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Lot 302
HIRST DAMIEN: (1965- ) English Artist. A printed 4to official programme for the World Snooker Masters tournament at Wembley Arena, 10th - 17th January 2010, signed to an inside page (featuring an image and biography of Hirst's friend Ronnie O'Sullivan) by Hirst in bold black ink, adding an original pen and ink sketch of a shark in his hand beneath his signature. The page is also signed in black ink by Ronnie O'Sullivan with his name alone and the programme also features seven other signatures by various snooker players participating in the tournament including Stephen Maguire, Mark Selby and Peter Ebdon, each to inside pages featuring their image and printed biographies, and a further four to the front cover of the programme (each neatly annotated in ink by the collector beneath the signatures). VG
Lot 709
Leonard Russell Squirrel (1893-1979) - Maldon, Essex, annotated preparatory pencil sketch, titled and dated 13.9.50 to the margin, the full sheet 15 x 22cm; and one other by the artist - Severn and Wye near Chepstow, signed in pencil lower left and dated 4.8.34, the full sheet 13.5 x 20.5cm (2)
Lot 299
Two hardbound manuscript notebooks. The smaller containing some 82, densely filled on both sides, handwritten pages. The cover decorated with an ink sketch of a schooner. The chief part of the smaller notebook comprises of a ship's logbook for the Schooner 'John Williams' commanded by J.N.Ridley. The John Williams was a trading vessel, handling such cargo as horn, wool, ostrich plumes and a diverse range of animal skins: lions, llama, goat, swans, pole cats etc. The logbook describes the vessel's journey in stages of a round trip that takes them firstly from Lisbon to 'Buones Ayres' travelling from November 1842 and arriving in Buenos Aires on January 27th 1843. The log then recommences on April 9th as they make passage for Paranaguá. Then to the mouth of the Rio Negro off the coast of Patagonia, thence to the Rio Plate (Uraguay) Leaving South America in October and making the passage back to England via Pernambuco and the Azores. Last dated entry of the shipping log is January 28th 1844. Each log entry gives position and very detailed descriptions of wind, weather and currents. There are some accompanying illustrations, primarily maps and harbour entrances. The log also contains trading accounts, prayers, poetry, medicinal recipes for: "TONICS, ASTRINGENTS, PURGATIONS, CORDIALS, AQUAS, TINCTURES" and their useful applications. Also use of leeches and treatment for the Bite of an Adder. The second, larger notebook containing approximately 200 handwritten pages, densely filled on both sides. Belonging again to J.N.Ridley, the notebook contains prayers but is principally a letterbook in which records of his work in shipping and as a shipping agent in 1855 are kept. There are also tracts of writing on many nautical related subjects - treating dysentery and diarrhea, shipping safety and losses at sea, providing assistance to fisherman. He writes to Charles Dickens and Lord Palmerston, even offering advice on the Crimean War.
Lot 260
M.. F.. T.. (20th century), A courting couple strolling down a country lane, signed with a monogram and dated 1910, watercolour, 20.5 x 32.5 cm, together with two etchings, a pencil sketch, a watercolour of a ewe and its young by Peter Partington, a print of Walmsley House School and a map of Herefordshire, various sizes
Lot 198
Benjamin Williams Leader (British, 1831-1923) `Carting Hay, Whittington` oil on panel, signed and dated 1878 lower left, signed and inscribed verso 9¾ x 13¼in. (24.75 x 33.75cm.) * Provenance: This work is believed to be a preparatory sketch for the 1879 R.A. exhibit `An English Hayfield`, painted at Leader`s home in Whittington, Worcs. It is accompanied by a letter from Ruth Wood, MA, author of `Benjamin Williams Leader RA; His Life and Paintings`, pub. Antique Collectors Club, 1998, giving details of a record from her archives of a painting of this title and size, which was sold at Christie`s, London, 22.2.1879, lot 84, Property of James Webb, London, purchased by Muirhead for 46gns. It was subsequently sold again at Christie`s, London on 18.4.1891, lot 145, Property of C. J. Gold, purchased by A. Tooth for 30gns. There is a later handwritten lot label verso which reads `Lot 3, Carting Hay, Whittington, B. W. Leader R.A`, dating from post-1898 when he became an R.A. Further handwritten stock number `11560` verso.
