22 February 2005

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CHILD WITH FLOWERS, c.1954
CHILD WITH FLOWERS, c.1954
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 22 February 2005 / 1

Published Estimate: €2,500-3,500

Price Realised: €4600

  • Signature: signed and inscribed with edition (2 of 25) lower right
  • Medium: etching
  • Dimensions: 42 by 38cm., 16.5 by 15in.
  • Provenance: Gift from the architect Michael Scott (1905-1989) to the present owner
  • The figure of a child holding flowers was a recurrent motif in le Brocquy’s work of the early 1950s - his so-called Grey Period. In paintings such as A Family (NGI), Two Rooms and Indoors, Outdoors, all painted in 1951, the child is depicted in profile, but by 1953 his figures are shown squarely head on, confronting the viewer. The most obvious comparison is the open-mouthed child clasping two bunches of wildflowers in Child in a Spring Field of 1954, and it is on this basis that the etching can with reasonable certainty be dated likewise.

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SPRING III
SPRING III
Cecil King (1921-1986)

Auction Date / Lot No.: 22 February 2005 / 2

Published Estimate: €1,200-1,500

Price Realised: €1800

  • Signature: signed lower right
  • Medium: gouache, crayon and wash
  • Dimensions: 28 by 19cm., 11 by 7.5in.
  • Provenance: Ritchie Hendriks Gallery, Dublin; Whence purchased by Dr. J. B. Keaney, May 1965; Private collection , Cork
  • Exhibited: 'Cecil King', Ritchie Hendriks Gallery, Dublin, May - June 1965, catalogue no. 45 (12gns)
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TREES
TREES
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 22 February 2005 / 3

Published Estimate: €1,000-1,500

Price Realised: €1500

  • Signature: signed lower right; inscribed and signed again on reverse; also with a Dawson Gallery framing label on reverse
  • Medium: oil on board
  • Dimensions: 23 by 36cm., 9 by 14in.
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SLEEPING CHILD
SLEEPING CHILD
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 22 February 2005 / 4

Published Estimate: €1,800-2,200

Price Realised: €3200

  • Signature: signed and inscribed with edition (8 of 25) lower left
  • Medium: etching
  • Dimensions: 11 by 13cm., 4.25 by 5in.
  • Provenance: Purchased by the present owner from Denis Cusack, Harcourt Street, circa 1960
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FLOWER STUDY
FLOWER STUDY
Eric Patton RHA (1925-2004)

Auction Date / Lot No.: 22 February 2005 / 5

Published Estimate: €1,800-2,200

Price Realised: 

  • Signature: signed lower right; inscribed, dated [1966] and signed again on reverse; also with a Ritchie Hendriks label on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Exhibited: 'Eric Patton', Ritchie Hendriks Gallery, Dublin, May - June 1966, catalogue no. 18 (50gns)
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SOFT DAY
SOFT DAY
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 22 February 2005 / 6

Published Estimate: €2,500-3,500

Price Realised: €2800

  • Signature: signed lower left; typed exhibition label on reverse
  • Medium: watercolour, crayon and pastel
  • Dimensions: 30 by 53cm., 12 by 21in.
  • Provenance: Ritchie Hendriks Gallery, Dublin; Whence purchased by Mr. Eric Baird, July 1967; Private collection, Dublin
  • Exhibited: 'Arthur Armstrong: Paintings 1950-1980', Arts Council of Northern Ireland, June 1981, catalogue no. 18 (collection Mr and Mrs Eric Baird)
  • Depicts the fishing village of Roundstone, Connemara.

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HIGH AND DRY
HIGH AND DRY
Patrick Reel (b.1935)

Auction Date / Lot No.: 22 February 2005 / 7

Published Estimate: €2,000-3,000

Price Realised: 

  • Signature: signed and dated [1986] lower right; inscribed label on reverse
  • Medium: oil on canvas
  • Dimensions: 61 by 71cm., 24 by 28in.
  • Born in Co. Louth, Patrick Reel is a self-taught artist who lives in Navan, Co. Meath, where he runs the Oriel Gallery. During the 1960s he worked as a designer for Navan carpets and held the first of numerous solo exhibitions at the Project Arts Centre, Dublin. Group shows include the RHA, the IELA and the Oireachtas. His work is in the collections of the OPW, the Irish College in Rome, the Irish Embassy in London, President Mary McAleese and Taoiseach Bertie Ahern among many others.

