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Click here to subscribeA pair of bronzes of children playing late 19th / early 20th century, after Mathurin Moreau (French, 1822-1912), one playing with a hoop and stick, the other holding a small stone, on circular naturalistic bases, mid-brown patination, both signed to the base, one impressed `075B` to the underside, 9½in. (24cm.) high. (2)
Gabriel Hayes (1909-1978) Peonies in Pewter Mug Oil on canvas, 61 x 51cm (24 x 20") Signed Exhibited: "A Private Collection", The Frederick Gallery, December 1999, where purchased by current owner Gabriel Hayes was born in Kildare and spent time travelling and studying in the USA and France before returning to Ireland and entering the Dublin Metropolitan School of Art. She is best remembered for her wonderful sculpture panels on the Department of Industry on Kildare Street which she worked on in situ, 23 metres from ground level suspended in a wooden cage. These sculptures are generally symbolic, representing themes connected with industry and commerce in general, but there are also some heads, one representing St Brendan as personifying navigation and another 'Eire' over the main entrance. From 1957, she began the life size Stations of the Cross for Galway Cathedral which took her twelve years to complete. During this time she also made designs for the new decimal coins and a series of medals. She worked in bronze, limestone and Portland stone but, although there are few examples, this work shows that she was extremely adept at painting with oils too. Here she skilfully captures the effects of sunlight on the hard reflective surface of the jug and tray, contrasted elegantly with the soft full blooms.
Nathaniel Hone RHA (1831-1917) Mediterranean Harbour Scene Oil on canvas, 61 x 101.5cm (24 x 40") Signed with initials Exhibited : "The French Connection " exhibition The Ava Gallery Clandeboye August/September 2010 The Hunt Museum Limerick, September/October 2010 Cat. No. 9. Literature : "The French Connection" by Aoife Leach 2010 illustrated P 15 In this large, horizontal canvas by Nathaniel Hone, the sunlight falling upon the rough stonework of the buildings, the bare landscape, the calmness of the sea, and the line of snow capped mountains, conveyed with a restricted palette, evoke an unusual, 'timeless' mood, suggesting that this could be an Egyptian or North African subject. Hone brings together several much-loved features of his painting career: sailing vessels at sea, sunlit buildings, snow capped mountains, and a mood of airiness, to create a tranquil, element Mediterranean scene. In his balance of simple shapes, contrast of sunlight and shadow, and restrained palette, Hone demonstrates a painterly breadth and mood of harmony. Being a yachtsman himself, Hone is unusual in that several of his Mediterranean coastal subjects were taken from the sea, on board ship, rather than from the shore. In spite of its 'Eastern' atmosphere, it is likely that the setting here is the French or Italian Riviera coast, for example, Villefranche, Menton or Bordighera, to which he made several excursions. The broad, heavy, wooden fishing boats are similar to those depicted in paintings such as "Villefranche from the East" (NGI no. 1361) or "Menton, Evening" (RHA 1879 no. 109 (Sotheby's 'Irish Sale' 16 May 1996, no 443), although the furled sails in the present picture are not nearly as tall. Villefranche, for example, just east of Nice, was notable for its old stone houses and sheltered, deep water harbour, with the Alpes Maritimes, often covered by snow, visible to the north. Hone is at home with the subject of boats. He observes the furled sails, masts and rigging and hulls painted a cerulean blue, with evident pleasure. The small figures of fisherman or women, in the shadows, at work, are visible on board. Some wear blue smocks, white blouses or red scarves, which catch the sunlight. A rowing boat is moored alongside. To the left, the harbour wall in shadow, and the reflections, which it casts, form simple abstract shapes. In the centre of the composition the pale stone houses and fort above the harbour catch golden sunlight at early morning (or perhaps evening). Behind, a line of snow capped mountains floats above smoky blue shadow like a frieze. A light haze of cloud covers the sky. Close examination of the canvas reveals Hone's natural painterly touches: the scuffed surface of the weathered sunlit buildings, which has an unusual expressiveness; the fluid line of paint which conveys the sunlit beach; and a little strip of creamy paint where the harbour wall meets the sea in the centre of the canvas, which could almost be a small white rowing boat in a pool of light. Dr. Julian Campbell
