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Lot 285
Japanese red lacquer tea set, black tea set, black tray. Please note: Condition of items or other faults for this sale is not stated within the catalogue and items are sold strictly as seen (please read terms and conditions below) If you are interested in an item and no condition report is present please email auctions@peterwilson.co.uk for more information. Due to volume of inquires we receive we are not able to answer requests on group lots or items with an estimate of less than £50.
Lot 292
Set of silver tea spoons, three piece condiment set, leather jewellery role marked Asprey. Please note: Condition of items or other faults for this sale is not stated within the catalogue and items are sold strictly as seen (please read terms and conditions below) If you are interested in an item and no condition report is present please email auctions@peterwilson.co.uk for more information. Due to volume of inquires we receive we are not able to answer requests on group lots or items with an estimate of less than £50.
Lot 127
A late 19th century Victorian Silver three piece Tea Set by Henry Holland (of Holland, Aldwinkle and Slater), London. Comprising Tea Pot, Milk Jug and Sugar Container, the plain square canted corner "caddy design" with ivory oval finial and carved ivory scroll handle and finished with a gilt interior all in 18th century style. Hallmark London 1875 - 1876, gross weight approx. 826.4g., (3)
Lot 1
A Clarice Cliff Bonjour series three piece tea set in the rare Blue firs pattern, the teapot of circular form, C scroll handle, seated on two horizontal cylindrical feet, 5½in. (14cm.) high, the cream jug of arched form, 2½in. (6.4cm.) and an arched sugar basin, 2½in. (6.4cm.) high, finial repaired on teapot. (3)
Lot 446
An Indian silver plated four piece tea set early 20th century, comprising a baluster form teapot and conforming hot water jug and twin handled sucrier, decorated with bands of repoussé decoration portraying love birds amidst scrolling foliage, the domed cover with horn finials, the teapot with horn handle, 9in. (23cm.) high, on a matching elliptical tray, 24½.in. (64.25cm.) long, together with a matched cake platter. (5)
Lot 449
An early 20th century Chinese silver three piece tea set of rounded cube form with tapered shoulders, the planished body with heavily cast applied decoration of grasses and leaves to the base of one side, from which a flowering branch extends to an adjacent side and encircles slightly raised flowers and birds, twin bamboos grow from the base decoration to form the handles, the teapot with hinged lid and flower bud knob, 4¾in. (12cm.) square, 6½in. (16.5cm.) high, each piece struck with three Oriental marks to the underside, weight 41 tr.oz. (3)
Lot 562
A George V silver three piece tea set Goldsmiths and Silversmiths Company, London 1922 (jug) and 1924, the rounded rectangular bodies with raised, graduated triple moulding below the neck rim with flattened gadroon edge, the ear shape handles with acanthus thumb-pieces and the teapot with wooden handle and cushion knob to the domed lid, all standing on short foot rims and four ball feet, the teapot 10in. (25.5cm.) long, gross weight 26.2 tr.oz. (3)
Lot 84
Seán Keating PRHA (1889-1977) 'Pipes and Porter' Oil on canvas, 101.5 x 127cm (40 x 50") Signed Provenance: A Dublin Collection Exhibited: RHA, Annual Exhibition 1915 Cat. No. 78 Having won the coveted RDS Taylor Award for painting in 1914, Seán Keating moved to London to work as a studio assistant to William Orpen. The First World War had begun, and as conscription beckoned, Keating decided to return to Ireland in late 1915 or early 1916. Orpen, already a well-renowned portrait painter, remained in London and accepted an appointment to the Army Service Corps. He was sent to France under the war artists' scheme in 1917, where, initially as a Second Lieutenant and later a Major, he produced some of the most extraordinary and thought provoking images of his entire career (1). Meanwhile, Keating returned to Dublin, joined the Gaelic League (Conradh na Gaeilge), and began to make a series of paintings that placed the west of Ireland in general, and the Aran Islands in particular, at the centre of his personal sense of national and political identity. He sought to make his nationalist allegiance clear in his work, but arrest for sedition was commonplace, and as a result, his use of symbolism or allegory can be understood in the context of the socio-political conditions at that time. The best known of those images is Men of the West, a painting that Keating began in 1915, but completed and exhibited in 1917, the year after the Easter Rising had taken