28 November 2006

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YOUNG WITCHES AND THEIR CATS, 1995 and HER COWS COME HOME, WHITE MOON, 1995 (A PAIR)
YOUNG WITCHES AND THEIR CATS, 1995 and HER COWS COME HOME, WHITE MOON, 1995 (A PAIR)
John Shinnors (b.1950)

Auction Date / Lot No.: 28 November 2006 / 1

Published Estimate: €2,500-3,500

Price Realised: €4200


BOGLAND TREE, 1987
BOGLAND TREE, 1987
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 28 November 2006 / 2

Published Estimate: €4,000-6,000

Price Realised: €7400


SHORELINE FIELDS, SLIGO, 1990
SHORELINE FIELDS, SLIGO, 1990
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 28 November 2006 / 3

Published Estimate: €3,000-5,000

Price Realised: €4600


YELLOW ROCKS
YELLOW ROCKS
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 28 November 2006 / 4

Published Estimate: €2,000-3,000

Price Realised: €4200


ON THE BEACH AT FONTANA, 1993
ON THE BEACH AT FONTANA, 1993
Seán Scully (b.1945)

Auction Date / Lot No.: 28 November 2006 / 5

Published Estimate: €2,500-3,500

Price Realised: €1900

  • Signature: signed and dated lower right; numbered lower left
  • Medium: etching in colours (no. 21 from an edition of 33)
  • Dimensions: 8 by 11cm., 3 by 4.5in.
  • One of thirteen etchings illustrating James Joyce's Pomes Penyeach. Sheet size: 21.5 by 16.25 inches.

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OGHAM SERIES, 1999
OGHAM SERIES, 1999
John Noel Smith (b.1952)

Auction Date / Lot No.: 28 November 2006 / 6

Published Estimate: €8,000-10,000

Price Realised: €12500

  • Signature: signed, dated and titled on reverse; also inscribed with artist's number (NR:991H) on reverse
  • Medium: oil on canvas
  • Dimensions: 70 by 80cm., 27.5 by 31.5in.
  • Exhibited: Hillsboro Fine Art, Dublin
  • Born in Dublin, John Noel Smith studied at the School of Art, Dun Laoghaire, 1971-76. In 1980 he moved to Berlin where he spent the next twenty-two years, before returning to Ireland and settling in Gorey, Co. Wexford, where he currently lives and works. He has had numerous solo exhibitions throughout his career including one in the Irish Museum of Modern Art in 1990 and the RHA in 2002. He works with bold colours and shapes on richly textured surfaces, often exploring the ancient language of Ogham.

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LANDSCAPE POLLING, 1966
LANDSCAPE POLLING, 1966
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 28 November 2006 / 7

Published Estimate: €5,000-7,000

Price Realised: €7000

  • Signature: signed, inscribed and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 124 by 84cm., 49 by 33in.
  • Provenance: Dawson Gallery, Dublin; Whence purchased by the present owner
  • Exhibited: 'Brian Bourke: New Paintings',Dawson Gallery, Dublin, 6-23 September 1967
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PICASSO, 1989
PICASSO, 1989
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2006 / 8

Published Estimate: €4,000-6,000

Price Realised: €8500


WHITE OBJECT II
WHITE OBJECT II
Basil Blackshaw RHA RUA (b.1932)

Auction Date / Lot No.: 28 November 2006 / 9

Published Estimate: €8,000-10,000

Price Realised: €7500

  • Signature: signed lower left; inscribed with title and signed again on reverse; also with exhibition label on reverse
  • Medium: acrylic on paper laid on board
  • Dimensions: 39 by 29cm., 15.5 by 11.2 5in.
  • Exhibited: 'Paintings and Sculpture by Basil Blackshaw and Carolyn Mulholland', Peppercanister Gallery, Dublin, June - July 2000
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THE WICKLOW WAY
THE WICKLOW WAY
Michael Gemmell (b.1950)

Auction Date / Lot No.: 28 November 2006 / 10

Published Estimate: €3,000-4,000

Price Realised: €5200

  • Signature: signed lower right; exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 91 by 91cm., 36 by 36in.
  • Provenance: Taylor Gallery, Belfast; Whence purchased by the present owner in 2001
  • Born in Coleraine, Co. Derry, Gemmell studied at the National College of Art in Dublin from 1966 to 1968 and at the College of Art in Limerick from 1971 to 1972. He has run a stained-glass studio in Blessington, Co. Wicklow, and now paints full-time, exhibiting regularly at the RHA and with the Kennedy Gallery, Davis Gallery, and the Waldock Gallery.

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JUNK SHOP INTERIOR, 2004
JUNK SHOP INTERIOR, 2004
Rose Stapleton 

Auction Date / Lot No.: 28 November 2006 / 11

Published Estimate: €4,000-6,000

Price Realised: €4000

  • Signature: signed and dated lower right; exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 76 by 61cm., 30 by 24in.
  • Exhibited: RHA, Dublin, 2004, catalogue no. 444
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WAR HORSE
WAR HORSE
John Shinnors (b.1950)

Auction Date / Lot No.: 28 November 2006 / 12

Published Estimate: €10,000-12,000

Price Realised: €9500


BLINKERED HORSE
BLINKERED HORSE
John Shinnors (b.1950)

Auction Date / Lot No.: 28 November 2006 / 13

Published Estimate: €10,000-12,000

Price Realised: 


WICKLOW TRIPTYCH
WICKLOW TRIPTYCH
Trevor Geogheghan (b.1946)

Auction Date / Lot No.: 28 November 2006 / 14

Published Estimate: €3,000-4,000

Price Realised: €5000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 76 by 107cm., 30 by 42in.
  • Born in London of Irish parents, Geoghegan attended Worthing College of Art, Sussex, before graduating from Chelsea School of Art, London in 1968. He moved to Ireland in 1971 and settled in Blessington, Co Wicklow. There, inspired by his neighbour Martin Gale, his work developed away from abstraction to New Realism. He has had solo exhibitions at the Solomon Gallery, Dublin, and the Kenny Gallery, Galway, and he regularly exhibits at the RHA. His work is represented in the AIB Collection, the Arts Council / An Chomhairle Ealaíon, and the National Self Portrait Collection, among others. He currently lectures at National College of Art and Design and at the Burren School of Art.