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INISMóR II
INISMóR II
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 22 February 2005 / 8

Published Estimate: €2,000-3,000

Price Realised: €2000

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 25 by 34cm., 10 by 13.5in.
  • Provenance: David Hendriks Gallery, Dublin; Private collection, Belfast
  • Exhibited: 'Arthur Armstrong', David Hendriks Gallery, Dublin, 31 March - 24 April 1971, catalogue no. 29 (£45)
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DANDELION
DANDELION
Anne Yeats (1919-2001)

Auction Date / Lot No.: 22 February 2005 / 9

Published Estimate: €3,000-5,000

Price Realised: €3800

  • Signature: inscribed "Rainstorm" on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 69cm., 20 by 27in.
  • Provenance: Estate of Anne Yeats (1919-2001); HOK, Dublin, 19 November 2002, lot 623; Private collection, Belfast
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STILL LIFE WITH DARK HEAD
STILL LIFE WITH DARK HEAD
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 22 February 2005 / 10

Published Estimate: €4,000-5,000

Price Realised: €4200

  • Signature: signed lower centre; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 51 by 58cm., 20 by 23in.
  • Exhibited: 'Arthur Armstrong', Ritchie Hendriks Gallery, Dublin, March 1963, catalogue no. 22 (40gns)
  • During the years 1955-1963 Armstrong painted a well-received series of still lives featuring African carved heads - objects which had earlier inspired many European modernists including Picasso and Braque.

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NUDE RECLINING AGAINST A GREEN CLOTH
NUDE RECLINING AGAINST A GREEN CLOTH
Ebba von Essen (Hamilton) 

Auction Date / Lot No.: 22 February 2005 / 11

Published Estimate: €1,000-1,500

Price Realised: €1900

  • Signature: signed with initials lower right; inscribed on reverse
  • Medium: oil on masonite board
  • Dimensions: 38 by 55cm., 15 by 21.5in.
  • Born in Sweden, she studied painting in Stockholm (1942-1947) and Copenhagen, before travelling to Paris where she enrolled at the Académie de Beaux Arts. She also worked during 1949 in the studio of André Lhote, as did many Irish artists including Mainie Jellett and Evie Hone. Upon her marraige to Count Axel Hamilton, she settled in 1976 in Banagher Co. Offaly, where she continues to paint.

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CATHEDRAL TOWN
CATHEDRAL TOWN
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 22 February 2005 / 12

Published Estimate: €15,000-18,000

Price Realised: €15000

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 61 by 46cm., 24 by 18in.
  • Provenance: Ritchie Hendriks Gallery, Dublin; Oriel Gallery, Dublin; Whence purchased 20 years ago by the current owner
  • Exhibited: 'George Campbell RHA: New Work 1964-1966', Ritchie Hendriks Gallery, Dublin, April - May 1966, catalogue no. 39 (60gns), as Cathedral Town, France
  • Literature: Eric Newton, George Campbell RHA, Three Candles Press, Dublin, 1966, illustrated page 13
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ABBEY RUINS ON AN ISLAND
ABBEY RUINS ON AN ISLAND
Seamus O Colmáin (1925-1990)

Auction Date / Lot No.: 22 February 2005 / 13

Published Estimate: €2,000-3,000

Price Realised: €2000


DUBLIN DOORWAY
DUBLIN DOORWAY
Séamus O Colmáin (1925-1990)

Auction Date / Lot No.: 22 February 2005 / 14

Published Estimate: €1,000-1,200

Price Realised: €1200

  • Signature: signed lower right; inscribed and with original exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 30 by 36cm., 12 by 14in.
  • Provenance: Bell Gallery, Belfast; Private collection; Arches Art Gallery, Belfast; Private collection, Belfast
  • Exhibited: 'Séamus a Colmáin: First Belfast Exhibition', Bell Gallery, Belfast, November 1965, catalogue no. 1
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SURREALIST LANDSCAPE
SURREALIST LANDSCAPE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 22 February 2005 / 15

Published Estimate: €12,000-15,000

Price Realised: 


ROUNDING UP THE BLACK LAMBS
ROUNDING UP THE BLACK LAMBS
Derek Clarke RP RSW ARSA (b.1912)

