A collection of five pieces of Japanese satsuma ware to include small oxide red ground and gilt decorated gourd shaped vase, 8.5 cm high, a small cylindrical vase decorated with panels of figures raised on three small feet 9 cm high, a beaker of flared tapering form bearing six character mark to base, 9.5 cm high, a plate of flower head form decorated with figures in a landscape with temple in background bearing fan shaped script mark to base, 24 cm high, and another plate with butterfly decoration, 21 cm diameter CONDITION REPORTS Please see further images online
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A late 18th / early 19th Century patch box, the lid with mirror inscribed "O mortal man in every act beware since one wrong step may marr an age of care Ever thy credit keep tis' quickly done The gain'd by many actions lost by one", 4 cm x 2.5 cm, another decorated with Continental lake mountain scene with chalet in foreground, 4 cm x 2.25 cm and another with fan medallion and flowers to the lid, 3.5 cm x 2.25 cm (3)
A 19th Century fan with gilt printed paper leaf having central hand coloured printed scene of figures playing musical instruments and with carved bone guards and sticks together with another similar fan and a smaller fan with gilt wood guards and sticks and brown net spangled leaf (3) ++the first fan with one slightly damaged stick; the others with damage
David Bowie / Station To Station, Limited edition 2010 UK box set (EMI - BOWSTSD 2010) comprising three LPs, five CDs and DVD together with 24 page booklet, six panel poster, replica backstage pass, replica ticket, three press shots, replica fan club membership card, fan club certificate, two small collectors cards, two photo prints, replica four-page biography, two badges and more. All in Excellent+ condition and still in (opened) shrinkwrap
Daniel O'Neill (1920-1974)Doll on the BeachOil on canvas, 34.5 x 44.5cm (13½ x 17½'')SignedProvenance: With the Victor Waddington Gallery, London; The Waddington Galleries, Montreal (labels verso); later sold these rooms, Important Irish Art Sale, March 2000, Catalogue No.125, where purchased.Exhibited: 'Daniel O'Neill, Loan Exhibition of Paintings 1944-1952’, CEMA Belfast Musuem And Art Gallery, Stranmillis, 26th March-12th April, 1952, Cat No. 9.Born in Belfast, Daniel O’Neill worked as an electrician and painted in his spare time until the dealer Victor Waddington encouraged him to devote full time to painting. In 1943, he held his first show in Dublin with his close friend, Gerard Dillon at the Contemporary Picture Galleries, and after the success of his first one man show in 1946 with The Victor Waddington Galleries in Dublin, O’Neill held regular solo exhibitions with Waddington, who organized his paintings to go on touring exhibitions in America, Amsterdam, Whales, Scotland and London. Executed in 1947, ‘Doll on The Beach’ was first exhibited in a group exhibition with Nevill Johnson and Belfast friends, Gerard Dillon and George Campbell in September, 1947 at Waddington’s Gallery. In the same year, O’Neill contributed to the Royal Academy’s summer show in London, and his work was selected to exhibit in New York, at the Associated American Artist’s(AAA) Gallery on 5th Avenue. Reviewing the 1947 exhibition at Waddington’s, one critic remarked, ‘…he [Daniel O’Neill] is working his way out of a previously rather limited range of languid human forms; the colours of some dolls dresses that he found in a museum have fascinated him, and with reason. O’Neill has achieved popularity remarkably quickly…’ (The Irish Times, 20/9/47). The painter, Ralph Cusack loaned ‘Doll on The Beach’ in O’Neill’s 1952 Retrospective in the CEMA organized show at the Belfast Museum and Art Gallery. The exhibition consisted of forty-five paintings dating from 1944 and most were borrowed from patrons which included the Earl of Rosse, Lord Moyne, Lord Killanin, Zoltan Lewinter-Frankl, and the Belfast Gallery. The exhibition in the Belfast Gallery was O’Neill’s first appearance in his native city since his first group show in 1940 at the Mol gallery in Belfast. In contrast to his retrospective exhibition, all of the seven paintings at the Mol gallery were unsold. Although this painting is difficult to interpret, O’Neill’s vision is deeply personal and the artist’s choice of palette is deliberate. Combining thin transparent glazes with richness of colour, O’Neill liked to achieve dramatic effects with elements of melancholy. Mannequin type figures can appear calm in a dramatic setting. His early influences of the Old Masters are visible in these studies of women who are often depicted in sparse, lonely landscapes. Here rich tones of pink are set against muted colours. In 1947, dolls and puppets feature strongly in the artist’s oeuvre and are imbued with a poetic fantasy. The model may represent his wife, Eileen who had dark eyes and black hair or be someone from his imagination. The reclining model in an elaborate outfit appears strangely out of place on a beach. Her expression and posture is constrained and awkward. The fan and parasol suggest the model needs protection from the sun, yet instead of sunshine, a darkening sky creates a feeling of foreboding. John Hewitt, a critic and museum curator of the Belfast Museum personally knew and admired O’Neill’s work in the 1940’s. Perhaps it is worth noting what Hewitt stated in the introduction in O’Neill’s retrospective catalogue 1952, ‘It is easy enough to recognize Daniel O’Neill’s individual quality, but a much more difficult matter to define it.’Karen ReihillOctober, 2015
~A GERMAN IVORY BRISE FAN, PROBABLY EHRBACH, CIRCA 1860the guards carved in deep relief with a ribbon-tied bunch of tightly-packed flowers, the plain sticks with edges shaped to carry round the pattern of the guards when closed 22cm long excluding shaped suspension loop with corded ivory silk tassel
Photography - a collection of a carte de visites and cabinet portrait photographs, mostly by Birmingham photographers, relating to a family named Pendre, various individual sittings, children and family groups, a gentleman in military uniform, a school group, a gentleman in a shopkeeper's apron and a lady posed with an Aesthetic arrangement of fan and vase (approx 45)
Japanese School (Meiji period), a pair, Instructions in Etiquette and Discipline, probably book illustrations, each traditionally dressed figure poised and holding a fan, another with a katana at their waist, one wearing a Noh-type mask, vignettes at corners, hand-coloured woodblock prints, script and red seal marks, 22cm x 32cm Condition Report: Generally good condition. Colours still relatively fresh and vivid.
