ART AUCTIONEERS & VALUERS
DESIGN Auction Monday 25th April at 6pm
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ART AUCTIONEERS & VALUERS
Auction:
Monday 25th April at 6pm
AUCTION VENUE:
Physicians Hall 6 Kildare Street Dublin 2
ON VIEW:
de Veres 35 Kildare Street Dublin 2
Thursday 21st Friday 22nd Saturday 23rd Sunday 24th Monday 25th Contact:
9.30am - 5.30pm 9.30am - 5.30pm 11.am - 5.00pm 12pm - 5pm 9.30am - 5pm
01 6768300
COLLECTION: From 35 Kildare St, Tuesday 26th and Wednesday 27th April (carriers available on request) PURCHaser FEES: 25% (incl VAT)
de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie Live Bidding available at:
the-saleroom.com www.facebook.com/deveresArtAuctions
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ART AUCTIONEERS & VALUERS
John de Vere White Managing Director john@deveres.ie
Rory Guthrie Director roryguthrie@deveres.ie
Auctioneers:
Aisling Tóth Associate Director info@deveres.ie
John de Vere White Rory Guthrie
Front cover: Lot 22 A PAIR OF CHERRYWOOD ARMCHAIRS AND STOOLS, ITALIAN, 1950s, BY GUGLIEMO ULRICH (detail) Back cover: Lot 33 Frederick Edward McWilliam RA HRUA 1909-1992, PAS DE QUATRE (1981) Inside front: Lot 36 THE TOUCH SHELVES, BY PATRICK O’REILLY (detail) Inside back: Lot 28 A FINE PAIR OF UPHOLSTERED EASY CHAIRS, ITALIAN 1950s Lot 41 A PAIR OF PANTHELLA TABLE LAMPS, BY VERNER PANTON Lot 42 A PAIR OF WALNUT LACQUERED CUBE SIDE TABLES 4
1 A CHROME TWO TIER CONSOLE TABLE, c.1970, with glass shelves, on square supports, 105 (w) x 70 (h) x 31cm (d).
€300 - 500
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2 A PAIR OF DANISH UPHOLSTERED EASY CHAIRS, 1960s, on shaped supports (2).
€800 - 1200
3 A GILT METAL COFFEE TABLE, FRENCH, 1970s, with mirrored glass top, 152cm (w) x 81cm (d) x 35cm (h).
€600 - 900
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4 T HE EJ5 CORONA CHAIR, BY PAUL VOLTHER FOR ERIK JORGENSEN, DENMARK, bearing label. Designed in 1964. Like all the great Danish designers Paul Volther was a firm believer in ‘Functionalism’. He studied furniture design at the Arts and Crafts School in Copenhagen. The Corona Chair was designed in 1961. The original consisted of a wooden skeleton on which a series of oval cushions provided the seat and the rising back. The idea was that Jack Nicholson in ‘Carnal Knowledge’ it would allow the body to relax in various positions. The following year, as the result of cooperation between Volther and the recently established Erik Jørgensen furniture factory, a new model with a chrome-plated steel frame was marketed in 1964.
T he Corona Chair was used at the 2002 EU Summit in Copenhagen, the year after Volther died. Today, with its elliptical, blow-up cushions, annual sales total almost 3,000 a year.
€1400 - 1800
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5 A GILT METAL AND GLASS HANGING GLOBE LIGHT, 90 x 80cm.
€400 - 600
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6 UP, BY GAETANO PESCE FOR B + B ITALIA, stretch fabric-covered polyurethane foam, stamped with the makers label, 157.5cm (w) x 63cm (h) x 96.5cm (d). The UP4 sofa was part of the UP series, conceived by Pesce in 1969. The chairs were made of moulded foam then covered over with colourful stretch fabric. Compressed and vacuum-packed into PVC wrappers, the furniture literally bounced into life when unwrapped.
Pesce’s work is featured in over 30 permanent collections of the most important museums in the world, such as MoMa of New York and San Francisco, Metropolitan Museum in New York, Vitra Museum in Germany, Victoria and Albert Museum in London, Pompidou Center and Musee des Arts Décoratifs of Louvre in Paris.
€1500 - 2000
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7 THE KING CHAIR, DESIGNED BY ANDRE VANDENBEUCK, FOR STRASSLE INTERNATIONAL, 1972, with black leather upholstery on a star metal base (no label visible but possibly under fabric to base).
€300 - 500
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8 A DANISH ROSEWOOD EXECUTIVES DESK, 1960s, the rectangular top above two floating pedestal cabinets containing two drawers, on a metal frame, 200cm (w) x 100cm (d) x 75cm (h).
â‚Ź1500 - 2000
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9 A GILT CHROME ART DECO DRESSING TABLE MIRROR, 66.5cm (w) x 43cm (h).
€200 - 400
10 A PAIR OF DANISH ROSEWOOD CHESTS, 1960s, of five graduating drawers, with brass handles, on tapering legs, each 65.5cm (w) x 79.5cm (d) x 43cm (h).
€1000 - 1500
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11 A DANISH ROSEWOOD CHEST OF DRAWERS, 1960s, with six drawers, on square legs, 100cm (w) x 98cm (h) x 45cm (d).
€800 - 1200
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12 A SET OF SIX MODEL 7 CHAIRS, BY ARNE JACOBSEN FOR FRITZ HANSEN, the shaped backs on metal legs (bearing Fritz Hansen labels).
rne Jacobsen was a Danish architect and designer. Though associated A primarily with prestige in his most famous architectural designs the legacy of his entry in decorative art is one surrounding the popular mass production of his chairs. His big break came in 1952 with the inception of the three legged ‘Ant’ chair succeeded by the Series 7, which is the highest selling chair in the history of Fritz Hansen. The pressure molded veneer stackable chair can be seen as the culmination of the use of the lamination technique, refined to perfection during the Twenties and Thirties by Søren C. Hansen, the grandson of the founder, Fritz Hansen.
J acobsen was an avid supporter of ultramodern architecture and design and had an intuitive understanding of contemporary movements. Though other designers of Jacobsen’s era preoccupied themselves with functionalism, often at the expense of décor, Jacobsen himself was concerned with translating contemporary innovations and combining them with functional furniture, but not at the expense of originality.
€1000 - 2000
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13 A ROSEWOOD THREE PIECE SUITE, ATTRIBUTED TO GRETE JALK, DANISH, 1960s, the open shaped backs with curved armrests, on tapering supports, comprising: a three seat settee, 192cm (w) x 70cm (h) x 70cm (d); a gentlemans armchair (with removable top finials), a ladies armchair, 79cm (w) x 70cm (h) x 70cm (d). (3)
â‚Ź2000 - 3000
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14 A FINE DANISH ROSEWOOD SIDEBOARD, c.1965, attributed to Bernhard Pederson & Sons, Copenhagen, of rectangular form, with a pair of tambour fronted doors revealing a mahogany fitted interior, on tapering legs, 211cm (w) x 78.5 (h) x 51cm (d).
