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Click here to subscribeArchibald Knox for Liberty and Co., an Arts and Crafts silver and enamelled hanging purse, William Hair Haseler, Birmingham 1905, the purse with spring loaded hinged flap opening to reveal a green leather pouched interior, embossed with a Celtic knot in red, green and blue enamel, suspended on two chains from an open knotted tendril belt hook, 13.5cm long
An Arts and Crafts oak and copper mantle clock, the cuboid case with shallow domed pediment top supported on tapered and splayed acanthus capital pilasters, applied with a repousse dial of fret cut foliate frame and Arabic numerals, above a relief carved Celtic panel of entwined dragons, 33cm high, 29cm wide 18cm deep
Iron age coin die/potin matrix. The Portable Antiquities Scheme record for this die, SUR-08FD05, states:A copper alloy die matrix used to create casting moulds for the production of Soissons Eye Boar type potins, which are typically identified as a Continental/Belgic import type originating from the Soissons region of Northern France, c. 60-20 BC. The die face is in relief and shows the reverse of the potin which comprises a boar with pellet-in-annulet and arc of pellets below, possibly depicting a neck torc. The design is as ABC 85; BMC Celtic Coins III, 444-447; Delestree and Tache I, 530-531A. See PUBLIC-D2189D for an example of this coin on the PAS database.This matrix has a positive image in relief which is a copy of the image on the finished coin. Consequently it could not be used as a die to strike coins (which would consequently be incuse), but rather had another application such as to produce casting moulds for cast potin coins, potentially in large numbers. The other end of the die has a break, possibly from a casting sprue.Notes: The Suessiones "six peoples" lived around the river Aisne (Axona "river"). their capital: Noviodunum "New Fort" modern Soissons (Aisne, Picardy), which is named after the tribe.This is a find of note and has been designated: National importance. https://finds.org.uk/database/artefacts/record/id/949108Iron age Celtic coin dies are extremely rare finds with only a handful known from Britain, mostly for Gallo-Belgic issues. A die for striking Gallo-Belgic A (Ambiani) staters KENT-2EEAF0 recovered at Bredgar, Kent is of similar cylindrical form to the current example and also has a scar from a casting sprue at the butt end.Found near Basingstoke, Hampshire in 2019.For further information see.Rudd, C, Another forger in Hampshire? https://coinsweekly.com/another-forger-in-north-hampshire/Mac Gonagle, B, Observations on the First British Coins (and forgeries)https://www.academia.edu/11180222/Observations_on_the_First_British_Coins_and_forgeries_
Roman Silver Cube Pendant. Circa, 4th century AD. Silver, 1.2 grams. 5mm x 5mm x 5mm, loop 8mm. The cube is perforated through two faces and has a loop of silver wire passing through them. The other four faces are decorated with engraved designs of a capricorn (half fish/half goat), a helmeted head (Minerva?), a waterbird and a dolphin. Ref: Mills, Celtic & Roman Artefacts. p. 111. fig. RB346.
Roman Peacock. Circa, 2nd-4th century AD. Copper-alloy, 8.95 g, 37.38 mm. A protome in the form of a peacock with a tall crest on its head, no tail but a rivet in its place. Thought to be mounts from caskets or lamp stands. The peacock was a cult emblem of Juno who was the consort of Jupiter and mother of Minerva. Ref: Mills, Celtic & Roman Artefacts. p.129. fig. RB409.
