We found 9112 price guide item(s) matching your search

A New Hall Type Porcelain Helmet Shaped Pedestal Jug, circa 1790, of wrythen fluted form painted with flowers and ribbons, 11.5cm high; A Coalport Porcelain Coffee Cup and Saucer, painted with flowers on an ecru ground; A New Hall Porcelain Trio, painted with figures in landscape; A Staffordshire Porcelain Trio, painted with flowers on a green and cream ground; A Victorian Staffordshire Coffee Cup, Saucer and Tea Plate, painted with landscapes within gilt borders; and A Staffordshire Coffee Cup and Saucer, gilt with foliate (qty)

A Derby Porcelain Part Breakfast Service, circa 1810, decorated in blue and gilt with bands of stylised acanthus, comprising two cups, three saucers, a saucer dish, a muffin dish, cover and stand, and a slop bowl, painted marks in red; An Almost Matching Coffee Cup and Saucer; A Flight Barr & Barr Teacup and Saucer, decorated in brown and gilt with a foliate band; A New Hall Type Teacup and Saucer, printed and overpainted with chinoiserie; A Similar Fluted Tea Bowl, with a foliate meander border,; and A Similar Tea Bowl and Saucer, in Chinese Export style (qty)

Four boxes of books to include Hon John Fortescue "Records of Stag-Hunting on Exmoor" published London by Chapman & Hall 1887, together with "Handley Cross or Mr Jorrocks's Hunt", the Jorrocks edition published London by Bradbury & Co Ltd, together with Noel M Sedgwick "With Dog and Gun", published London Herbert Jenkins, and C F Tunnicliffe "My Country Book", Studio London & New York, Roy E Walsh "Gunning the Chesa Peake" and Yoi-Over "Hold Hard! Hounds, please!", published by F H F & G Wetherby 326 High Holborn London 1924 etc

Boyle (Robert) New Experiments Physico-Mechanical touching the Spring of the Air..., 3 parts in 1, second edition, half-title, 2 engraved plates, one folding and with tear, lacking blank leaf m4 from part 3, slight marginal worming to second half, contemporary calf, worn, covers detached, [Wing B3999; Fulton 14; Garrison-Morton 666; PMM 143], Oxford, by H. Hall for Tho. Robinson, 1662. ⁂ The first announcement of Boyle's Law. "Boyle's experimental proof of the basis of physical property of air, namely that the volume of gas varies inversely with the pressure, constitutes one of the greatest contributions to physical science... it was further proved that air has weight, and the function of combustion and respiration in air, the conveyance of sound and the elasticity of air all explained" (PMM).

A New Hall commode teapot and cover, painted with basket of flowers and scattered sprigs, below a wavy dotted line, flat cover, bud finial, 15cm high, pattern N171, c.1800; a similar helmet shaped jug, painted with foliate sprigs, the interior with puce trellis and blue demi-circles, clip handle, 9cm high, c.1800; a New Hall saucer dish, 20cm diam, pattern 241 (3)

A New Hall commode shaped teapot and cover, painted in the famille rose palette with stylised foliage and ribbons, 16.5cm high, pattern 195, c.1790

A collection of works, several engraved by Lizars, including Crawfurd, George A General Description of the Shire of Renfrew. Paisley: J. Neilson, 1818. 4to, original boards; Lizars, D. Picturesque Views of Edinburgh. Edinburgh, 1823. Folio, parts 2,3,4 & 6 only, containing 12 plates, in original wrappers; Lizars, W.H. Eight Engravings of the Ruins occasioned by the Great Fires in Edinburgh. Edinburgh, [1824] Folio, contemporary half morocco; [Idem] Sketches of the College of Edinburgh, [n.d.]. Oblong folio comprising 4 engraved plates, original blue wrappers; A New and Complete Collection of… Scots Songs… Edinburgh: Corrie & Sutherland, [n.d.] 19th century half calf with red morocco label to upper cover; Hall Voyages. Edinburgh: Constable & Co., 1827. 3 volumes, 12mo, part of Constable's Miscellany; also with volumes 6-10 of Constable's Miscellany; Walton, Izaak The Complete Angler… Edinburgh: W. & R. Chambers, 1833. 8vo, original cloth, covers detached; and 29 others, sold not subject to return (47)

