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Click here to subscribeA VICTORIAN WALNUT FRAMED SALON CHAIR of balloon back form upholstered in green silk chinoiserie tapestry, the channelled frame with flower carved crest, open padded arms on shaped supports, overstuffed seat, raised on shell carved cabriole front legs and brass castors, 25 1/4" x 22" x 28 1/2" (Est. plus 18% premium inc. VAT)
Approx 400 B&W Magic Lantern Slides, Tapestry, Textile & Weaving etc. Captioned with subject and location. Features photographs of wall hangings, tapestries, samples of stitching styles, samplers, lace, bobbin lace, needle point, embroidery etc. from various British Stately Homes, churches & cathedrals, museums etc.
Tony O'Malley HRHA (1913-2003) OCTOBER AND BLACK, 1983 Gobelin style woven tapestry with artist's initials in the weave lower left; titled on reverse Collection of George and Maura McClelland Around 1983 George McClelland approached Wexford weaver Terry Dunne to create five unique tapestries based on original artworks by Tony O'Malley from his collection. According to Dunne, these tapestries were originally intended for inclusion in the artist's Arts Council Retrospective in 1984 however this idea was never realised. Instead the artworks remained in the McClelland private collection. We are grateful to Terry Dunne for his kind assistance in cataloguing this work. Dunne continues his successful practice in County Wexford and has since produced commissioned pieces for O'Malley's wife Jane, Michael Smurfit & The K Club, Co. Kildare, Monaghan Cathedral, Dublin City University, Irish Life Beresford Place, Dublin and Green Isle Foods among others.For further reading see: www.terrytheweaver.ie 57 by 35in. (144.8 by 88.9cm)
Three Early 20th Century Tapestry Evening Bags, with variously embellished metal frames; a Fitted Two-Tone Gold Metal Wrist Compact, by Evans, boxed; a Painted Metal Fitted Evening Purse; a White Metal Mesh Evening Bag; Berlin Woolwork Cushion Panel, of geometric design; Quantity of Chinese and Japanese Printed and Embroidered Textiles, together with a carved wooden cigarette box (qty)
A VICTORIAN MAHOGANY WIND-OUT DINING TABLE, raised on turned and fluted supports with castors, complete with three leaves, 120cm x 147cm (closed), each leaf 45cm, extending the table to 282cm, (with winder) together with a SET OF EIGHT HEPPLEWHITE DE SIGN MAHOGANY FRAMED DINING CHAIRS, comprising six singles and a pair of carvers, each having pierced and carved splat back with machine tapestry upholstered seat, on tapering fluted supports
Norah McGuinness HRHA (1901-1980)Above the BayOil on canvas, 51 x 89cm (20 x 30'')SignedProvenance: From the collection of the artist's sister, Rhoda and bequeathed to the current owner.Exhibited: 'Norah McGuinness', The Leicester Galleries, London, 1963, Catalogue No.25, where purchased by the artist's sister Rhoda; 'Norah McGuinness', The Frederick Gallery, April - May 1996, catalogue No.18, on loan from Rhoda McGuinness; 'Norah McGuinness Centenary Loan Exhibition', Dalkey Castle Heritage Centre, 2002, Catalogue No.19, under title 'From Bray Head'.Norah McGuinness painted the east coast of Ireland extensively. Living in Dun Laoghaire, she developed a passionate interest in the seashore, its birdlife and the patterns of the water, the sand and the mud flats of Dublin Bay. This work is a panoramic view of a coastal town in Co. Wicklow, possibly Greystones. A solitary figure in a white dress stands on the crest of the hill giving perspective and scale to the surrounding vista. Her isolation contrasts with that of the groups of figures on the strand behind her. Above the Bay, like many of McGuinness’s other works, is strongly influenced by her close but increasingly flexible understanding of cubism which she learned in Paris with the Cubist artist André Lhote in the 1920s. She had earlier studied design with Harry Clarke in the Metropolitan School of Art in Dublin and she worked extensively as an illustrator and window designer in London, New York and from 1939 in Dublin. She brings this experience to bear in her treatment of the landscape in this work. The vagaries of nature are transformed into a rich densely coloured and patterned surface. The land and distant mountains are presented like a tapestry of differing green and brown squares. The sky is blocked out into larger geometric shapes of greys and white. The sea is composed of broad brushstrokes of turquoise, blue, grey and white. In contrast the town appears like a series of childlike blocks that enable bright green, pink and yellow to be introduced into the painting. There is a distinctive and decidedly cosmopolitan quality to this rendition of the landscape. The skilful blocking of form and colour makes the view appears consciously modern and stylized. McGuinness’s assured understanding of form, as seen in this work, has enabled her to construct a vivid and graceful painting that succeeds independently of reality. Dr. Róisín Kennedy
Box of vintage accessories to include a brown leather art deco bag with mirror inside, a tapestry jewellery box, a cream satin beaded bag, a black fabric purse, a floral tapestry handbag by Anzmann, a 60's beaded and sequin purse, a black beaded belt with gold tassels, a floral tapestry cushion cover, a red leather key wallet, a blue Asian fold out hat, two pairs of crochet gloves (one cream, one black), cream wool gloves and white fabric gloves and a paper oriental fan. (15)(B.P. 24% incl. VAT)
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