Lot 57
Gerard Dillon RHA RUA (1916-1971) The Jockey Oil on board, 63.5 x 73.2cm (25 x 30") Signed and inscribed with title verso Provenance: George Waddington Galleries, Montreal (label verso) Exhibited: "Ulster Artists" Exhibition, The Ava Gallery, April 2010, Cat No. 9; "Ireland: Her People and Landscape", The Ava Gallery, June 2012 - Sept 2012, Cat. No. 10; and "Gerard Dillon, Art and Friendships", Adam's, Dublin, July 2012, and The Ava Gallery, Clandeboye, August 2012, Cat. No. 48 Literature: "Ulster Artists" 2010, illsutrated p.10 "Ireland: Her People and Landscape" 2012, illustrated p.17; and "Gerard Dillon, Art and Friendships", Karen Reihill 2012, illustrated p.53 Omey Island is a tidal island close to Claddaghduff on the western edge of Connemara. Surrounded by views of the sea in one direction and the Twelve Pins in the other, the mile long beach only appears as the tide recedes. Annually, in August, at low tide a makeshift track is constructed. Jockeys, and horses are quickly groomed and exercised. The race against the threat of the tide and prize begins. After six hours, the sea returns and swallows up everything in its path. The Island itself remains a place of devotion to Saint Feichín, with a medieval granite church, holy well, and the ruins of Teampal Feichín. The artist exhibited three Omey Island paintings in his first solo show with Victor Waddington Galleries in 1950. These included "Omey Island Regatta", "Omey Island Strand" and "Omey Island Race Day". Other titles from this series of works include "Before the Races, Omey Island" "Spectators Omey Island Race Day," and "Omey Island Ponies". This painting, "The Jockey" belongs to this series of paintings. In August 1950, several friends stayed with Gerard Dillon in Moyard, including a group of Australians he met at the Abbey Arts Centre, Hertfordshire in the late 1940's. This included the art historian Bernard Smith. After Smith's departure from Dillon's cottage, Dillon wrote to him giving him an account of his life as Smith had undertaken to write an article on the artist for the Envoy magazine. Dillon also spoke about a series of painting he had executed from a day trip he took to Omey Island. He described the events "…The Jockeys were local boys from Omey and some girls too. People were barking on the beach and there was great excitement. With the clouds racing in the sky over the Twelve Pins and the mainland looking most strange with crags in every field and stonewalls around the crags-you'd have loved it and the whole day without rain, not even a shower. I've painted some of the subjects." In 1998, the artist's Biographer James White cited this painting ".. a fascinating example of Dillon's work because it reflects the humour attitude to life in the West of Ireland The Jockey has mounted the two little girls on his horse and stands holding the horse steady by the reins, as if posing for the artist, presumably responding to his request for a few moments while he makes a little sketch for subsequent use in a painting. It combines the sense of fun and entertainment for visitors to the Race day on Omey Strand against the background of the church on the hill and the gradual entry of visitors and the presence of two other horses, one to the left and one further back on the right." Karen Reihill Currently researching Gerard Dillon & Friends
Lot 79
Frederick E. McWilliam HRUA RA (1909-1992) Girl Standing, 1955 (a.k.a. Elongated Figure) Bronze, 96.5cm (38") high Signed and numbered 3/3 Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004; Private Collection Dublin Exhibited: "F.E. McWilliam" Exhibition, Hanover Gallery London, Feb/Mar 1956, Cat. No. 9; "Vision and Reality: An Exhibition of Contemporary Paintings and Sculpture", Wakefield City Art Gallery, Sept/Oct 1956; "Contemporary British Art", Silberman Galleries touring exhibition New York, Washington, etc. 1956/57; "Five Sculptors", Hatton Gallery, Newcastle-upon-Tyne 1957; "F.E. McWilliam Retrospective Exhibition", Ulster Museum Belfast April/May 1981, Douglas Hyde Gallery, Trinity College Dublin May/June 1981, The Crawford Gallery Cork July/Aug 1981, Cat. No. 26; "Works from the McClelland Collection" IMMA, Sept 2000 - Jan 2001; "Northern Artists from the McClelland Collection" Exhibition, IMMA 2004/5, and Droichead Arts Centre 2005; and "F.E. McWilliam Inaugural Exhibition", F.E. McWilliam Museum, Banbridge, Sept 2008 - Feb 2009, The Highlanes Gallery, Drogheda, Feb-Apr 2009 Literature: "The Sculpture of F.E. McWilliam" by Denise Ferran and Valerie Holmen 2012, Cat. No. 141, p.120 Girl Standing II is part of a series of sculptures made by McWilliam in the mid 1950s of figurative works given recognisable names, e.g. "The Sisters", "Blind Man", "Boy", but made abstract in their elongated bodies and simplification of form. Inspired by his time spent in India during the Second World War, the sculptor used the technique of isolating elements of the body and allowing the viewer to fill in the rest of the details themselves. In this sculpture, the head is emphasized while brief details sketch out the rest of the figure as a girl. Her open stance with head raised and arms bent but outstretched at her side, and the textured bronze surface, were further developed by McWilliam when he was commissioned to make the large public sculpture "Princess Macha".