Huxley, Aldous Brave new world. London: Chatto & Windus, 1932. First edition, 8vo., poublisher's cloth, with dust wrapper (damaged and lacking part of backstrip); Waugh, Evelyn. Black mischief. London: Chapman & Hall, 1932. First trade edition, 8vo., frontispiece, publisher's red and black patterned cloth, edges and corners a little rubbed, bookplate, lacking dust wrapper; [Idem] The Loved one: an Anglo-American tragedy. London: Chapman & Hall, [1948]. First edition, 8vo., illustrations, publisher's blue cloth, dust wrapper, price clipped; [Idem] Love among the ruins. London: Chapman & Hall, 1963. First trade edition, 8vo., publisher's red cloth, dust wrapper, tear in upper inner corner of wrapper; Capote, Truman. In cold blood. London: Hamish Hamilton, 1966. First UK edition, 8vo., publisher's cloth, dust wrapper; Fleming, Ian. Octopussy and The living daylights. London: Jonathan Cape, 1966. First edition thus, 8vo., publisher's cloth, dust wrapper (6)

Beer and Brewing Black, William. A practical treatise on brewing. New edition. London: Longmans, 1870. 8vo., publisher's cloth, rubbed and a little stained: [Robinson, James]. The art and mystery of making British wines, cider and perry, cordials and liquers: also, the whole art of brewing. London: Chapman & Hall, 1865. First edition, 8vo., publisher's cloth, head and tail rubbed; Marchant, W.T., compiler. In praise of ale: songs, ballads, epigrams, & anecdotes relating to beer, malt and hops. London: Redway, 1888. 8vo., publisher's cloth; Wright, H.E. A handbook for young brewers. London: Crosby Lockwood, 1877. 8vo., publisher's cloth, stained, with some pencil annotations; The Public-Housekeeper's monitor: being a serious admonition to the masters and mistresses of those commonly called public-houses, of what kind or denomination so ever. To which is prefixed, A letter from a Minister to the Public-Housekeepers of his Parish, recommending this Tract to their serious Perusal. London: Rivington, 1793. 12mo., modern boards (ESTC T61552); and 9 others (13)

New Hall 18thC porcelain plate in Two Moths pattern, unmarked and an early Victorian child's plate by William Smith & Co, stamped W S & Co Wedgwood, largest approx. 21.5cm dia.

MICHAEL DAHL (1659-1743)A portrait of Elizabeth Langham, as a young woman, standing three quarter length on a terrace, a spaniel seated beside her, flowers in an ornamental urn at her shoulder, a wooded landscape beyondOil on canvas, 126 x 104cm In a carved giltwood frame with acorns and oak leavesIt is thought that the landscape element represents the new landscaping at Cottesbrooke. Provenance: Cottesbrooke Hall, Temple Manor, Sold HOK at Slane Castle, The Langham Collections, 2004

A KILLARNEY ARBUTUS AND MARQUETRY INLAID FOLDING TOP CARD TABLE, mid-19th century, the rectangular cross band top centred with a titled inlaid depiction of Muckross Abbey, enclosed within a border of acorns and leafy group, opening to reveal backgammon and chess board, on a panelled centre pillar and shaped platform base inlaid with shamrock groups, on ebonised flat paw feet. 80 x 42 x 79cmThe Killarney Woodwork IndustryBy the middle of the 18th Century Killarney and its hinterland was emerging as a ‘tourist centre’. Early visitors related their experiences of awesome lakes, mountains and wildlife in guidebooks and by 1853 Killarney was accessible by rail, allowing even greater numbers to reach the area. Roughly 30 years before the arrival of the railroad, enterprising men such as Jeremiah O’Connor established factories for the production of handcrafted souvenirs such as chessboards, snuffboxes, card cases - even jewellery. The items were made from a variety of beautiful local timbers - arbutus, elm, ash, holly, yew, bog oak and bog yew which grew in abundance on the mountainsides surrounding the Lakes of Killarney. Arbutus and bog oak were used prolifically and became particular to the Killarney wares. As mementos of the area, the items mentioned were inlaid with marquetry images of the most popular local sites: Muckross Abbey, Ross Castle, Glena Cottage, Old Weir Bridge, Innisfallen, Aghadoe, Dunloe Castle and Killarney House, several of which can be identified on the Davenport desk illustrated. The images were largely taken from a book of engravings ‘Ireland: Its Scenery, Character &c’ (1841) by Mr and Mrs S. C. Hall. In addition the wares were decorated with symbolic motifs of shamrock, harp, ivy, ferns, mountain eagles and deer. The depiction of wreaths, shamrock, rose and thistle together symbolised the union of Ireland with England, Scotland and Wales. It is possible that producers obtained the notion for such souvenir articles from other tourist resorts such as Tunbridge Wells in Kent as there are records of similar items being manufactured earlier than those at Killarney. The sale of these small, portable, often exquisitely carved items was seasonal and by the mid-nineteenth century manufacturers had turned their hand at creating fine quality pieces of furniture such as writing desks, sofas and cabinets aimed at the gentry, both locally and nationally/internationally. Good producers such as James Egan displayed wares at exhibitions as far away as Paris and New York. Around 1860 Egan was commissioned by Lord Castlerosse to manufacture a fine arbutus cabinet and desk as a gift for Queen Victoria and many of the manufacturers both gifted and sold pieces to members of the royal family giving further status to the wares. The decline in production of Killarney woodwork came in the late 1800s. The lack of innovation in design and competitive pricing from outside manufacturers assisted in the demise of the industry. The production of items in bog oak lasted longer than that of arbutus but by the early 1900s Killarney was better known for its lace than its woodwork. Now only woodwork museums in Kerry and the items themselves remain.