place(2). An allegorical work, it features a self-portrait of the artist holding the Irish tri-colour flag, and a double portrait of his brother, Joe Hannan Keating, who was then a member of the IRB and the Irish Volunteers, and both are dressed in traditional Aran Island clothing. But there was an image that prefigured Men of the West. It was shown in the RHA in 1915 and it was titled Pipes and Porter(3). An extraordinary painting, Pipes and Porter features a self-portrait of the artist with his ubiquitous beard, together with a portrait of his aforementioned brother, Joe, an unnamed young boy, and an unidentified piper(4). A castle tower dominates the background, while the lower landscape is dotted with several white-washed and thatched cottages, and the sun is setting in the western sky. Keating, his brother, and the young boy regard their audience with confidence. But the piper's gaze suggests that he is lost in concentration of his tune. He is playing the bagpipes, also known as the 'war pipes' because they were 'played in medieval Ireland to lead soldiers or sporting groups' (5). Importantly, in terms of Keating's artistic objectives, 'both the uilleann pipes and the war pipes had political links' in the early years of the twentieth century. 'Thomas Ashe was a well-known war piper', while 'Éamonn Ceannt played the uilleann pipes and was leading member of the Dublin Pipers' Club' (6). The war pipes that feature in Pipes and Porter appear to be 'an occasional set' that may have been made by 'MacCullough' of Belfast and seem to have 'two drones, beaded and combed like Highland pipes' with 'plain projecting mounts on the drones, and metal ferrules' (7). The colour combination illustrated on the piper's conspicuous hat may well refer to his place of birth, and/or his national sporting allegiance. Black and amber are the Gaelic Athletic Association (GAA) colours for Kilkenny. While the GAA was not a political organization, several members fought in the Easter Rising in 1916 (8). Although he remains anonymous at present, the man playing the 'war pipes' may have been a piper that Keating knew from among those that played at nationalist gatherings and marches in Dublin, if not from his own branch of Conradh na Gaeilge, or who perhaps played at GAA matches. Thus, far from being a simple scene of the west of Ireland, Pipes and Porter has symbolic meaning, which is amplified by the presence of the artist, and his nationalist brother, Joe, both of whom are dressed in the traditional Aran Island clothing that was to feature in Men of the West a little time later. At the same time, the realities of the socio-political conditions are evident in the painting. Irish artists were physically and geographically restricted by the rules of the Defence of the Realm Act (DORA), introduced to Ireland in 1914, as a result of which they were not allowed to paint the Irish coastline, or harbours, without written permission from the authorities. Therefore, there is little by way of a detailed coastline in Pipes and Porter or in Men of the West. Keating was a painter of honest, no nonsense portraits. It was a skill that provided him with a constant source of income throughout his life. He did not believe in flattering his models, which meant that his insightful honesty got him into trouble at times. Trained by Orpen in the necessary techniques, he never forgot to include a fleck of light in the eyes, a detail that gave life and personality to his portraits and that is seen to excellent effect in Pipes and Porter. Furthermore, although it is an early work, the painting also demonstrates Keating's expertise as a painter of still life, landscape, sky scape, and the detailed texture of clothing. What of the porter to which the title of the painting also refers? It would appear that necessity was the cause of invention, and porter, a type of beer, was served in any type of vessel that came to hand. The glass is empty, but is there porter in that mug, or does it contain a cup of tea? Keating was having a little fun with his title and content. He continued to use such puns throughout his career, evident, for example, in Good Old Stuff (1928), a painting that is also featured in this auction catalogue (lot 86). The artist typically signed his paintings using his surname in Irish or English, but he wrote his full name on the bottom right of Pipes and Porter. This detail suggests that the painting, which has not been seen in public for many years, may have been a commission in 1915, although the identity of the likely patron is not known at present. © Dr Éimear O'Connor HRHA Research Associate TRIARC-Irish Art Research Centre Trinity College Dublin October 2013. (1) See Bruce