30 April 2007

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BEING, 1999
BEING, 1999
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 30 April 2007 / 1

Published Estimate: €5000-7000

Price Realised: €4800

  • Signature: signed and numbered lower right; also with the embossed stamp of the Graphic Print Studio lower right
  • Medium: carborundum print (no. 16 from an edition of 75)
  • Dimensions: 61 by 48cm., 24 by 19in.
  • Printed at the Graphic Print Studio, Dublin. Sheet size: 29 x 24 inches

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COLOURED WALL, 2003
COLOURED WALL, 2003
Seán Scully (b.1945)

Auction Date / Lot No.: 30 April 2007 / 2

Published Estimate: €3000-4000

Price Realised: €5400

  • Signature: signed and dated lower right; inscribed lower left and lower centre
  • Medium: lithograph (no. 35 from an edition of 150)
  • Dimensions: 22 by 18cm., 8.5 by 7in.
  • Sheet size: 11.5 by 9.5 inches.

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THE HILLS OF BEARA
THE HILLS OF BEARA
John Kingerlee (b.1936)

Auction Date / Lot No.: 30 April 2007 / 3

Published Estimate: €12000-15000

Price Realised: €21000


APRIL POOL, 2000
APRIL POOL, 2000
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 30 April 2007 / 4

Published Estimate: €5000-7000

Price Realised: €11000

  • Signature: signed and dated lower left; inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 36 by 46cm., 14 by 18in.
  • Exhibited: `Seán McSweeney: New Paintings', Fenderesky Gallery, Belfast, 18 ctober - 10 November 2000
  • Literature: Reproduced on the front of the Fenderesky exhibition invitation (copy supplied with lot)
  • Number 00.16 in the artist's records.

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PINK STONES
PINK STONES
Anne Yeats (1919-2001)

Auction Date / Lot No.: 30 April 2007 / 5

Published Estimate: €2000-3000

Price Realised: €3200

  • Signature: signed lower right; gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 27 by 39cm., 10.7 5 by 15.5in.
  • Provenance: Taylor Galleries, Dublin; Private collection
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IMPLEMENTS, OLD FIELD HISTORY ON THE MANTLEPIECE, PHYSICIANSTOWN, 1984
IMPLEMENTS, OLD FIELD HISTORY ON THE MANTLEPIECE, PHYSICIANSTOWN, 1984
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 30 April 2007 / 6

Published Estimate: €12000-15000

Price Realised: €11500

  • Signature: signed with initials lower right; exhibition label on reverse
  • Medium: oil on paper
  • Dimensions: 52 by 64cm., 20.5 by 25.2 5in.
  • Exhibited: Taylor Galleries, Dublin, November 2002, catalogue no. 126
  • No. 1144 in the artist's oeuvre

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BOGLAND SLIGO, 1983
BOGLAND SLIGO, 1983
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 30 April 2007 / 7

Published Estimate: €6000-8000

Price Realised: €7000

  • Signature: signed and dated lower right; inscribed with title and number 0-31-83 on reverse
  • Medium: oil on paper laid on board
  • Dimensions: 51 by 64cm., 20 by 25in.
  • Provenance: Taylor Galleries, Dublin; Private collection
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BARRA, 1962
BARRA, 1962
William Scott CBE RA (1913-1989)

Auction Date / Lot No.: 30 April 2007 / 8

Published Estimate: €5000-7000

Price Realised: €4800

  • Signature: signed and dated lower right; inscribed "artist's proof" lower left and with the Curwen Studio embossed stamp lower left
  • Medium: lithograph; artist's proof
  • Dimensions: 50 by 60cm., 19.5 by 23.5in.
  • Exhibited: `Artists at Curwen', Tate Gallery, London, 1977, catalogue no. 331
  • Literature: Brian Balfour-Oatts, William Scott: A Survey of His Original Prints, Archeus Fine Art, London, 2005, listed as no. 15, illustrated p. 18
  • Sheet size: 23 by 29.5 inches. From a series of seven lithographs inspired by the Scottish islands. Barra was printed in an edition of 75.

