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A Chinese pale green stone carving, 9 cm wide

Fabergé, a dendritic agate miniature animal study, early 20th century, realistically modelled as a reclining Gloucester Old Spot pig, finely carved in dendritic agate, its eyes set with cabochons of red paste, measuring 8.0 x 3.0 x 2.1cm, eyes later replacements The quality of this carving and the sensitive treatment of its subject compare favourably with a number of hardstone animal studies produced by the workshops of the Russian imperial jeweller Fabergé. Animal carvings are among the jeweller's most celebrated creations, adored and collected by some of the most prominent figures of the early 20th century. Russia's stone carving industry centred on the city of Yekaterinburg, where Fabergé acquired the workshop of lapidary Karl Woerffels around 1884, and it was this workshop that produced the majority of them - the carvers Kremlev, Derbyshev and Svetchnikov, managed by the German Alexander Meier. The stones were carefully selected by Carl Fabergé's son Agathon, and were mostly of Russian origin, taking advantage of the rich mineral resources of the Ural mountains and Siberia. The animal carvings found immense popularity with a number of the firm's key patrons, most notably the British Royal Family, whose collection boasts more than 350 animals, and Léopold de Rothschild, who had his racehorses similarly immortalised by Fabergé's sculptors. The dendritic or 'moss' agate used here is an unusual choice for an animal study, its distinctive patterning more commonly employed by Fabergé for inlays and panels in its jewels and objets de vertu. Traditionally found in India but eventually sourced by Fabergé from Siberia, its use here is likely a clever attempt to mimic the distinct patternings of a particular breed of pig known as the Gloucester Old Spot, whose 'lop' ears are also distinctively forward folding as in the present carving, partially shielding its eyes. A number of realistically modelled farm animals including pigs were produced from life at the Sandringham estate in 1907, following a suggestion made to King Edward VII by Fabergé's London agent Henry Bainbridge that the firm recreate a number of the animals across the estate. With subjects ranging from the King's own terrier dog Caesar, to the cows, pigs, ducks and chickens that populated the farmland around them, the animals of this 'Sandringham Commission' were reproduced in wax sculptures by the carver Boris Frödman-Cluzel, before being sent back to the Russian workshops to be immortalised in hardstone. They were then sent back to Fabergé's London branch for purchase, mostly, but not exclusively, by those who wished to gift them back to the Royal Family. Such was the appeal that some were even acquired by members of the family themselves, such as Princess Victoria, who bought a model of a recumbent white sow in pale pink aventurine quartz in 1912 (RCIN 40041). It is not known whether the present study would have been part of the Sandringham commission, but the close attention to detail and the choice of this lesser known breed of pig reflect a close observation of the animal, likely in its agricultural setting, and a desire by the sculptor to capture the distinctive characteristics of this specific breed. King Edward VII was particularly proud of his pigs and sent the best of his herd to The Royal Society Show in June 1911. Pigs were one of Fabergé's more popular animal studies in their native Russia, with several examples recorded in the collection of Empress Maria Feodorovna, and are also among the most humorous and varied of their miniature sculptures. Cf.: a series of carved hardstone pigs by Fabergé in the Royal Collection, collection nos. RCIN 40041, 40038, 40421 and 40422, commissioned by the Royal Family and studied by Fabergé's sculptor Boris Frödman-Cluzel from life at the Sandringham estate in 1907. Cf.: The Robert Strauss Collection of Works of Art by Fabergé, Christie's, 9th March 1976, lot 28, and A. Kenneth Snowman, The Art of Carl Fabergé, 1972, no.237, for studies of dalmatians, their spotted coat also depicted in dendritic agate Cf.: A La Vieille Russie, Fabergé exhibition catalogue, New York April-May 1983, no. 445, for a dendritic agate model of a spaniel with an enamelled gold collar by the chief workmaster Henrik Wigström. An English private family collection

