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Lot 36
Peter Graham R.A., H.R.S.A (Scottish 1836-1921) A Mountain Road Signed and dated 1881, oil on canvas (Dimensions: 136cm x 184cm (53.5in x 72.5in))(136cm x 184cm (53.5in x 72.5in))Footnote:Exhibited: The exhibition of the Royal Academy, 1881. The 113th., 1881, no. 55 Note: Peter Graham was a Scottish artist renowned for his landscape works, which were magnificent in both scale and execution. He had a remarkable ability to capture the transient character of nature and the romance of the Scottish Highlands in his grand paintings. In a review of the Royal Scottish Academy’s Exhibition of 1860, one critic remarked that Graham’s paintings ‘are a very luxury to the eye; the colour is so fresh and true, the mosses are so soft and velvety, the lichens are so grey-green. You smell the fir-trees when you stand before the first, the joy of summer-tide seems to slide into the sense when you look at the second’ ( “Iconoclast” Reviewed , Maulstick, 1860, p.6). Graham began his artistic career at the Trustees' Academy in Edinburgh, training under Robert Scott Lauder and initially concentrating on figure subjects. However, a holiday to Deeside in 1859 inspired him to turn his attention to landscape paintings. Graham’s work was heavily influenced by the evocative poetry of Sir Walter Scott, as well as the dramatic landscape paintings of Horatio McCulloch. When he moved to London, he began to paint on a grand scale, emphasising the awe-inspiring magnificence of the Scottish scenery. These large paintings particularly appealed to an urban-based audience, and Graham continued to gain popularity across the UK. Reflecting on Graham’s training and success, James L. Caw wrote, ‘His earlier pictures revealed him as an acute observer of Nature, as a careful student of atmospheric effect and natural form’ ( Scottish Painting: Past and Present, James L. Caw, 1908, p.255). Graham was well received at the Royal Scottish Academy, where he started exhibiting in 1855, and made a name for himself in England, becoming an Associate of the Royal Academy in London in 1877. He was then elected a full Royal Academician at the end of 1881, and a Senior Royal Academician in 1919.Condition report: Largely good unlined condition - some minor work to browns in foreground and to lower right hand hillside above valley - slight stretcher marks in oblique light in largely original condition
Lot 37
Peter Graham R.A., H.R.S.A (Scottish 1836-1921) To Valley Pastures Signed and dated 1900, oil on canvas (Dimensions: 165.5cm x 138cm (65in x 54.5in))(165.5cm x 138cm (65in x 54.5in))Footnote:Exhibited:The exhibition of the Royal Academy, 1900. The 132nd., 1900, no. 49Provenance: Arthur Tooth & Sons, London Note: Peter Graham was a Scottish artist renowned for his landscape works, which were magnificent in both scale and execution. He had a remarkable ability to capture the transient character of nature and the romance of the Scottish Highlands in his grand paintings. In a review of the Royal Scottish Academy’s Exhibition of 1860, one critic remarked that Graham’s paintings ‘are a very luxury to the eye; the colour is so fresh and true, the mosses are so soft and velvety, the lichens are so grey-green. You smell the fir-trees when you stand before the first, the joy of summer-tide seems to slide into the sense when you look at the second’ ( “Iconoclast” Reviewed , Maulstick, 1860, p.6). Graham began his artistic career at the Trustees' Academy in Edinburgh, training under Robert Scott Lauder and initially concentrating on figure subjects. However, a holiday to Deeside in 1859 inspired him to turn his attention to landscape paintings. Graham’s work was heavily influenced by the evocative poetry of Sir Walter Scott, as well as the dramatic landscape paintings of Horatio McCulloch. When he moved to London, he began to paint on a grand scale, emphasising the awe-inspiring magnificence of the Scottish scenery. These large paintings particularly appealed to an urban-based audience, and Graham continued to gain popularity across the UK. Reflecting on Graham’s training and success, James L. Caw wrote, ‘His earlier pictures revealed him as an acute observer of Nature, as a careful student of atmospheric effect and natural form’ ( Scottish Painting: Past and Present, James L. Caw, 1908, p.255). Graham was well received at the Royal Scottish Academy, where he started exhibiting in 1855, and made a name for himself in England, becoming an Associate of the Royal Academy in London in 1877. He was then elected a full Royal Academician at the end of 1881, and a Senior Royal Academician in 1919.Condition report: Largely good unlined condition - heavy craquelure may require re-lining but largely untouched
