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Lot 627
21st Empress of India's Lancers Omdurman Chargers Sergeant's Lancer Tunic.A scarce Senior NCO's post 1902 example, attributed to 2066 Squadron Sergeant Major Rough Rider Alfred Seabrook, who is confirmed as charging alongside Sir Winston Churchill at the Battle of Omdurman and appears to have been promoted Sergeant in the field following the charge. The Lancer tunic, is of the Senior Non Commissioned Rank pattern. Dark blue material with French Grey plastron to the front. Retaining original brass Victorian Regimental pattern buttons and Collar Badges, the latter with gold lace edging. The shoulder straps embroidered with the Regimental device. To the right sleeve bullion rank insignia of Sergeant chevrons, spur and Crown (Evidence of Sergeant sleeve Badge having been worn). The interior with white blanket lining and issue details "21 L 2066 1 04". The tunic remains in good clean condition, one or two small moth nips, not effecting the overall appearance. ... Accompanied by yellow mohair cap lines. (2 items)2066 Squadron Sergeant Major Rough Rider Alfred Seabrook enlisted into the 21st Hussars in 1881, remaining with the Regiment when it was converted to Lancers, he saw service in India, before the Regiment was sent to Egypt in October 1896. He is confirmed as been present at the Battle of Khartoum and along with 350 men of the Regiment including a young Sir Winston Churchill, took part in the last full scale cavalry charge of the British Army when ordered to charge against an estimated 700 Dervishes. The lancers soon discovered this was an ambush as enemy tribesman revealed themselves swelling their numbers to 2,000 men. Seabrook survived the encounter and his service papers confirm he was promoted on the field that day to the rank of Sergeant. Returning to the UK in 1899, he gained his Rough Rider badge in 1901. Along with his Sudan Campaign Medals, he was awarded the long Service & Good Conduct Medal. His tunic is dated January 1904 and in November of that year he left the Regiment.
Lot 203
Europe. Manning (F.E.), Target Berlin, 'Newsmap', Prepared and Distributed by the Army Orientation Course. Special Service Division Army Service Forces, War Dept., 2E581 Pentagon Bldg., Washington D.C. U.S. Government, October 25, 1943, large photolithographic poster with detachable scale at base of map, old folds, slight dust soiling, 1190 x 890 mm Uncommon. (1)
Lot 205
*Globe. Malby's Celestial Globe, 'Manufactured under the Superintendence of the Society for the Diffusion of Useful Knowledge', published Malby & Son, circa 1860, twelve inch diameter table globe, calibrated full brass meridian, the horizon band with engraved paper calendar, scale and zodiac, lacking the north and south hour circles and calottes, crudely repaired at poles, gores a little chipped and worn, supported on turned stained wooden tripod stand and legs (1)
Lot 209
Japan. Manning (F.E.) Target Tokyo, 'Newsmap', published by the Army Orientation Course Special Division Army Service Forces, Washington DC, 1943, photolithographic map with a detachable scale at base, monotone map of the world printed on verso, old folds, 585 x 430 mm The focus of the map is a panoptic view of Tokyo, from which a series of concentric circles radiate, thus creating a target-like effect. The circles ever widen till they include much of the eastern hemisphere. Smaller than the 'Target Berlin' map which preceded this publication, the map was an iconic piece of American World War II propoganda. (1)
Lot 217
Maps. A mixed collection of thirty maps, mostly 18th & 19th century, large scale and multi-sheet maps, many of India, South America and Europe, many with contemporary hand colouring, including examples by Wyld, Palairet, Baker, D'Anville, De La Rochette, Jeffreys, Thomson, Faden, Laurie & Whittle, Jaillot and Rocque, some duplicates, various sizes and condition (30)
Lot 218
Maps. A mixed collection of thirty-six maps, 18th & 19th century, large scale and multi-sheet maps of India, South America, Europe, Asia and the British Isles, lacking some sheets, with examples by D'Anville, Cary, Sayer & Bennett, Wyld, Laurie & Whittle, Schenk, Ottens, Rocque and Dury, various sizes and condition (36)
Lot 230
*Warwickshire. Speed (John), The Counti of Warwick The Shire Towne and Citie of Coventre described, published Thomas Bassett & Richard Chiswell, circa 1676, hand coloured engraved map, inset town plans of Warwick and Coventry, large strapwork cartouche, compass rose and mileage scale, 385 x 515 mm, English text on verso, mounted, framed and double glazed (1)
Lot 513
Taunt (Henry W.). A New Map of the River Thames from Thames Head to London, (on a scale of two inches to a mile), from Entirely new Surveys made Personally by the Author and Corrected to the Present Time..., 6th edition, Oxford: Taunt & Co., [1897?], 4pp. publisher's adverts at front, mounted photograph frontispiece, large folding table, 33 double-page lithograph maps, each with inset mounted photographs, five plates (2 with photographs), library ink stamps to endpapers, front free endpaper torn, hinges split, original green cloth with blocked decoration in gilt & black, 8vo, together with Potter (Beatrix), The Tailor of Gloucester, 1st edition, 1903, colour frontispiece and plates, ink stamp to verso of title, library label & number to front free endpaper, text block broken between half-title & frontispiece, hinges repaired, original maroon boards with inset picture to upper cover, rebacked perserving original spine, light wear and marks, 16mo, plus other ex-library books, including British topography, and a defective copy of A History of the Art of Bookbinding by W. Salt Brassington, 1894 (a carton)
