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Lot 235
A Scottish George III polished red agate cabochon and gold ring. CONDITION REPORT: The ring is structurally sound. The stone is not loose. The bracing strut from the gold loop to the stone mount on one side is partially detached. There is evidence of solder there. There is no movement but there is gap which is not visible on the opposite side. The stone surface is a little dull and matt particularly to the top edge. There are numerous small scuffs and scratches causing this matting.
Lot 318
A 9 ct gold bracelet, set with six oval amethysts, 16.4 grams gross. Length 19 cm (see illustration). CONDITION REPORT: One stone has a small chip to the underside next to one claw, another has an internal fracture a little like a diamond inclusion. Other than this the stones appear to be in good condition. None are loose in their settings. All of the gold links seem to be in good order. The ring is in good condition. The hallmarks are clear. The rubover setting is a little worn around the edges but the stone is perfectly secure. The stone itself appears to be in good order. We cannot see any evidence of repair to either piece.
Lot 272
A Victorian 9 ct gold peridot and seed pearl pendant, and a 9 ct gold amethyst bar brooch. CONDITION REPORT: The pendant is actually a brooch and is stamped “625”. The mark is a little rubbed. The makers' initials appear to be “FR”. There is one pearl missing. The brooch is extremely dirty. There are minor small surface marks to all stones but this is difficult to see properly due to the dirt. The brooch pin is completely missing. The amethyst brooch is hallmarked. We can see the “375” and Birmingham mark. The other marks are difficult to read. The brooch is in very good condition. The stone is crisp and clean and there are no structural issues.
Lot 61
Gerard Dillon (1916-1971)Self in InishlackenOil on board, 31 x 37.5cm (12 x 14¼'')Signed; inscribed with title versoExhibited: ‘Gerard Dillon, Early paintings of The West’. The Dawson Gallery, 4-27 March, 1971 Cat No.27; 'Gerard Dillon Exhibition', Tulfarris Art Gallery, July 1980, Cat No. 22 where purchasedProvenance: From the collection of the late Cyril Murray, a friend of the artist from the 1940s.Influenced by Van Gogh, Dillon enjoyed painting self-portraits in various mediums throughout his career. In the 1950s, his comic spirit endowed him to introduce quirky stand-ins alluding to his presence, records scattered on a floor, legs sticking out from the foreground, shoes tucked under a stool or socks dangling from a fireplace. Referring to these self-portraits, George Campbell remarked in 1974 in a tribute radio programme, ‘practically everything he painted was a self- portrait-himself dickeyed up in some costume or another.’ This work, ‘Self in Inishlacken’ relates to the year he lived with his cat, ‘Suzy Blue Hole’ on Inishlacken Island, a remote picturesque island off the coast of Roundstone in 1951. Encouraged by Victor Waddington to spend more time in Connemara, Dillon bartered a cottage in exchange for a painting which came with two currachs. This work is not typical of Dillon’s style from this period which suggests it was executed after 1951.In semi-darkness, Dillon is depicted half-length wearing a brown jumper gazing directly at the viewer. Standing confidently, stone walls, a cottage and haystack appear on the right and on the left, the sea and mainland. Dillon’s lips are not smiling but his sideward glance regards us with smirking interest. In late 1950, critics labelled Dillon’s views of Connemara at his first solo show at Victor Waddington’s gallery as ‘Stage Irish.’ In 1951, in the Envoy, Dillon defended himself in ‘The Artists Speaks’, ‘I suppose these same critics call Synge’s “Stage Irish”, and deny that his work is art…’ Interviewed years later on his views of critics, Dillon responded, ‘I’m too conceited to worry what a non-painter say’ but conceded, ‘we are all children not just artists. We all like being patted on the head, for what we are or what we do.’ (Marion Fitzgerald ‘The Artist Talks,’ Irish Times, 23/9/64 p.11)In 1994, James MacIntyre wrote ‘Three Men on an Island’ an account of how he adapted to life on the Island in 1951 with Dillon and George Campbell. MacIntyre was prompted to go to the Island after receiving a letter from Dillon inviting him to join him. ‘You’ll love it. Stone walls, thatched cottages, a real peasant life, just up your street. You’ll need £15 for expenses, there’s no rent as I have it for the year. Try and get over next month. Drop me a line when you are coming. Yours Gerard’. Over several months, family and friends visited the Island including Drogheda artist, Nano Reid. The two friends would regularly row over to the mainland to be entertained by the writer Kate O’Brien. Learning of Dillon’s death in June, 1971, Kate O’Brien recalled memories of Dillon’s time on Inishlacken in her column, ‘Arts & Studies, Long Distance’ in the Irish Times, ‘I remember one time he [Gerard] and Nano were inhabiting some old huts over on Inishlacken, a desolate island…I was walking down by the Monastery, and I saw out on the quite rough water Nano and Gerard rowing like mad in a little bit of a currach. They were rowing for home, and I watched them, with anxiety. Because clearly neither was any kind of an oarsman, the tide was running against them, and clearly, they were rowing contrarywise to each other…I have seldom seen anything funnier.’ In the last paragraph, she added ‘He [Gerard] was very gentle, very kind; and was without pretension-indeed, he did not understand what pretension was. But he will be remembered…we can be sure in his dear Belfast, and in such a quiet place as Roundstone.’ Popular among his friends, Dillon’s self-portraits charter his development as an artist and reveal his impish humour.Karen ReihillApril, 2017
Lot 98
Cathy Carman (b.1952)Shine Silently and leapKilkenny Limestone, Height 90 cms (35.5”)Provenance: From the collection of the late Gillian Bowler.Exhibited: “Cathy Carman Second Solo Exhibition: Images of an Island”, The Grafton Gallery, Dublin, February/March 1987, Catalogue No.1, where purchased by Gillian Bowler. My work explores an interior landscape of myth and spirit, seeking poetic light in the female form. My figures shoulder burdens of loss, or are lifted in joy, by love and belonging.Shine Silently and Leap I carved this sculpture from a single block of limestone in Mc Keon’s Stone yard during the winter of 1986. In this carving I was influenced by the many stories of the poet Nuala Ni Dhonaill on the folklore of ‘Sheila na Gigs ‘. I was looking to express optimism and a defiant sense of self.Cathy Carman April 2017Our thanks to the artist for her help in cataloguing this piece.
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