A CARVED MAHOGANY CONSOLE TABLE LATE 19TH CENTURY, IN GOTHIC TASTE The polished stone top above a frieze decorated with quatrefoils and fluting, on square section legs decorated with further Gothic tracery 78cm high, 152cm wide, 59cm deepThe carved fretwork decoration on the present table demonstrates the influence of 'Gothick' designs featured in the influential design books by leading London cabinet-makers, such as Thomas Chippendale and Ince and Mayhew, in the mid to late 18th century. For a design of side table by Thomas Chippendale that illustrates some of the 'Gothick' attributes shown on this table, see Thomas Chippendale's, The Gentleman and Cabinet Maker's Director, The Third Edition (1762), printed John Tiranti ltd, London, 1939, pl.LVII. For a centre table of the period incorporating related fretwork carving, see Christie's, New York, The British Interior, 25th January 2001, Lot 290 ($16,500).  The collection from Trethill House, Cornwall Saleroom Notice: Please note that the cataloguing has been updated and now reads as follows: A CARVED MAHOGANY CONSOLE TABLE LATE 19TH CENTURY, IN GOTHIC TASTE Condition Report: Good condition, structurally secure with wear and tear consistent with age and use. The catalogue illustration is accurate. There are dents marks and scratches throughout. The stone top is a later replacement, the screw pockets in the backs of the frieze rails suggest it originally had a wood top. The fret carving throughout is shallow and the decoration on the frieze is carved in thin sections of timber, laid onto the frieze rails , a technique mot associated with the 18th century. Condition Report Disclaimer

A selection of Chinese and other items including soap stone carving, ceramics and metal ware etc.

A Chinese jade coloured hard stone carving of a sage with walking stick with associated stand height 6.5cm

A Chinese jade carving of a crouching dog its head resting on its forelegs with tail curled beneath, the stone of pale celadon colour, 6.5cm.

Framed set of six black and stone-coloured wash drawings of the 6 surviving sculptured figures in the west front niches of the Thornton Abbey Gatehouse & 3 framed limited edition M. Robinson Minstrel carving pictures from Beverley Minster -  Citole circa 1330 17/300 - Tambourine circa 1330 28/300 - Organstrum circa 1330 28/300 

Ca. 2300 - 2000 BC.A Mesopotamian black stone amulet of a bull. It most likely served as a votive offering to the goddess Inanna, the Mesopotamian moon god. This is a very rare piece from the Mesopotamian culture, replete with excellent carving details including lifelike horns, incised wrinkles and the low-relief tail that sweeps up the animal's back. Size: 35mm x 70mm; Weight: 120gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

An Inuit stone carving, of a stylised bird, 14cm long

Medieval History, Monuments and Church. LELAND (John) The Itinerary of -- in England and Wales, 5 vols., Centaur Press 1964, 8vo, cloth; KNOWLES (David) The Religious Orders in England, CUP 1957-60, dust jackets; The Monastic Order in England, 1963, dust jacket; GRESHAM(C A) Medieval Stone Carving in North Wales, 1968, 4to, cloth; GARDNER (A) English Medieval Sculpture, 1951, 4to, cloth; PHYSICK (J) Designs for English Sculpture 1680-1860, HMSO 1969, signed by the author, dust jacket; GREENHILL (F A) Incised Effigial Slabs, 2 vols., 1976, 4to, cloth; TUMMERS (H A) Early Secular Effigies in England, 1980; BENHAM (Canon) Old St Paul's, 1902, illustrated, cloth; FRYER (Alfred C) Wooden Monumental Effigies in England and Wales, 1924, 4to, light foxing, author's letter and inscription, cloth; WALL ( J C) The Tombs of the Kings of England, 1891, 8vo, cloth; others (27)

This exquisite Roman cameo, carved from sardonyx agate, features a finely detailed portrait of a deity, dating to the 2nd century A.D. or later. The cameo exhibits the classical profile style, with the deity’s serene facial features, including softly rendered hair and a delicate veil, meticulously carved to convey the divinity's grace and timeless beauty. The sardonyx agate, with its layered bands of translucent and opaque hues, provides a striking contrast that enhances the depth and dimension of the carving. The artist skillfully utilized the natural color variations of the stone to emphasize the deity’s face against the darker background, creating a powerful and elegant image that would have served as a symbol of reverence and religious devotion. Cameos like this were often used in personal adornments or as devotional objects, signifying the wearer’s piety and connection to the divine. The quality of the carving and the choice of materials suggest that this piece was intended for an individual of high status. L: 3.9cm 

