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Preisdatenbank abonnieren5x Assorted small head socket neck woods to incl stripe top spoon stamped D R Jones, 2x brassies both by R Forgan St Andrews, another small head brassie with decorative brass shield attached to the crown (bent shaft), and a light stained driver stamped FAN to the crown - all fitted with grips
Exquisite combination of Provence Lavender and blue violet petals with Jonquil and light Topaz center, rhodium stem, and sparkling water leaves with clear crystal drops. Swarovski impressed mark on rhodium stem. 1141630. Artist: Anton HirzingerIssued: 2012 - 2016Dimensions: 4"L x 3"W x 3.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Clear faceted crystal figure of an orchid with a light yellow pistil. Swarovski mark. Item number 7478NR000002. Part of the Exquisite Accents collection. This item has its original box: 5"H x 6"dia. Certificate of Authenticity included. Dimensions: 3"L x 2.5"W x 2"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Beautifully cut block crystal cross with domed crystal base is part of the Symbols of Light category. Center rhodium metal is used for stability. Swarovski backstamp. 7512 000 001. This item has its original box: 7.5"L x 8"W x 3.5"H. Artist: Stefano RicciIssued: 2001 - 2005Dimensions: 4"L x 3.5"W x 7.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lovely, multi petaled holder is stunning and crystals reflect and shine under light. Swarovski backstamp. 7600 125 000. This item has its original box: 7.5"L x 8"W x 7.5"H. Artist: Max ShreckIssued: 1979 - 2020Dimensions: 5"L x 5.5"W x 3"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Clear faceted crystal figure of an orchid with a light pink pistil. Swarovski mark. Part of the Exquisite Accents collection. This item has its original box: 5"H x 6"dia. Issued: 1998-2007Dimensions: 3"L x 2.5"W x 2"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Sean Keating (1889-1977) “Village on the Aran Islands,” c.1950, oils on board, 44cms x 61cms (17” x 24”), Signed lower right 'Keating'. In 1911, having won a scholarship to the Dublin Metropolitan School, Sean Keating moved from his home city of Limerick to Dublin. Settling into his studies, he quickly developed a life-long regard for his tutor William Orpen, whose style of Realism, tempered by Impressionist and Romantic overtones, Keating adopted. Orpen reciprocated this admiration, recognising his pupil's talents as a draughtsman, and employed him as an assistant. Keating also appears in several paintings by Orpen. However, Keating was torn between the world inhabited by Orpen, who had a successful portrait practice in London, and his own wish to capture the spirit of his native country, as it emerged from centuries of British rule. In 1914, Keating was introduced to the Aran Islands by his friend and fellow student Harry Clarke. Although Keating was low in funds, Clarke assured him that he could live inexpensively on Inis Oirr, the smallest of the islands. Thereafter, although he worked as an assistant for Orpen in London, Keating was drawn to paint landscapes and genre scenes on the Aran Islands. The introduction of conscription in England in 1916 helped him to make up his mind, and he returned to Ireland permanently. In spite of Keating's efforts to persuade Orpen to go with him, the latter opted to remain in London, and was commissioned as a war artist. Over the years Keating continued to visit the Aran Islands, in an attempt to capture what remained of a pure, Gaelic heritage, free of modern consumerist influence. However, that very purity and authenticity was what drew visitors to the Islands, and in time, tourism came to replace farming and fishing as the mainstay of the islands' economy. In this painting, probably depicting a scene on Inis Oirr, the smallest of the islands, Keating picks out a view of houses above a landscape of dunes that is clearly being eroded by storms and rain. A fragile sward of green turf is receding, as sand is blown away, exposing rocks that litter the gully in the sands. Although highlighting the fragility of the islands' ecosystem, the painting is nevertheless a wonderful evocation of a fine windy day in the West of Ireland, painted with delicacy and skill. Keating draws with his paint brush, tracing the lines of the landscape, and suggests, rather than paints in detail, the areas of green grass. The light ochre underpainting is left exposed in several areas. Set on a ridge above sand dunes, the village is the same as that depicted in the background of a larger painting by Keating, Waiting for the Steamer. Dr. Peter Murray, 2022 Provenance: Formerly in the collection of An t'Athair Eric Mac Fhinn (1895-1987) of Galway, Patron of the Arts & Noted Scholar.