As new ex shop display hall table with solid wooden top on metal base in the form of a penny farthing bicycle (width 121cm x 41cm x 75cm)

Postcards - Birmingham and suburbs - collection in album with early transport featuring in city centre, markets etc; views at Solihull (including Henwood Mill), Hall Green, Moseley Village, Handsworth, New Street Station interiors, Arcades etc (approx 250)

A NEW HALL STYLE PORCELAIN TEAPOT with painted floral decoration, 13cm high

EIGHT ASSORTED 18TH CENTURY ENGLISH TEA BOWLS AND SAUCERS (one non-matching), including New Hall

*Gillray (James, 1757-1815). Jove in his Chair, published Elizabeth D'Achery, Sept. 11th 1782, uncoloured etching, thread margins, tipped on to later backing paper, 250 x 350 mm, BM 6032, together with Tinney (J., publisher), The Fall of Spencer, 1741, hand coloured engraving, some creasing, a fifteen verse poem below image, 315 x 320 mm, with Rowlandson (Thomas), Master Billy's procession to Grocers hall, published W.Humphrey, 1784, hand coloured etching, trimmed within plate mark, slight scuffing to lower margin, old folds, 230 x 340 mm, and New Morality; - or - The promis'd Installment of the High Priest of the Theophilanthropes, with the Homage of Leviathan and his suite, published J. Wright, August 1st. 1798, hand coloured etching, two long repaired tears affecting image, old folds, some creasing, trimmed to image, laid on later card, 275 x 620 mm, mounted (4)

A SET OF FOUR CHRISTIES NEW HALL VAULTS BAXTER PRINTS, Chrisite's paper lot 403 sticker verso, known as The Woodcutter series, 9.5cm x 14cm together with other Sutton Coldfield prints, a plate etc

Corsham Tunnels. A pair of photograph albums recording overground and underground construction of the Corsham Tunnels, 1941-43, a total of 212 gelatin silver print photographs pasted mostly as pairs and back to back on 55 thick paper leaves, each with printed caption strip beneath, images 20.5 x 16 cm or the reverse, two related photographs of drawings of the construction loosely inserted in pocket at rear, contemporary rexine portfolios, oblong folio The Tunnels in Corsham, Wiltshire, started life as an underground quarry, flourishing in the period 1850-1910. Between the First and Second World Wars, a new role was found for the old workings, the War Office deciding that measures needed to be taken to protect ammunition stocks from attack by hostile aircraft, and in 1935 the go-ahead was given for the construction of three ammunition sub-depots, one at Tunnel Quarry, one at neighbouring Monkton Farleigh and one at Eastlays Ridge. They were collectively known as the Central Ammunition Depot. In 1941 a barrack block was constructed underground at Tunnel Quarry. There was a power station with two huge diesel generators, an underground lake for drinking water, sewage facilities and flood pumps. Additionally, part of the Tunnels was set aside as a subterranean factory for the Bristol Aircraft Corporation. The photographs here include captions for Fitting shop no. 10; Power unit; Air compressor; House no. 2; Central kitchen; Operatives' canteen no. 1; Sewage disposal works; Lacock sidings; Thingley sidings; numerous photographs of various parts of the superstructure above ground; Main gallery; Concreting floor; Equipping substation; Boiler house; Fan; Welfare - Labour camp kitchen, fire brigade headquarters, site hospital, hairdressing salon, disinfector, laundry reception centre, cobbler's shop, main concert hall, main canteen kitchen, Copenacre camp concert hall, dining hall at Monks Park labour camp, kitchen, etc. (2)

Leigh (Samuel). Leigh's New Atlas of England & Wales, circa 1830, decorative engraved title, table of the 'Price of Posting' detached, fifty-five (complete) uncoloured engraved maps by Sidney Hall, descriptive text and index, folding engraved map with contemporary hand colouring of England & Wales bound at rear, long closed tear affecting map, a duplicate map of England & Wales (without a tear) is loosely inserted, ownership signature to front pastedown, contemporary green morocco gilt worn and frayed at extremities, 12mo, together with another later edition similar, with Reynolds (James), Reynold's Travelling Atlas of England with all the railways and stations accurately laid down, circa 1850, title and index, thirty-two uncoloured engraved maps by John Emslie, gutta percha perished, contents shaken and loose, upper hinge broken, book plate of John Matthew Jones, publisher's cloth gilt, faded and worn, 8vo, with another copy similar but containing only thirty maps, plus, Cobbett (William), A Geographical Dictionary of England and Wales, 1832, frontispiece of a map of England & Wales with early 20th century ownership address to verso, forty-two uncoloured outline maps, some spotting throughout, index bound at rear, old newspaper cuttings to endpapers and pastedowns, text block detached, later cloth with crude ownership stamp to upper and rear sidings, stained and spotted, 8vo Sold as a collection of maps, not subject to return. (5)

