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Lot 435
Herend - Hand Painted Large Porcelain Figure of a Pair of Green Fishnet Long Ear Rabbits. Model No 05269, Wonderful Colours with Painted 24ct Gold Noses and Paws, Herend Stamp and Impressed Numbers to Underside of Figure. 5.5 Inches - 13.75 cm High. Ear Restored to One Rabbit, All Other Aspects are Excellent. Please See Photo.
Lot 442
Herend - Superb Hand Painted Porcelain Figurine of a Green Fishnet Pheasant. Model 5025. Wonderful Colours with Painted 24ct Gold Accents to Tail and Nose, Herend Stamp and Impressed Nos to Underside of Model. Height 3 Inches - 7.5 cm. Length 21.25 cm - 8.5 Inches. 1st Quality and Mint Condition.
Lot 455
Meissen 19th Century Unusual Small Hand Painted Porcelain Figure of a Winged Fairy with Meissen Mark to Underside of Figure. Stands 4 Inches - 10 cm High + A Further Hand Painted 19th Century Small Porcelain Figure of a Young Chinese Boy Dressed In a Multi-Coloured Striped Robe with Hands Clasped Together In a Crouched Position. Standing 3.5 Inches - 8.75 cm High. c.19th Century. Impressed Number 67 and Stamp to Base, Hard to Read + Two Small Hand Painted Meissen Dishes From The Late 19th Century. All Pieces are In Mint Condition.
Lot 7
International Watch Co Schaffhausen 14ct Rose Gold - Keyless High Grade Chronometer Open Faced Pocket Watch. c.1920's. IWC Stamp to Movement, Dial and Back Plate, Serial Numbers 3147 and 586049. Features White Porcelain Dial, Secondary Dial, Marked 585 - 14ct, with Attached 14ct Gold Watch Fob. Marked 585 - 14ct. The Movement Case and Dial In Wonderful Working Condition. Please See Photo to Confirm.
Lot 1316
A Rare WWII German SS Officers Sword With Scabbard, Original SS Portepee And Felt Sword Case. Officers sword in wonderful condition comprising ebony grip wrapped with single strand wire forming 13 bands, the grip is fitted with circular silver Runic disc to centre and hilt underside bears the SS Rune acceptance stamp in chamfered octagon. This rare example features the double locking handle facility - unique only to SS Swords - the pommel being the special SS style which screws into the hilt of the sword and not the blade tang as with police swords. An early example of this type - the sword features high quality nickel fittings - later examples used cheaper, plated fittings. Blade in polished steel is unmarked and is in very good condition, the original white leather blade buffer pad/washer is still intact, the scabbard is in good condition and retains 99% of the black paint finish - possibly restored at a later date the lower scabbard mount is decorated with the standard line pattern, the upper mount is in the traditional Wotan's Knot pattern, the sword is complete with the correct and original SS officers silver brocade and silver-wire portepee with woven black runic insignia to top knot. Along with original fawn wool felt sword case with woven cotton rope drawstring. Overall size: 99cm, blade size, 83cm. A very rare early example, please see accompanying imageFurther ReferenceJohn R. Angolia, Swords Of Germany 1900/1945. London 1988, p.233, p.232, p.252, p.253Major John R. Angola Swords Of Hitlers Third Reich. London 1969, p.44, p.45
Lot 3121
Globe Trotter stamp album, hundreds of stamps, Rapkin popular album loose leaf album, four loose sheets, Vatican, SAAR, Somaliland and Denmark, pack San Marino's stamps, George VI envelope, loose mounted used stamps, pre 1962, Tanganyika stamps, First Day issues and miscellaneous, large collection of World stamps in buff envelopes etc
Lot 1108
5 early 20th century pure aluminium sandcast dishes by R.W.Coan, London. Comprising: 4 footed pin tray with Art Nouveau lady smoking, 2 x oval shaped dishes with classic scenes to middle and scroll design to handles and 2 x Art Nouveau design seasons compliments dishes with cherub decoration. All have Robert W Coan stamps to back and Pure Aluminium Sandcast stamp to back.
