Silurian-Jurassic Periods, 444-145 million years BP. A group of fifteen mixed fossils including twelve bivalves, a brachiopod, an ammonite with iridescent shell, and a seafloor fragment with a trilobite pygidiun, bryozoans, and crinoid ossicles, in old white card trays with A.B. Cotterill Collection, Wollaton, Nottingham, UK, labels. 255 grams, 16-53mm (1/2-2"). Property of a Welsh fossil collector; acquired on the UK art market. [15, No Reserve]. Fine condition.
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Circa 1800 AD. A 'stone bow' or bullet-shooting crossbow by J. Johnson of Manchester with rifle-type wooden stock, iron trigger, sights and mechanism, iron inlay plaques to the upper and lateral faces, long iron curved bow with hooked ends, tapered nose with rib detailing. 2.3 kg, 81cm (32"). Property of an Essex collector; acquired on the UK art market. . Fair condition. Scarce.
Neolithic, 4th-2nd millennium BC. A ground diorite axehead with median swelling, round sand-drilled mounting hole, raised median rib to the upper face, square-section butt. Cf. Glob, P.V. Danske Oldsager: Yngre Stenalder, Copenhagen, 1952, item 336. 555 grams, 12.5cm (5"). Property of an Essex gentleman; acquired on the European art market. [No Reserve]. Very fine condition.
6th-8th century AD. A mixed group of bronze strap ends comprising: four openwork triangular with knop finial; three openwork tongue-shaped with knop finial; eleven tongue-shaped with geometric ornament; one tongue-shaped with reserved serpent motif; one D-shaped with step to the rear edge; one clover-leaf shaped with notched edge. 235 grams total, 28-56mm (1 - 2 1/4"). From a German collection; acquired on the German art market before 1990. [21, No Reserve]. Mainly fine condition.
13th-15th century AD. A silver gimmel ring with two interlinked rings with twisted ends, bezel formed of two clasping hands with trefoil collar to the wrist. 2.09 grams, 21mm overall, 16.03mm internal diameter (approximate ring size British K 1/2 USA 5 1/2, Europe 10.27, Japan 10) (3/4"). From an old Munich collection; acquired on the German art market before 2000. [No Reserve]. Fine condition. Scarce.
10th-14th century AD. A mixed group of square bronze trade weights comprising: one with two ring-and-dot motifs to each broad face; one similar with two motifs to one face and four to the reverse; one with silver-inlaid omega and gamma; one with pointillé 'IB'; one with inlaid 'NS'; one with cross over 'NIB'; two unmarked. See Weber, K. Byzantinische Münzgewichte: Materialkorpus für 1-Nomisma-Gewichte, Schwelm, 2009 for discussion. 211 grams total, 11-35mm (1/2 - 1 1/2"). From a German collection; acquired on the German art market before 1990. [8, No Reserve]. Fine condition.
1st century BC-2nd century AD. A hollow-formed bronze statuette of Pan with goat's feet, seated, holding an item in his left hand, the right hand held open at waist height; two fixing holes to the underside of the buttocks. Cf. Rolland, H. Bronzes Antiques de Haute Provence, Paris, 1965, item 137 for type. 182 grams, 11cm (4"). From a German collection; acquired on the German art market before 1990. Pan is the god of fields and woodland and originated in Arcadia, Greece, being the son of Hermes and a nymph. His habit of appearing suddenly was believed to cause 'panic', literally the fear of Pan. He had a major shrine at Panias, modern day Banias, in Palestine, which was noted for its healing spring and as well as being the site where the god helped the Seleucid army defeat the Ptolemaic forces in 198 BC, thus allowing Antiochus III to consolidate his control over the area and establish the borders of his empire. The Hellenized Sellucids built a temple at Panias dedicated to Pan as the 'goat-footed god of victory in battle, creator of panic in the enemy, lord of desolate places, music and goat herds'. [No Reserve]. Fair condition.
15th century AD. A squat bronze bowl with square-section folded rim, rounded shoulder with band of moulded decoration including interlace panels and geometric motifs on a textured field. See von Gladiss, A. Glanz und Substanz. Metallarbeitung in der Sammlung des Museums für Islamische Kunst, Berlin, 2012, item 71 for type. 1.2 kg, 27cm (10 1/2"). From a German collection; acquired on the German art market before 1990. [No Reserve]. Fine condition.
