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Lot 55
William Scott CBE RA (1913-1989)Red and Red (WS119) (1967)Oil on canvas, 152 x 152.4cm (60 x 60'') Archive number 0328Provenance: Given by the artist to a collecter, from whom purchased by the present owner, c.2008. Private Collection, Dublin.Literature: Sarah Whitfield (ed.), William Scott: Catalogue Raisonné of Oil Paintings, Vol. 3 1960-1968, Thames and Hudson in association with William Scott Foundation, London 2013, cat. no. 641, illustrated p.275.Exhibited: Hanover Gallery, 'William Scott Paintings 1967', London, 17 October - 10 November 1967, No.7; Tate Gallery, 'William Scott Paintings, Drawings and Gouaches, 1938-1971', London, 19 April - 29 May 1972.In 1967 William Scott completed a large-scale work, Abstract Painting, a joint commission from the Arts Council of Ireland and RTÉ, to be installed in a new administration building, part of Scott Tallon Walker’s Donnybrook complex for the national broadcaster. Over 3.5 metres in width, the composition is, even for Scott, exceptionally spare, with just one motif, rotated through 90˚ and repeated. The palette is exceptionally warm.The same holds true for this painting, which the William Scott Catalogue Raisonné relates specifically to two earlier works, from 1965, Reflection and Untitled. While the RTÉ Abstract Painting plays on the idea of a displaced reflection, Red and Red and its predecessors do so even more boldly. Scott held onto Red and Red, eventually giving it as a present to an art collector, who sold it in 2008.Throughout Scott’s working life, it’s evident that he periodically tended towards abstraction without ever entirely severing ties with representation. The early 1950s and then the early 1960s saw the most notable examples of this. In the 1960s, it followed on from several years during which he made increasingly densely packed and highly textural still lifes - stylised, certainly, but unmistakably still lifes. Perhaps he felt he had arrived at the culmination of this process. In any case, he began to streamline his compositions. Looking back, he described it as “a process of elimination.” In practice that meant fewer, simpler forms and larger areas of flat or virtually flat colour.In his Berlin Blues series, the dominant colour was a pigment he was greatly taken by when he came across it in Berlin, called ‘Pariserblau’. It is as if he was, at the time, spurred to explore an opposite to the cool blue and white palette of the Berlin Blues, experimenting with combinations of warm, sometimes intensely warm reds and ochres.Born in Greenock, Scotland, in 1913, Scott grew up in Enniskillen, his father’s hometown, and showed aptitude for art from an early age. Encouraged by his progressive art teacher, Kathleen Bridle, he studied at the Royal Academy School in London. He went on to develop an elegant pictorial language applied in various ways to three consistent areas of subject matter: the still life, the human figure and the landscape.Aidan Dunne, October 2019
Lot 34
NIGHTINGALE (FLORENCE)Autograph letter signed ('Florence Nightingale'), to Captain Frederic Brine of the Royal Engineers, thanking him for his 'kind recollection of us & the part we were privileged to take in our Country's late glorious calamity' which has touched her 'very deeply', and which she feels will please Mrs Shaw Stewart 'who superintended, during all our heaviest time, actively & efficiently at the same Castle Hospital on Balaklava Heights' and praising the Royal Engineers for their contribution towards 'the struggle for the freedom & national life of half the world' ('...I believe that we had to thank you for the erection of the Cross in question at Balaklava...'); and confessing to the crushing sense of responsibility she feels: 'As to our poor fellows, who endured so patiently, all that belongs to their Memory & their Cause must be a sacred thing to us for ever – I feel that I have been such a bad Mother to them to come home & leave them in their Crimean graves – Nothing is so interesting to me as a recollection of our brave dead and a suggestion of what may still remain to be done for our Army'; with autograph envelope, addressed to Brine at Curragh Camp, stamped and postmarked and docketed 'Miss Nightingale', 4 pages, very minor dust-staining to last page but overall in fine, fresh condition, envelope with some wear, 8vo, 30 Old Burlington Street, 24 November 1856
Lot 377
POWELL (ANTHONY)Series of over sixty typed and autograph letters signed ('Tony'), plus over sixty cards (mostly picture postcards depicting subjects of varying degrees of drollness); the letters charting the progress of each of the twelve novels of his Dance to the Music of Time sequence, namely: A Question of Upbringing ('...Heinemann's are bringing out a novel of mine which will, I hope, appear in the Autumn... ...It seems to have annoyed the Oxford Mail and the Cambridge News a great deal...'), A Buyer's Market ('...My new novel is booked for May... It is to be called A Buyer's Market, and is set in the year 1928 or thereabouts...'), The Acceptance World ('...In principle I find this place [The Chantry to which he had just moved] rather good for work, but actually I am pretty stuck in vol III. I have done about thirty thousand and really can think of nothing to say...'), At Lady Molly's ('...am still in the forty-thousand stage. Going very slowly, but fairly solidly... ...I think Lady Molly was a bit better than the last, but nothing very