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Lot 87
Ladies Platinum Set Single Stone Diamond Ring with Diamond Shoulders, The Diamond of Good Colour and Clarity, Est Diamond Weight 0.20 pts, Marked Platinum. Ring Size - M + Matching Platinum Set Half Eternity Diamond Ring. Diamond Weight 0.35 pts. Colour and Clarity Excellent, Marked Platinum. Ring Size - M. Excellent Condition.
Lot 43
Montblanc Meisterstuck, Writers Edition, Dostoevsky, a limited edition fountain pen, no. 15005/17000, issued in 1997, with original M nib, with gold plated mountings, sapphire coloured stone set in the clip, the nib stamped 18K, in a Montblanc presentation book box, with international service certificate, outer printed box.
Lot 115
Gerard Dillon (1916-1971)Pigeon on the BayOil on board, 40 x 51cm (15¾ x 20'')Signed; inscribed versoExhibited: Victor Waddington Galleries, 8 South Anne Street, Dublin, 1953, 'Gerard Dillon', Cat No. 17On first glance the pigeon perched on the cliff face dominates our field of vision. Standing on top of a colourful bed of seaweed and kelp, Dillon has captured the curious look on the birds face, with one eye gazing out at the viewer. There is a great attention to detail, carefully rendering each of the feathers on the bird's body and tail with marks of grey and dark purple tones. Animals often appeared in Dillon’s paintings, especially his works made during his time spent in the West of Ireland. Although the location of this present example is not identified it bears striking resemblances to his Inishlacken paintings. The compressed composition and elevated viewpoint is characteristic of Dillon’s work of this time. He employs a very small horizon line, to give a sense of a contained landscape, an island cut off from the mainland rather than an open expansive environment. An island whose people were hardened by the physical labour, the toil of working off the land. In background two men in a currach are rowing away from the shoreline, heading out to a journey at sea, as the two women left behind, one raising a hand in farewell, while the other has already turned away and is disappearing into the thatched cottage. The swirling blues of the water surges upwards towards the house, which is perched like the bird, precariously on the cliff’s edge. Following the success of his solo exhibition in 1950, Victor Waddington encouraged Dillon to paint more works inspired by the west of Ireland. Dillon rented a cottage for a year in 1951 on the island of Inishlacken, close to the village of Roundstone. This present work was then exhibited In the Waddington Galleries in Dublin in 1953. As in so many of his paintings from this period, Dillon creates a vivid image of everyday life in the West of Ireland. The paintings act as a compendium of the world of the island, the rocks, cottages, currachs and animals. He often uses the stone walls as borders or outlines in his compositions, in the case of the Pigeon in the Bay, as the barrier between the mainland and the Atlantic ocean that stretches out into the distance beyond. The West of Ireland, as a place and people, had a significant impact on Dillon, he was drawn to this landscape, which facilitated his personal and idiosyncratic painting style.Niamh Corcoran, August 2018
Lot 61
Frederick E. McWilliam HRUA RA (1909-1992)Open Figure (1962)Bronze, 35.5cm long x 18cm deep x 24cm high (14 x 7 x 9½'')Signed with initials and numbered 2/5Provenance: With Shambles Art Gallery, Hillsborough, where purchased by current owner.Exhibited: London, Tate Gallery, 'F.E. McWilliam', 1989.Literature: Denise Ferran, 'F.E. McWilliam at Banbridge', 2008, illustrated p.77.F.E Mcwilliam had an extraordinary diverse and prolific career. As he often worked in series, this allowed him to make quite drastic changes to his work as he moved from one project to another. He remarked in an interview in 1983 to Louisa Buck for the Irish Art Series, “I believe that a seam should be stopped before it is exhausted” (Buck, Louisa, 1983, Transcript of an interview with F. E McWilliam for the Irish Art Series, Tate Gallery Online Archive) These bodies of works exist almost as separate entities within his oeuvre as a whole. They are distinctive because they are different. Open Figure dates to 1962, a decade before his Women of Belfast series (Lot ) and the shift in style, let alone subject matter is striking. On the surface to someone unfamiliar with his sculpture, it might be difficult to see the comparisons but his dedication to the human form is supreme. As