1st-2nd century AD. A mixed group of red burnished slip ware vessels comprising: a piriform jug with bifid handle, everted rim; a squat jug with deep shoulder, gusseted rim, ribbed handle; a drum-shaped jar with broad neck, everted rim, two ribbed strap handles. 1.7 kg, 16-19cm (6 1/4 - 7 1/2"). From a German collection; acquired on the German art market before 1990. [3, No Reserve]. Fine condition.
9th century AD. A bronze mount depicting a scene of a male figure with almond-shaped eye, pointed curved chin, small nose, long hair with a curl above the forehead; dressed in a loose short-sleeve tunic(?), with hands and neck tied together; facing a bird with large almond-shaped eye, curved beak and prominent crest or feather(?) on the top of its head, finely incised feather decoration; a pin to the reverse; foreign workmanship. 12 grams, 47mm (2"). Property of a London businessman, from his grandfather's collection formed after World War II; thence by descent 1972. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. The design on this mount is definitely inspired by Scandinavian and British Isles Viking art, however the style of execution points towards foreign workmanship, possibly continental European. Some features are very distinctive for Viking art, such as a curl on the top of the head and almond-shaped eyes, which can be found also on small mounts of female figures holding a shield, found both in Scandinavia (Vrejlev, Denmark) and England (Ipswich, Suffolk"). The face style, with distinctive curved chin, is typical of those on picture stones from Gotland, Sweden, especially the ones from Stora Hammar and Sanda. The style of bird is unusual, but the closest parallel can be found on the Franks Casket, which could have served as an inspiration for the style of the mount. The story is most likely the one of Wayland (also known as Volundr or Weland), the most famous blacksmith from Germanic mythology, attested both in Viking and Anglo-Saxon mythology. The poem Volundarkviða from the Poetic Edda tells how Volundr and his two brothers married swan maidens (valkyries) and lived with them for eight winters, after which their wives abandoned them. Unlike his brothers, Volundr decided to stay at home waiting for his wife to return, but was captured by kind Niðuðr and imprisoned on an island. A ring, which was given to Volundr by his wife, was taken from him and Niðuðr gave it to his daughter, Boðvildr. In revenge, Wayland killed the king's sons when they visited him in secret, and fashioned goblets from their skulls, jewels from their eyes, and a brooch from their teeth. He sent the goblets to the king, the jewels to the queen and the brooch to the king's daughter. To humiliate the king even more, he raped princess Boðvild when she visited him to mend the ring given to her. He then escaped with artificial wings he created from birds' feathers. The suffering of a blacksmith is attested also in the Old English poem Deor, in which there is also a mention of his imprisonment by king Niðhad. His story can be also found on artefacts, notably the Franks Casket and the Ardre picture stone. Some of the most famous swords and armour was said to have been forged by this legendary blacksmith. The other interpretation of a bound figure might imply it to be Loki, imprisoned after his betrayal of the Æsir gods and bound with the entrails of his own son. The bird, in this case most likely a raven, can represent a messenger of Odin. We know from the Norse poem Baldrs draumar that Odin visited a volva (seeress or wise woman) in the realm of the dead, Helheim. After an exchange of words, in the end he accuses her not to be a wise woman, but rather the mother of three giants to which she responds that no one will visit her until Loki will be free. Some scholars' (e.g. Ursula Dronke) interpretation is that the volva was Loki disguised, imprisoned in Helheim, who fathered three world monsters with giantess Angrboda (Fenrir, Jormungandr, Hel) and the mount can point to the scene of conversation between bounded Loki and the raven, the messenger of Odin. . Extremely fine condition. Excessively rare.
3rd-2nd millennium BC. A terracotta violin-shaped idol with incised decoration to the lower part and punched dots to the torso, pointy nose, large circular eyes with incised line to the centre, wearing ornamental 'pelleted' headdress. 50 grams, 77mm (3"). Property of a West London gentleman; acquired on the London art market. . Fine condition.
Chalcolithic, 3300-2500 BC. A carved marble figure with D-shaped head, ridge nose and eyes, slender neck, flat-section body with stub arms and legs. See von Bothmer, D. Glories of the Past: Ancient Art from the Shelby White and Leon Levy Collection, New York, 1990. 18 grams, 57mm (2 1/4"). The property of a German gentleman; acquired 1980s-early 1990s. . Fair condition, one leg absent.