Lot 710
GEOFFREY MAURICE DUDLEY (1918-1986). A contemporary / modernist cast and freeform bronze sculpture, foundry stamp FBB to underside,artist label to base signed and dated 1978Note: Geoffrey Dudley, designer and sculptor, was born at Wednesfield, Staffordshire, and studied at Wolverhampton School of Art. A travelling scholar and lecturer in sculpture, he was head of Department at Chelsea School of Art from 1974 to 1984
Lot 845
A rare and early Royal Enfield gent's bicycle, made for a very tall gentleman, possibly a policeman, bearing plaque to the front: The Enfield Cycle Company High Grade, complete with Lucas brass bell, a Thapex inflator and leather tool case, the frame bearing retailer's stamp for B. Adamson & Co. Carnforth.
Lot 2
MONTAGUE J. DAWSON (1895-1973). Study of a sailing vessel and figures in a very heavy sea 'The Rising Wind', signed in pencil lower right and with a guild stamp lower left, coloured print on paper, framed and glazed, 94 x 64 cmCondition Report:Print in good condition, no damage, marks or fading, mount okay - a couple of very slight marks but not too noticeable. Frame very good, slight damage to top right corner and 5 slight areas of damage along the bottom
Lot 1211
A 20th Century 1962 light oak 'utility' chest of drawers in the manner of Heal's, with two short over three long drawers, raised on tapering bracket feet. Stamped to the reverse with the letters 'WD' for the War Department and makers stamp Herbert E. Gibbs. Measures 83cm high x 90cm wide x 49cm depth
Lot 123
After Moise Kisling, Polish/ French (1891-1953) Three (3) color lithographs "Gypsy Woman" 26" x 21", frame measures 28-1/4" x 23-1/4"; "Woman In Blouse" 25-1/2" x 19", Arches paper; "Still Life Of Flowers" , 25-1/2" x 21-1/4". All pieces signed in pencil Jean Kisling and embossed blind stamp and HC/25. Condition: Toning, creases. Estimate: $100.00 - $200.00 Domestic Shipping: $165.00
Lot 300
Two (2) Possibly 17th Century Italian Manuscript Documents. Each with several pages written in Italian, Seal stamp mark at the top left corners. Measures 11-1/2" H x 8" W. Condition: Wear, toning and foxing to paper, condition is consistent with age. Estimate: $50.00 - $150.00 Domestic Shipping: $42.00
Lot 49
John McBurney (1877-1917) Self-portrait Oil on canvas, 43.5 x 34cm (17 x 13.5)W. Rodman & Co. stamp versoProvenance: The artist; probably bequeathed to the artist's friend, Frederick McCann of Belfast (later annotation verso); the Bell Gallery, Belfast, circa 1965 (stretcher rail stamped with '3, Alfred Street' address); and the private collection of the late Gilbert Telfer of Edinburgh, Scotland.Born in Belfast, McBurney attended night classes at the Government School of Design in London while taking an apprenticeship as a damask designer. Awarded a scholarship to study art in South Kensington. Upon his return to Belfast, he became involved with the Belfast Art Society, the Ulster Literary Theatre, and was President of the Ulster Arts Club. McBurney was a close friend of Irish novelist, Forrest Reid (1875-1947). Reid described McBurney as a man of 'extraordinary courage and personal charm...[whose character] comprised of a curious blend of melancholy and gaiety.'[1] Of their first meeting, Reid recollected taking a dislike to McBurney, 'because he told me an indecent story-a thing I detest. Long afterwards, when we were intimate friends, I mentioned this, whereupon he immediately told me another-but that was to be expected.'[1] McBurney's lack of artistic prolificacy was due to poor physical strength as a result of illness. He died of tuberculosis in 1917. Works by McBurney are held at the Ulster Museum, Belfast.1] F. Reid, Private Road (London: Faber and Faber, 1940)
Lot 56
Jack Butler Yeats RHA (1871-1957)A Lament for Art O'Leary (1940) A set of six illustrations, pen and ink, variously sized 14 x 18.4cm up to 20 x 16cm (5½ x 7¼'' to 7¾ x 6¼'')Variously signed, signed with monogram and with monogram stamp;Together with a 2nd edition, Cuala Press. A Lament for Art O'Leary. Translated from the Irish by Frank O'Connor, with six illustrations by Jack. B. Yeats RHA. Reprint, 1971, for the Irish University Press, T.M. MacGlinchey Publisher, Robert Hogg PrinterProvenance: With Theo Waddington, Irish Art Project.Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats, Irish Academic Press, 1994, Catalogue No.1474, illustrated p.203, 204 and 205.Jack B. Yeats’s illustrations to the Lament for Art O’Leary are among his most expressive and memorable drawings. Cuala Press brought out a limited edition of 130 copies of Frank O’Connor’s translation of the 18th century poem in 1940 for which Yeats supplied six pen and ink illustrations. These were hand-coloured by Eileen Colum and Kathleen Banfield of the Cuala Press in the printed edition.The poem is the celebrated Lament of Eileen O’Connell composed in Irish for the wake of her husband Art O’Leary who was murdered on the orders of the local magistrate Abraham Morris in 1773. O’Leary came from a landed Catholic family and served as a captain in the Hussars of the Austro-Hungarian army. The couple lived in Rathleigh House, near Macroom, Co. Cork. Eileen was of the O’Connell family of Derrynane, Co. Kerry and an aunt of the future politician, Daniel O’Connell. Preserved orally for generations, her Lament is one of the last manifestations of the bardic poems of Gaelic Ireland. Frank O’Connor in his introduction to the poem, writes that the lament comes from ‘a world where the mind has no yesterday and no tomorrow’. Yeats’s drawings capture the despair and grief of Eileen as she mourns the violent death of her young husband. She searches for his body, grieves for him and buries his corpse. Yeats does not illustrate specific lines but creates a parallel vision of the tale in his epic pen and ink images. O’Connor described them as ‘noble drawings’ and they evoke the elegance and graciousness of the aristocratic heritage of the protagonists as well as the dramatic scenery of the Boggeragh mountains near Macroom where the events take place. The first illustration depicts O’Leary on his horse, galloping in the mountainy landscape of north Cork. He cuts an impressive figure, despite his evident youth. Holding his riding crop aloft, he wears a military style jacket and elegant hat, a reference to his status as an officer in the Austrian army. His silver hilted sword is prominently displayed. Art’s swaggering pose, which antagonised Morris, is mirrored by that of his horse who holds its head and neck erect adding to the noble demeanour of its young rider. This image is contrasted by the next illustration of Eileen walking upright and proudly with her two sons. The infant is tied by a shawl to her shoulders while his brother walks beside her. Behind them are high mountains and little cottages. The isolation of the widow and children after O’Leary’s death is emphasised in the lament where Eileen notes that there ‘hangs no throng of mourners’ as disease has decimated the people and prevented their attendance. The third illustration shows O’Leary’s horse standing at the gateway with its saddle empty. The bay mare’s return without its mount alerted Eileen to the fate of her husband and prompted her to search for him. One of the most impressive and unusual illustrations is that of Eileen on horseback as she goes in pursuit of O’Leary. Her locks runs wild, her arms are astray and her face and hair become subsumed into the surrounding sky. The rearing horse accentuates the wildness of her emotions. The treatment of the image encapsulates the inner grief and turmoil as expressed in the lines ‘On me is the griefThere’s no cure for in Munster. Till Art O’Leary riseThis grief will never yield That’s bruising all my heart, Yet shut up fast in it. ‘It also refers to the anger and vengefulness that Eileen expresses towards Morris, the man responsible for O’Leary’s death, who is referred to as ‘the bandy-legged monster, May he rot and his children’.In the last two illustrations Eileen is shown grieving over the body of her husband and carrying his coffin to be buried in the deserted cemetery of Cill na Martra. In the former, she finds O’Leary’s badly injured body where it had fallen from the horse at Carrignanimma. She kneels over the corpse, blood pouring from her hands. To the right the strange form of a standing stone, covered by O’Leary’s jacket, looks like a shroud or a spirit, suggestive of the reverberations of this violent death. The sweet expression of the woman’s face is contrasted by the contorted and ravaged features of the cadaver below her. The horse grazing in the background and the surrounding lush vegetation refer to the continuity of natural life, now lost forever to O’Leary. In the final illustration Eileen carries her husband’s coffin to an isolated cemetery surrounded by high mountains. Her body is contorted under the weight of the casket, her physique turned into a sinuous line expressive of sorrow. The empty scene of a young woman burying her dead in a remote landscape recalls imagery and accounts of the Great Famine. Visually it links the end of the Gaelic nobility to the next cataclysmic event in Irish history. The darkness of the Lament and the imagery it evokes is mitigated by the subtle manner by which Yeats has drawn the illustrations. Strong thick strokes of ink are counteracted by delicate hatching lines that convey shadow and movement, resulting in lively fluid drawings that exude energy and vigour. Yeats conveys a version of Eileen’s story that works independently of the text, offering the reader a visual sequence that is vivacious and contemporary. Róisín Kennedy May 2019
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