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Lot 1039
British School 19th century, Children on a bridge before a country cottage, indistinctly signed oil on canvas, 24cm by 33cm; together with a group of pictures and prints to include: B Appleton, Still life with flowers; R Worden, Plough Horses, signed watercolour; and a watercolour of Poland Mill, Hampshire (qty)
Lot 1151
Colin Ruffell (British, b. 1939), a table top set with bottle, weighing scales and oranges, still life, oil on canvas, signed to lower left corner, 60 cm x 90 cm. Provenance: Part of single owner collection of modern art and sculpture sold in this sale consigned by a London based collector .
Lot 94
William Scott CBE RA (1913-1989)Two Pears (1977)Oil on canvas, 25 x 35cm (9¾ x 13¾)Exhibited: Dublin, Twelve Recent Paintings, The Dawson Gallery, July 1977, Cat. No.12; Banbridge, William Scott in Ireland, F.E.McWilliam Gallery and Studio March - September 2009, Cat No. 34. Literature: William Scott, Catalogue Raisonne of the Oil Paintings, Vol 4, Cat No. 830, illus. p.217. Denise Ferran, William Scott in Ireland, F.E.McWilliam Gallery and Studio, 2009, illus p.31Although William Scott did make several forays into what might be termed ‘pure abstraction’ (as demonstrated by his exquisite ‘Berlin Blues’ series from the 1960s) he always returned to the recognisable subjects arranged in still life scenes. This painting from the mid 1970s exemplifies the artists preoccupation with the stuff of domestic life; fruit, eggs or fish arranged amongst pots, saucepans and cooking utensils upon a kitchen table. A preoccupation with these ubiquitous subjects remained consistent throughout Scott’s career because they provided him with ideal vehicles to carry out an exploration of form. However the artist was also drawn to familiar and quotidien subjects, such as pears, because they are universal, timeless and loaded with symbolic resonance.In 1973, the art critic Hilton Kramer wrote of William Scott’s still life paintings that although ‘the forms are highly simplified, they nonetheless boast a remarkable poetic resonance. They breathe and suggest a very personal emotional atmosphere ’. The coupling of two pears is a motif that possessed a personal significance for Scott. Variations on this theme in his work can be dated back to 1950 but he seems to have had a renewed interest in the subject throughout from the 1970s. In 1977 an exhibition organised by Edward Lucie-Smith took place at the Walker Art Gallery in Liverpool in which Scott exhibited a series of 17 small paintings titled An Orchard of Pears. This renewed predilection for the pear as a subject can be partly attributed to Scott’s move to a farmhouse in Coleford, England in 1967. An impressive pear tree stood in the garden of this house in front of which Scott was photographed on several occasions. Referring to his youth in Scotland and Northern Ireland, Scott once recalled ‘I was brought up in a grey world: the garden I knew was a cemetery and we had no fine furniture. The objects I painted were the symbols of the life I knew best and the pictures which looked most like mine were painted on walls a thousand years ago .’ Works such as Two Pears certainly highlights Scott’s admiration for ancient art, the elegant simplicity of which he became fascinated by following a visit to the Lascaux caves in France in the 1950s. However, the stark immediacy of Scott’s forms combined with his unique palette also make his work distinctly modern. Moreover, Scott imbues minimal and austere compositions such as Two Pears this with a deeply sensuous quality. Pádraic E. Moore, July 2019
Lot 125
Liam Belton RHA (b.1947)Congo Gong and Herb CutterOil on canvas, 50 x 76cm (19¾ x 30)Signed; also signed, inscribed and dated 2016 versoLiam Belton is a well-known and popular figure in Irish art circles. Given the ineffable calm and stillness of his paintings it is somewhat surprising that he first came to attention for political activism as a student in the National College of Art in the late 1960s and early ‘70s, fighting for the reforms that culminated in the college’s re-organisation into the National College of Art and Design in 1971. His political leanings led to attempts to establish free art education for all in Ballymun and Ballyfermot and he spent over twenty years teaching art to people with visual impairments but little of his Beuysian principles are visible in his paintings.Instead his signature still-life paintings represent a distillation of all that is calm, considered and, above all, constructed, rather than overtly representative of social life or ideology. While still-life paintings make up the dominant trope in his work, Belton travelled the country to compile a series of paintings of megalithic monuments in the early 2000s that show his capabilities as a landscape artist, yet retaining essential features of the still-life genre. This can be seen in Carrowmore, Co. Sligo - Dolmen (ca. 2003).However his annual entries to the RHA annual exhibition and other shows tended to be