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Lot 101
A George V silver Spirit Kettle, by Harrison Brothers & Howson (George Howson), hallmarked London, 1912, the kettle of plain circular form with a waist of reeded decoration, leaf capped scroll handle with ivory insulators, dent to one side of spout, the stand with burner raised on three scrolling supports with shell terminals, all parts individually marked, overall height 12½in (32cm), approx total weight 53ozt.
Lot 27
A small Victorian silver Vesta Case, hallmarked CHester, 1900, together with a Continental silver cased lighter, marked 835, a contemporary silver pill pot, London, 1990, a silver cased carpenter's pencil, hallmarked, Chester, 1916, a 'Guiness' advertising penknife, a 'Shell Motor Spirit' advertising pen knife etc., (a lot)
Lot 63
A group of copper and brass items, including an embossed spirit kettle, burner and stand, kettle, 21cm wide including spout, 19.5cm high, a crumb brush and pan, two large kettles, black painted hurricane lamp, a 'Lampe Veritas' oil lamp base, two silver plated bud vases, a brass candle stand, trivet, and a small oval box. (12)
Lot 2301
A good, attractive six piece matched Silver Teaset comprising Spirit Kettl and stand and burner (1903 2380 gms), Teapot (1904 850 gms), Coffee Pot/hot water Jug (1904, 940 gms), a pair of Jugs (1904, 340 gms and 1933, 310 gms) and Sucrier (1904, 500 gms). All pieces profusely decorated in relief with scrolling foliage and standing on scroll feet, makers Walker & Hall, Sheffield, total weight 5320 gms. approx.
Lot 666
A Wedgwood white glazed model of a bison after an original by John Skeaping, printed mark to base, and two Royal Doulton figures including horse 'Spirit of the Earth' and elephant and calf group' Motherhood' Condition Report: bison 27cm long nice condition. elephant 24cm long nice condition. horse nice condition.
Lot 300
Brass and walnut-cased compass and binnacle, C.Plath, Hamburg, the gimballed compass with 'floating' bubble dial, plaque beneath of C.Plath, flanked by Port and Starboard globes, the octagonal bost with spirit level and further plaque, on stepped square base, 62cm high Condition: General tarnishing to brass work, mechanisim sold as seen. **General condition consistent with age
Lot 319
Books - Local Interest - Two interesting early 19th Century printed pamphlets - Balloon, the only true and authentic account of the Voyage from Bristol on Monday Sept 24 1810 taken from the Memoranda of and corrected by The Aeronauts, printed for the benefit of Mr Sadler at the offices of The Bristol Mercury & The Mirror, totalling eight pages, later-bound, and 'The Eo-Nauts' or The Spirit of Delusion, edited by Lemuel Gulliver Esq. and dedicated to The Mayor of Bristol, printed for C.Chapple, Pall Mall 1813, with folding colour frontispiece, 48 pages, later bound (2) Condition: Both in generally worn condition with some losses to edges of pages, discolouration etc, in later blue cardboards with Morroco spine and pasted title, uncollated and sold as seen. We recommend viewing this lot in person or please telephone the office for more information. **General condition consistent with age
Lot 1295
WEST & SON; a pair of late 19th century Irish sugar nips with pierced scissor action frame, Dublin 1897, length 12.75cm, also a silver clad burner from a spirit kettle, propelling pencil, two peppers, various salt spoons, etc.Additional InformationThe sugar nips are in pretty good condition, just light surface wear. General wear to the other parts. Lid of the spirit burner in poor condition, some pieces with dents and heavy wear.
Lot 807
A miniature silver five piece tea set comprising teapot, length 3.7cm, hot water pot, spirit kettle on stand, cream jug and twin handled sugar bowl, with faint maker's marks and 925 standard marks, suspended on silver chain, approx 1.1ozt/34g.Additional InformationSome dents, surface pitting and nicks.