Lot 129
Yorkshire. Ordnance Survey maps, scale of 6 inches to one mile, sixteen sheets, first edition 1853 - 1857, sixteen double page uncoloured engraved maps, each laid on later linen, slight dust soiling, later endpapers with library book plate and ink stamps, one ink stamp to margin of first map, each map approximately 640 mm x 940 mm, marbled endpapers, modern quarter morocco gilt, a little worn, bumped at extremities, large folio, together with approximately 250 20th century ordnance survey maps, mostly of the I inch series The complete survey for Yorkshire in the large size first described comprises of 311 sheets and is sometime referred to as'The Record Map'. (approx.250)
Lot 189
British Isles. Visscher (Nicolas), Magnae Britanniae tabula Angliam, Scotiam et Hiberniam, circa 1670, engraved map with contemporary hand colouring, decorative cartouche and mileage scale, central fold strengthened on verso, printers crease, slight dust soiling, 455 x 530 mm R.W.Shirley. Printed Maps of the British Isles 1650 - 1750. Visscher 1, state 4. (1)
Lot 285
NINETEENTH CENTURY MAHOGANY CASED BRASS FOLDING COIN SCALE, the case fitted to receive the five numbered brass disc shaped weights and the paper chart indicating which weight to use for weighing Guinea, Sovereign, Half Guinea etc... the case 6" (15.cm) long closed down (lacks push button release to locking mechanism)
Lot 290
Two Worcester blue and white plates c.1765-68, one octagonal and painted with the Fan-Panelled Landscape pattern of Oriental landscapes reserved on a powder blue ground, the other with a scallop-edged rim and painted with peony and chrysanthemum branches to the well, the rim with six panels of flowers on a scale or cracked ice ground, alternating with powder blue panels, pseudo script marks, 20.6cm max. (2)
Lot 384
A Worcester scallop-edged dessert plate c.1770, painted with polychrome flower garlands and single sprigs reserved within shaped panels on a blue scale ground, square seal mark, and a bone china copy of a Worcester plate, with a central floral spray on a wet blue ground,22.2cm max. (2) Provenance: the Professor Richard Clarke collection. The Worcester plate purchased from Simon Spero in 1998.
Lot 420
Four English porcelain coffee cups 2nd half 18th century, one Bristol and painted with polychrome sprays of European flowers, blue X and 21 mark, one Bow and decorated in the Kakiemon palette with the Two Quail pattern, incised X and red E mark, a Worcester cup richly painted with two attendants waiting on a reclining Chinaman, and a flared Worcester cup with panels of birds on a blue scale ground, square seal mark, 6.5cm max. (4)
Lot 110
Angela Conner (British) CELEBRATION, 2001 bronze; (limited edition of 25) signed, numbered and dated at the base 8½ x 13in. (21.59 x 33.02cm) Bought directly from the artist in London by the present owner Depth: 13ins, with glass vase incorporated into centre of the work.Celebration was originally conceived for an ILPH Ball Fundraiser for the World Horse Welfare. Another example of Celebration was purchased by the late Duke of Devonshire. Angela Conner has created sculptures in a range of diverse materials, including stainless steel, marble dust, carbon fibre, resin, gold, silver, slate and glass. She has substantial international experience and is particularly known for her kinetic sculpture. Conner's sculptural works in Ireland include several large scale works such as Wave located in Parkwest, Dublin; the tallest water and wind sculpture in Europe. In April 2009 a major large-scale sculpture by the artist, entitled Patefaction, was installed on Grafton Street, Dublin as part of a temporary Public Art Space Programme, organised in conjunction with Dublin City Council. Her work is held in numerous private and public collections internationally, including the late Lucien Freud and several members of the Royal Family, the Arts Council England, the National Portrait Gallery, the Sculpture Gallery at Chatsworth, 10 Downing Street and the Carnegie Museum of Modern Art in Pittsburgh, among others. For further information on Conner’s work see: www.angelaconner.co.uk
Lot 25
