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Click here to subscribeAdolf FrohnerHerodes als Rumpelstilzchen1984Öl auf Leinwand; gerahmt100 x 80 cmSigniert links unten: FrohnerRückseitig signiert, datiert und bezeichnet: Frohner 84, Herodes als RumpelstilzchenPrivatbesitz, WienNiederösterreich-Gesellschaft für Kunst und Kultur, Wien (Hg.), Adolf Frohner. Die sechziger Jahre. Galerij De Groote Witte Arend, Antwerpen, Niederösterreich-Gesellschaft für Kunst und Kultur, Wien, 1987, Abb. o. S.
Olga Wisinger-Florian"Dämmerung" (Marterl im Kornfeld)um 1896Öl auf Karton43 x 62,5 cmSigniert links unten: O. Wisinger-FlorianRückseitig Künstleretikett mit Bezeichnung;Etikett des Sächsischen Kunstverein Dresden, Nr. 122;Etikett der XXV. Jahres-Ausstellung, Künstlerhaus Wien 1897Dorotheum Wien, 25.11.2004, Nr. 45;Privatsammlung, Österreich1897 Dresden, Sächsischer Kunstverein, Nr. 122;1897 Wien, XXV. Jahres-Ausstellung im Künstlerhaus
Olga Wisinger-Florian"Im Schilf"1902Öl auf Leinwand91 x 126 cmSigniert rechts unten: O. Wisinger-FlorianRückseitig auf Etikett von der Künstlerin eigenhändig bezeichnet: O. Wisinger-Florian / Wien, IV. Wienstr. 9 / Im Schilf / OelgemäldeDorotheum Wien, 552. Auktion, 6. Juni 1961, Nr. 122, Tafel 50;Dorotheum Wien, 566. Auktion, 1. Dezember 1964, Nr. 136, Tafel 55;Privatbesitz, Österreich;seit den 1960er/70er Jahren Privatbesitz, WienAlexander K. Giese, Olga Wisinger-Florian. Leben und Werk. Vom Poetischen Realismus zum Farbexpressionismus, Dissertation, Wien 2018, S. 374, Abb. 176 (Q151) "Seerosen im Schilf"Olga Wisinger-Florian, eine der wichtigsten österreichischen Künstlerinnen des ausgehenden 19. Jahrhunderts, ist bereits zu Lebzeiten für Ihre Landschaftsdarstellungen und Blumenbilder berühmt gewesen. Als Schülerin von Emil Jakob Schindler lernte sie die Natur in ihrer Schönheit und Vielfalt, oft im Wechsel der Jahreszeiten, auf Leinwand festzuhalten. Die finanziell gut abgesicherte Künstlerin reiste durch ganz Europa und sogar bis nach Amerika, immer auf der Suche nach pittoresken Sujets. In Österreich verbrachte sie vor allem die Sommermonate meist außerhalb von Wien, wodurch sich der Motivschatz der Künstlerin wesentlich erweiterte. Eine besondere Vorliebe entwickelte sie zu Grafenegg, wo sie sich ab Mitte der 1890er Jahre immer wieder aufhielt, um zu malen, aber auch um die nahe Kuranstalt auf Burg Hartenstein, welche nördlich von Weißenkirchen liegt, zu besuchen. Im Jahr 1905 verlegte sie schließlich ihren Hauptwohnsitz von Wien nach Grafenegg.Die Künstlerin hat jahrelang penibel Tagebuch geführt. Auch zu vorliegendem Gemälde, welches in Schlickendorf, einem Ort in der Nähe von Krems, entstanden ist, hat sie Aufzeichnungen zur Entstehung gemacht:"29.8.1901: Nach Tisch nach Schlickendorf ins Gasthaus, wo ein ganz herrlicher Teich ist, ganz unglaublich schön, und dahin kam ich erst so spät; 1.9.1901: Vormittag in Schlickendorf eine Schilf- und Wasserrosenskizze gemalt, sehr schwer; 5.8.1902: Abends ein neues großes Bild begonnen, den Schlickendorfteich mit Wasserrosen, kleines Stück Blätter und Wasser gemalt, sehr schwer; 6.8.1902: Abends großes Stück Wasser und Blätter gemalt mit Luftspiegelung im Wasser…; 12.8.1902: Mit den Schülerinnen in Schlickendorf soupiert; 14.8.1902: Abends endlich wieder im Schilf gemalt…; 26.8.1902: Abends allein in Schlickendorf. Ecke rechts mit Schilfspiegelung gemalt; 27.8.1902: Abends das Wasser und ganzes Schilfbild geschlossen." (Vgl. Giese, Dissertation 2018, S. 215)Die Datierung des Werkes ist somit mit 1902 gesichert und kann in das reife Werk der Künstlerin eingeordnet werden. Wisinger-Florian ist am Höhepunkt ihres künstlerischen Schaffens angelangt. Von der tonigen Malerei ihres Lehrers Schindler hatte sie sich schon lange gelöst und zu einer expressiven Malweise und Farbigkeit gefunden. Den Pinsel ersetzte sie nun oft durch die Spachtel. Die Farben selbst verwendete sie unvermischt, wodurch diese an Intensität gewinnen. Vor allem jedoch gelang es ihr durch genaue Beobachtung das Sonnenlicht "einzufangen" und mit Hilfe von Licht und Schatten zu gestalten. (MS)
Torino F.C. - Stagione 1983-1984 Maglia Tixo Sport in lanetta, a maniche lunghe. Sul fronte: Sponsor commerciale Ariostea e stemma del club. Maglia Verde con strisce granata sulle braccia utilizzata probabilmente per allenamento o per la primavera. Rara e ben conservata. Provenienza: collezione privata
A mixed lot to include a 22ct yellow gold wedding band, 5.11gm, size M, an 18ct yellow gold ring set with two rows of purple stones, 3.25gm, size O 1/2, an 18ct yellow gold cluster ring set with a dark blue sapphire & diamonds, 4.22gm, size N 1/2 and a 9ct yellow gold cluster ring set with a blue stone & tiny round cut white stones, 3.27gm, size L, (4).