A Chinese Republican period high-fired stoneware circular bowl, surmounted and applied with eight traditional figures, possibly allegorical of the Eight Immortals, holding basket, fan, dÇ’ulì and precious ceramic objects, each gazes into the reservoir of the bowl glazed in alternating and merging tones of green and brown, mottled exterior, 12.5cm high, 16.5cm diam, impressed six-character mark within an oval matrix, early 20th century
Ω A George III satinwood and marquetry semi eliptical folding card table, circa 1810, kingwood and tulipwood crossbanded throughout, the top with central radiating fan of feathers, bordered by a floral swag and ribbon tie motif, opening to a baize interior, above turned tapering fluted legs headed by marquetry patera terminals, 76cm high, 108cm wide, 54cm deep Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
Ω A George III satinwood, mahogany and marquetry circular occasional table, circa 1810, possible Anglo-Dutch, the top with a central fan motif, within a 'dotted' border, the frieze incorporating relief carved rams heads flanked by trailing branches, on an ebony ground, the sabre legs decorated with graduating lozenge and medallion motifs, 73cm high, the top 47cm diameter Cites Regulations Please note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites
A Chinese ivory and paper painted fan, 19th Century, the guards and sticks carved with Chinese figures within European taste borders, the leaves painted in colours to one side with figures in garden settings and to the other with a rocky landscape and flowering plants, 29cm, together with a European taste painted ivory fan, with carved openwork sticks, the leaves painted with figures at leisure in a bucolic landscape, 28cm (2)
A large Japanese ivory and bone okimono of the Takarabune, Meiji period, the seven gods of fortune modelled seated, playing musical instruments or standing with their respective attributes on the open deck of an elaborate sailing ship, the single pole mast holding a large windblown sail, a number of objects including scrolls, fan, gourd, sack and baskets lying on the balustrade deck, the hull of simulated wood planks with a cockerel figurehead, some details inlaid with mother of pearl, on carved hardwood stand simulating a turbulent sea, 57cm high x 52cm long (64cm high on stand)
A Japanese ivory netsuke, Meiji period, modelled as a gourd with stem and leaves, open to the middle inside which sit two gentlemen playing a game of Go, 3.5cm, together with two carved wood netsuke, probably Edo period, the first modelled as a seated man, possibly Jurojin, holding a fan, 3.5cm, the second modelled as two figures, probably Daikokuten and attendant, with a large sack and a mallet, 4.5cm across. (3)
Box of vintage accessories to include a brown leather art deco bag with mirror inside, a tapestry jewellery box, a cream satin beaded bag, a black fabric purse, a floral tapestry handbag by Anzmann, a 60's beaded and sequin purse, a black beaded belt with gold tassels, a floral tapestry cushion cover, a red leather key wallet, a blue Asian fold out hat, two pairs of crochet gloves (one cream, one black), cream wool gloves and white fabric gloves and a paper oriental fan. (15)(B.P. 24% incl. VAT)
Sean Keating PPHRHA, 1889-1977 BLESSED BE WINEOil on canvas, 30" x 36" (76 x 91cm), signed, inscribed on the stretcher verso; with a painting verso of a female holding a fan; old exhibition label versoExhibited: The RHA, Dublin, 1933 (No. 58, £100); Exhibition of British Art, Stockholm, 1929; Helen Hackett Gallery, New York, 1930; Irish Art Rooms, New York, 1931-32; Royal Hibernian Academy, 1933; Waddington Gallery, Dublin 1941 - 44; Goodwin Gallery, Limerick, 1944; sold to private collection from the Goodwin Gallery, Limerick, 1945; Seán Keating Retrospective, Municipal Gallery of Modern Art, Dublin, 1963; private collection
An Italian gold lantern charm pendant, c.1960,of cube form, with paste oval cabochons in red and green, all claw set to triangular panels, twisted wire borders with polished or Florentine finish to a diamond cut cap with jump ring, lantern marked 750 with the Italian official national mark 1968-to date for Alessandria, charm 38 x 22mm, 11.93g,together with a pair of carved lapis lazuli gold earrings,a circular domed stud with a carved fan-shaped lapis lazuli top with polished dome below, to post and butterfly fittings, tested as approximately 18ct gold, 21mm diameter, 11.07g (3)
Mid-19th century Chinese carved sandalwood and painted fan, finely painted with a scene of figures in pagodas, applied with ivory faces, conformed pierced lattice and relief-carved sticks, 31cm high CONDITION REPORT Some paint loss at the folded seams, a little elsewhere, sandalwood is ok, general good order with a little deterioration commensurate with age
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51356 item(s)/page