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![[OO-9 SCALE]. ASSORTED UNMADE KITS comprising a Centre Models Leek & Manifold 2-6-4 tank locomotive; and four Centre Mod](https://cdn.globalauctionplatform.com/d457bba3-72fc-4604-b57a-ac9900d9453d/faff1db2-0972-4012-9d96-ace9009cd9ee/468x382.jpg)
![[OO-9 SCALE]. A MISCELLANEOUS COLLECTION comprising locomotives (including two Peco kits), coaches and wagons, variable cond](https://cdn.globalauctionplatform.com/d457bba3-72fc-4604-b57a-ac9900d9453d/21652fe5-d5df-4978-9b48-ace9009cdae6/468x382.jpg)
Lot 445
A 1/12 SCALE DOLL'S ANTIQUE SHOP of sectional medium density fibreboard and wooden construction, the ground floor retail area and first floor accommodation each accessed from the top of their respective box section, overall 81.5cm high, 49.5cm wide, 33cm deep, set to a stand with a single drawer; together with a small quantity of accessories.
Lot 313
* Dorigny (Louis, 1654–1742). Saint Francis of Assisi, lying on his death bed, welcomed by angels and saints on his ascension to Heaven, pen and brown and black ink on laid paper, with brown ink outer ruled border, unidentified collector's mark to lower left corner, 112 x 66 mm (4.4 x 2.6 ins), inscribed in pencil in an early hand to verso 'Dorigny', together with French School. 'La Representation de Charles-magne sur son lit de parade, 814', circa 1680-1700, pen brown ink, brown and grey wash on laid paper, with watermark of a shield with letter L above (Colin to take a look please), with title inscribed in brown ink to lower centre, some short tears and small losses to right sheet edge, and upper left corner, sheet size 204 x 332 mm (8 x 13.1 ins)Qty: (2)NOTESProvenance: Private Collection, Herefordshire, UK. A group of similar small-scale pen and brown ink studies by Dorigny of scenes from the Old Testament, Neuf études représentant des scènes de l'Ancien Testament, 60 x 80 mm and smaller was sold by Christie's Paris, Arts Decoratifs - Tableaux et Dessins du XVIeme au XIXeme Siecle, 16 November 2008, lot 513.
Lot 319
* French School. Landscape with Waterfall, later 18th century, large-scale colour pastel on laid paper, with later canvas relining, 58 x 71 cm (23 x 28 ins) frame aperture, period moulded gilt frame, glazed, with slight damage to frame mouldings, remains of old Agnew's of London label to verso, and modern auction stencil to stretcher FA949Qty: (1)NOTESProvenance: Private Collection, Monmouthshire, UK.
Lot 361
* After Mary Beale (1633-1699). Portrait miniature of King Charles II (1630-1685), late 17th century, oval oil on tin, head & shoulders portrait, half-profile to left, of Charles II wearing a full-bottomed curled brown wig, plate armour comprising cuirass and spaulders, and a white lace jabot, sometime re-varnished, later manuscript annotation on verso identifying sitter, 75 x 60mm (3 x 2.25ins), loose backing card with printed green circular label 'H.J. Hatfield & Sons Ltd', oval yellow metal pendant frame with hanging loop, glazedQty: (1)NOTESMary Beale's small-scale three-quarter length portrait of Charles II, executed around 1675, was itself a copy after a portrait by Sir Peter Lely. The friendship between the two artists is well-documented, and Mary Beale frequently produced copies of Lely's works, often in a reduced format.
Lot 666
* Belleroche (Albert de, 1864-1944). Portrait of Alice Milbank, the artist's mother, oil on canvas, head and shoulders portrait of a woman wearing a low cut gown and with her brown hair piled up on her head, some small surface scratches and consequent minor losses, 64 x 47.8cm (25.25 x 18.75ins)Qty: (1)NOTESProvenance: Estate of William de Belleroche (1913-1969), son of the artist; estate of William's partner Gordon ‘Andy’ Anderson. Celebrated socialite Alice Sidonie Milbank Vandenburg née Baruch (circa 1840-1916) was said to be blessed with beauty "almost legendary". Her first marriage, to Edmund Charles, Marquis de Belleroche, was an unhappy one, although it produced a son, artist Albert Gustave de Belleroche. In 1871 she married Harry Vane Milbank, a celebrated duellist, huntsman and adventurer as well as an inveterate gambler. The family moved to Paris, where they entertained on a lavish scale, noted personalities such as Oscar Wilde, Edward VII, and John Singer Sargent frequenting their soirées. In fact the latter became a lifelong friend of Albert de Belleroche, the two artists going on to share studios in Paris and London, and each showing influences of the other in their work. In Paris Belleroche was a founder member of the Salon d'Automne, where he exhibited alongside the Impressionists and associated with the likes of Emile Zola, Albert Moore, Renoir, Degas, and Toulouse-Lautrec. Artist and printmaker William de Belleroche was greatly influenced by Frank Brangwyn, and he and his partner Gordon ‘Andy’ Anderson maintained a large circle of friends, many of them well-known artists, authors, actors and personalities of the post-war era, for example Duncan Grant, Augustus John, Dirk Bogarde, Judy Garland, and the Oliviers, to name but a few.
