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Gorringes
Lot 1125

An Edwardian mahogany satinwood crossbanded two drawer writing table, on square section tapered legs, W.3ft 6in.

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Gorringes
Lot 1128

A large tortoiseshell veneered triple dressing table mirror, with bevelled plate glass, stand 2ft 7in.

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Gorringes
Lot 1132

A 20th century grey painted cast iron centre table, the top cast with signs of the zodiac, H.2ft 8in. diam. 2ft 4in.

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Gorringes
Lot 1135

Robert Heritage for Archie Shine. A circular rosewood drum table, with four frieze drawers, on tripod base, W.4ft 8in.

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Gorringes
Lot 1138

A black slate rectangular coffee table, decorated with acanthus scrolls and floral motifs, on solid block section end supports, W.3ft 11.5in.

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Gorringes
Lot 1151

JONES (MAJOR-GENERAL SIR J.), JOURNALS OF SIEGES CARRIED ON BY THE ARMY UNDER THE DUKE OF WELLINGTON, third edition, 3 vols, complete with a folding table and 26 plates and maps as per list, Royal Military College presentation green leather binding, awarded to Arthur J Perkins for the progress in the study of fortification, June, 1866, London, 1846

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Gorringes
Lot 1156

THE OFFICER`S MANUAL IN THE FIELD, OR A SERIES OF MILITARY PLANS, complete with folding table and 60 plates, ¾ tan leather with marbled boards, London, Egerton, 1798

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Gorringes
Lot 1170

LAMB (R), AN ORIGINAL AND AUTHENTIC JOURNAL OF OCCURENCES DURING THE LATE AMERICAN WAR, with list of subscribers and table of the order of battle, re-backed tan calf, Dublin, 1809

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Gorringes
Lot 1215

RALEGH [RALEIGH] (W), THE HISTORY OF THE WORLD IN FIVE BOOKS, title in red and black, engraved title, portrait [40], Mind of the front (detached) [40] 651, three blank, 776 [2] table 26pp and [30], seven plates and maps, rebacked calf, London. The main book appears to be an early edition however, the title page is probably from a later edition and dated 1687 (a/f)

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Gorringes
Lot 1265

Six matched George III Irish silver fiddle pattern table forks, with engraved armorials, J.S , Dublin, 1804 (4) and John Power, 1805, 12.5 oz.

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Gorringes
Lot 1308

A pair of 20th century silver plated table lamps, with reeded ribbon stems and loop terminals with pineapple finials, on circular bases, with pink glass shades, 25.75in.

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Gorringes
Lot 1322

A George V silver plated canteen of cutlery for twelve, retailed by Boodle & Dunthorne, Liverpool, comprising one hundred and six items, together with six steak knives and six pairs of fish eaters, in brass mounted walnut table top canteen, with original purchase receipt, on later stand, canteen 19in.

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Gorringes
Lot 1340

A canteen of early Victorian silver Albert pattern cutlery for twelve, comprising sixty items, William Eaton, London, 1840-1844 incl. together with twelve Albert pattern silver handled table knives and twelve dessert knives, C.J. Vander Ltd, London, 1958, weighable silver 144 oz.

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Gorringes
Lot 1726

Follower of Jan Davidsz. de Heem (1606-1684)oil on canvas,Still life of fruit, a lobster, oysters and a goblet upon table top,30.5 x 24in.

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Gorringes
Lot 1955

Patricia O`Brienoil on canvas,The Dressing Table II,signed and dated `81,10.75 x 13in.

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Cuttlestones Wolverhampton Salerooms
Lot 6A

A HALLMARKED SILVER ASHTRAY, MATCH BOX COVER AND CIGARETTE TABLE CASKET

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Cuttlestones Wolverhampton Salerooms
Lot 10

A FOUR PIECE HALLMARKED SILVER DRESSING TABLE SET, CONSISTING OF THREE BRUSHES AND A HAND MIRROR

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Cuttlestones Wolverhampton Salerooms
Lot 161

A TABLE TOP MIRROR TOGETHER WITH ANOTHER MIRROR

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Cuttlestones Wolverhampton Salerooms
Lot 164A

THREE BOXES OF SUNDRIES TO INCLUDE TABLE LAMPS, COLLECTORS SPOONS, ETC

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Cuttlestones Wolverhampton Salerooms
Lot 205

THREE NOVELTY TABLE LAMPS

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Cuttlestones Wolverhampton Salerooms
Lot 236

A TRAY OF CERAMICS AND COLLECTABLES, TOGETHER WITH A COLLECTION OF PRINTS (UNDER TABLE)

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Cuttlestones Wolverhampton Salerooms
Lot 361

A LIGHTWEIGHT PATIO TABLE AND CHAIRS

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Cuttlestones Wolverhampton Salerooms
Lot 388

A MAHOGANY DRESSING TABLE

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Cuttlestones Wolverhampton Salerooms
Lot 393

A CORNER RECEPTION DESK, GHD DISPLAY SHELVES, TWO SCREENS AND TABLE

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Cuttlestones Wolverhampton Salerooms
Lot 394