Auction Date / Lot No.: 22 February 2005 / 16

Published Estimate: €2,000-3,000

Price Realised: €1900

  • Signature: signed and dated [1946] lower left; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 33 by 41cm., 13 by 16in.
  • Born in Peterborough, England, Derek Clarke studied art at the Slade School in London, 1931-1935. In 1937 he arrived in Ireland where he was commissioned to do a number of portraits. During his stay he delighted in the rocky terrain of Connemara and stayed for two years painting the landscape and its inhabitants. War intervened – he was called up in 1939, but upon demobilisation in 1946, returned to Galway to paint. The following year he received a teaching post at the Edinburgh College of Art where he remained for over thirty years until his retirement in 1978. He currently lives in Ross-shire where he continues to paint with his artist wife Pat Semple. The Frederick Gallery, Dublin, recently held a retrospective exhibition of his work.

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SUTTON SEA FRONT
SUTTON SEA FRONT
Pamela Matthews (fl.1951-1966)

Auction Date / Lot No.: 22 February 2005 / 17

Published Estimate: €1,800-2,200

Price Realised: €1700

  • Signature: signed with initials lower right; origianl inscribed label on reverse
  • Medium: oil on board
  • Dimensions: 44 by 57cm., 17.5 by 22.5in.
  • Pamela Matthews is a lesser-known member of a group of modern women artists who throughout the 1950s and ‘60s exhibited with the Dublin Painter’s Society, the IELA, and occasionally at the RHA and Oireachtas annual shows. Throughout the period she gave her address as 56 Eglinton Road, Dublin.

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CORN CROP, CARNA (COUNTY GALWAY)
CORN CROP, CARNA (COUNTY GALWAY)
Henry Healy RHA (1909-1982)

Auction Date / Lot No.: 22 February 2005 / 18

Published Estimate: €1,800-2,200

Price Realised: €2400


STILL LIFE WITH CYCLAMEN AND FRUIT
STILL LIFE WITH CYCLAMEN AND FRUIT
Ebba von Essen (Hamilton) 

Auction Date / Lot No.: 22 February 2005 / 19

Published Estimate: €1,000-1,200

Price Realised: €1700


PORTRAIT OF MRS HUGH ROBERTS
PORTRAIT OF MRS HUGH ROBERTS
Ronald Ossory Dunlop RA RBA NEAC (1894-1973)

Auction Date / Lot No.: 22 February 2005 / 20

Published Estimate: €800-1,000

Price Realised: €1100

  • Signature: signed on reverse; inscribed in a later hand on reverse
  • Medium: oil on canvas board
  • Dimensions: 30 by 23cm., 12 by 9in.
  • Painted circa 1924 when, according to the inscription on reverse, the sitter Mrs Roberts was about thirty years of age and was running a sports shop in Finchley, London. She died circa 1974, in Warkworth, Northumberland.

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A DUBLIN PARK
A DUBLIN PARK
Fergus O'Ryan RHA ANCA (1911-1989)

Auction Date / Lot No.: 22 February 2005 / 21

Published Estimate: €2,000-3,000

Price Realised: €2800


ALONG THE CANAL
ALONG THE CANAL
Fergus O'Ryan RHA ANCA (1911-1989)

Auction Date / Lot No.: 22 February 2005 / 22

Published Estimate: €2,000-3,000

Price Realised: €2800


BOLAND'S MILLS
BOLAND'S MILLS
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 22 February 2005 / 23

Published Estimate: €8,000-10,000

Price Realised: €22000

  • Signature: signed and dated [1931] lower left
  • Medium: watercolour over pencil
  • Dimensions: 28 by 41cm., 11.2 by 16in.
  • Boland’s Mills on Great Brunswick Street (now Pearse Street) was one of the buildings held by the Irish Volunteers during the 1916 Easter Rising. Eamon de Valera was commander of the garrison, which was the last to hold out against the English army. Kernoff has portrayed the rear of the building as seen from the Grand Canal Basin.

