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Lot 158
Miscellaneous lot of stamps and covers including sparsely filled Cyprus album, a crate of various covers, albums and loose stamps of the world, five stock books of mainly used stamps from Norway, Portugal, Germany and Switzerland, a Rowlan postage stamp album circa 1900 with a few stamps, album of World First Day Covers, stock book of GB used and about twenty Victorian envelopes with correspondence
Lot 254
*Laurence Stephen Lowry RA (1887-1976) 'STATION APPROACH' Limited edition print in colours, signed in pencil, from the edition of 850, with the Fine Art Trade Guild blind stamp, printed by Max Jaffe, Austria, published by the Adam Collection, on wove paper, with margins image 40.5 x 51cm *Artist's Resale Right may apply to this lot.
Lot 577
Fred Dubery (1926-2011) TERRACE AT THE CHAINE D'OR HOTEL Signed, oil on board 15.8 x 31cm, framed; and two others, ON THE TERRACE Signed, studio stamp verso, oil on board 26 x 30.2cm, unframed; THE SEINE AT LES ANDELYS Signed, oil on board 22 x 35.5cm, framed (3) Illustrated: TERRACE AT THE CHAINE D'OR HOTEL in Ian Collins, 'Two Lives in Colour', Unicorn 2019, p.123.
Lot 256
*Laurence Stephen Lowry RA (1887-1976) THE CONTRAPTION Limited edition print in colours, 1975, signed in pencil, from the edition of 750, with the Fine Art Trade Guild blind stamp, published by the Adam Collection, on wove paper, with margins image 32 x 30cm; with an unsigned print of a preliminary sketch for the work (2) *Artist's Resale Right may apply to this lot.
Lot 808
Two albums containing a collection of British stamps including four penny red examples, plus various mint stamp collections, etc, a further album containing a quantity of Guernsey and Alderley stamps including mint collections, two British post office miniature sheets - International Stamp Exhibition and an old £1 note (5)
Lot 1226
An Art Deco style walnut veneered freestanding cocktail cabinet, the front elevation with rising partially hinged lid over a fall quarter veneered front enclosing a mirror lined interior, over cut out receptacles over a pair of bow fronted cupboard doors enclosing further cut out receptacles and raised on squat cabriole supports (believe previous owner to be Lord and Lady Stamp of Chelsea)
Lot 283
* Reid (Samuel, 1854-1919). On the Firth of Forth looking from Torryburn to Falkirk, oil on canvas, coastal scene of cattle before a homestead and trees beside the sea, with sunlight filtering through the clouds at dusk, signed lower right, titled in pencil on stretcher, canvas with Windsor & Newton ink stamp on verso, 30.5 x 45.5 cm (12.75 x 18 ins), gilt moulded frame glazed (Qty: 1)
Lot 220
* Flemish School. Adoration of the Shepherds, circa 1650, pen brown ink and brown wash on laid paper, contemporary inscription in Flemish towards top of the image, collectors stamp EC within a lozinge (Lugt 837), sheet size 16.3 x 21.4cm (6.4 x 8.4 ins), window-mounted (Qty: 1)NOTESProvenance: E. Calando (Lugt 837). Estate of Michael Jaffe (1937-1997). With pencil note by Michael Jaffe to backing card, referring to a comparative drawing of the same subject illustrated in R. - A. d'Hulst, De Tekeningen van Jacob Jordaens, Brussels, 1956, pages 32-33.
