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Lot 11
Mary Swanzy HRHA (1882-1978)The StormOil on canvas, 63 x 76cm (24¾ x 30'')SignedProvenance: From the estate of P.J. Mara; originally in the collection of Pat and Antoinette Murphy and sold by them at their inaugural exhibition at the Peppercanister Gallery in October 1999. The artist told Pat Murphy that the two figures in the maze represented the artist and her sister. Exhibited: 'Analysing Cubism Exhibition', IMMA Feb/May 2013, The Crawford Gallery,Cork June/Sept 2013, The FE McWilliam Gallery, Banbridge, Sept/Nov 2013; ’Opening Exhibition of Irish Art’ The Peppercnnister Gallery October/November 1999 Cat. No. 1 where purchased. (Illustrated front cover of the catalogue). Literature: 'Analysing Cubism', The Crawford Gallery, Full page illustration p.96.Julian Campbell has linked the large constructions in The Storm including to that of Semur-en-Auxois, a town in Burgundy. This is, according to Campbell, the equivalent to Pablo Picasso’s Horta de Ebro, the Spanish mountain top town that inspired several of his key cubist landscape paintings. Semur is a medieval city built on an outcrop of pink granite and famous for its ramparts and towers. It is dominated by an imposing fortress, whose features can be detected in The Storm. The centre of the painting is made of a series of vortexes made of geometric configurations of light. These swirling forms swirl over the battlemented city flattening and fragmenting its solidity into facets of radiance and colour. These create a sense of speed and movement akin to the experimental style of the Italian Futurists, whose work Swanzy would have seen in Florence where she lived briefly before the World War One. The centre of the city struck by stylized rods of lightning which can be seen darting across the surrounding hills. This dramatic vision of a storm is presented as seen from above as though from an airplane or some celestial vantage point. Fascination with force and speed and the aeronautical perspective became fashionable amongst avant-garde artists in the 1910s and 1920s through the influence of futurism and Orphic Cubism, the colourful style associated with the work of Robert Delaunay and Sonya Terk. Their work was shown at the Salon des Independants in Paris before the war at a time when Swanzy also participated in the exhibitions. Many of Swanzy’s cubist inspired works of the late 1920s and 1930s reveal her keen understanding of this aesthetic which sought to transmit the energy and sensation of living and seeing in the modern age in images of flight and of the city. In this work Swanzy replaces the ubiquitous symbol of the Eiffel Tower, preferred by Delaunay, with the medieval town. A Storm also takes a slightly different perspective to that of Orphic Cubism in its inclusion of tiny figures. Two can be seen in the bottom centre of the composition, struggling to keep their balance on the rampart walkway. These signal the future direction of Swanzy’s work which be the 1940s was moving away from Cubism towards more imaginary themes. As early as 1934, roughly around the time this work was painted, a review of an exhibition of her work in London, described Swanzy as a ‘Surrealist working in a Cubist convention’. In The Storm the Surrealist aspect is most notable in the large arrow that lies embedded in the centre of the cylindrical forms of the city. This play on proportion and scale adds a dimension of mystery to the painting suggesting the destruction of the citadel and the terror of its citizens. Dr Róisín Kennedy
Lot 13
Norah McGuinness HRHA (1901-1980)Above the BayOil on canvas, 51 x 89cm (20 x 30'')SignedProvenance: From the collection of the artist's sister, Rhoda and bequeathed to the current owner.Exhibited: 'Norah McGuinness', The Leicester Galleries, London, 1963, Catalogue No.25, where purchased by the artist's sister Rhoda; 'Norah McGuinness', The Frederick Gallery, April - May 1996, catalogue No.18, on loan from Rhoda McGuinness; 'Norah McGuinness Centenary Loan Exhibition', Dalkey Castle Heritage Centre, 2002, Catalogue No.19, under title 'From Bray Head'.Norah McGuinness painted the east coast of Ireland extensively. Living in Dun Laoghaire, she developed a passionate interest in the seashore, its birdlife and the patterns of the water, the sand and the mud flats of Dublin Bay. This work is a panoramic view of a coastal town in Co. Wicklow, possibly Greystones. A solitary figure in a white dress