Macdonald (Duncan). The New London Family Cook, or Town and Country Housekeeper's Guide, Albion Press, for James Cundee, 1808, engraved portrait frontispiece (a few spots), ten engraved plates, one relaid, one with short closed marginal tear, 4 pp. Family Tradesmen's Directory, scattered spotting, light dampstaining affecting a few leaves, blanks at front and rear with some early manuscript recipes, contemporary mottled calf, extremities worn, rebacked preserving original spine, 8vo, together with Hall (T. ), The Queen's Royal Cookery: or, Expert and ready Way for the Dressing of all Sorts of Flesh, Fowl, Fish: either Baked, Boiled..., With the Art of Preserving and Candying of Fruits and Flowers..., Together with several Cosmetick or Beautifying waters..., 4th edition, 1729, frontispiece and final printed leaf in facsimile, full-page woodcut illustration, light dampstain to lower right corners throughout, occasionally close-trimmed, clipping a few headlines, later endpapers, contemporary sheep, top of spine worn with small loss, front cover with dampstain to lower right corner, 12mo First item: Cagle 841, Bitting p.297, in notes only. However Cagle appears to not be aware of this edition, dated 1808 from the title-page. (2)

Tokens, British, Warwickshire, Coventry, Kempson's buildings series, halfpennies, 1797 (8), rev. City arms and crest, obvs. St John's Church, Grey Friars Gate, Spon Gate, White Friars Gate, County Hall, Ford's Hospital, St Mary Hall, Free School, new front (DH.262/271/277/280/288a/293a/295/299a), extremely fine to about mint state, bronzed (8) *DH.262, 288a and 293a ex A.W. Jan all ex Baldwin’s vault

UK VOGUE LPs - Sublime collection of 16 x LPs that are rarely seen! Artists/titles are Sonny Stitt (x3) - 37 Minutes And 48 Seconds (LAE 12208 - Ex/VG+), Sonny Stitt With The New Yorkers (LAE 1291 like goldust this one! - lovely Ex record/VG sleeve with some of the laminate lifting) and Sonny Stitt Plays (LAE 12196), Seldon Powell Sextet (LAE 12201), Bud Shank Quartet (LAE 12041 - great Ex+ copy), Gerry Mulligan Quartet (LAE 12015), Harold Land Quintet (LAE 12269), Pepper Adams - Critics' Choice (LAE 12134), Chico Hamilton (x2 - LAE 12210 and 12085), Charles Mingus Presents The Quintet Of The Year (LAE 12031), Jim Hall (LAE 12072), Les McCann (LAE 12254), Carmell Jones (LAE 12302) and Paul Desmond (LAE 561). Condition is generally VG+ to Ex+.

UK ESP (FONTANA) LPs - Killer selection of 5 x must have LPs. Titles are Leroi Jones with New York Art Quartet (STL 5521 - superb Ex+/Ex+), Steve Lacy - The Forest And The Zoo (SFJL 932 - archive record/Ex+), Marion Brown Quartet (SFJL 930S - archive/Ex+), Ornette Coleman - Town Hall 1962 (SFJL 923 - Ex+/Ex+) and Earl Bud Powell - At The Blue Note Cafe, Paris 1961 (SFJL 924 - archive/Ex+).

GEORGE RUSSELL - Phenomenal collection of 16 x LPs from the theoretical genius. Titles include Electronic Sonata For Souls Loved By Nature (Strata East SES-19761 - Ex/Ex), The Essence Of... (Swedish original SLP 1411/1412 - Ex+ or archival records/Ex light corner bump), At Beethoven Hall (SABA SB 15059 ST - Ex+ copy), In K.C. (Decca US original DL 74183 - strong Ex condition with original company inner), At The Five Spot (Decca US original DL 9220 deep groove - sublime Ex+ record/strong Ex sleeve with company inner), Listen To The Silence, New York Big Band, Live In An American Time Spiral, Stratus Phunk (RE), Ezz-Thetics (RE) and The Stratus Seekers. Condition is predominantly Ex to Ex+.