Exquisite Roman cameo, carved from sardonyx agate, features a finely detailed portrait of a male ruler, possibly an emperor or a significant political figure, dating to the 2nd century A.D. or later. The cameo exhibits the classical profile portrait style, with the ruler's distinct facial features, including a strong jawline, aquiline nose, and closely cropped hair, meticulously rendered to convey both the realism and idealism typical of Roman portraiture. The sardonyx agate, with its layered bands of translucent and opaque hues, provides a striking contrast that enhances the depth and dimension of the carving. The artist skillfully utilized the natural color variations of the stone to highlight the subject's face against the darker background, creating a powerful and elegant image that would have served as a symbol of authority and prestige. Cameos like this were often worn as personal adornments or used in official contexts to signify loyalty and allegiance to the ruler depicted. The quality of the carving and the choice of materials suggest that this piece was intended for an individual of high status. L: 3.5cm  

This delightful Roman amulet, carved in the form of a hen, dates from the 2nd to 3rd century A.D. The amulet is crafted from a pale, creamy stone, intricately detailed to capture the essence of the bird in a stylized yet recognizable form. The hen, often associated with fertility, protection, and domestic life in the Roman world, would have been a meaningful talisman for its wearer. The detailed carving includes incised lines to represent the hen’s feathers and other features, showcasing the artisan’s skill in transforming a simple piece of stone into a symbolic object of personal significance. The compact size and charming depiction suggest it was intended to be worn or carried, serving both as a protective amulet and a personal ornament. H: 2.5cm 

STONE CARVING OF AFRICAN CHIEF FROM ZIMBABWE BY MTEKI - 29 CMS (H) APPROX

A quantity of miscellanea to include tribal carved axe, Cloisonné matchbox case, miniature jointed monkey, stone carving of two monkeys, snuff box, JB Norway pewter pendant.

Darren Yeadon (b. 1970)Preseli Bluestone FishPreseli hand carved stone sculptureUnsignedDarren Yeadon was born in 1970 and brought up in Whitby by the sea. He began his work as a quarryman and stonemason, here learning how to extract materials from the earth, shape them and carve stones to fit arches, church windows and architectural applications. He developed a flair for geology and carving stone and 3D forms.This lot is sold subject to Artist Resale Rights, details of which can be found in our Terms & Conditions. Measures approx. 13cm x 18cm (5" x 7").

A Mid 20th Century Inuit green stone carving of a bird, signed AH and numbered 3295 -'79 with makers label "anada" to base, length 15cmGood condition, no chips, cracks or restoration

A composition stone carving, modelled as a bust of a gentleman with flowing hair and a beard, 30cm high.