Jurassic-Cretaceous, 201-66 million years BP. A mixture of Cretaceous Hoplitids including Euhoplites (probably from Folkestone), and Macrocephalites (Middle Jurassic), all in old white card trays, five with A.B. Cotterill Collection, Wollaton, Nottingham, UK, labels. 229 grams total, 32-48mm (1 1/4-2"). Property of a Welsh fossil collector; acquired on the UK art market. [7, No Reserve]. Fine condition.
19th century AD. A hollow-formed bronze kohl pot with bulbous body, tubular neck and four legs; the body with reserved running chain motif, the neck tapering with pointillé swags and two biconcave collars, the legs with pointillé swags and birds modelled in the round; inscription to the underside. See von Gladiss, A. Glanz und Substanz. Metallarbeitung in der Sammlung des Museums für Islamische Kunst, Berlin, 2012 for discussion. 450 grams, 12.5cm (5"). Property of a West London gentleman; acquired on the London art market. . Fine condition.
8th-11th century AD. A bronze plaque with standing male figure, legs bent at the knees and feet meeting at ankles; almond-shaped head with round eyes, flat triangular nose and small round mouth; arms bent at elbows, hands at waist holding animal, possibly a snake. 9.16 grams, 45mm (1 3/4"). From an old Munich collection; acquired on the German art market before 2000. [No Reserve]. Very fine condition.
Early 2nd millennium BC. A mixed group of ceramic vessels ornamented with red burnished slip comprising: a piriform jug with trefoil rim, round-section strap handle; a jug with ovoid body, discoid foot, deep shoulder, round-section handle; a bulbous jug with small discoid foot, trumpet-shaped neck, bifid strap handle. Cf. Amiran, R. Ancient Pottery of the Holy Land, Jerusalem, 1963, plate 33, item 4 (ewer"). 1.3 kg total, 13-26cm (5 - 10 1/4"). From a German collection; acquired on the German art market before 1990. [3, No Reserve]. Fine condition, usage wear.
20th-17th century BC. A rectangular baked clay plaque with low relief motif of a seated musician in long robe playing a harp. See similar piece in Louvre museum, France, AO 12453. 94 grams, 10.6cm (4 1/4"). From a German collection; acquired on the German art market before 1990. In whole area of Ancient Mesopotamia, music had a vital social and religious function. It was an important part of evens both official,ceremonial and religious. Most likely every palace and temple had its own professional musicians and musical instruments such as harp, lyre, lute, reed pipe and drum. [No Reserve]. Fine condition.
1st millennium BC-1st millennium AD. A mixed ceramic group comprising: a black-burnished flask with twisted handle, palmettes to the lower body; two bulbous jars each with a flared foot, slender neck and conical rim, strap handle;a slender piriform jar with loop strap handle; a bird-shaped vessel with socket to the back; a rectangular terracotta seal matrix with pierced lug handle, geometric motif. 773 grams total, 4.5-20cm (1 3/4 - 8"). From a German collection; acquired on the German art market before 1990. [6, No Reserve]. Fine condition; two vessels repaired.
9th-12th century AD. A silver shield-shaped pendant with slight dome shape, twisted rope pattern border, surface decorated with three S-shaped coils with granule decoration between and to the centre; suspension ring to the top with granule decoration. 3.23 grams, 24mm (1"). Property of a German gentleman; acquired on the European art market in the 1990s. [No Reserve]. Very fine condition.