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FAHAN, 2003
FAHAN, 2003
Brian Ferran HRHA PRUA (b.1940)

Auction Date / Lot No.: 30 April 2007 / 9

Published Estimate: €4000-5000

Price Realised: €5000

  • Signature: signed and dated lower right; exhibition label on reverse
  • Medium: acrylic on canvas
  • Dimensions: 76 by 76cm., 30 by 30in.
  • Exhibited: RHA, Dublin, 2004, catalogue no. 124
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THE STONE THROWER, 2006
THE STONE THROWER, 2006
Martin Finnin (b.1968)

Auction Date / Lot No.: 30 April 2007 / 10

Published Estimate: €6000-8000

Price Realised: €7400

  • Signature: signed lower left; inscribed with title and date and signed again on reverse
  • Medium: oil on canvas
  • Dimensions: 60 by 119cm., 23.7 5 by 47in.
  • Inspired by Miro's `Personage Throwing a Stone at a Bird' of 1926.

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HORIZON I, 2003
HORIZON I, 2003
Seán Scully (b.1945)

Auction Date / Lot No.: 30 April 2007 / 11

Published Estimate: €2000-3000

Price Realised: €3200

  • Signature: signed and dated lower right; inscribed lower centre; numbered lower left
  • Medium: aquatint (no. 23 from an edition of 40)
  • Dimensions: 30 by 20cm., 11.7 5 by 7.75in.
  • Provenance: Kerlin Gallery, Dublin; Private collection
  • Sheet size 21 by 15.5 inches

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STUDY TOWARDS AN IMAGE OF W. B. YEATS, 1975
STUDY TOWARDS AN IMAGE OF W. B. YEATS, 1975
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 30 April 2007 / 12

Published Estimate: €2500-3500

Price Realised: €7700

  • Signature: signed, dated and inscribed "artist's proof III" lower left
  • Medium: aquatint on Arches paper
  • Dimensions: 50 by 44cm., 19.7 5 by 17.2 5i
  • Provenance: Dawson Gallery, Dublin; Whence purchased by Lady Cusack Smith; Private collection
  • Sheet size: 30 by 22 inches. In the original frame of the Dawson Gallery, Dublin.

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THE BEACH, 1964
THE BEACH, 1964
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 30 April 2007 / 13

Published Estimate: €3000-5000

Price Realised: €5000

  • Signature: signed and dated lower left; inscribed label on reverse
  • Medium: oil on canvas
  • Dimensions: 30 by 41cm., 12 by 16in.
  • Provenance: Dawson Gallery, Dublin; Whence purchased by Dr John Boyle; Private collection
  • Exhibited: 'Seán McSweeney', Dawson Gallery, Dublin, 5-21 October 1965, catalogue no. 3
  • In the original frame of the Dawson Gallery, Dublin.

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ITINERANT GROUP, 1970
ITINERANT GROUP, 1970
Edward Delaney RHA (b.1930)

Auction Date / Lot No.: 30 April 2007 / 14

Published Estimate: €2000-3000

Price Realised: €1900

  • Signature: original exhibition label on reverse
  • Medium: ink on paper (monotype)
  • Dimensions: 32 by 41cm., 12.7 5 by 16in.
  • Provenance: Davis Gallery, Dublin; Whence purchased by Maurice Fridberg Esq, April 1970; Private collection
  • Exhibited: 'Drawings by Edward Delaney', Davis Gallery, Dublin, 7-30 April 1970
  • In the original frame of the Hendriks Gallery, Dublin.

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TEA COSY
TEA COSY
Rita Duffy (b.1959)

Auction Date / Lot No.: 30 April 2007 / 15

Published Estimate: €5000-7000

Price Realised: 

  • Signature: signed lower right
  • Medium: oil, lead foil and beeswax on panel
  • Dimensions: 76 by 76cm., 30 by 30in.
  • Provenance: Hillsboro Fine Art, Dublin; Private collection
  • Born in 1959 in Belfast, Rita Duffy is one of Ireland’s leading contemporary artists. She graduated from the University of Ulster in 1986 with a Masters in Fine Art. Duffy’s work is often autobiographical, drawing upon her experiences of life in Northern Ireland and concerned with politics, gender and religion. She has received numerous awards including a Gold Medal at the RUA (1990). In 1998 she was commissioned to produce artwork for the Belfast Waterfront Hall and, in the same year, was given a solo exhibition at the Dublin City Gallery the Hugh Lane. More recently, the Ulster Museum in Belfast held a solo show (2005). Her work is represented in many collections including the Crawford Municipal Gallery, Cork, the Arts Council of Northern Ireland, the Dublin City Gallery the Hugh Lane, and the National Self-Portrait Collection in Limerick. She is represented by Hillsboro Fine Art, Dublin, and the Spectrum Gallery, London.

