seven moulded blind and two real drawers, the sides panelled, 170cm h; 141 x 54cm Of pleasing colour/patina, much build up of old polish and dust. The boards to the top and back with some quite severe warping, old worm holes in places, the odd small loss. A piece of apron moulding on one side missing, the side panels not cracked
Lot 21
Dunn (Douglas) & Ackroyd (Norman) The Pictish Coast: Poems, 1988, Penny Press, 4to., numbered ltd. edition of 45, signed by the author and the artist, double page map, 10 etched plates with aquatint, each titled, numbered, dated and signed by the artist, unbound as issued, with wraps in cloth solander box
Lot 82
The Shakespeare Head Bronte The Brontes, Their Lives, Friendships and Correspondence, 1932, Shakespeare Head Press, 4 vols., first ltd. edition of 750, dust wrappers (frayed); Bell (Acton), The Tenant of Wildfell Hall, 1931, Shakespeare Head Press, 2 vols., ltd. edition of 1000, original cloth; Bell (Currer), Shirley: A Tale, 1931, Shakespeare Head Press, 2 vols., ltd. edition of 1000, original cloth; Bell (Ellis), Wuthering Heights, 1931, Shakespeare Head Press, ltd. edition of 1000, original cloth; Symington (J.A.), Bibliography of the Works of all Members of the Bronte Family .., 2000, Oak Knoll Press, ltd. edition of 1000, original cloth (10)
Lot 109
Edgeworth (Maria) The Novels of Maria Edgeworth, 1893, Dent, 12 vols, t.e.g., half calf (worn); Montagu (Mary Wortley), The Works of ... Lady Mary Wortley Montagu .., 1803, 5 vols., half crimson sheep; Thackeray (Miss), The Works of Miss Thackeray, 1869-1900, Smith, Elder, 10 vols., recent quarter calf; Eliot (George), The Mill on the Floss, 1860, William Blackwood, 3 vols., first edition, five titles `in the press`, original cloth (worn) (30)
Lot 180
Ellis (Henry) A Catalogue of Books on Angling 1811, 1977, Honey Dunn Press, numbered ltd. edition of 250, quarter brown morocco, original box; Swanson (Ronald S.), Record Atlantic Salmon .., 2008, Meadow Run Press, ltd. edition of 1000 signed by the author, cloth, slipcase; Swanson (Ronald S.), Grand Cascapedia Giants .., 2005, Meadow Run Press, ltd. edition of 1000 signed by the author, cloth, slipcase; Nickson (Geoffrey), A Portrait of Salmon Fishing, 1976, oblong 4to., numbered ltd. edition of 1500, t.e.g., quarter bonded leather, slipcase (wear to slipcase); Lockhart (Robert Bruce), My Rod My Comfort, 1949, Dropmore Press, numbered ltd edition of 550, partly unopened, quarter vellum, dust wrapper
![Churchill (Sarah) 1914 - 1982 A small archive relating to Sarah Churchill, including; Anon. [Churchill (Sarah)], The Empty Sp](http://lot-images.atgmedia.com/SR/10041/2865436/207-20121122155056_468x382.jpg)
Lot 207
Churchill (Sarah) 1914 - 1982 A small archive relating to Sarah Churchill, including; Anon. [Churchill (Sarah)], The Empty Spaces, 1948, privately printed by Bumpus, original wraps (2 copies) Churchill (Sarah), The Empty Spaces, The Poems of .., 1966, presentation inscription from the author, dust wrapper; `Vivienne` [Florence Entwistle], a quantity of portrait photographs of Sarah Churchill [Churchill married Vivienne`s son, Antony Beauchamp, also a photographer]; with other photographs, books, letters, press cuttings, etc. [Daughter of Winston Churchill, Sarah was an actor and dancer, starring opposite Fred Astaire in `Royal Wedding` (1951)]