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BREADTH I, 2004
BREADTH I, 2004
Donald Teskey (b.1956)

Auction Date / Lot No.: 28 November 2006 / 15

Published Estimate: €25,000-35,000

Price Realised: €26000

  • Signature: signed, inscribed and dated on reverse; also with a gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 114 by 127cm., 45 by 50in.
  • Provenance: Rubicon Gallery, Dublin; De Vere's, Dublin, 23 November 2003, lot 33c; Whence purchased by the present owner
  • Exhibited: ’H2O: Clare Cashman, Giuseppina Esposito, Harvey Jackson and Donald Teskey’, Model Arts and Niland Gallery, Sligo, 25 June – 8 August 2004
  • In the mid-1990s Donald Teskey spent a period as artist in residence at the Ballinglen Foundation in Ballycastle, Co. Mayo. The experience awakened an interest in the elemental forces that shape Ireland’s coastline – an interest which continues to occupy the artist to this day. Teskey has since worked at several locations in Connemara, Mayo and West Cork, sketching and producing watercolour studies, which he then revisits in the studio to paint large scale oils on paper and canvas. Wielding a pair of plasterer’s trowels – one used as a palette and the other as a palette knife – Teskey applies his paint in thick, tactile layers, which are then scraped back and repainted in a slow, deliberative process. These powerful seascapes fuse elements of recognisable locations with passages of all but abstract paint work. Teskey’s sea paintings were featured in a group show, ‘H2O’, held in 2004 at the Model Arts and Niland Gallery, Sligo, and in a solo exhibition, ‘Tidal Narratives’, held last year at the Limerick City Gallery of Art.

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STILL LIFE WITH LEMON
STILL LIFE WITH LEMON
William Scott CBE RA (1913-1989)

Auction Date / Lot No.: 28 November 2006 / 16

Published Estimate: €6,000-8,000

Price Realised: €6600

  • Signature: signed lower right; numbered lower left
  • Medium: lithograph in colours (no. 24 from an edition of 100)
  • Dimensions: 59 by 77cm., 23.2 5 by 30.5in.
  • Literature: Brian Balfour-Oatts, William Scott: A Survey of his Original Prints, Archeus Fine Art, London, 2005, listed as no. 61, illustrated page 48
  • Printed at the Curwen Studio and published by the William Scott Foundation.

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MORE OLD IRON
MORE OLD IRON
Anne Yeats (1919-2001)

Auction Date / Lot No.: 28 November 2006 / 17

Published Estimate: €3,000-4,000

Price Realised: €3000

  • Signature: signed lower left; original exhibition label on reverse
  • Medium: monotype (oil on paper)
  • Dimensions: 36 by 46cm., 14 by 18in.
  • Provenance: Dawson Gallery, Dublin; Miss Sheila Pim; Private collection
  • Exhibited: Dawson Gallery, Dublin, circa 1960s, cat no. 16
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ORANGE, 1972
ORANGE, 1972
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2006 / 18

Published Estimate: €30,000-50,000

Price Realised: €48000

  • Signature: signed and dated on reverse; also with exhibition labels on reverse
  • Medium: oil on canvas
  • Dimensions: 38 by 46cm., 15 by 18in.
  • Provenance: Gimpel Fils, London; Taylor Galleries, Dublin; Private collection
  • Exhibited: 'Le Brocquy', Fondation Maeght 06, Saint-Paul, France, 9 March - 8 April 1973, catalogue nos. 48-53; 'Louis le Brocquy: Recent Work', Gimpel Fils Gallery, 30 Davies Street, London, 1-26 October 1974, and Galleria La Bussola, Torino, November 1974, catalogue no. 33
  • Opus no. 322.

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SHEEP CARCASS FLOATING, 1961
SHEEP CARCASS FLOATING, 1961
Barrie Cooke HRHA (b.1931)

Auction Date / Lot No.: 28 November 2006 / 19

Published Estimate: €6,000-8,000

Price Realised: €7000

  • Signature: signed and dated mid-right; inscribed with title on reverse and with original exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 21 by 37cm., 8.25 by 14.5in.
  • Provenance: Ritchie Hendriks Gallery, Dublin; Whence purchased by Sir Basil Goulding in 1962; Goulding dispersal sale, 1982; Private collection
  • Exhibited: 'Barrie Cooke', Ritchie Hendriks Gallery, March - April 1962, catalogue no. 4; 'Paintings and Sculpture from the Collection of the late Sir Basil Goulding, Bart.', Hendriks Gallery, Dublin, 2-18 December 1982, catalogue no. 26
  • Literature: John Montague, ‘Barrie Cooke’, essay printed in The Irish Imagination 1959-1971, Municipal Gallery of Modern Art, Dublin, exhibition catalogue, p. 52
  • John Montague writes: Cooke’s “passionate identification with the process of change was responsible for the carcass paintings. There animal life was seen at the point where it bleeds back into the ceaseless regenerative flux, the spirals of the ribcage outlining the same resistance as the stones in the riverbed; there is even a painting called Sheep Carcass Floating. This was not a new interest for Cooke (he spent a summer in an abattoir in Martinique when he was 21) but the reverse aspect of his general obsession with growth, fertility, energy”. Another work from this series, titled Carcass of a Sheep, 1962, is in the collection of the Butler Gallery, Kilkenny.