Lot 487
Sir Kyffin Williams RA, (1918-2006) 'Welsh Village Study', Extensively inscribed on a later label verso, pencil drawing, 33.5cm x 46.5cm Provenance: Gifted Daler Lyndhurst sketch book containing many preparatory sketches, given by the Artist to the Late Mr William (Bill) Lloyd Williams, the Painters Gardener, and by descent. Ex. Rodger Jones & Co, North Wales Auction Rooms, 2013, purchased by a private collector May be subject to artist resale rights.
Lot 488
Sir Kyffin Williams RA, (1918-2006) 'Welsh Hills', Extensively inscribed on a later label verso, pencil drawing, 33.5 x 46.5cm, Provenance, Gifted Daler Lyndhurst sketch book containing many preparatory sketches, given by the Artist to the late Mr William (Bill) Lloyd Williams, the Painters Gardener, and by descent. Ex. Rodger Jones & Co North Wales Auction Rooms, 2013, purchased by a private collector. May be subject to artist resale rights.
Lot 627
*ATTRIBUTED TO HARRY JOHNSON. Ruined Buildings on a hill-Side, said to be in Lycia, watercolour, unframed, 14 x 10 in; an unframed watercolour by another hand depicting `A Forest Scene` and three sketch books containing drawings and watercolours (principally landscapes) by various hands; five (5)
Lot 459
ARCHIBALD THORBURN (Scottish 1860 - 1935) RING PLOVER Signed with initials A T, gouache, 11 x 15cm (4 1/4 x 6") Note letter attached verso; Hascombe, Godalming, July 18, 1909 Dear Lady Byng I have pleasure in sending you the little sketch I promised. The bird is the Ring Plove - believe me, yours truly Arch Thorburn
Lot 41
Kirby, Percival R A Source Book on. and The True Story of. the Wreck of the Grosvenor East Indiaman (two titles) 220 x 145; 225 x 150 These two complementary books were written by Percival Kirby, the authority on the loss of the Grosvenor in 1782 and the subsequent relief expeditions. They were first published in 1953 and 1960. (1) Original grey cloth-boards, blue to the upper panel and spine; plain endpapers, viii + 228 pp of text, appendixes, indexes and Van Riebeeck Society notes + 2 plates + folding map. An ownership stamp is on the front pastedown, the free endpapers are sunned and the top page edge is foxed. The book is otherwise very good. (2) Two-colour illustrated dustjacket; illustrated and lettered white cloth-boards; white-out-of-blue illustrated endpapers showing the design of an East Indiaman; xiv + 226 pp of text, bibliography and indexes + frontispiece + 11 pp of plates + sketch-map in the text + folding map at the back. The repaired unclipped (30 shillings) dustjacket is rubbed at the edges. The spine extremities of the covers are lightly sunned. There are no ownership or other marks, and the text, illustrations and map are pristine. Very Good; Very Good Cape Town; Cape Town Van Riebeeck Society; Oxford University Press 1953; 1960 Reserve: $40 Click here to view further details and to bid
Lot 140
World War I: THE UNION OF SOUTH AFRICA AND THE GREAT WAR 1914-1918. OFFICIAL HISTORY 4to (280 x 210 mm) General Staff, Defence Headquarters, Pretoria. 230 pages, 16 plates, 27 diagrams and sketch maps, half maroon leather and red cloth sides – titled gilt on both the spine and upper cover. The spine is faded and the cloth bears some insect scarring, light foxing throughout. Published in a edition of 1000 copies. Signature of General Henry Timson Lukin on the front paste-down endpaper. Lukin commanded a formation in the German South West Africa Campaign (1914–1915), and commanded the 1st South African Infantry Brigade of the South African Overseas Expeditionary Force in Egypt (1916) and France (1916) at Delville Wood before being promoted to a divisional command in the British Army. He was knighted for his war service, and retired in 1919. Good Pretoria The Government Printing and Stationery Office 1924 Reserve: $300 Click here to view further details and to bid