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PORTRAIT OF JACK B. YEATS
PORTRAIT OF JACK B. YEATS
Seán O'Sullivan RHA (1906-1964)

Auction Date / Lot No.: 22 February 2005 / 24

Published Estimate: €3,000-4,000

Price Realised: €4200

  • Signature: signed and dated [1942] lower right
  • Medium: black, white and sanguine conté crayon on tinted paper
  • Dimensions: 43 by 32cm., 17 by 12.5in.
  • Exhibited: RHA, Dublin, 1943, catalogue no. 313
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STILL LIFE WITH APPLES AND DAISIES
STILL LIFE WITH APPLES AND DAISIES
Michael Healy (1873-1941)

Auction Date / Lot No.: 22 February 2005 / 25

Published Estimate: €800-1,200

Price Realised: €900

  • Medium: oil on canvas laid on board
  • Dimensions: 18 by 20cm., 7 by 8in.
  • Provenance: Michael Healy Studio Sale, de Vere's, Dublin, 23 September 2003, lot 53
  • Michael Healy is remembered primarily for his pioneering work as a stained glass artist with Sarah Purser’s An Túr Gloine studio, but he was also an avid painter, by day sketching scenes and people encountered on the streets of Dublin and by night painting in his home in Heytesbury Street. He studied at the Dublin Metropolitan School of Art, the RHA painting school, and the R. Istituto di Belle Art in Florence. See Snoddy, pp. 239-240.

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A FRENCH MARKET TOWN
A FRENCH MARKET TOWN
James le Jeune RHA (1910-1983)

Auction Date / Lot No.: 22 February 2005 / 26

Published Estimate: €10,000-12,000

Price Realised: €15000

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 66 by 76cm., 26 by 30in.
  • Born in Canada in 1910, le Jeune moved to Brittany as a child with his musician father and his Irish mother. He was educated at boarding school in London before beginning his art training in Paris. From there he went on to study architecture at the London Polytechnic, practising architecture for almost seventeen years after graduating. During this time he continued to paint, attending art classes at Heatherley’s Academy and the Byam Shaw School in London. He also showed three works at the RSA in 1950. In the same year he moved to Ireland, where after a while he gave up architecture to focus solely on painting. He established a successful career as a portrait and landscape painter and became a regular exhibitor with the RHA, being appointed an associate in 1961 and a full member in 1973. He had his first one man show with the Victor Waddington Gallery in Dublin in 1954. The Dublin Magazine commented that he showed “a certain mastery in the handling of crowd scenes” (see Snoddy, p. 344). This is clearly exhibited in this work which was painted circa 1948-1950 while (according to a label on reverse) he was still living at Dunstan’s Road in London. The animated use of paint using short wide brush strokes that is evident here is a characteristic feature of his style.

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A WET DAY, WESTCOVE, COUNTY KERRY
A WET DAY, WESTCOVE, COUNTY KERRY
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 22 February 2005 / 27

Published Estimate: €4,000-6,000

Price Realised: €7700


STRANGFORD LOUGH, COUNTY DOWN
STRANGFORD LOUGH, COUNTY DOWN
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 22 February 2005 / 28

Published Estimate: €12,000-15,000

Price Realised: €12500


STORM CLOUDS, BALLYNAKILL, CONNEMARA
STORM CLOUDS, BALLYNAKILL, CONNEMARA
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 22 February 2005 / 29

Published Estimate: €4,000-5,000

Price Realised: €6200


BALLINTOY VILLAGE, COUNTRY ANTRIM
BALLINTOY VILLAGE, COUNTRY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 22 February 2005 / 30

Published Estimate: €5,000-7,000

Price Realised: €6400

  • Signature: signed lower right; with a gallery label dated [17 May 1951] and an insurance valuation certificate [1956] on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: E. Stacy-Marks Ltd. Fine Art Gallery, Eastbourne, Sussex; W. Bugler Esq., Eastbourne; Private collection, Dublin
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TURF GATHERERS
TURF GATHERERS
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 22 February 2005 / 31

Published Estimate: €20,000-30,000

Price Realised: 


WOODLAND SCENE WITH WOMAN GATHERING KINDLING
WOODLAND SCENE WITH WOMAN GATHERING KINDLING
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 22 February 2005 / 32

Published Estimate: €6,000-8,000

Price Realised: €6000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Provenance: Purchased in Belfast, 1946, as a wedding gift for the parents of the present owner
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WINTER ON THE QUOILE RIVER, DOWNPATRICK, COUNTY DOWN
WINTER ON THE QUOILE RIVER, DOWNPATRICK, COUNTY DOWN
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 22 February 2005 / 33