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BRIDGE AND TREES, 1962
BRIDGE AND TREES, 1962
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 28 November 2006 / 20

Published Estimate: €20,000-30,000

Price Realised: €28000

  • Signature: signed lower right; original inscribed exhibition and framing labels on reverse
  • Medium: oil on board
  • Dimensions: 29 by 38cm., 11.5 by 15in.
  • Provenance: Ritchie Hendriks Gallery, Dublin; Collection of Sir Basil Goulding, Bt.; From whom purchased by the present owner
  • Exhibited: 'Patrick Collins: Retrospective Exhibition', The Arts Council / An Chomhairle Ealaíon and the Arts Council of Northern Ireland, touring exhibition of Cork, Dublin and Belfast, 1982, catalogue no. 14
  • Literature: Frances Ruane, Patrick Collins, An Comhairle Ealaíon / The Arts Council and the Arts Council of Northern Ireland, Belfast, 1982, listed page 104, reproduced page 34
  • Based on a view of the Dargle River.

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CURACAO, 1997
CURACAO, 1997
Seán Scully (b.1945)

Auction Date / Lot No.: 28 November 2006 / 21

Published Estimate: €80,000-100,000

Price Realised: €92000

  • Signature: signed, inscribed and dated on reverse
  • Medium: oil on linen mounted on panel
  • Dimensions: 47 by 38cm., 18.5 by 15in.
  • Exhibited: 'Seán Scully', Galerie Bernd Klüser, Munich, 17 February - 28 March 1998, illustrated in catalogue
  • Seán Scully was born in Dublin in 1945. Before the end of the decade, his family had moved to London, where he was brought up in the East End of the city. For a couple of years in his teens he was an apprentice at a printing shop, and he went on to practice graphic design. But his ambitions lay in painting, and after attending evening classes at the Central School of Art he studied full-time at Croydon and Newcastle. Thereafter he followed the usual course of a young artist: teaching at third level while setting about making and exhibiting his own work. But he began to pick up fellowships and prizes. A trip to Morocco was important in indicating the direction he would follow, as was his interest in Mark Rothko. One of the fellowships he was awarded brought him to the United States and, although he was becoming well established in Britain, in the mid-1970s he took the brave step of moving to New York. The art world in Manhattan was, and is, a tough arena. He has described it as “a battlefield”. During his first years there he made a series of austere, almost monochromatic abstracts. They consist of tight, regular bands of greyish colour and they are closed and defensive in character. Around 1980, his style began to change significantly. In a way he was going through an artistic crisis. It was resolved in a huge, remarkable painting, Backs and Fronts, made for a group exhibition. This big, vibrant, boldly patterned, multi-coloured painting, made up of a series of panels joined together, was in marked contrast to his previous work. What happened was that, having taken his painterly language a long way towards minimalist abstraction, he had changed tack and begun to allow himself a much wider vocabulary. Mind you, in a way his expanded vocabulary is relatively retrained, consisting of stripes and blocks of colour, often intense colour, in various arrangements. While the underlying structure is geometrically precise, the paint is applied with considerable variety of touch, imparting a sense of human fallibility and expressiveness to the impersonal grid. Curacao, painted in 1997, dates from well into the mature period of his work. Of course he has not stood still since finding his own voice. His work has gone through various stages of innovation and invention. One of those innovations is the incorporation of insets in the canvas, paintings within paintings, as with Curacao. The urban environment has long been a staple source of inspiration. In Morocco, Mexico and many other places he has photographed sections of streetscape. He prefers well worn buildings, aged by time and weather, textured and scarred. It has been suggested that the inserted sections of the paintings are related to the windows and doorways in the buildings he photographs. Certainly the inset panel is part of the overall painting, but it is also separate, in the same way that a view through a window provides quite a different prospect to the wall in which it is set. There is also another possible source of inspiration. During his apprenticeship, printers still used hot metal type. Blocks for illustration appeared as windows in the orderly columns of text. While he is an abstract painter, he often uses titles that refer to places, or states of mind, or to works of literature. The paintings are not illustrations of these things but there is a relationship between the subject and the form of the painting. One of his most celebrated, ongoing series of paintings, Wall of Light, was originally inspired by the way the intense sunlight set the walls of buildings in Mexico aglow. Today, Seán Scully ranks as one of the most highly regarded painters worldwide, someone who has reinvigorated abstraction. Based in New York, he also spends time in Barcelona, where he keeps a studio, and in Munich, where he was a visiting professor of painting for several years. Although he left Ireland while still very young, his Irish roots and identity remain incredibly important to him, as is underlined by the fact that he gave a gift of eight large paintings to Dublin City Gallery the Hugh Lane, where some of his work will always be on display. Important works by him can also be seen at the Irish Museum of Modern Art as well as in numerous museums abroad. Aidan Dunne Dublin, October 2006

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FEDELM - ILLUSTRATION TO THE T¦IN, 1969
FEDELM - ILLUSTRATION TO THE T¦IN, 1969
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2006 / 22

Published Estimate: €3,000-4,000

Price Realised: €5800

  • Signature: signed, inscribed and dated lower right
  • Medium: lithograph on Swiftbrook paper(no. 32 from an edition of 70)
  • Dimensions: 54 by 38cm., 21.2 5 by 15in.
  • Number 22 in the sequence of 36 Táin prints.