â‚Ź2000 - 3000
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15 THE MODEL 78 CHAIR, DANISH 1960s, BY NIELS MOLLER, A SET OF FOUR IN ROSEWOOD, with tan leather upholstered seats, on tapering legs (4).
iels Otto Moller designed some of Denmark’s timeless classics. He completed his N apprenticeship as a cabinetmaker in 1939 and then continued on to study at the design academy in Århus, Denmark. In 1944, he founded J.L. Møllers Møbelfabrik, which is still manufacturing today.
T aking very much from the Danish tradition of ‘Form follows Function’, Moller’s designs require the craftsman to rely on the materials, form and skill of their own hand. As seen with these chairs the rich rosewood accentuates the elegant curves of his designs.
€1000 - 1500
16 THE MODEL 78 CHAIR, DANISH, 1960s, BY NIELS MOLLER, A SET OF SIX IN TEAK, with upholstered seats, on tapering legs (6).
€800 - 1200
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17 John Minihan b.1946 SAMUEL BECKETT, ROOM 604, HYDE PARK HOTEL, LONDON, 1980 Giclée photograph, 65 x 100cm, signed, inscribed & dated 1980 verso, artist�s proof ed. 6/6.
J ohn Minihan is perhaps Ireland�s greatest photographer an is best known for his photographs of Samuel Beckett. He first expressed a desire to photograph Beckett in 1969, following his winning of the Nobel Prize for literature, having noticed that all the available photos of Beckett were of a poor quality; “We were running a story but discovered there were only two very vague images of Beckett taken many years before. It was like he didn't exist - that was the moment I decided I wanted to meet this man and take his photograph.”
Minihan first encountered Beckett in London in 1980, while Beckett was working on a production of one of his own plays, Endgame. Minihan met him in the Hyde Park hotel, where this photo is taken.
s part of their Arts Lives series, RTE recently aired a profile of John Minhan The Man who shot Beckett and it is available to watch on RTE A Realplayer.
€1500 - 2500
18 A DANISH ROSEWOOD SIDE CABINET, ATTRIBUTED TO GUNNI OMANN FOR OMANN JUNIOR, 1960s, with two panel doors, on tapering legs, 120cm (w) x 76cm (h) x 43.5cm (d).
€600 - 900 20
19 John Minihan b.1946 FRANCIS BACON, PARIS, 1977 Giclée photograph, signed, inscribed & dated 1977 verso, artists proof ed. 6/6.
“ I first met Francis Bacon outside the Marlborough Magistrate�s court in 1971. The artist had been acquitted on drug charges. In his defense, he told the magistrates ‘that he could not have smoked cannabis found in his home because he was asthmatic�. Over the next 20 years I photographed Bacon in London, and at his invitation, in Paris for his show at the Clause Bernard Gallery, in 1977. Bacon was courteous to those who knew him, and respected photography, which is the salient influence in much of his work.”
€1500 - 2500
20 A DANISH ROSEWOOD SIDE CABINET, 1960s, with two frieze drawers above a pair of cupboard doors, on metal legs, 140cm (w) x 77cm (h) x 45cm (d).
€600 - 900 21
21 THE EVA CHAIR BY NILS KOFOED, A SET OF SIX IN ROSEWOOD, DANISH 1960s, including a pair of armchairs and four single chairs, the tall slatted backs on tapering legs. Provenace: Purchased from The Scandinavian Shop, Bond Street, London by the previous owner in the 1960s. The Eva Chair was designed in 1964, Denmark, and the designer Kofoed named it after one of his daughters.
â‚Ź1000 - 1500
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Italian design In the 1920s and 30s the Americans were fascinated with Art Deco design but in Italy its design ethos was firmly rooted in Rationalism, the taking of classical forms of Ancient Greece and Rome and paring it back, omitting the ornamental and retaining the form. The Bauhaus movement had a similar ethos but whereas it was moving towards the ability to mass produce, the Italians were less inclined to sacrifice the classical form for ease of manufacturing, which is why to this day Italian design is synonymous with exquisite craftsmanship. As the 20th century proceeded the Italian design became more original but the unadorned form and craftsmanship remained and with every passing decade design improved leading to its pinnacle in the 1960s and 70s.
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22 A PAIR OF CHERRYWOOD ARMCHAIRS AND STOOLS, ITALIAN, 1950s, BY GUGLIEMO ULRICH, with open railed backs, shaped arms, on splayed legs (4).
uglielmo Ulrich was born in Milan in 1904, the son of Albert and Luisa Battaglia. Of a noble family of Danish origin, G he graduated in architecture at Milan Polytechnic in in 1927. Ulrich’s career began at a time of profound social and economic change in Milan, a period that saw the city transformed from a medieval town to a modern metropolis. Much admired by his contemporary Gio Ponti, Ulrich emerged as one of the key designers of the period, and a crucial element in the evolution of modern Italian design.
Ulrich was the favoured designer of 1930s Milanese high society, receiving commissions for the villas, homes and interiors of the city’s great families. He collaborated with Gio Ponti on the design of a hotel for the Venice Lido in 1937. During the 1930s Ulrich’s furniture design became synonymous with luxury and modernity. The pieces were executed in rare and extraordinary materials but by the end of the decade this approach had fallen out of style and a renewed simplicity in Ulrich’s work emerged. The design was tapered forms meticulously crafted in excellent woods.
Summing-up his influence, Ico Parisi wrote the following: “Ulrich was certainly a figure at the forefront among the architects and designers working in Milan at the time: a group of personalities of great value who, like it or not, are those to refer to for the history of the architecture of the Forties and Fifties. We owe to their creative imagination the release from certain limits of orthodox rationalism, from the 20th century contortions of certain proposals from producers in Cantu, or from the freezing Nordic rigor of the Swedish decor that was invading the market; thus giving life to the style of modern Italian furniture which is still considered young and valid.”
€1400 - 1800
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23 A FINE ROSEWOOD SIDEBOARD, ITALIAN, 1960s, BY GIANFRANCO FRATTINI FOR CASSINA, with four frieze drawers above four cupborad doors revealing a rosewood lined fitted interior, on turned tapering legs, also with rosewood back, 240cm (w) x 80cm (h) x 43cm (d).
‘ Design is, above all an effort to improve reality, I always try to begin with considerations of its function, I ask myself, who needs it, which materials best suit its functions and so on.’ Gianfranco Frattini 1926-2004
Gianfranco Frattini was born in Padua on 15 May 1926. Like most of the great designers of his generation he studied architecture earning his degree from Milan Polytechnic in 1953. On graduating he joined Gio Ponti�s studio and, thanks to Ponti, he began working with Cesare Cassina in 1954.