stands on the crest of the hill giving perspective and scale to the surrounding vista. Her isolation contrasts with that of the groups of figures on the strand behind her. Above the Bay, like many of McGuinness’s other works, is strongly influenced by her close but increasingly flexible understanding of cubism which she learned in Paris with the Cubist artist André Lhote in the 1920s. She had earlier studied design with Harry Clarke in the Metropolitan School of Art in Dublin and she worked extensively as an illustrator and window designer in London, New York and from 1939 in Dublin. She brings this experience to bear in her treatment of the landscape in this work. The vagaries of nature are transformed into a rich densely coloured and patterned surface. The land and distant mountains are presented like a tapestry of differing green and brown squares. The sky is blocked out into larger geometric shapes of greys and white. The sea is composed of broad brushstrokes of turquoise, blue, grey and white. In contrast the town appears like a series of childlike blocks that enable bright green, pink and yellow to be introduced into the painting. There is a distinctive and decidedly cosmopolitan quality to this rendition of the landscape. The skilful blocking of form and colour makes the view appears consciously modern and stylized. McGuinness’s assured understanding of form, as seen in this work, has enabled her to construct a vivid and graceful painting that succeeds independently of reality. Dr. Róisín Kennedy
Lot 131
Basil Blackshaw HRHA RUA (1932-2016)Bodlington CrossOil on canvas, 122 x 136cm (48 x 53½'')Signed and inscribed with title versoExhibited: 'Basil Blackshaw Retrospective', travelling exhibition, Arts Council of Northern Ireland, Ormeau Baths Gallery, November - December 1995, Model Art and Niland Gallery, Sligo, February 1996 and the RHA Gallery, January 1997 (label verso); ‘Vincent and Noeleen Ferguson Collection’, RHA Gallery, Dublin, January - March 1993, Cat. No. 4.Literature: 'Basil Blackshaw: Painter' by Brian Ferran, illustrated; ‘Basil Blackshaw’ by Eamonn Mallie, illustrated Plate 44, p.127.Basil Blackshaw HRUA (1932-2016) was born in Glengormley but his family moved soon after to Boardmills, Co. Down. He studied at Art College in Belfast in the late 1940s. In 1951 Blackshaw was awarded a scholarship by the Committee for the Encouragement of Music and the Arts, to study in Paris. It was at this time that he encountered the work of a number of artists that were to have an enduring impact on his career. A major retrospective of Blackshaw’s work was held in 1974 at the Arts Council Gallery in Belfast, and another in 1995 was organised by the Arts Council of Northern Ireland. The latter was exhibited at the Ormeau Baths, Royal Hibernian Academy, Crawford Municipal Gallery, and a selection of the works travelled to the United States for a further tour. In 2001 he was the recipient of the Glen Dimplex Award for a Sustained Contribution to the Visual Arts. He exhibited at the Ulster Museum, Belfast in 2002 and a monograph was published on the artist by Eamonn Mallie in 2003. In 2012 the Royal Hibernian Academy in conjunction with the F.E. McWilliam Gallery organised a substantial retrospective of the artist’s work entitled Blackshaw at 80. He was a member of Aosdana, RUA and Associate Member of the RHA.Eamonn Mallie writes of this work:- I don't ever recall when Basil Blackshaw hadn't at least one dog. In fact 'Jet' his last faithful dog was at his feet the evening before he died. Not alone did Basil love dogs but dogs loved him. He'd meet a dog along the road or in a street and there was a good chance the dog would end up going home with him.He had a soft spot too for the breeds of dogs many people hate such as Staffordshire Bull Terriers, Pitbull Terriers etc. He had a great affinity too with lurchers like this 'Bedlington whippet cross.' He was always happiest in the company of horsey and doggy people whether at the race track or simply chasing rabbits across a field with one of his lurchers. What makes this work so dramatic is the scale of it. Clearly the artist felt that the dog needed the space. In this space Blackshaw affords a monumental status to the dog but as in so many of his animals paintings he appears to let form become almost less important choosing instead to let the eye speak for the life and energy in his subject. The 'eye' has it in this painting - there is no doubt about that!E.M.