Published Estimate: €2,000-3,000

Price Realised: €1900

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on canvas board
  • Dimensions: 25 by 30cm., 10 by 12in.
  • Provenance: Bell Gallery, Belfast; Private collection, Belfast
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PICNIC BY THE LAGAN
PICNIC BY THE LAGAN
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 22 February 2005 / 34

Published Estimate: €18,000-22,000

Price Realised: €20000


GAP OF DUNLOE, COUNTY KERRY
GAP OF DUNLOE, COUNTY KERRY
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 22 February 2005 / 35

Published Estimate: €6,000-8,000

Price Realised: €7200

  • Signature: signed lower right; inscribed on stretcher on reverse
  • Medium: oil on canvas
  • Dimensions: 41 by 102cm., 16 by 40in.
  • Provenance: Collection of British American Tobacco Co., London
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DONEGAL SANDS
DONEGAL SANDS
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 22 February 2005 / 36

Published Estimate: €6,000-8,000

Price Realised: €6000


NOW AM I IN ARAN III
NOW AM I IN ARAN III
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 22 February 2005 / 37

Published Estimate: €8,000-10,000

Price Realised: €10500


NEAR KILLYBEGS, COUNTY DONEGAL
NEAR KILLYBEGS, COUNTY DONEGAL
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 22 February 2005 / 38

Published Estimate: €4,000-5,000

Price Realised: €5000


THE ROCK POOL
THE ROCK POOL
Norman J. McCaig (1929-2001)

Auction Date / Lot No.: 22 February 2005 / 39

Published Estimate: €2,000-3,000

Price Realised: €3200


ATLANTIC DRIVE, COUNTY DONEGAL
ATLANTIC DRIVE, COUNTY DONEGAL
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 22 February 2005 / 40

Published Estimate: €4,000-6,000

Price Realised: €9200


ERVALLAGH REMEMBERED
ERVALLAGH REMEMBERED
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 22 February 2005 / 41

Published Estimate: €7,000-9,000

Price Realised: €15000


SELF PORTRAIT AT THE HACIENDA, circa 1947-1950
SELF PORTRAIT AT THE HACIENDA, circa 1947-1950
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 22 February 2005 / 42

Published Estimate: €40,000-60,000

Price Realised: 