AN OAK PUB TABLE

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Cuttlestones Wolverhampton Salerooms
Lot 396

A HALF MOON TABLE, BRASS FENDER

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Cuttlestones Wolverhampton Salerooms
Lot 402

A TABLE SEWING MACHINE

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Cuttlestones Wolverhampton Salerooms
Lot 406

A TEAK G-PLAN DINING TABLE AND FOUR CHAIRS

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Cuttlestones Wolverhampton Salerooms
Lot 409A

A MODERN PINE CHEST OF DRAWERS AND A MODERN DRESSING TABLE (2)

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Cuttlestones Wolverhampton Salerooms
Lot 410

A GEORGIAN OAK DROPLEAF TABLE

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Cuttlestones Wolverhampton Salerooms
Lot 411

A MODERN DINING TABLE AND FOUR CHAIRS

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Cuttlestones Wolverhampton Salerooms
Lot 413

A REVOLVING MAHOGANY BOOKCASE, OCCASIONAL TABLE AND A NEST OF TABLES (3)

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Cuttlestones Wolverhampton Salerooms
Lot 414

A MODERN NEST OF TABLES AND AN OVAL COFFEE TABLE (2)

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Cuttlestones Wolverhampton Salerooms
Lot 419

A CARVED OAK BARLEY TWIST TABLE

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Cuttlestones Wolverhampton Salerooms
Lot 421

A QUALITY COFFEE TABLE AND LAMP TABLE WITH GLASS INSERTS (2)

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Cuttlestones Wolverhampton Salerooms
Lot 423

A LLOYD LOOM LINEN BOX, A HALF MOON TABLE ETC. (7)

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Cuttlestones Wolverhampton Salerooms
Lot 426

AN OAK SIDE TABLE WITH A MARBLE TOPPED WASHSTAND (2)

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Cuttlestones Wolverhampton Salerooms
Lot 427

AN OAK REFECTORY DINING TABLE AND SIX CHAIRS (ONCE OWNED BY IAN WOOSNAM)

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Cuttlestones Wolverhampton Salerooms
Lot 430

A YEW WOOD EXTENDING DINING TABLE WITH SIX CHAIRS

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Cuttlestones Wolverhampton Salerooms
Lot 432

FOUR UPHOLSTERED CHAIRS, AN OCCASIONAL TABLE AND A NEST OF TABLES

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Cuttlestones Wolverhampton Salerooms
Lot 433

AN UPHOLSTERED ARMCHAIR, HALF MOON TABLE, TELEPHONE SEAT ETC. (7)

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Cuttlestones Wolverhampton Salerooms
Lot 435

A CANE CONSERVATORY SUITE AND A TABLE

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Cuttlestones Wolverhampton Salerooms
Lot 436

A OAK BARLEY TWIST DROPLEAF TABLE AND FOUR OAK CHAIRS

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Cuttlestones Wolverhampton Salerooms
Lot 446

AN OAK TROLLEY, A MAHOGANY NEST OF TABLES AND AN INLAID TABLE

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Cuttlestones Wolverhampton Salerooms
Lot 460

A NINETEENTH CENTURY MAHOGANY SIDE TABLE WITH DRAWER

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Cuttlestones Wolverhampton Salerooms
Lot 468

AN OAK REFECTORY DINING TABLE AND SIX CHAIRS

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Cuttlestones Wolverhampton Salerooms
Lot 472

A LARGE MAHOGANY DROPLEAF TABLE WITH BRASS CAPPINGS AND CASTORS

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Cuttlestones Wolverhampton Salerooms
Lot 473

A MODERN SQUARE STORAGE/COFFEE TABLE

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Cuttlestones Wolverhampton Salerooms
Lot 475

A MAHOGANY CONSOLE TABLE AND A ROSEWOOD CABINET (2)

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Cuttlestones Wolverhampton Salerooms
Lot 476

A VICTORIAN OAK WORK TABLE ON REEDED LEGS A/F

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Cuttlestones Wolverhampton Salerooms
Lot 482

A QUALITY LARGE OAK REFECTORY DINING TABLE WITH TEN CHAIRS

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Cuttlestones Wolverhampton Salerooms
Lot 485

AN OAK CREDANCE STYLE SIDE TABLE WITH SINGLE DRAWER

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Cuttlestones Wolverhampton Salerooms
Lot 486

AN INVALID MAHOGANY CHAIR AND AN INLAID OCCASIONAL TABLE (2)

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Cuttlestones Wolverhampton Salerooms
Lot 497

AN EARLY TWENTIETH CENTURY MAHOGANY WIND-OUT DINING TABLE

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Cuttlestones Wolverhampton Salerooms
Lot 505

AN EASTERN STYLE OCTAGANAL TABLE WITH MOTHER OF PEARL INLAY A/F

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Cuttlestones Wolverhampton Salerooms
Lot 507

AN OAK SEWING TABLE

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Cuttlestones Wolverhampton Salerooms
Lot 510

A MAHOGANY NIGHTSTAND AND AN OCCASIONAL TABLE (2)

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Gorringes
Lot 69

A 19th century French musical automaton by Renou, modelled as a female magician standing at a table revealing a small bisque head, marked for Jumeau, on a rectangular velvet box base, 7in.