Lot 452
~A FRENCH GOLD-MOUNTED TORTOISESHELL BOX AND COVER WITH MINIATURE BY GERARD VAN SPAENDONCK (1746-1822), PARIS, CIRCA 1800circular, with a painted inset of a bowl of lavish summer flowers signed to right table edge ‘G. v Spaen...’, plain gold mounts unmarked8.2cm diameterProvenance: The Hoffenreich Collection of Snuff Boxes, ViennaG‚rard (or Gerardus) van Spaendonck is famed for his flower painting, in miniature, larger scale and botanical formats. He was born in Tilburg and studied in Antwerp, moving to Paris in 1769. Appointed miniaturist to Louis XVI in 1774, his floral miniatures set into snuff boxes became hugely sought after. In 1780 he became Professor of Floral Painting at the Jardin des Plantes. Post-revolution he was one of the first members of the Academy of Fine Arts, was awarded the L‚gion d’honneur in 1804 and the following year was ennobled by Napoleon.
Lot 66
A GREY STONE FRAGMENTARY FIGURE OF VAIKUNTHA VISHNU, KASHMIR, CIRCA 8TH CENTURYthe Hindu god standing erect, with gada and sankha in his two hands, his main face flanked by lion and boar heads, mounted14cm highFor a large scale version of this subject in the Metropolitan Museum of Art, see inv. no. 1991.301
Lot 1377
Wentworth Dolls House - Dolls house Emporium 1/12 scale, with internal wiring. 4 story complete with eight rooms, 7 rooms distinctly furnished in mostly new Edwardian style handmade furniture, comprising: parlour suite, dining set, 3 beds, crib, playpen with toys, light fittings, asst.clocks, cabinets,mirrors, cooking range, chairs, etc
Lot 505
Royal Doulton dessert service, hand painted with sprays of flowers within a scale gold and jewel turquoise border. Reg No on reverse 72067. Compromising eight shaped edge plates and two heart shaped serving dishes. In good condition for its age. Very slight wear to surface of plates. No major cracks or damage
Lot 229
A George III mahogany breakfront library bookcase , circa 1780, in the manner of Thomas Chippendale, the moulded cornice centred by a carved twin scroll pediment, above six astragal glazed doors opening to adjustable shelves, the lower section with six panelled cupboard doors opening to a shelved interior, on a moulded plinth base, 278cm high, 380cm wide, 65cm deep Provenance: Property from the Estates of J W T & S M F Tapp, Southborough House, Surbiton Purchased from R.A Lee, (circa 1980's) Comparative Literature: Christopher Gilbert, The Life and Works of Thomas Chippendale, 1978, 2 vols. Anthony Coleridge, Chippendale Furniture, 1968 The present lot closely relates in design and scale to a pair of impressive bookcases, supplied by Thomas Chippendale to Sir Lawrence Dundas (1712-1781) for his library at 19 Arlington Street, Piccadilly, London (sold Christie's London, 18 June 2008, lot 6 £2,057,250) and for his country seat in Yorkshire Aske Hall in 1764. The Arlington and Aske bookcases which were invoiced at £80 and £73 respectively were the most expensive items of furniture on Chippendale's invoice to Sir Lawrence Dundas. The offered bookcase is a simplified version of the Dundas examples, lacking the carved elements to the pilasters and cupboard lower section doors. Its design incorporates an amalgamation of features, reproduced in Chippendale s patterns for a `Library Bookcase , illustrated in his Gentleman and Cabinet-Maker s Director, 1st and 3rd eds., 1754 and 1762, respectively plates 69 and 93. In particular these are the dentilled cornice and glazing-bar configuration. The scrolled and voluted pediment is also reproduced on Chippendale's pattern for 'A Desk & Bookcase' illustrated in the 1st edition of the Director, pl. 78 and again in the 3rd edition, pl. 108. Actual examples of case furniture supplied by Chippendale featuring versions of the same distinctive pediment include a secretaire library bookcase supplied for Pembroke House and now at Wilton House illustrated C. Gilbert, The Life and Works of Thomas Chippendale, 1978, 2 vols., vol. II, p. 42, pl. 66; another library bookcase forming part of the same commission and also now at Wilton (see C. Gilbert op. cit., p. 44, pl. 68; a secretaire bookcase at Aske Hall (see C. Gilbert op. cit., p. 56, pl. 87) and a Lady's secretaire supplied to Sir Roland Winn Bt. for Nostell Priory (see C. Gilbert op. cit., p. 58, pl. 90).