F rattini�s preferred material to work with was wood. He developed a relationship with Pierluigi Ghianda, a master cabinet maker known as ‘The Poet of Wood’. This relationship exemplified his passion for working closely with craftsmen and this attention to quality and detail is evident in these three lots.
e opened his own design studio, initially with Franco Bettonica, in Via Lanzone, Milan. He H worked with numerous companies in the field of furniture and lighting design including Bernini, Arteluce, Knoll and Artemide, for whom he and Livio Castiglioni designed the “Boalum” floor lamp, a true masterpiece and, above all else, an innovation in terms of product type.
F rattini’s interior designs formed the backdrop for several of Milan�s trendiest social venues in the early 1960s, particularly the Stork Club and the St. Andrews restaurant.
€2000 - 4000
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24 A RARE PAIR OF ROSEWOOD “MODEL 104” ARMCHAIRS by Gianfranco Frattini for Cassina, Italian 1960’s, the bowed backs on tapering supports (2).
€800 - 1200
25 A SET OF FOUR ROSEWOOD MODEL 101 DINING CHAIRS, By Gianfranco Frattini FOR CASSINA, ITALIAN, 1960s, on square legs.
€400 - 600
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26 A SQUARE TWO TIER MIRROR, ITALIAN, 1960s, ATTRIBUTED TO FONTANA ARTE, 98cm square.
€600 - 900
27 A ROSEWOOD SIDEBOARD, ITALIAN, 1960s, with mirrored top above a pair of central cupboard doors, flanked by outset doors, raised on brass capped tapering legs, 216cm (w) x 84cm (h) x 44cm (d).
€1500 - 2500
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28 A FINE PAIR OF UPHOLSTERED EASY CHAIRS, ITALIAN 1950s, with outsplayed arms, upholstered in velvet, on splayed gilt legs.
€1500 - 2000
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29 A PAIR OF UPHOLSTERED PROGETTI OPEN ARMCHAIRS, ITALIAN, BY GIORGETTI, with rounded arms, on tapering outsplayed legs (2).
iorgetti was established in 1898 in the heart of Brianza, just outside Milan. With G its extremely elegant line, The Progetti collection is a series of armchairs and sofas born from the idea of Carlo Giorgetti, who took the cue from an elegant handle of an antique walking stick, to give life to the particular armrest that distinguishes it.
â‚Ź1400 - 1800
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30 AN ADJUSTABLE CHROME DRINKS TABLE, 1970s, possibly by Pace, with three circular swivel tray tops,
€400 - 600
32 THE SIESTA CHAIR AND STOOL, BY INGMAR RELLING, Norway, with cantilevered bentwood frame, canvas seat and leather seat cushions,
T he ‘Siesta Chair’ was Ingmar Rellings masterpiece and won him first prize at the Norwegian Furniture Council Competition in 1965.
€300 - 500
31 A BRASS ARC LAMP, ITALIAN, 185cm high (adjustable).
€300 - 500
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33 Frederick Edward McWilliam RA HRUA 1909-1992 PAS DE QUATRE (1981) Painted plaster, 92" high (234cm). Exhibited: London, Tate Gallery, F.E.McWilliam, Sculpture 1932 - 1989, 10th May - 9th July 1989, cat. no.70, illustrated in the catalogue.
rovenance: The Artist�s Estate; The Mayor Gallery, P London, where acquired by the present owner.
Literature: Denise Ferran and Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, cat. no.475, p.169, illustrated. Following his widely acclaimed series of Women of Belfast and Banners which carried overt political overtones especially within the context of the artist�s birthplace, McWilliam began a more lighthearted group of works in the late 1970s on the theme of Legs. After the representational quality of the Women of Belfast, the Legs took on a more surreal and humorous nature and in focusing on an exclusive part of the body, recalled his early surrealist inspired sculptures such as The Long Arm (1939) and Eyes, Nose and Cheek (1939, Tate Collection, London). In Pas de Quatre, four pairs of dancer�s legs are grouped together in exuberant ‘can-can’ like poses. The alternate monochromatic tones evoke the vibrant music-hall atmosphere of the 1920s and 30s and also create a sense of movement throughout the sculpture; indeed, when the work was originally situated in the artist�s sitting room, McWilliam had placed it on a revolving base so that it could be rotated to suit his mood. The title also references the short ballet choreographed by Jules Perrot in 1845 for the four greatest ballerinas at the time; Lucile Grahn, Carlotta Grisi, Fanny Cerrito and Marie Taglioni. Although the original quartet only danced together in four performances, in the present Pas de Quatre, the four ballerinas are literally reunited in the spirit of dance.
€6000 - 9000
F E McWilliams studio 32
34 MODERN SCHOOL, MOVEMENT, ROTATING SCULPTURE, moulded glass on a stone base, 245cm high (incl base).
€1500 - 2000
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35 Felim Egan b.1952 BARRIER (200) Acrylic and mixed media on canvas, 47" x 47" (120 x 120cm), signed and dated 2000 verso.
Provenance: The Kerlin Gallery, Dublin (label verso).
â‚Ź4000 - 6000
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36 THE TOUCH SHELVES, BY PATRICK O’REILLY, carved ash and bronze, unique, signed and dated 2015, 225cm (w) x 100cm (h) x 35cm (d).
€3000 - 5000
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37 THE EMENTHAL CONSOLE TABLE, BY PATRICK O’REILLY, carved ash, unique, signed, 142 x 90 x 42cm.
€ 2000 - 3000
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38 THE VIADUCT TABLE, BY PATRICK O’REILLY, ash, with carved figure, unique, 210cm (w) x 95cm (h) x 45cm (d).
€2000 - 3000
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39 THE EMENTHAL TABLE, BY PATRICK O’REILLY, carved ash, unique, signed. 155 x 152 x 46cm.
€3000 - 5000
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40 THE BARCELONA CHAIR, ATTRIBUTED TO LUDWIG MIES VAN DE ROHE, 1960s, in cream leather and stainless steel.
€600 - 900
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41 A PAIR OF PANTHELLA TABLE LAMPS, BY VERNER PANTON FOR LOUIS POULSEN, 1971, in acrylic, 71cm (h), bearing makers labels (2). Created in 1971, Verner Panton’s Panthella design is one of his more popular. The basic light principle aimed to create a lamp in which the base as well as the shade would act as a reflector. The lamps light source is hidden under a milky-white, hemispheric acrylic shade and a white, trumpet-like base contributes to a beautiful distribution of light and a well balanced form.
€800 - 1200
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42 A PAIR OF WALNUT LACQUERED CUBE SIDE TABLES, FRENCH, 1970s, each 44cm sq.