Sir John Lavery RA RSA RHA (1856-1941) AN EAST WIND, 1912 oil on canvas laid on board inscribed [To The Countess Becdelievre from John Lavery 1912] lower left; signed and titled on reverse 10 x 14in. (25.40 x 35.56cm) Adam's, 1 April 2009, lot 131;Private collection 'Exhibition of Irish Art', Milmo-Penny Fine Art, Dublin, June 1991, catalogue no. 5 In the autumn of 1912 Lavery sent his recently completed full-length portrait of Cécile Marie Ernestine Roger de Villers, Countess Becdelièvre, to the annual Autumn Exhibition at the Walker Art Gallery, Liverpool. Nothing is known about the circumstances of the commission and the portrait in which the countess wears, 'a wonderful Parisian creation in shimmering satin' remains unlocated. The present seascape, probably given to the countess at the time of the sittings, is the only evidence we have of the friendship that was formed as a result of the commission. Sketches, personally inscribed to favoured sitters, are not uncommon in the Lavery oeuvre. The fact that this represents a familiar group of rocks on the shore at Tangier may also indicate that the painter and his subject met in the 'White City'. In March 1912 while Lavery was working at his Tangier studio, and anticipating the wedding of his daughter, Eileen, General Lyautey invaded Morocco, making it a French protectorate. The numbers of diplomats and military personnel in the city immediately increased. Since the illustrious Becdelièvres were a military family, it is possible that the portrait commission resulted from this intervention - it was one of a number of portraits of the French nobility painted around this time, when the painter's reputation in Paris was consistently high. Between March and September 1912, at the International Society's exhibition in June, the painter had exhibited five small recent seascapes to which the present example may relate. All of these were 10 x 14 canvasboards, of which he had an ample supply. In the present case, the rocks on the left, stretching into a choppy sea, are likely to be those depicted on other occasions - most notably in A Rough Sea (Paisley Art Institute). At low tide, on a calmer day, these same rock pools would attract his wife and step-daughter, and their presence would be used to punctuate compositions that would then be re-worked on a larger scale. The beach also became a convenient thoroughfare for passers-by as in The West Wind 1911 (Private Collection). Few beach scenes however, apart from the Paisley picture and possibly, Tangier Bay, Rain 1910 (Ulster Museum), show inclement or potentially stormy conditions - as here. During the early months of 1912, as Lavery noted in a letter, the weather was colder and less predictable than usual, and strong easterlies swept the Straits of Gibraltar. While his painting activities were restricted, he was nevertheless a seasoned campaigner and small studies such as the present example were always possible. While the wind may whip up the sands on the shore, and threaten to overturn a larger easel, it made no impact upon the delightful freshness of the present sketch held securely in a field-box. Professor Kenneth McConkeyJanuary 2017
Lot 73
Louis le Brocquy HRHA (1916-2012) THE TÁIN. CÚCHULAINN IN WARP SPASM, 1969 Aubusson tapestry; (no. 2 from an edition of 9) signed and numbered on label on reverse 72½ x 50½in. (184.15 x 128.27cm) Taylor Galleries, Dublin;Private collection Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland's oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin.The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce's Finnegans Wake drew on its meandering style - but Thomas Kinsella's Táin was the first widely-accessible version, especially when Oxford University Press' 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass' Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation.The images le Brocquy called 'shadows thrown by the text' became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in these tapestries. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post.Le Brocquy's innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. The present work, Cúchulainn's Warp Spasm, speaks both of calligraphic marks from Sun Tzu's The Art of War and Yves Klein's bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples.The translation into tapestry, via le Brocquy's Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché's subtly-textured cottons and wools freed le Brocquy's black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book's relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or Medb Ruane,April 2012. [Abridged note reprinted from Whyte's Important Irish Art auction catalogue, May 2012]
Lot 246
* JOSEPH DAVIE,HEROoil on canvas178.5cm x 150cmFramedNote: Joseph Davie was born in Glasgow in 1965. He studied at Glasgow School of Art during the 80's, when testosterone and figurative painting seemed to go hand in hand. What is so different about Davie is the subtlety and ambiguity of his work. Georgina Coburn (the freelance arts correspondent) has described his work as lyrical, enigmatic, edgy, dreamlike and compelling. She writes : ''Gently provocative Davie delights in the surreal juxtaposition of ideas and materials. The meeting of contradictory characters, cultures or visual elements such as colour, pattern or form, create intriguing dialogues in his work. Davie's wonderfully ambivalent zinc and copperplate etchings, watercolours, oils on canvas and mixed media works inspire an imaginative response. His whole approach to the figure is brilliantly subdued and refreshing. He conveys a sense of the monumental and iconic not through obvious physical scale but in terms of human aspiration.'' His work is in numerous public collections including Glasgow Museum of Modern Art, The Kelvingrove Museum, Historic Scotland and the BBC.
