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Lot 1609
A late 17th Century Walnut cased Verge 30-hour Wall mounted Clock with pull repeat, Christopher Gould, circa 1695, the lift-off hood with overhanging cornice, surmounted by a moulded caddy top and fitted with a gilt Brass pine cone finial, to a glazed dial and side panels, mounted on a carved floral and foliate bracket to a 6? engraved square Brass dial, signed ?C H R Gould Londini Fecit?, with cast and applied cherub spandrels enclosing a silvered Roman and Arabic chapter ring with outside minute track and inside quarters track, to a matted centre and fitted with carved pierced and blued steel hands, to a movement with plates united by four baluster columns and a verge escapement and short bob pendulum and with strike on two graduated bells and also a self- powering pull repeat to the base, height 16? (published ?Old English Master Clockmakers ? Cescinski? page 85) Condition:Hood - Missing finial. Some lifting to veneer/knocks to woodwork and may have some replacement veneer to right side, crack to left hand side seat mount.Movement - Requires cleaning. Bell appears replaced. (please see attached images)*****Viewing Recommended*****Please note: Keys Fine Art Auctioneers take great care to ensure that any statements as to attribution, age, date, origin, provenance and condition are reliable and accurate but it should be noted that all such statements are skilled opinions, if provenance (written or historical fact) cannot be produced. However, Keys Fine Art Auctioneers do not guarantee that condition reports, whether included in the catalogue, or given at a later time; cover all aspects of an item(s) condition. All clocks, watches and mechanical items are sold on behalf of vendors by Keys Fine Art Auctioneers strictly on an “As Found” basis.No guarantee or warranty is issued or given in anyway, either written or verbal and therefore refunds will not be issued on the basis of the Lot not being “in working order”, “incomplete”, or “not in original condition”.Keys Fine Art Auctioneers would respectfully ask that prospective buyers view Lots in person, wherever issues regarding condition are seen as important to them, satisfying themselves as to the condition, completeness and originality of any Lot on which they intend to bid.
Lot 2216
A Regency period simulated Rosewood Bergère Chair with single Cane back and seat, moulded frieze and raised on ring turned front supports with Brass caps and castors Condition:* Crack to frame at back* Cane work with some damage on back* Non matching castors on feet* Broken roundel decorationPlease note: Keys Fine Art Auctioneers take great care to ensure that any statements as to attribution, age, date, origin, provenance and condition are reliable and accurate but it should be noted that all such statements are skilled opinions, if provenance (written or historical fact) cannot be produced. However, Keys Fine Art Auctioneers do not guarantee that condition reports, whether included in the catalogue, or given at a later time; cover all aspects of an item(s) condition. All items are sold strictly on an “As Found” basis.No guarantee or warranty is issued or given in anyway, either written or verbal and therefore refunds will not be issued on the basis of the Lot not being “in working order”, “incomplete”, or “not in original condition”.Keys Fine Art Auctioneers would respectfully ask that prospective buyers view Lots in person, wherever issues regarding condition are seen as important to them, satisfying themselves as to the condition, completeness and originality of any Lot on which they intend to bid.
Lot 2331
A Mahogany Chippendale style Dining Chair, foliate moulded cresting rail over a similarly decorated pierced central splat back, gross point wool embroidered drop in seat, plain apron, raised on cabriole front supports, moulded at the knees with acanthus leaves, terminating in claw and ball feet, 19th Century
Lot 2365
An unusual Victorian Papier-mâché bow back Side Chair, extensively decorated with floral panels with Mother of Pearl detail, the cane seat to short front cabriole legs, 20" wide Condition:Appears to be some repair to serpentine bar at front of chair this is only visible from underneath. Minor loss to cane work trim. General wear to decoration throughout.Please note: Keys Fine Art Auctioneers take great care to ensure that any statements as to attribution, age, date, origin, provenance and condition are reliable and accurate but it should be noted that all such statements are skilled opinions, if provenance (written or historical fact) cannot be produced. However, Keys Fine Art Auctioneers do not guarantee that condition reports, whether included in the catalogue, or given at a later time; cover all aspects of an item(s) condition. All items are sold strictly on an “As Found” basis.No guarantee or warranty is issued or given in anyway, either written or verbal and therefore refunds will not be issued on the basis of the Lot not being “in working order”, “incomplete”, or “not in original condition”.Keys Fine Art Auctioneers would respectfully ask that prospective buyers view Lots in person, wherever issues regarding condition are seen as important to them, satisfying themselves as to the condition, completeness and originality of any Lot on which they intend to bid.