Lot 148
* Dress. A rare hand-painted robe, mid-late 18th century, hand-stitched unstructured silk gauze robe with pleated and lightly padded sack-back, painted with overall pattern of floral sprigs (rubbed), in pinks, blues, and greens, on a cream ground, lined with 18th century muslin (hem with James Finlay & Co's faint circular ink stamp depicting an elephant), 15 cm (6 ins) hem at foot reinforced with an internal layer of webbing, matching muslin pocket partially lined with painted silk gauze inserted to side seam (original?), full-length muslin sleeves with ruffled hand-painted silk gauze cuffs (sometime partially deconstructed, with sleeves now tacked on), front of round neck gathered with pale pink silk ribbon, remains of lace to top of inside front hems, some staining and discolouration, silk perished in places, length 150 cm (59 ins), sleeves 55 cm (21.75 ins) (Qty: 1)NOTESA delicate, but remarkably well-preserved, diaphanous robe, with the sack-back which was so popular during the 18th century. The loose structure of this robe suggests it was intended for informal wear at home, most likely as a dressing gown or maternity robe; indeed, the elaborate and formal sack-back gowns of the later 18th century evolved from such informal robes. The pocket is a curious addition, as women's pockets at this period are thought to have always been detached affairs, worn underneath the petticoat of the gown, and yet the pocket on this robe has all the appearance of being integral to the original construction. Textile importer and manufactuer James Finlay (1727-circa 1792) established the firm of James Finlay & Co. in Glasgow, Scotland, in 1750. The business became highly successful, establishing textile mills all over the world, and later diversifying into tea estate management.
Lot 168
* Handkerchiefs. A collection of handkerchiefs, 19th and early 20th century, 17 whitework and lace cotton handkerchiefs, variously embellished with embroidery (including figures and buildings, names or monograms, love birds), drawn threadwork, lace inserts and borders, one with ink stamp 'M.M. Gandy', and two with Traphagen School printed fabric label attached with pin, various condition, largest 51 x 52 cm (20 x 20.5 ins), together with Victoria (Queen of Great Britain & Ireland) , A large white linen table napkin used at the Lord Mayor's Banquet at the Guildhall given in honour of Queen Victoria's Coronation , woven with the Arms of the City of London and a city scene with London Bridge, incorporating the words 'Lunden' and 'Temeswar', with an early manuscript note 'Mrs. Bradford (then Miss Dornville) was permitted to dress up as a waitress & so obtained a sight of the show & got one of the napkins as a souvenir', a few small brown marks, 80 x 67 cm (35 x 26.5 ins), plus a set of thirteen good quality starched white damask napkins, with all-over design of national shields and George V's cypher, and embroidered initials 'RA' to one corner, a few light marks, but in very good condition, 68.5 x 68.5 cm (27 x 27 ins), and a white embroidered cotton cloth, with border of flowers, leaves, and barley, and a crest at one corner with ribbon cartouche lettered 'Quand Meme', 80 x 85 cm (31.5 x 33.5 ins) (Qty: 32)
Lot 253
* Sadeler ( Aegidius , 1570-1629). Portrait of Johann Matthaus Wackenfels von Jungfrauendorf (1550-1619), circa 1614, pen, brown ink and grey wash on laid paper, 24.8 x 16.7 cm (9.8 x 6.6 ins), mounted on 19th century backing card, with collectors stamp CA within an oval to lower right, window-mounted (Qty: 1)NOTESProvenance: Estate of Michael Jaffé (1937-1997). A copper engraved portrait of Wackenfels after Sadeler, based on the same image, but with different border ornamentation, was published in Prague in 1614. Johannes Matthaeus Wacker von Wackenfels (1550–1619) was a diplomat, humanist scholar, courtier and author, with an avid interest in history and philosophy. Wacker became Johannes Kepler's patron, and it was he who first brought Kepler the news of Galileo's telescopic discoveries. Kepler dedicated his 1611 pamphlet Strena seu nive sexangula ( The Six-Cornered Snowflake ) as a New Year gift to his friend. The Kepler conjecture, as it is known, is a mathematical theorem about sphere packing in three-dimensional Euclidean space. Wacker was born in Konstanz in 1550 into a Lutheran Protestant family and studied in Strasbourg, Geneva and Padua. He was supported and promoted by Johannes Crato von Krafftheim, who introduced him into the circle of Renaissance humanism in Northern Europe in Breslau. In 1575 he received his doctorate in Padua, and in 1576 he returned to Breslau and became the confidant of Bishop Andreas von Jerin. In 1583 he married Sophie Poley (1563-92), the sister of Wroclaw businessman Christoph Poley. Wackenfels converted to the Catholic faith in 1592, and in 1595 he married his second wife, Catherine of Troilo, allying himself with one of the most influential families in Wroclaw.