€600 - 900
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Makiko Nakamura Makiko Nakamura was born in Kyoto, the cultural Capital of Japan, in the post World War II period, when Calligraphy and traditional brush painting were still more highly esteemed there than Western abstraction. The daughter of a skilled chef, she went to art school and rebelled against the traditional arts. Radical abstraction became her obsession and she exhibited successfully in Japan before travelling to Paris in the time-honoured fashion of older avant-garde Japanese artists, on a Japan Foundation scholarship. There she encountered the profound, economical writings of Samuel Beckett which led her to visit Dublin where she resided and worked for a decade and a half. During her residence here she achieved considerable critical and commercial success, showing at a number of galleries, and her work was purchased for prominent private and public collections. Despite being critical of her homeland she recently returned to live there following on the hardship of the Irish economic recession. Makiko Nakamura is a considerable artist whose international reputation has still a long way to travel, in my opinion. Her grid-based zen minimalist paintings have a quiet beauty that repays repeated viewing. Her severely abstract art is a combination of mathematical order and intuitive, emotional originality. Memory is a fruitful sense of inspiration. The vertical rigid composition of either squares or rectangles is then overpainted by as many as up to thirty different coats of paint of varying colours, before the final form emerges. After this she burnishes the paint surface to achieve a unique metallic finish. She has stated that she likes to paint with black when she is happiest, and considers some of the large black canvas to be her best work. Her white paintings recall for me the pale minimal striped paintings of the great Canadian-American artist Agnes Martin whose ‘blank canvas’ in the Rosc ’80 international exhibition so upset the audience on the Late Late Shows. Martin’s paintings nowadays sell at auction for millions of dollars. In Chinese culture white is the colour of mourning. Nakamura’s own favourite artist of the past is the American minimalist Barnett Newman whose hard-edge linear compositions and close colour combinations spoke to her most deeply. During her sojourn in Ireland she came to admire most the work of fellow artists Ciaran Lennon, Charles Tyrell and Graham Gingles. I think her art has a lot in common with Japanese predecessors Keihi Usami and Koji Enokura, and even with senior Korean abstract painters Lee U Fan and Chung Sang Hwa who all sell for considerable sums of money nowadays in Asian auctions. Makiko Nakamura is likely to join that select group in years to come.
Patrick J. Murphy 16th March 2016
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43 Makiko Nakamura b.1951 WOBBLE Oil on canvas, 16" x 16" (41 x 41cm) signed and inscribed verso.
â‚Ź600 - 900
44 Makiko Nakamura b.1951 ONE Oil on canvas, 16" x 16" (41 x 41cm) signed, inscribed and dated 15th Dec 2003 verso.
â‚Ź600 - 900
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45 Makiko Nakamura b.1951 CHRISTMAS MORNING Oil on canvas, 24" x 24" (60 x 60cm), signed, inscribed and dated 12 November 2006 verso.
â‚Ź1400 - 1800
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46 Makiko Nakamura b.1951 A CHRISTMAS DAY Oil on canvas, 24" x 24" (60 x 60cm), signed, inscribed and dated 25 November 2006 verso.
â‚Ź1400 - 1800
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47 Makiko Nakamura b.1951 CHRISTMAS EVE Oil on canvas, 17¾" x 17¾" (45 x 45cm), signed, inscribed and dated 5th Nov 2006 verso.
€800 - 1200
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48 Makiko Nakamura b.1951 SULPICE - 1 Oil on canvas, 24" x 12" (60 x 30cm), signed, inscribed and dated 24 August 2005 verso.
49 Makiko Nakamura b.1951 SAKURA V (CHERRY TREE) Oil on canvas, 24" x 12" (60 x 30cm), signed, inscribed and dated 24 August 2005 verso.
Provenance: Cavanacor Gallery (label verso).
â‚Ź1000 - 1500
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â‚Ź1000 - 1500
50 Makiko Nakamura b.1951 MEMORY Acrylic on canvas, 48" x 48" (122 x 122cm), signed and inscribed verso.
rovenance: The Tori Collection, P Philadelphia (label verso).
â‚Ź3000 - 5000
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51 Makiko Nakamura b.1951 OBLIVION Acrylic on canvas, 48" x 48" (122 x 122cm), signed, inscribed and dated 1998 verso.
â‚Ź3000 - 5000
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52 Makiko Nakamura b.1951 AN ISLAND Acrylic on canvas, 48" x 48" (122 x 122cm), signed, inscribed dated 9th July 2004 verso.
â‚Ź3000 - 5000
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53 Makiko Nakamura b.1951 UNTITLED - A Oil on canvas, 71" x 71" (180 x 180cm), signed and dated 1995 verso.
â‚Ź4000 - 6000
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54 THE COCONUT CHAIR, BY GEORGE NELSON FOR VITRA, in red, on tubular steel legs, bearing label.
The Coconut Chair, a prime example of 1950s design, is distinguished by its humorous undertones, formal clarity and sparing use of materials. The designer himself, George Nelson, compared the armchair with a coconut cut into eight parts, though he reversed the colours: the outer shell of the Coconut Chair is white, while the one-piece cushion is covered with high-quality leather or fabric in a variety of colours. By evoking the natural, spacious shape of a shell, Nelson created an inviting and comfortable armchair that allows the sitter to assume a wide range of positions.
eorge Nelson is regarded as one of the most important figures in American design. Active as an G architect, a product and exhibition designer and a writer, he was a leading voice in the discourse on design and architecture over several decades.
â‚Ź1000 - 1500
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55 THE LC1 CHAIR, BY LE CORBUSIER FOR CASSINA, chrome plated steel and canvas seat and backrest, stamped by the maker No.62588. The Le Corbusier LC1 armchair by Cassina comes from a collection of avant-garde furniture developed by Le Corbusier, Pierre Jeanneret and Charlotte Perriand in the late 1920s. Then as now the LC1 armchair is characterised by its strict, minimalist form, a form reduced to elementary geometric shapes yet which results in maximum comfort. Largely responsible for the very high comfort levels are sophisticated details such as the movable backrest or steel springs behind the seat and backrest.
â‚Ź1000 - 1500
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56 A LARGE CHROME FRAMED CIRCULAR MIRROR, 1970s, 105cm diameter.
€800 - 1200
57 A GILT LACQUERED CONSOLE TABLE, FRENCH 1970s, 134cm (w) x 81cm (h) x 30cm (d).
€800 - 1200
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58 A LARGE CHROME FRAMED CIRCULAR MIRROR, 1970s, 105cm diameter.
€800 - 1200
59 A DANISH BROWN LEATHER SOFA, in the manner of Borg Morgensen, on tapering legs, 212cm (w) x 75cm (h) 63cm (d).
€800 - 1200
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60 A PAIR OF TALL GLASS VASES, FRENCH, in the form of cocktail glasses, 70cms (h).
€200 - 300
61 A CHROME FRAMED COCKTAIL TABLE, 1970s, IN WILLY RIZZO STYLE, the pull out top revealing a fitted bar interior, on plinth base, 122 x 70cm (closed).
€400 - 600
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62 A GILT METAL HALL TABLE, 1970s, with mirrored shelves, 111cm x (w) x 26cm (d) x 75cm (h).
€300 - 500 63 A BRUSHED STEEL COCKTAIL TABLE, 1970s, with removable top revealing a fitted interior, 122 x 59cm.