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ILLUSTRATION TO THE T¦IN, 1969
ILLUSTRATION TO THE T¦IN, 1969
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2006 / 23

Published Estimate: €2,500-3,500

Price Realised: €5000

  • Signature: signed, inscribed and dated lower right
  • Medium: lithograph on Swiftbrook paper (no. 32 from an edition of 70)
  • Dimensions: 55 by 38cm., 21.5 by 15in.
  • Number 21 in the sequence of 36 Táin prints.

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UNTITLED, 1988
UNTITLED, 1988
Seán Scully (b.1945)

Auction Date / Lot No.: 28 November 2006 / 24

Published Estimate: €30,000-50,000

Price Realised: €30000

  • Signature: signed and dated 4.28.88 lower right
  • Medium: pastel and watercolour on Waterford paper
  • Dimensions: 56 by 76cm., 22 by 30in.
  • Provenance: Archeus Fine Art, London; Private Collection, Dublin
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Samuel Beckett, <i>Stirrings Still</I>, Blue Moon Books, New York, in association with John Calder, London, 1988
Samuel Beckett, Stirrings Still, Blue Moon Books, New York, in association with John Calder, London, 1988
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2006 / 25

Published Estimate: €2,500-3,500

Price Realised: €5000

  • A beautiful livre d’artiste produced in a limited edition of 200 numbered copies, plus 15 hors commerce copies, each signed by Beckett and le Brocquy. This is no. 3 of 15 hors commerce copies. Illustrated by le Brocquy with an original lithograph portrait frontispiece of Beckett, and with eight original lithographic drawings in black ink, printed by Pierre Chave at his atelier in Vence, France, on deckle edged Velin de Rives paper. Folio; quarter bound in parchment over linen stamped with one of le Brocquy’s motifs in eighteen carat gold; matching slipcase. A lovely production - this was Beckett’s last published work.

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ABSTRACT SERIES (BOOK OF KELLS), 1973
ABSTRACT SERIES (BOOK OF KELLS), 1973
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 28 November 2006 / 26

Published Estimate: €4,000-6,000

Price Realised: €4000


THE ARGONAUT, 1986
THE ARGONAUT, 1986
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 28 November 2006 / 27

Published Estimate: €10,000-12,000

Price Realised: €9500

  • Signature: signed and dated lower left
  • Medium: oil on unstretched canvas (irregular dimensions)
  • Dimensions: 48 by 53cm., 19 by 21in.
  • Exhibited: 'New Paintings by Paddy Collins', Tom Caldwell Galleries, Dublin, 16 October - 5 November 1986, catalogue no. 7 -
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DUNADRY BANKS, FOUR VIEWS AFTER THE POEM OF THE SAME NAME BY PAUL YATES
DUNADRY BANKS, FOUR VIEWS AFTER THE POEM OF THE SAME NAME BY PAUL YATES
Basil Blackshaw RHA RUA (b.1932)

Auction Date / Lot No.: 28 November 2006 / 29

Published Estimate: €30,000-40,000

Price Realised: €34000

  • Signature: three signed lower right; one signed lower left
  • Medium: mixed media on paper
  • Dimensions: 29 by 29cm., 11.5 by 11.5in.
  • Painted in response to the poem, Dunadry Banks, by Paul Yates, this was the first in a series of artistic collaborations between Blackshaw and Yates. The poem and images relate to a particular stretch of the Six Mile Water area at Dunadry, Co. Antrim. Blackshaw spent a formative period in his life there and would walk by the river several times daily with a canine companion. While Yates’ poem portrays the area by moonlight, Blackshaw chose to respond with images drawn from memories of summer days spent along the river. Most recently the pair worked together on Mourne, published by the Tom Caldwell Gallery, Belfast, with poems by Yates and images by Blackshaw. Jack Pakenham, in his introduction to Mourne, remarked: “Paul and Basil are true ‘eccentrics’, that is in the literal sense to be found in the original Greek word ek kentros meaning literally ‘out of centre’ or ‘beyond the centre’, the Greeks believing that the vast majority of people interpreted reality from a central core but that original thinkers saw the world from the circumference and therefore offered quite different perspectives. Paul and Basil have struck up a friendship and professional collaboration based upon each having a unique way of seeing and portraying things and recognising in each other ‘fellow souls’”. In 1994 a series of smaller sized lithographs of the Dunadry Banks images were made. The effects of a burst water tank where the lithographs were being stored resulted in very few sets remaining in existence. These sets of prints will soon be available for sale exclusively through Brown Thomas, Dublin. Dunadry Banks by Paul Yates The river is a lady in evening dress strip teasing in the moonlight, Slipping off shoals of silver fox shadow gloves and silk sounding Stockings with toes as pointed as eels, trailing a wake of slinking Pine marten stoll in long hushed curves, slipping past you sleek As a limousine, its twisting and turning lingering like French perfume. The river is landing strip for the ghosts of hoar frosted moon hounds Knifing the gun metal cold water to hunt down love note paper Boats torn from the pages of Gray’s Anatomy, to sniff out nude shaped Stowaways and the helter - skelter descents of ripple mimicking Leaves inspired by Leonardo’s designs for future flying machines. The river is informer revealing the secret weddings of clouds in the Night, reporting the trombone lunged small talk of distant covens Of stay out cattle, embellishing the taffeta wrestled whispers of angels Casting their wings in the tree tops, signing in tongues of liquid silver And gold the child’s play and opera of their laughter. The river is glass bottomed heavens stream of consciousness of past And present equi – distant from eternity; Zen Of a man walking a dog and dowsing through its leash the pull Of infinity walking through the walls of the banks, an un-beginning Unending quietening running true to itself all the way. Paul Yates

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IMAGE OF SAMUEL BECKETT, 1994
IMAGE OF SAMUEL BECKETT, 1994
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2006 / 30