Lot 137
Lady Grace Drummond-Hay. 7 Press photographs. 5 large 26cm x 21cm. 4 taken in New York with Herr Eckener Ernst Lehman, Lady Drummond-Hay etc. A fine view of ‘Graf Zeppelin’ and ground handling crew. 2 smaller photographs 16cm x 16cm, providing a close-up of Herr Eckener and another crew member. GC. See Plate.12
Lot 574
A French album with 14 black and white photographs relating to the airship R-101 comprising a view of an airship in flight (not displaying any identification), a French press photo of R-101 at her mooring mast in Cardington; the next images show the twisted skeletal wreckage of the great ship at Beauvais, including the sifting through the debris and several showing the removal of bodies. The images 24cms x 18cms to 18cms x 13cms, with a small French news cutting. Some of these images are of a harrowing nature.GC
Lot 583
9 British and French press agency black and white photographs relating to the R-101 repatriation and funeral showing loading of coffins at Boulogne, queues waiting to pay respects at the lying in state, the view inside Westminster Hall, two scenes from the funeral cortege including one showing the passing along Whitehall with the Houses of Parliament in the distance, 1 showing the burial site at Cardington prior to the grave being excavated and four showing the coffins being taken to their grave and the funeral service. The photos average approx. 20cms x 15.5cms, generally VGC, 1 with edges torn.
Lot 755
A 19TH CENTURY PINE PRESS CUPBOARD having an inverted break-front moulded cornice, large panelled doors enclosing the later adapted hanging space and turned columns, the lower stage having two short and two long drawers with replacement brass handles, between conforming columns, raised on turned feet. 195cm(h) x 137.5cm(w) x 63cm(d) Condition Report: Stripped, some minor moulding depletions, deterioration to back feet, viewing advised.
Lot 159
EARLY NINETEENTH CENTURY FIGURED MAHOGANY AND BOXWOOD LINE INLAID LINEN PRESS, the dentil moulded cornice above a pair of flame cut cupboard doors with central oval panels, enclosing a pole and hanging space, the lower section with two short and one long cockbeaded drawers, raised on splayed bracket feet, 6` 3/4" (1.91m) high, 4`5 3/4" (1.36m) wide, the upper section with altered interior now lacking slides
Lot 180
EARLY NINETEENTH CENTURY MAHOGANY LINEN PRESS, the moulded, arched cornice above a pair of flame cut and crossbanded, panelled cupboard doors, opening to reveal a pole and hanging space, the lower section with two short cockbeaded drawers over two graduated long drawers, raised on bracket feet, 7`2" (2.185m) high, 4` 2 1/2" (1.283m) wide, the interior altered and now without slides and cut through the base and top to hang long dresses, two of the lower drawers with replaced plywood drawer bottoms and one lacking drawer bottom EST 500-700
Lot 136
William Spencer Churchill - The Freedom of the City of Leeds 1953: The Lord Mayor of Leeds album, a scrap book memoir of his year in office which is dominated by the Award of the Freedom the City to Sir Winston Churchill, the album including press reports and original photographs, together with the Mayor`s hand-written memorial.
