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Lot 84
* JAMES MCDONALD (SCOTTISH b. 1956), CALLER WAITING oil on board, signed and titled versomounted (oval), framed and under glassimage size (oval) 80cm x 66cm, overall size 110cm x 95cm Note: James McDonald studied at Edinburgh College of Art 1974-78, and completed his postgraduate year there in 1979. McDonald has painted full-time since studying at Edinburgh, and his work has won numerous awards including the Andrew Grant Travelling Scholarship, British Council Travel Grant and the Alexander Stone Foundation Award. He has exhibited widely throughout the U.K. and overseas and is in private and public collections including the Victoria & Albert Museum, London; BBC; STV and all major Scottish banks. Condition is good overall, with no visible or known issues.
Lot 007
An 18ct gold single stone heart shape Mandarin Garnet approx. weight 6.18ct set with two small round brilliant cut diamonds to the above total diamond weight approx. 0.15ct, design reference 07-41-065/11 -20-005, with a copy of insurance valuation dated 2006, valued at £2,300 from Michael Spiers, Plymouth.
Lot 34
James Arthur O’Connor (1792-1841) Mountain River Landscape with Figures: (‘Near Waterford’) Oil on panel, 23 x 39cm (9 x 15¼")Painted in 1823, a key year in O’Connor’s artistic development, this pleasingly composed landscape combines the man-made environment – an ancient stone bridge, humble cabin and church spire – with the natural world, a gloriously complex verdure redolent of high summer, with very effective combination of still and moving water. The rocks and torrent in the foreground are treated with noticeably lively freedom, with an almost pointillist use of rich impasto – all the elements which have made O’Connor such a perennially loved artist are present in abundance.The painting relates to a larger work in which, John Hutchinson notes in the catalogue for the National Gallery of Ireland exhibition in 1985, ‘O’Connor had more or less made a complete transition from topography to the picturesque’ (John Hutchinson, James Arthur O’Connor (Dublin, 1985), no. 40 p 131. This version was illustrated on the front cover of Nicola Figgis (ed.), Art and Architecture of Ireland, Volume 2, Painting 1600-1900). Our smaller version includes numerous changes and, though it is likely to have preceded the more finished work, is in some instances noticeably more successful as a composition. Hutchinson notes the ‘uncomfortable addition’ of a figure of a young girl in the larger version which, he suggests, ‘may have been inserted as an afterthought’. Here in the absence of that figure the flow from fore- to middle-ground coalesces much more successfully. At the same time in our work O’Connor introduces a flick of red on the cloak of an abbreviated female figure walking across the bridge – consisting with masterly economy of just two dots of paint – to catch the eye in what is famously his hallmark motif.As Hutchinson had noted, the early to mid-1820s was a period of both consolidation and on-going experimentation in O’Connor’s landscape art. He had arrived back in London by early 1822 and soon met with success with his pictures exhibited at the Royal Academy and the British Institution. O’Connor was an artist in constant need of inspiration from the physical world. He expressed this eloquently in relation to the Irish landscape that he loved so well: ‘I am about [to go] to the wild and beautiful scenery of my native country to refresh my memory, and get some studies to help me in future exertion of my profession – I know I will be benefited by a sight of the grand....scenery that I will meet with in Ireland and hope to show it on canvas’.