Published Estimate: €200,000-300,000

Price Realised: €180000

  • Signature: signed, inscribed and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 117 by 89cm., 46 by 35in.
  • Provenance: Taylor Galleries, Dublin; Hillsboro Fine Art, Dublin; Private collection, Dublin
  • Exhibited: 'Louis le Brocquy: Dans le Cadre de l'Imaginaire Irlandais', Espace Paul Ricard, Paris, 12-29 March 1996 (illustrated in catalogue)
  • Opus no. 641. Louis le Brocquy, Ireland’s most distinguished living painter, is ninety this year. He is best known for his many series of portrait heads. They are not portraits in the conventional sense of the term but are a kind of reinvention of portraiture. In making paintings of such subjects as Yeats, Joyce and Beckett, le Brocquy is aiming not so much for historical reconstruction as for what he has termed ‘an archaeology of the spirit’. He tries to capture a sense of the imaginative life of each individual, caught up in the complexity of creative endeavour. Le Brocquy was born in 1916 and it was expected that he would go into the business started by his grandfather, the Greenmount Oil Company in Harold’s Cross. His own instincts led him away from petrochemicals, however, and when he was twenty-two he travelled to London and thence to mainland Europe. He taught himself to paint by learning from the techniques of the old masters in the museums. When he returned to Ireland he established himself as a progressive artist on the small Irish art scene. Ireland at the time was too conservative and constricting, however, and he moved to London following on from an invitation to join the Gimpel Fils Gallery. Throughout the 1950s in London he made his paintings of Human Presences, reflecting the doubts and anxieties of the time. After he and Anne Madden had married, they moved to France. The genesis of his celebrated series of Heads lay in the fact that he became despondent about his work. After destroying almost a year’s worth of paintings, he was in the Musée d’Homme in Paris one day in 1964 when he chanced upon some decorated Polynesian heads: human skulls built up with clay, painted and thought to contain the spirits of the individuals. He was immediately gripped by this idea. Soon afterwards, in Provence, he was reminded of the Celtic head cult, which depended on the idea that ‘the head was a magic box that held the spirit prisoner’. Portraiture, it seemed to him, was a problematic art form in the mid-twentieth century. Photography, the moving image, Cubism and Surrealism: all these developments and others had made the simple representation of human likeness a much more complicated proposition than before. Now, these examples from an earlier age suggested a way to access a level of reality beyond the world of outside appearances, a way to visualise the many layers of consciousness and unconsciousness locked within the human mind. He set out to paint a series of Ancestral Heads. At first these were general human ancestors, but in time they became more specific as he attempted images of his own father, and of Anne. The image of a spectral head suspended against and indeed merging with a white void is an emblem of isolation and transience, yet le Brocquy also imbues it with intimations of continuity and community, with immortality of sorts. In the late 1960s, he also began to make paintings of the head of James Joyce. He was very cautious in his approach, always indicating the partial, fragmentary nature of his endeavour. A painting is always a ‘study towards an image of’; it never claims the absolute authority of being a definitive view of a subject. As le Brocquy has put it, he is aiming towards the person he is painting, and it is as much an imaginative, intuitive journey as a question of dealing with a likeness as such. He went on to make series of works with W. B. Yeats, Federico Garcia Lorca, Pablo Picasso, Francis Bacon (whom he knew) and even William Shakespeare. He also made many studies of Samuel Beckett. Beckett stands slightly apart from the others in his oeuvre for a couple of reasons. Beckett was an intensely private person, and le Brocquy regarded him as a friend. Yet Beckett’s craggy features are iconic in their own right, and his head was an irresistible subject. In an interview with George Morgan, le Brocquy said that in many ways his images of Beckett meant more to him than those of Yeats or Joyce, because of the links between them, and because of his intense admiration for Beckett’s work, all the greater for the feeling of being so close to it. Beckett’s features are unmistakable. Le Brocquy conjures them up as if by magic, animating the background space so that the image that emerges is woven from an interlocking mesh of brushwork. It is hard to pin down a single, well defined image: rather the possibility of an image hovers there at the point of visibility. Technically, le Brocquy is a remarkably assured artist, but he is also willing to trust to chance and accident in the production of his painting. Aidan Dunne Dublin, October 2006

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RECONSTRUCTED HEAD, 1974
RECONSTRUCTED HEAD, 1974
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2006 / 31

Published Estimate: €2,000-3,000

Price Realised: €3200

  • Signature: signed and numbered lower left
  • Medium: aquatint on Arches paper (no. 25 from an edition of 75)
  • Dimensions: 41 by 41cm., 16 by 16in.
  • From a series of seven colour etchings, exhibited at the Dawson Gallery, Dublin, Gimpel Fils in London and Galleria La Bussola, Torino, in 1974. Sheet size: 29.5 x 25.5 inches.

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HAND, 1971
HAND, 1971
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2006 / 32

Published Estimate: €1,500-1,800

Price Realised: €3500

  • Signature: signed, dated and inscribed lower right
  • Medium: lithograph on hand made rag paper (no. 50 from an edition of 70)
  • Dimensions: 41 by 33cm., 16 by 13in.
  • Exhibited: `Louis le Brocquy', Gimpel and Weitzenhoffer, New York, 27 April - 15 May 1971, catalogue no. 25 (illustrated on front cover of catalogue)
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STILL LIFE WITH BOTTLE AND TOMATOES, 1998
STILL LIFE WITH BOTTLE AND TOMATOES, 1998
Neil Shawcross RHA RUA (b.1940)

Auction Date / Lot No.: 28 November 2006 / 33

Published Estimate: €3,000-4,000

Price Realised: €3800


STILL LIFE WITH DECANTER, 1998
STILL LIFE WITH DECANTER, 1998
Neil Shawcross RHA RUA (b.1940)