A box of 6 HM silver rifle club prize spoons, by Elkington & Co, the handle finial with crossed rifles and scrolls "Rifle Club", (3 of which have also been engraved "Poles" at finial top). The handle reverses each bearing HM for Elkington & Co, Birmingham with date letters i (1908), K(2 -1909), N (2- 1912) and O (1913). Registration number 518654, GC in presentation case (worn) £50-75
"Your Name will not come into the Thing..." Collins (Michael) ALS dated 19 Jan 1920 on paper of Irish Volunteers General Headquarters Dublin, to A Chara [also marked ‘To P. O D’], asking whether ‘there was any one in the office which you left whom I might get approached .. I would of course get this done very carefully .. your name will not come in to the thing in any way .. A O’B does not know of the contents of this but you need have no hesitation in mentioning them to him if necessary’. With a full signature, Mícheál Ó Coileáin. An important letter, quintessential Collins. (1)
The MacMurrough Kavanagh Charter Horn This high-quality ceremonial Drinking Cup, in bog oak and brass, is a 19th century replica of the MacMurrough Kavanagh Charter Horn. The original, a 12th century drinking vessel, housed in a large ivory tusk (the body of which has been faceted to create 16 sides) and supported on a 15th century brass stand, is on display at the National Museum of Ireland. The brass stand, with clawed and webbed bird’s feet, was believed to have been added during the reign of Art Mór Mac Murchada (1357-1416). During his 42 year reign as King of Leinster, Art Mór Mac Murchada is best remembered for defying Richard II’s attempts to have him removed from power. The stand and rim transformed what was once probably a hunting horn, into a 52.5cm long ceremonial cup and it is believed that this cup was used during inauguration rituals. These overall ensemble is comparable to Scandinavian drinking horns from the same period. These 15th century alterations were signed by the maker, Tigurnanius O Lavan in a band of text which surrounds the top of the vessel. This epigraph, in black Gothic script, on a hatched background, reads ‘Tigurnanius O Lavan Me Fecit Deo Gracia Ihc’, (which translates as ‘Tiguranius O'Lavan made me for the love of God’). The 1818 Kavanagh pedigree book, housed at Borris House, details how the charter horn acted as the tenure by which the Kavanagh family held certain estates. The original charter horn was loaned to Trinity College Dublin by Thomas Kavanagh of Borris House, Co. Carlow in 1783. General Charles Vallancey had an engraving made of the cup; an engraving, attributed to Gabriel Beranger (1729-1817) that later appeared in Vallancey’s 1786 Collectanea de Rebus Hibernicis. The charter horn, which remains in Kavanagh ownership, was returned to Borris House in 1886 and remained there until deposited at the National Museum of Ireland for safe keeping in 1976. The original, is the only piece of Irish regalia to have survived from the medieval period of regional kingships. The Kavanagh family at Borris are directly descended from Diarmait Mac Murchada’s (Diarmuid MacMurrough) son Domhnall Caomhánach. MacLeod, writing in 1959, claims that the Kavanagh Charter horn was gifted by ‘King Henry II to Donal Kavanagh, the son of Dermot MacMurrough in 1175’. There are only two other known copies of the charter horn, one a large mid nineteenth century example commissioned and gifted to Arthur MacMurrough Kavanagh MP by a friend and colleague, and the second, a 19th century version in bog oak and brass (of slightly smaller proportions to the one on offer). Both of these copies are in the Kavanagh collection at Borris. Mr. Edmund Joyce, 2022
Kavanagh (Patrick) Recent Poems. 1958, self-published, quarto limp green cloth, untitled, ‘hand set in 12 pt Egmont Light & printed on a hand press in an edition of 25 copies of which this is no. 10’, signed (at rear) Patrick Kavanagh, also signed on t.p. dated Dec. 1958, and inscribed in Kavanagh’s hand, ‘For Elinor & Reggie / April 1959.’ With errata sheet, manuscript corrections in Kavanagh’s hand on p. 5, 11, 12, 14 and 20 (only the first and second listed on the errata sheet). Some browning on pp. 24-5 (from a press cutting of the same poem laid in), else a fine copy. Kavanagh’s last, rarest and most desirable collection, including his fine elegy ‘In Memory of My Mother’, and his apologia, ‘If ever you come to Dublin town’: ‘He knew that posterity has no use For anything but the soul, The lines that speak the passionate heart, The spirit that lives alone, O he was a lone one, Fol dol the di do, Yet he lived happily I tell you.’
