
In the salerooms: Paintings by William Crozier, Rory Gallagher's guitar and a sale of garden sculptures
See morganodriscoll.com
Bonhams
Dave Edwards Stratocaster-style guitar, owned and used by Rory Gallagher from around 1980, sold for £38,400/€45,000 at Bonhams, London, on June 4.
Gallagher used the guitar as backup when his main Stratocaster needed a break. The guitar was gifted to Sam O'Sullivan, a long-time U2 crew member by the band in 2019.
See
Séamus Gill
Silversmith Séamus Gill has worked in the National Museum of Ireland and made the silver cruet set presented to Pope Francis in 2018.
In April, thieves broke in and ransacked Gill's Dublin studio, stealing his entire collection. One small sheet of silver was left behind. He used it to make a simple pendant – Lasóg, meaning little flame in Irish – versions of which are for sale at stonechatjewellers.ie (€175).
All proceeds go directly to Gill, to help him rebuild his workshop.
Sheppard's
Sheppard's annual sale of architectural ornament and garden sculpture takes place on June 24, with viewing at Glantelwe Gardens (R32 F7XW) from June 21 to 23.
Expect urns, gazebos, and follies; bronze and marble statues, both classic and contemporary; cast and wrought iron furniture; rare architectural salvage and ornamental ironwork.
See sheppards.ie
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


RTÉ News
2 hours ago
- RTÉ News
Farah Elle on being bold enough to choose to live with joy and love
Farah Elle is an Irish singer/songwriter of Libyan descent. She brings her sensory music and storytelling experience in a new show called LIBYA!, to Bewley's Café Theatre for this year's Dublin Fringe Festival. Below, Farah talks community, healing and restoration, and being bold enough to choose to live with joy and love at the centre... I'm so excited (and a little nervous!) to finally share something I've been working on for the past year. This September, my show LIBYA!. It's not just a performance either —it's something much more personal than that. LIBYA! is my story. Or at least, it's pieces of my story—the blunt, honest bits of life that have shaped who I am today. Without the metaphors either. Just straight facts about my life. It's about identity, belonging, and the complicated relationships we can sometimes have with our roots. It's about what it means to carry the weight of memory while trying to live fully in the present. For me, creating this show has been about learning how to open up, even when it feels vulnerable, and inviting others to sit in that space with me. But here's the thing: I didn't want to just tell these stories. I wanted people to feel them. That's why LIBYA! is also a sensory experience. When you come, you'll be greeted by the smells of jasmine trees, cardamom coffee, and fresh mint tea. There'll be baklawa to share, because that's the type of hospitality you can expect in a North African household. How we welcome people, how your presence is a gift, and how life's simple pleasures are something to be deeply grateful for - is the spirit I want to bring into the theatre. Sharing food, scent, and story is a way of saying: you are here, you belong, you're part of this moment with me. Thank you for listening and I am grateful to be able to share life's pleasures with you. The emotions in the show are layered—there's sadness in there, because stories of identity and home often hold loss. But there's also joy, laughter, and a celebration of relentless connection to it all. My hope is that everyone who arrives in the space, settles in with ease, and leaves not only knowing a little more about me, but also thinking about their own story. Knowing that their voice matters too. Where do you feel you belong? What do you carry with you from your roots? How do you hold both the pain and the beauty of it all? For me, creating this show has been about learning how to open up, even when it feels vulnerable, and inviting others to sit in that space with me. It's scary, but it's also really exciting. I want people to walk away feeling connected, maybe even a little blessed—like they've been part of something both intimate and universal. Dublin Fringe Festival has always been a space for bold and unusual voices, and I'm honoured to share LIBYA! as part of this year's programme. If you're curious, if you're open, and if you're up for an evening of story, scent, and soul, I'd love for you to come and be part of it. I can't wait to welcome you in!


RTÉ News
2 hours ago
- RTÉ News
Meet the woman behind the viral Kerrygold handbag
Butter yellow may have been the colour of summer, but it's a butter bag that has taken over our social media feeds. Over the last number of weeks, Irish fashion fans have undoubtedly scrolled past dazzling photos of a Kerrygold clutch, made with over 5,000 hand-placed Austrian crystals. The woman behind this sparkling sensation is Kimberly Tino, founder of Maya Grisham. "Maya is the name of my youngest," the founder explains of the name. "I remember sitting in the library studying - I'm an optometry student - before I started the business in November of 2023. I was in the library and I looked up and I saw a book and the author's name was Grisham, and I thought, 'there we go'." With two young children to raise and a degree in optometry to study for, starting a business was a true labour of love for the Meath woman. "I guess the idea to start the whole sparkly bag business was that I'm someone who loves fashion, but I would always find that, when I wanted to go out, I wouldn't be able to find a bag that was unique. A statement piece that I could wear over and over again." To create something personal to her, the designer created a 'Hello, my name is Kimberly' bag, which quickly caught the attention of passersby. "That's when things started getting crazy," she laughs. "I made the Tayto bag for Saint Patrick's Day 2024, and people loved that bag. It went very well, and that's when I realised I wanted to do crazier bags. First was the Tayto bag, then the Guinness can bag, then the four-leaf clover. Now it's the Kerrygold bag." Since a Brennan's bread bag was suggested to her by fans, Tino has undertaken a leather-making course so that she can play with different textures and designs. "Between university and the two kids, it's a lot at times," she laughs, noting that each handbag can take weeks or even months to make, depending on the level of detail in the design. "I put my love into it. Even the packaging, it's crazy how far everything has come. I really wanted something luxurious, so you have the whole experience of opening a beautiful box, some satin inside, a matching dust-bag - I want it to be an experience." Applying each crystal with a pair of tweezers, the Kerrygold bag, in particular, is time-consuming to make thanks to the intricate details, but Tino says the product felt like the perfect choice. Born in Zimbabwe and raised in Meath, she says that her creations have been inspired by childhood memories of enjoying Tayto and Kerrygold butter on a demi-baguette after school. "That and a cup of tea," she smiles. "That was our Friday treat." The bag has been a hit on social media, with well-known faces like Jazzy, Louise McSharry and Davina Devine praising the creation. The butter brand themselves gave the design their seal of approval, writing: "Obsessed would be an understatement". "Honestly, it's still a bit surreal for me," she muses. "I'm just sitting in the kitchen right now with a bucket of laundry that I need to deal with, and a Kerrygold bag that thousands of people have fallen in love with. It's gone so viral, I can't even fathom how well it's done." "For me, at the end of the day, it's about people loving something that you thought of and materialised. I feel really grateful when someone makes an order that they trust my creative sensibilities."