BLUE NOTE LPs - Ace selection of 15 x LPs. Artists/titles/issues are Larry Young - Of Love And Peace (original 1966 mono BLP 4242 'New York USA' 'VAN GELDER' stamped - in VG+ stereo sleeve), Sheila Jordan - Portrait Of... (BST 89002 'A Division Of Liberty' mid 60s issue - Ex+/VG+), Elvin Jones - Puttin' It Together (BST 84282 white 'b'), Mr. Jones (black 'b'), The Ultimate (BST 84305 white 'b') and Coalition (BLC 84361 US), The Amazing Bud Powell Volumes 1 and 2 (black 'b'), Gene Harris - Astral Signal (black 'b'), Edmond Hall (B-6505 'A Division Of Liberty'), Gil Melle (B1-92168), Chick Corea - Circulus and Circling In (Blue Note Classic Reissue Series), John Coltrane - High Step (Reissue Series) and Fats Navarro - Prime Source (Reissue Series). Condition is generally VG+ to Ex+.

John Stockle (Modern British)Two watercolour and gouache studies, 'Forty Hall, Enfield' and 'New Rivers, Enfield'both signed and mountedeach 30 cm x 38 cm

A collection of Chinese imari and famille rose ceramics, 18th century, comprising punch bowls, bowls, tea bowls and saucers, etc., and three English pottery, including a pair of blue printed saucers and a New Hall saucer

Quantity of books illustrated with wood engravings including:- "The Wood Engravings of Gwen Raverat" with Reynold Stone and Simon Brett, Silent Books 1959, black cloth, dj "The Bird Talisman", ills by Gwen Raverat, Faber & Faber 1964, blue cloth, dj Hall, Donald "Here at Eagle Pond", ills by Thomas W Nason, Ticknall & Fields, New York 1990, red and green bds in blue slip case with title pastedown Garrett, Albert "A History of Wood Engravings", Bloomsbury Books 1978, dark green cloth with dj and twelve other related volumes (18)

A pair of 19th Century Samson porcelain coffee cans and saucers, in the New Hall style with pink ribbon and floral design together with a pair of 19th Century Staffordshire spaniels, a pair of Victorian glass vases with green floral design and a walnut domed casket (9)

Jack Butler Yeats RHA (1871-1957) SEA FOG, 1909 watercolour signed lower right Acquired directly from the artist by John Quinn (1870-1924) 1909;His sale, 'Paintings and Sculptures - The Renowned Collection of Modern and Ultra-Modern Art Formed by the Late John Quinn, Including Many Examples Purchased by Him Directly from Artists, Sold by Order of National Bank of Commerce in New York & Maurice Léon Surviving Executors of the Estate of John Quinn, Deceased, New York American Art Association Inc., 1927, catalogue no. 305;Whence purchased by J. Toner;Private collection 'Pictures of Life in the West of Ireland', Leinster Hall, Dublin,10-29 May 1909, no. 22 Pyle, Hilary, Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 666, p.159 An old mariner in a heavy coat, red scarf and dark brown cap strides away from the quayside. He has a distinctive gait, with hunched shoulders, hands deep in his pockets and nimble legs, suggesting his years moving about on-board ship. The distinctive combination of robust greens and purples found in many of Yeats' early watercolours is evident here. The shadow cast on the man's shoulders is a deep green while tones of pink suggest the foggy atmosphere of the waterside and the ethereal forms of the waterfront buildings. The painting is described in the catalogue of the posthumous sale of paintings and sculpture belonging to John Quinn, the Irish American lawyer and collector of Modernist art and literature. Lot 305 of the 1927 American Art Association catalogue states 'Figure of an old seafaring man, wearing a pea-jacket and muffler, sauntering from the quay, enveloped in a dull mist through which the masts of a brig faintly gleam in the background'. Quinn was the owner of several important works by Jack Yeats and was responsible for the artist's participation in the famous Armory Show of Modern art in New York in 1913. He was also a close friend and mentor of Jack's father, John Butler Yeats, who moved to the United States in 1908, and of his brother W.B. Yeats. Quinn bought Sea Fog in Dublin on a brief visit to the city in the summer of 1909 after it was included in a one-man show of Jack's work at the Leinster Hall. Quinn was a great admirer of the younger Yeats. In 1904, after Jack and his wife stayed in New York, Quinn wrote, 'He is one of the most simple and unaffected kind-hearted genuine and sincere men I have ever met and I like him more than I can tell'. [1]The exhibition of 1909 in which Sea Fog was included was a critical success. Constance Markievicz commented on the quality of the work shown in it in an article published in the Gaelic American that year. Jack's work, she wrote, 'with its intense originality and life-likeness, seems to appeal to us with almost a shock, and to demand its just due, … as something real and new….'.[2] Yeats and Cottie had travelled in the west of Ireland the previous year, staying mainly in Sligo, where the idea for Sea Fog is likely to have originated. The figure of the old sea dog striding up the town ultimately stems from the childhood fascination that Yeats had for the seafaring life. This began with his journeys along the Garavogue in the ships belonging to his grandparents and his uncles and his great regard for the wisdom of the pilot men, stevedores and gangers that worked on the Sligo quays. 1. B. L. Reid, The Man from New York. John Quinn and His Friends, Oxford University Press, 1968, p.21. 2. Quoted in Bruce Arnold, Jack Yeats, Yale University Press, 1998, pp.160-61. Dr Róisín KennedyAugust 2017 14 by 10in. (35.6 by 25.4cm)