Rowley (Richard) (Ulster poet) Manuscript Poem, 1pp, headed ‘A Grateful Patient to his Doctor’, beginning ‘I was always fond o’ my drink / Ever since life began ...’, and a small collection of other Irish items, including a card from M. Ffrench-Mullen appealing for help for St. Ultan’s Children’s Hospital, a letter from Lynn Doyle giving permission for an adaptation, etc., apparently all sent to Dr. C.E. Warner. As a collection, w.a.f. (1)
Inscribed by the Author O'Flaherty (Liam) The Martyr, 8vo L. (V. Gollancz) 1933, First Edn., inscribed on f.e.p. 'To Kathleen in Whose .. one gets always a warm welcome Liam O'Flaherty, or the wrong way round 25/5/33, black cloth, yellow d.j., (some wear); The Puritan, 8vo L. (J. Cape) 1931, First Edn., inscribed "To the Pure, all is Pure Here O Cheers, Liam, 25.5.33," decor orange cloth, decor d.j. (some wear). (2)
A carved giltwood overmantel mirror in the rococo style,late 19th century, the arched frame surmounted by a ho-o bird, with floral and foliate scrolls surrounding a mercury glass plate, 150cm wide180cm highProvenance: The Estate of Jasper Gibbons Grinling, late of The Old Vicarage, Helions Bumpstead, Essex.Condition ReportChips, knocks and losses to gilding, with areas of repainting and touching up. Some knocks and losses to the carving, with some splits. Mottling and degradation to the plate, which appears original, as corroborated by the fact that the backboards do not appear to have been off ever. Overall in fair cosmetic condition, but would benefit from a small amount of professional attention. Ready to hang. We believe the plate to be silvered rather than using mercury glass.
WIGHT, J - Mornings at Bow Street : a selection of the most humour and entertaining reports which have appeared in the Morning Herald ... with twenty-one illustrations by George Cruikshank, org. cloth, 8vo Thomas Tegg, fourth edition, 1838. With - George Cruikshank's Fairy Library. Hop-O' My-Thumb and The Seven-League Boots. Edited and illustrated with six etchings by George Cruikshank, org. pictorial card covers quite worn, small 4to, D. Bogue, n.d.. With one other.(3)
A gent's stainless steel Omega Seamaster Professional 200 quartz calendar centre seconds wristwatch, black dial with dot numerals, date aperture at 3 o' clock, on Omega stainless steel bracelet strap, case 32mm, in Omega box. CONDITION REPORT: Rotating bezel in poor condition. Not currently running.
A yellow metal and diamond single stone ring, stamped 18, size O, approx. 5.4g.Additional InformationGeneral surface wear throughout, some slight discolouration and it is possible that the ring has been repaired at some stage. There appear to be two horizontal lines of different colour at the lower shou8lder indicating this could have been repaired.
An 18ct yellow gold ruby and diamond ring with pierced flowerhead setting, size O, approx 3.44g.Additional InformationPresented with certificate of guarantee from Pan-Siamese Gems Co, Ltd. Very minor abrasions to the ruby, it is dark in colour. The band is simply stamped 750. General surface wear.
An Edwardian 18ct yellow gold opal and diamond five stone ring, Chester 1906, size O 1/2, approx 3.2g.Additional InformationHeavy abrasions to the opals, the diamonds are tiny and included. Slight misshapen setting with tips of claws worn away in parts. The ring has also been resized with the repair going partially through the mark and general surface wear throughout.
An 18ct yellow gold and diamond ring, the central old cut collet set stone within an open framework of sixteen further tiny old cut diamonds, ring size O 1/2, approx. 2.3g.Additional InformationThe hallmark is slightly obscured, the collet setting around the central diamond has a couple of dents to it as does the outer setting. The diamonds are included and drawing yellow.
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