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FONTANA II
FONTANA II
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 30 April 2007 / 16

Published Estimate: €15000-20000

Price Realised: 

  • Signature: signed and inscribed on reverse
  • Medium: tempera with palladium leaf
  • Dimensions: 61 by 61cm., 24 by 24in.
  • Provenance: Acquired directly from the artist by the present owner
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UNTITLED (SHANNON SERIES), 1980
UNTITLED (SHANNON SERIES), 1980
Camille Souter (b.1929)

Auction Date / Lot No.: 30 April 2007 / 17

Published Estimate: €20000-30000

Price Realised: €42000

  • Signature: signed and dated lower right
  • Medium: oil on paper
  • Dimensions: 44 by 74cm., 17.5 by 29in.
  • Literature: Garrett Cormican, Camille Souter: The Mirror in The Sea, Whyte's, Dublin, 2006, catalogue no. 377, listed page 298, illustrated page 143
  • Towards the end of the 1970s Camille Souter’s son Tim and daughter Emma were attending boarding school in Villiers, County Limerick. While in the area Souter decided to renew her acquaintance with nearby Shannon airport. The result was one of the most distinguished series of paintings ever produced by an Irish artist. Despite their inherent drama and the fact that countless people pass through them on a daily basis, airports have attracted surprisingly little in the way of serious artistic interest either within Ireland or internationally. Souter, on the other hand, was immediately drawn to them. From the very beginning of her career, she has not only been a frequent traveller but has been fascinated with places associated with travel: harbours, docks, railway stations, trains, canals – points of perpetual arrival and departure. In airports, it is easy to imagine an escape from the normal confines of one’s day to day existence. As Alain de Botton has observed, the ability of aircraft to defy gravity and ascend skyward may lead us to contemplate a similar, dramatic, transformation in our own circumstances. By the same token flying can reveal an aspect of a landscape that one thought one had known well in a completely new light. Such was Souter’s interest, that not long after her arrival in Shannon she began to take flying lessons. There is perhaps, a curious connection between Souter’s later paintings of airports and her early work. One critic, reviewing an exhibition in 1957 of the relatively abstracted paintings by Souter in her second solo show wrote “these paintings remind one of aerial pictures in that though you are aware of the solid reality underneath … nothing is defined”. In the early work, movement might be conveyed by the addition of a motif such as an arrow over a lightly textured background. With the airport and flying series, aeroplanes now provide a sense of directional movement and the lightly textured background is now a landscape. While more clearly and recognisably representational, they are in their own way just as pared down as the early works of the 1950s. This painting, to my eye, is among the finest in the series. It seems replete with possibilities. An aeroplane races across our path and across a stretch of an intersecting runway. Is it landing or taking off? The use of a red strip along the side of the plane is equally dramatic in its juxtaposition against the verdant green grass to either side of the runway. The red paint on the tail section is also strikingly placed so that the viewer’s eye is directed down a runway perpendicular to the plane and upward into the sky beyond. Indeed, one might feel the view we are shown, of a runway stretching out to the horizon, is that of someone excitedly anticipating take off. It could be you… Garrett Cormican © April 2007

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DAWN, 1983
DAWN, 1983
Terence P. Flanagan RHA PPRUA (b.1929)

Auction Date / Lot No.: 30 April 2007 / 18

Published Estimate: €6000-8000

Price Realised: 

  • Signature: signed lower right; exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 64 by 76cm., 25 by 30in.
  • Exhibited: 'T. P. Flanagan RHA', Hendriks Gallery, Dublin, November 1983, catalogue no. 7
  • Painted at Ardara, Co. Donegal.