Lot 351
Johnson (John?) of Grays Inn Passage, London. An early 19th century, mahogany cased twin fusee, eight-day bracket clock with pull repeat, fitted with an incremental stirrup pendulum. Bearing engraved signature to the backplate with pendulum stay. The white painted dial. marked in Roman numerals with strike/night lever behind the door fitted gilt brass folding handle fish scale grilles and supported on ogee bracket feet. 40 cm high x 29 cm wide x 19.5 cm deep.Footnote: John Johnson is recorded as working at 9 Grays Inn Passage between 1770-1800.See Loomes, Brian. Watchmakers and Clockmaker of the World, page 425.Condition report: I have wound the clock and it runs and when the corresponding hour is reached it chimes proving both going and chiming train are intact, however, I can not vouvch for its accuracy or reliability.The fusee is a steel cable rather than a chainThe case has a crack at the top near the entablature that the handle fixes to and other fine cracks to the case.The movement is very clean and looks to have been recently cleaned.The circular dial looks like painted enamel the name and details are becoming feint and the dial also shows some marks and chip around the winding mandrelsThe rear door is very tight and seems to be slightly twisted and the hinges are looseSee further images
Lot 372
A probably 1960s phosphor bronze, engineer's scale model of HM Submarine; "Tally-Ho" on a titled wooden base, 44 cm long x 13 cm highFootnote: The HMS "Tally-Ho" was a "T Class" submarine; laid down on the 25th March 1942.She saw considerable action during WW2 and was finally scrapped at Briton Ferry, Wales in 1967.Condition report: No apparent major defects.
Lot 437
A pair of Samson of Paris blue scale and "fancy bird" globular porcelain vases, bearing blue faux seal mark to bases. 11.5 cm high x 9 cm diameter, together with a pair of probably Samson two handles vase and covers painted with exotic, birds, bearing fouled anchor marks to base, 23 cm wide x 36 cm high, and other items of Continental porcelain.Condition report: The pair of blue scale vase are OKMost of the secondary items are for restoration.
Lot 15
John Luke RUA (1906-1975)Landscape Composition (1933)Pencil on tracing paper, 37 x 72cm (14½ x 28")In 1933 John and Roberta Hewitt commissioned Luke's first painting in tempera, known as Landscape or County Down. It was also his first imagined landscape. This is a scale study for the work, which is illustrated in Hewitt's monograph on Luke.
Lot 21
Sean McSweeney HRHA (1935-2018)Pool Áth na Beitheoige (1998)Oil on canvas, 91 x 122cm (35¾ x 48'')Signed and inscribed on stretcher verso, Opus No.98-189Exhibited: Taylor Galleries, Dublin, 'Bogland Shoreline Sligo', October 1998, catalogue no.49.A sense of place is very important to Sean McSweeney's process, his compositions are focused around one small area in Sligo where he has lived from the 1980s. By confining himself to this particular area it allows him to get to know the landscape and its environment intimately. His work is characterised by an enduring act of trying to extract the beautiful from the more mundane aspects of the natural environment. On finding the bog pools in Sligo he remarked "They gave me an opening back into painting, a private space, and another world." (True West, Interview with Brian McAvera, Irish Arts Review, Autumn 2012)While working within the tradition of Irish landscape painting, McSweeney's art has its own unique character defined by their abstract style, the bog pools reduced to rectangular shapes surrounded by intruding grasses and plants. The coastline is a horizontal line separating land, sky and sea. While often painting on a small scale, this present work is much larger and more impressive. With the bogland that has been cut away you are looking at framed pools, the light centre with sky and flowers reflected in it, surrounded by the dense green undergrowth.In speaking about his relationship to the landscape he remarked "in the early days, certainly it was memory... a romantic view. That all changed when I went to live in Wicklow. Living in the landscape - living through tough winters was a great challenge... It hardened things up. I got a lot more structure in my work." (True West, Interview with Brian McAvera, Irish Arts Review, Autumn 2012) This is reflected in how he breaks down the canvas first with colour, using rigorous brushwork often aided by a palette knife. Often, he paints the entire canvas one colour and then introduces another into to it to see what might emerge, an organic process that captures the natural rhythms of the landscape and changing light. Niamh Corcoran, 2021
Lot 44
