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A large 19th century Capo-di-Monte porcelain table casket of rectangular form with slightly domed cover, decorated with relief panels depicting nude and classically dressed figures at a Bacchanalian feast, at rest in idyllic landscapes and dancing, the final panel depicting the judgment of the Gods, alternating with ribbon tied floral drapery, the cover with a border of winged cherubs holding aloft floral swags and outer giltwood edging, gold velvet to underside of lid, the base with underglaze blue crowned N mark, 12 x 9½in. (30.5 x 24cm.), 6½in. (16.5cm.) high, one panel a/f, damage to giltwood to one corner of cover.
An 18th century Channel Islands silver table spoon maker`s mark PM struck once (Pierre Maingy, Guernsey, c.1739-c.1776), two other devices struck above and below, with scallop shell back to bowl, engraved initials MBD beneath terminal, 7¾in. (19.7cm.) long, weight 1.35 tr.oz.
A set of four Edwardian silver table candlesticks James Dixon & Sons, Sheffield 1902 & 1903, of Corinthian column form, with foliate capital nozzles and beaded detachable drip pans on stop fluted columns, the flared square bases with repoussé husk swag and foliate scroll decoration and bead and arcaded borders, loaded, 8½in. (21.5cm.) high, gross weight 87 tr.oz. (4)
A good and large late-Victorian silver dressing table mirror William Comyns, London 1900, the shaped oval frame in pierced and repoussé decorated silver depicting fawns and winged cherubs amidst elaborate floral and foliate scrollwork, surmounted by a vacant rococo cartouche and the base centred with a grotesque mask, on a dark blue velvet backing with easel back, 21in. (53.5cm.) high, lacks plate.
A pair of George III silver table candlesticks John Parsons & Co., Sheffield 1785, of elegant classical form, the urn shaped nozzles with detachable drip trays, on tapered columns to a dished circular bases, all with beaded borders, loaded, 10¼in. (26cm.) high, gross weight 45 tr.oz. (2)
A good late-Regency rosewood sofa table the well figured rectangular top with satinwood cross banding within boxwood and ebony stringing, over two satinwood banded frieze drawers, raised on splayed supports with gilt brass hairy paw cap casters, 36½ x 24in. (93 x 61cm.), 59½in. (151cm.) long open, 27½in. (70cm.) high.
A good William IV circular rosewood pedestal dining table c.1835, the well figured tilt-top top with broad cross banding and foliate carved edge, the frieze set with applied floral rosettes, on a turned and tapered column with stiff leaf carving and substantial foliate carved boss to a circular platform base with gadrooned edge and four outset bars with carved foliate mounts, set with carved lion paw feet with casters, 52in. (132cm.) diameter, some restoration.
A good late George III mahogany two pillar dining table the rounded rectangular top with three additional leaves, on ring turned columns to quadruple splayed bases with brass cap casters, 48in. (122cm.) wide, 27½in. (70cm.) high, length from 53in. (135cm.) closed to 116½in. (298cm.) long extended. * Provenance: Michael Foster, BADA, Chelsea, London.
A George IV mahogany card table the cross banded and ebony strung fold-over top with canted corners and green baize lining, swivelling to reveal storage beneath, over an ebony inlaid and strung frieze, on four baluster turned supports to a strung platform raised on four sabre supports with foliate brass cap casters, 36 x 17¾in. (91.5 x 45cm.), 28in. (71cm.) high.
A carved tribal bench or low table Papua New Guinea, modelled in the form of a stylised crocodile, inset cowry shell eyes, carved relief human faces to tail and neck also with inset eyes of shell and stone, seat edges decorated with abstract carving, 64in. (162½cm.) long, 11½in. (29cm.) high, 13in. (33cm.) wide.
A Japanese carved ivory and hardwood figure of a female calligrapher Meiji period, the finely carved figure with hand painted coloured detailing, standing holding a brush before a well carved hardwood table, with inset ivory tablet, a loose carved ivory brush pot, inkstone and artist`s box on the table before her, 5½in. (14cm.) high, the table 5 3/8 x 4½in. (13.7 x 11.5cm.).
An antique stained hardwood Chinese side table probably 18th or early 19th century, possibly walnut with remains of red staining throughout, the cleated top with ribbed border over a pierced and carved keywork frieze with beast masks, raised on four cylindrical supports united by peripheral ribbed stretchers, some repairs, legs possibly shortened, 37¾ x 19in. (96 x 48cm.), 23¼in. (59cm.) high.
