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Lot 169
Two 19th Century French `Countryside` series motto side plates, each with a black and white roundel and titled in French, translated as entitled `The Girl is still seduced by the confidence of a good suit` and `A spy draws a plan, waits a moment`, both with Creil et Montereau marks in blue, diameter 17cm
Lot 821
An English bisque shoulder head doll, fixed blue eyes, open mouth, joined composition body in blue sailor suit, wearing leather boots and a straw hat, 57cm long, with stand, together with a painted composition doll Bruno Schmidt, jointed stitched leather body, wearing blond wig, 51cm, another shoulder head doll marked GB. (3)
Lot 24
Patrick Leonard HRHA (1918-2005) Unloading the Catch, Loughshinny Harbour Oil on canvas, 77.5 x 89cm (30.5 x 35") Signed Born the son of a Master Mariner, growing up and living in sight of the sea at Rush it was inevitable that Marine subjects would form an important part of Leonard's œuvre. The shoreline of Fingal including Skerries, Rush, Donabate and Loughshinny has always been an important fishing area particularly for crustaceans and the Seine fishermen have for centuries supplied the local and Dublin markets with these. In this work the Seine boats and their crews are being visited by the Fish Buying Agent, seen in a suit in the foreground with the skipper as an onlooker, and the various kinds of fish on offer will form part of the haul for the major fishmarkets. Traditional Seine Boats are seventeen feet long and clinker built with Elm bottoms and larch topsides. They were propelled by oars or sails and were usually named after the owner's mother or wife. These boats have been used in estuaries for hundreds of years working salmon seines. A salmon seine is a net that is two hundred yards long and over half a ton in weight. A seine boat carries the net and a four-man crew and is rowed by two fourteen-foot oars,the sail is the option for leaving and returning to port. The boats must be able to carry a ton of shellfish and still float in less than eighteen inches of water. In the past the Seine boats were also used in the winter months for catching herring and sprats. The conditions would be hazardous when working over the bar entrance to Loughshinny and Rush. Seine boats tend to be very safe and thus popular. They also figure in the trackless wastes of the storylines of East and West Cork as captured so amusingly and tellingly by the "Irish RM "stories and the law suits which figured in the Courthouse of Skebawn presided over by Major Yates RM, where the mysteries of dividing up the catch between the Crew & the Boats share would as Major Yates observed defy the arithmetic of Colenso. This vivid and sparkling work uses many of the visual syntactical approaches essayed by Seán Keating and Charles Lamb in their Western imagery, but made more immediate by the comparative modernity of the fishing craft and the attire of the figures in the foreground. The agelessness of the activity of fishing and selling the produce gives this work its timeless appeal and is a seamless restatement of and by artists who either live on Islands or whose local economy is virtually entirely dependent on the sea for a living. The sandy soil of the area, which also supports a large horticulture industry gives a particular quality of light, and which Patrick Leonard used to such vivid effect in so many of his finest works amongst which this work must rank very highly. By the repeated use of some colour notes like chrome yellow and reds creating internal dynamics of triangulation the artist stresses the visual appeal of the work by concentrating the eye of the viewer in several narrow bands of compositional interest and giving the work its "bounce" as a vivid and energetic pictorial statement of the life led in harvesting the Sea. Ciarán MacGonigal, May 2012
Lot 321
Three J.Rosenthal Toys Ltd. JR21 Gerry Anderson`s Thunderbirds models, c.1960s: Thunderbird 2 with detachable pod, length 25.5cm (G/VG, missing vehicle, in G box missing one end flap); Thunderbird 4 battery operated, length 26cm (G, stickers peeling on one side, clean batt.compartment, in F box with three punctures to lid corners); Lady Penelope`s Fab 1, friction drive, length 25cm (wear to plated parts, otherwise G+, in G/VG box, lid unglued on one corner). Together with Fairylite Thunderbirds Gordon Tracey doll, with a selection of clothing including original blue suit and orange belt (F, unboxed). (4)
Lot 716
Musical Automaton Clown Playing Lute by Lambert, Paris, c. 1900 With paper-mâché head, painted insects on the cheeks and chin, fixed brown glass eyes, two-color mohair topknot, bisque hands holding inlaid mother-of-pearl lute with bone neck and carved pegs (one missing), on velvet-covered base with single-air going-barrel movement driving four cams with five levers that cause the musician to strum with his right hand while raising the neck of the instrument in his left, leaning back and forth on his stool, crossing one leg and then lifting both together, bending his head in concentration, looking left and right as though to survey his audience, and then saucily sticking out his tongue. Dressed in painted cream satin suit with blue latticework bolero jacket, height 23 in. (58 cm), (face retouched), with brass LB key and stop/start. - Literature: Bailly, "Automata, the Golden Age", pp 181, 351. - A very handsome example of a classic Lambert automaton with a complex series of motions.Please Watch & Listen on: Youtube.com/AuctionTeamBreker Musik-Puppenautomat "Lautespielender Clown" von Lambert, um 1900 Lambert, Paris. Kopf aus Papiermaché, gemalte Insekten auf Wangen und Kinn, feststehende braune Glasaugen, zweifarbige Perücke mit Haarknoten, Hände aus Biskuitporzellan, fein gearbeitete Laute mit Perlmuttintarsien, Stimmwirbel aus Bein, 1 Wirbel fehlt, Seidenkleidung, Bolero-Jacke mit Streifen. Auf samtbezogenem Holzsockel. Federwerk, Walzenspielwerk und Mechanik im Sockel. Der Clown zupft mit seiner rechten Hand über die Laute, lehnt sich auf dem Stuhl vor und zurück, überkreuzt die Beine und hebt sie an, schaut rechts und links und streckt die Zunge heraus. Gesamthöhe 58 cm, mit "LB"-Schlüssel und Starthebel. - Literatur: Bailly: "Automata, the Golden Age", S. 181 und 351. - Ein sehr attraktiver Lambert-Automat mit einer komplizierten Abfolge von Bewegungen!Please Watch & Listen on: Youtube.com/AuctionTeamBreker Condition: (2/2) Starting Price: €6000