is his interest in craftsmanship and there is a consistent attention to detail and a discipline in how he handled his material, whether wood, bronze or stone. The element of design was very important in his work and he made extensive studies and drawings before embarking on the sculpture. Chance did not play a part in his creative process, through drawing he attempted to visualise the sculptural idea. After spending most of World War II in service in India, McWilliam returned to London to teach at Chelsea School of Art and at the Slade and he resumed working in a great variety of media, including terracotta, stone, wood and bronze. His mechanomorphic bronze figures of the early 1960s dynamically challenge the traditional aesthetic of reclining sculptural figures. In this present example the body is abstracted by simplifying the form to its base geometric elements. The square head of the figure responds to the triangular shape delineating the upper torso, upon which an arm rests. The sharp point of the elbow flows organically down the line of the leg that extends outward to the feet. Viewed from above the sculpture has a sense of movement, the surfaces of the body shifting as the lines of the form cross over each other. The opening at either end of the sculpture acts as both the base for it to rest on, and a dynamic and imaginative expression of the traditional reclining position. This work changes depending on your viewpoint. By breaking up the traditional contours of human form, McWilliam was able to express the natural shifts in perspective. The body is never experienced visually as single whole entity but rather as a flowing organic form through which representational and abstract forms could interact. Niamh Corcoran, August 2018
Lot 81
Aloysius O'Kelly (1853-1936)The Gate of Bab ZuwaylaOil on canvasSigned and inscribed 'Cairo'From childhood, Aloysius O’Kelly lived and breathed a mixture of art and political sedition in Ireland, Britain, France, and the United States, as well as outposts of empire such as Sudan and Egypt. In 1883, he and his brother James were drawn into the vortex of violence surrounding the Mahdi in Sudan, James as war correspondent for the Daily News and Aloysius as illustrator for the Pictorial World. O’Kelly’s illustrations of the jihad in Sudan were part of a plan to thwart Britain in Ireland. By distracting Britain overseas, they sought to destabilise the coloniser in Ireland. The conventions of Orientalism were problematic for O’Kelly, because he was bound by them aesthetically, but resistant politically. O’Kelly subverted the insidious representation of the East as exotic by rendering it ordinary. The Egyptian stereotype was of an unreasonable, superstitious, ignorant, indolent, sexually incontinent, deceitful and dirty people in need of civilising by their colonial masters (much like the Irish). Indeed, there are ethnographic continuities between O’Kelly’s North African and Irish paintings, as manifest in his Mass in a Connemara Cabin and The Harem Guard.This painting was executed in the mid 1880s. It shows the Bab Zuwayla gate in Cairo.1 The old city was divided into quarters, separated by gates, manned by porters. On the left, the ever-present donkey and donkey-boy, and on the right, the watercarrier, pass through. While O’Kelly, and his master, the Orientalist Jean-Léon Gérôme, shared an interest in ethnographic realism, O’Kelly was clearly concerned with modern Cairo - as it was rather than as its colonial masters thought it was, or should be - a benign view of a stigmatised setting.O’Kelly’s topographical competence is undeniable; the red and white coursed stone work, the deep shadows and bright sunlight attest to his skills as an enchanting urban portraitist. But Cairo in the 1880s was a tinder box, a source of great anxiety to the colonial authorities. The savage repression of the Egyptian nationalist movement had created massive social problems - the narrowness of the streets may have kept the inhabitants cool in the heat, but there were political consequences for a population packed together. This has the initial appearance of a highly finished painting, evident in the detailed treatment of the architecture, but on closer inspection the brushstrokes are looser, more vibrant and gestural than one associates with conventional Orientalist painting. Prof. Niamh O’Sullivan1. I am grateful to Prof. Bernard O’Kane at the American University in Cairo, for identifying the location
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