6th-15th century AD. A finely made S-curved biconvex obsidian knife with two cutting edges. 122 grams, 18cm (7"). Property of a European collector; formerly from the collection of Prof. RNDr. Jan Jelínek, DrSc., anthropologist, and Director of the Moravian museum, and the president of the International Committee of Museums (ICOM) for eight years; thence by descent 2004. Professor RNDr. Jan Jelinek, DrSc. Born 26th February 1926 in Brno, Czech Republic, Jan Jelinek studied anthropology at Brno University and graduated from the faculty of Sciences in 1949. After graduation, he spent two years taking special courses in the Medical Faculty and made postgraduate studies in the Faculty of Philosophy at the same institution. Jelinek started his scientific work at the Moravian Museum where he founded the Anthropos Institute, covering several scientific disciplines including the study of man in the Pleistocene environment, physical and cultural anthropology, prehistory and palaeontology. The Institute’s exhibition building, the Anthropos Pavilion, opened in 1962 to accommodate a unique exhibition on the origins and evolution of man. In the same year, Jelinek began to publish the quarterly journal Anthropology, and was its editor for 33 years. He also edited a series of Anthropos monographs containing articles by outstanding Czech and foreign anthropologists. In 1958, Jelinek was appointed director of the Moravian Museum. He launched an extensive reconstruction programme for the museum’s premises. His name is connected with the foundation of the Genetics Department, and of the Department for Research into the Karst Phenomenon. The scientific activities of Jan Jelinek focused mainly on palaeoanthropology, on the study of Pleistocene and post-Pleistocene populations with special emphasis on the physical and cultural evolution of man. The beginnings of his scientific work are connected with the anthropological research of Cézavy, a Hallstatt locality near Blu?ina (Southern Moravia"). This work developed into extensive research and studies of other prehistoric periods, including the Old Slavonic period in the Early Middle Ages. Jelinek was in charge of the excavation of the Palaeolithic finds in the Mlade? caves, of the Brno II finds, of Dolni V?stonice III and Staré M?sto. He initiated the research of the Old Pleistocene site on Stránska Skála. The results of this research have made Moravia one of the oldest inhabited territories of Europe. Another research project lasting many years was carried out in the Kûlna cave. Jelinek’s research and studies in prehistoric anthropology and palaeoanthropology have resulted in a large number of publications, including: The Great Picture Atlas of Prehistoric Man, 1975, published in 14 languages; The Great Art of the Early Australians, 1989; Disappearing Sahara, published in Czech, in press; Le Sahara Libyen – l’art le plus ancient, published in French, in press. The total number of publications exceeds 250 titles. His extensive international contacts have enabled Jan Jelinek to undertyake a number of scientific expeditions, including two to Australia (1969, 1973), to the interior of Arnhem Land, stimulated by the study of prehistory, anthropology and ethnography of the Aboriginals, especially the Rembrranga tribe. During these expeditions, he documented a rich anthropological and ethnographical material, bark paintings and other unique finds. Jelinek studied rock art also during his expeditions to Eastern Siberia. In 1977-81 he organised five expeditions to the Sahara Desert and during 1976-85 he was commissioned by UNESCO and the Libyan government to take charge of the construction of the National Museum of Libya. Although primarily a scientific worker, Jan Jelinek was also active as a university lecturer. He read cultural anthropology and museology at Brno University. He later taught palaeoanthropology at the Charles University in Prague and anthropology at the Comenius University in Bratislava. One of Jelinek’s pioneering acts was the foundation of the Department of Museology at the J.E. Purkyn? University in Brno in 1964. It was the first department of museology in Europe. In 1990 Jelinek qualified as an ordinary professor at the Faculty of Sciences of the Masaryk University, Brno. Over the years, Jelinek organised a number of international congresses and held important posts in various scientific societies and organisations: 1962-6 – chairman of the International Section of Regional Museums of the International Council of Museums (ICOM); 1965-71 – President of the Advisory Committee of ICOM; 1971-7 – President of ICOM; 1977 – Honorary Member of ICOM; 1973 – President of the Czechoslovak Anthropological Society; 1980 – Honorary Member of the Royal Society of Antiquaries, London; 1981-4 – President of the European Anthropological Association, etc. For his distinguished work in the field of anthropology, he received a number of distinctions: AleÅ¡ Hrdli?ka Medal (1963), the State Distinction for Reconstitution Services (1968), PeÅ¡ina’s Medal (1971), J.E. Purkyn? University Medal (1979"). [No Reserve]. Extremely fine condition.
2nd millennium BC. A mixed group comprising: a cover for a model cart with enclosed rear and rounded canopy; a biconvex wheel and a planoconvex wheel. See Serhal, C.D. Near Eastern Terracotta Models and Figurines: The Klat Collection, London, 1995 p.40-49 for types. 945 grams total, 16cm (6 1/4"). From a German collection; acquired on the German art market before 1990. [3, No Reserve]. Fine condition, two 'legs' absent.
