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Lot 20
Two Elizabeth II silver shell pattern spirit labels for "Sherry" and "Gin", 2ins x 2ins, by J.B. Chatterley & Sons Ltd, Birmingham 1969 and 1970, a ditto oval spirit label for "Whisky", cast with fruiting vines, 2.25ins x 1.625ins, Birmingham 1973, and a George V silver Christening mug with hammered body and double C-scroll handle, 4ins high, Chester 1906 (combined weight 8ozs)
Lot 7
An Elizabeth II silver circular salver with shaped and moulded rim, on three scroll feet, 12ins diameter, by Joseph Gloster Ltd, Birmingham 1971 (weight 23ozs), and a George V plain silver rectangular spirit flask of curved outline, with folding bayonet cover, 5.5ins high, London 1913 (makers mark indistinct - initialled "T.D.H" in Gothic script - weight 4.5ozs)
Lot 421
Judith Mason (South African 1938-) SEAT FOR A SPIRIT mixed media height; 98cm In one of her few sculptures, Seat for a Spirit, Mason used a found ready-made object - an ordinary kitchen chair. It was damaged though still useful, but through additions and manipulation it is no longer functional, changed into something much more complex. Shaped wood wings with painted hands have been attached to the back rest and legs. Large nails of different lengths have been hammered into the underpart of each leg so the chair is unstable, angled, ready, it seems, for take-off, an idea supported by the wings. Yet, no passenger can sit on this chair as all the parts that touch the human body, the back rest and seat have been filled with carefully laid out lines of sharp, outward pointing nails. The chairs function has, in surrealist terms, been negated, until we read the work in conjunction with the title. - Rayda Becker
Lot 90
A small quantity of Concorde memorabilia, to include two boxed pairs of Concorde silver spirit labels for Port & Brandy, hallmarks for Birmingham 1986, a boxed set of unopened Concorde playing cards and a further cellophane wrapped set, four boxes of matches, a quantity of plastic purple Concorde napkin rings/clips, a quantity of blue, white and gold Concorde drink stirrers and a Concorde pen (a lot) CONDITION REPORT: Lot 90 - 22 purple plastic napkin rings/clips, all in good condition, logo slightly rubbed on a few
Lot 205
'The Eternal Spirit of the Three Penny Stand, Past Present - Future', limited edition colour print no 2/300 after P G Good signed and numbered in pen 28cm x 40cmNotes: Frame made from the wood from the stand Condition Report Click here for further images, condition, auction times & delivery costs
Lot 155
A collection of 4x original contemporary Scalextric sport limited edition 1/32 scale plastic racing slot cars to include ;C2454A TVR Tuscan 400R, C2676A Ferrari F2004, C2484A Mini Cooper "John Cooper" Challenger & C2582A Renault R24 F1 Team Spirit. All within their original boxes with inner plastic covers.
Lot 589
A large collection of 18x 1/32 scale contemporary boxed & branded plastic racing slot cars to include; Spirit Ferrari, SICA02c Slot.it Porsche, Ninco Renault Clio (2x), Fly 9607, A162, 96079, 99319 & 05301, Revell Monogram rally racing slot cars etc. All within their original plastic cases/ boxes.
Lot 465
A Victorian copper kettle, on spirit stand. Height 36 cm. CONDITION REPORT: There is a loss to the underside front edge of the top ceramic handle. Other than this the kettle and stand are both in very good condition with no significant damage, repairs or restoration. There are a few old minor dints but no real issues.