Lot 134
JAMES MALTON (1761-1803)A set of twenty-five views of Dublin in hand coloured aquatints ''A Picturesque and Descriptive view of the City of Dublin''Frames 30 x 42.5cmJames Malton is thought to have lived in Dublin during the 1780s with his father Thomas Malton, an architectural draughtsman and teacher. According to the Publius source he was apprenticed to James Gandon, the famous architect, at the age of 17 in 1781. Malton's apprenticeship to Gandon was terminated after three years by mutual consent, after which he moved to London, working from there with frequent visits back to Dublin. Malton engaged on his grand project to produce his ''Picturesque Views of Dublin'', on a scale hitherto unknown even in London. Dublin pre-Act of Union in 1800 was of course an incredibly rich and vibrant city at the zenith of its financial and cultural powers, and so to Malton it must have appeared ripe for acceptance of such a publication to celebrate its status as the city second only to London. The book was published in six parts by subscription, as was the custom starting in 1792. The painting itself was carried out in London The book proved in part to be too great an undertaking for Malton, and he could not have foreseen the exodus which took place in the city after the Act of Union in 1800. He died in 1803 in London at the age of 38 of a brain fever, and undoubtedly did not reap the rewards of his endeavour.James Malton (1761-1803) undertook his ‘Views of Dublin’ project in the 1780s and began to publish his set of twenty-five prints in 1792. Completed as an architecturally accurate depiction of Dublin, these prints served as a visual record for the city. The prints enlightened those living in the latter part of the 18th century as to the nature of Dublin and, to this day, they have maintained their importance as a captivating illustration of the city as it was.In 1796, ‘St. Stephen’s Green, Dublin’ was published, providing a view stretching from the North West corner of the park, near what is now the Grafton Street entrance, towards Leeson Street. This idyllic and civilised portrayal of urban park life acts in direct juxtaposition to the area’s previous history. The area of St. Stephen’s Green was so called on account of St. Stephen’s Church and its accompanying leper house that was founded in the vicinity c.1192. Until 1664, the Green itself consisted of a swampy stretch of land in which the locals could graze their livestock in between public executions and witch burnings. In order to reform this part of Dublin, an area of 27 acres was bordered off by lime trees with the surrounding plots of land being subject to housing development. Only those inhabiting these plots were granted access to the Green.During the next century, the Stephen’s Green area rose in popularity as the opening of Grafton Street (1708) and Dawson Street (1723) piqued the interest of fashionable individuals. As such, the park soon became a promenade of high society, with particular devotion being given to the ‘Beaux Walk’ which ran along its northern edge. It is here that Malton has set his scene, portraying Dublin society at leisure. As ladies and gentleman pause for idle chatter, the viewer is encompassed by the lazy hum of their surroundings, whilst a pointing figure on the right directs our eye across the expanse of green, over a statue of George III by John van Nost and out to the city beyond. Rising in unison, these buildings are a stark reminder of Georgian solidarity and represent the building standards that were put on the Green’s surrounding plots of land. With the passing of an Act of Parliament in 1814, we see St. Stephen’s Green warping slightly from Malton’s depiction. Where once people could walk their dogs, these animals were now banned, along with such acts as running and jumping and any other exertion that might harm the land and the plants on it.This is all changed when, in 1880, Lord Ardilaun officially opened St. Stephen’s Green to the general public. In 1884, he handed possession of the Green over to the Dublin Corporation to hold on behalf of the people. From here, the Green, now under the control of the OPW, has progressed into the area that we know today.Over two hundred years after Malton committed his 18th century park to paper, the Green still holds a resemblance to its past. Whilst certain changes cannot be denied, for example the destruction of van Nost’s statue which once stood proudly in the centre, or the extensive growth of the lime trees bordering the walks, the similarities remain. Visitors to Dublin continue to enjoy the ‘Beau Walk’ and, with a change of costume, Malton’s seen would appear quite at home in the 21st century city.
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