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 91 by 105cm., 36 by 41.5in.
  • With a second, incomplete self portrait on reverse. Seán Keating inherited the knowledge and craft of self-portraiture from William Orpen, his teacher at the Metropolitan School of Art in Dublin from 1911 to 19141. For the duration of his professional career, Keating’s artistic fascination with his changing face occupied him on a consistent and regular basis2. In order to undertake a self-portrait, he habitually used a mirror, which may go some way to explain the steadiness of his rather serious gaze in the present painting. Self Portrait at the Hacienda is typical of Keating’s oeuvre, although the setting is unexpected and somewhat distinctive. The building in the sunny background seems typical of a Spanish hacienda3. Surprisingly perhaps, the location is likely to be North Africa. In late 1947 and again in 1948, Keating sailed with Irish Shipping Ltd on board The Hazel, in order to broaden his artistic horizons4. Irish Shipping Ltd was set up in 1941 to ensure that Ireland could import and export essential goods during World War II and, as such, the vessels did not carry passengers5. Keating was given a temporary job; that of ‘purser’ for the duration of both journeys, as legally he had to have something ‘official’ to do. While on board he made good use of his time, undertaking many sketches and drawings of the crew, the ship and the varied and colourful landscape while travelling around the coast of Spain and towards Tunisia in North Africa. Many of his drawings were made on old maritime maps, an early and very useful form of recycling. The journey to North Africa was undertaken by The Hazel in order to collect shipments of phosphate stone from Sfax in Tunisia that were brought back to Ireland and used in the manufacture of much needed fertiliser. Self Portrait at the Hacienda is most likely to have been based on sketches gathered on these journeys around the coast of Spain and North Africa, given that there may not have been enough room on board ship for large pieces of hardboard6. The self-portrait on reverse apparently illustrates Keating in practice, in front of the mirror deciding whether or not to wear his trilby hat and what to do with his dark cravat. As for his rather unusual clothing, if comparison is made with a calendar Keating painted for Irish Shipping in 1947 illustrating the crew working on deck, it seems that he may have portrayed himself in the ‘on board’ uniform of the company7. In most other self-portraits Keating wears his ubiquitous dark Aran jumper and blue báinín cap, so it is manifest in this double sided painting that the visual message is unmistakably quite different. In the main image, having decided to wear his hat, Keating has situated himself in front of a red tiled building common to Spain and her territories in North Africa. He adds further to the significance of the image through the visually interesting addition of a Spanish Majolica jug from which he takes either wine or water. Keating was adept at painting allegories and parables8; therefore, the significance of the water or wine may be multi-layered, alluding to religion, the heat of the North African landscape and the benefit of the sunshine on the grape harvest9. But further, Keating also seems to stand as the proud explorer of places further east, posed in slight shadow, trilby hat and unusual uniform, with his back to the sunshine, an artistic paragon to Irish industry and travel, the rather large cigarillo in his right hand adding a slight touch of wittiness to the occasion. The sunlit hacienda and blue sky stand in contrast to Keating’s self image. He appears as though posed inside, perhaps at a window, giving some credibility to the notion that the painting was made using previously collected sketches, in the studio on his return home. Prior to travelling with Irish Shipping, Keating often included Spanish references and allusions in many of his paintings such as Don Quixote , Irish Romanesque and Aran Fisherman and his Wife. But there is another little known connection between Keating and the Spanish mainland. His wife May spent a number of her early school years in Spain. She returned to Ireland in 1916 with fluent Spanish and a love of her adopted country. We could therefore conceivably consider Self Portrait at the Hacienda as an artistic acknowledgement of May’s early life, and a proud moment for Keating, given that he too managed to see Spain and indeed further afield through the auspices of Irish Shipping Ltd. Furthermore we can also consider the work as an illustration of Keating’s love of machinery, modernity and travel. During the late 1920s he portrayed the machinery and modernity of the electrification of the Irish Free State, otherwise known as the Shannon Scheme, and he travelled to New York in 1939 to take part in the World Trade Fair10. In the 1950s he travelled to Geneva to install a large, commissioned mural in the International Labour Offices. He frequently travelled around Ireland in order to install his work to a satisfactory level. Moreover, given that Keating portrayed the people of the Aran Islands and the west of Ireland with consistency throughout his career, it is not inconceivable to suggest that he is, whether wittingly or not, visually referencing historical, political and religious affiliations with Spain. 1 In 1915 Orpen portrayed Keating as the Man from the West (Limerick City Gallery), a brooding image that seems to reflect the mood of the First World War, and again the same year in The Holy Well (NGI). 2 It is interesting to note too, that Keating used his own image in most of his religious work, as Christ in his three sets of Stations of the Cross, and variously as a saint or onlooker in other works. 3 The hacienda is common to Spain, Central and Southern America and areas of North Africa. 4Keating travelled with Irish Shipping on two occasions, 1947-48 and again in 1952 on board The Hazel. 5 The first ship purchased by Irish Shipping Ltd was a Greek vessel which was, interestingly, given the setting of this painting, abandoned in Spain after being grounded in heavy storms. She was captained from Spain by a Captain Moran, and with a full cargo of grain, she left for Dublin on 1 October 1941. On arrival in Dublin, the ship was renamed The Irish Poplar. From that point, many newly commissioned ships were called after Irish trees (eg. The Larch, The Oak, The Spruce and The Hazel). 6 Keating made sketches that he would frequently reuse; hence, many of his models appeared not to age. He used a sketch of Sfax in Algeria for the landscape in his painting The Scapular Vision (1949), Gort Muire Conference Centre, Ballinteer, Dublin. Furthermore in 1950 he exhibited a painting titled The Long Voyage Home, Captain Clarke on the ‘Hazel’ at the RHA, priced at £75.00. This is most likely the painting that was exhibited in ‘Seán Keating PRHA, 1889-1977’ at the RHA in Dublin in 1989, titled for the exhibition as Captain Clarke ISL 1948, oil on board, catalogue no. 73. The use of board would suggest a similar date range for Self Portrait at the Hacienda. Keating also made a calendar for Irish Shipping which was based on the sketches made on his journey. 7 This is not a conclusive point, and it may also be that Keating has portrayed himself in typical Mediterranean wear. 8 It is useful to consider, with regard to allegories and parables, An Allegory (NGI) and Night’s Candles are Burnt Out (Oldham Municipal Gallery). John Dowling, art critic with Ireland Today, considered Keating’s Slan Leat a Athair, shown in the RHA in 1943 to be a “parable in paint”. 9 Indeed it may be that the owner of the hacienda possessed vineyards, tobacco plants or even a winery. 10 It was at the World Trade Fair in 1939 that Keating won the IBM international award for his painting, Race of the Gael (NGI). Furthermore, he also installed a large mural on the theme of Irish Life in the Irish Pavilion at the Trade Fair, which was shamrock shaped and designed by Michael Scott. Eimear O’Connor, January 2005 Postgraduate Researcher Presently engaged in writing a thesis on Seán Keating titled Seán Keating, A New Perspective. University College Dublin.

