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Lot 266
SYBIL TAWSE (fl. 1900 - 1940) Framed, signed and dated in plate 1911, hand coloured lithograph on paper, showing a young shepherdess with her flock, together with HOLLAND W. HOBBISS (1880 - 1970) Two framed, signed and inscribed, pencil sketches on paper, one with coloured wash, depicting topographical scenes, one showing Chartres Cathedral, the other, dated 1938 showing Caudebec and a framed, unsigned, 19th Century, watercolour on paper showing a landscape scene with two figures and dog, and a framed, unsigned, 20th Century, watercolour on paper, showing an autumnal garden, and L. BAUMEISTER reproduction print of a floral still life composition. (6) 18.5cm x 17.5cm, 25cm x 15cm, 17cm x 35cm, 15cm x 24cm, 27cm x 22cm and 20cm x 28cm.
Lot 300
WILLIAM PALMER ROBINS (1882 - 1959) Framed, signed in pencil, 20th century, etching on paper, showing figures before a cathedral, together with MAZ JACKSON Framed, signed and dated 1985, watercolour and ink on paper, contemporary still life study of a vase of flowers. (2) 17cm x 22.5cm and 19cm x 18cm.
Lot 21
C. Lily - Still Life, oil on board. Please note: Condition of items or other faults for this sale is not stated within the catalogue and items are sold strictly as seen (please read terms and conditions below) If you are interested in an item and no condition report is present please email auctions@peterwilson.co.uk for more information. Due to volume of inquires we receive we are not able to answer requests on group lots or items with an estimate of less than £50.
Lot 102
Brass oil lamp, two plated items, an oval framed watercolour of a lady and an oval framed still life. Please note: Condition of items or other faults for this sale is not stated within the catalogue and items are sold strictly as seen (please read terms and conditions below) If you are interested in an item and no condition report is present please email auctions@peterwilson.co.uk for more information. Due to volume of inquires we receive we are not able to answer requests on group lots or items with an estimate of less than £50.
Lot 249
Edgar Vinters (Latvian, b.1919) `On the Dordogne` oil on panel, signed lower right dated 20th August 1994, inscribed verso 26 x 34½in. (66 x 88cm.) * Edgar Vinters was born in 1919 in Riga, and studied at the Latvian Academy of Arts from 1940-44. He has exhibited widely in Latvia and the UK since 1949 and is known for his large scale landscape and floral still life work. His style is realist and he works plein air, striving for light and clarity in his work, which displays clear influences from the Impressionist movement.
Lot 84
Seán Keating PRHA (1889-1977) 'Pipes and Porter' Oil on canvas, 101.5 x 127cm (40 x 50") Signed Provenance: A Dublin Collection Exhibited: RHA, Annual Exhibition 1915 Cat. No. 78 Having won the coveted RDS Taylor Award for painting in 1914, Seán Keating moved to London to work as a studio assistant to William Orpen. The First World War had begun, and as conscription beckoned, Keating decided to return to Ireland in late 1915 or early 1916. Orpen, already a well-renowned portrait painter, remained in London and accepted an appointment to the Army Service Corps. He was sent to France under the war artists' scheme in 1917, where, initially as a Second Lieutenant and later a Major, he produced some of the most extraordinary and thought provoking images of his entire career (1). Meanwhile, Keating returned to Dublin, joined the Gaelic League (Conradh na Gaeilge), and began to make a series of paintings that placed the west of Ireland in general, and the Aran Islands in particular, at the centre of his personal sense of national and political identity. He sought to make his nationalist allegiance clear in his work, but arrest for sedition was commonplace, and as a result, his use of symbolism or allegory can be understood in the context of the socio-political conditions at that time. The best known of those images is Men of the West, a painting that Keating began in 1915, but completed and exhibited in 1917, the year after the Easter Rising had taken place(2). An allegorical work, it features a self-portrait of the artist holding the Irish tri-colour flag, and a double portrait of his brother, Joe Hannan Keating, who was then a member of the IRB and the Irish Volunteers, and both are dressed in traditional Aran Island clothing. But there was an image that prefigured Men of the West. It was shown in the RHA in 1915 and it was titled Pipes and Porter(3). An extraordinary painting, Pipes and Porter features a self-portrait of the artist with his ubiquitous beard, together with a portrait of his aforementioned brother, Joe, an unnamed young boy, and an unidentified piper(4). A castle tower dominates the background, while the lower landscape is dotted with several white-washed and thatched cottages, and the sun is setting in the western sky. Keating, his brother, and the young boy regard their audience with confidence. But the piper's gaze suggests that he is lost in concentration of his tune. He is playing the bagpipes, also known as the 'war pipes' because they were 'played in medieval Ireland to lead soldiers or sporting groups' (5). Importantly, in terms of Keating's artistic objectives, 'both the uilleann pipes and the war pipes had political links' in the early years of the twentieth century. 