A box of miscellaneous items to include; early 19th century New Hall(?) tea bowl and saucer with gilt decoration, a Victorian oil lamp with opalescent glass shade, glass reservoir and cast iron base, and a Nailsea type glass rolling pin etc

A quantity of reference books including Meissen Porcelain, Meissen and Oriental Porcelain, Coloured Worcester Porcelain, New Hall and it's imitators, etc

Four boxes of various china wares to include various plates, Hanley New Hall part dinner service, various cups, etc

Gerard Dillon (1916-1971)The Artist in the CountryOil on canvas, 64 x 44cm (25¼ x 17¼'')SignedExhibited: The UTV Art Collection Exhibitions including this work held at: City Hall, Limerick, September 1994; Armagh County Museum, January 1995; Town Hall, Ballymoney, December 1995; Droichead Arts Centre, Drogheda May / June 1996; Harmony Hill Arts Centre, Lisburn, October 1996; Waterfront Hall, Belfast, January 1997; Monaghan County Museum, March 1997; Fermanagh County Museum, September 1999; O'Rahilly Building UCC, March 2002; The Waterfront Hall, April 2003; The Naughton Gallery, Queens University Belfast, January / February 2006; The Gray's Printers Museum, Strabane, January / February 2004;40 Years of Ulster Art, The Waterfront Hall, November / December 1999; Literature: 'UTV Art Collection' 2009, illustrated p.3; This work was used as the invitation image for the UTV exhibitions at :- Monaghan Co. Museum 1997, Down Co. Museum 1999, Fermanagh Co. Museum 1999, Drochead Arts Centre 2001, Dundalk Country Museum 2001 and NUI Galway 2001.From the mid 1960’s following a series of traumatic events in Dillon’s life, a clown and later a pierrot figure appeared in his works that lasted till his death in 1971. In 1962, the first of his brothers Joe died of heart related problems; Patrick died two years later in 1964 from stomach cancer and in 1966, John died from a heart attack. In 1965, Clown images reflected the artist’s psychological state of depression and two years later, a white pierrot figure appeared which helped him to search for answers to these traumatic events through dreams which showed aspects of his subconscious and consciousness in relation to his fear of dying like his brothers at the age of fifty-five. The narrative of this work relates to the artist’s past, present and future life. In confronting the death of his brothers, Dillon’s subconscious reveals a vision of Connemara. The present is represented by a masked pierrot in the act of painting, the dark striped lines suggesting the proximity of death. The past is represented by this world, an earthly life of farmed land and cottages on an island. In 1951, Dillon rented a cottage for a year on Inishlacken island. A ruined illuminated cottage with strange black windows indicates the permanence of death, the Pierrot’s next life. In 1967, Dillon suffered a heart attack, and in the following years painting at his solo exhibition at the Dawson Gallery a transformation in the colour of his palette was evident. This work, ‘Artist in the Country’ dates from this period when Dillon’s palette indicated a new optimism, warmth and calmness. His premonition that he would not live beyond the age of fifty-five may have imbued him with a new surge of creativity. First visiting the West of Ireland in 1939, Dillon’s dream reveals his after life in his beloved Connemara, where he drew inspiration from and where he claimed, ‘one could live… forever.’ (Ireland of The Welcomes, May/June, 1955) Karen ReihillAugust, 2017