Lot 40A
Cecil ffrench Salkeld ARHA (1904-1969) MOTHER AND CHILD oil on canvas laid on board signed lower right 17 by 14.25in., 43.18 by 36.195cm. Collection of Lady Nelson; Collection of Cyril McKeown; Private collection As a member of the Dublin Painters group, as well as a poet, playwright, dramatist, broadcaster, philosopher and owner of the Gayfield Press, Cecil Salkeld was at the forefront of the avant-garde in Irish arts and literature. He was a Renaissance man of his time who interlinked the arts in a way which he had observed in Germany but which was entirely forward-thinking for Ireland at the time. Salkeld`s mother was an actress with the Abbey Theatre as well as a poet and playwright. His daughter Beatrice was married to Brendan Behan while his other daughter also pursued a career on the stage. He was producer of radio programmes on the arts, director of cultural events for An Tostal as well as director of the Irish National Ballet. Salkeld, who was born in India, studied art in Germany at Kassell Kunstchule in the early 1920s under Ewald Dülberg, whose style was in the manner of the Rheinland Primitives. There he also came under the influence of Otto Dix and the New Objectivity movement and upon returning to Dublin, he aligned himself immediately with the modernists, adapting his style to contemporary life in the Irish capital. He exhibited with the New Irish Salon and the Radical Painters` Group among others. Both lots in this sale are painted in the artist`s usual austere manner and demonstrate his unique style and smooth handling of paint. While lot 40A demonstrates his fondness for feminine subject matter, the latter [lot 41] shows his ties to the stage. Reviewing an exhibition of his at the Victor Waddington Galleries in 1945, the Dublin Magazine commented on Salkeld`s "original, sombre palette, intellectually rather than emotionally conceived". The artist`s best known work are his murals, a triptych completed in 1942, in Davy Byrne`s pub, Dublin. "
Lot 41
Cecil ffrench Salkeld ARHA (1904-1969) THE AUDITION oil on canvas board signed lower left 17.25 by 21.25in., 43.815 by 53.975cm. Collection of Lady Nelson; Collection of Cyril McKeown; Private collection The location for the scene is thought to be the Abbey Theatre, Dublin. As a member of the Dublin Painters group, as well as a poet, playwright, dramatist, broadcaster, philosopher and owner of the Gayfield Press, Cecil Salkeld was at the forefront of the avant-garde in Irish arts and literature. He was a Renaissance man of his time who interlinked the arts in a way which he had observed in Germany but which was entirely forward-thinking for Ireland at the time. Salkeld`s mother was an actress with the Abbey Theatre as well as a poet and playwright. His daughter Beatrice was married to Brendan Behan while his other daughter also pursued a career on the stage. He was producer of radio programmes on the arts, director of cultural events for An Tostal as well as director of the Irish National Ballet. Salkeld, who was born in India, studied art in Germany at Kassell Kunstchule in the early 1920s under Ewald Dülberg, whose style was in the manner of the Rheinland Primitives. There he also came under the influence of Otto Dix and the New Objectivity movement and upon returning to Dublin, he aligned himself immediately with the modernists, adapting his style to contemporary life in the Irish capital. He exhibited with the New Irish Salon and the Radical Painters` Group among others. Both lots in this sale are painted in the artist`s usual austere manner and demonstrate his unique style and smooth handling of paint. While 40A demonstrates his fondness for feminine subject matter, the latter shows his ties to the stage. Reviewing an exhibition of his at the Victor Waddington Galleries in 1945, the Dublin Magazine commented on Salkeld`s "original, sombre palette, intellectually rather than emotionally conceived". The artist`s best known work are his murals, a triptych completed in 1942, in Davy Byrne`s pub, Dublin. "
Lot 45
Jack Butler Yeats RHA (1871-1957) THE LITTLE BOOK, 1906 watercolour signed lower right; with Waddington Galleries label on reverse 10 by 14in., 25.4 by 35.56cm. Waddington Galleries, London; Where purchased by the present owner `Jack B. Yeats: Sketches of Life in the West of Ireland`, Leinster Hall, Dublin, 1-20 October 1906, catalogue no. 13; `Taispeántas Ealaíon`, An tOireachtas, Dublin, 1906 Pyle, Hilary, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, catalogue no. 607, p.150 (listed)