different...'), Casanova's Chinese Restaurant ('...Casanova has had quite a good press...'), The Kindly Ones ('...I get a certain number of complaining reviews that people who come in late don't know what is happening, but I can't think matters much in that sort of book. I've done about forty-thousand of a new one, but that gives rather an exaggerated idea of how far its got, as it will stop just short of the war, which will be going on when the seventh vol starts. As one goes on, new problems arise all the time...'), The Valley of Bones ('...The Valley of Bones comes out about the 2nd or 3rd of March. I just hit the hump of Christmas as regards getting it out earlier...'), The Soldier's Art ('...If you had any minor points about army life you wanted emphasised do let me know, as I'm grappling with the next one, and always like to have ideas... ...still a fair amount to do, as there are various technical points I can't decide just how to finish it for one thing... ...The new novel The Soldier's Art comes out on the 12 September...'), The Military Philosophers ('...I am now embarking on the War Office one, which is going to be full of difficulties... ...I'm still hard at work on the new one – about halfway through, I hope, but endless complications... ..done about two-thirds of a new one, but in a pretty good mess still...'), Books Do Furnish a Room ('...I am at about fifty-thousand, but that sounds much better than is actually the case, as there is an awful lot of work still to do... ...The idea is to do a couple more, probably bringing the last one right up to date, but it's hard to tell until one gets to it...'), Temporary Kings ('...I've reached about 40,000 with the new one, but not sure about the title yet, and still a lot of work to be done. It takes place in 1958, so there's a ten year gap between it and the last...'), and Hearing Secret Harmonies ('...I have done about 40,000 of the new one, which hasn't got a title yet, and I've no idea when it will be finished. As you can imagine, there is even more technical work to do than usual, owing to it being the last one...'); there are also a good many comments on their friends and contemporaries, including Evelyn Waugh, with whom he stayed in 1951 ('...The Waugh visit went off very well. Evelyn was in the best possible form and food and drink flowed, though I must say the sense of tension is pretty acute all the time. Every single object in the house had been bought because it is 'amusing' which is rather unrestful as you may imagine...') and later sightings ('...I saw Evelyn W the other night who had been hitting the bottle pretty hard...'), plus comments on his books ('...I thought Officers and Gents full of technical faults and failings but was never actually bored. In a kind of way I prefer that sort of Evelyn to something very finished like the Loved One...'), news of his death ('...It was indeed sad about Evelyn, though I suppose for him to come back from church on Easter Day and go to sleep in his chair was just the sort of thing he would have chosen – quiet yet dramatic. I can't say I was altogether surprised after my last view of him...'), Sykes's biography ('...I was surprised how horrified everyone was at hearing of EW on his less attractive side. One was so used to stories about him that one assumed everyone else knew how bloody he could be when in the mood...') and his own reminiscences ('...I have some plans to write some sort of an autobiography after I've finished the M of T, and (if I'm spared) I shall deal with EW against the larger background...'); Heygate, like Powell himself, was clearly an avid reader, and Powell is not shy of making recommendations ('...Do you know V.S. Naipaul's books? He is Trinidad Indian and good, and I think, also a very nice chap...'), while being mildly flattered by Heygate's book-collecting activities, which take in his own oeuvre ('...I might amuse you to hear that some of my 1st editions came up at Sotheby's last week and fetched quite decent prices, an Afternoon Men, with jacket, inscribed to Michael Salaman, going for £38...'), over 120 pages, many with envelopes, some foxing to the earlier letters, 4to and 8vo, 1950-1974
Lot 314
A gentleman's 18ct gold cased wrist watch, Omega Louis Brandt, cal. 1119, plain polished case, 'Clous de Paris' dial, Roman indicators, sweep second hand, date aperture, automatic movement, visible to rear, leather strap and gold buckle (Dimensions: Case width: 34mm)(Case width: 34mm)Condition report: Good overall condition, working whilst with us, clean dial, usual very mnor blemishes to case, strap okay still bit of life left, with box, no papers serial no. Possibly 364 movement AL795, in wood presenation box and outer card box Please note that all wear is consistent with age and use. The absence of a statement of surface or condition issues does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of ageing. Condition reports for all watches and items of a mechanical nature are made without any guarantee as to working condition or whether all parts are original, any information as to working order is noted during processing of the lots and should be treated as general information only. Please also note that watches, and in particular Rolex, may have been enhanced after the original purchase by the addition of diamonds and other gemstones. Unless we have been given information by the vendor, or stated otherwise, it should be assumed the gemstones are a later addition, set by a third party.