Lot 2390
A Georgian Mahogany framed bow back Dining Chair with push-out Tapestry seat and fluted front legs, 21? wide Condition: Brake to arched back, requires restoration.Please note: Keys Fine Art Auctioneers take great care to ensure that any statements as to attribution, age, date, origin, provenance and condition are reliable and accurate but it should be noted that all such statements are skilled opinions prepared with due care, if provenance (written or historical fact) cannot be produced. However, Keys Fine Art Auctioneers do not guarantee that condition reports, whether included in the catalogue, or given at a later time, cover all aspects of an item(s) condition. All clocks, watches and mechanical items are sold on behalf of vendors by Keys Fine Art Auctioneers strictly on an “As Found” basis.No guarantee or warranty is issued or given in anyway, either written or verbal and therefore refunds will not be issued on the basis of the Lot not being “in working order”, “incomplete”, or “not in original condition”.Keys Fine Art Auctioneers would respectfully ask that prospective buyers view Lots in person, wherever issues regarding condition are seen as important to them, satisfying themselves as to the condition, completeness and originality of any Lot on which they intend to bid.
Lot 2441
A large Victorian Rosewood framed, button back Sofa, the arched back, sides and seat upholstered in green floral decorated fabric, the arms with carved scroll wood detail, raised on Brass castors Condition:Damage around one front and one back castor. Other front leg has loss to end where joint with castor. Castors appear original. Upholstery a little worn but generally good condition. No woodworm apparent.Please note: Keys Fine Art Auctioneers take great care to ensure that any statements as to attribution, age, date, origin, provenance and condition are reliable and accurate but it should be noted that all such statements are skilled opinions, if provenance (written or historical fact) cannot be produced. However, Keys Fine Art Auctioneers do not guarantee that condition reports, whether included in the catalogue, or given at a later time; cover all aspects of an item(s) condition. All items are sold strictly on an “As Found” basis.No guarantee or warranty is issued or given in anyway, either written or verbal and therefore refunds will not be issued on the basis of the Lot not being “in working order”, “incomplete”, or “not in original condition”.Keys Fine Art Auctioneers would respectfully ask that prospective buyers view Lots in person, wherever issues regarding condition are seen as important to them, satisfying themselves as to the condition, completeness and originality of any Lot on which they intend to bid.
Lot 752
A set of eight Hepplewhite style mahogany dining chairs, late 19th Century, including two carvers, each with camel back and crest rail centred by a carved foliate spray, above a pierced splat carved with ribbon, foliage and pendant bellflowers, over a drop-in seat flanked by out-swept moulded arms, raised on moulded square-section tapering legs joined by an H-stretcher, each stamped T6446. Provenance: Reputedly, ex Crathorne Hall, North Yorkshire.
Lot 752
A set of eight Hepplewhite style mahogany dining chairs, late 19th Century, including two carvers, each with camel back and crest rail centred by a carved foliate spray, above a pierced splat carved with ribbon, foliage and pendant bellflowers, over a drop-in seat flanked by out-swept moulded arms, raised on moulded square-section tapering legs joined by an H-stretcher, each stamped T6446. Provenance: Reputedly, ex Crathorne Hall, North Yorkshire.
Lot 45
Basil Blackshaw HRHA RUA (b.1932) IRENE CALVERT MP, 1952 oil on canvas signed and dated upper right 27 by 20in. (68.58 by 50.80cm) Commissioned by the sitter;Thence by descent CEMA `Basil Blackshaw & Martin McKeown`, Donegall Street Gallery, Belfast, September 1952 It was following, and partly as a result of this commission, that the artist was commissioned to paint the then Governor of Northern Ireland, Lord Wakehurst.Irene Calvert (19092000) was a Northern Irish politician and economist. Born in Belfast, as Lilian Irene Mercer Earls, she studied at Methodist College, Belfast. She studied economics and philosophy at Queen`s University, Belfast. In 1941 she was appointed Chief Welfare Officer for Northern Ireland, immediately having to organise care for a flood of wartime evacuees.In 1944, she contested a by-election for the Queen`s University Belfast constituency. She was unsuccessful but stood again in the Northern Ireland general election, 1945, as an independent (non-party) candidate, and on this occasion succeeded in taking a seat at Stormont. She held the seat until she stood down at the 1953 election.In Parliament, she avoided the traditional Unionist versus Nationalist arguments, which she regarded as a distraction from the real task of social reform, including the passage of the Education Act, 1947. In her resignation speech, she did however question whether the Northern Irish economy could thrive while the partition of Ireland continued.In 1950 Calvert began working at the Ulster Weaving Company as an economist, and having successfully helped build up their institutional sales was appointed a managing director. In 1956 she was invited to become a group chairman at the Duke of Edinburgh`s Study Conference on Industry. She also served on the Belfast City Chamber of Commerce, becoming its first - and, to date, only - woman president in 19651966. She also served on Queen`s University`s Senate and Board of Curators, and was active in the Irish Association. In 1964, she worked as an executive manager with Great Southern Hotels, a subsidiary of CIE, the Irish Transport Company, with whom she worked until early 1970. She retired to Dublin where she was an active supporter of the Irish Labour Party until her death in 2000.
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216995 item(s)/page