HEPWORTH BARBARA: (1903-1975) English sculptor. A significant correspondence and archive of photographs relating to Hepworth´s sculpture Cosdon Head (1949) comprising four A.Ls.S., Barbara, ten pages (total), 4to and one written to both sides of a correspondence card, Trewyn Studio, St. Ives, Cornwall, 12th July - 3rd October 1950, all to James Archdale. Hepworth writes in detail regarding her sculpture, and some possible damage caused in transit, as well as her personal life and impending divorce from painter Ben Nicholson -(i) A.L.S., Barbara, one page, 4to, St. Ives, Cornwall, 12th July 1950, to James [Archdale], thanking him for going to so much trouble with the Cosdon Head and informing him that ´The weight is about 2 3/4 cwt. perhaps only 2 1/4 - it rests on a slight wood base which has a turntable set under it & moves quite easily. This enables it to be moved in the light. Both here, & at the Biennale it looked well on a strongly made wood plinth with a dull finish of a warm pale grey colour´.(ii) A lengthy A.L.S., Barbara, five pages (separate leaves), 4to, St. Ives, Cornwall, 13th August (1950), to James Archdale (´Dear Jim´). Hepworth apologises for the delay in writing to Archdale, explaining that his letter had arrived ´just at the moment when I was in a state of collapse´ and adding ´my personal difficulties reached a peak as Ben arrived in St. Ives with Mrs. Littler [Rhoda Littler, an artist, and Nicholson´s lover at the time] & is living with her here. In a small town like this it produced so many problems quite apart from the horrid divorce proceedings which I have had to set going, the difficult situation for the children & the fact that Ben´s & my life has been so interwoven professionally for 20 years that one hardly knows how to cope with it´, further writing of how ´desperately upset´ she feels that some damage may have occurred to the Cosdon Head, remarking ´If you remember the back of the head was a solid block of calcite crystals - I worked the matrix down to a level surface but it was a scarred & discoloured surface. If the surfaces have become broken or chipped in any way it can only be inadequate packing on the part of the packers in London (if as you say your unpackers are blameless) & as it was completely in order when my assistant went up to the Tate Gallery to inspect it on its return from the Venice Biennale. He cleaned it & reported to me that it was in a perfect state......The point that worries me considerably is why was I not informed by the Art Gallery the moment it arrived & was found damaged. I am deeply grieved that a work which can go to Venice & back in safety should be hurt between London & Birmingham & of course no insurance in the world compensates the artist.....I would suggest dealing with it in this way. 1) Report to the Insurance people. 2) Establish the damage by comparison with the set of photos I sent you. 3) Have it very carefully packed & sent by Goods here to me so that I can assess the cost of the damage & repairs if repair is possible. Forgive me for saying this - but I´m not convinced that your unpackers are blameless. I fear they may have tried to lift it by brute strength (which is impossible as it is slippery) & that it may have fallen. The British Council packed it several times - always lifting it in a net´.(iii) A.L.S., Barbara, to both sides of a printed correspondence card, St. Ives, Cornwall, 16th August (1950), to James Archdale (´Dear Jim´), apologising for both having sent him such a dreary letter and for the trouble he has been put to with the Cosdon Head, remarking ´It was such a terrific labour working that stone (& one of my best works) I could not bear to think of the damage. Perhaps it is not so serious?´.(iv) A.L.S., Barbara, two pages, 4to, St. Ives, Cornwall, 3rd October (1950), to James Archdale (´Dear Jim´). Hepworth states that the photographs of the Cosdon Head have just arrived and that she can not detct any damage at all, explaining ´The white mark on the nose is calcite crystal & was always there....& the back of the Head was full of calcite crystals or their pockets. This is a metamorphic stone & the back was the matrix. The fine white lines are innate in the rock. This stone took 9 1/2 solid weeks carving - it is worse than flint to carve. If you object to the white marks I would suggest that they are tinted a neutral colour to tone it down, but on no account should the one on the nose be touched as it is part of the form & expression. It would be disastrous to alter it. The sculpture was just like this when you saw it at Carbis Bay & Lefevre´.Together with five different vintage signed 6.5 x 8 studio photographs by Hepworth, each of the images depicting the Cosdon Head from various angles, four of them signed (´Barbara Hepworth´) in ink to the versos, further adding the title and date of the sculpture in her hand, as well as identifying the stone (´Armenian blue marble´), and the fifth signed to the verso in pencil by Hepworth with her initials, and also adding St Ives in her hand beneath. Also including a second example of one of the photographs with a printed caption to the verso relating to its entry in the Venice Biennale of 1950.Further including a T.L.S. on behalf of Dr. Mary Woodall, Keeper of the City Museum and Art Gallery in Birmingham, one page, 4to, Birmingham, 11th October 1951, to James Archdale, on the printed stationery of the Department of Art. Woodall informs her correspondent that she has sent him all of the photographs they had of the Cosdon Head, declaring ´It is a most confusing affair altogether´ and further remarking ´Personally, I have a feeling that our photographs are much better quality than Barbara Hepworth´s and therefore show the defects in more detail´. Accompanied by the photographs referred to, being four original 6 x 8 studio photographs showing the Cosdon Head from different angles, each with the copyright stamp of the City of Birmingham to the versos.An excellent archive of letters and photographs relating to one of Hepworth´s works (which the scupltor herslf describes as one of her best pieces). VG, 15The Cosdon Head was one of the first works created by Hepworth at her Trewyn Studio and after being entered at the Venice Biennale it was gifted to the Birmingham Museums and Art Gallery by James Archdale in 1951. The Cosdon Head also formed part of an exhibition entitled Sculpture of the Twentieth Century which toured between the Philadelphia Museum of Art, the Art Institute of Chicago and the Museum of Modern Art in America between 1952-53.

Large collection of carved sculptures including root lion carving, table lamps, coloured stone eggs, etc.

LARGE CHINESE STONE CARVING 38CMS (L)

A flint axe, an inuit horn carving, a South American tribal stone head, a malachite panel, another stone carving and Chinese stand, largest 32cm. Condition - varies

Pre-Columbian Mezcala stone carving of an axe God, H10cmCondition Report:General wear commensurate with age, including scratches and scuffs, small loss to tip of figure, and surface 'crack' running part way through 'neck'.