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PORTRAIT OF HARRIET BEHAN
PORTRAIT OF HARRIET BEHAN
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 22 February 2005 / 43

Published Estimate: €1,000-1,500

Price Realised: 

  • Signature: signed, inscribed and dated [22 October 1938] lower right
  • Medium: charcoal with conté and white chalks
  • Dimensions: 51 by 38cm., 20 by 15in.
  • Harriet Behan, of 49 Pembroke Road, Dublin, was formerly Private Secretary to the Parliamentary Secretary for the Taoiseach during the 1950s.

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STUDY OF AN ARAN FISHERMAN
STUDY OF AN ARAN FISHERMAN
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 22 February 2005 / 44

Published Estimate: €6,000-8,000

Price Realised: €9000


MAN LEANING ON A CAPITAL
MAN LEANING ON A CAPITAL
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 22 February 2005 / 45

Published Estimate: €20,000-30,000

Price Realised: €19000

  • Signature: signed lower left; signed again in Gaelic on reverse
  • Medium: oil on canvas
  • Dimensions: 56 by 69cm., 22 by 27in.
  • As outlined in the note to lot 42, Keating travelled with Irish Shipping Ltd on two occasions, 1947 and again in 1948, journeying around the coast of Spain to Tunisia in north Africa. The building portrayed in the background to both works (lots 42 and 45) is evidently the same, and was most probably encountered on one of these voyages. Man Leaning on a Capital seems to have been a commissioned work, given the high finish of the painting. He is clothed in what appears to be typical Mediterranean wear, in order to stay cool in what is obviously, given Keating’s use of colour, intense heat. Keating has posed the man in front of a typical Spanish hacienda, his apparent importance suggested in three ways: his portrait, although shaded by a hat, is highly finished. Secondly, his gaze does not connect with the viewer, a device used since the Renaissance to denote the social importance and significance of a model. Lastly, the man leans on a partial Corinthian carved pillar1. This pillar is not part of the landscape of the mission house and farm, rather it is a device borrowed from ancient antiquity, more specifically, ancient Greece, where the Corinthian column or order was associated with the gods of regeneration, recovery, resurrection and health. In more recent times, the use of the Corinthian column at an entrance to a building signifies its importance, while its use as a resting place in this image seems to suggest that the man in question is a person of significance. Although the identity of the man is uncertain, it is fascinating to think he may have been Keating’s host in North Africa. Maybe, as the proud owner of the hacienda, now associated through the use of the Corinthian column with ‘regeneration, recovery, resurrection and health’, it was he who provided the cigarillo and water or wine with which Keating poses in lot 42. 1 Keating uses this device reasonably frequently throughout his career, in paintings such as Blessed be Wine (1933, illustrated in the 1989 RHA retrospective catalogue) and Saint Gabriel Possenti and Saint Paul of the Cross (1944, the Graan Monastery, Enniskillen). Eimear O’Connor, January 2005 Postgraduate Researcher Currently writing a thesis titled: Seán Keating, A New Perspective, University College, Dublin

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COTTAGES ON KILLARY BAY
COTTAGES ON KILLARY BAY
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 22 February 2005 / 46

