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Lot 171
Chinese jade carving of a fish, from a lovely green jade boulder with russet skin which has been well integrated into the decoration. Later wooden stand. Provenance: Asian Fine Arts, Minneapolis, Minnesota, purchased 1989; Private collection, Minnesota Dimensions: Height: 8 in x width: 12 in x depth: 3 in.Weight: 7 kg 52 g.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email lia@revereauctions.com with any condition questions.SKU: 01098Follow us on Instagram: @revereauctions
Lot 159
ATTRIBUTED TO ROBERT CARVER (c.1730-1791)Elegant Fisherfolk on the Dargle below the DahoolOil on canvas, 100 x 126cmProvenance: Private Collection, Ireland This attribution given to Carver by the late Knight of Glin is on stylistic grounds following an examination in 2002. The painting had been thought to have been by George Barret (c.1732 - 1784) who, along with numerous others had painted this same view. Barret, under the patronage of Viscount Powerscourt had painted repeatedly in the area, including a similarly positioned view, also with elegant figures, as did William Ashford with his ‘A View of the Dargle Valley, County Wicklow, Showing the Moss House and Elegant Figures in the Foreground’ and James Coy, who exhibited views of the Dargle and the Powerscourt Waterfall at the Society of Artists in 1772. It was also the subject of an aquatint after Thomas Sautelle Roberts.Carver, the younger, studied under his father Richard (d. 1754), a landscape painter from Waterford and also under Robert West at the Dublin Society Schools. Strickland notes that he had a distinguished career as a scene painter in Dublin and subsequently in London. ‘On the revival at Crow Street on 29th November, 1768 of the popular old pantomime, ‘A Trip to the Dargle’, a “new scene of the waterfall painted by Mr. Carver” was shown for the first time. This set painting was described as an ‘Astonishing Effect of the Representation of the Waterfall at Powerscourt’. Emily, Countess of Kildare wrote in 1762 that ‘the stage set of the waterfall was the prettiest thing I ever saw, much beyond that at the opera and so like that at Powerscourt, that you actually fancy yourself in the very place.’The present work, Elegant Fisherfolk on the Dargle Below the Dahool is one of a number of known works depicting views on the Dargle, near Powerscourt, Co. Wicklow. A large cliff to the left dominates the composition, its thrusting vertical formations of rock giving the sense of enormity required by notions of the sublime. A river flows rapidly through torrents formed by rocks fallen from the cliff above. The boulders dividing the torrents are deliberately and symmetrically laid out like stepping-stones. On the brow of the nearest hillock to the right a small gazebo-like structure suggests that the setting is part of a landscaped estate rather than a natural, untamed scene. In the foreground, well dressed figures amuse themselves - a gentleman and lady toward the centre of the composition fish from a boulder while to the right a group of three converse as they walk. One of these seems to point out the natural attractions of the scenery suggesting that they are early tourists, themselves devotees of the sublime. While the figures give scale to, and stress the immensity of, the landscape at the same time their peaceable enjoyment of it, strolling and fishing before, perhaps, taking tea in the gazebo or pavilion above, somehow tames and civilizes the scene.The painting is carefully and artfully composed. It is constructed from a series of diagonal and horizontal lines with a strong central focus created by the recession of the landscape through the gorge and the carefully positioned boulders at the very centre of the picture. These compositional devices, which could be seen as crudely schematic in the hands of a lesser artist, are here subtly reinforced by the fall of the sunlight along the diagonal from upper left to lower right and particularly by the glorious burst of sunlight which illuminates the vista glimpsed through the gap in the rocks. Paradoxically despite the fast flowing water the harmonious symmetry of the picture and its unified palette give a strangely still and peaceful feel to the picturesque view of the sublime.
Lot 513
GROSSI; four decorative oil paintings, all country scenic views, a pair with cottages in the background and figures in the foreground, a tumbling river over boulder scene with mountains, a lakeside cottage scene, largest 21 x 42cm, all framed and D. Tanner; oils, cottage in scenic landscape, 24 x 18cm, framed (5).
