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Lot 534
A pair of bronze vases of hexagonal form, with central cloisonné enamelled medallion, in the Chinese style in shades of blue, red, yellow and white etc, flanked by a pair of scrolling handles in the form of stylised elephants, each marked to base K I & Co, set within a diamond shaped mark, 30cm tall approx
Lot 560
A good quality 19th century tea caddy of rectangular form with hinged lid, with flamed mahogany veneers, the flush fitting bronze handle stamped C G S, the lid revealing a central blue felt lined well flanked by a pair of caddies with hinged lids, with frontal lock and circular lock escutcheon, 15 cm tall x 28 cm wide approx
Lot 582
A Victorian burr walnut veneered jewellery box of domed rectangular form containing old European and United States maps, the hinged lid revealing a divisional interior together with a further 19th century veneered divisional box with parquetry detail, a tall pair of antique brass candlesticks, an old copper kettle, silver plated cruet stand with clear glass bottles, a good quality heavy bronze lidded tobacco jar the finial lid in the form of a hand clutching a pipe, etc
Lot 620
A weighted pair of cast bronze candlesticks in the form of classical Corinthian columns raised on stepped square bases, 19 cm tall approx together with a lacquered timber pen box with hinged lid and painted foliate decoration, also together with a timber cribbage box containing two unopened contemporary card decks
Lot 653
A good quality pair of 19th century bronze vases, each of classical baluster form decorated with high relief trailing ivy, each neck flanked by a detailed pair of deer masks, each raised on polished marble and slate bases of cylindrical form, each standing 31 cm tall approx (when unified) (care please when handling, one base is loose)
Lot 109
Rory Breslin (b.1963) MASK OF THE BARROW, 2014 bronze; (no. 1 from an edition of 3) signed, dated and numbered by left ear 35 x 16in. (88.90 x 40.64cm) The Mask of the Barrow is a larger than life-sizeadaptation of Edward Smyth's River-God keystonedepiction on the South facade of Dublin's CustomHouse.The inherent symbolism presented in the workconjures the characteristics of the Barrow. Its visagepresents an ill-humoured and almost sullen facesuggestive of a slow-flowing river. The mouth isdrawn down at the corners and exudes many smallfish and water weeds which mingle with the beard.Above its broad and blunt nose, the top of the headis adorned by the fell of a sheep, whose fore-legshang down in front of two inverted vases, typicalclassical symbols of springs of water. The Barrowwas renowned for its fisheries and there is thepossibility that there were many sheep walks on it'sbanks. The twin vases, with the evocative waterflowing from their mouths suggest that it is in it'slower course after it has received the waters of the Nore. The Custom House was the first major publicbuilding built in Dublin as an isolated structure withfour monumental façades. It is often consideredarchitecturally the most important building in Dublinand is sited on the river front with Beresford Place tothe rear. The site chosen for the new Custom Housemet with much opposition from city merchants at thetime, who feared that its move down river from itsoriginal site at Essex Quay would lessen the value oftheir properties while making the property ownersdown river wealthier.Designed by James Gandon, the Custom Housewas completed in 1791 at a cost of nearly half amillion pounds. There is a strong Irish theme to thesculpture with the Irish rivers being symbolised andHibernia in the main pediment sculpture. Given thatthere was an Irish Parliament at this time, the buildingis a demonstration of the aspirations of the Irishmenwho were responsible for running the country at thistime. The Barrow keystone, one of fourteenemblematic renditions of the larger rivers of Ireland, ispositioned to the far right of the portico facing theLiffey. The River-Gods have survived the fires of 1789and 1883 and the most devastating fire of 25 May1921. Breslin's approach to the work is that of a composerto a past and perhaps over-looked precious musicalcomposition. The score of the head is adhered to,while the rhythm and cadence of the features aresubtly under-stressed or emphasised to enhance themetrical pattern of the finished bronze mask.
Lot 110
Angela Conner (British) CELEBRATION, 2001 bronze; (limited edition of 25) signed, numbered and dated at the base 8½ x 13in. (21.59 x 33.02cm) Bought directly from the artist in London by the present owner Depth: 13ins, with glass vase incorporated into centre of the work.Celebration was originally conceived for an ILPH Ball Fundraiser for the World Horse Welfare. Another example of Celebration was purchased by the late Duke of Devonshire. Angela Conner has created sculptures in a range of diverse materials, including stainless steel, marble dust, carbon fibre, resin, gold, silver, slate and glass. She has substantial international experience and is particularly known for her kinetic sculpture. Conner's sculptural works in Ireland include several large scale works such as Wave located in Parkwest, Dublin; the tallest water and wind sculpture in Europe. In April 2009 a major large-scale sculpture by the artist, entitled Patefaction, was installed on Grafton Street, Dublin as part of a temporary Public Art Space Programme, organised in conjunction with Dublin City Council. Her work is held in numerous private and public collections internationally, including the late Lucien Freud and several members of the Royal Family, the Arts Council England, the National Portrait Gallery, the Sculpture Gallery at Chatsworth, 10 Downing Street and the Carnegie Museum of Modern Art in Pittsburgh, among others. For further information on Conner’s work see: www.angelaconner.co.uk
Lot 264
Six handbags in mainly bronze tones, 1950s-early 60s, comprising; a Llewellyn Inc. shell-shaped lucite example; two by Kurt Chambré with hand-painted designs; two basket-shaped examples with lucite handles and another shaped like a Chinese take-out box (6) CONDITION REPORT: ·Good condition overall, no cracks to lucite examples·Shell-shaped bag - slight rubbing to faux mother of pearl finish to exterior (minor)·Chinese take-out box - scuffing to base, rubbing to cardboard interior and make-up smudge, otherwise good·Bronze box shaped - slight rubbing to bronze exterior finish, tarnishing to hardware (minor)·Basket-weave - good condition, no problems·Two Kurt Chambré - light rubbing to corners of bases and scuffing to interior of 'Highstreet' example from gentle use (minor), good
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