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Lot 466
George III style walnut dressing stool, 19th Century, the later tapestry-covered rectangular seat on four scroll-back cabriole supports terminating in pad feet, 56cm x 47cm x 44cm high Condition: Seat covering and plush border are of a later date as catalogued. Some old inactive worm scarring to seat frame and two of the four legs. General knocks and wear commensurate with age and use. **General condition consistent with age
Lot 80
Louis le Brocquy HRHA (1916-2012) Uccello (1999) Aubusson tapestry, 154 x 230cm (60½ x 90½'') Signed and numbered 2/9; also signed, titled and inscribed on the Tapisserie d'Aubusson certificate attached to the tapestry verso Atelier René Duché ed. A beautifully simple and elegantly sophisticated tapestry by one of the most celebrated Irish artists of the 20th century, as well known for his achievements in tapestry and the graphic arts as for his painting. Jewel-like oranges appear in a cloud of greenery against a deep blue sky. Le Brocquy, who initially studied chemistry with an eye to entering the family business, the Greenmount Oil Company in Harold's Cross, Dublin, harboured a passion for art. With his mother Sybil's encouragement, he set off to explore the possibility of pursuing an artistic career. He studied by visiting the great European galleries and he proved to have tremendous natural facility as a painter, becoming a central figure in progressive cultural circles in 1940s Dublin. He responded with enthusiasm when The Edinburgh Tapestry Weavers invited him, with other distinguished artists, to design a tapestry in 1948. He was, though, less than satisfied with the technique whereby skilled tapestry weavers took a painted cartoon and effectively made their own copy of it. Rather, he warmed to the pre-Renaissance technique, as espoused by Jean Lurçat, who he greatly admired, whereby the artist created a detailed, colour-coded, precisely delineated template, which the weavers followed exactly. The weavers at Atelier Tabard at Aubusson were the best practitioners of this method, and le Brocquy embarked on a long, fruitful collaborative relationship with them at the Atelier René Duché. Le Brocquy was particularly interested in the emotional power of colour, and tapestry, once his intentions were followed to the letter, seemed to him to be the ideal medium for using colour effectively and accurately. The immediate inspiration for his tapestry Uccello was a painting he had long admired by the artist, one of three exceptional works based on The Battle of San Romano. Paulo Uccello was enraptured by the power of perspective and le Brocquy appreciated his mastery in the superbly poised, curiously abstracted arrangement of men, arms and horses in the painting, but he was also particularly struck by the recurrent emergence of oranges, appearing like small suns from their dark foliage. He thought of this detail when, soon after he had seen the Uccello, he was in the French frontier town of Menton in 1939, he noticed the oranges, unbelievably exotic, blazing from their small trees on the sidewalks. Aidan Dunne, February 2020.
Lot 441
FLEMISH MYTHOLOGICAL TAPESTRY OF DIDO AND AENAES PROBABLY BRUGES, LATE 17TH/ EARLY 18TH CENTURY depicting Dido in a gold dress and blue mantle approaching Aenaes who reclines beneath an olive tree, wearing a flowing red cloak, Dido's head turned with her gaze to the viewer, accompanied by Cupid who bears an open jewel casket, a carriage drawn by three stamping horses on the left, within flower borders with bead and reel slips marked with cartouches, a horn, and a hunter's bag (279cm high, 376cm wide) Footnote: Provenance: The Earls of Crawford and Balcarres, Balcarres House, Fife, Scotland Note: A clever and enterprising woman and founding Queen of Carthage, the enduring figure of Dido is best known from Virgil’s account in his epic poem Aeneid. Depicting the legend of Trojan hero Aenaes, the story recalls Aenaes and his crew being washed ashore and seeking refuge from Dido and her people. At the hands of Venus and Cupid, a passionate love affair soon ensues between the pair. The affair comes to an abrupt end after Aenaes is met by Mercury who reminds him of his destiny as Trojan hero and future founder of Rome; he quickly departs in the night with his men, leaving behind a heartbroken Dido. Unable to cope, Dido burns all that reminded her of Aenaes and kills herself; a tragic act which provokes eternal strife between Aenaes’ people and her own. This tapestry depicts an early scene in which Cupid, at the request of Venus, disguises as Aenaes’ younger brother to offer gifts to Dido in return for refuge and shelter. Accepting, Dido cradles Cupid who begins to weaken her sworn fidelity to her late husband, thus revealing her newfound love for Aenaes.
Lot 1244
An Edwardian mahogany fire screen, with rise and fall action and raised on four downswept carved legs. Width 52 cm. CONDITION REPORT: The screen is structurally sound. The rise and fall action operates as it should. The tapestry frame is in good condition all round. The shelf is not warped. It has some minor surface scratches. The shelf retaining clips are present. The tapestry panel is a little dusty and dirty but there are no holes. The legs are all sound and secure. One has had a repair but the repair is good and there is no movement.
Lot 1271
A large gilt framed mirror with tapestry panel above, giltwood and composition. Height 230 cm, width 75 cm. (507) CONDITION REPORT: The mirror is 136 cm x 55 cm. The mirror frame is in generally good order with only minor blemishes and scuffs to the gilt paint. There are no significant losses and no real condition issues.
Lot 1088
A set of two carver arm and six single Hepplewhite style mahogany dining chairs, and a further pair of very similar single chairs, each with woolwork tapestry seat and raised on moulded legs. CONDITION REPORT: The chairs probably date from the mid part of the second half of the 20th century. They are all structurally very sound with no loose joints. We can see no evidence of any repairs or restoration. They all have minor surface marks and scuffs but no significant issues. The seats are all serviceable with only minor discolouration and staining. There do not appear to be any losses to the woodwork and all stretchers are present. There is no evidence of any woodworm.
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