€600 - 900
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64 THE EA216 SOFT PAD EXECTIVE CHAIR, BY CHARLES AND RAY EAMES FOR VITRA, bearing label.
65 THE EA216 SOFT PAD EXECTIVE CHAIR, BY CHARLES AND RAY EAMES FOR VITRA, bearing label.
€400 - 600
€400 - 600
American designers Charles (1907-1978) and his wife Ray (1912-1988) Eames made made some of the most iconic designs of the 20th Century. The EA216 was designed in 1969 and was an instant success. It is still sold today by Vitra.
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66 A DANISH ROSEWOOD WALL MIRROR, 1960s, with shelf, 89cm (h) x 48cm (w).
€200 - 300
67 A ROSEWOOD SIDE CABINET, 1960s, with a pair of sliding doors, on square legs, 115cm (w) x 92cm (h) x 43cm (d).
€400 - 600
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68 Ciaran Lennon b.1947 COLOUR COLLECTION (5) Oil on copper, each 9" x 5½" (23 x 14cm), signed and numbered verso, with studio labels.
€2000 - 3000
69 A PAIR OF DANISH ROSEWOOD SIDE CABINETS, 1960s, with two frieze drawers, above a pair of cupboard doors, on tapering legs, 135cm (w) x 83.5cm (d) x 50cm (h).
€1400 - 1800
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70 A SET OF EIGHT ROSEWOOD DINING CHAIRS, FRENCH, 1970s, with shaped backs, on curved supports (8).
€1000 - 1500
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71 A WALL MOUNTED COAT RACK, ITALIAN, with wooden painted spheres, 100cm (w) x 26cm (h).
€100 - 200
72 A DANISH TEAK TWO TIER TROLLEY, 1960s, bearing stamp, 82cm x 45cm.
73 A ROSEWOOD NEST OF TABLES, DANISH, 1960s, on tapering legs, 55cm (w) x 40cm (h).
€100 - 200
€300 - 500
73A James Taylor b.1930 THE ARTISTS TABLE Oil on canvas, 25" x 36" (64 x 91cm), signed and dated 1959. Provenance: Lefevre Gallery, London (label verso). €400 - 600
74 Marco Bronzini, 20th Century REFLECTION Oil on canvas, 39" x 31½" (99 x 80cm), signed and dated 1980.
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€400 - 600
75 Pauline Bewick b.1935 WATERFALL Carpet, 279 x 154cm, signed; signed and inscribed label verso.
â‚Ź7000 - 10000 63
76 Felim Egan GREY ABSTRACT Oil on canvas, 63" x 63" (160 x 160cm), signed and dated 08 verso.
â‚Ź4000 - 6000
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77 Richard Gorman SUPER BLUE – MILAN (2005) Oil on linen, 59" x 59" (150 x 150cm), signed inscribed and dated 2005 verso. Provenance: The Kerlin Gallery, Dublin (label verso).
€5000 - 7000
65
78 AN IMPORTANT SET OF SIX ART DECO DINING CHAIRS, c.1925, BY GAETANO BORSANI, FOR ATELIER BORSANI VAREDO, MILAN, the burr maple backs on maccassar legs, stamped. Gaetano Borsani was the father of Osvaldo Borsani (founder of Tecno) and he started the family tradition of furniture design when he opened Atelier Borsani in Varedo, just outside Milan. A celebrated craftsman of the “bespoke” tradition who, as head of the ‘Altelier Borsani Varedo’ exhibited works and won awards at the Monza Biennial in 1927.
€3000 - 5000
66
67
79 A WALNUT AND GILT DINING TABLE, FRENCH 1970s, in Art Deco style, the rectangular top on a central plinth base, 200cm x 95cm.
â‚Ź2000 - 3000
68
80 A SQUARE WALNUT AND BRASS WALL MIRROR, 1970s, 90cm square.
€300 - 500
81 A WALNUT AND GILT COFFEE TABLE (EN SUITE TO LOT 79), FRENCH 1970s, 125cm x 65cm.
€400 - 600
69
82 A CHROME AND SMOKED GLASS TWO DOOR UPRIGHT CABINET, ITALIAN, 76cm (w) x 140cm (h) x 37cm (d).
€400 - 600
70
83 A GILT AND CHROME SET OF OPEN SHELVES, with smoked glass shelves, 76cm (w) X 105cm (h) x 37cm (d).
84 A GILT AND CHROME SET OF OPEN SHELVES, with smoked glass shelves.
€300 - 500
71
€200 - 300
85 Leo Byrne, Contemporary HOW FOOTBAL EXPLAINS THE WORLD – GRANTHAM STREET, DUBLIN Resin coated photograph, with diamond acrylic mount, 50 x 70cm, signed, ed. 1/30. Seeing the world through the eyes of a young boy, the project explores the environs of Dublin City as a series of playing fields. Every post and pillar, every wall and dustbin becomes a goal. And with it gives the boy, and the viewer, an opportunity to become a sporting hero.
€600 - 900
86 A MACCASSAR FLOATING WALL CABINET, FRENCH, 1970s, 190cm (w) x 65cm (h) x 22cm (d).
€800 - 1200
72
87 Leo Byrne, Contemporary CLAUSTROPHOBIA Resin coated photograph, with diamond acrylic mount, 50 x 70cm, signed, ed. 3/30.
L eo Byrne is a Dublin based photographer. This work won the 2014 Curtin O'Donoghue Emerging Photography Award at The RHA Annual Exhibition.
Other achievements include the Kinsale Shark Silver Award and the ICAD Advertising silver award.
€600 - 900
88 A MACCASAR WRITING DESK, FRENCH, 1970s, with three frieze drawers, on square legs, 180cm (w) x 80cm (d) x 74cm (h).
€800 - 1200
73
89 A CUBIST OIL PANEL, CONTINENTAL, signed with initials, 180cm (h) x 70cm (w).
€600 - 900
74
90 Richard Gorman b.1946 TELEPHONE CONNECTION Acrylic and pencil on board, 120 x 120cms, signed, inscribed and dated ‘Ringsend 1981’ verso.
€600 - 1000
75
91 John Noel Smith b.1952 FIELD PAINTING Oil on canvas, 12" x 24" (30.5 x 61cm), signed, inscribed and dated 2009 verso.
John Noel Smith attended Dun Laoghaire School of Art (1971-76) before traveling to Germany to complete postgraduate studies in Berlin. He lived in Berlin for twenty two years where he was an important member of its vibrant art community. He returned to Ireland in 2002 and he has been living and working in Gorey in County Wexford.
€800 - 1200
92 Patrick Redmond, Contemporary STILL LIFE – FRUIT AND VEG Oil on board, 18" x 24" (46cm x 61cm), signed.
€800 - 1200 76
93 Charles Tyrell b.1950 C1.07 Oil on canvas over timber, 35" x 35" (89 x 89cm), signed and dated 2007; signed, inscribed and dated verso.
Provenance: Taylor Galleries, Dublin (label verso).