A South American pumice stone carving with multiple faces, incised B.VINA to base

***SMALL CHIP TO BOTTOM SECTION ON CARVING**** An early 20th century oval bloodstone carved intaglio 15ct gold, comprising an oval bloodstone carved with fist clasping an axe, width approx 8mm, size N1/2, Birmingham 1908, total gross weight approx 7.8gms Further details: stone present and intact, some abrasions, wear and tear commensurate with age 

An interesting Ancient Egyptian wooden carving on a carved stone base 600-400 BC with certificate of Authenticity from Coincraft Great Russell Street London cost £895. Height 29cm

A carved alabaster parrot, a stone carving of two mice, two Royal Copenhagen mice, a mouse spill vase, a pair of dog pepperettes and a hare ornament, tallest 26cm high (8). Condition - small chip to ear of white Copenhagen mouse

Capital cluster in Early English style Doulting stone. The capital has been blocked out in preparation for the final carving of the finer mouldings, which would have been carried out in situ but was never undertaken. 65cm across, 27cm high. NOTE: FRAGMENTS FROM J.L. PEARSON'S ABANDONED CLOISTER ARCADE OF 1887 This lot formed the capitals of the unfinished arch outside the Chapter House

Mixed lot of Oriental foo dogs, elephant stand, soap stone carving, trinket dish, vase, Buddha, porcelain sculpture, wooden pots, Baoding balls and hand painted cased eggs(Some signed)

A mid/late 20th century Inuit green stone carving of two figures, indistinctly inscribed to underside, height 11cm, together with another model of a walrus, height 7cm.

A small Romanesque medieval or later stone carving of Saint Paul holding a book and sword, 24cm high

This stunning piece has both a bail and pin so it can be worn on a necklace or as a brooch. Oval stone carving of a woman with three birds and a gorgeous metal filigree border. Dimensions: 2"L x 1.5"WCondition: Age related wear.

A soapstone carving of 3 figures, H14cm, and carved stone baboon

Late 12th-13th century A.D.. Carved naturalistically in the round as a mature male figure with short wavy hair, full beard and moustache, his brow furrowed and mouth held slightly ajar; repaired. See Sauerländer, W., Gothic Sculpture in France 1140-1270, Ambrams, 1972; Cahn, W. and Seidel, L., Romanesque Sculpture in American Collections, 1: New England Museums, New York, 1979; Williamson, P., Gothic Sculpture 1140-1300, Yale University Press, 1995; Fogg, S., 30 Heads, stone heads from the 12th to the 15th century, London-New York, 2018. 3.8 kg, 18 cm (7 in.). The head was carved as an image of a saint, Apostle or a prophet. The accomplished and sophisticated style of carving on this head can be compared to some of the most celebrated Romanesque buildings of Southern France. The carving of the head resembles the representations of heads and faces of 12th century French Romanesque art, for example those of Saint Trophime in Arles. This imposing head once served as an important architectural part of a lavishly decorated church, possibly in western France. Its form and the size suggest that the head was not only decorative but that it would have been structurally important – perhaps part of a row of statues of apostles and prophets like those depicted on the Saint Trophime façade.Acquired in Europe before 1996. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11809-206816. (For this specific lot, 5% import VAT is applicable on the hammer price.)

Rhineland, circa 1480-1500 A.D.. The gilt polychrome carving showing Saint Simeon holding the infant Christ in his arms before his circumcision, Saint Simeon wearing a priestly mitre, holding the infant above an altar covered by an embroidered brocade; Virgin Mary to his left gazing at the infant tenderly, veiled and wearing a long robe with gilt decoration; to her left Saint Joseph dressed in a long robe and gilt cloak, holding a carpenter's axe in his left hand; praying Saint Anna to the right of Saint Simeon, wearing a simple dress and veil; to her right Saint Joachim, wearing a yellow cap and gilt cloak; the columns of the Temple of Jerusalem on the background; on a wooden stand. Cf. relief of the Circumcision of Christ in Smith College of Art Museum, accession no.SC 1955.68, for a similar scene in stone. 10.15 kg, 86.5 cm wide (34 in.). The relief shows the parents and relatives of infant Jesus following the Jewish tradition of circumcising young boys eight days after their birth. This iconography is symbolic as, according to the tradition, Saint Anne and Saint Joachim, parents of Mary, died before the birth of Christ. This panel originally would have adorned the interior panels of a large altarpiece, showing the cycle of life of Christ.Crait and Muller, 8 June 2021, no.2. Ex central London gallery. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12181-221704. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website]