Jack Butler Yeats RHA (1871-1957)The Belle of Chinatown (1943)Oil on canvas, 35.5 x 46cm (14 x 18")SignedProvenance: Purchased at the 1943 exhibition by well-known collector Jack Toohey. Sold in these rooms 11th December 1990 Lot 45, thence by descent.Exhibited: 'Later Paintings' Jack B Yeats Exhibition, Victor Waddington Gallery, Dublin Nov 1943, Cat. No. 12;'National Loan Exhibition' Jack B Yeats Exhibition June/July 1945, Cat. No. 126;'From Yeats to Ballagh' Arts Council Exhibition, Lunds Konsthall, Sweden, April-May 1972, Cat. No. 52Literature: 'Jack B Yeats: A Catalogue Raisonné of the Oil Paintings' Hilary Pyle, Vol 11, Cat. No. 582 p535The genesis of this intriguing work is found in sketches of 1904 and 1905. In 1904 Yeats travelled to New York where an exhibition of his work had been organised by John Quinn. Whilst there he was intrigued by the sights of the city, especially its cosmopolitan mix of races and its streetscapes of signs and advertisements. He visited and sketched Chinatown several times. The young girl with the large flowery hat, the "Belle of Chinatown", is found in the pages of one of these New York sketchbooks (83, X180, Yeats Archive, National Gallery of Ireland). He drew a second sketch of the figure a year later when he was staying at Freshford with J. M. Synge. This is inscribed 'Chinatown, New York'. Yeats has elaborated on these earlier drawings a great deal in this painting created forty years later. The child stands in the daylight in front of a darkened side-street. Next to her in the full glare of the light is a stall on which are displayed an array of hats at 5 c each. An old man, the vendor, is seated behind it. The contrast between youth and age is sharply observed with the man's gaze directed at the bizarre sight of a tiny girl wearing the enormous hat. The dramatic changes in light caused partly by the scale of the buildings also fascinated Yeats. On the left hand side numerous marks of yellow and red indicate the colourful signs and banners of Chinatown. The richly textured use of paint conveys the steep perspective of the streetscape while imparting a strange vignette of the city, reconstructed and enriched by Yeats's combination of memory and imagination. A related painting is "The Public Letter Writer", 1953, (Private Collection) which is also based on his memories of New York, highlighting again cosmopolitan life. Dr. Roisin Kennedyi. Hilary Pyle, Jack B. Yeats. A catalogue raisonné of the oil paintings, 1992, II, p.535.
Lot 45
Patrick Swift (1927-1983)Garden Study (1950)Oil on canvas, 75 x 100cm (29½ x 39¼'')SignedExhibited: Dublin, 'Irish Exhibition of Living Art', 1951, catalogue no.58.Patrick Swift made his exhibition debut as a professional artist at the Irish Exhibition of Living Art in 1950. Critic Edward Sheehy named him as the most promising newcomer - with reservations, chiefly relating to his limited technical abilities. Louis le Brocquy and others had established the IELA in 1943, as response to the perceived, insular conservatism of the RHA. Swift gravitated naturally towards it.Originally from Dolphin's Barn, Swift initially worked for the Dublin Gas Company, studying for two years as a night student at NCAD. By 1950, he regarded himself as a practicing artist and was a resident of Dublin's literary and artistic quarter, Baggotonia, living first in a flat in Baggot St, then in Hatch St, with an American Trinity student and aspiring poet, Claire McAllister. They spent the summer of 1950 in Paris where he studied life drawing and painting.John Ryan (whose sister Oonagh, Swift fell in love with and married), Patrick Kavanagh, Anthony Cronin, Nano Reid, Patrick Pye and Nevill Johnston were friends and part of their circle. Swift wrote as well as painted and was active in literary life. Lucian Freud, in pursuit of Caroling Blackwood, visited and painted, and Swift stayed with him in London in return. There has been much discussion of the flow of influence between them. It seems fair to say that Freud was a significant influence on Swift, but at the same time, he was very much his own man. He had his first solo show with Victor Waddington in 1952.It has been remarked that Swift's early work is characterized by an objective, even cold realism, not that distant from Freud's approach at the time. This fine garden study with its carefully limited palette - gardens and plants remained a source of intense interest throughout his working life - does have a certain analytical quality. It is closely observed but also boldly stylised, in the Cubist mode favoured by several leading modernist painters. Swift cleverly uses Cubism as a device to effectively open up and layer the spaces, leading the viewer into the garden rather than offering a single perspective view.In 1952, when his relationship with Oonagh began, he began the process of moving away from Ireland. After time in London, when he and Oonagh spent a summer in the Algarve in 1962 they realized that they would like to live there, and set about doing so, eventually building a house and setting up a full-scale, working pottery. While Swift painted all the while, he had little interest in exhibiting his work; he was even reluctant to do so. A steady stream of visitors ensured continued contact with Ireland, but within quite a narrow circle, and his artistic profile became diminished. In fact he was relatively unknown as a painter in Ireland until, in 1983, some ten years after his death, a substantial retrospective at the Irish Museum of Modern Art reintroduced him to the wider art public and, more, established him as one of the leading Irish artists of his time
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216136 item(s)/page