Lot 56
Susan Mary (`Lily`) Yeats (1866-1949) and R. Brigid Ganly (neé O`Brien) HRHA (1909-2002) THE PROUD AND CARELESS NOTES LIVE ON BUT BLESS OUR HANDS THAT EBB AWAY" c.1919-1921 embroidered threads on green silk; (framed) signed by Yeats within the design lower right; signed "B. O`Brien" lower left 11.5 by 14.5in., 29.21 by 36.83cm. This extremely rare, well preserved embroidered panel illustrates the final refrain intoned by the Three Voices in unison at the end of W.B. Yeats` poem entitled The Players ask for a Blessing on the Psalteries and themselves from his collection of lyrical poems, In the Seven Woods: being Poems chiefly of the Irish Heroic Age, which his sister Elizabeth had published as her first Dún Emer Press hand-printed volume in 1903. In 1902, Elizabeth Yeats and her elder sister Lily had returned to Ireland from London at the invitation of Evelyn Gleeson, to set up workshops in the Arts and Crafts venture Gleeson was establishing at Dún Emer, a large house in Dundrum, south of Dublin. While Elizabeth Yeats set up a handpress and began printing and binding books advised by her literary brother, William Butler Yeats, Lily Yeats, a skilled needlewoman (who had been trained by William Morris` daughter, May), focussed on embroidery, often designed by their younger artistic brother, Jack Butler Yeats. By 1904, she had seven girls working with her. In 1908, the sisters seceded from Dún Emer and set up their own Cuala Industries nearby, where Lily Yeats continued to run her embroidery workshop, often adapting the designs of other artists, and producing a wide range of embroidered domestic and autonomous panels. After continual ill health, she became so ill that production was considerably diminished in the mid 1920s. The last sale of embroidery under her direction was held in 1931, under great financial duress, and in 1932 the Cuala embroidery department wound down in its Baggot Street home. This panel (described by Lily Yeats as one of her `needle pictures`) was designed by Brigid O`Brien, daughter of the painter Dermod O`Brien, who was trained at the Dublin Metropolitan School of Art, under Oliver Sheppard, Seán Keating, Patrick Tuohy and Oswald Reeves, and at the RHA Schools. In 1928, she was elected an ARHA. Barbara Dawson has noted her willingness to apply her training to various projects and media, including caricature and book illustration. Joseph McBrinn records that she won the Taylor Scholarship in 1929 and in 1930 while she was completing her first mural illustrating St. Patrick, for the Presentation Convent school on George`s Hill, Dublin. Her first major commission, completed in 1930, was for a painted frieze over 120 feet long illustrating James Stephens` version of The Boyhood of Fionn (published with Arthur Rackham`s illustrations in 1924) for the Carnegie Trust`s Child Welfare Centre on Cork Hill, Dublin. Although this major work is now no longer visible, having been vandalised by being over-painted, it is directly analogous with this fine little tableau. A later, primitivistly stylised, predominantly black and white embroidered version (unsigned by O`Brien) illustrating the same lines from Yeats` poem was dated by the artist to 1935 in the Hugh Lane exhibition catalogue (p.8). The Yeats` were neighbours of the O`Briens, who lived in Fitzwilliam Square, and frequented the nearby United Arts Club, where the paths of W.B.Yeats and Brigid O`Brien`s father, the painter Dermod, often crossed. In 1929, W.B. Yeats had commissioned the young painter to try and boost his sister Lily`s precarious income by designing Stations of the Cross for her to embroider on Irish silk poplin. What is unusual about this very beautifully worked panel is the delicate fineness of the pale green silk ground and the lively, evocative portrayal of each of the three figures depicted between the two scrolls bearing the text they illustrate. There is much more attention to narrative detail and to the range and application of stitches carefully chosen than in any other Cuala embroidery of this late period. Not since the embroidered sodality banners of 1902-3 for Loughrea Cathedral had Lily Yeats produced such successful and expressive