A CANADIAN INUIT CARVING OF A WALRUS 21cm long, with other small stone carvings

LARGE BLUE CHINESE STONE CARVING - 22CMS (H) APPROX

A carved stone temple carving, decorated figure, in a perspex mount, 43 x 30 cmAge unknown, consigned from a storage unit, shows signs of age but this can be simulated

An interesting Ancient Egyptian wooden carving on a carved stone base 600-400 BC with certificate of Authenticity from Coincraft Great Russell Street London cost £895. Height 29cm

Cloud Mapete b.1961 Zimbabwe) a Shona, steatite stone carving of an old man, polished surface signed Cloud Mapete. (Provenance: purchased by Henry Sandon in 1998 from an exhibition of the artist's work)

An unusual Chinese stone carving of a ram, 5 1/2'' high x 7 1/2'' long.

An Inuit stone carving of a seal with scratched signature to base "PETER" (Stylistically this is most likely to be Peter Aningmiuk), 5 3/4'' long x 2 1/4'' high.

A Chinese jade coloured hard stone snuff bottle with scale light carving to body with small wooden stand, height 5cmCondition report:Some slight discolouration to one side otherwise ok. No lid. Associated stand.WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provide any guarantee to the buyer. WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE INTERESTED IN BEFORE THE AUCTION.

FELIM EGAN (IRISH 1952-2020) UNTITLED BLUE - 2002 Signed verso, acrylic and mixed media on canvas 120cm x 120cm (47in x 47in), unframed Collection of the Late Dr. Tom Scott, sold to benefit the National Trust for Scotland.Exhibited: Ingleby Gallery, Edinburgh ‘… A balance of shifting brilliances.’ – Seamus Heany on the work of Felim EganFelim Egan is regarded as one of Ireland’s most popular contemporary artists. He achieved early commercial success and went on to represent Ireland at the Paris Biennale in France in 1981, and at the São Paulo Biennial in Brazil in 1985. Egan won the prestigious UNESCO international prize for painting in Paris in its inaugural year of 1993, and has had major exhibitions at the Whitworth Art Gallery in Manchester, the Irish Museum of Modern Art (IMMA) and the Stedelijk Museum in Amsterdam. Born in an orphanage in Donegal, Egan was adopted by a family living in Strabane, County Tyrone. His talent was recognised during his school years and he received early encouragement to follow an artistic path. After an art foundation in Belfast School of Art in 1971, Egan completed further studies at the Portsmouth Polytechnic and ultimately the Slade School of Fine Art in London between 1975-77. He was based in Dublin for much of his career, near the bay, where the changing effects of light on the horizon would permeate his practice. Though formally abstract, nature atmospherically steeps his work and is alluded to through his choice of titles. Instinctual responses to music and literature are also integral to his work. The word ‘restrained’ is often used to describe Egan’s work, and his technique of subtly and painstakingly layering washes of paint lends his canvases an ephemeral, meditative quality. Mapped on these misty, shifting surfaces are his playful hieroglyph-like geometric forms. Egan was fascinated by Celtic stone carving and travelled extensively to Europe and beyond, examining ancient cultural sites. These preoccupations inflect his very technique: Egan uses a combination of acrylic mixed with powdered stone, creating the distinctive chalky texture one instantly recognises within his work.Lyon & Turnbull are pleased to offer the artwork Untitled (Blue) executed in 2002, which showcases how his mastery of colour became ever more sophisticated across the years. 

Collection of Marbles, 1939 - 1945 medal, African carving, stone African carving etc:- One Tray.

ELEPHANT STONE CARVING 27.5CMS (H) APPROX

A purple stone carving of a puppy, 4 cm wide

A small Romanesque medieval or later stone carving of Saint Peter holding his key attribute, 14cmH

The Baptism of Christ, stone relief carving, reputedly by a Napoleonic Prisoner of War, H9cm

A MIXED GROUP OF CHINESE JADE AND STONE ITEMS. To include a jadeite bangle; A celadon jade lion group; A celadon jade pendant carved in relief with chilong and bat; A pale celadon jade carving of a bird; A white hardstone graduated bead necklace; Together with five Tibetan style dzi bead pendants. Bangle inner diam. approx. 5.7cm. (10)Items in good overall condition.

