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Lot 34
Maurice MacGonigal PRHA (1900-1979)Bungowla, Inishmór, AranOil on board, 61 x 71cm (24 x 28'')Signed; signed again, inscribed with title and dated (19)'76 versoProvenance: Important Irish Art Sale these rooms June 2010, where purchased and thence by descent to the current owner.Bungowla (Bungabhla,''bottom of the fork'') the westernmost village of the island of Inis Mór, is a series of jagged striations of stone, with a long sloping launching place for the Currachs so typical of the Western Seas and the upturned craft form the dramatic counterpoint to the landscape; and the diagonals of the evening skies over the Island and the fisherman trying to judge the kind of weather which would enable them to take to the seas in safety. Our thanks to Ciarán MacGonigal for his help cataloguing this lot.
Lot 77
Tony O'Malley HRHA (1913-2003)St. Canices, Kilkenny (1988)Oil on board, 57 x 118cm (22½ x 46½'')Signed with initials and dated 1988; also signed, inscribed and dated versoExhibited : “Tony O’Malley Exhibition’, Taylor Galleries, Dublin 1991, Cat. No. 63 Saint Canice’s Cathedral, so called after Kilkenny’s patron saint, was very dear to Tony O’Malley’s heart. One of the best-preserved of Irish medieval buildings, it stands in an ancient graveyard, where a substantial round tower and the ruined foundations of an earlier church, also dedicated to Canice, embed it in the history of Kilkenny city and surrounding county. O’Malley was proud of his own Kilkenny background and painted Saint Canice’s and other monastic ruins, like the abbeys of Jerpoint and Kilcooley, from the area on a regular basis, although he tended to avoid Kilkenny’s even more dominant historical monument, Butler Castle. His choice of one over the other, is consistent with O’Malley’s politics, favouring inclusion and participation, rejecting power and control.In this painting from 1988, O’Malley opts for the overall atmosphere of the gothic building, with birdsong and plant life and sunshine, toning down the weight of the limestone and granite edifice. Only a series of horizontal, parallel lines in the top right remind us of the architecture. By 1988 O’Malley and his wife, Jane, were increasingly spending summers in Ireland, prior to a permanent removal back to County Kilkenny in 1990 from Cornwall. They regularly cycled from Callan into the city to sketch and paint the cathedral. Earlier depictions of medieval Kilkenny and the cathedral, emphasize its centuries of usage, with shadowy, ghostlike figures mingling with self- portraits, set into grey niches, like medieval stone carvings. Here, however, the artist celebrates the building and the wild life that flourishes around it, away from the bustle of the city down below, offering forms inspired by long grasses and seed heads, birds in flight or their song, against sun-drenched grey walls. A small triangular form in pink and maroon is probably a self-portrait, but even this is sub-ordinated to the overall atmospheric rendering of the place. The colours are muted, with carefully -controlled flashes of brilliance, edges are softened, the only movement suggested is consistent with summer breezes. This is about peace and slow time, not military conquest.Catherine Marshall, February 2018
Lot 101
A COLLECTION OF DRESS RINGS, to include a mid to late 20th Century 9ct gold three stone emerald ring, round mixed cut emeralds measuring approximately 5mm in diameter, ring size O, hallmarked 9ct gold, London 1977, a late 20th Century three stone sapphire and diamond ring, total diamond weight estimated 0.02ct, ring size O1/2, a modern single stone amethyst ring, amethyst measuring approximately 10mm x 8mm, ring size O, approximate gross weight 3.1 grams, a modern single stone garnet ring, round mixed cut garnet measuring approximately 6.00mm in diameter, ring size O1/2, approximate gross weight 3.7 grams, a late 20th Century 9ct gold blue and paste round cluster ring, ring size M1/2, hallmarked 9ct gold, Birmingham, approximate gross weight 13.3 grams, together with this collection and early 20th Century gold plated three stone paste dress ring
Lot 191
An 18ct gold three stone sapphire and diamond ring, the central stone weighing approximately 0.5 carat, size M CONDITION REPORT: The ring is in good condition. It weighs 3.1g. The shank is hallmarked '750' for 18ct gold. The sapphires are somewhat abraded when viewed under magnification. The diamond is in better condition. It is approximately H/I in colour and VS1/VS2 in clarity.
Lot 239
A Victorian Charles Meigh relief-moulded Bacchus jug with registration lozenge incorporated stamp to base, 17cm high, a Davenport relief-moulded stone china hunting jug, brown painted to the neck and upper handle, impressed anchor Davenport to base, 15.5cm, a smaller similarly-decorated blue and white jug, 13.5cm and Doulton Lambeth salt glaze relief-moulded jug with hunting and drinking scenes, 19.5cm high, (4).
Lot 215
THREE DIAMOND SET GOLD RINGS to include a nine carat gold and platinum single stone in illusion setting, 1.6 grms, size 'O', an eighteen carat gold crossover ring with three diamonds in illusion settings, 3.1 grms gross, size mid 'O' to 'P' and an eighteen carat gold leaf set four stone ring, 2.3 grms gross, size 'N'
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