RTÉ News
2 hours ago
- RTÉ News
Irish designer Rashhiiid on dressing SZA and networking in Paris
Charlotte Ryan speaks to Irish designer Rachel Maguire of Rashhiiid about relocating her atelier to Paris, designing for stars like SZA and Megan Thee Stallion and attending Paris Fashion Week shows with a bag full of lipgloss and business cards. The last time I spoke to Rachel Maguire, it was at the launch of Brown Thomas's Create showcase in 2023 when the designer had been hand selected to present her work - jaw-dropping streetwear pieces that combine sultry silhouettes and animalistic fabrics like faux fur and leather - and told me she was "in very deep" with her work. Jump forward two years and the Dubliner has relocated her atelier to Paris, designed countless pieces for stars like Doja Cat, Megan Thee Stallion and most recently SZA and been selected as one of the chosen few Irish designers to present at the inaugural Ireland Fashion Week this October. It's a dizzying turn around for Maguire, but the entrepreneur has been ready for it for years. Here, we spoke about high -profile collaborations, connecting with her buyers on- and offline, and her tricks for competing on the fashion world stage in Paris. We just saw SZA wearing one of your designs, joining a growing list of stylish tastemakers in the music world like Doja Cat and Kali Uchis. What is it like seeing your designs on the world stage like this, does it ever feel less surreal? It's very cool that Irish fashion is being represented on a world stage by popular international artists, and it's a dopamine hit on a personal level because she is one of my favourite artists, so dressing her has been a goal of mine since beginning my brand. But if I'm honest, as the years have gone on, what means more to me is the "Mary" from rural Ireland who sends me a cheque in the post with a handwritten letter because she isn't familiar with Instagram and "needs" one of my hats. In the past, celebrity endorsements felt great because they helped with credibility at the beginning, but you come to realise that it's just playing the game and isn't so fulfilling after all. As my brand has matured, it feels much more meaningful connecting with real customers who tell me they can express themselves through my bold pieces and that they will wear them time and time again. Talk to me about how this collaboration with SZA came about. Her stylists reached out for a custom piece, social media gives us incredible access to people we would never walk past on the street. That being said, by chance, while she was here for her Paris shows, her personal shopper bought a few pieces from a one-of-a-kind collection I created for a luxury boutique "Nouvelle Rive" in le Marais Paris, which I'm thrilled is selling quite well. The bodysuit I created for SZA I was so happy to see fit perfectly over her body, it's always a risk when creating custom pieces, and you can't do a fitting before with the artist to ensure it's perfect. Her team have a few more of my designs for the rest of the tour, so hopefully I see them worn. What was the vision for this piece for SZA, how did you think about it in relation to her image and style? She has a very unpredictable personal style, which is very exciting to watch and the reason we created multiple different looks. You never know if your pieces will be the ones selected in the final fitting. The vision was sexy, bold, showstopping and most importantly unrestrictive because SZA can break out into the splits. You've moved your work to Paris. How has that transition been, and what is it like working in the fashion industry there? Has it changed your business compared to working from Dublin? It's been pivotal on a personal and professional level; I'm working in an industry that Paris is seen as the epicentre of, so there's no doubt that absorbing and assimilating from others in the industry has been invaluable to me. Not to mention experiencing the real-life benefits of networking during fashion weeks. I always make sure I'm going to the right events dripping in my own designs (with a handbag full of only lip gloss house keys, and a stack of business cards). You can bump into your favourite celebrity who compliments your pieces and when [told that] you made them, then asks to visit your studio to purchase something the next day. The amount of talent and publications over here just means more opportunities. It has been both humbling and inspiring, humbling because you're just a drop in the ocean in Paris, inspiring because I want to compete, and at an international level. Yes, it has changed my business. I am a stranger here in Paris, so I have to work harder. Sometimes I miss being at home in Ireland, where people love to support Irish businesses and where I still rely and focus on the market. In Paris, it's extremely competitive; I'm still figuring out how to keep up. I am helped by working with a great Parisian PR agency, who give my pieces to the right publications and talent to position my brand in the French market. You'll be at Ireland Fashion Week later this year, what can fans expect from your presentation and what has preparing for that been like? Wow, that's a scéal eile. I have locked myself away to figure out the new direction I want to take my brand in and to execute that correctly. I feel honoured to be part of it, the bravery of Ireland Fashion Week in making this happen is something I had to be a part of and align with. I am using this as an opportunity to challenge myself, to create new designs in new materials. The pressure of innovating my brand and stepping away from faux fur is something that appeals and scares me at the same time. But Ireland Fashion Week is the perfect platform for me to do just that, take risks and take my brand to the next step. I'm trying to see it as a journey, not a destination…