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Lot 510
A collection of TV and film related scale diecast model vehicles and model kits to include; 2 x IMAI Thunderbirds model kits , Dinky USS Enterprise , LJN Airwolf helicopter , 2 x ERTL A-Team van , ERTL Postman Pat , Matchbox Thunderbirds T-2 T-3 TB-1 , Darda Knight rider 2000 , Matchbox Stingray fish , ERTL Fall Guy pick up , 2 x Matchbox Security trucks and a motorbike along with 3 books and a magazine.
Lot 863
A vintage 20th Century gentleman's automatic chronograph automatic, stainless steel cased wrist watch with a Pepsi bezel, tachymeter scale and rotating inner divers scale bezel, gold baton dial with day/date, on a metal bracelet and luminous hands with a red second hand, on a stainless steel bracelet.
Lot 76
George Russell AE (1867-1935)Figures in the DunesOil on canvas, 53 x 80cm (20¾ x 31½'')Signed 'AE'George Russell grew up in Lurgan, Co. Amargh but moved to Dublin at the age of 11. He is known not only for his paintings but as a writer, poet, critic, theosophist and economist, and by his pseudonym ‘AE’ (a derivative of the word Aeon). He began night time painting classes at the Metropolitan School of Art just two years after moving to Dublin, and went on to receive academic training at the RHA. AE supported Hugh Lane’s campaign for the gallery of modern art and was active in the Irish Literary Revival. He exhibited abroad at the 1913 Armory Show in New York and at the Whitechapel in London, and created a large scale series of murals of 3 Upper Ely Place in Dublin which has been compared to the work of Goya. Iberian reviewed George Russell’s first exhibition in 1904 in the Irish Homestead - ‘It is, perhaps, in his treatment of atmospheres that Mr Russells most charming and satisfying effects are produced, and the sense of brooding tranquility and a living peace. [His] use, too, of a solitary figure, or of a few figures wrapped about with silence and the spaces of the air and the hills, is a revelation of the nearness of natural men to the heart of nature itself. (The Irish Homestead, Vol. X, No.35, 27 August 1904). This sense of the magical power of nature and its spiritual and enigmatic character is what defines the best specimens of George Russell’s work. Although he was sometimes criticised for his prolific output, there are many fine examples among his industrious oeuvre.His paintings can be found in the collection of the Ulster Museum, National Gallery of Ireland, Hugh Lane, OPW, Trinity College Dublin and the Crawford Gallery.
Lot 93
Oisín Kelly RHA (1915-1981)Children of LirBronze, 72cm (28.3) high, raised on a circular timber base 46cm (18) diameterEdition 1/2This bronze by Oisín Kelly (1915-81) was cast at the Dublin Art Foundry as one of an issue of two in 1983. It was cast directly from the original plaster maquette under the supervision of his son Fergus. The only other copy is currently on display outside the Taoiseach’s Office in Government Buildings, Dublin. The maquette was the model for the large-scale bronze of the ‘Children of Lir’, which is the centrepiece of the Garden of Remembrance, Parnell Square, a space which was designed by the Dublin City Architect, Daithí Hanly. This was the first of Oisín’s major public commissions, and one for which he devoted a great deal of thought and preparation. In a memo to the office of Public Works, dated 12 May 1959, he suggested that ‘the swan is the generally accepted image of resurgence, triumph and perfection, with undertones of regal sadness and isolation’. He therefore proposed the theme of the changing of the Children of Lir into swans as a representation of the dramatic and painful birth of the Irish State after the 1916 Easter Rising. This theme derives from an early Irish tale which recounts the fate which befell the daughter and three sons of the legendary king Lir. Through the jealous spells of their stepmother they were magically changed into swans: the piece depicts the children in the process of transformation.When Oisín had completed the large-scale plaster model of the group, it was cut into sections and sent to the Ferdinando Marinelli Artistic Foundry in Florence. There it was expertly cast in bronze under the sculptor’s guidance - Oisín paid four visits to the foundry - and finally transported back to Ireland. It was dedicated by An Taoiseach, Jack Lynch, on 6 August 1971.Fergus S. Kelly, son of Oisín Kelly, and author of The Life and Work of Oisín Kelly, with photography by Hugh McElveen (Derreen Books, 2015)
Lot 125
A RARE CARVED MAORI LARGE MODEL CANOE (WAKA), 19TH CENTURY formed of a hiwi carved from a single piece of wood, fitted above on each side with rauawa, each carved with traditional masks flanked by linear panels and beadwork designs (cracks, small chips, carved tauihu or taurapa (incomplete, the other missing), the interior retaining a carved turu and a further carved cylindrical support, retaining some original ochre striping, with a small Maori paddle, of different scale 205.5 cm; 80 7/8 in long Provenance Worden Hall, Lancashire A private English collection Described as follows in the Worden Hall Inventory: 'Ancient Things'.......'War Canoe, New Zealand. They are designated by particular names such as Marutubai a slaying or devouring fire T Townley Esq.' Sold together with a copy of this entry in the typed manuscript entitled 'Catalogue of Sir William ffarington Kt. 1768 with such additions as have from time to time been suplemented [sic] to 1870 by Mary Hannah ffarington. Mid-19th century ledger begun at both ends; the above titles at one end after an incomplete index, followed by a list of paintings, and extracts from the Official Account of Cook's Third Voyage'.
Lot 185
A NORTH EUROPEAN HARQUEBUSIER'S BACKPLATE, POSSIBLY ENGLISH, MID-17TH CENTURY formed in one piece with a raised neck-opening and outward flanged lower edge, fitted at each shoulder with a scaled strap (the left lacking its pierced terminal scale), and at each side of the waist with the remains of a belt (the waist-flange cracked at its right end and the surface of the whole heavily oxidized overall) 38.5 cm; 15¼ in Provenance Sir William ffarington, Worden Hall, Lancashire A private English collection See lot ??? above [D942-21] for information relating to the Worden Hall collection
Lot 332
A 22 BORE NORTH EUROPEAN WHEEL-LOCK HOLSTER PISTOL, CIRCA 1660 with tapering barrel formed in three stages, slender tang, rounded lock retained by three side nails and struck with a mark (Neue Støckel 4371), fitted with external wheel and sliding pan-cover with button release, figured hardwood full stock carved with a raised moulding enclosed by a band of scale ornament about the tang, impressed '12' opposite the lock, iron mounts comprising trigger-guard with foliate terminals, spurred butt-cap finely engraved with border ornament, warrior head profiles and a flowerhead, a pair of ramrod-pipes and associated iron-tipped ramrod (small areas of light pitting) 44.0 cm; 17 3/8 in barrel The mark is that of Philippe Sellier, recorded as a gunmaker and dealer in Liège circa 1676-1740.
Lot 61
AN ARAB DAGGER (JAMBIYA), 19TH CENTURY with curved double-edged blade formed with a medial ridge on each face, gilt-copper hilt of characteristic form, chased over its surface with scrolling foliage against a punched ground, in its scabbard decorated en suite, the inner face decorated with a scale design, the base with bulbous terminal and with three small loops on each side of the mouth for attachment to a belt (rings missing) 16.5 cm; 6 1/2 in blade Provenance G. Vallorani Esq., sold Sotheby's, 23rd April 1979, lot 75
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