George Campbell RHA (1917-1979)Dan O'Neill as Clown (1973)Oil on board, 58 x 48cm (22¾ x 19'')SignedAlso with letter of authentication from the artist's wife, Madge, to UTV, dated 1993Provenance: UTV Art CollectionExhibited: Friends and Acquaintances: George Campbell Exhibition, Tom Caldwell Galleries, Belfast, April 1975. Cat No 41. Friends and Acquaintances: George Campbell Exhibition, Tom Caldwell Galleries, Dublin, Oct 1975, Cat No 23;The UTV Art Collection Exhibitions including this work held at: Monaghan County Museum, September 1993; Crawford Gallery, Cork, April / May 1994; City Hall, Limerick, September 1994, Droichead Arts Centre, Drogheda, May / June 1996; Monaghan County Museum, March 1997; Burnavon Art Centre, Cookstown, October 2001; O'Rahilly Building, UCC Cork, March 2002; Letterkenny Arts Centre, Jan 2003; Waterfront Hall, April 2003; The Naughton Gallery; Queens University, Belfast, January / February 2006;40 Years of Ulster Art, The Waterfront Hall, November / December 1999.Literature: 'UTV Art Collection' 'RHA Catalogue 1993', illustrated p.21; 'UTV Art Collection', illustrated p.9.In 1975 George Campbell held two exhibitions on the theme, ‘Friends & Acquaintances 1944-1974’ in Tom Caldwell’s gallery in Belfast and Dublin. The exhibitions were a tribute to friends who had recently died and those he had encountered when he lived in London, Spain and Ireland. The paintings depicted friends standing alone disguised as clowns. Campbell’s interest in the subject of clowns first developed in 1961 after becoming friends with Nicolai Poliakoff (1900-1974), famously known as ‘Coco’ the Clown. In the early 1970’s, Campbell became fascinated by the mime artist, Marcel Marceau’s ‘art of silence’, which led Campbell to embark on a series of a single standing figures evoking a universal message. The Clown figures in the exhibitions at Tom Caldwell’s galleries are imbued with a feeling of melancholia. In 1943, Campbell met Daniel O’Neill and a year later in 1944 they held their first joint exhibition at the Mol Gallery. Affected by the Belfast Blitz, their paintings in the exhibition were dark in mood and colour expressing the desolation and disorientation of the traumatic experience. After the War, Campbell and Gerard Dillon often stayed with O’Neill in Conlig, Co. Down and frequently went on sketching trips around the area. Under contract to Victor Waddington from 1945, O’Neill and Campbell exhibited together in Limerick, Dublin, America, London, Scotland and Wales until Waddington closed his gallery in the late 1950’s. ‘Dan O’Neill as clown’ was executed as a tribute to the artist. Known as ‘Dan’ to his friends, O’Neill was a tall and handsome man whose painting style was characteristically romantic. Here, Campbell dispenses with the clown archetype of a white mask, seeking instead to reveal ‘Dan’s’ distinctive qualities; tall stature, strong face and black wavy hair. The clown’s sideward glance is intent on something or someone outside the canvas. The viewer can only speculate at O’Neill’s gaze outside picture plane. It may be related to what was occurring in O’Neill’s life at this time. Although O’Neill had exhibited abroad and in Dublin, he had not exhibited in Belfast for eighteen years. In the early 1970’s O’Neill struggled with alcohol dependency, and rumours circulated about his painting abilities at the time of his return to Belfast. The public were surprised at his new style but responded positively. O’Neill, however, would not have reacted well to how some art critics viewed his new work. One critic remarked, ‘In a rather disjointed exhibition the main impression is of the artist jotting down ideas rather than developing a coherent theme or themes that create a core for his artistic objective.’ (Sunday Independent, 23/5/71, pg,12). In 1971, Campbell was also receiving negative comment from the press, and perhaps in this work, Campbell’s intention is to focus on O’Neill’s strength of personality during a time when others questioned his creativity. In a letter to a friend in May, 1971 O’Neill stated that the success of his show had laid to rest the speculation that he ‘was finished as a painter.’ The clown’s long neck may be a reference to the Italian painter, Amedeo Modigliani, who Campbell claimed had similarities with O’Neill’s paintings. Karen ReihillAugust, 2017

Lamb (Lady Caroline, novelist, 1785-1828) Autograph Letter third person to Mr. Glossop, 1p., 8vo, n.p. [Brocket Hall in another hand], n.d. [c. 1820s], "Lady Caroline Lamb presents her Compliments to Mr Glossop and begs to inform him a letter she has received from Mr. Jones. She also wishes much to ask him whether he suffered for his good nature or whether Mr Kinnaird has shaken hands as he ought and forgive his having attended to Lady Caroline's request", tipped-in on album leaf § Byron (Lady Noel, wife of Lord Byron, 1792-1860) Autograph Letter third person to J.B. Sale, 1p. with conjugate blank and address panel, sm. 4to, 4 New Norfolk Road, 28th January 1829, apologising for not meeting him but that she has "a severe cold" and acknowledging "her good and singular obligations to him", old newspaper cutting laid down on letter, tears along folds, browned; and 3 others, comprising letters from Jane Porter, Eliza Cook and Sarah Austin, an an engraved portrait of Eliza Cook, folds, v.s., v.d. (6 pieces).