Auction Date / Lot No.: 28 November 2006 / 34

Published Estimate: €4,000-5,000

Price Realised: €4200


JUG AND PEAR, 1983
JUG AND PEAR, 1983
William Scott CBE RA (1913-1989)

Auction Date / Lot No.: 28 November 2006 / 35

Published Estimate: €100,000-130,000

Price Realised: €97000

  • Signature: signed and dated on reverse; also with exhibition labels on reverse
  • Medium: oil on canvas
  • Dimensions: 48 by 56cm., 19 by 22in.
  • Provenance: Gimpel Fils Gallery, London; Archeus Fine Art, London; Private collection
  • Exhibited: Gimpel and Weitzenhoffer, New York
  • William Scott was born in Scotland in 1913. His father, a sign-writer and house painter, was Irish and from Enniskillen; his mother Scottish. The family moved back to Enniskillen in 1924 to find a better standard of living. Showing a keen interest in art William was sent to study with Kathleen Bridle who introduced him to water colour painting and the French tradition in art. In 1928 he attended the Belfast College of Art and in 1931 studied at the Royal Academy Schools in London. He went on to become one of few Irish artists (although Scotland can claim him also) in the post World War II period to establish a national and indeed international reputation as an abstract or semi-abstract painter. His development as an artist followed the early modernist pathway of moving from naturalism towards a spare and poetic abstraction but without relinquishing the imprint of the original naturalistic or man made source. The French modernist tradition of Cézanne, Bonnard and Braque was a potent early source of influence. He lived in France for periods in Cagnes-Sur-Mer and St Tropez in the south and at Pont Aven in the north. The wall paintings at Lascaux, which he visited in 1954, made a lasting impact. His consistent subject matters of kitchen table still lifes and the nude female figure he worked at and distilled to an emotional and erotic essence of line, colour, shape and texture. If his cottage still lifes left their first marks on a Scottish or Ulster table, his later ones still bore their imprint. In a memorial poem to the artist, Brendan Kennelly registers their impact: Hardly an outdoors man: Flickering candle, domestic gold, Bottle, basin, pot, pan: Slowly the shapes take hold. And will not be forgotten. Eggs, lemons, grapes, pears: The man walks through the kitchen, Wanders among the stars.1 The development of his work progressed towards less and less pictorial elements (a fish, a plate, a glass). The former supporting table top, tilted á la Cezanne, now becomes the vertical pictorial ‘field’ or working ‘ground’ and his gift for placement and structural balance becomes even more assured, simple and eloquent. Of his move from the representation of objects in space to the orchestration of objects and space he has commented: “My problem was to reduce the immediacy of the individual object and to make a synthesis of ‘objects and space’ so that the new conception would be the expression of one thing and not any longer a collection of loosely related objects”.2 In 1953 Scott visited New York and met Jackson Pollock and Marc Rothko among others. He was impressed by the scale and self assuredness of their work but the visit for him reinforced his Europeanism. In 1965 William Scott moved to a farmhouse near Coleford in England where there was an espaliered pear tree. He had, of course, painted pears earlier in his career e.g. Pears on a Plate, 1956/60. Now he had a constant source at hand and pears became something of a sub theme in his work. In Pears and Knife II, 1973, three pear shapes share a kind of musical notation with a plate, a knife and a glass registering a graphic and visual assonance. In 1976 he painted a series of seventeen small canvasses, entitled the ‘Orchard Series’ where the fruit sit like roosting birds painted mostly in varying shades of green and in varying dispositions. They evoke a primitive and erotic charge. Jug and Pear, 1983, was painted in the last years of his working life before he developed Alzheimer’s disease in 1986. He died in 1989. It shows the influence of Egyptian wall painting in the flattening out of the pear and jug, allowing their outlines to do all the work. It gains its power despite its scale, from the simplicity and humour of the relationship between the two pictorial protagonists. The jug squared off and stand offish ignores, as it were, the shapely presence of the pear in this painterly drama. William Scott’s work is represented in many national and international collections. He has represented Britain in a group exhibition at the São Paulo Bienal (1953) and with a solo exhibition at the Venice Biennale, 1958. He also has been included in Documenta, Kassel, Germany in 1959 and Rosc, Dublin in 1980. In 1986 a large retrospective of his paintings and drawings toured Ireland and Scotland and a major exhibition of his work was shown at IMMA in 1998. Professor Liam Kelly Belfast, October 2006 1 Brendan Kennelly, If You Were Bold Enough (in memory of William Scott), published in William Scott 1913-1989, RHA, Dublin, 1990. 2 As quoted in essay by Ronald Alley, William Scott, Arts Council of Northern Ireland and the Arts Council / An Chomhairle Ealíon, 1986.

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LANDSCAPE WITH FIGURES and DEPORTATION 1965, (A PAIR)
LANDSCAPE WITH FIGURES and DEPORTATION 1965, (A PAIR)
Nevill Johnson RHA (1911-1999)

Auction Date / Lot No.: 28 November 2006 / 36

Published Estimate: €1,200-1,500

Price Realised: 

  • Signature: each signed and dated lower right; inscribed with titles and original price (20 guineas) and signed again on reverse
  • Medium: monotypes
  • Dimensions: 14 by 16cm., 5.5 by 6.25in.
  • Exhibited: Dawson Gallery, Dublin, circa 1965, catalogue nos. 39 and 43 respectively
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DARK HEAD, 1956
DARK HEAD, 1956
Nevill Johnson RHA (1911-1999)

Auction Date / Lot No.: 28 November 2006 / 37

Published Estimate: €3,000-4,000

Price Realised: €3000


FEMALE TORSO
FEMALE TORSO
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 28 November 2006 / 38