Evie Hone HRHA (1894-1955)CompositionOil on canvas, 84 x 105.5cm (33 x 41½'')Provenance: Sale, de Vere's, Dublin 15/06/2010, lot 15Every day, Evie Hone’s work is viewed by the pupils of Eton College. In 1948 Hone won the international competition to design a replacement of the huge east window in Eton College Chapel which had been destroyed in the war. In a masterwork of deep colours, Hone depicted the Crucifixion and the Last Supper and it was, according to Anne Crookshank, ‘one of the most exciting commissions of the period in these islands’. And Hone’s stained glass window My Four Green Fields, exhibited at New York’s World Fair in 1939, now illuminates the main staircase in Government Buildings.Eva Sydney Hone was born in Dublin on 22 April 1894 and belongs, in Nicole Arnould’s words, to ‘the Hone family which has provided Ireland with a number of gifted artists [Nathaniel Hone and Nathaniel Hone the Younger] over the centuries’. Tate Britain cites Evie Hone as ‘an outstanding religious painter of modern Ireland and a stained glass artist of international stature’ and her watercolours, oils and gouaches complement the windows she designed for Catholic and Protestant churches and secular institutions throughout the country.Having contracted polio as a child, Hone suffered ill-health throughout her life but she was determined to be an artist. She studied at the Byam Shaw School of Art, an independent art school in London, at Westminster School of Art and was also instructed by Walter Sickert. She worked with Bernard Meninsky who advised her to go to Paris where she and fellow-artist Mainie Jellett, in the early 1920s, were taught by André Lhote, a Cubist, and, later, she worked with Albert Gleizes whom Jellett described as ‘the leader of the most severe type of abstract work without any realistic basis’. Gleizes showed Hone and Jellett what he termed ‘the substantial, rational explainable method of building up a picture without having recourse to representation’.Deeply spiritual, Hone, in 1925, when she was thirty-one, entered an Anglican convent in Truro, Cornwall and spent two years there. Following her time in the convent, Hone converted to Roman Catholicism but returned to painting in early 1928 and in 1931 Hone joined An Túr Gloine [The Tower of Glass] a stained-glass artists’ co-operative, which Sarah Purser had founded in 1903. Hone began concentrating on making stained glass from 1933 and in Marley, in the 1940s, following the closure of An Túr Gloine, Hone set up her stained glass workshop.When Abstraction-Création, was founded by eight artists in Paris, in 1931, to mark non-figurative art, Hone was invited to contribute and write a manifesto. Hone wrote to Gleizes and Bruce Arnold sums up Hone’s manifesto with its three objectives as follows: ‘The first is the satisfaction of the artist’s sense of beauty through colour and form used in harmony and deriving life and rhythm from the painting itself. The second is the justification of the artist’s spiritual nature through an entirely new dependence – on form, on rhythm, on colour. The third was an approach to truth which she related to Irish roots in Celtic art, the abstract motivation of which she saw as a purifying condition.’ These ideas find expression in Evie Hone’s Composition. Though undated there is no doubting that this oil on canvas is a major work of pure form and colour. Within the frame, Hone has outlined her own frame in dark green, deep ochre, black. Within this rectangular shape the work is alive with a dynamic harmonious energy and, as its title suggests, Composition celebrates what Hone identifies as colour and form in what is both a circular and asymmetrical structure. According to Brian Fallon, Hone, ‘courageous and independent-minded’ is ‘gifted with energy’ and that energy is seen here in the circular motion, the assured command and choice of colour, in that delicate, squiggly, playful line lower-right. This painitng would make a brilliant abstract stained-glass window and represents what Dorothy Walker ‘the inimitable pioneering work’ of Evie Hone. Bright colours, yellow, orange, red, dominate but varied blues and greens, purples and browns create a marvellous contrast as the eye follows the composition’s concentric movement and enjoys the many different shapes as Hone builds her picture with rhythmic brushwork.Evie Hone lived in the Dower House, Marlay, Rathfarnham and was one of the founders of the first Irish Exhibition of Living Art in 1943. She died on 13 March 1955 and by then this avant-garde artist had created an impressive body of work including this distinctive and unique Composition.Niall MacMonagle, October 2021
[AP] A RARE 24 BORE SCOTTISH FLINTLOCK BELT PISTOL BY ALEXANDER MURDOCH, CIRCA 1780 with brass barrel formed in three stages and engraved with traditional Celtic scrolls and foliage, flared at the muzzle, signed ~Alexandr Murdoch~ in capitals within a series of flutes at the breech and incorporating the back-sight behind, etched iron lock decorated with thistle flowers and foliage, full brass stock decorated en suite with the barrel, inlaid with a pair of engraved silver panels beneath the lock, lobe shaped butt decorated en suite, silver-capped brass trigger, iron belt hook and associated iron ramrod 18.5 cm; 7 1/4 in barrel This appears to be the second extant pistol by this maker, the other, formed of steel, is preserved in the National Museum of Scotland, Edinburgh (Museum reference H.LH 5). See Kelvin 1996, p. 99 and Whitelaw 1923, p. 105. The lock appears to have been decorated and updated in the mid-19th century for dress purposes. Part proceeds to benefit Westminster Abbey
Football Autographed Tommy Gemmell 16 X 12 inch Photo Black And White, Depicting The Celtic Fullback And Jimmy Johnstone Celebrating Following A 0. 0 Draw With Dukla Prague In The Second Leg Of The 1967 European Cup Semi-final In Prague, Celtic Advanced To The Final 31 On Aggregate, Signed By Gemmell Only In Fine Blue Marker. Good condition Est.
