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Lot 335
Four rectangular porcelain ornithological plaques c.1970s, painted by Peter Platt one with a blue tit and another a robin perched on flowering bramble, the others with a pair of pheasants and a pair of mallard ducks, signed, framed, the plaques 19.5cm high. (4) Peter Platt was an artist at the Royal Worcester factory from 1951, usually specialising in fruit and still life subjects.
Lot 341
A Coalport part dessert service early 20th century, painted by Frederick Chivers with various still life arrangements of fruits on the woodland floor, signed `F H Chivers`, reserved within apple green borders with raised gilt highlights, printed marks. Comprising: two tall tazzae, two square dishes, two oval dishes and twelve plates. (18)
Lot 335
Four rectangular porcelain ornithological plaques c.1970s, painted by Peter Platt one with a blue tit and another a robin perched on flowering bramble, the others with a pair of pheasants and a pair of mallard ducks, signed, framed, the plaques 19.5cm high. (4) Peter Platt was an artist at the Royal Worcester factory from 1951, usually specialising in fruit and still life subjects.
Lot 341
A Coalport part dessert service early 20th century, painted by Frederick Chivers with various still life arrangements of fruits on the woodland floor, signed `F H Chivers`, reserved within apple green borders with raised gilt highlights, printed marks. Comprising: two tall tazzae, two square dishes, two oval dishes and twelve plates. (18)
Lot 20
Jack Butler Yeats RHA (1871-1957) A BOREEN watercolour on artist board signed lower left 10 by 14in. (25.40 by 35.56cm) American Art Galleries, New York, 9 February, 1927, lot 39B;Private collection Sketches of Life in the West of Ireland, Central Hall, 1903, catalogue no. 19 Pyle, Hilary , Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 441, p. 120 A Boreen was exhibited at Jack Yeats`s Sketches of Life in the West of Ireland exhibition in Dublin in 1902 and is mentioned in contemporary reviews of the show. It depicts a young boy on a donkey riding along a narrow boreen between dry stone walls towards a group of thatched cottages. A view of the sea is visible in the distance beyond. This is a classic Yeats composition, of the type that he was to develop in his later oil paintings. The boy looks back towards the viewer, his face silhouetted against the distinctive landscape of the West of Ireland to which he belongs. His dark steady gaze and set features counteract negative stereotypical images of the Irish peasant that permeated visual representations of the Irish throughout the later 19th century. Yeats subtly brings in his knowledge of contemporary design in the carefully delineated structure of the walls and in the narrow undulating form of the tree that severs the composition. Both are indebted to Art Nouveau and to Japanese prints. Still perceptible are the strong purples and greens that characterised Yeats`s watercolours of this period. Such modern and stylised imagery of rural Ireland enthralled contemporary commentators especially those concerned with the creation of a new image of Irish life. The painting was acquired soon after it was painted by John Quinn, the New York attorney, who was a close friend of the Yeats family and a key patron of modernist art and literature. Dr. Róisín KennedyOctober 2014Dr. Róisín Kennedy is a graduate of UCD and the University of Edinburgh. She curated and catalogued the historic and contemporary State art collection at Dublin Castle, and wrote Dublin Castle Art, (1999). She is former Yeats Curator at the National Gallery of Ireland, (2006-08), where she curated The Fantastic in Irish Art and Masquerade and Spectacle: The Travelling Fair in the Work of Jack B. Yeats in 2007.
![Arthur Armstrong RHA (1924-1996) STILL LIFE WITH LAMP oil on board signed lower right; titled and numbered [28] on reverse 2](http://lot-images.atgmedia.com/SR/10092/2915938/54-20141110171433_468x382.jpg)
Lot 54
Arthur Armstrong RHA (1924-1996) STILL LIFE WITH LAMP oil on board signed lower right; titled and numbered [28] on reverse 24 by 30in. (60.96 by 76.20cm) Arthur Armstrong (1924–1996) was a painter from County Antrim, who often worked in a Cubist style and produced landscape and still life works. Armstrong was born in Carrickfergus on 12 January 1924. He was the son of a house painter and attended Strandtown Primary School. Later he studied architecture at Queen`s University Belfast, but after two years he moved to study art at Belfast College of Art. The influence of Cubism and the School of Paris can be clearly seen in his work, which took him to England, France and Spain. He also travelled and painted in the West of Ireland with fellow artists and close friends Gerard Dillon and George Campbell. Connemara inspired some of his best work. In 1950 his work was exhibited in the Grafton Gallery in Dublin, and subsequent exhibitions took place in England, Spain and the United States, as well as in Belfast and Dublin. In 1957 he was awarded a travelling scholarship from the Council for the Encouragement of Music and the Arts (a forerunner of the Arts Council of Great Britain) and went to Spain. He eventually settled in Dublin in 1962 and began showing work at the Royal Hibernian Academy.In 1968 he was awarded the Douglas Hyde Gold Medal at the Oireachtas Exhibition. In 1969 he designed sets (with George Campbell and Gerard Dillon) for the Seán O`Casey play, Juno and the Paycock, at the Abbey Theatre in Dublin. He became a member of the Royal Hibernian Academy in 1972 and in 1973 he was awarded the Art in Context prize from the Arts Council of Northern Ireland. He became a member of Aosdána in 1981, the same year that a retrospective exhibition of his work from 1950 to 1980 was held by the Arts Council of Northern Ireland.