â‚Ź3000 - 5000
77
94 Nick Miller, Contemporary MARCH CATKINS Oil on canvas, 22" x 24" (56 x 61cm), signed and inscribed verso.
â‚Ź1400 - 1800
78
95 Vivienne Bogan b.1951 TABLE CLOTH Mixed media, 43" x 44" (109 x 112cm), signed.
€400 – 600
79
96 A CHROME AND GILT SQUARE LOW TABLE, 1970s, 70cm x 70cm x 41cm (h).
€200 - 400
97 A PAIR OF SMOKED GLASS AND CHROME FRAMED ‘WATERFALL’ TABLE NESTS, 1970s, each 44cm (w) x 40 cm (d) x 36cm (h).
€400 - 600
80
98 A PAIR OF SWIVEL DESK CHAIRS, 1970s, on chrome tubular supports.
€300 - 500
99 A GILT METAL SQUARE LOW TABLE, 1970s, on angular supports, 60cm square.
€200 - 400
81
100 A DANISH ROSEWOOD DINING TABLE, BY JOHANNES ANDERSON FOR CHRISTIAN LINNEBERG, with extending leaves to either end, on tapering legs, 125cm x 80cm. €800 - 1200
82
101 A LEATHER LIBRARY CHAIR, BY BRUKSBO, NORWAY, 1970s, bearing makers label. €300 - 500
102 THE CONDOR COFFEE TABLE, BY FREDERICK SCHRIEVER-ABELN, the glass top on an X-frame base, 134 x 88cm.
€700 - 1000
83
103 A FINE SET OF SIX ROSEWOOD ‘UNIVERSE 301’ DINING CHAIRS BY KAI KRISTIANSEN, DANISH, c.1965, FOR MAGNUS OLESEN, with shaped railed backs, on tapering legs, each bearing labels (6).
Kai Kristiansen trained as a furniture maker and finished his apprenticeship in 1948. He was accepted into the Academy of Fine Arts where he studied furniture design under the great Danish designer Kaare Klint. In the mid 50’s he opened his own design office and throughout his career he has been associated with some of the best known manufacturers including Fritz Hansen and Magnus Olsen.
€1000 - 2000
84
104 A SQUARE MIRROR, ATTRIBUTED TO FONTANA ARTE, 77cm square. €400 - 600
105 A SET OF TWO TIERED SQUARE SIDE TABLES, BY WILLY RIZZO FOR CIDUE, with chrome banding, bearing label, each 60cm square, 30cm (h) and 39cm (h). €600 - 900
85
106 Château Lamothe Guignard, Sauternes 2005, 1 case (12 bottles)
B eautiful shiny gold colour. Its nose is complex and intense with a touch of white candied fruits and honey. The mouth is aromatic, harmonious, rich and subtle punctuated with a nice intensity. This wine has a high quality and a good keeping longer than 20 years.
€300 - 500
107 Matt Jones, Contemporary VESSEL Hand turned beech, 28cm (h) x 23.5 (diam), signed.
108 Matt Jones, Contemporary VESSEL Hand turned ash, 16cm (h) x 13 (diam), signed.
€300 - 500
€150 - 250
“Wood is a mysterious material to work with. It moves and breathes, it can crack and warp. Understanding the latent forces within a piece of wood is a vital part of the craft. An interest in trees and the environment is essential. No woodturner that I know wants to see trees cut down, however we have the privilege of taking a freshly felled tree and, working firstly with the chainsaw, then the Lathe and tools, transform the tree into hundreds of useful items or into great art. I work with green wood. That means the timber is still fresh or wet. I turn very thin vessels and then allow them to rapidly dry. This method induces a lot of distortion which becomes part of the design. Balance is very important, I prefer to make the vessels tall with small feet. There is visible tension in the work, a sense that they are about to move or fall, like the tree from which they were created.” Matt Jones 86
109 A PLATINUM DIAMOND PENDANT, 1.77CTS. €7000 - 9000
110 A 18CT DIAMOND AND WHITE GOLD TENNIS BRACELET. €4000 - 6000
87
111 A PLATINUM EMERALD 1.80CTS RING DIAMOND 1.32CTS. €15000 - 20000
112 A 18CT WHITE GOLD DIAMOND AND EMERALD CLUSTER RING 10 DIA = 1.05CTS EM 1.67CTS (approx.). €4000 - 6000
88
113 18CT WHITE GOLD PEAR SHAPE DIAMOND STUDS, .77/.811PTS=1.58CTS F S11 (GIA CERTS). €6000 - 9000
114 18CT WHITE GOLD DIAMOND STUDS, 1.40CTS G/H SI2. €3000 - 5000
89
115 18CT 1.50CTS G/H VS SET I WITH SMALL DIAMONDS. €10000 - 15000
116 11618CT 3 STONE OVAL .91PTS I VS2 IGI CERT SET WITH 2 22PTS EACH AND 12 DIAMOND=.60PTS WT 1.51CTS. €5000 - 7000
90
117 18CT GOLD 3 STONE DIAMOND RING .65PTS G VS. €1500 - 2000
118 18CT WHITE GOLD BCT 10 DIAMOND TOTAL WT APPROX. 2.15CTS G VS. €4000 -6 000
91
119 AN ART DECO BAR BROOCH, 2CT.
120 A 2.2CT DIAMOND AND RUBY RING, FRENCH.
€1800 - 2400
€2500 - 3500
121 A .7 CABACHON SAPHIRE AND DIAMOND RING.
121A 18CT WHITE GOLD DIAMOND AND PEARL ON CHAIN.
€1500 - 2500 €2000 - 4000
92
122 A CLASSICAL COFFEE TABLE, BY PHILIP AND KELVIN LAVERNE, 1972, acid-etched and patinated brass over pewter and wood, 122cm (w) x 91.5cm (d) x 40cm (h), etched signature to top: [Philip K. LaVerne].
Provenance: Philip La Verne Collection & Co., 46 East 57th St. New York (bearing label).
P hilip Laverne (1908-1988) and his son Kelvin (b. 1936) sought to create pieces that were both functional furniture and expressions of fine art. Their approach, their designs, their techniques were unique and thus their works remain instantly recognizable. Supported by wooden frames, the tables and cabinets were clad in bronze, brass, and pewter, which had been cast, carved, etched, incised and patinated.
M ajor surfaces are often covered by low-relief figural scenes inspired by archaeological or art historical sources. Many designs are drawn from Chinese art, while others reflect ancient Greek friezes or even Egyptian wall paintings. Michelangelo’s Creation of Adam from the Sistine Chapel ceiling was also a theme that appealed to the LaVernes.
I n addition to distinctive forms and decoration, LaVerne furniture has a characteristic patina carefully cultivated through processes developed by the furniture makers. One technique involved burying the metal elements in special soil compounds to achieve the appearance of ancient artifacts. While some tables have an overall dark bronze finish, those with decorative surface patterns use the contrast of dark and light metals to make the design pop out for the viewer.