Lot 57
A GEM-SET AND DIAMOND 'PINOCCHIO' PENDANT, BY MICHELE DELLA VALLEThe articulated pinocchio set with circular-cut rubies, tsavorites and brilliant-cut diamonds, the eyes and belt accented with black enamel, mounted in 18K gold, signed MdV for Michele della Valle, numbered, maker's case designed in the shape of a whale, length 5.9cmSee Michele della Valle, Jewels and Myths, Woodbridge, 2014, pg. 207 for an illustration of a similar pendantMichele della ValleMichele della Valle was born in Rome and began designing costume jewellery at the age of 16. During a trip to Burma in 1976, della Valle bought his first stone, which he showed it to revered stone dealer Roger Varenne, who suggested he take it to Hans Nadelhoffer at Christie's. This proved to be a life changing moment as it led to the development of della Valle’s career as a precious stone dealer and jewellery designer. In 1976 he worked for a year at Fürst Jewellers (representative of Harry Winston) in Via Veneto, Rome and in 1978 he opened his own workshop at Rome’s Piazza di Spagna. At this point, he began frequently travelling to Asia in search of precious stones and he started collaborating with Bulgari on special orders, leading to his recognition as a designer by famous Italian clientele of film stars and opera singers. Still a rarefied name in the world of jewellery, della Valle presents ideas and designs to clients, by appointment only, in his studio. The finished jewellery piece is then commissioned and meticulously handmade by sixteen highly skilled craftsmen in his atelier in Rome. Della Valle has become one of the most sought-after contemporary jewellers in the world. He developed a distinctive style, conjuring up lyrical compositions from a treasure trove of envious gemstones. This approach stems from his personal passion for opera and his own early training as a dramatic tenor. Nature remains his greatest inspiration, as he reinterprets classic jewellery iconography - soft, silky, light feathers and ethereal flowers. He dreams in colour, the vibrant grass greens, flaming orange and lilting blues of sea and sky are the colours of jewels for which he has become celebrated.His travels have an enormous influence on his creativity “I don’t understand how a jewel can be created without the magic of a trip to India or to the Far East in search of stones. The stones give birth to the design, and not the other way around.”
![* Clifford Fishwick 1923-1997]-Still life; oranges on a plate,:-signed with initials and dated CF'53 bottom rightoil on board](https://cdn.globalauctionplatform.com/3f31ccb4-f882-4dee-8a5b-aaf400c3dfde/85cc210d-3e8b-4ce1-bc32-ab0400cacb7b/468x382.jpg)
![* Kit Barker [1916-1988]- Chanterelles; still life,:- signed, inscribed and dated 1977 on the reverse oil on canvas, 25 x 40.](https://cdn.globalauctionplatform.com/3f31ccb4-f882-4dee-8a5b-aaf400c3dfde/5c3e4a41-fc56-44dd-814a-ab0400caccaf/468x382.jpg)
![de Villiers [20th Century]-Still life with fruit,:-signed and dated 'de Villiers. 57' bottom rightoil on canvas, 46 x 61cm, u](https://cdn.globalauctionplatform.com/3f31ccb4-f882-4dee-8a5b-aaf400c3dfde/69c85f48-fe0e-4641-ab3a-ab0400cae02e/468x382.jpg)
![* Margaret Gregory [1927-2011]-Interior [Still life] and beyond,:-signed and dated '00oil on board, 41 x 36cm.* Provenance. T](https://cdn.globalauctionplatform.com/3f31ccb4-f882-4dee-8a5b-aaf400c3dfde/01470c3a-a4d3-4dc2-a205-ab0400cae491/468x382.jpg)
![* S. Horne Shepherd [1909-1993]- Still life with Fish, Still life with fruit bowl and decanters,:- two, lithographs, both sig](https://cdn.globalauctionplatform.com/3f31ccb4-f882-4dee-8a5b-aaf400c3dfde/0455bf18-f502-4301-bf3a-ab0400cb0112/468x382.jpg)
Lot 240
* S. Horne Shepherd [1909-1993]- Still life with Fish, Still life with fruit bowl and decanters,:- two, lithographs, both signed in pencil sheet sizes 55 x 44cm. [2] * Biography. Painter, print-maker and teacher, studied at Glasgow School of Art under Maurice Greiffenhagen. Taught at Glasgow, Shoreditch Training College and St Martin's School of Art. Has work in the V&A Collection.