* Jade. A Chinese hardstone elephant, the mottled stone elephant carved standing with head slightly facing down, 19 cm, presented on a hardwood stand, together with a jade pebble carved as a face, 7 cm long, plus a malachite carving of a frog, 10 cm longQTY: (3)

Nigerian Shona school carved stone carving by T Mtasa, 28cm high, and a Balinese carved wood sculpture

A small miscellaneous collection to include a pair of miniature globe bookends, a pair of bookends with seated miniature schnauzers, a South American hard stone deity carving, two Roman type clay lamps etc

A collection of woodcarving tools - including a cased Powerfix Wood Carving Tool Set; a various chisels; a boxed (unused) Bergkvist sharpening stone; and two related books; together with a small quantity of other tools including a grease gun; a Crown Tools of Sheffield wooden mallet; etc.

A small spelter figurine, depicting a dog set on a wooden plinth and a modern cast iron door wedge, depicting a bird - sold with two carved stone items and an American coal carving, depicting a comical miner

Joyous original acrylic on canvas artwork by British painter Joyce Roybal who depicts a group of colorfully dressed cyclists at a starting line. Roybal adds relief by contouring their bulbous shapes with a carving tool to add lines that result in textured areas of bold colors. Signature on lower right: J Roybal. Housed in a large porous stone colored wooden frame. Artwork dimensions: 23"L x 19"H. Frame size: 33"L x 29"H x 3.50"W. Artist: Joyce Roybal (British b. 1955)Issued: c. 1990Country of Origin: EnglandCondition: Age related wear.

Ca. 1550 - 1069 BC An Egyptian New Kingdom pair of quartz rods with an amazing tubular body and a shiny polished surface. During the New Kingdom of Egypt (ca. 1550-1070 BC), the art of carving hard stone advanced significantly, producing rods or canes with various uses. These versatile quartz rods were made for both decorative and practical purposes. They were often cut into smaller segments to create exquisite beads, which adorned necklaces, bracelets, and other forms of jewellery. The beads were highly prized for their beauty and were available in various colors. Additionally, pieces of rods were utilised as inlays in various decorative items such as furniture, boxes, and ceremonial objects, enhancing them with vibrant colours and intricate designs. For similar see: The Metropolitan Museum of Art Accession Number: 12.180.349. Size: 72-85mm x 10-17mm; Weight: 18gProvenance: Prince collection, 1990s-2014, acquired from Jacques Billen.

Marshall C. Hutson (1903-2001)ÿ(Attributed to) Bust of Roger Casementÿ bronze, approx. 48cms (19?) high. While the attribution of this bust of Roger Casement to Marshall Hutson, an artist who worked in Cork for over seventy years, is tentative, it fits with both Hutson?s interest in Kerry and other portrait busts he sculpted. One of the most famous Irish patriots of the early twentieth century, Casement has been depicted in bronze by several artists, including Joe Neeson, Gary Trimble and Mark Richards. Although the present work is not signed, its subject matter and style point to Hutson. Born in Nottingham, Marshall Hutson studied at the School of Art in that city. Moving to Ireland in 1930, he worked as vice-principal of the Crawford School of Art until 1962. Accomplished in many branches of the arts, including wood and stone carving, painting and graphic design, he painted murals, including one of early steam trains in Kent railway station. In 1958 he carved a stone crest of the City of Cork, to replace the royal coat of arms on the headquarters of the Cork Harbour Commissioners. He also carved works for the City Library, College of Commerce, and UCC. Among his bronze portrait busts is Miche l MacLiamm¢ir as Mark Antony. When the film Ryan?s Daughter was being filmed on the Dingle peninsula, Hutson made regular visits to record, in sketches and drawings, both the Kerry landscapes and film sets. A regular exhibitor at the Royal Hibernian Academy, from 1931 until the 1980's, he was elected ARHA in 1958.

Two Chinese grey stone birds with bats on their backs, the taller.   H 7.5cms a soapstone carving of rocks and a black stone Buddhist lion.   H 8.5cms

A 20th Century Inuit stone carving, formed as a stylised dog sled group, with leather harness, impressed mark to underside, 39cms long.Provenance: Originally purchased at the Artic Trading Post, Alaska, in July 1983.