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LAKE REFLECTIONS, 1989
LAKE REFLECTIONS, 1989
Brian Ballard RUA (b.1943)

Auction Date / Lot No.: 30 April 2007 / 19

Published Estimate: €6000-8000

Price Realised: €6000


RECLAMATION IN PROGRESS, RINGSEND, DUBLIN, BEFORE ESB CHIMNEYS (1960s)
RECLAMATION IN PROGRESS, RINGSEND, DUBLIN, BEFORE ESB CHIMNEYS (1960s)
Richard Kingston RHA (1922-2003)

Auction Date / Lot No.: 30 April 2007 / 20

Published Estimate: €8000-10000

Price Realised: €7500


DRAWING (WOMAN'S HEAD), 1950
DRAWING (WOMAN'S HEAD), 1950
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 30 April 2007 / 21

Published Estimate: €3000-4000

Price Realised: 

  • Signature: signed and dated lower right; label on reverse inscribed and numbered 45 in Victor Waddington's hand
  • Medium: pen and ink
  • Dimensions: 33 by 22cm., 13 by 8.5in.
  • Provenance: Waddington Galleries, Dublin; Whence purchased by the present owner
  • In the original frame of the Waddington Galleries, Dublin.

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SAILOR
SAILOR
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 30 April 2007 / 22

Published Estimate: €4000-6000

Price Realised: €4000


A GROUP OF FISHERMEN'S WIVES FROM PEDREGALOS, SPAIN
A GROUP OF FISHERMEN'S WIVES FROM PEDREGALOS, SPAIN
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 30 April 2007 / 23

Published Estimate: €5000-7000

Price Realised: €5000


WALK ON THE MARSH, circa 1971
WALK ON THE MARSH, circa 1971
Noreen Rice (b.1936)

Auction Date / Lot No.: 30 April 2007 / 24

Published Estimate: €1000-1500

Price Realised: €1300

  • Signature: signed lower left; exhibition label on reverse
  • Medium: pastel
  • Dimensions: 56 by 69cm., 22 by 27in.
  • Exhibited: Tom Caldwell Gallery, Belfast, 3-20 February 1971, catalogue no. 23
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LARAGH WEEKEND, 1957
LARAGH WEEKEND, 1957
Pauline Bewick RHA (b.1935)

Auction Date / Lot No.: 30 April 2007 / 25

Published Estimate: €2000-3000

Price Realised: €5200

  • Signature: signed and dated 27 December 1957 lower right
  • Medium: pen and ink with watercolour
  • Dimensions: 28 by 33cm., 11 by 13in.
  • In the original frame of the Hendriks Gallery, Dublin.

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ISMUTH, 1968
ISMUTH, 1968
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 30 April 2007 / 26

Published Estimate: €40000-50000

Price Realised: 

  • Signature: signed lower right; original exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 46 by 56cm., 18 by 22in.
  • Provenance: Dawson Gallery, Dublin; Whence purchased by N. Waddleton Esq; Private collection
  • Exhibited: 'Gerard Dillon', Dawson Gallery, Dublin, 12 June - 2 July 1968, catalogue no. 7
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MURAL I
MURAL I
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 30 April 2007 / 27

