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Lot 257
An opal and blue stone brooch, the knife edge bar set to the centre with a round cut fourteen claw set opal, between a round cut ten claw set blue stone to either side, in turn between two small round cut six claw set opal highlights to either end, all set in pierced detail mounts within an oval shaped mount with brooch pin fitting. In fitted case. Mount stamped 375. Length approx 3.9cm. Weight approx 1.9gms.
Lot 265
A Scottish agate roundel brooch, the domed mount with engraved foliage detailing set with three evenly spaced collet set oval cut Scottish agates and a later added similarly set agate stone. Brooch pin fitting. Diameter approx 4cm. Weight approx 12.2gms; a Scottish agate and citrine tie pin, the oval cut citrine nine claw set within a surround of Scottish agate to the top of a twist-centred pin. Length approx 7.3gms. Weight approx 2.9gms; a Scottish agate and citrine brooch, set with a round cut collet set citrine to the top of an engraved stepped design brooch set with four plaques of Scottish agate and two further round cut collet set citrine highlights. Brooch pin fitting. Length approx 6cm. Weight approx 3.8gms; a Scottish agate brooch, the oval plaque design brooch with scalloped edges set throughout with graduating plaques of purple/grey Scottish agate. Brooch pin fitting. Length approx 5cm. Diameter approx 3cm. Weight approx 6.3gms; a Scottish agate pendant, designed as a cross, with swirled engraved detailing set with four plaques of Scottish agate, suspending from a single articulated pendant loop. Length approx 3.5cm. Weight approx 2.4gms.
Lot 322
A collection of silver-gilt jewellery, to include a pair of cufflinks, set to the top with an oval cut blue stone, collet set within a moulded scroll and pierced detail mount with spring bar fittings. Stamped SILVER. Total weight approx 13.8gms; a seed pearl tie pin, the seed pearl set in a square shaped mount to the centre of a star shaped mount with delicate scroll and bead work detailing. Length approx 5cm. Weight approx 1gm; a blue stone tie pin, the round cut blue stone collet set to the top of a twist centred pin. Length approx 6cm. Weight approx 1.9gms; a pair of studs to match, the oval cut blue stone collet set to the centre of a retractable pin. Length approx 2.5cm. Total weight approx 2gms; a gilt metal brooch, designed as flowers and leaves with beaded detailing and scroll work. Brooch pin fitting. Length approx 4cm. Weight 4.5gmd; a gilt metal Albert chain with shield shaped clip and Albert clasp. Length approx 32cm. Weight approx 20.7gms; a gilt metal chain of rectangular articulated links. Length approx 28cm. Weight approx 13.4gms; a yellow coloured metal snake link chain with bolt ring clasp. Length approx 29.5cm. Weight approx 5.2gms; a yellow coloured metal locket, the circular locket with engraved detailing, the initial H engraved to the front, the initials I.L.Y.A engraved to the reverse, suspending from a single articulated pendant loop. Diameter approx 3cm, Weight approx 5.7gms.
Lot 324
A collection of jewellery, to include a tulip style brooch, set throughout with rectangular cut and round cut cubic zirconia's. Brooch pin fitting. Stamped CP ENGLAND. Length approx 6.3cm. Weight approx 12.4gms; a cubic zirconia bracelet, designed as circular links set to the centre with a claw set round cut cubic zirconia within a surround of ten round cut claw set cubic zirconia's, alternately set with a rectangular shaped link set throughout with fifteen graduating round cut collet set cubic zirconia's, all set on articulated links with integral tongue clasp. Length approx 17.5cm. Weight approx 23.3gms; a pair of cubic zirconia stud earrings, the round cut cubic zirconia eight claw set on post and scroll fittings. Total weight approx 0.5gms; a blue and green stone ring, the five fancy cut blue stones collet set to the centre of a rectangular shaped mount, within a surround of eighteen round cut collet set green stone highlights (some lacking), on a plain band. Stamped 9ct. Ring size M 1/2; sixteen loose cultured baroque pearls, all drilled through. Total weight approx 2.6gms; a pair of imitation pearl earrings, the imitation pearl on screw back fittings. Stamped 9ct; with a loose imitation pearl and a single imitation pearl screw back earring, stamped 9ct. Total weight approx 5.2gms; and a seed pearl brooch, modelled as a stylised heart, set throughout with graduating seed pearls in clusters. Brooch pin fitting. Length approx 4cm. Diameter approx 5cm. Weight approx 5.9gms.