'Thomas Ashe was a well-known war piper', while 'Éamonn Ceannt played the uilleann pipes and was leading member of the Dublin Pipers' Club' (6). The war pipes that feature in Pipes and Porter appear to be 'an occasional set' that may have been made by 'MacCullough' of Belfast and seem to have 'two drones, beaded and combed like Highland pipes' with 'plain projecting mounts on the drones, and metal ferrules' (7). The colour combination illustrated on the piper's conspicuous hat may well refer to his place of birth, and/or his national sporting allegiance. Black and amber are the Gaelic Athletic Association (GAA) colours for Kilkenny. While the GAA was not a political organization, several members fought in the Easter Rising in 1916 (8). Although he remains anonymous at present, the man playing the 'war pipes' may have been a piper that Keating knew from among those that played at nationalist gatherings and marches in Dublin, if not from his own branch of Conradh na Gaeilge, or who perhaps played at GAA matches. Thus, far from being a simple scene of the west of Ireland, Pipes and Porter has symbolic meaning, which is amplified by the presence of the artist, and his nationalist brother, Joe, both of whom are dressed in the traditional Aran Island clothing that was to feature in Men of the West a little time later. At the same time, the realities of the socio-political conditions are evident in the painting. Irish artists were physically and geographically restricted by the rules of the Defence of the Realm Act (DORA), introduced to Ireland in 1914, as a result of which they were not allowed to paint the Irish coastline, or harbours, without written permission from the authorities. Therefore, there is little by way of a detailed coastline in Pipes and Porter or in Men of the West. Keating was a painter of honest, no nonsense portraits. It was a skill that provided him with a constant source of income throughout his life. He did not believe in flattering his models, which meant that his insightful honesty got him into trouble at times. Trained by Orpen in the necessary techniques, he never forgot to include a fleck of light in the eyes, a detail that gave life and personality to his portraits and that is seen to excellent effect in Pipes and Porter. Furthermore, although it is an early work, the painting also demonstrates Keating's expertise as a painter of still life, landscape, sky scape, and the detailed texture of clothing. What of the porter to which the title of the painting also refers? It would appear that necessity was the cause of invention, and porter, a type of beer, was served in any type of vessel that came to hand. The glass is empty, but is there porter in that mug, or does it contain a cup of tea? Keating was having a little fun with his title and content. He continued to use such puns throughout his career, evident, for example, in Good Old Stuff (1928), a painting that is also featured in this auction catalogue (lot 86). The artist typically signed his paintings using his surname in Irish or English, but he wrote his full name on the bottom right of Pipes and Porter. This detail suggests that the painting, which has not been seen in public for many years, may have been a commission in 1915, although the identity of the likely patron is not known at present. © Dr Éimear O'Connor HRHA Research Associate TRIARC-Irish Art Research Centre Trinity College Dublin October 2013. (1) See Bruce Arnold, Orpen: Mirror to an Age, (London, 1981), pp. 307-380. (2) Collection: The Dublin City Gallery The Hugh Lane. (3) Keating is known to have painted two images featuring pipes. The first, Pléaráca in Arainn (A Gay Time on Aran)(1913), won the Orpen Composition Award at the Dublin Metropolitan School of Art in 1913. It would appear that this painting did not include a self-portrait of the artist. It was described some years later as 'a rather large painting…depicting an Aran piper in full “war paint”…playing lustily on his Píob Mor (large pipes) for the delectation of several of his friends, who, to judge by the expression on their faces, are thoroughly enjoying themselves', John J. R. O'Beirne, 'A Coming Irish Artist: The work of John Keating' in The Rosary, Vol. 21, 1917, pp. 571-577. (4) Information on the identity of the piper and the young boy would be gratefully received by the author on info@eimearoconnor.ie (5) The author would like to acknowledge and thank Nicholas Carolan, Director of the Irish Traditional Music Archive, 73 Merrion Square, for his help and advice with regard to the pipes illustrated in Pipes and Porter. See www.itma.ie (6) The author would like to acknowledge and thank Emmett Gill, Administrator, and Terry Moylan, Archivist, Na Píobairí Uillean, 15 Henrietta Street, Dublin 1, for information pertaining to Thomas Ashe and Éamonn Ceannt, and the political significance of the uilleann pipes and the war pipes in 20th century Ireland. See www.pipers.ie (7) With thanks to Nicholas Carolan and Seán Donnelly. MacCulloughs opened premises in Dublin in the 1920s, and in 1926 the company published MacCullough's Irish War Pipe Tutor and Tune Book, written by Liam Mac Andreis (William Andrews), leader of a pipe band at Trinity College Dublin. See Adam Sanderson on (8) Coincidentally, James Nowlan, a native of Kilkenny, served twenty years, from 1901 to 1921, as president of the GAA. He was interned in England after the 1916 Easter Rising. Nowlan was a supporter of Sinn Fein and an alderman of Kilkenny Corporation for many years. See
Lot 455