Lot 30
Patrick Collins HRHA (1910-1994) Lake Swan Feeding Oil on board, 35 x 50cm (13¾ x 19½) Signed Provenance: Hendriks Gallery, label verso. Born Dromore West, County Sligo, in 1910, Patrick Collins grew up in Riverstown and, later, in Sligo town but his father, an RIC constable, contracted tuberculosis, was unable to work, and died when Collins was twelve. Patrick Collins's younger sister also died and his mother, widowed when Collins was thirteen, ran a little grocery shop until her health also failed. Collins was sent at fourteen to St Vincent's Orphanage in Glasnevin and having done well at school worked in an insurance company in Dublin for twenty years. Looking back on those years, Collins told Harriet Cooke, in 1973, that he lived near Stephen's Green, and 'every morning I'd walk through it around nine, and every day it was different, and every day the whole thing has a new scene. The birds and trees, when I look at them I read them like a book. When you're interested in birds, you see bits of difference.' He read widely, attended evening art classes at the National College of Art but was mainly self-taught and, in his mid-thirties, he became a full-time artist. He had his first solo show in 1956. Collins's west-of-Ireland background not only influenced his subject matter, landscape, lakes, birds, but his sympathy for the marginalised, as seen in a masterpiece such as Travelling Tinkers [1968], can be understood in the light of Collins's own family challenges and difficulties. But what is most distinctive about Collins's work is his palette of blues and grey and grey blues and his use of a framing device or border within the work, a window, as it were, into another world. Fionna Barber in Art in Ireland [2013] sees 'the indication of a frame within a frame' as a device that amplifies 'a sense of displacement' and 'the perception of another reality within the painting'. For Collins, 'It is the aura of an object which interests me, more than the object. I see a few bottles on a table and I feel there is more than a few bottles. It is the something more I try to paint.' So, too, with this swan on a lake. It is both swan and aura and swans in Irish mythology, what Collins called 'the Celtic thing', perhaps resonate here. In Lake Swan Feeding the swan is centre, its pure white presence, amid a misty grey, blue, green lake, is recognisable, as is a group of swans, background, top right. The single swan is alone, yes. Is that swan lonely That's up to the viewer. As Peter Murray observes, 'Collins preferred to leave the interpretation to the observer, acknowledging that the viewer creates the work of art at the moment of apprehension'. Other bird paintings, Bird against the Window from 1963, for example, could be seen as an image of longing, escape and Collins himself said that his The Rook: Bird in a Tree, captured his lonely years in the orphanage. Not for Collins, Yeats's nine-and-fifty swan. This feeding swan is on its own but the feeding detail in the title suggests a swan at ease and being nourished. When Patrick Collins died in 1994 his ashes were scattered on the shore of Lough Gill. Ciara Ferguson who was at the ceremony remembered how 'We gathered at the side of Lough Gill, at the place where he played as a boy, and, as the ashes scattered, the only sound was a lone piper. Tony Cronin gave the oration. Then, suddenly, everyone turned to the sound of a frantic beating of snow-white wings as a single swan took to the air with all the drama and poignancy of, well, the free spirit of Paddy.' In 1958 Collins won a Guggenheim Award for his 'Liffey Quayside', won the Irish landscape prize in 1971, was elected HRHA in 1980, a member of Aosdána in 1981 and Saoi in 1987, the first visual artist so honoured. He was conferred with an honorary doctorate by Trinity College in 1988 and his work is in every major Irish collection. Niall MacMonagle, February 2020
Lot 38
Novelty chrome plated American table lighter in the form of a vintage monoplane aircraft on circular pedestal base, the propeller operating the action. Similar to the famous Spirit of St Louis aircraft. Marked Made in USA, 15cm long approx. (B.P. 21% + VAT) Some deterioration and break up of the chrome plating and wear with age but no obvious damage. Appears to mechanically work.
Lot 116
A late 19th/early 20th Century wicker picnic basket, with hinged top and fall down front with leather and tin lined interior, fitted with sandwich box, brass and copper kettle with spirit flask and stand a pair of enamel green and cream cups and saucers and two cylindrical containers with pull off lids, all in fitted case, no apparent markings, 28cm wide x 18cm deep x 21cm high In general good condition
Lot 158
A Victorian silver desk stand, by Edward & John Barnard, assayed London 1863, of canted rectangular form raised upon quadruple lions paw supports, with twin pen trays and casket to centre with spirit lamp cigar lighter cover, this flanked by garlanded column ink reservoirs with clear glass liners, length 28cm. (silver weight 1018.6g/32.75Toz)Condition: Good, one small indentation to right hand reservoir, three wing nuts under base replaced, further images provided.
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49472 item(s)/page