Lot 233
Christopher Saxton, 'Salopiae Comitatus summa cum fide, cura et diligentia descriptionem haec tibi tabula refert', c. 1577, engraved map with contemporary hand colouring, title cartouche surmounted by royal arms, scale of distance surmounted by dividers and separate armorial of Thomas Seckford, 49.5cm x 39cm
Lot 234
P. Schenk and G. Valk, 'Salopiensis Comitatus cum Staffordiensi. Shropshire & Staffordshire', copper-engraving, published in Amsterdam by P. Schenk and G. Valk, ca. 1700, hand-coloured, with figure title-cartouche, another figure cartouche with the scale of map, great coat-of-arms and 2 cherubs holding another 3 coats-of-arms (incl. one blank shield), 54cm x 43cm
Lot 612
A mahogany cased dip circle (dip needle) retailed by F. E. Becker and Co. London, with silvered azimuth circle split into 90 degree quadrants and with locking mechanism to the right hand side, raised on a short lacquered stem and vernier scale, circular plinth and three adjustable feet, 26cm high, 15cm wide, 16cm diameter plinthF. E. Becker and Co. traded at 33-37 Hatton Wall, Hatton Garden (1900-1910), also 17,19,21, 23, 25, 27, Hatton Wall (1912-1920s) and Nivoc House, 17-29 Hatton Wall (1930s) London, England. Founded in 1872 and taken over by W. J. George Ltd. in 1897 but continued to trade under the original name until the 1950s, when it was renamed W.& J. George and Becker Ltd.Dip circles are used to measure the angle between the horizon and the earth's magnetic field (the dip angle).
Lot 614
A mahogany cased induction coil electric shock machine, 1920s, with drawer to the side containing screw thread pads, handles and wires, the interior with coil switches sliding scale the box with dovetail corners and swing carrying handle inset with retailers mark for K. Schall, London W55 Wigmore Street, 13cm square, 14cm high and a mahogany cased Magneto electric shock therapy machine, marked Patent Phoenix Magneto, the interior with magnet and winding handle and cog mechanism and cylinders, 26.5cm long, 13.5cm deep, 13cm high (2)
Lot 617
A Fuller's spiral slide rule calculator by W.F. Stanley, early 20th century in original mahogany box with green paper label to the inside lid marked Stanley, London, England with sliding cylinders and scale, the instrument marked Fuller Calculator with Scale of Sines and Logs. Made in England, 43cm long, the box with brass mounting bracket and dovetail corners, 46cm long
Lot 633
A Troughton and Simms, London brass theodolite, the 15.5'' tube with compass above next to a bubble level with two arch axis and supported on a Y shaped frame on revolving base with further scale and bubble level and y shaped frame with adjustable feet, the base also marked P D Mitra and Co, 23cm high
Lot 684
A selection of objects of virtu and works of art to include three brass stacking wool weights, a cast iron paperweight with crowned lion, a cannonball, a micro mosaic of flowers, 7.5cm, a pair of Edwardian opera glasses, a spinning top, a guinea scale, staybusk, a vernacular ladle, 51cm, a brass slip top spoon, 17cm, a fossilized ammonite, 9cm, a bronze needle, 11cm, two watch keys, three enamel patch boxes, one marked 'a pinch of this deserves a kiss', one marked 'within you'll see what's dear to me', a tortoiseshell penknife and a mother of pearl penknife, two desk seals, a white metal S decanter label, a carved bone scoop and a cased cigarette holder and a circular brass paperweight and silver pepperette, also a 'Fairy Ball', three small Victorian coins cast together, dated 1855 showing Britannia and motto 'Victoria Regina' (Qty)
Lot 727