Lot 877
Cased set of twelve silver ingots, Royal coats of arms, together with a cased set of ten silver ingots, the Queens beasts, Queen Elizabeth II Silver Jubilee silver stamp ingot, cased set of three silver ingots, the Royal Standards, cased pair of silver ingots Royal Ciphers and a cased silver ingot Drakes map, 50 troy ounces total
Lot 34
Andy Warhol (1928-1987)Tomato-Beef Noodle O´s, from Campbell's Soup II, 1969 (F. & S. II.61)screenprint in colours on smooth wove paper - number 155 from an edition of 250 (total edition includes 26 artist's proofs).Printed by Salvatore Silkscreen Co., Inc., New York. Published by Factory Editions, New York.hand signed in ball-point pen and stamp-numbered 155/250 verso88.90 x 58.40cm (35 x 23in)Provenance: Private Collection Literature: Feldman-Schellmann II.61One evening in 1962, the philosopher and art critic Arthur Danto happened to see a work by Andy Warhol in the window of the Leo Castelli Gallery in New York. The work was a stack of screen-printed Brillo Boxes, just like the boxes you could find in the supermarket, but these were recreated by Warhol and they were empty. Danto realised in that moment that Warhol had transformed the whole notion of fine art. As far as he was concerned, things would never be the same again.Born in Philadelphia in 1930, Warhol had worked as a very successful commercial artist and illustrator in New York since the early 1950s. But now he was transforming the subjects and methods of popular and commercial culture into the currency of fine art. Pretty much every American, Danto realised, could understand a Warhol. You didn't need knowledge of art history or any kind of insider information. At a stroke he had bypassed the pretensions of an art world elite - an elite that included Danto himself.Warhol went on to draw on any number of everyday subjects including, famously, Campbell's Soup cans, dollar bills, advertising imagery and film stars. When Warhol used images of film stars, he didn't aim for a classical studio portrait, he took ordinary publicity shots, as reproduced in newspapers and magazines, familiar to millions of people, made silkscreen versions of them, mechanically, but with some interventions, and produced them in multiples. His studio was called, appropriately, the Factory. His Ingrid Bergman has her in character as Sister Superior Mary Benedict in The Bells of St Mary's. Aidan Dunne, September 2019
Lot 41
Roderic O'Conor RHA (1860-1940)Seated Woman in a Red Dress (c.1923-6)oil on canvassigned lower right with atelier stamp verso92 x 73½cm (36.2 x 28.9in)Provenance: Studio of the artist, sold Hôtel Drouot, Paris, 7th February 1956; Guy Loudmer, Hôtel Drouot, Paris, 12th June 1988, No. 327; Crane Kalman Gallery, London; Grant Fine Art, Newcastle; Private collection, Northern Ireland Exhibited: Possibly Salon d'Automne, Paris, 1927 as Le divan (no. 1643); National Gallery of Ireland, Dublin, 1992, for the launch of the Jonathan Benington monograph on Roderic O'Conor; the painting subsequently appeared on the set of RTE's The Late Late Show in a feature on O'Conor; On loan to the Irish Museum of Modern Art, Dublin, 1993; Browse & Darby, London, Roderic O'Conor 1860 - 1940, 1994, No, 27 Literature: Jonathan Benington: Roderic O'Conor, a Biography with a Catalogue of his Work, Dublin 1992, pp. 145 and 222, cat. 274, reproduced on cover and as plate 70 Between 1905 and 1927 Roderic O'Conor executed scores of canvases featuring young women posed in his cavernous studio on Paris's Left Bank. Seated Woman in a Red Dress, which has not been on the market for 30 years, is arguably the most ambitious and psychologically penetrating of his paintings depicting clothed female models. The care that O'Conor lavished on this study of a young woman with a bobbed hairstyle, dressed for a night out, suggests that it was intended for one of the Parisian exhibitions he contributed to regularly. Although the absence of an inscribed title on the reverse of the canvas does not allow a definitive identification, it may well be the work entitled