Irish Liberty.- [Porter (James)] Paddy's Resource: Being a Select Collection of Original Patriotic Songs, woodcut frontispiece (torn and repaired in margins), title very slightly stained, some slight foxing, D2 juvenile signatures and ink numbers on last f. ?lower endpaper, new endpapers, modern panelled calf, gilt, modern card slip-case, [ESTC lists 1 copy only located in the Linen Hall Library and with 84pp., this copy a variant with 88pp.), 12mo, [?Belfast], 1796. ⁂ "A collection of songs by James Porter, which originally appeared in issues of the Northern Star.

A New Hall commode teapot and cover, painted with basket of flowers and scattered sprigs, below a wavy dotted line, flat cover, bud finial, 15cm high, pattern N171, c.1800; a similar helmet shaped jug, painted with foliate sprigs, the interior with puce trellis and blue demi-circles, clip handle, 9cm high, c.1800; a New Hall saucer dish, 20cm diam, pattern 241 (3)

A Derby boat shaped teapot and cover, decorated in tones of blue 5cm high, crown, crossed batons and D mark in red, c.1800; another, in the Imari palette; a Bloor Derby teapot, c.1820; a New Hall commode shaped teapot, pattern 272, 17cm high, c.1800; a New Hall teapot stand, pattern 253, 20cm wide, c.1800; a Mason fluted sucrier, printed in underglaze bleu with pagoda, trees and figures, gilt ring handles, 15cm wide, c.1790; etc (8)

A New Hall teabowl, typically decorated in the famille rose palette with stylised flowers and foliage, c.1800; others, various; etc (8)

A set of six New Hall tea bowls, decorated in the famille rose palette with stylised flowers and foliage, c.1800

A New Hall flattened ovoid cream jug, banded in cobalt blue and applied in gilt with mons and chevrons, 10cm high, pattern 167, c.1800; another, helmet shaped, 11cm high; a similar spirally fluted tea bowl and saucer, with bordered with ovals in gilt, with leafy tendrils, N.61; other coffee cups, various (8)

New Hall - part tea set comprising teacup, coffee cup, saucer, sandwich plate and sugar box in pattern no. 484; also a further part tea set comprising tea bowl, coffee cup, milk jug, sandwich plate and slop bowl in pattern no. 394 (10)

New Hall - small collection of coffee cans/cups in pattern nos. 546, 558, 570, 651, 810, 581, 984, 639, 650, 883, 473, 568, 183 (ex Brian J Penny Collection), 441 (ex Brian J Penny Collection), 439 and U212 (16)

New Hall - four tea bowls and coffee cups with saucers in pattern nos. 1153, 206, U13 and 326 (12)

New Hall - tea set comprising teapot, tea bowl on saucer, coffee cup, milk jug, cream jug, sugar basin and side plate in pattern no. 241 (8)

New Hall - three teacups and coffee cups with saucers and dessert plates in pattern nos. 243, 779 and 556 (12)

New Hall - two 'Ogee' shape teapots in pattern nos. U61 and 78, the tallest 6.75" (2)

New Hall - part tea set comprising teapot on stand, tea bowl, saucer and sandwich plate in pattern no. 83; also a further part tea set comprising tea bowl, saucer, sandwich plate and sugar box in pattern no. 213 (9)

New Hall - four tea bowls/cups with saucers and sandwich plates in pattern nos. 566, U727, 883 and 308; also a sugar basin in pattern no. 308 (13)

New Hall - four teacups/bowls and coffee cups with saucers in pattern nos. 140, U209, 471 and 472 (12)

New Hall - six tea bowls/cups with saucers in pattern nos. 565/6, 366, 196, 101, 442 and 138; also a coffee cup in pattern no. 138 and a milk jug in pattern no. 442 (14)

New Hall - ten sandwich plates in pattern nos. U69, 233 (ex Brian J Penny collection), 336, 274 (ex Brian J Penny collection), 336, 274 (ex Brian J Penny collection), 511, 441, 1005, 499, 499, 502 (ex Brian J Penny collection) and 343 (10)

New Hall - six teacups with saucers in pattern nos. 505, 367, 396, 443, 289 and 963 (12)

New Hall - tea set comprising teapot, tea bowl, coffee cup, saucer, milk jug, cream jug, sugar basin and slop bowl in pattern no. 186 (8)

New Hall - part tea set comprising two tea bowls, coffee cup, saucer, sandwich plate and slop bowl in pattern no. 153; also a further part tea set comprising coffee cup, saucer, slop bowl and sugar box in pattern no. 343 (10)

New Hall - tea set comprising teapot, tea bowl, coffee cup, saucer, sandwich plate, sugar bowl and slop bowl in pattern no. 943 (7)

New Hall - tea set comprising teapot on stand, tea bowl, coffee cup, saucer, sandwich plate, slop bowl, milk jug and sugar box in pattern no. 270 (9)

New Hall - teapot, 7" high and sugar box in pattern no. 300 (ex Brian J Penny Collection) (2)