Football - autographs mid-20th century, Rangers FC including Jim Baxter, John Greig, Max Murray; Celtic including Jim Kennedy, John Miller, Joe Murray, Mike Jackson; Hearts FC including Jim Cruickshank, Jim Walter, Jim Rodgers, Alan Gordon; Hibernian, Billy Wilber, Pat Hughes, John Young; others in an album
Limited to 500 Copies Only Book of Kells: Evangeliorum Quattuor Codex Cenannensis, Book of Kells. 3 vols. folio Berne (Urs Graf) 1950. Lim. Edition, No. 315 of 500 Copies Only Complete facsimile, with fine mounted coloured plts., first 2 volumes in full vellum, with Celtic decor., the third volume in vellum backed boards, all in fine clean orig. condition, & in original cardboard shipping boxes. (3)
In Fine Craft Binding O'Curry (Eugene) Lectures on The Manuscript Materials of Ancient Irish History, 8vo D. 1861. First Edn., hf. title, 26 fac-simile plts., recent full green mor. gilt fillet borders, doublures & gilt Celtic designed spine in panels, by Bayntun Riviere, in slipcase. V. desirable copy. (1)
Bindings: Rolleston (T.W.) Myths & Legends of the Celtic Race, L. 1919, cold. & other plts. & 2 others sim.,, uniform hf. mor. by Bumpus, Lond.; Macaulay (Lord) The History of England, 5 vols. L. 1865, cont. full diced calf, git spines, mor. labels; The Miscellaneous Works of Oliver Goldsmith, roy 8vo L. n.d. [c. 1860], cont. hf. calf; & 11 others sim., all hf. or full calf or mor. many signed bindings, 22 vols in all, all v. good. (22)
The Book of Kells - Most Sumptuous Edition Facsimile - Verlag, Luzern, Publishers: The Book of Kells, the most precious illuminated manuscript of the early Middle Ages, now reproduced, the FIRST AND ONLY COMPLETE FINE ART FACSIMILE EDITION, published by Authority of the Board of Trinity College, Dublin. Lg. thick 4to, Luzern 1990, LIMITED EDN. (1480), in fine white tawed leather over wooden boards. Contained in a specially created presentation box, the embossed surface with blind & gilt tooled Celtic decoration and silver and brass mounts. Together with a large Commentary Volume, with illus., leather backed cloth, and orig. advertising portfolio. An unique opportunity to acquire a complete facsimile of one of the Worlds greatest Art Treasures. As a lot. (1)
Irish Arch. & Celtic Society: Reeves (Wm.)ed. The Life of St. Columba, .. Written by Adamnan. 4to Dublin 1857. First Edn., engd. map frontis, L.S. on title, fold. tables, orig. cloth rebacked; Smith (John) The Life of St. Columba, The Apostle and Saint of the Ancient Scots and Picts., and Joint Patron of the Irish. 8vo Edin. 1798. First Edn., mor. backed boards. Scarce. (2)
Irish Political: Dempsey (Joseph) printer, a broadside Poster "Home Rule Souvenir," decorated with typical Celtic motifs, shamrocks and pen pictures of political leaders including Parnell, Grattan, Redmond, O'Connell, etc., with The Irish Houses of Parliament in centre, approx. 39cms x 30cms (15 1/4" x 12") Belfast (J. Dempsey) c. 1922, mounted. Scarce. (1)
Concerning the Publication of His First Book MacSwiney (Terence) A long and interesting ALS to Fred Cronin, 27.5.[19]06, 12 pp (three folded sheets), with associated envelope, discussing his plans to publish his first collection of poetry, The Music of Freedom (1907), for which he had obtained costings from Guys (of Cork) and Gills. The estimate for 1,000 copies in cloth gilt came to £33, to be paid in advance, which he confesses 'has staggered me not a little', and Guy's representative also raised queries about the content. 