![LONDON - Gabriel BODENEHR (c.1664-c.1758). Londen, Westmunster u: Soudwark. "Augustae" [ie. Augsburg]: c.1720. Hand-coloured](https://cdn.globalauctionplatform.com/dd3fa65e-97b1-4590-80d4-ab0d00aae4fa/af418ace-3f31-434e-9648-ab0d0103378f/468x382.jpg)
Lot 730
LONDON - Gabriel BODENEHR (c.1664-c.1758). Londen, Westmunster u: Soudwark. "Augustae" [ie. Augsburg]: c.1720. Hand-coloured engraved plan with engraved key, 155 x 710mm., framed and glazed. With 3 18th-century hand-coloured engraved plans of London wards and the Tower of London ([?]extracted from Maitland's History and Survey of London), and 2 larger-scale 19th-century hand-coloured engraved plans of parts of central London by Edward Weller and Cassell, Petter & Galpin respectively, all framed. (6)
![SUSSEX - J. & C. WALKER (publisher). Sussex. London: J. & C. Walker, [c. 1880]. Hand-coloured engraved map, 320 x 39](https://cdn.globalauctionplatform.com/dd3fa65e-97b1-4590-80d4-ab0d00aae4fa/e4142b89-b945-4d12-98f0-ab0d010376c8/468x382.jpg)
Lot 777
SUSSEX - J. & C. WALKER (publisher). Sussex. London: J. & C. Walker, [c. 1880]. Hand-coloured engraved map, 320 x 390mm., framed and glazed. The map shows the territories of the Crawley & Horsham, Lord Leconsfield and Southdown Hunts, with locations of their meets. With a large-scale "Ordnance Map" by Edward Stanford Ltd. covering West Grinstead, Cowfold and Shermanbury (c. 1890, framed and glazed). (2)
Lot 102
Robert Ballagh (b.1943) Portrait of J.P. Donleavy Oil on canvas, 89 x 68.5cm (35 x 27'')Signed lower right Born to Irish immigrants in New York, James Patrick Donleavy (1926-2017) served in the US Navy during WWII and moved to Ireland in 1946 to attend Trinity College, which he did for several years, leaving without a degree. Invigorated by the work of Jack B Yeats, he took up painting, which was gradually supplanted by writing. His first novel, The Ginger Man, published in 1955 (its caddish title character generally thought to be based on one of his college contemporaries), established his literary reputation and was an enormous commercial success. It financed his purchase of a country estate on Lough Owel near Mullingar. Donleavy never gave up painting or drawing and began to exhibit more in the early 21st century. To mark his 60th birthday, the dealer Damien Matthews commissioned a portrait by Robert Ballagh.Ballagh visited Donleavy at his home and took a number of reference photographs. His outstanding portrait positions the writer seated with relaxed formality before a window flanked by white-painted shutters. The composition subtly references Edward McGuire’s iconic 1974 portrait of Seamus Heaney, seated at a table and holding a book. In the Ballagh painting, a small stack of books on the floor is topped by a first edition of The Ginger Man. Outside, budding montbretia add a dash of warm colour, though while a wry smile plays at the edge of Donleavy’s lips, his reflective gaze is cool and slightly sardonic - rather like his literary style. Soon after completion, the portrait was included in a retrospective of Ballagh’s work at the RHA Gallagher Gallery.One of the best-known and popular contemporary Irish artists, Ballagh is renowned for his portraiture, in which the detailed realism of his style is often leavened by wit. A Dubliner, he initially studied architecture at Bolton St but then diverted into playing bass guitar for a group called The Chessmen. A friend, artist Micheal Farrell, took him on as an assistant when he won a large commission. Ballagh’s natural facility, drafting skill and enthusiasm for Pop Art won him over to the visual arts and launched him on a remarkable and versatile career. Apart from many ambitious, large-scale subject paintings, his output has included more personal, autobiographical works, portraits, photographic work and design projects, from stamp design to book jackets and theatre sets - the latter including, most famously, Riverdance.Aidan Dunne, November 2019.