A FINE 20 BORE OVER-AND-UNDER FLINTLOCK TRAVELLING PISTOL BY J. EGG, NO. 1 PICCADILLY, LONDON, NO. 2227, CIRCA 1820-35, WITH PRESENTATION INSCRIPTION TO BARON OSTEN FROM LIEUTENANT COLONEL BROTHERTON with browned twist sighted barrels, signed in gold letters on the top flat of the upper barrel and engraved with the address in script on the lower, the upper breech decorated with a shaped gold band and the lower with a pair of lines (the breech scratched), platinum lined vents, engraved case-hardened tang incorporating the back-sight, decorated with flowers, foliage and scrollwork, signed locks engraved with scrolls, foliage and sunbursts, fitted with blued bolt safety-catches (incomplete), `French` cocks (top-jaws and screws replaced), semi-rainproof pans, external blued mainsprings with rollers acting on the steels, figured walnut butt cut with a panel of fine chequering, engraved blued steel mounts comprising trigger-guard decorated with trophies of arms, butt-cap enclosed by a garland and with `skull cracking` terminal, browned steel ramrod-pipe with retaining spring (detached), flower-shaped silver escutcheon engraved with presentation inscription, blued steel ramrod with chequered finial, and much early finish throughout: in contemporary fitted blackened oak case lined in green baize, the lid with rectangular flush-fitting brass carrying handle (one fastening stud missing), the inside with trade label of Collins, 12 Vigo Lane, Regent Street, and with some accessories including cleaning rod, turnscrew, bullet mould, and various spare parts in a leather pouch 18 cm; 7 1/8 in barrels The friendship symbolised by this pistol probably began during the Napoleonic war (1803-15). Its donor, Thomas William Brotherton (1785-1868), served in seven cavalry and five infantry regiments. First seeing action with the Coldstream Guards in Egypt in 1801, he served in the 3rd Foot Guards during the brief campaign in Hannover in 1805. As an officer in the 14th Light Dragoons, he fought during the Peninsular war from 1808 until 1813, being wounded at Salamanca in 1812 and at Nive in 1813, when he was captured. Remaining in the army after the end of the war, he occupied staff positions of increasing seniority and ended his career as a general, Knight Grand Cross of the Bath (GCB) and colonel of the 1st Dragoon Guards. His eventful life is summarised in the Oxford Dictionary of National Biography (2004). The recipient of this pistol, Wilhelm von der Osten, Baron Osten (1782-1852), was a Hannoverian nobleman. Joining the 13th Hannoverian infantry regiment in 1801, he was appointed lieutenant in the Hannoverian Life Guards in 1802. Upon the disbandment of the Hannoverian army following the French invasion in 1803, he travelled to Britain to become a lieutenant in the 1st Light Dragoons, King`s German Legion, and served in Hannover in 1805. In November 1808, Osten secured a cornetcy in the Scots Greys and then, after ten days, a lieutenancy in the 16th Light Dragoons - with which he went to Spain to be present at the battle of Talavera in 1809. In September 1810, he was appointed extra ADC to Lieutenant-General Sir Stapleton Cotton (later Viscount Combermere), commander of the British cavalry, and in November 1810 became major of brigade in Colonel The Hon. George de Grey`s brigade of heavy cavalry. In July 1811 he was transferred to the cavalry brigade commanded by his fellow-Hannoverian, Major General Victor von Alten, Baron Alten, and served in Alten`s brigade throughout the remainder of the Peninsular war. Returning to regimental duty with the 16th Light Dragoons in 1814, he was with his regiment at the battle of Waterloo in 1815, where he was slightly wounded. Purchasing his captaincy in the newly designated 16th Lancers in 1816, Osten became a Knight of the Hannoverian Guelphic Order (KH) in 1819 and accompanied the regiment to India in 1822, being present at the siege and capture of Bharatpur in 1825. In May 1827 Osten survived an attack by a lion while hunting and in October that year purchased his majority in 16th Lancers. He returned to Britain in 1832 and retired by sale of his commission in 1834. After leaving the British army, Osten rejoined the Hannoverian army on half pay; he was promoted lieutenant-colonel in 1836, colonel in 1839 and major general in 1849. He died at Rufford Abbey in Yorkshire, the seat of the Earl of Scarbrough. Brotherton and Osten both served in Hannover in 1805; perhaps they became friends then. Between July 1812 and late 1813 Brotherton`s 14th Light Dragoons was part of Alten`s brigade, in which Osten was major of brigade. Both men were present at the battles of Busaco, Salamanca, Vitoria, Nivelle and Nive, as well as at smaller actions - such as that of Castrillo in July 1812, a cavalry encounter that involved both men, in 1838, in some controversy published in the pages of the United Service Magazine. Brotherton became a lieutenant-colonel in May 1814 and between 1832 and 1841 he served in that rank in the 16th Lancers, Osten`s regiment: so between 1832 and 1834 Brotherton and Osten would have been fellow regimental officers stationed in Britain. Collins is recorded at 12 Vigo Lane Regent Street circa 1825-32. Bell`s Life in London, 22nd July 1838, made the following announcement: `J. Collins begs to inform the Nobility and Gentry that he still continues to keep a very extensive collection of London made guns…..and he can afford to sell them at half their original cost. Among his stock will be found a large assortment of Pistols of every description, both new and second hand`. See H. L Blackmore 1999, pp. 57-58.
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77168 item(s)/page