Lot 52
An opal and diamond pendantThe freeform boulder opal collet with triangular shaped diamond surmount, stamped 750 to reverse, length 2.5cm, weight approx. 5.5g.CONDITION REPORTOverall condition good to fairLight scratches, scuffs and discolouration in keeping with occasional wearPendant with hinged surmountDiamond bright and lively, size and setting prevents grade estimationOpal with a blue-green play of colour, some small areas of boulder showing throughEstimated diamond weight 0.10ct
Lot 178
ϒ A brass mounted ebony table clock, the movement by Henry Jones, London, circa 1685-90 and later The six latched and finned pillar bell striking movement with verge escapement regulated by short bob pendulum and incomplete pull quarter-repeat mechanism, the single line-bordered symmetrical foliate scroll and tulip bud engraved backplate signed Henry Jones, in the Temple to a leafy scroll bordered cartouche to centre, now with a 6.5 inch square brass dial with matted centre within applied silvered Roman numeral chapter ring with squat stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with pierced steel hands and winged cherub mask cast brass spandrels to angles, now in an ebony veneered case with hinged tied floral bud handle and foliate cast and pierced oval mount to the caddy surmount over ogee cornice top moulding and glazed front door applied with gilt foliate scroll escutcheons to jambs, the sides with conforming rectangular windows beneath lozenge-shaped sound frets, the rear with further rectangular glazed door set within the frame of the case, the base with shallow ogee moulded skirt over squab feet, 30.5cm (12ins) high excluding handle; with a fine 17th century scroll pierced and engraved winding key. Henry Jones is an important maker who is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born to William Jones at Boulder, Hampshire in 1634. He was apprenticed to Edward East in August 1654 gaining his Freedom of the Clockmakers' Company in July 1663. Jones is thought to have initially worked as journeyman to Edward East before setting up on his own in the Inner Temple, London by 1772. In 1775 he is recorded as 'in Inner Temple Lane' prior to being appointed as an Assistant of the Clockmakers' Company the following year. Henry Jones was subsequently made a Warden in 1687 and finally served as Master of the Company in 1691. Amongst his many apprentices were Francis Robinson (freed 1707) and two of his sons, Henry (freed April 1678) and William (not freed). In 1692 Jones gave the Clockmakers' Company £100 'for the use of the poor'; he died in 1694 leaving his workshop in the hands of his widow, Hannah, who is known to have supplied clocks signed in her name. The engraving to the backplate of the current lot can be directly compared to a silent-pull quarter repeating timepiece by Henry Jones sold in these rooms on Tuesday 17th March 2015 (lot 88) where it is noted that the design and execution of the engraved decoration could be very closely compared to that of the only known table clock by Peter Knibb which is illustrated in Lee, Ronald A. The Knibb Family, Clockmakers (page 129, plate 139). Lee also illustrates (on the preceding page, plate 138) another closely related backplate for a clock by John Knibb, Oxford and notes that both have internal rack striking, which would suggest that each date from the mid 1680's. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 749
A Chinese jade boulder pendant and two small pendants: the first in the form of Shao Lao wearing flowing robes, the celadon coloured stone with russet inclusions, 7 cm; the second in the form of a seated sage, the stone of pale celadon colour, 3 cm; the third carved and pierced with two figures amongst foliage, 4 x 3 cm [3].
Lot 567
FREDERICK ARTHUR VERNER (1836-1928) A study of an Indigenous Americans seated on a riverside boulder, watching a canoe passing by, signed and dated 1882 lower right, watercolour, 16cm x 32cm Frederick Arthur Verner was a Canadian painter, famous for his landscape and scenery paintings from the Canadian plains in the west
Lot 108
AN 18CT GOLD OPAL AND DIAMOND PENDANT NECKLACE, the triangular boulder opal cabochon suspended within a brilliant cut diamond surround to the wheat link chain, chain import marks for Birmingham 1998, 10.0mm x 8mm, pendant length 21mm, Franco chain length 480mm, approximate gross weight 8.7 grams
Lot 167
Mark Spencer "Heart of Darkness" Lithograph. Signed lower right. Titled lower middle. "Color Trial Proof II" lower left. Sight Size: 24.5 x 17.5 in. Overall Size: 34 x 26 in. Framed behind glass. Autobiography information verso. Spencer is one of the very best surrealistc artists in America today. 1971 School of the Museum of Fine Arts, Boston Solo Exhibitions: 2004 Mark Spencer Monotypes, James Reid, Ltd. 2003 Dark Resonance: The ART of Mark Spencer, Boulder Museum of Fine Arts, Boulder CO. 2002 Beyond Reason: Paintings and Monoprints by Mark Spencer, Frye Art Museum, Seattle, WA. 2001 Vanier Gallery, Scottdale, AZ. 2000 Seductions, Gerald Peters Gallery, Santa Fe, NM. 1999 Mark Spencer: Monotypes, Vanier Gallery, Scottsdale, AZ. 1997 Mark Spencer: Paintings and Monotypes, , 1984 - 1997, Greenville County Museum, Greenville
Lot 28
‡ A CHINESE LAPIS LAZULI MOUNTAIN, 19TH CENTURY deeply carved on the front with a sage and two attendants traversing a bridge on their way to a pavilion nestled amidst trees, while a third attendant ascends a path higher up the mountain-side that leads to a terrace on the reverse where two cranes await, with pine, bamboo and two deer standing on a ledge below 29cm long excluding wood stand Provenance: a private collection formed in Asia prior to WWII, and thence by descent within the family, until sold Christie's, New York, 22/23 March 2012, lot 1938; private Asian collection. See a related lapis lazuli boulder carved with similar decoration apparently to be found in the collection of the Palace Museum, Beijing, is illustrated in Zhongguo meishu fenlei quanji, Zhongguo yuqi quanji, Vol.6 Qing, Hebei, 1991, p.180, No.262, where it is dated middle Qing dynasty. Descriptions in both printed and on-line catalogue formats do not include condition reports and all lots are sold as viewed. The absence of a condition statement does not imply that the lot is in good condition. Prospective bidders are recommended to request a condition report prior to bidding, wherever possible satisfying themselves in person at the gallery as to the condition of a lot.
Lot 78
A CHINESE CELADON JADE BOULDER deeply carved to the front face with boys outside a pavilion, the reverse with a fenced mountainous path, apocryphal Qianlong seal mark, the stone of pale celadon tone 17cm wideProvenance: Continental Private CollectionDescriptions in both printed and on-line catalogue formats do not include condition reports and all lots are sold as viewed. The absence of a condition statement does not imply that the lot is in good condition. Prospective bidders are recommended to request a condition report prior to bidding, wherever possible satisfying themselves in person at the gallery as to the condition of a lot.
Lot 645
THREE CHINESE PALE CELADON JADE CARVINGS 19TH CENTURY One a small boulder carved with a monkey and a horse in a river landscape, another a seated figure of a scholar, the third a belt hook with a dragon's head, each with a wood stand, 8.5cm. (6) Provenance: formerly an English private collection, purchased in Hong Kong.
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