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Lot 792
A CHINESE SPINACH JADE CARVING with a phoenix perched on a bamboo shoot by lotus and lingzhi, the reverse with another fungus and gnarled pine tree, 9cm h, Qing dynasty, 18th c Of fine polish and in good condition with minute pinhead sized flaw on lip of lotus, complete, not broken or restored
Lot 793
A CHINESE CELADON JADE TABLE SCREEN the rectangular slab finely carved to take full advantage of russet and light brown markings, one side with a phoenix before clouds, two trees, a fence, cascade and rippling waters, in diaper border, the other side with a qilin before a temple in conforming border, the edges with key fret, 26.5 x 12 x 0.7cm, Qing dynasty, pre 1860 In good condition with on one side some dirt and grime in the crevices
Lot 798
A CHINESE SOAPSTONE SEAL, A JIXUE (`CHICKEN BLOOD`) STONE CARVING OF A LIZARD AND A JADE LOW RELIEF CARVING OF A COMPOUND the seal formed of figures of rocks, the lizard of richly mottled and variegated red and cream-buff coloured stone, seal 6.5cm h, all Qing dynasty, 19th c Seal - chipped and scratched, lizard carving with slight damage, jade carving damaged
Lot 95
A Chinese carved spinach jade brushpot of cylindrical form, finely carved with a scene of a sage and attendant in a landscape by the water`s edge surrounded by trees and rocky outcrops, with engraved calligraphy to reverse, the base bearing an engraved four character seal mark, 5¾in. (14.5cm.) high.
Lot 110
A Chinese silver gilt, jade and enamel covered canister 20th century, the cylindrical canister in silver filigree with pierced `door` style panels with enamelled floral decoration and loose ring handles between enamelled columns, the foot and neck with rounded pale jade collars and ruyi head enamelled borders, the peaked filigree cover set with red and green stones and enamelled discs, marked `Silver`, 5½in. (14cm.) high. .
Lot 111
A Chinese silver gilt and relief enamelled covered tea canister 20th century, the four lobed canister and domed cover in silver filigree with polychrome enamel decoration depicting floral branches with exotic birds between lappet borders, the neck with a rounded pale celadon jade collar, the cover with floral finial, marked `Silver`, 7¼in. (18.5cm.) high. .
Lot 330
A Art Deco jadeite and diamond ring, the oval cabochon jadeite, weighing 9.51 carats, in a four claw setting flanked to either side by three channel set graduated baguette cut diamonds, to a plain polished shank, ring size L. Offered for sale with a Gem & Pearl Laboratory Jadeite Jade Report, Dated 12 October 2012, Number 06468 stating: Jadeite Jade, No evidence of treatment was observed
Lot 257
Misc. diamante & stone set costume jewellery, inc. four floral spray diamanté brooches, five stone set brooches inc. one of which is gilt with bright green stones & has matching pair of screw back earrings & one in shape of an owl with jade body, a few more brooches, small charms, pendants, a bracelet & a shoe shaped penknife, mixed condition (small lot)
Lot 56
Susan Mary (`Lily`) Yeats (1866-1949) and R. Brigid Ganly (neé O`Brien) HRHA (1909-2002) THE PROUD AND CARELESS NOTES LIVE ON BUT BLESS OUR HANDS THAT EBB AWAY" c.1919-1921 embroidered threads on green silk; (framed) signed by Yeats within the design lower right; signed "B. O`Brien" lower left 11.5 by 14.5in., 29.21 by 36.83cm. This extremely rare, well preserved embroidered panel illustrates the final refrain intoned by the Three Voices in unison at the end of W.B. Yeats` poem entitled The Players ask for a Blessing on the Psalteries and themselves from his collection of lyrical poems, In the Seven Woods: being Poems chiefly of the Irish Heroic Age, which his sister Elizabeth had published as her first Dún Emer Press hand-printed volume in 1903. In 1902, Elizabeth Yeats and her elder sister Lily had returned to Ireland from London at the invitation of Evelyn Gleeson, to set up workshops in the Arts and Crafts venture Gleeson was establishing at Dún Emer, a large house in Dundrum, south of Dublin. While Elizabeth Yeats set up a handpress and began printing and binding books advised by her literary brother, William Butler Yeats, Lily Yeats, a skilled needlewoman (who had been trained by William Morris` daughter, May), focussed on embroidery, often designed by their younger artistic brother, Jack Butler Yeats. By 1904, she had seven girls working with her. In 1908, the sisters seceded from Dún Emer and set up their own Cuala Industries nearby, where Lily Yeats continued to run her embroidery workshop, often adapting the designs of other artists, and producing a wide range of embroidered domestic and autonomous panels. After continual ill health, she became so ill that production was considerably diminished in the mid 1920s. The last sale of embroidery under her direction was held in 1931, under great financial duress, and in 1932 the Cuala embroidery department wound down in its Baggot Street home. This panel (described by Lily Yeats as one of her `needle pictures`) was designed by Brigid O`Brien, daughter of the painter Dermod O`Brien, who was trained at the Dublin Metropolitan School of Art, under Oliver Sheppard, Seán Keating, Patrick Tuohy and Oswald Reeves, and at the RHA Schools. In 1928, she was elected an ARHA. Barbara Dawson has noted her willingness to apply her training to various projects and media, including caricature and book illustration. Joseph McBrinn records that she won the Taylor Scholarship in 1929 and in 1930 while she was completing her first mural illustrating St. Patrick, for the Presentation Convent school on George`s Hill, Dublin. Her