Jurassic Period, 200-145 million years BP. A fossil 'Phragmacone sp. belemnite in matrix, in old card tray with A.B. Cotterill Collection, Wollaton, Nottingham, UK, labels. 480 grams, 10.3cm (4"). Property of a Welsh fossil collector; acquired on the UK art market. [No Reserve]. Fine condition.
4th-2nd century BC. A tongue-shaped baked clay plaque with high-relief seated figure with lion head and female body, holding an object or pregnant belly. 33 grams, 69mm (2 3/4"). From a German collection; acquired on the German art market before 1990. The figure may represent a lion-headed goddess Tanit, who was the chief deity of Carthage, and moon goddess. Like many of the deities from the Punic empire she originated in the Phoenician homeland where she was known as Astarte, a goddess of war and fertility. In the Roman period she was known as Juno Caelestis and had a temple dedicated to her on the Capitoline Hill in Rome. [No Reserve]. Fine condition.
1st century AD. A bronze figurine of Mercury standing nude with winged petasos, mantle to the left shoulder, caduceus in the left hand, marsupium coin pouch in the right hand, standing on an integral tiered stand. Cf. Rolland, H. Bronzes Antiques de Haute Provence, Paris, 1965, items 51 and 52. 47 grams, 65mm including stand (2 1/2"). Property of an Essex collector; acquired on the European art market. [No Reserve]. Fine condition.
10th-12th century AD. A discoid bifacial lead-alloy hystera amulet with one segmented face with Greek letters, reverse with image of crowned St Theophano facing with raised arms, 'MA?' legend; with old collector's card disc. See Kalavrezou, I. Byzantine Women and Their World, Harvard University Art Museums, Cambridge, MA, 2003. 8.16 grams, 25mm (1"). Property of an Essex, UK collector; acquired London art market, 1960s-1980s. [No Reserve]. Fine condition, rim damaged.
10th-6th century BC. A terracotta globular jug with basal ring, broad tubular neck with pinched sides and pouring lip, strap handle, circumferential painted bands in red and black, strokes to handle and shoulder. Cf. Amiran, R. Ancient Pottery of the Holy Land, Jerusalem, 1963, plate 92 item 4. 1.6 kg, 27cm (10 1/2"). From a German collection; acquired on the German art market before 1990. [No Reserve]. Fine condition.
9th-12th century AD. A bronze pendant in the form of opposed horse heads with openwork hourglass shape between, bar below with six interlinked loop chains with bells suspended. 84 grams, 11.5cm (4 1/2"). Property of a German gentleman; acquired on the European art market in the 1990s. [No Reserve]. Fine condition.
10th-12th century AD. A mixed group of bronze steelyard weights comprising: a round weight with incised lines to the equator, short chain and hook; a bell-shaped with lead fill, short chain and hook, ring and stem with short lateral hooks. 999 grams total, 17-21cm (6 3/4 - 8 1/4"). From a German collection; acquired on the German art market before 1990. [2, No Reserve]. Fine condition.
8th-7th century BC. A mixed ceramic group comprising: a nude female suckling a baby; a nude female with hands clasped on the abdomen; a nude female with dorsal pillar; a nude female figure fragment with curved frame (musical instrument?) on the left shoulder. Cf. examples in the Ashmolean Museum, Oxford under accession numbers AN1924.241, AN1923.385. 218 grams total, 7.5-11cm (3 - 4 1/4"). From a German collection; acquired on the German art market before 1990. [4, No Reserve]. Fine condition, one fragmentary.
Qing Dynasty, 18th century AD. A group of three hemispherical tin-glazed bowls with blue foliage designs to the outer face, two with signature to the centre. 452 grams total, 12-13.5cm (4 3/4 - 5 1/4"). Property of an Essex gentleman; acquired on the UK art market. [3, No Reserve]. Fine condition.
A collection of assorted militaria items to include; WW1 ‘Ubique’ Royal Artillery Trench Art Vesta; WW1, Vesta with plaque ‘From the Teak of HMS Iron Duke, Admiral Jellicoe’s Flag Ship, Jutland 1916’; 4 trench art vesta or spill cases; 2 Booths Silicon China HMS Victory salad plates, edged in blue and gold, decorated with a flag and 'HMS Victory' banner. They are pattern 6368, made c1905 to celebrate 100 years of Nelsons victory at the Battle of Trafalgar; Cauldon HMS Victory Coffee Can & Saucer, edged in blue and gold, the coffee can decorated with a flag and 'HMS Victory' banner, for the same anniversary. POSTAGE: Worldwide postage / delivery available on all items. Combined postage available; UK £15.99+VAT, Ireland from £19.99+VAT, Europe from £19.99+VAT, USA / Canada from £30+VAT. Any other destinations please get in touch for a quote; info@eastbristol.co.uk. All quotes dependant upon location. Prices are per parcel (not per item).