Silverware: A pair of Elkington & Co. rococo style Bachelor Candlesticks, a Georgian style oversized single plated Candlestick, an Art Nouveau plated three light Candelabra, a tubular plated Vase, a pierced decorated circular plated Bowl with swing handle, a silver Tuliper, and a Tiffany Spoon with crest and initials, as a lot. (1)
Leo Whelan (1892–1956) (Attributed to) "Portrait of a Girl c. 1930," O.O.C., approx. 49cms x 39cms (19 1/2" x 15 1/2"), in later ornate gilt frame. (1) The attribution of this portrait of a young girl to Leo Whelan is based on several factors, not least the skill displayed in the handling of paint, the sense of quiet introspection, and the dramatic use of light to illuminate the sitter. Dressed simply, in a shirt and yellow apron, a girl is depicted in a moment of reverie, looking downwards. The style and subject matter can be compared to the paintings of William Orpen, who taught at the Metropolitan School of Art, in the first decade of the twentieth century, when Whelan was a student there. Among Whelan’s fellow students were Sean Keating, Margaret Crilly and Patrick Tuohy. In 1911 he exhibited for the first time at the Royal Hibernian Academy, and five years later was awarded the Taylor Art Scholarship. Over the succeeding years he went on to become one of Ireland’s leading portrait painters; among his sitters were Michael Collins and Harry Boland. Elected a member of the RHA in 1922, he showed annually with the Academy until 1956. Whelan often demonstrated his skill as a Realist painter by depicting moments of everyday life, with single figures pausing for a moment of reflection. His handling of light, and ability to depict textures and surfaces, is reminiscent of Orpen. His parents, and later his sisters, ran a small hotel at the family home at 65 Eccles Street, and Whelan often used family members as models, with the kitchen and rooms of their home as a setting. In later years he also had studios on Dawson Street, and Lower Baggot Street. Peter Murray 2024 Provenance: The Burke Family, Clonmel, Co. Tipperary.
An important large pair of 19th Century French bronze and ormolu seven light Candelabra, with cherub supports, the rustic design branches with vines and grapes interwoven, supported by cherubs on rock holding an urn, surmounted on circular bases with out scrolled leaf decorated legs, each approx. 76cms (30") h. (2)
1975 Dom Perignon 1x75cl The bottle is packed in the original gift box, however, this is badly damaged. Stored in a fine Lincolnshire Cellar for 30 years. This bottle looks in fine condition, the colour is light and bright with an obvious mousse. Perfect for an important anniversary next year.
Corgi - 2 x limited edition trucks in 1:76 scale, Volvo FH curtainside in Pollock Scotrans livery # CC18001 and Scania R Topline fridge in Scott Trawlers livery # CC18102. Both appear Mint with mirrors and certificates in Very Good boxes with light storage wear. (This does not constitute a guarantee) [ba-2]
Dinky - 2 x boxed models, Coles Mobile Crane # 571 and a 20 Ton Lorry Mounted Crane # 972. They both show signs of light play use and appear in Good overall condition, the string has broken on 571 but the hook is still present. The boxes are Good. (This does not constitute a guarantee) [ba-2]
ENGLISH SCHOOL, 19th century. A collection of 37 watercolour paintings of Italian views, most inscribed & dated 1873 in pencil, each image approx. 20cm x 30cm, in matching glazed white-painted wooden frames; and two coloured lithographs in similar frames. (the frames part un-glazed (2) and worn, some paper slightly discoloured/light foxing, colours overall good).
TWO GENTS WRISTWATCHES AND COSTUME BEAD NECKLACES, the first a gents 'Seiko Automatic', round silver dial signed 'Seiko Automatic, Diashock 17 jewels', baton markers, in a polished stainless steel case, case back signed 'Seiko Sportsmatic Full Autowinding, 6601-1990, 6400233', approximate case width 36.6mm, fitted with a stretch link bracelet, the second a manual wind, 'Oris' 17 jewels watch, round silver dial, baton markers, case back signed Oris, approximate case width 34.6mm, fitted with a stretch link bracelet, together with three costume bead necklaces (condition report: both watches currently working, although time keeping has not been tested, general light wear, we cannot guarantee the working order of any watch)
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