first major commission, completed in 1930, was for a painted frieze over 120 feet long illustrating James Stephens` version of The Boyhood of Fionn (published with Arthur Rackham`s illustrations in 1924) for the Carnegie Trust`s Child Welfare Centre on Cork Hill, Dublin. Although this major work is now no longer visible, having been vandalised by being over-painted, it is directly analogous with this fine little tableau. A later, primitivistly stylised, predominantly black and white embroidered version (unsigned by O`Brien) illustrating the same lines from Yeats` poem was dated by the artist to 1935 in the Hugh Lane exhibition catalogue (p.8). The Yeats` were neighbours of the O`Briens, who lived in Fitzwilliam Square, and frequented the nearby United Arts Club, where the paths of W.B.Yeats and Brigid O`Brien`s father, the painter Dermod, often crossed. In 1929, W.B. Yeats had commissioned the young painter to try and boost his sister Lily`s precarious income by designing Stations of the Cross for her to embroider on Irish silk poplin. What is unusual about this very beautifully worked panel is the delicate fineness of the pale green silk ground and the lively, evocative portrayal of each of the three figures depicted between the two scrolls bearing the text they illustrate. There is much more attention to narrative detail and to the range and application of stitches carefully chosen than in any other Cuala embroidery of this late period. Not since the embroidered sodality banners of 1902-3 for Loughrea Cathedral had Lily Yeats produced such successful and expressive figurative work. Although the scale is small, close attention reveals the variety of couched and stemmed stitches used to outline and fill in the costumes, hands and features (particularly expressive), hair and musical instruments of the imaginatively dressed, lamenting musicians. The direction the stitches follow is an intrinsic part of the success of this panel`s design, as they emphasize the volume of the surface they are describing, and draw the viewer`s attention to the positions of the hands plucking the chords on each musical instrument. Despite the obvious graphic influences of Beatrice Elvery, Mary Cottenham Yeats and Wilhelmina Geddes (particularly the latter`s St. Brendan embroidered panel of 1924) and that of Jack Yeats in his early predilection for figures standing high above a low, recognisably Irish, horizon, this design is strikingly original. The colours are distinctive with their soft pinks, turquoise, jade and gold, even though there may be some fading on the golden-haired girl player`s delicately worked spotted dress, flouncy petticoat and slippers. The welcome appearance of this panel makes it all the more important that others, such as Tobias and the Angel, similarly designed by O`Brien and worked by Lily Yeats, be traced and documented. Dr Nicola Gordon Bowe November 2012 Literature: R. Brigid Ganly, H.R.H.A.: born 1909: retrospective exhibition, Gorry Gallery, Dublin December 4th -17th 1987; Maureen Murphy (ed.), I call to the Eye of the Mind: A Memoir by Sara Hyland (Dublin 1995); Nicola Gordon Bowe and Elizabeth S. Cumming, The Arts and Crafts Movements in Dublin and Edinburgh 1885 - 19325 (Dublin 1998); Barbara Dawson in Christina Kennedy & Maime Winters (eds.), Brigid Ganly retrospective: catalogue of an exhibition at the Hugh Lane Municipal Gallery of Modern Art, Dublin 1998; Joseph McBrinn, Mural Painting in Ireland 1855-1959, unpublished Ph.D. thesis, Volume II, N.C.A.D. (N.U.I.), Dublin 2007"
Lot 87
A Chinese celadon and russet jade toggle in form of a reclining pig, the head looking forward and resting on its fore feet, 5.5cm long, Ming/Qing dynasties (14th to 18th century). Provenance: Formerly in a private English collection. Purchased from Arts of China, Hong Kong, on 3rd February 1996, with photograph of the receipt 明/清 青白玉猪
Lot 88
A Chinese jade carving of a recumbent ram with long curved horns with its head turned back resting on the hoof of one back leg, 5.7cm long, 17th-18th century. Provenance: Formerly in an English private collection. Purchased from J. J. Lally & Co. on 15th May 2000. With a copy of the original receipt 十几／十八世纪 玉衔羊
Lot 91
A Chinese pale celadon jade pendant in form of a fish with large flared tail with gold mount for suspension, 6.2cm long, 18th-19th century. Provenance: Formerly in an English private collection. Purchased from The Treasures Company, Hong Kong, on 29th November 1975. With a copy of the receipt 清 清十八/十九世纪 黄金青白玉童子鱼珮
Lot 103
A Chinese jade carving of a reclining ram, the head turned looking at its lamb climbing on its back amongst lingzhi fungus, the body well carved, the stone of white tone with slight beige markings, 7.1cm long, with a wood stand and fitted box. Provenance: Formerly in an English private collection, purchased from Dunt King, 24th March 1977 玉羊
Lot 108
Two Chinese snuff bottles, one of pale celadon jade of heart shape carved on one side with a bird, the reverse with a peony, with glass stopper, and a red lacquer snuff bottle carved in relief with a fisherman and boat, the reverse with a bearded sage and attendant, glass stopper 青白玉鼻烟壶一件; 红漆鼻烟壶一件
Lot 155
VALVE DE MIROIR INDIEN de forme octogonale, en jade néphrite épinard sculpté, ajouré et ciselé d’un bouquet de fleurs et de rinceaux. La bordure est finement ciselée de pétales, chacun percé pour le montage. (Miroir manquant et petits éclats au rebord). Inde du nord, probablement Lucknow, XIXe siècle. Dim : 18 x 11,5 cm (7.1 x 4.5 in.) A 19th century Lucknow Indian jade mirror case.
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64936 item(s)/page