Lot 15
William John Leech RHA ROI (1881-1968)The Bridge in Regent's Park (c.1935)Oil on canvas, 49 x 60cm (19¼ x 23½'')SignedAway from France and living in London, Leech turned to locations for landscape subjects, which were close at hand. Regent’s Park was a short walk downhill from his studio at 4 Steele’s Studios, Haverstock Hill, N.W.3 and he began a series of paintings, which is possibly Leech’s longest, comprising over twenty works. The first painting titled ‘The Bridge, Regent’s Park’ was exhibited at the R.H.A in 1935 and judging from its price, it was more likely to have been a watercolour. This was a common practice for Leech, working en plein air, and then developing the work in oils, on a larger scale, in his studio. He wrote to Leo Smith in January 1953, telling him that he was still painting in Regent’s Park at that time; ‘By the way, I am getting £60 for “The Bridge”. This fact may encourage your customer. I ….am now working in Regent’s Park again, which is really lovely when it is fine.’ The influence of Monet is again apparent in this Regent’s Park series, in particular with Monet’s scene at ‘Giverny, Morning Mists’, 1897 (N.Carolina Museum, Raleigh, USA). Leech painted in Regent’s Park throughout the year, even in the winter months as in this work. Here, he focuses on the main arch of the bridge heightened by the diagonal formed by the fence in the foreground which frames the water and which is repeated in the railings on the parapet of the bridge. The reflections of both in the browns and grey blues of the water and the ochres of the bank and the umbers of the tree trunks, suggest early winter with a silvery grey reflected sky. Although this work had labels on the back of the frame, denoting ‘No.2. Back Gardens’, this is a completely different work, which Leech exhibited at the R.H.A in 1944, from 20, Abbey Road, London, N.W.8, his partner, May Botterell’s flat. Leech kept to a small range of canvas sizes, which allowed him to reuse frames from unsold works. When Steele’s Studio was badly damaged, several times during the 2nd World War, Leech used 20 Abbey Road as his studio address. Dr Denise Ferran, October 2019.
Lot 55
William Scott CBE RA (1913-1989)Red and Red (WS119) (1967)Oil on canvas, 152 x 152.4cm (60 x 60'') Archive number 0328Provenance: Given by the artist to a collecter, from whom purchased by the present owner, c.2008. Private Collection, Dublin.Literature: Sarah Whitfield (ed.), William Scott: Catalogue Raisonné of Oil Paintings, Vol. 3 1960-1968, Thames and Hudson in association with William Scott Foundation, London 2013, cat. no. 641, illustrated p.275.Exhibited: Hanover Gallery, 'William Scott Paintings 1967', London, 17 October - 10 November 1967, No.7; Tate Gallery, 'William Scott Paintings, Drawings and Gouaches, 1938-1971', London, 19 April - 29 May 1972.In 1967 William Scott completed a large-scale work, Abstract Painting, a joint commission from the Arts Council of Ireland and RTÉ, to be installed in a new administration building, part of Scott Tallon Walker’s Donnybrook complex for the national broadcaster. Over 3.5 metres in width, the composition is, even for Scott, exceptionally spare, with just one motif, rotated through 90˚ and repeated. The palette is exceptionally warm.The same holds true for this painting, which the William Scott Catalogue Raisonné relates specifically to two earlier works, from 1965, Reflection and Untitled. While the RTÉ Abstract Painting plays on the idea of a displaced reflection, Red and Red and its predecessors do so even more boldly. Scott held onto Red and Red, eventually giving it as a present to an art collector, who sold it in 2008.Throughout Scott’s working life, it’s evident that he periodically tended towards abstraction without ever entirely severing ties with representation. The early 1950s and then the early 1960s saw the most notable examples of this. In the 1960s, it followed on from several years during which he made increasingly densely packed and highly textural still lifes - stylised, certainly, but unmistakably still lifes. Perhaps he felt he had arrived at the culmination of this process. In any case, he began to streamline his compositions. Looking back, he described it as “a process of elimination.” In practice that meant fewer, simpler forms and larger areas of flat or virtually flat colour.In his Berlin Blues series, the dominant colour was a pigment he was greatly taken by when he came across it in Berlin, called ‘Pariserblau’. It is as if he was, at the time, spurred to explore an opposite to the cool blue and white palette of the Berlin Blues, experimenting with combinations of warm, sometimes intensely warm reds and ochres.Born in Greenock, Scotland, in 1913, Scott grew up in Enniskillen, his father’s hometown, and showed aptitude for art from an early age. Encouraged by his progressive art teacher, Kathleen Bridle, he studied at the Royal Academy School in London. He went on to develop an elegant pictorial language applied in various ways to three consistent areas of subject matter: the still life, the human figure and the landscape.Aidan Dunne, October 2019
Lot 30
Model Motorcycles, 7 boxed Britain's model motorcycles, 1:32 scale. U.S. Sheriff (9692), 2 X Drag Racing Machine (9683 in different packaging), Honda-Benly (9687), 2 X Chopper (9680), Thunderbird (9690) together with a Matchbox 33 Police Motorcyclist (models vg, boxes age toned and dusty with some rusting to staples) (8)
Lot 132
AN ARAB SILVER-MOUNTED DAGGER (JAMBIYA), 19TH CENTURY with curved double-edged blade formed with a medial ridge, silver hilt decorated with geometric beadwork and filigree designs, horn-shaped pommel, in its scabbard, the outer surface covered with silver en suite with the hilt including a panel of scale pattern, with seven rings 15.0 cm; 6 in blade
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