Nano Reid RHA (1900-1981)Figure by a Well (1962)oil on board signed lower left 68 x 40½cm (27 x 16in)Provenance: Dawson Gallery, Dublin (label verso); Collection of Miss Mary Gaynor; De Vere's Art Auction, 21st November 2000, Lot 337; Private CollectionExhibited: Irish Exhibition of Living Art (IELA)1966The Irish landscape artist, figure painter and portraitist Nano Reid was born in Drogheda, County Louth. In 1920, she won a scholarship to study fine art painting and drawing at the Dublin Metropolitan School of Art - now the National College of Art and Design - under Harry Clarke. In 1925 she started showing at the Royal Hibernian Academy (RHA), submitting a total of 42 canvases until the late 1960s. In 1928, she went to Paris and enrolled briefly at the Académie de la Grande Chaumière, after which she spent a year in London studying fine art at the Central School of Arts and Crafts under Bernard Meninsky. An individual, expressionistic artist, Reid is acknowledged to be one of the finest Irish woman painters of twentieth-century visual art in Ireland. She used paint intuitively, employing a limited colour range such as browns, greens and ochres, and applied the paint with a carefully controlled spontaneity in which abstraction is combined with figuration. Her works are represented in many public collections throughout Ireland.
James Humbert Craig RHA RUA (1878-1944)Preparing the Boatoil on board signed lower left 38¼ x 51cm (15 x 20in)Provenance: Private CollectionThe Irish landscape painter James Craig was born in Belfast but spent his youth in the countryside of County Down. Craig briefly attended Belfast College of Art where he studied drawing and fine art painting. He took all his inspiration from the scenery, people and culture of Ireland - above all, from what he saw with his two eyes. He never attempted to embellish or distort nature. His job, as a landscape painter was to reflect nature as it was. Despite this fidelity to nature, Craig was not above dramatising his landscape painting in the style of Paul Henry. Also, despite his indifference to Barbizon landscape art, Craig's plein air painting method was similar to that of the Impressionists, as he was at his happiest out-of-doors either painting or fishing. Many of his colour schemes are consciously sober and the raw beauty of the landscape is expressed in rugged paintwork. He painted in many different locations, including the Glens of County Antrim, as well as the more inhospitable coastal landscapes of Donegal and Galway. A successful painter of his day, Craig exhibited regularly at the Royal Hibernian Academy from 1915 and was elected to both the Royal Hibernian Academy (RHA) and the Royal Ulster Academy (RUA).
Padraig MacMiadhachain RWA (b.1929)Ice Cream Seriesoil on canvas signed lower left 51 x 61cm (20 x 24in)Provenance: Private CollectionPadraig MacMiadhachain was born in 1929 and studied at the Belfast College of Art from 1947-1949 and then at the National College of Art, Dublin in 1950. He was a contributor to the Irish Exhibitions of Living Art in the 1960s, alongside artists like Gerald Dillon, Camille Souter, Louis Le Brocquy, amongst others. William Scott had a profound influence on his later work. He has lived and painted since 1959 on the Dorset coast, near to St Ives, where he is an associated member of The Penwith Society of Arts, St Ives. He has held many one man and mixed exhibitions. These include over 15 one-man exhibitions in London, Madrid - sponsored by the Spanish Government, Dublin, Belfast - sponsored by The Arts Council. Las Palmas de Gran Canaria, Krakow, Los Angeles, Seattle and Vancouver. He was awarded travelling scholarships to both Moscow 1957 and Poland 1960, one by the British Council and the other by the Russian Government. His works are in many Private and Public collections.
