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Lot 240
Property of the Late Countess Haig - A collection of framed works by Emily Balfour Melville (née Haig) (1844-1958) comprising, Study of a house with trees to background (30cmx29cm), A sunrise seascape scene, in a gilt glazed frame (16.5cmx19cm) and a pair of works of Hame Castle (30cmx25cm), titled verso in pencil, all works oil on board. (4)
Lot 239
Property of the Late Countess Haig - A collection of works by Emily Balfour Melville (née Haig) (1844-1958) comprising, Study of a seated woman holding an umbrella, framed (25cmx35cm), A seascape scene, framed (17cmx20cm), a beach scene with sea to background, unframed (20.5cmx25cm) and a sunrise field scene with trees to background, unframed, on canvas. (31cmx36cm), all works framed and oil on board part from one. (4)
Lot 207
*MARY LOHAN (b. 1954) 'Foggy Morning, Mountjoy Square' signed and titled verso, oil on panel with impasto, 37cm x 37cmBorn in Dublin in 1954, Mary Lohan studied painting at NCAD. Painter of land and seascape, she now uses a heavy impasto style that often overhang the edges of their supports. She won the Taylor De Vere Award at the RHA Annual Exhibition in 1991 and 1st Prize at the 1992 Claremorris Open Exhibition. She has exhibited at the National gallery, IMMA and the Taylor gallery and her works are represented in both public and private collections. She was elected a member of Aosdána in 2001.Framed dimensions: 60cm x 60cm
Lot 139
20th Century large Abstract Composition, oil on canvas, 205 x 120 cm (A/F) Carmela Uranga (Argentinian b.1968) Abstract Seascape, signed verso, oil on canvas, 56 x 72 cm (A/F) (2)Condition:Both paintings have been stored in a damp environment and have been subjected to mould growth which has also penetrated the stretchers. The large work has tearing and damage to the lower left, there are abrasions with paint loss in numerous places and it would benefit from a good clean, there is also a previous large repaired tear to the upper right which measures 17 cm The Uranga work has also been badly affected by mould and damp, there is signifcant tearing to the upper-centre right edge and the whole painting requires cleaning.
Lot 70
A TRAVEL AGENT MODEL FOR THE ROYAL MAIL LINE PASSENGER CARGO LINER R.M.S. ANDES, CIRCA 193927in. hull, carved with lined paper glass-covered decks with simple fittings including covered lifeboats and davits, swimming pool with umbrellas and tables flanking, exercise courts demarcated, waterline mounted in a painted seascape with plates -- 11 x 35 x 8in. (28 x 89 x 20cm.) one end glass missing, loose parts and components, some deckrails sprung, dust present, will need restoration
Lot 254
A FINELY DETAILED 1:192 SCALE WATERLINE MODEL OF H.M. SLOOP STARLING AS DEPICTED IN CIRCA 1943model by M. Reading with 19in. carved hull, finished in green/grey dazzle, detailed fittings and armament as appropriate, depicted at anchor in a moulded and painted seascape with details card and Plexiglass cover -- 9 x 24½ x 10½in. (23 x 62 x 26.5cm.) From her completion at Fairfields SB in April 1943 to the end of hostilities, Starling, under the command of Captain Frederick John Walker, sank ten U-boats and assisted with the sinking or damaging of several others, one of the highest rates attached to an individual vessel in the War.fine overall condition
Lot 495
AN EARLY 20TH CENTURY SEASCAPE, INITIALLED AND DATED JMD 1906, depicting a ruined castle on a rocky outcrop, seabirds swoop over stormy seas below, oil on canvas, approximate size 44cm x 33cm, together with 'Lundy Island', depicting towering cliffs beside a stormy sea by the same hand, initialled bottom left, oil on canvas, approximate size 29cm x 23cm, Condition Report: both paintings are behind glass and appear to be in good clean condition, the Lundy painting has a framing mark to the left edge, both frames have losses (2)
Lot 232
Taxidermy: A Cased Red-throated Diver (Gavia stellata), a full mount adult in non-breeding winter plumage, stood upon a painted faux rock seascape, amidst tall grasses and seaweed, set against a wash painted back drop, enclosed within an ebonised three-glass display case, 43cm by 27cm by 65.5cm, indistinct trade label to verso "W.T.H. Carew"?
Lot 438
EDWARD MORRIS (BRITISH 1919-1996) THREE WELSH SUNSET WATERCOLOUR PICTURES, comprising a seascape with boats at their moorings, signed bottom left, approximate size 24cm x 48cm, a coastal landscape titled 'End of the Day III', approximate size 23cm x 33cm and an untitled view of a harbour, approximate size 22cm x 33cm, Condition Report: the paintings are in good condition, seascape mount is discoloured, all frames are marked (artist resale rights apply)
Lot 164
mixed media on paper, signed, titled label verso mounted, framed and under glass image size 50cm x 62cm, overall size 71cm x 82cm Label verso: The Glasgow Art Club Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The late Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 2181
A pair of gilt framed seascape Oil paintings on board by the renowned British artist Millson Hunt: the first oil is titled 'Lannion Near Morlaix' which depicts a ship being pushed from the beach into a rough, stormy sea with further ships and high cliffs with Ploumanach lighthouse a top in the background. Label verso 'Lannion Near Morlaix' written by the artist plus a label from Waring & Gillow (1932) Ltd with the name 'Miss Masters' dated 06.07.38.The second oil is titled 'Morlaix in Brittany' which depicts a larger ship close to the beach with smaller boats and fishing boats nearby with quayside buildings to the right, several figures on the ship, boats and on the beach with a storm threatening the sky. Signed lower left 'M Hunt' dated '1883', label verso 'Morlaix in Brittany' written by the artist. Both in original frames showing some age wear. Image sizes 12" x 9", including frames 19" x 16 1/2".
Lot 119
Manner of David James (1834-1892) - Oil painting - A British three masted vessel in a moonlit seascape, bears signature 'D James', canvas 24ins x 38ins, in gilt moulded frameThis work appears to be in reasonably good condition. There are some scattered areas of retouching to the oil but no obvious damage or loss.
Lot 1093
Two Royal Doulton Pottery Tiles Designed by Donald Maxwell (1877-1936), for his 'Doomsday' series of Kent Villages - Folkestone and Sheerness, both 5.5ins x 6.5ins, framed, and a pastel seascape of a sailing ship in moonlight, initialled DM, 9.75ins square Images are within the attached Dropbox linkhttps://www.dropbox.com/scl/fo/a85lw5dwu7oxyo4o1ih2y/h?rlkey=8a5rl1gtnu5tbfsljw63zm5id&dl=0
Lot 69
Outstanding hand-colored large woodcut of a nocturnal seascape by Israeli painter and woodcut artist Jacob Steinhardt. He depicted rolling waves crashing on the shore under a partially hidden evening moon that he painted with washes of light blue, yellow, and orange. Signature and date in graphite on lower right: Jacob Steinhardt 1958. Edition number on lower center: 3/30. Housed in a brushed silver and dark wood frame with an ecru mat. Sight size: 18.50"L x 14"H. Frame size: 24"L x 19.50"H x 1"W. Artist: Jacob Steinhardt (German-Israeli 1887-1968)Issued: 1958Edition Number: 3 of 30 Country of Origin: Germany/IsraelCondition: Age related wear.
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