Lot 23
Erskine Nicol RSA ARA (1825-1904)Preparing for Market DayOil on canvas, 103 x 83cm (40½ x 32¾'')Signed and dated 1867Although born and living the majority of his life in Scotland, Nicol had an enduring interest in Ireland and Irish society. He first visited in 1846 and stayed for four years and returned regularly over the course of his artistic career. Nicol established a studio for his work at Cloncave in County Westmeath. As a mid-19th century artist, Nicol inhabits an interesting period in which there was a gradual shift away from Romantic painting to what would become in a more concrete sense towards the latter end of the century, a ‘Realist’ style. However, an issue, which pervaded Irish art well into the twentieth century, was the lack of any homogenous school of Irish painting. There had always been a tension between the way Irish people viewed themselves and the way in which they were viewed by others from the outside. A difficulty made more apparent alongside the emerging realist style as there was a tendency for British painters to present Irish rural life through a biased and sentimental lens. While Nicols is best known for his depictions of the poor and marginalised members of Irish society - particularly pertinent since his arrival coincided with the Great Famine (1845-52) which devastated the country- there was a fine line between bearing witness to the plight and struggles of those individuals and pandering to a stereotype of the ‘stage Irishmen’ through a Victorian moralising lens. Fairs and markets were a crucial element of social and commercial life of Irish towns for centuries. The occasion is apparent in the fashion of the gentleman as he steps out the door wearing his top hat and inverness outer coat. Nicol draws our attention to certain accents of details, the red neckerchief, the striped train of the mother’s dress, blue child’s bonnet or the pile of turnips on the ground. These vegetables belies a more rural character to the image balanced by the two small children leading the pigs to their pen or the woman in background of the image shielding her face from the sun while carrying a large basket in one hand, presumably on her way to work in the fields. In poor farming families the luxury of shoes was reserved for the men who needed them while working with the livestock. However, in this image none of the family members is barefoot; this scene is more of a light-hearted and cheerful depiction of Irish social rituals. Although the location is not indicated, Donnybrook’s annual fair was infamous for attracting artists to record its lively and at times raucous spirit. Nicols often focused on these less salubrious aspects in his paintings but in this instance the present example reflects a more subtle and considered reflection capturing a tender moment of domestic life. Niamh Corcoran
Lot 61
Gerard Dillon (1916-1971)Self in InishlackenOil on board, 31 x 37.5cm (12 x 14¼'')Signed; inscribed with title versoExhibited: ‘Gerard Dillon, Early paintings of The West’. The Dawson Gallery, 4-27 March, 1971 Cat No.27; 'Gerard Dillon Exhibition', Tulfarris Art Gallery, July 1980, Cat No. 22 where purchasedProvenance: From the collection of the late Cyril Murray, a friend of the artist from the 1940s.Influenced by Van Gogh, Dillon enjoyed painting self-portraits in various mediums throughout his career. In the 1950s, his comic spirit endowed him to introduce quirky stand-ins alluding to his presence, records scattered on a floor, legs sticking out from the foreground, shoes tucked under a stool or socks dangling from a fireplace. Referring to these self-portraits, George Campbell remarked in 1974 in a tribute radio programme, ‘practically everything he painted was a self- portrait-himself dickeyed up in some costume or another.’ This work, ‘Self in Inishlacken’ relates to the year he lived with his cat, ‘Suzy Blue Hole’ on Inishlacken Island, a remote picturesque island off the coast of Roundstone in 1951. Encouraged by Victor Waddington to spend more time in Connemara, Dillon bartered a cottage in exchange for a painting which came with two currachs. This work is not typical of Dillon’s style from this period which suggests it was executed after 1951.In semi-darkness, Dillon is depicted half-length wearing a brown jumper gazing directly at the viewer. Standing confidently, stone walls, a cottage and haystack appear on the right and on the left, the sea and mainland. Dillon’s lips are not smiling but his sideward glance regards us with smirking interest. In late 1950, critics labelled Dillon’s views of Connemara at his first solo show at Victor Waddington’s gallery as ‘Stage Irish.’ In 1951, in the Envoy, Dillon defended himself in ‘The Artists Speaks’, ‘I suppose these same critics call Synge’s “Stage Irish”, and deny that his work is art…’ Interviewed years later on his views of critics, Dillon responded, ‘I’m too conceited to worry what a non-painter say’ but conceded, ‘we are all children not just artists. We all like being patted on the head, for what we are or what we do.’ (Marion Fitzgerald ‘The Artist Talks,’ Irish Times, 23/9/64 p.11)In 1994, James MacIntyre wrote ‘Three Men on an Island’ an account of how he adapted to life on the Island in 1951 with Dillon and George Campbell. MacIntyre was prompted to go to the Island after receiving a letter from Dillon inviting him to join him. ‘You’ll love it. Stone walls, thatched cottages, a real peasant life, just up your street. You’ll need £15 for expenses, there’s no rent as I have it for the year. Try and get over next month. Drop me a line when you are coming. Yours Gerard’. Over several months, family and friends visited the Island including Drogheda artist, Nano Reid. The two friends would regularly row over to the mainland to be entertained by the writer Kate O’Brien. Learning of Dillon’s death in June, 1971, Kate O’Brien recalled memories of Dillon’s time on Inishlacken in her column, ‘Arts & Studies, Long Distance’ in the Irish Times, ‘I remember one time he [Gerard] and Nano were inhabiting some old huts over on Inishlacken, a desolate island…I was walking down by the Monastery, and I saw out on the quite rough water Nano and Gerard rowing like mad in a little bit of a currach. They were rowing for home, and I watched them, with anxiety. Because clearly neither was any kind of an oarsman, the tide was running against them, and clearly, they were rowing contrarywise to each other…I have seldom seen anything funnier.’ In the last paragraph, she added ‘He [Gerard] was very gentle, very kind; and was without pretension-indeed, he did not understand what pretension was. But he will be remembered…we can be sure in his dear Belfast, and in such a quiet place as Roundstone.’ Popular among his friends, Dillon’s self-portraits charter his development as an artist and reveal his impish humour.Karen ReihillApril, 2017
Lot 98
Cathy Carman (b.1952)Shine Silently and leapKilkenny Limestone, Height 90 cms (35.5”)Provenance: From the collection of the late Gillian Bowler.Exhibited: “Cathy Carman Second Solo Exhibition: Images of an Island”, The Grafton Gallery, Dublin, February/March 1987, Catalogue No.1, where purchased by Gillian Bowler. My work explores an interior landscape of myth and spirit, seeking poetic light in the female form. My figures shoulder burdens of loss, or are lifted in joy, by love and belonging.Shine Silently and Leap I carved this sculpture from a single block of limestone in Mc Keon’s Stone yard during the winter of 1986. In this carving I was influenced by the many stories of the poet Nuala Ni Dhonaill on the folklore of ‘Sheila na Gigs ‘. I was looking to express optimism and a defiant sense of self.Cathy Carman April 2017Our thanks to the artist for her help in cataloguing this piece.
Lot 132
WILLIAM RATHBONE, (British born 1884, Sunderland School of Art, Darlington School of Art and Headmaster of Preston School of Art from 1914), titled: 'Naiad', (From Greek mythology, a type of female spirit or nymph presiding over fountains, springs and streams). Signed with initials, dated: 1927, ivory. 12.5 x 8.5cm in Arts and Crafts design pewter, stone set, frame.(B.P. 24% incl. VAT) CONDITION REPORT: Marks, scuffs and misshaping to the frame. The miniature itself appearing in good condition with no obvious damage.
Lot 265
Heaney (Seamus), Hughes (Ted)eds. The School Bag, thick 8vo, L. (Faber & Faber) 1997, Ltd. Edn., 27 (300), Signed by the Editors, gilt lettering cloth backed boards, slip case; The Spirit Level, 8vo L. (Faber & Faber) 1996, Ltd. Edn. 167 (350), Signed by Heaney, cloth backed boards, slip case. Clean copies. (2)
Lot 395
'A Joy and an Unspeakable Mercy'Somerville (E.OE.) ALs. to Mrs. Holdsworth, 2 pp (single sheet), on her headed paper from Drishane House, Oct. 8 1942, thanking her for her most charming and sympathetic letter, 'especially in your comprehension in what I have written about my continued collaboration with my dear Cousin. To have discovered, suddenly & quite unexpectedly, six dark months after she had left me, that she had not gone far away, & was still able to be with me in spirit, was indeeed what you say, a joy, and an unspeakable mercy.' With a good signature. As a m/ss, w.a.f. (1)After the death of her collaborator, Violet Martin ['Martin Ross'], Somerville continued writing under their joint names, and maintained that she was in communication with her dead cousin.
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49464 item(s)/page