Tony O'Malley HRHA (1913-2003)Inscape, A Memory (1987)oil on board signed lower left & dated lower right, signed, titled & dated June 1987 on reverse with artist's archival no:3126 28 x 46cm (11 x 18in)Provenance: Purchased directly from the artist; Kilcock Art Gallery, Co. Kildare (label verso); Private Collection
Charles Brady HRHA (1926-1997)Artist's Studiooil on canvas signed upper centre left 91½ x 61cm (35 x 24in)Provenance: Private CollectionCharles Brady was born in New York in 1926 but spent most of his life in Ireland. In 1948 he entered the Art Students League of New York and took a yearlong course. After art school he continued to paint, beginning to exhibit in the early 1950s. He had his first solo exhibition in the Urban Gallery in 1955. The following year 1956 saw him travel by ferry to Ireland and it was here he began painting the Irish countryside. He returned to New York in 1958 but in 1959 he moved back to Ireland and settled there for good. Poverty forced him to paint on small pieces of cardboard and small pictures became typical; he began to value the intimacy, and affordability, of small paintings. In the 1960s he began painting still lives of everyday objects such as envelopes and tickets and this also became typical. These small, modest, compositions allowed him to refine a spare almost mystical style.
Andy Warhol (1928-1987) BritishMartha Graham: Lamentation (1986)screenprint on Lenox Musuem Board, trial proof numbered PT 144B UT.009 bears 'The Estate of Andy Warhol' and 'Authorized by the Andy Warhol Foundation for the Visual Art' inkstamps on reverse. (Copy of the photo certificate from The Andy Warhol Foundation for The Visual Arts, Inc., dated VII-20-06 accompanies this work).91.10 x 91.10cm (36 x 36in)Provenance: Phillips de Pury & Company, New York,12th September 2006 Lot 118; Private Collection
Mainie Jellet (1897-1944)Composition (1928)gouache signed lower right & dated 1928 28½ x 42cm (11 x 16in)Provenance: James Adam's, Dublin, 28th May 2014 Lot 65; Private CollectionLiterature: Mainie Jellet & the Modern Movement in Ireland, Bruce Arnold, 1991, pages 114 and 115 show 11 studies in relation to this work and it's composition.Mainie Jellett was born in Dublin in 1897. She studied at the Metropolitan School of Art in Dublin and under Walter Sickert at the Westminster Technical Institute in London. Jellet showed precocious talent as an artist in the impressionist style. She spent a time in Paris with her companion Evie Hone, working under André Lhote and Albert Gleizes and it was here she encountered cubism and began an exploration of non-representational art. After 1921 she and Evie Hone returned to Dublin. Her painting Decoration (1923) was among the first abstract paintings shown in Ireland when it was exhibited at the Society of Dublin Painters Group Show in 1923. Along with Evie Hone, Louis le Brocquy, Jack Hanlon and Norah McGuinness she helped found the Irish Exhibition of Living Art in 1943. She died a year later, aged 47.
Letitia Marion Hamilton RHA (1878-1964)Glengariff, West Corkoil on canvas initialled 'LMH' lower right & titled on reverse 51 x 66cm (20 x 26in)Provenance: Original artist's label on reverse with price of £40; Christie's, London, 23rd March 1995, Lot 89; Jorgensen Fine Art, Dublin (label verso); Private CollectionLetitia Marion Hamilton was born in County Meath in 1878 and hailed from an artistic family, her great-grand-mother was the artist Marianne-Caroline Hamilton and her cousin was the watercolourist Rose Maynard Barton. Both Hamilton and her sister Eva studied at the Dublin Metropolitan School of Art under William Orpen. Hamilton studied enamelling there also, winning a silver medal in 1912 by both the School and the Board of Education National Commission. Her work showed elements of Art Nouveau, foreshadowing her later modernist leanings. Hamilton also studied in Belgium with Frank Brangwyn and the Slade School of Fine Art. She was a prolific painter of the Irish countryside, exhibiting more than 200 paintings at the Royal Hibernian Academy of which she became a member in 1943. Together with Paul Henry, his wife Emily Grace Mitchell/Grace Henry, Mary Swanzy, Jack Butler Yeats and others, she formed the Society of Dublin Painters in 1920. In 1948 Letitia was awarded a bronze medal in the arts section of the Olympic Games for her painting of the Meath Hunt Point to Point Races, the only Irish medal that year, and one of the last Olympic medals for art to be awarded.
