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Lot 63
Pilkington's lustre tile designed by J Henry Sellers, depicting a winged creature with forked tail, against a field of three leafed clover, tile size 15.5 x 15.5 cm, in later frame. This tile design was used in a fireplace as the centrepiece of the Pilkington's stand at the Franco-British Exhibition in 1908. Ref, The Studio Yearbook, 1908, the fireplace featuring this tile design illustrated page 31..
Lot 3
Grace Henry HRHA (1868-1953)Achill CottagesOil on panel, 19 x 24.8cm (7½ x 9¾)SignedProvenance: Ex Collection of Kenneth Jameson, former Director of ACNI; Ross Auctioneers, Belfast c.1999, where purchased.Exhibited: National Gallery of Ireland, 'Shaping Ireland: Landscapes in Irish Art', Dublin April-July 2019. Literature: NGI, Donal Maguire Ed., Shaping Ireland: Landscapes in Irish Art, 2019, Illus p.48.Grace Henry (nee Mitchell) was born in 1868 near Peterhead in Aberdeenshire, Scotland. It was here that she spent the next thirty years of her life, dabbling in an artistic talent that would later name her as one of Ireland’s great female artists of the 20th century. In 1896, Henry is listed, under her maiden name, as exhibiting with the Aberdeen Artists’ Society and this marks her first known transition into life as a professional artist. In the early 1900s, Henry studied at Blanc Garrins Academy in Brussels and Delécluse Academy in Paris, engaging with the light, impressionistic style that was sweeping the continent. In Paris, Henry met her future husband and fellow artist, Paul, and, after three years, the couple moved to London where they married. Whilst in England, Henry exhibited regularly at the Royal Academy and, from 1910 onwards, she began to send pieces to Dublin to show in the Royal Hibernian Academy also.1912 saw the Henrys removing themselves from the city and finding the antithesis of hectic London life in the Achill Islands. Spending nearly a decade there, this period marked a dynamic time for the couple in which each found a way to respond to the scenes around them. Whilst Paul Henry found himself at ease in this rural land and opted for an idyllic romanticisation of his surroundings, Grace found herself empathising with the community and the hardship that prevailed there. We see this in ‘Achill Cottages’ where Grace has chosen to portray a scene not far removed from the views provided in her husband’s quintessential works. The whitewashed cottages stand before an impressive background of mountains but, unlike Paul’s depictions which suggest an easy serenity, Grace’s rough brushstrokes belie the adversity felt by each household. The buildings look battered from years of wind and the rolling clouds evoke a dynamism that tell of an approaching storm. As the smoke curls from the chimneys, we can imagine the occupants inside huddling close to a fire in the hopes of coaxing warmth into their bodies.With the approach of the 1920s, the Henrys returned to the city and established themselves in Dublin, an artistically enriched but otherwise broken couple. In 1920, they banded together with Letitia Hamilton, Mary Swanzy and Jack B. Yeats to form the Dublin Painters’ Society before going their separate ways a few years later. Leaving her now estranged husband in Ireland, Grace once again sought ambition in mainland Europe and travelled through France and Italy, soaking up the influence of a stronger sun. It is in this period that we see a new injection of colour entering Henry’s works. Gone are the earthy tones of Achill and, in their place, her palette becomes infused with delicate peaches, welcoming yellows and vibrant greens, capturing the vitality of this warmer climate. In ‘On the Terrace’, this altered tonal approach distinctly picks out the hazy heat of a Mediterranean morning, inviting us to relax in its ambience.Sadly, the outbreak of WWII forced Henry to return to Ireland. Here, she continued to exhibit at the RHA and was elected an Honorary Member in 1949, just three years before her death. A somewhat overshadowed artist, Grace Henry’s work emits a modernism and bravery that cries out for celebration, her vast ability laid bare within the Murphy Collection.
Lot 123
A PORTATIVE ORGAN AND STAND made by Donald Gill, the organ of traditional form with twenty five keys, inscribed with makers name and dated 1988, 41cm wide x 65cm high, the stand of music cabinet form with two hinged doors enclosing seven shelves, upon castors, 41cm wide x 72cm high (2) The late Donald Gill, maker, taught instrument making at West Dean College and was renowned for his portative organs(Sold together with Article 10 certificate no. 585583/01)
Lot 672
A GOOD MID 20TH CENTURY CHINESE FAMILLE ROSE PORCELAIN TEAPOT, the body of the poet with landscape views, the verso with Chinese calligraphy and seal, the base with iron red Chinese marks, completer with a cross form pierced hardwood stand with peace symbols. 7.5cm high x 18cm wide including handle and spout,
Lot 577
A GOOD JAPANESE MEIJI PERIOD SATSUMA PORCELAIN STICK STAND, the body decorated with multiple shaped and gilded panels each depicting a different native landscape scene of Japan, the sections between profusely decorated in good detail; thousand butterfly decoration, the base with a six-character gilded makers mark, 62cm high x 27cm diameter.
Lot 401
A GOOD CHINESE CELADON CARVED BOWL & HARDWOOD STAND, the bowl carved with formal scrolling lotus and foliage, the inside incised with further foliage scroll and Greek key borders, the base with a six-character yongzheng mark and possibly of the period, complete with a 19th century Chinese hardwood carved stand, 27cm diameter x 12cm high ( the bowl alone ).
Lot 552
A GOOD 19TH CENTURY CHINESE HARDWOOD & MARBLE TOP PLANTER / STAND, the top inset with marble, the surrounding edge inlaid profusely with carved mother of pearl to depict scenes of animals and flora, the sides further inlaid, the carved and pierced frieze depicting cherry blossom and again inlaid with M.O.P, stood on four carved claw and ball feet with carved lion dog head tops, the central section with a second tier, 84.5cm high x 62cm wide.
Lot 551
A GOOD 19TH CENTURY CHINESE HARDWOOD & MARBLE TOP PLANTER / STAND, the top inset with marble, the surrounding edge inlaid profusely with carved mother of pearl to depict scenes of flora, the sides further inlaid, the carved and pierced frieze depicting foliage and again inlaid with M.O.P, stood on four carved geometric feet the central section with a second tier, 80cm high x 46cm wide.
Lot 150
A GOOD CHINESE QIANLONG STYLE BRONZE LIDDED CENSER WITH JADE FINIAL, the censer with a carved hardwood fitted stand and a carved and pierced lid with a jade finial in the form of mushroom growth, the censer with moulded chilongs and lotus handles, sat on three mythical beast feet, the base bearing a six-character mark, 20cm high x 20cm wide.
Lot 1
An early George III silver five bottle cruet stand by Edward Aldridge I & Edward Aldridge II, London 1761, the central loop handle on a twist shaft, pierced holders, on five ball-and-claw feet, the cut glass bottles with three unmarked, one standard only, the last by Samuel Baker, Birmingham 1789, the base 501g (16.15 oz)
Lot 10
A George III silver oval cruet stand by William Abdy I, London 1788, with a central threaded loop handle on a tapered stem, containing eight facetted and cut glass bottles or casters with silver collars and glass stoppers or silver covers, the base with a pierced gallery engraved with vacant navette reserves and drapery swags, a wooden base and on four bracket feet, 23cm (9in) high
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456571 item(s)/page