Lot 181
Theal (George McCall) BASUTOLAND RECORDS 8vo (220 x 145 mm) Copies of Official Documents of Various Kinds, Accounts of Travellers, Etc., Collected and arranged by order of the Honourable J.W. Sauer, Esq., Secretary for Native Affairs, by Geo. M. Theal, First Clerk of the Native Affairs Department. Fascimile reprint of the 1883 edition: 3 volumes in 4, 637 + 611 + 894 pages, 5 folding maps - 4 coloured, dark blue vynide, a very good set. This facsimile edition limited to 300 copies, with a biographical sketch by R.F. M. Immelman, University Librarian, University of Cape Town, and a new index. Very Good Cape Town C. Struik (Pty.) Ltd. 1964 Reserve: $150 Click here to view further details and to bid
Lot 757
JANET LEEPER: ENGLISH BALLET, 1944, King Penguin Series, orig bds + ARNOLD L HASKELL: THE NATIONAL BALLET …., 1943, orig cl, gt + HARCOURT WILLIAMS (ed); VIC-WELLS THE WORK OF LILIAN BAYLIS, 1938, orig cardboard wraps + ARNOLD L HASKELL: BALLETOMANE’S ALBUM, 1939, orig cl + KAY AMBROSE: BALLETOMANE’S SKETCH-BOOK, 1941, orig cl + GORDON ANTHONY: THE VIC-WELLS BALLET – CAMERA STUDIES, 1938, 1st edn, orig cl, silvered + A Packet: Assorted Ballet Programmes, etc, (7)
Lot 18
Sir John Lavery RA RSA RHA (1856-1941) PORTRAIT OF A LADY THOUGHT TO BE MRS RALPH PETO oil on canvas laid on board signed lower left; signed again and dated on reverse 10.25 by 7in., 25.625 by 17.5cm. P Purchased by the present owner`s father from Fr Martin in Whitefriar Street, Dublin Throughout his career, Lavery often painted small sketches in preparation for larger canvases. This applies to portraits as much as to other genres. A sketch would begin the process of close observation of the sitter`s features, note a characteristic pose or record the essential shape and proportions of a face or figure. The present Portrait of a Lady is one such work. What we see is an Edwardian lady wearing a cerise dress with her hair tied back and garlanded in flowers. She may be performing in a pageant, attending a masque, or taking part in the re-staging of a well-known Pre-Raphaelite painting as part of a society charity event. Such performances, in which Hazel Lavery participated, were increasingly fashionable in the years leading up to the Great War.Hair style, facial shape and drapery in this instance makes it possible to tentatively suggest that the model is Mrs Ralph Peto, whose portrait Lavery first painted in 1910 and exhibited in the Royal Society of Portrait Painters exhibition. A well-known beauty and socialite, Frances Ruby Vera Lindsay, was the cousin of Lady Diana Manners, the daughter of the Duke of Rutland. She grew up with the Manners sisters and according to Lady Diana, `... did not lack for swains, being very beautiful and spirited` (Lady Diana Cooper, Autobiography, Vol 1 (The Rainbow Comes and Goes), 1958, single Vol ed., Michael Russell, 1979, p. 56). In 1907 she accompanied the Manners` daughters to Florence, touring the galleries with her Baedeker and `making eyes at the uniformed officers` (Ibid, p. 63). Two years later she married Major Ralph Harding Peto (1877-1945) of the Royal Hussars and quickly became friendly with Hazel Lavery, participating with her in charity events such as the Savoy Theatre Cinema Supper, the Petticoat Lane Fair at the Albert Hall, and the `Picture Ball` where she appeared as a Bacchante holding a lyre. A work which bears comparison to the present sketch, Mrs Ralph Peto as a Bacchante was painted to commemorate this latter occasion. Other social events before the birth of her daughter, Rosemary, in 1916 are noted in Duff Cooper`s diaries. Sadly after furious rows, fuelled by accusations of heavy drinking on her husband`s part, Ruby`s marriage to Peto ended in divorce in 1923. She died in 1951.Prof. Kenneth McConkey
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32317 item(s)/page