still-life paintings, generally executed in a cool, muted, palette, ranging from creamy white to chocolate, and rendered with a quite extraordinary attention to precision, balance and detail. The content changes only a little. Generally they contain domestic utensils, some of which have an antique quality, and exotic ceramic figures or references to art history in the form of pictures or postcards of work by the great masters; for a time in the past decade, they have included quite garishly coloured items from popular culture such as Disneyland figurines and toy cars, and almost always there is at least one egg, quiet, still and shadow-casting. Most still-life artists love to display their skill at capturing texture. In Liam Belton’s very classical approach, texture is a superficial quality, easily set aside in favour of colour and composition.Pewter and Eggs (2015) and Congo Gong and Herb Cutter (2016) mark a turn away from that brief flirtation with strong colour and pop and, like Carrowmore, they epitomise Belton’s love of clarity, precision and austere colours. What they all have in common is his absorption with space and with the past. The past, represented by the squat stones of the dolmen or the tribal objects and reproductions of artworks, has been reduced to stillness but the careful distancing of one item from another in the still-lifes, or viewer from dolmen in Carrowmore and his other paintings from that series, evokes a space for the stillness to work. Just as the megalithic monuments are weighed down with a sense of time and mortality, the still-life objects also recall art historical memento mori (premonitions of death) as for example in the work of Caravaggio or Dutch 17th century painters. The pervasive presence of an egg in Belton’s still-life paintings may be intended to counter-act that with a suggestion of new life and re-birth, but they also read like a reference to the myth of Giotto’s perfect circle - the test of a great artist. In this case the egg becomes a direct reference to that other perfectly-observed egg in art, the one that dangles, enigmatically, above the Madonna and saints in Piero Della Francesco’s The Virgin and Child Enthroned (c. 1475) in Milan. These are paintings about art first, pondered on, arranged, adjusted, and only about life as a secondary consideration. Even the inclusion of a reproduction of a painting by William Scott in Congo Gong and Herb Cutter, has been chosen less to impress with the artist’s knowledge of the Moderns, but rather because Scott’s emphatic shapes form a perfect co-relative for the shapes of Belton’s chosen objects.A dedicated member of the RHA since 1991, Keeper of the RHA from 1995 -2001 and a former member of the Board of the National Gallery of Ireland, Liam Belton is represented by the Peppercanister Gallery. His work is to be found in major Irish art collections.Catherine MarshallAugust 2019
Lot 14
Camille Souter HRHA (b.1929)The Slaughtered Cow Ten Minutes DeadOil on paper, 76 x 58.5cm (30 x 23)Signed, inscribed and dated 1973Provenance: With Taylor Galleries, label verso; Basil Goulding Collection.Exhibited: ROSC, Cork, 1980; 'Six Artists from Ireland', European touring exhibition, colour illustration in catalogue; University of Limerick, 'Familiar Faces', 2008, colour illustration in catalogue; 'Camille Souter/Nano Reid Retrospective' exhibition, Drogheda and Castlebar 1999, full page colour illustration.Image used as a Christmas card by Irish Malt Exports Ltd.This work was the last and largest of a series of around 22 paintings inspired by a visit to Les Halles in Paris in the early 1970s. At the time, some of Paris’s best known abattoirs operated in the area, though they were moved out of it in 1971. Souter was particularly struck by the beauty and colour of the hanging meat. She had been interested in biology since childhood and had painted a series of works based on dead basking sharks in Achill during the 1960s so it is perhaps not surprising she would be drawn to the subject. Souter’s take on meat is markedly different to that of many of the other artists that have addressed the subject. Unlike Rembrandt’s Slaughtered Ox, or Chaim Soutine’s paintings of meat, for example, there are no obvious allusions to religion. Most of the works in the Meat series are relatively small. They are also awash with blood. The paint is generally applied thinly, emphasising the fluid properties of the blood present rather than the tactility of the flesh. The black paint of the cows back in this work does however have real weight. The title, tells us that the cow has only recently been slaughtered but signs of life can take time to dissipate. The flesh and blood may still be warm. Its right eye still seems to be open. We can only wonder if it realised or realises what has happened to it. Garrett Cormican
Lot 275