The LaVernes were based in New York, examples were purchased for big city apartments and winter homes in Florida. The price of this table in 1972 of $1800 reflects the interest in their furniture. €2000 - 3000
93
123 A GILT DESK LAMP, 1970s, with angular support and circular adjustable shade, 43cm (h).
124 Michael Casey b.1932 MOTHER AND CHILD Bog yew on stone base, 46cm (h), signed.
€200 - 300 €300 - 500
94
125 A BRUSHED METAL HANGING PENDANT LIGHT, 45cm (w).
126 A SET OF FOUR CHROME FRAMED DINING CHAIRS, 1970s.
€200 - 300
€300 - 500
95
127 A CHROME COAT STAND, ITALIAN, 1970s with spherical hangers, 171cm (h). €300 - 500
127A A PAIR OF GLO-BALL T2 TABLE LAMPS, BY JASPER MORRISON, FOR FLOS, ITALY, each 79cm (h). The simple concept behind the Glo-ball family of lights is to obtain the maximum diffusion of light, this is achieved by the use of hand-blown, etched white opaline glass. The form: a flattened globe appears, like the moon, as a flat disc when illuminated.
96
€600 - 900
128A A CHROME AND GILT STANDARD LAMP, 1970s, BY LUMICA, 135cm (h) (excluding shade), stamped.
€400 - 600
128 A PAIR OF CHROME AND GILT TABLE LAMPS, 1970s, BY LUMICA, each base 62cm (h) (excluding shade), stamped. €600 - 900
129 A MACCASAR LETTER HOLDER, 1960s, 26cm (w) x 14cm (h). €50 - 100 130 A 1960s EXECUTIVE LAMP, CONTINENTAL, the adjustable head with a chrome tubular support, on a circular swivel base, 46cm high. €200 - 400
97
131 A MAPLE AND BRASS MAGAZINE RACK, 49cm (w).
132 A MAPLE AND PEWTER ICE BUCKET, 1970s, 30cm high.
€100 - 200
€50 - 100
133 A SUITE OF GLASSWARE BY KASTRUP-HOLMEGARD, DENMARK, comprising a decanter and stopper and 12 drinking glasses (various sizes), two bearing labels. €100 - 200
98
134 A ROSEWOOD WALL MIRROR, ITALIAN, 1950s, BY DINO CAVALLI, with faceted frame, 63cm sq. €300 - 500
135 A ROSEWOOD CONSOLE TABLE, ITALIAN, 1950s, in the manner of Dino Cavalli, with a pair of frieze drawers on metal forked legs, 120cm (w) x 88cm (h) x 38cm (d). €400 - 600
99
136 Petr Holecek, Contemporary FREE ROCKING HORSE Bronze, 41.5cm (h) x 34cm (w). €800 - 1200
137 A STACKED BAGS SIDE TABLE, BY PATRICK O’REILLY in bronze, 61 (w) x 52cm (h), signed. €1500 - 2000 100
138 Petr Holecek, Contemporary TOO HEAVY ARMOURY Bronze, 29cm (h) x 38cm (w). €800 - 1200
139 Frances Lambe, Contemporary PERFORATED FORM Earthstone clay, 40cm (w). Frances Lambe is a graduate from NCAD. Her work springs from visual research into disparate areas of interest including geography, biology, botany and astronomy. She is fascinated by the visual ‘inter-relatedness’ of life on our planet. Life forms that exist underwater mimic those on land. Visual information distilled from a variety of sources is combined in individual pieces. Observed effects of weathering on surfaces influences the form and texture of the work. €400 - 600 101
140 Michael Cullen, Contemporary PORTRAIT OF THE ARTIST WITH MIRROR Oil on canvas laid on board, 22" x 20" (61 x 56cm), signed. â‚Ź700 - 1000
102
141 Arthur Maderson b.1942 SEPTEMBER EVENING – RIVER DORDOGNE Oil on board, 41½" x 29½" (105.5 x 75cm), signed; signed and inscribed verso. €1500 - 2000
103
142 Louis le Brocquy HRHA 1916 - 2012 HUMAN IMAGE III Screenprint on Velin d�Arches, 40" x 29½" (101.5 x 75.2cm), signed and inscribed ed 50/75.
143 Louis le Brocquy HRHA 1916 - 2012 HUMAN IMAGE 1 Screenprint on Velin d�Arches, 39" x 29½" (100.2 x 75.2cm), signed and inscribed ed 49/75.
Provenance: Fenton Gallery, Cork (label verso).
Provenance: Fenton Gallery, Cork (label verso).
€1500 - 2000
€1500 - 2000
104
144 Louis le Brocquy HRHA 1916-2012 TAIN SERIES – BIRTH Brush lithograph, paper size 15" x 21¼" (38 x 54cm), signed and dated 1969, ed. 32/70.
145 Louis le Brocquy HRHA 1916-2012 TAIN SERIES – LIFE Brush lithograph, paper size 15" x 21¼" (38 x 54cm), signed and dated 1969, ed. 32/70.
€1500 - 2000
€1500 - 2000
105
146 Graham Knuttel, Contemporary UNDER THE SEA Oil on board, 34" x 34" (86 x 86cm), signed, in an elaborate gilt shell encrusted frame. â‚Ź2000 - 4000
106
147 Graham Knuttel, Contemporary FELINES Oil on canvas, 48" x 36" (122 x 91.5cm), signed. â‚Ź2000 - 4000
107
148 AN OAK ARMCHAIR, DANISH, ATTRIBUTED TO FINN JUHL FOR M. NISSEN HORSENS with blue fabric seat.
149 AN OVAL WALL MIRROR, 1970s, 80 x 60cm. €200 - 300
€300 - 500
108
150 A PAIR OF STONE CORINTHIAN COLUMNS, each 109cm high. €200 - 400
109
151 Sarah Walker, Contemporary STANDING NUDE Acrylic on canvas, 62¾" x 25¼" (160 x 64cm), signed and dated 1992 verso.
152 Sarah Walker, Contemporary STANDING NUDE 11 Acrylic on canvas, 62¾" x 25¼" (160 x 64cm), signed and dated 1992 verso.
€300 - 500
€300 - 500
153 Ciaran Lennon COLOUR COLLECTION (3) Acrylic on Aluminium, each 11" x 9" (28 x 23cm). €2000 - 3000 110
154 Evin Nolan, 20th Century YELLOW SPLITS YELLOW Oil on canvas, 30" x 18" (76 x 46cm), irregular shape, signed, inscribed and dated 1972 verso. €200 - 400
155 Ciaran Lennon, b.1947 COLOUR COLLECTION (6) Oil on copper, each 9" x 5½" (23 x 14cm), signed and numbered verso, with studio labels. €2000 - 3000 111
156 Chung Eun-Mo, Contemporary UNTITLED Oil on canvas 12" x 16" (30.5 x 40.5cm), signed and dated 2005 verso. €600 - 900
157 Leopold Nova WHITE SPACE AND TWO TRIANGLES Mixed Media, 18½" x 26" (47 x 66cm) signed and dated 1981, signed and inscribed verso.
