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Lot 16
Colin Middleton RHA RUA MBE (1910-1983)Seated Woman (1964)Oil on board, 91 x 46cm (35¾ x 18'')Signed with monogram; also signed and inscribed versoProvenance: With the Tom Caldwell Galleries, Dublin.Exhibited: The UTV Art Collection Exhibitions including this work held at: The Linen Hall Library, Belfast, January 1991; Belfast Civic Festival, Linen Hall Library, May 1993; Monaghan County Museum, September 1993; The Crawford Gallery, Cork, April / May 1994; The Townhall Limavady, October 1994; Armagh County Museum, January 1995; Clotworthy Arts Centre, Antrim, March 1995; The Waterfront Hall; 40 Years of Ulster Art, The Waterfront Hall, November / December 1999Literature: Word of Mouth Book of Poetry, September 1996, illustrated front cover. 'UTV Art Collection', 2009, illustrated p.11.One might read many of the changes in Colin Middleton’s work across his career as a continuing shifting between two particular aspects of his creative identity, as both designer and painter. Aged seventeen, Middleton had followed his father into his linen design firm and increasingly struggled to reconcile the techniques of this work with his ambitions as a painter, writing about this dialectic and, at times, attempting to integrate both identities within his work. Seated Woman (1964) demonstrates Middleton’s re-engagement with design in very deliberate ways that mark a break with the expressionist painting that had dominated the 1950s, the first period during which he had been able to paint full time and had not had to work as a damask designer. The formal simplification and abstraction of the subject allows Middleton to bring together various ideas within this single image. There is a clear reference to the series of paintings from this period of his wife, Kathleen, at the piano, as well as suggestions of landscape, which Middleton always saw as visually and symbolically interconnected with the female form. The head and a breast in profile are the most clearly identifiable features of the image, but they also interrupt the pattern and introduce horizontals into a composition dominated by verticals. Above all the painting is about pattern, the artist using design as a tool to break down form and to unite the flat picture surface by creating a rhythm across it that is independent to the image. Middleton mimics the effects of looms and the nature of fabric in a manner that recalls a number of paintings of the 1940s, but that is here explored more fully, becoming the dominant element within the work. Dickon Hall, September 2017
Lot 1453
OH! Lady Be Good - Oscar Peterson Quartet. Columbia MGC 168A -IN Original Matrix recorded 22.6.56. Archive copy only - Not For Sale - this is the only copy that exists. This was the second transcript - not satisfied with playback. Exceptionally rare one-off copy. Original sleeve with recording details including quartet info: Oscar Peterson (piano), Ed Thigpen (drums), Ray Brown (bass), Barney Kessel (guitar). Vinyl in mint condition. A unique opportunity for the enthusiast.
Lot 138
A Victorian walnut piano front Davenport by B Taylor & Sons of 16 Great Dover Street, Borough, London, stamped to two drawers, the button release rise and fall section (does not stay up) over a curved rising lid, opening to reveal a slide-out burgundy tooled leather writing surface, over an arrangement of four drawers to one side and four faux drawers to the other, witch carved and pierced scrolling detail, raised on bun feet, 91 x 58 x 58cm.
Lot 745
A Late Victorian Model 4B Upright, Metal Framed, Straight Strung Piano, by John Broadwood & Sons, London, frame no. 66939, in a marquetry-inlaid rosewood case. Note: This item is accompanied by a letter from the manufacturer stating that the piano was initially made for Queen Victoria in 1891.
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