Lot 72
ƟNicolas d'Osimo, Quadriga Spirituale, in Italian, decorated manuscript on paper [Italy (probably Venice or vicinity), dated 13 April 1445]161 leaves (plus one modern paper endleaf at back), perhaps wanting an endleaf at front with opening of contents list added to it, main text complete, collation: i12, ii10, iii-xi12, xii16, xiii15 (last a cancelled blank), catchwords, single column of 26 lines of an Italian bookhand with influences of humanist and secretarial script, paragraph marks, rubrics and reference-marginalia in red (including some manicula), chapters numbered in red Arabic numerals alongside rubrics, small simple red initials, one large initial 'd' (opening Dice lo apostolo quello ...) in blue enclosing red penwork, frontispiece opening with red Ihs and 6-lines of text announcing the work, its author and the date of its composition, printed woodcut of St. Francis holding a Crucifix and exposing his stigmata pasted to verso of last leaf of contents list at front, strips from other medieval manuscripts used to reinforce outermost and innermost leaves in each gathering, some spots and bumped edges throughout, small tears and slight discolouration to first and last leaves, overall good condition, 214 by 145mm.; white parchment over stiff pasteboards, Raccolta di Sermoni in pen with calligraphic flourish on spine, as well as paper labels with P73 and 758A COPY OF AN IMPORTANT AND INFLUENTIAL WORK ON SIN AND CONFESSION, WRITTEN ONLY TWO YEARS AND FIVE MONTHS AFTER THE COMPOSITION OF THE TEXT, AND SECURELY WITHIN THE LIFE OF THE AUTHORProvenance:1. Written by the scribe Nicholas de Romanis, a Franciscan friar, and completed on 13 April 1445: his colophon at end of text. The watermark is a rare type, a horseshoe with circular nail holes visible in its body, in a form found in only one Italian example (Briquet, no. 6167, recorded Venice, 1464). If this watermark can be taken to indicate a Venetian origin then the book may have been written for use in either the Franciscan convent of San Francesco del Deserto (founded 1233 on the site where St. Francis reportedly spoke to birds, suppressed by Napoleonic troops c. 1808) on the lagoon island south of Burano, or the convent whose church still stands as the imposing Santa Maria Gloriosa del Frari (founded 1231, the Order expelled from the site in the early nineteenth century).2. By the seventeenth century the book was in the library of a Franciscan convent dedicated to Sanctissime Annunciate, and has their scrawled ex libris marks at head and foot of text, with actual site of house completely erased in both places. Probably in their monastic binding of the same date, and with their P73 on the spine.Text: Nicholas of Osimo (d. 1453) was a native of the Marche, and studied at the University of Bologna. He joined the Observant branch of the Franciscan Order, and held a number of key positions in the Order (including Vicar-Provincial of Apulia and Superior of Palestine, the last probably not taken up) as well as being a prolific author on moral theology. This text is a form of Christian manual on the consequences of sin in four parts: the need for charity, faith, confession and prayer. It was finished in December 1442, just two years and five months before the present copy was made, and within the life of the author. It was most probably distributed within Franciscan communities fairly rapidly after its composition, and a near identical copy supposed to be from Florence with a notably similar frontispiece was sold in Christie's, 12 December 2018, lot 15. The text here is preceded by a contents list. Ɵ indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT). Please see our Terms & Conditions for more information.
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