Le divan that he exhibited at the Salon d'Automne in 1927 (no. 1643). The style of the painting and the model's fashionable dress date it to around 1925. By adding his signature - a mark of approval he assigned only frugally - the artist demonstrated that he regarded the work as a fully finished statement, satisfying his rigorous standards of excellence. The nearly full-length figure dominates the composition, her intense gaze meeting and holding the viewer's attention, whilst the use of side lighting to model her head, limbs and torso endows her with a palpable, almost sculptural presence. At the same time O'Conor does not neglect to include details of hairstyle and fashion that push the picture firmly into the realms of portraiture, thereby avoiding any possibility of her being viewed as a generic type. The artist has gone to great lengths to situate his young model within a lavishly appointed setting, deploying props that have been chosen and arranged with all the care of a stage designer. The diagonally placed divan leads the eye into the composition, with the young woman seated crosswise on it as if she has just moved from a reclining position and is preparing to rise. Her hands grip the leading edge of the upholstery, reinforcing the impression of latent movement. In the background the artist has suspended a deep crimson drape, its colour complementing the brighter red of the model's dress. The top of the bookcase or cabinet hidden underneath the cloth supports an arrangement of three vases - a blue-and-white Chinese vessel at the far left (its straighter sides neatly 'bookending' the picture's top left corner), followed by two globular vases in green and white (their rounder forms echoing those of the model's head and shoulders). The horizontal line created by the top edge of the cloth corresponds with eye level - both that of the artist and, by way of deliberate placement, that of his model. Although by his own admission O'Conor was not an artist who created works that told stories, Seated Woman in a Red Dress is unusual within the context of his wider oeuvre in that it includes various specifics of make-up and dress that invite speculation. Whilst the young woman's necklace, dark eye shadow and neat bob with its 'kiss' curl are suggestive of the sort of preparation calculated to draw the male gaze, the fact that one of the straps of her low-cut dress has been coquettishly loosened conveys the hint of an invitation. Perhaps, rather than being about to rise to her feet, these details should be interpreted as signs that the model has made room on the divan for a male friend to join her. This impression is reinforced by the turning of her head in the viewer's direction, holding our gaze with a smouldering look. A further indication of the trouble O'Conor went to when planning the composition of Seated Woman in a Red Dress is found in a drawing showing a nude model holding an identical pose. In this work the woman's large eyes, full lips and broad shoulders suggest that it served as a preparatory study for the painting. Likewise some of the background artefacts had already been subjected to O'Conor's intense scrutiny: the Chinese vase at the top left made an appearance in a number of his late floral still lifes. This refined object survived the dispersal of his estate in 1956, but was accidentally damaged by a film crew in the mid-1980s (for the drawing and the vase see Thierry Lannon & Associés, Brest, 13 October 2009, lots 393 and 407J). Jonathan Benington, September 2019
Lot 35
Andy Warhol (1928-1987)The Nun, from Ingrid Bergman, 1983 (F. & S. II.314)screenprint in colours on Lenox Museum Board - numbered 215 from an edition of 250 (total edition includes 20 artist's proofs) with the printer's blind stamp Rupert Jasen Smith, New York.Published by Galerie Borjeson, Malmo, Swedenhand signed in pencil and numbered 215/250 lower right96½ x 96½cm (38 x 38in)Provenance: Taylor Gallery, Belfast; Private Collection Literature: Feldman-Schellmann II.314
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