DANTE GABRIEL ROSSETTI (1828-1882) Portrait of George Gordon Hake, conté crayon, 43 x 31.5cm Exh: Royal Academy of Arts, London, Rossetti Exhibition 1973 No.75 Prov: By family descent Notes Lots 274 and 275 depict respectively the English physician and poet Dr Thomas Gordon Hake (1809-1895) and his son George Gordon Hake (1847-1903), both of whom were to become great friends of Rossetti in the artist's later years. Rossetti first became aware of Dr T.G. Hake through publications of his poetry, which the artist admired greatly. They first met in 1869 and communicated by post for the next nine years, exchanging views and advice on the art of poetry. Not long after their first meeting Rossetti's health deteriorated dramatically and Dr T.G. Hake became a great aid, companion and physician to him, even taking him into his own home in Roehampton in 1872. At the same time his son, George Gordon Hake, was visiting from Oxford and assisted in caring for Rossetti. Together with the artist and poet William Bell Scott they accompanied Dante Gabriel to a house in Scotland placed at his disposal to promote his recovery. From there they moved on to a farmhouse at Trowan, which is where these drawings were executed. George had thoughts of pursuing a career in journalism but Rossetti persuaded him to stay on instead as his secretary and companion, first at Trowan and from September 1872 at Kelmscott. Their working relationship continued until 1877, when the artist's ferocious temper became too much to bear although George remained a helper and a friend. George Gordon Hake went on to have a distinguished career as an archaeologist, working for the British colonial authorities in Cyprus, and many of his finds can still be seen in the British Museum. His later life, until his death, was spent in Mashonaland, East Africa, and his papers are to be found in the archives of Rhodes House, Oxford. The drawings are unusual in their depiction of men rather than women and mark Rossetti's return to comparative normality after the complete breakdown of his health. They are an extraordinary feat of draughtsmanship at such a turbulent period in the artist's life. Indeed, excluding the portrait of Theodore Watts-Dunton, the artist's brother, William Michael Rossetti, believed them to be the best of Dante Gabriel's male portraits. For further information please see William Gaunt 'Two Portrait Drawings by Dante Gabriel Rossetti' (The Connoisseur December 1942). A copy of this article is available for viewing at the saleroom.
Lot 274
DANTE GABRIEL ROSSETTI (1828-1882) Portrait of Dr Thomas Gordon Hake, signed with monogram and dated 1872, conté crayon, 44 x 29.5cm Exh: Royal Academy of Arts, London Rossetti Exhibition 1973 No.74 Illus: The frontispiece for "The Poems of Thomas Gordon Hake", Elkin Matthews and John Lane (pubs), London 1894 Prov: By family descent Notes: Lots 274 and 275 depict respectively the English physician and poet Dr Thomas Gordon Hake (1809-1895) and his son George Gordon Hake (1847-1903), both of whom were to become great friends of Rossetti in the artist's later years. Rossetti first became aware of Dr T.G. Hake through publications of his poetry, which the artist admired greatly. They first met in 1869 and communicated by post for the next nine years, exchanging views and advice on the art of poetry. Not long after their first meeting Rossetti's health deteriorated dramatically and Dr T.G. Hake became a great aid, companion and physician to him, even taking him into his own home in Roehampton in 1872. At the same time his son, George Gordon Hake, was visiting from Oxford and assisted in caring for Rossetti. Together with the artist and poet William Bell Scott they accompanied Dante Gabriel to a house in Scotland placed at his disposal to promote his recovery. From there they moved on to a farmhouse at Trowan, which is where these drawings were executed. George had thoughts of pursuing a career in journalism but Rossetti persuaded him to stay on instead as his secretary and companion, first at Trowan and from September 1872 at Kelmscott. Their working relationship continued until 1877, when the artist's ferocious temper became too much to bear although George remained a helper and a friend. George Gordon Hake went on to have a distinguished career as an archaeologist, working for the British colonial authorities in Cyprus, and many of his finds can still be seen in the British Museum. His later life, until his death, was spent in Mashonaland, East Africa, and his papers are to be found in the archives of Rhodes House, Oxford. The drawings are unusual in their depiction of men rather than women and mark Rossetti's return to comparative normality after the complete breakdown of his health. They are an extraordinary feat of draughtsmanship at such a turbulent period in the artist's life. Indeed, excluding the portrait of Theodore Watts-Dunton, the artist's brother, William Michael Rossetti, believed them to be the best of Dante Gabriel's male portraits. For further information please see William Gaunt 'Two Portrait Drawings by Dante Gabriel Rossetti' (The Connoisseur December 1942). A copy of this article is available for viewing at the saleroom.
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