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Adams
Lot 9

James Humbert Craig, RHA RUA (1877-1944) Unloading the Catch, Killary Harbour Oil on board, 45.5 x 60cm (18 x 23.5") Signed Provenance: Sold in these room, "Important Irish Art Sale" December 2005, Lot No. 142, where purchased by current owner Exhibited: RHA Annual Exhibition 1936, Cat. No. 112 Looking across Killary Bay from Rosroe, it shows the boats used for the treacherous waters of the Killeries. The herring industry was a major economic force in Connemara from the late 19th century until the end of World War 1. From South Connemara through Roundstone and using the railhead in the late 19th century and until the 1930s at Recess when the Galway-Clifden line was closed the herring was dried, or canned and shipped abroad. Rosroe was at the perimeter of The Marquess of Sligo's estates of which the most famous water estates is nearby at the head of Killary at Assleagh Falls and Delphi. The Lord Sligo's estate company continued to own the Assleagh Fisheries until the 1960s. The Co-operative Fishing Company continued with the Rosroe Fishery until after World War II. The property was subsequently owned by Count Cyril McCormack for many years and some eel and herring table products were also developed by Count McCormack. The light is typical of the area and was often painted by many landscape artists because of its light reflecting properties. The agricultural practice of lazy beds by subsistence farmers was in continuous use until the 20th century as a means of producing the staple diet of the potato, and it gives the Irish landscape its particular surface appearance end in the field patterns which resulted was very attractive to painters. J.H. Craig used a light toned palette to achieve his effects of mounting cloud forms and the reflections of the water, hills and mountains reflected in the water. It was a practice used by many artists in the Franco-Irish tradition having two sources, the English painter John Constable and the School of Barbizon painters using the smaller scale of humankind against the grand sweep of landscape and the clouds giving the sense of scale even to the smallest works. Paul Henry, Maurice MacGonigal, Kitty Wilmer O'Brien, Ann King Harman, Dorothy Blackham and Letitia Hamilton and many other artists painted in the area from the end of the 19th century and for much of the 20th. This is an unusually light coloured work of great charm and pictorial sensitivity to the great scale of nature, with the clear but small scale human figures busy in their material affairs, including in this instance, the herring nets and the clinker built herring boats, which were introduced into the area in the early 20th century, delivering the catch, as the waters were too shallow most of the time for the larger trawlers to berth at the quay and on which may be seen the drying sheds for the fish.

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Adams
Lot 92

Joseph O'Reilly (1865-1893) Contributions Earnestly Solicited Oil on canvas, 91 x 61cm (35¾ x 24") Signed and dated 1890. Inscribed with title verso. Exhibited: R.H.A. annual exhibition 1891, cat. no. 97, for £30. Born in Dublin and educated at The Royal Hibernian Academy School, Joseph O'Reilly won numerous prizes for his paintings. He was awarded a bronze and a silver medal, and by 1887 had won the The Albert Scholarship, quickly establishing himself as a landscape and figure painter, and commanding robust prices for the titles that he showed at the R.H.A. between 1885 and 1893. This was the work that won him The Taylor Scholarship, enabling him to travel to Paris to paint. He was encouraged to make this trip by celebrated Irish impressionist and portrait painter Walter Osborne (1859-1903). Taylor was evidently much influenced by Osborne, who had himself won the same scholarship and spent time painting in France in the early 1880's. There are striking similarities between this painting and Osborne's 'A Tempting Bait' (shown at the RHA in 1883, no. 129), especially in the pose of the begging fox terrier, and that of the young boy looking down at his dog, with his ankles crossed and legs dangling. Osborne's arrangement is darker, and its story, with a rat-trap being set, is more strongly narrative. Walter Osborne's father William Osborne, was also a prolific painter of animals, and his painting of 'The Dogs' Parliament' (exhibited RHA 1887) shows a terrier in a closely similar pose to O'Reilly's. As a way of successfully demonstrating his artistic talents, O'Reilly seems deliberately to have set himself the challenge of depicting light on a variety of surfaces: metal, earthenware, glass, bare flesh, draped wool and eggshell. His choice of objects is a favourite one of earlier genre painters, who often arranged vignettes such as the one shown here in the lower left corner, to show off their skills at painting difficult transparent or reflective things. The scene hovers between farm kitchen and studio. His small boy sits on a Thonet bentwood chair, but the rest of the props are more suggestive of an Irish farmhouse. The spaniel sits high to beg on a creepie stool draped with a cloth, the striped blue and white jug rests on a Carpenters' Chair, and in the background, where sunlight falls through the window, is a scrubbed-top table of a type common in Irish farmhouses. Strickland considered O'Reilly's work to be 'brilliant and successful', but it was cut short by his death of consumption, aged only 28, so his surviving works are very rare. By Claudia Kinmonth PhD M.A. (R.C.A.) author of Irish Country Furniture 1700-1950 & Irish Rural Interiors in Art (Yale University Press, 1993, 2006).

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