Lot 729
Cycling Santa Electric Advertising Automaton, c. 1930 Ventriloquist figure with paper-mâché head and hands, carved wood limbs, articulated mouth, eyes and eyebrows, seated on metal bicycle operated by wooden rollers under the wheels, in fleece-edged velvet Santa suit and hat, total height 45 in. (114 cm), base 16 in. x 40 in. (41 x 102 cm), many new parts including base, motor and internal linkages. An amusing and very decorative display piece.Please Watch & Listen on: Youtube.com/AuctionTeamBreker Deutscher Schaufensterautomat "Der radelnde Weihnachtsmann", um 1930 Große Figur mit Kopf und Händen aus Pappmaché, Gliedmaßen aus geschnitztem Holz, mit beweglichem Mund, Augen und Augenbrauen, auf Fahrrad (Metall), Kleidung aus Samt mit Fellbesatz, Gesamthöhe 114 cm (!!), Sockelmaße 41 x 102 cm (Motor, Mechanik und Sockel erneuert). Ein amüsanter und effektvoller Blickfang.Please Watch & Listen on: Youtube.com/AuctionTeamBreker Condition: (2/2) Starting Price: €1750
Lot 69
Seán Keating PRHA HRA HRSA (1889-1977) PAST DEFINITE, FUTURE PERFECT, 1928 oil on canvas signed lower right; inscribed [A.M.D.G.] lower left; inscribed with title, artist`s name [John Keating], address [Killakee, Rathfarnham, Dublin, Ireland] and price [£100] on label on reverse; also with framing label of the Bregazzi & Sons [10 Merrion Row, Dublin] on reverse 25 by 30in. (63.50 by 76.20cm) Provenance: Royal Academy, London; Where purchased by the previous owner Exhibited: Royal Academy, London,1928 Well-known for his use of allegory as a method by which to reflect on political issues in Irish society, and evident in images such as An Allegory (1924) and Night`s Candles are Burnt Out (1929), Seán Keating was equally well-capable of utilising those skills to focus attention on the greater significance of the simple things in life. The older woman in Past Definite, Future Perfectis reading the cards. She holds the five of hearts and points to another card from the same suit lying on the table. Her young companion watches attentively, her hands clasped to one side so that she can see everything of the procedure. Both women are focused on the cards, but entirely absorbed in their own thoughts. At first glance, the picture presents a quiet moment between, perhaps, a mother and daughter. The only movement is in the old woman`s gnarled hands and in the swirl of light and dark tones in the background. Yet the imagery and the artist`s title suggest that this is more than a simple depiction of a fortune-telling session. The painting abounds with symbolism: old age presented as the past, beside youth as representative of the future. The manner in which the old woman concentrates on the suit of hearts suggests that she is thinking about her own past loves. The young woman, perhaps unaware that nothing is perfect, may be hoping for a definite answer about love in the future. The overarching message is that the gaiety and hope of youth leads inexorably towards the wisdom and experience of old age. Keating painted Past Definite, Future Perfect in 1928, having recently completed his series of paintings of the `Shannon Scheme` at Ardnacrusha. The association between this work and the `Shannon Scheme` might first appear incongruous; but physically and metaphorically, the project gave the artist hope for the future, and made him focus on the importance of older people in newly modernized Ireland. The theme appears to have been very much on his mind in 1928, a year in which he painted several images of old age including The Turf Buyer, Old Kitty and Good Old Stuff. Added to this, his mother Annie (née Hannan), had been suffering from an unspecified illness for a long number of years; she was nearing the end of her life in 1928. Keating credited his mother for having the foresight to send him to art school in Limerick many years previously. While this is not a portrait of Annie, it is a homage painting made in deference to women and to the wisdom of old age. Past Definite, Future Perfect was not a commission; Keating made it for public exhibition. The lettering to the bottom left of the image `AMDG` appears to represent the Jesuit motto `for the greater glory of God.` In other words, no matter what the cards supposedly say, life will be as it will be. On a more pragmatic note: the artist was in the habit of collecting disused frames; it may be that this unusual example came from a Jesuit house. Past Definite, Future Perfect was shown, along with Good Old Stuff, in the Royal Academy in London in 1928. A reviewer commented at the time on the `marvellous` portrait of the old woman which had the `conviction of a great old age.` It was purchased from the exhibition for a private collection at the time and has not been publicly exhibited since. When Keating was nearing the end of his own life he returned yet again to the themes in this work. He exhibited a watercolour with the same title, but painted in 1971, in the RHA that same year. Dr Éimear O`Connor HRHA Research Associate TRIARC-Irish Art Research Centre Trinity College Dublin April 2012 (£20,250-£28,350 approx)
Lot 728
Postcards in two albums including early Continental undivided backs, GB topography, real photographic cards including Puffins, Razorbills and Guillemots on Scilly by King local photographer, children with teddies, social history, shipping wreck on beach, Portland, deep sea diver fully dressed in diving suit and equipment, shop front, Boat Race 1909, Lewisham, crowds, plus others, advertising cards, etc (qty) Further images and condition reports are available at www.reemandansie.com
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