Lot 20
Patrick Hennessy RHA (1915 - 1980) Rebuilding of Monte Cassino (1951) Oil on canvas 64 x 76cm (25¼ x 30”) SignedProvenance: Collection of Pamela and George Fegan, purchased directly from the artist, thence by descent to the present owners.Exhibited: Dublin, Royal Hibernian Academy, 1952, cat.no. 126 as ‘Rebuilding Cassino’; Dublin, Irish Museum of Modern Art, Patrick Hennessy: De Profundis, March/July 2016Literature: Patrick Hennessy: De Profundis, IMMA 2016, illustrated p. 43.Monte Cassino is a rocky hill about 130 kilometres southeast of Rome, and at an elevation of 520 m it commands a panoramic view of the surrounding hills and valleys. Site of the Roman town of Casinum, it is known for its abbey, the first house of the Benedictine Order, having been established around 529AD.After centuries of sackings by invaders, abandonment and rebuilding, the 11th and 12th centuries were the abbey's golden age, but this sadly was short-lived. In 1799, Monte Cassino was sacked again by French troops during the French Revolutionary Wars and was then dissolved by the Italian government in 1866, the building becoming a national monument with the monks as custodians of its treasures.During the later stages of World War II, it was the site of the Battle of Monte Cassino. On 15 February 1944 the abbey was nearly destroyed in a series of heavy, American-led air raids. The abbey was considered a key observation post and it was thought by the allies that it was occupied by the Germans. However, during the bombing no German troops were present in the abbey. Following the bombing the ruins of the monastery were occupied by the German 1st Parachute Division, due to the ruins providing excellent defensive cover. The Abbey was rebuilt after the war with the President of the Italian Republic Luigi Einaudi committing considerable resources to the rebuilding.By the early 1950’s Patrick Hennessy was enjoying considerable success and saw his painting De Profundis selected to tour North America as part of an exhibition of Contemporary Irish Painting. A retrospective exhibition of his work from the period 1941-51 mounted by the Dublin Painters further confirmed his growing reputation and by this time he was in a position to travel extensively in Europe.Paintings by Hennessy exhibited at the RHA annual exhibitions in 1952 and ‘53, including the Rebuilding of Monte Cassino suggest that he was travelling around Italy with titles referencing (Monte) Cassino, Rome and Venice. The present work which dates to 1951 depicts a view of the abbey under a dappled blue sky, shrouded in scaffolding and displays the artist’s passion for stone, with partially destroyed masonry and brickwork in the foreground reminding the viewer of the impact of the allied bombing raid from only seven years earlier.
Lot 474
Charlie John (Navajo, b. 1954). Concho belt with ten oval silver placards, with stamped designs, each set with one central turquoise stone, on a dark brown leather belt. Marked "CJ" along the reverse of the central buckle.Length: 40 inches. Gross weight: 747.4 grams.Condition:Tarnishing, some scratches, one stone cracked, old tape and marker marks verso.
Lot 420
17th to 18th century Tongan Apa'apai wood club with older breadfruit gum repairs. The lack of surface decoration might suggest that it dates to a period before European contact. James Cook's trade in iron tools with Tongans in 1773 encouraged the development of more elaborate carvings which are evident on clubs collected on his third voyage. Likely carved with stone tools.Keywords: Polynesian, South Pacific, OceanicHeight: 41 1/4 in x width: 3 1/4 in.Condition:There is wear, scratches, and losses throughout. There are signs of wormholes.
Lot 423
Native American stone carving in the form of two bison or buffalo with turquoise, coral, and mother of pearl inlay decorations along their sides. Incised mark along the underside.Height: 10 3/4 in x width: 13 in x depth: 5 1/2 in.Condition:Lacking two horns. There are small chips and scuffs throughout the sculpture.
Lot 309
Small Chinese salacious stone scholar's rock with a custom carved wooden stand. With a pale gray coloration and lovely irregularities throughout.(Including stand) Height: 2 1/4 in x width: 4 in x depth: 2 in.Condition:Due to the nature of the material it is difficult to determine the exact condition of the object. However, there are no obvious breaks or losses. The stand has signs of wear.
Lot 307
Small Chinese limestone scholar's rock with a custom-carved wooden base. The craggy outcroppings of the rock are reminiscent of the soaring peaks of Chinese mountains.(Including stand) Height: 3 1/4 x width: 6 1/2 in x depth: 2 in.Condition:There is one piece that has broken off and been reaffixed to the stone. Due to the nature of the stone, it is difficult to discern if there have been any minute breaks or losses. Overall, the rock appears to be in good condition. Very light wear to the stand.
Lot 292
Chinese jade carving of a group of fish swimming under a lotus blossom. The russet inclusions in the stone have been well integrated into the design. The carving rests on a wooden stand.(Without wooden stand) height: 8 in x width: 5 in x depth: 2 1/2 in. Weight: 1,567.4 g.Condition:There are no major chips, cracks or losses. There is calcification throughout. There is wear as expected from age.
Lot 308
Chinese scholar's rock. Lingbi limestone of irregular shape with a lovely overhanging element. With a custom-carved wooden stand.(Including stand) Height: 4 1/2 in x width: 8 1/4 in x depth: 3 in.Condition:Due to the nature of the material it is difficult to determine the exact condition of the object. However, there are no obvious breaks or losses. The are some minute scuffs along the top and the base of the stone. The stand has signs of wear.
Lot 15
Ladies Pleasing Quality Platinum Three Stone Ruby and Diamond Set Ring, marked for platinum to the shank, the centre ruby of good colour flanked by two faceted brilliant cut diamonds, of excellent colour and clarity, est.diamond weight 0.60ct, ring size N/O, weight 5.2g; Please note there is a chip to the ruby.
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400830 item(s)/page