'Moore asked me .. did it not advocate armed resistance? I said it depended on the moral he drew from it! He laughed. He then raised the question of trouble with - what do you think? - the Church! I said there would be no trouble with the Church, as long as I believed in the Church I would write nothing against it. He said of course .. But things are peculiar in Ireland, and there was - the Peasant! He actually brought up the suppression of the 'Peasant'! I told him some of those who disapproved most strongly of that suppression were priests, which seemed to surprise him ..' Also mentions other projects, the Craobh, the Celtic [Literary Society], etc. [Note: Cronin is addressed here as 'Conchubhar', the name he used when writing in Irish]. MacSwiney's collection, The Music Of Freedom, was published in 1907 under his own imprint, The Risen Gaedheal Press, printed by Guys of Cork, under the pen-name 'Cuireadir' ('Sower of seed'). He got his chosen Irish Vellum paper and cloth gilt binding, with the United Irish harp on front cover, but it is very unlikely that 1,000 copies were issued, as the book is rare; about 300 is more likely. A copy is included with this lot. 'For victory Is not in life alone, but in the strength That masters life to serve a noble purpose. And they have won their fight most gloriously, Who flung their lives with passionate resolve Against tyrannous empire; who in falling Did fire a million sleeping breasts to life ..' [p. 67] Provenance: Cronin Collection
Stokes (Prof. Geo. T.) Ireland and the Anglo-Norman Church, 8vo Lond. 1892, and Ireland and the Celtic Church, 8vo Lond. 1888, both Second Edn., t.e.g., cont. hf. mor.; also Stokes (Margaret) Three Months in the Forests of France, 4to Lond. 1895. First Edn., frontis plts. & illus., fine full crimson mor. by Riviere. (3)
Munster Athletic Championships 1899 Medals: G.A.A.: Athletics, Munster Championship (Waterville) a 9ct gold Celtic Cross Medal, the obverse with green enamel overlay and inscribed 'Gaelic Athletic Association, and Eire', the reverse inscribed 'Waterville Athletic C. & C. Sports 4th July 1899, 220 Yards Championship of Munster Maurice Fitzgerald,' hallmarked, converted to a Brooch; together with its silver companion, inscribed '100 Yards Championship of Munster won 2nd, Waterville A & C. & C. Sports, 4th July 1899,' hallmarked, as Medals, w.a.f. (2)
1915 All-Ireland Football Winners Medal: G.A.A. Football, 1915 (Wexford), 9ct gold Celtic Cross Medal, the obverse with pierced and scroll design and inscribed 'Cumann na gCleas luit Gaedhael,' and 'Eire' across the centre, the reverse inscribed, "All-Ireland Football C'ship, won by Wexford 1915," hallmarked. (1) * This was the first of four consecutive wins for Wexford. They prevented Kerry winning a three in a row on a score line of 2.4 to 2.1 with goals from Jim Byrne and Aiden Byrne. Sean O'Kennedy captained Wexford. The match was attended by 27,000.
A silver cigarette box, CSG & Co, Birmingham 1959, with engine turning and celtic decoration and cedar lined interior, 16cm wide, together with a silver toast rack, makers mark obscured, Birmingham 1922, 10.5cm long and a jewellery box, Adie Brothers, Birmingham 1959, of oval form with engine turned lid and scroll feet, 12cm wideCondition report: Surface scratches and knocks to all pieces, slightly heavier dents to the cigarette box
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![[AP] A RARE 24 BORE SCOTTISH FLINTLOCK BELT PISTOL BY ALEXANDER MURDOCH, CIRCA 1780 with brass barrel formed in three stages](https://cdn.globalauctionplatform.com/5810e383-7ca3-4676-b7c8-ade200b9947a/d8dd3827-ca08-49c0-9f03-ade200c3ee9e/468x382.jpg)
![Concerning the Publication of His First Book MacSwiney (Terence) A long and interesting ALS to Fred Cronin, 27.5.[19]06, 12](https://cdn.globalauctionplatform.com/6e4c89b0-9e21-45b6-97ed-ade100bf2b2d/909c2a38-43ff-4291-aa54-adf00097f923/468x382.jpg)