158 Felim Egan, b.1952 BLUE MARCH Etching, image size 19¾" x 19¾" (50 x 50cm), signed and inscribed, ed. 13/20.
€600 - 900
€500 - 700
112
159 Louis le Brocquy HRHA 1916-2012 HUMAN IMAGE X111, 2005 Silkscreen, 27½" x 21½" (70 x 54.5cm), signed, ed.35/75. €1000 - 2000
113
Standard Conditions of Business 1. Definitions In these Conditions, de Veres Art Auctions, who act as auctioneers and agents for the vendor, are called ‘the auctioneers’ (which expression shall be deemed to include their servants and agents) and the representative of de Veres conducting the auction is called ‘The Auctioneer’. 2. Third Party Liability Every person at or on the ‘Auctioneers’ premises or at any premises being used by the Auctioneer at any time shall be deemed to be there entirely at his/her own risk and shall have no claim whatsoever against the Auctioneers or their servants or agents in respect of any accident or incident which may occur nor any injury, damage or loss howsoever arising and whether or not same is the subject of any allegation of negligence. 3. General Whilst the Auctioneers make every effort to ensure the accuracy of their catalogue and the description of any lot: (a) Each lot as set out in the catalogue or as divided or combined with any other lots or lots is sold by the vendor with all faults, imperfections and errors of description. (b) Any claim under any Statute must be received in writing by the Auctioneers within three months of the sale. (c) The Auctioneers shall not be liable for consequential or resultant loss or damage whether sustained by a Vendor or a Purchaser or the owner of any item or their respective servants and agents arising in any circumstances whatsoever and irrespective of any claim made by any party as to negligence or lack of care of the Auctioneers or any part acting on their behalf. 4. The Auction (a) The Auctioneer has absolute discretion to divide any lot, to combine any two or more lots or to withdraw any lot or lots from the sale, to refuse bids, regulate bidding or cancel the sale without in any case giving any reason or previous notice. He may bid on behalf of the vendor for all goods which are being offered subject to reserve or at the Auctioneer’s discretion. (b) The highest bidder shall be the buyer except in the case of a dispute. If during the auction the Auctioneer considers that a dispute had arisen. He has absolute discretion to settle it or to re-offer the lot. The Auctioneer may at his sole discretion determine the advance or bidding or refuse a bid. (c) Each lot is put up for sale subject to any reserve price placed by the vendor. Whether or not there is a reserve price the seller has the right to bid either personally or by any one person (who may be the Auctioneer). (d) All conditions, notices, descriptions, statements and other matters in the catalogue and elsewhere concerning any lot are subject to any statements modifying or affecting the same made by the Auctioneer from the rostrum prior to any bid being accepted for the lot. 5. Recession Notwithstanding any other terms of these Conditions, if within 12 months after the sale, the Auctioneers have received from the buyer any notice in writing that in his view the lot is a deliberate forgery and within twenty-one days after such notification the buyer returns the same to the Auctioneers in the same condition as at the time of sale and by producing evidence, the burden of proof to be upon the buyer satisfies the Auctioneers that considered in the light of the entry in the catalogue the lot is a deliberate forgery, then the sale of the lot will be rescinded and the purchase price of the sale refunded. In the event of a dispute then the matter shall be settled by the President of the Institution of Chartered Surveyors in the Republic of Ireland. Both the buyer and the vendor agree to be bound by the decision . 6. Default The Auctioneers disclaim responsibility for default by - either the buyer or the vendor because they act as Agents for the vendor only and therefore do not pay out to the vendor until payment is received from the buyer. Instructions given by telephone are accepted at the sender’s risk and must be confirmed in writing forthwith. 7. In the event of a sale by private treaty both the vendor and the buyer agree to be found by these and any Special Conditions of Sale. 8. Retention of Title All goods remain the property of the vendor until paid for in full. The Auctioneers will not assume liability to discharge nett proceeds arising from the sale of goods until those goods have been paid for in full.
VENDOR’S CONDITIONS 9. Instructions All goods delivered to the Auctioneers’ premises will be deemed to be delivered for sale by auction and will be catalogued and sold at the discretion of the Auctioneer and accepted by them subject to all the Sale Conditions. By delivering the goods to the Auctioneers for inclusion in their auction sales the vendor acknowledges that he or she has accepted and agreed to be bound by all these Conditions. 10. Collection and Deliveries The Auctioneers do not normally undertake the packing, collection or delivery of goods but will if requested use their best endeavors as Agent of the Owner to arrange for an independent contractor on the owner’s behalf to deal with packing, collection and/or delivery. The Auctioneer will not in any event arrange insurance of the goods and will accordingly not be liable for any loss or damage to goods howsoever arising including breakages or for any damage to premises, fixtures or fittings therein caused by such contractor or otherwise and the owner is responsive for all arrangements to verify that any such contractor and the goods is/are appropriately insured. Unless instructions are received to the contrary, charges (including VAT) for such services will be charged to the vendor’s account or discharged through the Auctioneers by the purchaser as the case may be. The Auctioneers’ liability (if any) will rise only where they themselves carry out packing and collection/delivery and only in the case of breakage or loss caused through deliberate negligence of their employees and in any event in one single contract and the Auctioneers’ liability will not exceed £500. Provided further than the Auctioneers will not be liable for consequential loss in any circumstances whatsoever. 11. Loss or Damage and Storage The Auctioneers reserve the right to store or arrange for the storage of goods held by them or delivered to them either on their own premises or elsewhere at their sole discretion and entirely at the owner’s risk. The Auctioneers shall not be liable for any loss (including consequential loss) howsoever caused of damage to goods of any kind including breakages, or for unauthorised removal of goods. Should the owner of goods so wish it will be his/her goods while they are in the possession of the Auctioneers. 12. Right to Re-sell The Auctioneer reserves the right to re-sell any item which has not been collected within thirty days of purchase. 13. 3% commission due to saleroom.com for lots purchased using Live Bidding. 14. Payment: Cash, bankers draft or cheque. With the exception of American Express, Credit cards are also accepted, subject to a charge 0f 1.5% on the invoice total. Debit and Laser cards are also accepted, at no charge, but are subject to daily limits as determined by your bank. TERMS Purchaser 1. 25%+ VAT will be added to the hammer price for each lot. 2. All accounts must be discharged by certified cheque, bank draft or cash. 3. The responsibility for items purchased passes to the purchaser on the fall of the hammer. 4. The Auctioneers reserve the right to look for 25% deposit on all goods. VAT Regulations: All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers’ premium must be invoiced at a rate which is inclusive of VAT. This VAT is not recoverable by any VAT registered buyers. 114
115
ART AUCTIONEERS & VALUERS
35 Kildare Street, Dublin 2. Tel: 01 676 8300 info@deveres.ie www.deveres.ie 116