Lot 18
Jack Butler Yeats RHA (1871-1957) THE BALLAD SINGER`S CHILDREN watercolour on artist board signed lower right 10 by 14in. (25.40 by 35.56cm) Sketches of Life in the West of Ireland, Wells Central Hall, 1902, catalogue no. 17;Sketches of Life in the West of Ireland, Walker Art Gallery, 1903 Pyle, Hilary, Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 403, p. 114 Yeats was an enormous admirer of the ballad singer. This nomadic figure survived by singing new and old popular songs and selling cheaply produced copies of them in towns and villages all over the country. Yeats assembled a large collection of these ballad sheets and even wrote his own versions under the pseudonym Wolfe Tone MacGowan. In the 19th century ballad singers were powerful figures whose songs could cause unrest and spread seditious ideas because they linked a world of literacy with one in which oral traditions continued to be paramount. By the time Yeats was painting, the authority of the ballad singer was rapidly declining. In this early watercolour three figures, the children of a ballad singer, sit in the shelter of a tent-like structure, of the type that was widely used by the poor in the 19th century. It is pitched on a narrow piece of grass between a roadway and a stone wall. The children stare out at the viewer in a wary manner that suggests their vulnerability. In the distance behind them a more elaborate series of structures is just visible. These indicate that a travelling fair is taking place. Such events offered the ballad singers an invaluable opportunity to ply their wares. John Purser has written that `Yeats invests [the ballad singer] with wild nobility`. This painting accords with this observation. It presents the figure`s impoverished but self-possessed family in a sympathetic and dignified manner. The carefully constructed composition and the concentrated use of colour - the faded orange of the tent and the intense purple of the wall - aestheticize the subject, producing a highly wrought image. The work was exhibited in Dublin in 1902 and was bought by the Irish American lawyer, John Quinn, the following year. Quinn was an astute collector of modernist art. In 1904 he arranged for Yeats to visit New York and hold a one-man exhibition in the city. He continued to be an important patron of Jack Yeats`s work recognising its unique contribution to modern art. Jenny McCarthy, `Jack B. Yeats`s A Broadsheet`. Images of Orality`, in N. Cronin, S. Crosson and J. Eastlake (eds), Anáil an Bhéil Bheo: Orality and Modern Irish Culture (Cambridge Scholars Publishing, 2009), pp.87-97. 2 Quoted in McCarthy, p.89. Dr. Róisín KennedyDublin October 2014Dr. Róisín Kennedy is a graduate of UCD and the University of Edinburgh. She curated and catalogued the historic and contemporary State art collection at Dublin Castle, and wrote Dublin Castle Art, (1999). She is former Yeats Curator at the National Gallery of Ireland, (2006-08), where she curated The Fantastic in Irish Art and Masquerade and Spectacle: The Travelling Fair in the Work of Jack B. Yeats in 2007.
Lot 20
Jack Butler Yeats RHA (1871-1957) A BOREEN watercolour on artist board signed lower left 10 by 14in. (25.40 by 35.56cm) American Art Galleries, New York, 9 February, 1927, lot 39B;Private collection Sketches of Life in the West of Ireland, Central Hall, 1903, catalogue no. 19 Pyle, Hilary , Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 441, p. 120 A Boreen was exhibited at Jack Yeats`s Sketches of Life in the West of Ireland exhibition in Dublin in 1902 and is mentioned in contemporary reviews of the show. It depicts a young boy on a donkey riding along a narrow boreen between dry stone walls towards a group of thatched cottages. A view of the sea is visible in the distance beyond. This is a classic Yeats composition, of the type that he was to develop in his later oil paintings. The boy looks back towards the viewer, his face silhouetted against the distinctive landscape of the West of Ireland to which he belongs. His dark steady gaze and set features counteract negative stereotypical images of the Irish peasant that permeated visual representations of the Irish throughout the later 19th century. Yeats subtly brings in his knowledge of contemporary design in the carefully delineated structure of the walls and in the narrow undulating form of the tree that severs the composition. Both are indebted to Art Nouveau and to Japanese prints. Still perceptible are the strong purples and greens that characterised Yeats`s watercolours of this period. Such modern and stylised imagery of rural Ireland enthralled contemporary commentators especially those concerned with the creation of a new image of Irish life. The painting was acquired soon after it was painted by John Quinn, the New York attorney, who was a close friend of the Yeats family and a key patron of modernist art and literature. Dr. Róisín KennedyOctober 2014Dr. Róisín Kennedy is a graduate of UCD and the University of Edinburgh. She curated and catalogued the historic and contemporary State art collection at Dublin Castle, and wrote Dublin Castle Art, (1999). She is former Yeats Curator at the National Gallery of Ireland, (2006-08), where she curated The Fantastic in Irish Art and Masquerade and Spectacle: The Travelling Fair in the Work of Jack B. Yeats in 2007.
Lot 184
JOHN SQUIRE OF STONE ROSES - original piece of John Squire album art created for a Manchester bands compilation entitled ``Ten From Ten`` released in 2004. The blue, black and white piece has been created using paint and bitumen on board, measures 19`` x 19`` and has been signed by John on the reverse. Also included is a test pressing of the compilation along with a copy of John`s album ``Marshall`s House`` also released in 2004. A link to details on the piece can be found on John`s site http://www.john-squire.com/articles/10for10_press.html
Lot 239
An early 19th Century gold mourning brooch, with central cameo carved stone butterfly framed within two intertwined serpents with diamond set eyes, locket compartment to back with plaited hair, bears inscription 'Augusta.. b. July 28th 1833 d. Aug 16th 1835' 'Isabella Lucy b. Oct 6th 1834 d. July 28th 1835', approx 9.4g, 3cm.
Lot 239
An early 19th Century gold mourning brooch, with central cameo carved stone butterfly framed within two intertwined serpents with diamond set eyes, locket compartment to back with plaited hair, bears inscription 'Augusta.. b. July 28th 1833 d. Aug 16th 1835' 'Isabella Lucy b. Oct 6th 1834 d. July 28th 1835', approx 9.4g, 3cm.
Lot 244
Modern pair of York Minster bowls designed by Hector Miller to commemorate the restoration of the Gothic Minster, the circular form with planished finish and sculptural silver-gilt handle depicting a fifteenth century stone mason alongside a modern restorer, complete with certificates of authenticity numbered 74 and 75/1000 by Aurum Ltd London 1972, length including handles 7.5 cm approx 20.5 oz (cased)
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