Frederick E. McWilliam HRUA RA (1909-1992) Woman with Arms Folded 1939 Hoptonwood stone, 54.5cm (51½") high Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004; Private Collection Dublin Exhibited: "F.E. McWilliam" Exhibition, Hanover Gallery London, Feb/Mar 1956, Cat. No. 8; "Britain's Contribution to Surrealism of the 30's and 40's", The Hamet Gallery London, 1971; "F.E. McWilliam Retrospective" Exhibition, Ulster Museum Belfast, April/May 1981; Douglas Hyde Gallery, TCD Dublin, May/June 1981; and The Crawford Gallery Cork, July/Aug 1981; Cat. No. 12; "Northern Artists from the McClelland Collection" Exhibition, IMMA 2004/5, and Droichand Arts Center 2005; "F.E. McWilliam at Banbridge", F.E. McWilliam Museum, Sept 2008 - Feb 2009; The Highlane Gallery Drogheda, Feb/April 2009; and "The Moderns", IMMA, Cat. No. 66 Literature: "McWilliam" 1964 by Roland Penrose, illustrated no. 18; "F.E. McWilliam", Arts Council NI, 1981, full page illustration p.19; "The Hunter Gatherer" IMMA 2005, full page illustration p.115; "F.E. McWilliam at Banbridge" 2008 by Denise Ferran, full page illustration with artist p.35, full page illustration p.43; "The Moderns" IMMA, full page illustration p.131; and "F.E. McWilliam" 2012 by Denise Ferran and Valerie Holman, Cat. No. 34, p.92, also illustrated p.29 McWilliam began this work in 1937 after visiting the Hoptonwood quarry in Derbyshire with sculptors Henry Moore and AH Gerrard, his professor at the Slade, and taking back several irregularly shaped hunks of stone. The material is very fine, almost like marble, and is particularly suited to carving. It was around this time that McWilliam began his association with the British Surrealist group and the sculpture, while working from a figurative starting point, parodies the idealisation of the human torso to be seen in classical busts. The distortion of the figure's breasts is unsettling and it is significant that this and related carvings of deformed human heads and torsos by the artist were made in a period of international crisis, before the outbreak of the Second World War. He reworked the sculpture in 1939 and again after the war in 1947. In autumn 1949 McWilliam held his first post-War solo exhibition at the Hanover Gallery in London of 21 works of diverse media including stone, terracotta, concrete, various woods and bronze. Two sculptures in it had been made before the War, one of which is Woman with Folded Arms. In 1981, he further shortened the neck. The work remained outdoors in his garden at Holland Park until its inclusion in the Arts Councils of Ireland exhibition in 1981, and was then dated 1939 by McWilliam. However it is dated 1937-8 in Robertson 1965.
Rowling (J.K.) Two typescript 'Owl Post' letters signed by J.K. Rowling's P.A., one enclosing a bookplate signed by J.K. Rowling; idem, A collection of Harry Potter deluxe editions, comprising; Harry Potter and the Philosopher's Stone, 1999, second impression (2 copies); Harry Potter and the Chamber of Secrets, 1999, first impression; Harry Potter and the Prisoner of Azkaban, 1999, second impression (2 copies); Harry Potter and the Goblet of Fire, 2000, first edition; Harry Potter and the Order of the Phoenix, in publisher's cellophane, price label states first edition; Harry Potter and the Half Blood Prince, in publisher's cellophane, price label states first edition; Harry Potter and the Deathly Hallows, in publisher's cellophane, price label states first edition; Barrie (J.M.), Peter Pan in Kensington Gardens, 2005, Folio Society, 4to., illustrated by Arthur Rackham, slipcase
Gideon Yates (act. c.1790-c.1837) British and Continental landscapes A set of 25 all signed with a monogram titled and dated 1824 verso All watercolour Each approx. 12.5 x 22.5cm; 5 x 9in (25) ++One or two fox marks some a little faded generally good condition. Titles : At Salerno Near Clifton Bristol Hermitage in The Grisons Ashton Hall near Lancaster Lime Kiln Bushey Park View near Rome One the river Maeze Holland Ludlow Castle Shropshire Vale of Llangollen Denbigh Le Chateau Guillard Normandy Druids Stone St Kilda Castle of Vincinare Lombardy Near Knocklofty Scotland Ulster old Church ruins Clanby Mill Devon Ruins at Dromore Ireland Mounts Bay Cornwall Kinnons Castle Ford in Andalucia Glanston Priory Fishermen Cromarty Firth Rabyton Castle Denbighshire Bushey Park Temple of the sun Ephesus Chateau La Gaise Grisons
A jadeite and yellow metal pendant with chain, designed as a central yellow metal openwork panel with a stone set fish, within two green jadeite tubular borders, the reverse stamped '14k', with yellow metal rope twist chain, the bolt ring stamped '14k', pendant measures 50mm diameter, chain 60cm long, weight of chain 6.9gms (at fault)
A turquoise stone group of mountain lions, 19th century, with rust coloured striations and black glass eyes, 10cm long, and a smaller variegated stone standing study of a lioness, 6cm long, and a Chinese canton enamel round box and cover, 19th century, the cover detailed with boys and a scholar (a.f) 7.5cm diameter (3)
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