Lot 155
Martin McKeown (b.1931) STILL LIFE WITH TEAPOT AND BOTTLES, 1952 oil on canvas signed and dated lower right 20 by 30in. (50.80 by 76.20cm) Collection of Mrs Irene Calvert MP since 1952; Thence by descent CEMA Basil Blackshaw & Martin McKeowan"", Donegal Street Gallery, Belfast, September 1952"" It was following, and partly as a result of this commission, that the artist was commissioned to paint the then Governor of Northern Ireland, LordWakehurst. Irene Calvert was an enthusiastic patron of Blackshaw and other young artists in Northern Ireland during the 1950s. Irene Calvert (1909-2000) was a Northern Irish politician and economist. Bornin Belfast, as Lillian Irene Mercer Earls, she studied at Methodist College, Belfast. She studied economics and philosophy at Queen`s University, Belfast. In 1941 she was appointed Chief Welfare Officer for Northern Ireland, immediately having to organise care for a flood of wartime evacuees. In 1944, she contested a by-election for the Queen`s University Belfastconstituency. She was unsuccessful but stood again in the Northern Ireland general election, 1945, as an independent (non-party) candidate, and on thisoccasion succeeded in taking a seat at Stormont. She held the seat until she stood down at the 1953 election. In Parliament, she avoided the traditional Unionist versus Nationalist arguments, which she regarded as a distraction from the real task of socialreform, including the passage of the Education Act, 1947. In her resignation speech, she did however question whether the Northern Irish economy couldthrive while the partition of Ireland continued. In 1950 Calvert began working at the Ulster Weaving Company as an economist, and having successfully helped build up their institutional sales was appointed a managing director. In 1956 she was invited to become a group chairman at the Duke of Edinburgh`s Study Conference on Industry. She also served on the Belfast City Chamber of Commerce, becoming its first - and, to date, only - woman president in 1965-1966. She also served on Queen`s University`s Senate and Board of Curators, and was active in the Irish Association. In 1964, she worked as an executive manager with Great Southern Hotels, a subsidiary of CIE, the Irish Transport Company, with whom she worked until early 1970. She retired to Dublin where she was an active supporter of the Irish Labour Party until her death in 2000.
Lot 184
Alexey Krasnovsky (b.1945) STILL LIFE WITH PEARS oil on canvas signed lower left 17 by 23in. (43.18 by 58.42cm) Collection of Eugene and Mai Lambert See lot 133 for artist`s biography.The Lambert Puppet Theatre was established in 1972 by its director Eugene Lambert (1928-2010). Located in Monkstown, County Dublin, it is the only purpose built puppet theatre in Ireland. With the rise of television in 1960`s the Lambert Puppet Theatre became a fixture in Irish broadcasting with their very first show Carta Húdaí which aired in 1962 for which Mai Lambert made the costumes and their ten children acted as puppeteers. The Lamberts continued to produce shows such as Murphy agus a Chairde 1963-1968, Wanderly Wagon 1968-1982 and Bosco 1978-1987. Eugene and Mai Lambert were keen art collectors, expressing particular interest in works which relate to entertainment such as lot 177 by Brian Bourke and lot 183 by Harry Kernoff, and puppetry images, lots 190-194.
Lot 132
Gaspar Pieter II Verbruggen 1664 Antwerpen - 1730 AntwerpenGroßes Blumenstillleben in einer Bronzevase. 1693.Öl auf Leinwand. Rechts unten signiert und datiert. 82 x 62,5 cm (32,2 x 24,6 in). Verbruggen ist einer der bedeutendsten flämischen Blumenstillleben-Maler am Ende des 17. Jahrhunderts. Von seinem nicht minder erfolgreichen Vater gleichen Namens ausgebildet, wird der hochbegabte Junge bereits mit zwölf Jahren von der Malergilde St. Lukas in Antwerpen zum Meister ernannt. Schon 1680, mit sechzehn, nimmt er einen eigenen Lehrling auf. In den folgenden Jahren leitet er mehrfach als Dekan die Lukasgilde und ist allseits hoch anerkannt. Sein aufwendiger Lebensstil führt jedoch dazu, dass er 1703 einige Gemälde aus seinem Besitz versteigern lassen muss und nach Den Haag übersiedelt, um den Gläubigern zu entgehen. Erst 1723 kehrt er zurück nach Antwerpen. Seine oft großformatigen Gemälde sind stets Kompositionen mit üppigen Blumengirlanden oder Blumenbouquets, die sich durch einen naturalistischen Detailreichtum und eine brillante Farbgebung auszeichnen. [CB].ca. 15.38 h +/- 20 Min.ENGLISH VERSIONGaspar Pieter II Verbruggen 1664 Antwerpen - 1730 AntwerpenGroßes Blumenstillleben in einer Bronzevase. 1693.Oil on canvas. Signed and dated lower right. 82 x 62,5 cm (32,2 x 24,6 in). [CB]. Verbruggen was one of the most renowned Flemish flower still life painters in the late 17th century. Trained by his likewise gifted father, the talented son was accepted by the Antwerp painters guild St. Luke at the age of twelve. As early as in 1680, at the age of sixteen, he began to train his first apprentice. The following years he was dean of the guild and was widely acknowledged. However, his exuberant lifestyle was the reason why he had to sell some of his paintings and move to The Hague in 1703 in order to dodge his creditors and did not return to Antwerp before 1723. His often large paintings are usually compositions of opulent flower- garlands or bouquets characterized by a naturalistic richness of details and a brilliant coloring. [CB]. ca. 15.38 h +/- 20 min.
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