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Click here to subscribeA 20th Century French walnut rectangular dining table of Louis XVI design with moulded edges to top, shaped and carved apron, on slender cabriole legs with leaf carving to knees and scroll toes, 59ins x 36ins x 29.5ins high, and a set of six ditto walnut dining chairs (including two armchairs) with shaped and moulded backs, upholstered in green brocade, on cabriole legs
An Edwardian mahogany side table inlaid with satinwood bandings and boxwood stringings, fitted two small drawers, on square tapered legs with spade toes and with shaped X-pattern stretcher, 24ins wide x 15ins deep x 30ins high (top slightly marked), and a Victorian mahogany boot stand (to take five pairs of boots), 26ins wide x 41ins high (lacking two pegs to top and worn throughout), and with brass liner for same
A dark patinated bronze and rosewood rectangular three legged centre table in the manner of Emmanuel Pontremoli and T.H. Robsjohn-Gibbings, 56ins x 36ins x 31ins high Note : The three bronze supports are modelled on a surviving Roman copy of a Green bronze table leg now in the Archeological Museum at Palermo. See Gisela N. Richter - "The Furniture of the Greeks, Etruscans and Romans" published by Phaidon Press 1966
An early 20th Century French giltwood and cane panelled part bedroom suite, carved and decorated in blue and gilt with flowers, comprising - serpentine fronted dressing table, the curved and shaped back inset with oval mirror, fitted three frieze drawers, on slender cabriole legs, 36ins wide x 17ins deep x 54ins high, and a 56ins double bedstead (light wear and chipping throughout - with handmade bed base for same), and a Victorian gilt decorated bedroom chair
A Victorian figured mahogany chest of drawers with serpentine fronted top and frieze drawer, on turned feet, 38ins wide x 22ins deep x 34.5ins high, a Victorian mahogany rectangular breakfast table, on turned centre column and inswept platform base, 62ins x 44ins x 28ins high, a late Victorian circular two tier jardiniere stand with slatted sides, on square splayed supports, 14ins diameter x 36ins high, and metal liner for same, and a beechwood circular work basket of similar design, 12.5ins diameter x 25ins high
Seán Keating PRHA HRA HRSA (1889-1977) PAST DEFINITE, FUTURE PERFECT, 1928 oil on canvas signed lower right; inscribed [A.M.D.G.] lower left; inscribed with title, artist`s name [John Keating], address [Killakee, Rathfarnham, Dublin, Ireland] and price [£100] on label on reverse; also with framing label of the Bregazzi & Sons [10 Merrion Row, Dublin] on reverse 25 by 30in. (63.50 by 76.20cm) Provenance: Royal Academy, London; Where purchased by the previous owner Exhibited: Royal Academy, London,1928 Well-known for his use of allegory as a method by which to reflect on political issues in Irish society, and evident in images such as An Allegory (1924) and Night`s Candles are Burnt Out (1929), Seán Keating was equally well-capable of utilising those skills to focus attention on the greater significance of the simple things in life. The older woman in Past Definite, Future Perfectis reading the cards. She holds the five of hearts and points to another card from the same suit lying on the table. Her young companion watches attentively, her hands clasped to one side so that she can see everything of the procedure. Both women are focused on the cards, but entirely absorbed in their own thoughts. At first glance, the picture presents a quiet moment between, perhaps, a mother and daughter. The only movement is in the old woman`s gnarled hands and in the swirl of light and dark tones in the background. Yet the imagery and the artist`s title suggest that this is more than a simple depiction of a fortune-telling session. The painting abounds with symbolism: old age presented as the past, beside youth as representative of the future. The manner in which the old woman concentrates on the suit of hearts suggests that she is thinking about her own past loves. The young woman, perhaps unaware that nothing is perfect, may be hoping for a definite answer about love in the future. The overarching message is that the gaiety and hope of youth leads inexorably towards the wisdom and experience of old age. Keating painted Past Definite, Future Perfect in 1928, having recently completed his series of paintings of the `Shannon Scheme` at Ardnacrusha. The association between this work and the `Shannon Scheme` might first appear incongruous; but physically and metaphorically, the project gave the artist hope for the future, and made him focus on the importance of older people in newly modernized Ireland. The theme appears to have been very much on his mind in 1928, a year in which he painted several images of old age including The Turf Buyer, Old Kitty and Good Old Stuff. Added to this, his mother Annie (née Hannan), had been suffering from an unspecified illness for a long number of years; she was nearing the end of her life in 1928. Keating credited his mother for having the foresight to send him to art school in Limerick many years previously. While this is not a portrait of Annie, it is a homage painting made in deference to women and to the wisdom of old age. Past Definite, Future Perfect was not a commission; Keating made it for public exhibition. The lettering to the bottom left of the image `AMDG` appears to represent the Jesuit motto `for the greater glory of God.` In other words, no matter what the cards supposedly say, life will be as it will be. On a more pragmatic note: the artist was in the habit of collecting disused frames; it may be that this unusual example came from a Jesuit house. Past Definite, Future Perfect was shown, along with Good Old Stuff, in the Royal Academy in London in 1928. A reviewer commented at the time on the `marvellous` portrait of the old woman which had the `conviction of a great old age.` It was purchased from the exhibition for a private collection at the time and has not been publicly exhibited since. When Keating was nearing the end of his own life he returned yet again to the themes in this work. He exhibited a watercolour with the same title, but painted in 1971, in the RHA that same year. Dr Éimear O`Connor HRHA Research Associate TRIARC-Irish Art Research Centre Trinity College Dublin April 2012 (£20,250-£28,350 approx)
Late nineteenth century Sampson Chinese-style blue and gilt porcelain table box with bronze metal mount, 16cm and Copeland Spode table box decorated with coat of arms, 15cm (2) Blue gilt box - hinge frame bent and slightly mishapen porcelain in good order - poorly glued to metal frame The Copeland box - perfect Further images and condition reports are available at www.reemandansie.com
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