Frodsham, London, a rosewood and brass strung bracket clock, early 19th century in a dome top case enclosing an arched 6 inch white enamel dial with Roman numerals, subsidiary date dial and strike silent dial in the arch, marked Frodsham, Gracechurch Street, London, double fusee eight day movement striking on a bell and repeating mechanism (cord absent), the back plate also marked Frodsham, Gracechurch Street, London, fish scale grille sides and ring handles and raised on gilt brass ball feet, 34cm high, 24cm wide, 18cm deep and a conforming brass strung bracket en-suite, 28cm wide (2)
Lot 505
Collection of Hornby tinplate 0 gauge items, all mainly in original boxes, to include: McAlpine and Sons tipper; Shell lubricating oil tanker; No. 41 passenger coach (x2); No. 1 cattle truck; one dozen straight rails, B1; No. 1 buffer; No. 2 double arm signal; No. 1 level crossing; turn table track etc., together with vanguards diecast 1:3 scale model of an Austin mini, spruce green, in original box.(B.P. 24% incl. VAT)
Lot 20
Minerals: A large green nephrite freeform 82cm wide 68kg Tools and amulets made of Nephrite date back to Early Neolithic times. For centuries, jadeite and nephrite were considered the same and were not identified as different until 1863 with a difference in colour and a small variation on the Mohs hardness scale. Nephrite can be found in a translucent white to very light yellow form which is known in China as mutton fat jade, in an opaque white to very light brown or grey which is known as chicken bone jade, as well as in a variety of green colours. It was much prized in Chinese culture and used for utilitarian and ceremonial items. It was revered in other cultures including the Maoris in New Zealand, where it is called greenstone and the native North American Indians of British Columbia, both of whom used Nephrite for tools before the arrival of the Europeans and for ceremonial jewellery and carvings.
Lot 168
Bacon (G W) New Chart of the British Isles, New Survey Map of South Scotland and sundry Ordnance Survey and two boxes in the form of bindings with gilt lettering for Ordnance Survey of Great Britain Condition Report: Lot 168 - the OS map boxes are full and include the following:1:25,000 scale : Chalford and Sapperton, Horsley and Kingscote and Tetbury.1” scale: Stroud and Chepstow, Gloucester and Cheltenham, Cheltenham Bacon's Cheltenham.1: 25,000 scale: Ordinance survey for Miserden and Painswick.
Lot 36
A Victorian gold snake or serpent bracelet, c.1850,with graduated basket-style links with quatrefoil bead cluster decoration. The naturalistic head with a pear-shaped cabochon garnet, emerald eyes incised scale and scrolled wire decoration to a concealed box clasp and later safety chain, pendant drop deficient. Tested as approximately 15ct gold. A later case by Asprey & Co. Ltd., New Bond St., London. 119mm long, 15.56g
Lot 155
18th century Worcester plate painted in coloured enamels in the London atelier of James Giles, with a version of the Lady Mary Wortley Montagu pattern, with exotic birds perched on rockwork, within gilt cartouches, alternating with mirror-shaped panels of flowers, on a blue scale ground, blue fret mark, circa 1770, 9 inches diameter CONDITION REPORT Small rim chip and minor frits to gilding
Lot 156
18th century Worcester plate from the Lord Craven Service, painted in coloured enamels in the London atelier of James Giles, with flowers and leaves, within gilt cartouches, alternating with mirror-shaped panels of flowers, on a blue scale ground, blue fret mark, circa 1768, 9 inches diameter.N.B. See Stephen Hanscombe, James Giles, China and Glass Painter, figure 19, for another plate from this service. The 6th Baron Craven (1737 - 1791), is recorded four times in the Giles ledgers, spending the considerable sum of £86.7.6 CONDITION REPORT Good original condition
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