Published Estimate: €3,500-4,500

Price Realised: €3400


ENIGMATIC LANDSCAPE, 1978
ENIGMATIC LANDSCAPE, 1978
Nevill Johnson RHA (1911-1999)

Auction Date / Lot No.: 28 November 2006 / 39

Published Estimate: €3,000-4,000

Price Realised: €3000

  • Signature: signed and dated lower right; inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Exhibited: 'Nevill Johnson', Tom Caldwell Gallery, Belfast, February 1979, catalogue no. 9
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MERRION STRAND LOOKING TOWARDS RINGSEND
MERRION STRAND LOOKING TOWARDS RINGSEND
Richard Kingston RHA (1922-2003)

Auction Date / Lot No.: 28 November 2006 / 40

Published Estimate: €10,000-15,000

Price Realised: €17000

  • Signature: signed lower right; gallery label on reverse
  • Medium: oil on board
  • Dimensions: 76 by 122cm., 30 by 48in.
  • Provenance: Oriel Gallery, Dublin; A corporate collection, Dublin
  • Exhibited: Possibly exhibited as Merrion Strand, 'Richard Kingston, Recent Paintings', Oriel Gallery, Dublin, 12-28 October 1972, catalogue no. 27
  • In a Dawson Gallery frame.

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TRIBESMAN NO. 4
TRIBESMAN NO. 4
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 28 November 2006 / 42

Published Estimate: €15,000-20,000

Price Realised: 

  • Signature: signed lower centre; inscribed, dated and signed again on reverse
  • Medium: oil on board
  • Dimensions: 76 by 51cm., 30 by 20in.
  • Provenance: Purchased directly from the artist by the present owner c.1969
  • Exhibited: ’George Campbell’, Ritchie Hendriks Gallery, Dublin, August – September 1967, ex-catalogue, 95 guineas
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CAT ON A BARRELL
CAT ON A BARRELL
Nano Reid (1900-1981)

Auction Date / Lot No.: 28 November 2006 / 43

Published Estimate: €6,000-8,000

Price Realised: €6200

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on masonite board
  • Dimensions: 29 by 64cm., 11.5 by 25.2 5in.
  • Provenance: Collection of the late Noel Sheridan
  • Exhibited: Possibly exhibited as Cat at Dustbins in 'Nano Reid', Dawson Gallery, Dublin, 14 - 28 July 1966, catalogue no. 4 (35 guineas)
  • In the original Dawson Gallery frame

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PAINTING NO. XXXVIII, 1953
PAINTING NO. XXXVIII, 1953
Thurloe Conolly (b.1918)

Auction Date / Lot No.: 28 November 2006 / 44

Published Estimate: €4,000-6,000

Price Realised: €4000

  • Signature: signed, inscribed and dated on reverse
  • Medium: oil on panel
  • Dimensions: 41 by 61cm., 16 by 24in.
  • Exhibited: Possibly included in 'Paintings by Thurloe Conolly', Gimpel Fils, London, 1954; 'Celebration: Thurloe Conolly', Hillsboro Fine Art, Dublin, 6-29 July 2005, reproduced on front of catalogue
  • A copy of the 2005 catalogue is included with lot.

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MALAGA HARBOUR WITH PEASANTS AND DONKEY
MALAGA HARBOUR WITH PEASANTS AND DONKEY
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 28 November 2006 / 45

Published Estimate: €20,000-30,000

Price Realised: €27000

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 43 by 56cm., 17 by 22in.
  • Exhibited: `Summer Exhibition', Frederick Gallery, Dublin, June 1995, catalogue no.3
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GIRL WITH CAT
GIRL WITH CAT
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 28 November 2006 / 46

Published Estimate: €100,000-150,000

Price Realised: €170000

  • Signature: signed lower left; inscribed with title on reverse
  • Medium: oil on board
  • Dimensions: 61 by 46cm., 24 by 18in.
  • Provenance: Dawson Gallery, Dublin; Whence purchased by the present owner, 1971
  • Exhibited: 'Dan O'Neill: Recent Paintings', Dawson Gallery, Dublin, 12-31 May 1971, catalogue no. 23
  • Dan O’Neill led something of a tragic life. Born in Belfast, the son of an electrician, his family expected him to learn a trade, and thus he too became an electrician for Belfast Corporation. By temperament, however, he was a Parisian. As fellow artist George Campbell so perceptively put it: ”Dan O’Neill should have been born at the turn of the century in Montmartre or Montparnasse where he would have undoubtedly searched out Vlaminck, Utrillo and Modigliani, and they would have had a ball together”.1 Art classes at school awoke a love of art and by the age of nineteen he had begun painting in his spare time. Between shifts at the Corporation transport depot, he took life classes at the Belfast College of Art and spent some brief time working with the mural artist, Sidney Smith. Thereafter, he learnt primarily through a process of experimentation. In 1940 he exhibited his first works in a group show at the Mol Gallery, Belfast; not one of them sold. Things improved slightly at his next exhibition, held at the Contemporary Pictures Gallery in Dublin in 1943, where buyers were found for two of his works. His first contribution to the Irish Exhibition of Living Art appeared in 1945 and attracted the attention of the critic for the Dublin Magazine, who praised O’Neill’s “rich colour and dramatic sense of composition” and described him as “essentially a Romantic”.2 In the same year Victor Waddington began supporting him financially, allowing him to paint full-time. After a visit to Paris in 1949 his work developed in an expressionist vein, the paint applied thickly with a palette knife. Gradually the deep colours of the late ‘40s and early ‘50s gave way and by late ‘60s his palette vibrated with colour. Paint was now applied in thin transparent glazes, carefully smoothed with a piece of cloth or tissue paper. Forms were reduced to their barest essentials, lending his work a startling intensity that is unlike any other Irish painter’s of the period. Girl with Cat belongs to this mature phase, which encompasses many of finest works such as Two Bouquets and Jennifer (both on loan from the McClelland Collection to the Irish Museum of Modern Art) and Girl with Bow (Adam’s, 25 May 2005, lot 64), which appeared in the same exhibition at the Dawson Gallery as the present work. In each case the figure of a woman gazes out in silent reverie, timeless and bewitching. In the present example the model holds a sleeping cat, whose relaxed form lends it an almost tangible weight. It is the work of an artist who possessed, in the words of a writer for The Studio magazine, “an unique vision that springs constant delight”.3 1 George Campbell, quoted in S. B. Kennedy, ‘Young Man with a Rose’, essay in Daniel O’Neill, special supplement, Fortnight Educational Trust, Belfast, 1992, page 9. 2 Dublin Magazine, October – December 1945, quoted in Snoddy, p. 492. 3 The Studio, August 1952, quoted in Snoddy, p. 493.