Alfred Downing Fripp RWS (1822-1895) Interior of a Fisherman's Cabin, Galway Watercolour, 48 x 61.5cm (19 x 24¼") Signed and dated 1845 Literature : The National Library of Ireland version is illustrated in "Irish rural interiors in art" 2006 by Claudia Kinmonth Fig 24 illustrated P 24 and in "Whipping the herring" The Crawford Gallery 2006 P180 Full page illustration P181. Alfred Fripp was born in Bristol, and studied at the British Museum and Royal Academy School. He exhibited regularly with the Royal Watercolour Society (where he was secretary from 1870 to 1895), at the Royal Academy, the Royal Society of British Artists, and eight titles at Dublin's Royal Hibernian Academy between 1844 and 1853. Frederick Goodall encouraged him to visit Ireland, and together with Francis William Topham and Mark Anthony they worked together during several visits to Galway from 1844 onwards. Their focus on poor rural Irish culture has resulted in a unique legacy of related work. Fripp visited Ireland between 1844-53 and illustrated a book on Clonmacnoise in 1846. He exhibited several works over the years with Galway titles. A smaller version of this work, perhaps a study as it is dated a year earlier, turned up in Christies in London in 2005 and is now in the collection of The National Library of Ireland. It was exhibited in the Crawford Gallery Exhibition "Whipping the herring" in 2006 where Claudia Kinmonth draws ones attention to the empty woven basket called a skib, which was the traditional substitution for a table where people gathered around to eat the potatoes communally with their hands. The dresser which normally contained the family's most prized possessions is nearly empty, no pot hangs from the fire and the skib is empty which are all symbolic of the household's poverty and hunger - a portent of the coming Great Hunger. We acknowledge with thanks Claudia Kinmonth's various writings on the subject of rural interiors which formed the basis of this catalogue entry.
Jack Butler Yeats RHA (1871-1957) A Rose (1936) Oil on panel, 23 x 35.5cm (9 x 14") Signed Provenance: Senator Joseph Brennan from the sale of whose collection purchased 1942 by John P. Reihill Snr; Deepwell, Blackrock, Co. Dublin Exhibited: -Royal Hibernian Academy Annual Exhibition, Dublin, 1939, Cat. No. 355 -Exhibition by Irish Artists, presented by Victor Waddington Galleries in Waterford and Cork -Paintings and Sculptures by Irish Artists, presented by Victor Waddington Galleries, RDS, Dublin, May 1941 -Jack B. Yeats: National Loan Exhibition, National College of Art & Design, Dublin, June-July 1945, Cat. No. 104 -Irish Art from Private Collections 1870-1930, Wexford Arts Centre, 1977, Cat. No. 40 Literature: Jack B. Yeats: A Catalogue Raissoné of the Oil Paintings, Hilary Pyle, 1992, Vol I, p.438, further illustrated Vol III p.207 Jack B. Yeats by Bruce Arnold, 1998, p.278-280, illustrated p.279 This is one of a series of four paintings of roses begun by Jack B. Yeats in the late summer of 1936. All are of the same proportion and three of them were shown together in the major Jack B. Yeats National Loan Exhibition in Dublin in 1945. But each work is a separate study and they were never intended to be shown together. Another The Rose in the Basin, (Private Collection, 1936) belonged to Kenneth Clarke and was included in the exhibition of Yeats's work that he curated at the National Gallery of London in 1942. In 1936 when he began working on the series, Yeats wrote to the then director of the National Gallery of Ireland Thomas Bodkin, an old friend, telling him that he had 'painted a new subject for me - a rose'. The flower had in fact appeared in an earlier work, the Scene Painter's Rose, (Private Collection, 1927), where a rose in a vase stands on a table in the artist's studio, as a symbol of natural beauty in contrast to the artificiality of the artwork. In A Rose he concentrates on the flower, rather than its surroundings. At the centre of the composition is the dark red form of the rose, drooping over the edge of a white basin on a mantelpiece. The blossom takes on a theatrical quality contrasting dramatically with its muted backdrop. The apparent simplicity of this traditional subject, a still-life painting of a flower, is challenged by the complex handling of colour and light in the work. The white wall against which the bowl is placed is constructed of vibrant flecks of blue, yellow, pink and green made from diverse brushstrokes. This suggests movement and life as opposed to the solemnity of the dark sculptural rose. It is testament to Yeats's ability as a painter that he can draw so much drama from such a simple device. Samuel Beckett was much taken with the paintings when he saw them on a visit to Yeats's studio. He referred to this work, the first to be completed, as 'the tyranny of the rose'. There is in fact something tyrannical or at least compelling about A Rose which while full of potent symbolism and beauty is at the same time fragile and transitory. The work subtly conveys both aspects of the subject while retaining its integrity as a complex painting in its own right. Dr. Róisín Kennedy Dublin September 2014
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1181390 item(s)/page