figurative work. Although the scale is small, close attention reveals the variety of couched and stemmed stitches used to outline and fill in the costumes, hands and features (particularly expressive), hair and musical instruments of the imaginatively dressed, lamenting musicians. The direction the stitches follow is an intrinsic part of the success of this panel`s design, as they emphasize the volume of the surface they are describing, and draw the viewer`s attention to the positions of the hands plucking the chords on each musical instrument. Despite the obvious graphic influences of Beatrice Elvery, Mary Cottenham Yeats and Wilhelmina Geddes (particularly the latter`s St. Brendan embroidered panel of 1924) and that of Jack Yeats in his early predilection for figures standing high above a low, recognisably Irish, horizon, this design is strikingly original. The colours are distinctive with their soft pinks, turquoise, jade and gold, even though there may be some fading on the golden-haired girl player`s delicately worked spotted dress, flouncy petticoat and slippers. The welcome appearance of this panel makes it all the more important that others, such as Tobias and the Angel, similarly designed by O`Brien and worked by Lily Yeats, be traced and documented. Dr Nicola Gordon Bowe November 2012 Literature: R. Brigid Ganly, H.R.H.A.: born 1909: retrospective exhibition, Gorry Gallery, Dublin December 4th -17th 1987; Maureen Murphy (ed.), I call to the Eye of the Mind: A Memoir by Sara Hyland (Dublin 1995); Nicola Gordon Bowe and Elizabeth S. Cumming, The Arts and Crafts Movements in Dublin and Edinburgh 1885 - 19325 (Dublin 1998); Barbara Dawson in Christina Kennedy & Maime Winters (eds.), Brigid Ganly retrospective: catalogue of an exhibition at the Hugh Lane Municipal Gallery of Modern Art, Dublin 1998; Joseph McBrinn, Mural Painting in Ireland 1855-1959, unpublished Ph.D. thesis, Volume II, N.C.A.D. (N.U.I.), Dublin 2007"
Lot 58
Jack Butler Yeats RHA (1871-1957) ILLUSTRATION TO "...AND SHE FOLLOWED THE DARK-EYED GYPSEY O", 1903 Indian ink with watercolour signed lower left; with title printed in the mount 5 by 11in., 12.7 by 27.94cm. Sold to C.F. McLoughlin, United Arts Club, Dublin, 1933; Christie`s, 4 November 1983, lot 55; Private collection; Christie`s, 9 June 1989, lot 329; Private collection; deVere`s, 22 April 1998, lot 100; Private collection `Drawings and Pictures of Life in the West of Ireland`, Stephen`s Green Gallery, Dublin, 19 February to 4 March, 1921, catalogue no. 33 A Broad Sheet, No. 18 (June 1903); Pyle, Hilary, The Different Worlds of Jack B. Yeats. His Cartoons and Illustrations, Irish Academic Press, 1994, p.239 (catalogue no. 1719), p.240 (illustrated) Illustration for a ballad entitled Seven Gypsies.
Lot 65
Francis William Topham RA OWS (1808-1877) GOSSIPS AT THE HOLY WELL, 1874 watercolour signed and dated lower left; 11.75 by 17.75in., 29.845 by 45.085cm. Gorry Gallery, Dublin; Where purchased by the present owner `An Exhibited of 17th - 20th Century Irish Paintings`, Gorry Gallery, Dublin, 5-18 December 2010, no. 17 Born in Leeds, this skilled watercolourist and genre painter visited Ireland repeatedly from the 1840s onwards, focusing on the peasantry in the Claddagh and around Connemara. Here he shows children gathering water at a well, and characteristically he uses body colour, with some scratching out on the girl`s hair in the foreground. Related titles exhibited by Topham include Gossips at a Well (London, Guildhall Art Gallery), The Holy Well (Blackburn Museum and Art Gallery) and At the Holy Well (Glasgow Art Gallery)1. A father of twelve, he often favoured scenes of women and children. His work was often engraved for the Illustrated London News, and he was a member of The Artist`s Society in Clipstone Street, devoted to `The systematic study of veritable rustic figures from the life` (rather than artists` models dressed up). He also painted in Wales, Scotland and Spain, where he died in 1877. Dr Claudia Kinmonth Author: Irish Rural Interiors in Art, Yale University Press, 2006 1. C. Wright, with C. Gordon & M. Peskett Smith, British and Irish Paintings in Public Collections, Yale University Press, 2006, p.772 We are grateful to the Gorry Gallery and the author for their kind permission to reproduce this note. "
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