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WOMAN DREAMING IN A CHAIR
WOMAN DREAMING IN A CHAIR
Anne Yeats (1919-2001)

Auction Date / Lot No.: 28 November 2006 / 47

Published Estimate: €4,000-6,000

Price Realised: €3800

  • Signature: signed lower left; original exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 91 by 61cm., 36 by 24in.
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Exhibited: Irish Exhibition of Living Art, Dublin, 1964, catalogue no. 5 (£75); 'Anne Yeats', Sligo Arts Society and The Arts Council, August 1965, catalogue no. 26 (75 guineas)
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SWAN FLIGHT
SWAN FLIGHT
Norah McGuinness HRHA (1901-1980)

Auction Date / Lot No.: 28 November 2006 / 48

Published Estimate: €25,000-35,000

Price Realised: €27000

  • Signature: signed lower right; exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 46 by 56cm., 18 by 22in.
  • Provenance: Purchased by the present owners from the Gordon Gallery, Derry, 1983
  • Exhibited: Keys Gallery, Derry, June 1976, catalogue no. 3; Gordon Gallery, Derry, March 1983
  • In the original frame of the Dawson Gallery, Dublin.

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ITALIAN WASHER WOMEN
ITALIAN WASHER WOMEN
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2006 / 49

Published Estimate: €60,000-80,000

Price Realised: €70000

  • Signature: signed lower left; inscribed with title on reverse
  • Medium: oil on board
  • Dimensions: 39 by 50cm., 15.5 by 19.5in.
  • Provenance: Purchased by the present owner from the Dawson Gallery, circa 1971
  • In the original frame of the Dawson Gallery, Dublin. Italian Washer Women is based on sketches that Gerard Dillon made in Italy during his first sojourn to the Continent in 1947. Travelling with Pino Saglietti, a Londoner of Italian descent whom he had known since he first moved to England in 1934, Dillon visited Florence, Lucca and Parma where he saw many famous examples of Italian art and architecture. Pino Saglietti was a great art lover and he hoped that Dillon would find inspiration in the master pieces of Italian art. Yet, despite Saglietti’s best efforts, Dillon had no time for historical art and during a visit to the Pitti Palace he infuriated his friend by declaring, “I can’t be bothered with all those old things. I am only interested in the world around me and the people in it. Anyhow I can’t paint in Italy, everything is too bright and gleaming”.1 James White has suggested that Dillon’s distaste for the Old Masters that he saw in Italy stemmed from his belief that such paintings were symbols of wealth and power that artists from working class backgrounds like his own could not relate to. Despite his dismissal of Italian art and fear that the Italian light was not conducive to his art, a number of paintings did result from Dillon’s Italian trip. The inspiration for this series of works which includes Italian Washer Women and Memory Pool came not from the great art of Florence or Parma, but from Saglietti’s native village of Borgotaro, in the mountains of Northern Italy which Dillon humorously claimed was “not Italy, it’s Ireland up the hills”.2 Italian Washerwomen relates closely to a larger painting of the same title, illustrated in James White, op. cit., p. 61. Both works were based on pencil sketches that Dillon made in Borgotaro of women at their chores. The pose and composition of the figures in each painting are almost identical with only the background differing and the addition of hanging clothes in the first picture. Both paintings display the eye for local detail that characterised Dillon’s paintings of the west of Ireland. While others would have focused on the beauty of the Italian or Irish landscape, Dillon’s interest is in the people, their customs and their relationship to the locale. Although Dillon was later to travel to Spain, the US and several other European countries, the paintings inspired by his Italian trip are almost unique within his oeuvre as an example of a time when Dillon turned from his usual engagement with Irish culture to a foreign culture with which he could claim some sense of affinity. Dr Riann Coulter Paul Mellon Centre for British Art, October 2006 Gerard Dillon quoted by James White, Gerard Dillon: An Illustrated Biography, Wolfhound Press, Dublin, 1994, p. 58. 2 Ibid.

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THE SAINTS - A PAIR
THE SAINTS - A PAIR
Markey Robinson (1918-1999)

Auction Date / Lot No.: 28 November 2006 / 50

Published Estimate: €3,500-4,500

Price Realised: 


BERENICE
BERENICE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 28 November 2006 / 51

Published Estimate: €30,000-40,000

Price Realised: 


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

Auction Date / Lot No.: 28 November 2006 / 52

Published Estimate: €12,000-15,000

Price Realised: €12000

  • Signature: signed lower right; inscribed on reverse with original Ritchie Hendricks Gallery framing label
  • Medium: oil on board
  • Dimensions: 53 by 44cm., 21 by 17.5in.
  • Provenance: Ritchie Hendriks Gallery, Dublin; Private collection
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