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Antique Furniture
Description: VERY FINE VICTORIAN SHAPED TOP MAHOGANY CENTRE TABLE WITH TURNED COLUMN. RAISED ON FOUR SCROLLED CARVED LEGS WITH CASTORS. Height 32 inches Width 61 inches Depth 46 inches
Antique Furniture
A fine, single 19th c. French Hand Painted Oil Table Lamp, now converted to electricity The Brass Mounted Lamp has a Painted Scene of a cherub angel putti with a reclining lady and lyre at back.
Antique Furniture
A fantastic victorian zebra wood work table in wonderful condition Hight 29” 74 cm Width 16” 41 cm ± 29” 74 cm when opened fully Depth 18” 46 cm
Antique Furniture
A fantastic pair of birds-eye maple bedside cabinet’s circa 1930’s in wonderful condition
A fantastic pair of brass 19th century candlesticks converted to electricity Circa 1890 Height 28” 70cm
Antique Furniture
This is a great example of a Brass and glass round-form hall lantern, very popular in the late 19th and early 20th century. There’s been a surge of interest in pieces such as these, which not only look great in the entrance to a home, but also make elegant additions to a dining room. Although the design is 19th century, it’s a piece that looks great both with traditional furniture and cutting-edge contemporary design.
Antique Furniture
A wonderful example of a Georgian brass stick/umbrella stand fully restored with it’s original tray.
PATRICK O’REILLY (B.1957) TITLE: Bronze Bubble Bath SIGNATURE: signed and numbered 1/3 MEDIUM: bronze with gold leaf – number 1 from an edition of 3 SIZE: 102 x 66½ x 73cm (40.16 x 26.18 x 28.74in)
Born in Dublin. John Behan has played a major part in developing sculpture in Ireland for over forty years. His success in sculpture first began when he was trained in London and Oslo and began exhibiting his work widely.
In 1962, John Behan was a founding member of the New Artists’ group and Dublin’s innovative Project Art Centre in Dublin in 1967. Appointed a member of the Royal Hibernian Academy in 1990, an associate of the Academy since 1973 and also a member of Aosdana.
Seamus Heaney said, ‘There is something psychologically salubrious about John Behan. It is as if you are encountering what the Upanishads call the ancient self, something previous to an underlying individual character, some kind of psychic bedrock. These sculptures please us by their materiality, by their substantial physical presence, their bronze in-placeness, their this-worldness….for they are not in the least otherworldly. They are produced by somebody who knows the behaviour of bronze as it was known in the workshops of Rodin and Michelangelo, And yet in spite of the down-to-earthiness and this-worldness of these images John has made, there is also present in them and behind them a sense that they are vessels of spirit, symbols of human knowledge, images, as Yeats said ‘that yet/fresh images beget.”