Published Estimate: €60,000-80,000

Price Realised: €87000

  • Signature: signed lower left; remains of inscribed label on reverse; title inscribed in pencil in another hand on reverse
  • Medium: oil on panel
  • Dimensions: 30 by 41cm., 12 by 16in.
  • Provenance: With the framing label of the Bell Gallery, Belfast; Private collection, Belfast; Sold in June 2000 to Eakin Gallery, Belfast; Thence sold in the same year to a private collector, Co. Antrim
  • The simple rigour of this composition, with its closely modulated ‘Whistleresque’ blue tones in the background and middle distance, which contrast with the warm ochres and browns of the foreground, shows the Post-Impressionist influence that lingers in Henry’s work. The sense of stillness, absence of people with a yet omnipresent human bearing are also characteristic of him. The fluidity of the paint and overall freshness of the composition suggest that this was painted in or around 1934 when he first visited Co. Kerry, after which both his mood and his palette lightened considerably. The title is indistinctly inscribed on a label on the reverse, but is also fully inscribed there, in another hand. There is also on the reverse a label of the Bell Gallery, Belfast, as framers. Dated circa 1934-39 on stylistic grounds. Cottages on Killary Bay is provisionally numbered 0313 in S. B. Kennedy’s forthcoming catalogue raisonné of Henry’s oeuvre. Dr S. B. Kennedy Belfast, January 2005

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HER DESTINY
HER DESTINY
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 22 February 2005 / 47

Published Estimate: €5,000-7,000

Price Realised: €8700

  • Signature: signed and inscribed on reverse
  • Medium: oil on panel
  • Dimensions: 18 by 13cm., 7 by 5.25in.
  • Provenance: Peppercanister Gallery, Dublin; Private collection, Dublin
  • Painted on Achill Island, circa 1916.

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COTTAGES ON TEH WEST COAST OF IRELAND
COTTAGES ON TEH WEST COAST OF IRELAND
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 22 February 2005 / 48

Published Estimate: €40,000-60,000

Price Realised: 

  • Signature: signed lower right
  • Medium: oil on canvas laid on board
  • Dimensions: 36 by 41cm., 14 by 16in.
  • Provenance: Gift from the artist to the original owners, circa 1950; Thence by descent to a retired clergyman in Kent, late 1990s; Sold through Clarke Gammon Weller Auctioneers, Guildford, Surrey, 7 September 2004, Private collection, Belfast
  • Literature: 'Henry's Cottages' (saleroom report), Antiques Trade Gazette, 2 October 2004, p. 22, reproduced in colour
  • This is clearly a late work by Henry and may possibly have been done in the summer of 1945 when he and Mabel Young stayed at Waterville in County Kerry. The scene has been set down briskly, although all the defining characteristics of Henry’s output are present: the clarity of the colours, with little or no over painting; the habitation in the middle distance; the dark strip of upland beyond which halts the eye’s recession. The use of lines to mark the water’s edge in the foreground can be found in some of Henry’s early works, such as Incoming Tide, 1911-13, but their use here also to outline the clouds is distinctly unusual for him and no doubt can be accounted for as it is such a late work, done when his health was fading. Dated circa 1945-46 on stylistic grounds. Coastal Landscape with Cottages is provisionally numbered 0144 in S. B. Kennedy’s forthcoming catalogue raisonné of Henry’s oeuvre. Dr S. B. Kennedy Belfast, January 2005

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SUNDAY AFTERNOON
SUNDAY AFTERNOON
Norah McGuinness (1901-1980)

Auction Date / Lot No.: 22 February 2005 / 49

Published Estimate: €1,800-2,200

Price Realised: €3400

  • Signature: with embossed studio sale stamp lower right
  • Medium: gouache on paper
  • Dimensions: 34 by 28cm., 13.5 by 11in.
  • Provenance: The artist's studio; Gordon Gallery, Londonderry; Emer Gallery, Belfast; Private collection, Belfast
  • Exhibited: 'Norah McGuinness', Gordon Gallery, Londonderry, 6-28 September 1985, catalogue no. 6
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ST BRENDAN THE NAVIGATOR - STUDY FOR STAINED GLASS
ST BRENDAN THE NAVIGATOR - STUDY FOR STAINED GLASS
Evie Hone (1894-1955)

Auction Date / Lot No.: 22 February 2005 / 50

Published Estimate: €1,000-1,500

Price Realised: €1300


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