Arnold, Orpen: Mirror to an Age, (London, 1981), pp. 307-380. (2) Collection: The Dublin City Gallery The Hugh Lane. (3) Keating is known to have painted two images featuring pipes. The first, Pléaráca in Arainn (A Gay Time on Aran)(1913), won the Orpen Composition Award at the Dublin Metropolitan School of Art in 1913. It would appear that this painting did not include a self-portrait of the artist. It was described some years later as 'a rather large painting…depicting an Aran piper in full “war paint”…playing lustily on his Píob Mor (large pipes) for the delectation of several of his friends, who, to judge by the expression on their faces, are thoroughly enjoying themselves', John J. R. O'Beirne, 'A Coming Irish Artist: The work of John Keating' in The Rosary, Vol. 21, 1917, pp. 571-577. (4) Information on the identity of the piper and the young boy would be gratefully received by the author on info@eimearoconnor.ie (5) The author would like to acknowledge and thank Nicholas Carolan, Director of the Irish Traditional Music Archive, 73 Merrion Square, for his help and advice with regard to the pipes illustrated in Pipes and Porter. See www.itma.ie (6) The author would like to acknowledge and thank Emmett Gill, Administrator, and Terry Moylan, Archivist, Na Píobairí Uillean, 15 Henrietta Street, Dublin 1, for information pertaining to Thomas Ashe and Éamonn Ceannt, and the political significance of the uilleann pipes and the war pipes in 20th century Ireland. See www.pipers.ie (7) With thanks to Nicholas Carolan and Seán Donnelly. MacCulloughs opened premises in Dublin in the 1920s, and in 1926 the company published MacCullough's Irish War Pipe Tutor and Tune Book, written by Liam Mac Andreis (William Andrews), leader of a pipe band at Trinity College Dublin. See Adam Sanderson on (8) Coincidentally, James Nowlan, a native of Kilkenny, served twenty years, from 1901 to 1921, as president of the GAA. He was interned in England after the 1916 Easter Rising. Nowlan was a supporter of Sinn Fein and an alderman of Kilkenny Corporation for many years. See
Lot 437
SIR (ISIDOR) GEORGE HENSCHEL, (1850-1934), a small unrecorded archive of manuscripts and letters, comprising a three page manuscript titled '"Little Lamb, who made thee", a Song of Innocence (for the little children to sing), humbly set to William Blake's beautiful words by George Henschel', two pages of hand written music dedicated to Georgina & Peter and initialled and dated Jan 18th 1918; a second manuscript titled 'The Knight of Bethlehem, set by George Henschel', two pages of hand written music initialled and dated Nov 20th 1918; both within a 'Keepsake Cover' titled and signed by Henschel and enclosing three printed copies of Henschel's music. Accompanying the manuscripts are two letters to Miss Janet Dunlop Smith on Aviemore headed paper and dated June 19th 1914 and Nov 23rd 1914; a three verse sonnet written and initialled by Henschel, dated November 22nd 1914 and companion postcard; a programme for a concert titled 'Dr George Henschel's concert in aid of the funds of the Alvie Boy Scouts Association', dated September 4th 1913, signed by Henschel, five other singers and initialled by Miss Dunlop Smith. The first letter talks of a previous sonnet that Henschel had sent and details that he shall be travelling to town (London) where he will conduct a concert at The Queens Hall and hopes that they can meet for tea. The second refers to Miss Dunlop Smith as his "grateful public" in regard to his prior verses, as well as general news and what has occupied his time in Scotland. The third is a sonnet, accompanied by a postcard sent on the afternoon that the former was mailed, upon which he writes a new final verse stating "I think the following distribution of the last six lines is better" Georgina Henschel is the composers daughter by his second wife Amy Louis. Peter Cloughton (1915-1968) is the son of Henschel's daughter Helen Cloughton from his first marriage. It is presumed that they are the Georgina and Peter to whom the first manuscript is dedicated. George Henschel, composer and poet, was the first conductor of The Boston Symphony Orchestra in 1881, began the London Symphony Concerts and later became conductor of the Royal Scottish National orchestra. Miss Janet Dunlop Smith (1888-1984) is the vendors godmother. She is the daughter of Lieutenant Colonel Sir James Dunlop Smith private secretary to Lord Minto while he was Viceroy of India. Miss Dunlop Smith was a singer under the professional name Janet Christopher. It is presumed that her close friendship with Henschel developed through their professional careers sometime in 1913 or prior.
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