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![ÆŸA.S. Byatt, Works including complete set of novels, first editions, signed by the author [London, 1964-2011]a group of 23 vo](https://cdn.globalauctionplatform.com/61d004a3-74d2-402a-81aa-a9f500d7e3ea/97b1134d-e3b3-4c7c-ac4e-a9f500e322d2/468x382.jpg)
Lot 17
ƟA.S. Byatt, Works including complete set of novels, first editions, signed by the author [London, 1964-2011]a group of 23 volumes, comprising: Shadow of a Sun (1964, author’s first work, endpapers a little spotted, spine of dust-jacket a faded), Degrees of freedom (1965, small closed tear to lower edge of dust-jacket upper cover, spine faded), The Game (1967, dust-jacket spine darkened, extremities chipped with slight loss), Wordsworth and Coleridge in their Time (1970), The Virgin in the Garden (1978), Still Life (1985), Sugar and other Stories (1987), Possession, a Romance (1990), The Djimm in the Nightingale's Eye (1990), Passions of the Mind (1991), Angels and Insects (1992, dust-jacket spine faded), The Matisse Stories (1993), Imagining Characters (1995), Babel Tower (1996, spine faded), English Sort Stories (1998), Elementals, Stories of Fire and Ice (1998), On Histories and Stories, selected essays (2000), The Biographer's Tale (2000), Portraits in Fiction (2001), A Whistling Woman (2002), Little Black Book of Stories (2003), The Children's Book (2009), Ragnarok (2011), all signed by the author, original cloth or boards and dust-jackets present, overall fine set, 8vo Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
Lot 55
John Luke RUA (1906 -1975)Nude MaleOil on board, 69 x 23cm (27 x 9'')Provenance: Estate of the artist; Private Collection.Exhibited: John Luke (1906-1975), Ulster Museum, Belfast and Douglas Hyde Gallery, Dublin, 27 January-4 March 1978 (no. 4); John Luke: Work from The Studio, The Bell Gallery, Belfast, February-March 1980 (no. 23).Born into a working-class part of north Belfast John Luke initially left school to work in the city’s shipyards and then its linen mills. His extraordinary talent at drawing brought him to Belfast School of Art when he was still a teenager. After enrolling in evening classes his teachers encouraged him to become a full-time student. In 1927, after wining prizes at the Sorella Art Exhibition and the Royal Dublin Society’s Taylor Art Competition, Luke won the prestigious Dunville Art Scholarship, which would enable him to study at the Slade School of Fine Art in London for the next three years. This ‘Male Nude’ was painted at the Slade under the tutelage of Henry Tonks, one of the most influential teachers of drawing in the early twentieth century. It was completed in the ‘life painting’ class and its combination of incredibly fine drawing and tiny feathery cross-hatched brushstrokes, to build up light and shade, demonstrates Luke’s outstanding abilities as a draughtsman. Luke later recalled that Tonks had initially been critical of his drawings, stating ‘these are rather good, as far as they go, but there’s no form in any of them’, and subsequently Luke concentrated all his efforts to perfect his drawing skills. The striking facial features of this male nude would later be re-used for the central figure in Luke’s painting ‘The Rehearsal’, which was commissioned by the Belfast Museum and Art Gallery (now Ulster Museum) in 1948 as a demonstration of the tempera technique. Its anatomical fidelity also recalls Tonk’s drawings especially the male nudes he made as part of his work recording wounded veterans during the First World War. Tonks had initially trained as a surgeon and according to his biographer ‘used his anatomical knowledge to teach life drawing as a swift and intelligent activity’. Luke drew and painted many male nudes at the Slade employing a variety of different materials. A further example is his ‘Seated Figure’ (lot 54 above) which is quickly, and brilliantly, sketched with chalks. Tonks encouraged his students to work with pastels and chalks when drawing from life (like the old masters). Whether in chalk or oil paint Luke fully realized Tonk’s desire to see the model as a ‘corporeous unity’, to render the ‘flesh’ so it was almost tactile. Dr. Joseph McBrinnBelfast School of ArtUlster UniversityBorn into a working-class part of north Belfast John Luke initially left school to work in the city’s shipyards and then its linen mills. His extraordinary talent at drawing brought him to Belfast School of Art when he was still a teenager. After enrolling in evening classes his teachers encouraged him to become a full-time student. In 1927, after winning prizes at the Sorella Art Exhibition and the Royal Dublin Society’s Taylor Art Competition, Luke won the prestigious Dunville Art Scholarship, which would enable him to study at the Slade School of Fine Art in London for the next three years. This Male Nude was painted at the Slade under the tutelage of Henry Tonks, one of the most influential teachers of drawing in the early twentieth century. It was completed in the ‘life painting’ class and its combination of incredibly fine drawing and tiny feathery cross-hatched brushstrokes, to build up light and shade, demonstrates Luke’s outstanding abilities as a draughtsman. Luke later recalled that Tonks had initially been critical of his drawings, stating ‘these are rather good, as far as they go, but there’s no form in any of them’, and subsequently Luke concentrated all his efforts to perfect his drawing skills. The striking facial features of this male nude would later be re-used for the central figure in Luke’s painting The Rehearsal, which was commissioned by the Belfast Museum and Art Gallery (now Ulster Museum) in 1948 as a demonstration of the tempera technique. Its anatomical fidelity also recalls Tonk’s drawings, especially the male nudes he made as part of his work recording wounded veterans during the First World War. Tonks had initially trained as a surgeon and according to his biographer ‘used his anatomical knowledge to teach life drawing as a swift and intelligent activity’. Luke drew and painted many male nudes at the Slade employing a variety of different materials. A further example is his Seated Figure which is quickly, and brilliantly, sketched with chalks. Tonks encouraged his students to work with pastels and chalks when drawing from life (like the old masters). Whether in chalk or oil paint Luke fully realized Tonk’s desire to see the model as a ‘corporeous unity’, to render the ‘flesh’ so it was almost tactile. Dr. Joseph McBrinnBelfast School of ArtUlster University
Lot 58
Patrick Hennessy RHA (1915 - 1980)Seagull and RoseOil on canvas, 32 x 40cms (12 x 15)Signed lower leftCork artist Patrick Hennessy’s painting skills were recognised early in his career, winning a scholarship to study at Dundee College in Scotland in the mid 1930s, and a further one which enabled him to travel to Paris and Rome. During his time at Dundee he met his future partner, artist Henry Robertson Craig and both were taught by James McIntosh Patrick RSA.Hennessy travelled widely throughout Europe and to Morocco, but returned to Ireland in 1939, dividing his time between Cork and Dublin, where he joined the Society of Dublin Painters and exhibited regularly at the Hendriks Gallery. From 1941 he exhibited regularly at the RHA and he was elected a member of the Academy in 1949. His style has been associated with Surrealism while his subjects range from still life and interiors to landscapes and portraits.
Lot 14
δ Craigie Aitchison (1926-2009)Still Life On VermillionScreenprint in colours, 2008, signed and numbered from the edition of 85 in silver ink, the full sheet printed to the edges, 550 x 457mm (21 3/4 x 18in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
![[§] MATTHEW SMITH C.B.E. (BRITISH, 1879-1959)STILL LIFE WITH FRUIT signed (lower right), pastel and charcoal37cm x 48.5cm (14](https://cdn.globalauctionplatform.com/3460b8af-433f-4d78-b36b-a9eb00a441df/7b4e6799-e933-4d5e-a3e0-aa0900c7f136/468x382.jpg)
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