Pauline Bewick RHA (b.1935) Rossbeigh (1980) watercolour on paper signed lower left & titled lower centre 78 x 58cm (30 x 23in) Provenance: Acquired directly from the artist; Private Collection Pauline Bewick was born in England in 1935. She moved many times between England and Ireland before finally settling in County Kerry where she now lives and works, near Caragh Lake. She is a descendant of 19th-century artist Thomas Bewick. In her teens Bewick started studying at the National College of Art and Design in Dublin, and after graduation, moved to London. During her time there she illustrated a children's animated television series for the BBC, and also produced illustrations for books and magazines. In 1957 Bewick held her first exhibition in Dublin. A prolific artist, Bewick paints in oil, sculpts, and works with cloth, but is most associated with watercolours. In 2006 she donated a collection of 200 works including tapestries, wall hangings, watercolours and sketches to the state, now on permanent display in the Walton Building at the Waterford Institute of Technology, and in the Killorglin Library, Co. Kerry.
Brian Gormley (b.1959) AmericanTarget (2004)acrylic & silkscreen on canvas signed, titled & dated 2004 on reverse 122 x 91¾cm (48 x 35in)Provenance: Hillsboro Fine Art, Dublin; Nicholas Gallery, Belfast (label verso); Private CollectionExhibited: Hillsboro Fine Art, Dublin 27th January - 15th February 2005: New York Paintings Out of the Blue and Into the Black illustration no: 2Brian Gormley was born in New York in 1959 of Irish ancestry. He is an internationally exhibited painter living and working in both Ireland and Bucks County, Pennsylvania. His hybrid works are greatly influenced by the abstract expressionist and graffiti art movements. He came of age artistically during the New York City art boom years of the nineteen eighties when both neo-expressionism and street art raged. Gormley has been described as an heir to abstract expressionism seeing an influence of Jackson Pollock in his more modestly scaled work. His exhibition at Hillsboro Fine Art was a striking collection of colourful large areas with black over painting that were at once free and exuberant, and yet containing a felling of underlying bleakness communicated by the predominant black that may hint at the calamity that befell New York City on 11th September 2001. His favourite media are acrylic and silkscreen techniques on linen or canvas and he admits to an admiration for the paintings of the late Jean-Michel Basquiat, whom he knew personally and who also made use of street graffiti signs in his compositions.
Walter Frederick Osborne RHA (1859-1903)The Hurdy-Gurdy Player (c.1887)oil on panel signed lower right 37 x 25½cm (14 x 10in)Provenance: Purchased from the Cynthia O'Connor Gallery 1980; Important Irish Art, Adam's, Dublin 4th December 2012 Lot 62; Private CollectionExhibited: Recent Acquisitions, Cynthia O'Connor Gallery, May-June 1980, cat. no. 10; ''Ireland: Her People and Landscape'' The AVA Gallery, June - Sept 2012, Cat. No. 42 "Ireland: Her People and Landscape'' Exhibition Catalogue, illustration p.49;Literature: Important Irish Art, Adam's, Dublin, 2012, illustrared p.80-81; Walter Osborne spent much of the 1880's dividing his time between Ireland and England.During several summers he worked in English villages and small towns, in 1887, for example, in Berkshire and Hampshire. It is possible that the present painting 'The Hurdy-Gurdy Player' is set in Newbury, Berkshire. Osborne enjoyed observing daily village life, with a cross-section of local people going about their business: walking, shopping or plying their wares, women chatting, and children going to school, and so on. On the right side there is a group of people, including a girl with red scarf, a boy with cap and a woman with black scarf. To the left stands the hurdy-gurdy man playing his instrument and there are other figures in the background. The hurdy-gurdy was a stringed musical instrument which was played by turning a handle to produce a background drone, and the pressing of keys to play the tune. The instrument dated to the early middle ages and became popular among travelling musicians in Savoy and in the low counties in the 17th and 18th Centuries. The player and his instrument aroused the curiosity of some artists, who represented them in their paintings. In Osborne's picture, the street is in shadow, but sunlight falls upon some upper walls and chimney stacks. The artist employs warm reddish-browns, burnt sienna and amber tones. The figures are painted skilfully, while there are deft horizontal brushstrokes in the foreground and blurred 'square-brush' strokes in the chimney stacks. Interesting architectural features in 'The Hurdy-Gurdy Player' are the diagonal 'hipped' edge of the high roof, (to protect against high winds), and the tall chimney stacks. Julian Campbell, November 2016

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