Published Estimate: €40000-60000

Price Realised: €40000

  • Signature: signed in monogram lower right
  • Medium: oil on panel
  • Dimensions: 91 by 91cm., 36 by 36in.
  • Provenance: Commissioned by Noel Campbell for Morelli's icecream parlour on the Promenade, Portstewart, Co. Derry, circa early 1970s.
  • Literature: Dickon Hall, Colin Middleton: A Study, Joga Press, 2001, full page illustration, page 79
  • The variety and range of Colin Middleton’s work is often commented on as its most notable aspect. Closer acquaintance with it reveals a unity that carries between styles and periods, both in technique and imagery. In each painting Middleton seems to be looking forward and back. Throughout the six decades that he painted, Middleton never left his initial training as a damask designer far behind, although at times this influence is almost submerged within paintings. Middleton’s move to the north coast of Northern Ireland in the late 1950s marked a sharp break in his work; he found a landscape and, through this, a manner of painting that coalesced to express the point at which he found himself as a man and as an artist. During this period, Middleton seems to have been ready to re-introduce elements of his design background into his painting. This series of panels demonstrate the complexity of design and visual inventiveness of which Middleton was capable. They were painted for Morelli’s café, famous as an ice cream parlour, on the seafront in Portstewart. This was arranged by Noel Campbell, a local architect who had been instrumental in a number of commissions for murals Middleton received in the late 1960s and 1970s. It was as rare then as it is now in Northern Ireland for an artist to be thus involved in architectural projects, so these panels have an historical resonance as well as occupying a very particular place within Middleton’s career. Like the large panel Middleton painted for the Botanic Inn in Belfast, these panels evolve their own self-referential language, while relating to his work at this period and occasionally echoing earlier paintings. Images recur throughout the panels, although each has its own particular theme or mood. The planned location, an ice cream parlour in a holiday town, might well have influenced their bright colours and energetic exuberance, as well as a choice of imagery likely to appeal to children. There are no known photographs of the panels installed in Morelli’s, or any record of how the paintings were intended to be arranged. The diverse formats suggest that the location imposed certain demands upon the artist; the square format of two of the paintings was almost ubiquitous in Middleton’s work at this time, but the elongated panels are unusual. The cross-fertilisation of ideas does suggest that they were closely hung to be viewed together. One panel (lot 27) dominates by virtue of the multitude of ideas with which it seems to vibrate. A simplified rendering of what appears to be a llama or alpaca is repeated on various scales, overlapping and creating a dizzying and confused sense of spatial recession. Small panels are placed within these with simplified and angular depictions of fish, a cockerel, a dog and a cat. The latter two recall the notation of Ancient Egypt and the dog is highly reminiscent of depictions of Anubis, the Egyptian jackal headed god (the alpaca might also be read as an image of a Pharaoh dog). In fact these panels carry some overtones of the Egyptian Book of the Dead. The alpaca shape is subtly repeated in the forms of the little house, the train and the girl, all reminders of the holiday spirit. A similar fish image was used by Middleton for the sign of a fish and chip shop in an early painting of Belfast, presumably here another reminder of summer in Portstewart. The simple form of the house reappears in other panels (lot 29), a shorthand that Middleton again used as early as the 1940s in some early surrealist paintings. These other panels are more abstract and economic after the overflowing ideas of the first painting. A child with pigtails dominates the other large square panel (lot 28), broken up into complex rhythmically repeating shapes. One of the upright panels (lot 30) includes another standing girl, whose striped top and leggings might easily have been observed in Portstewart in the 1970s. Much of the imagery is simplified until it becomes extremely ambiguous. A driveway seems to lead up to a small house to the left of the girl in the striped top. The other tall panel could be read as showing a figure lying on the sand with the blue sea beyond leading to an island, or a rock beyond. Throughout Middleton’s paintings and drawings the female form is often present is extremely abstracted form. The deep blues and yellows that recur in other panels recall the idealised memories of sand, sea, sky and sun in childhood memories. The more complex horizontal panel (see lot 29) is arguably the most ambitious of the group, full of energy and again full of shapes that hint at interpretations. Perhaps there is a house seen in the distance behind a tree at the far right, or a figure in the section just to the left of that? Middleton’s vocabulary is derived from the shapes of objects in the visible world which over decades he has pared into the most visually effective and communicative signifier capable of carrying its meaning. These panels are more than just narrative, although they seem to contain so much. It is up to the viewer to find a personal interpretation or just to enjoy their stimulating presence. Dickon Hall Killinchy, Co. Down

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MURAL IV
MURAL IV
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 30 April 2007 / 28

Published Estimate: €30000-40000

Price Realised: 

  • Signature: signed in monogram lower right
  • Medium: oil on panel
  • Dimensions: 91 by 91cm., 36 by 36in.
  • Provenance: Commissioned by Noel Campbell for Morelli's icecream parlour on the Promenade, Portstewart, Co. Derry, circa early 1970s.
  • Literature: Dickon Hall, Colin Middleton: A Study, Joga Press, 2001, illustrated page 80
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MURAL II and MURAL III (A PAIR)
MURAL II and MURAL III (A PAIR)
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 30 April 2007 / 29

Published Estimate: €40000-60000

Price Realised: 

  • Medium: oil on panel
  • Dimensions: 30 by 183cm., 12 by 72in.
  • Provenance: Commissioned by Noel Campbell for Morelli's icecream parlour on the Promenade, Portstewart, Co. Derry, circa early 1970s.
  • Literature: Dickon Hall, Colin Middleton: A Study, Joga Press, 2001, illustrated page 80
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MURAL V AND MURAL VI (A PAIR)
MURAL V AND MURAL VI (A PAIR)
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 30 April 2007 / 30

Published Estimate: €20000-30000

Price Realised: €17000

  • Medium: oil on panel
  • Dimensions: 122 by 30cm., 48 by 12in.
  • Provenance: Commissioned by Noel Campbell for Morelli's icecream parlour on the Promenade, Portstewart, Co. Derry, circa early 1970s.
  • Literature: Dickon Hall, Colin Middleton: A Study, Joga Press, 2001, illustrated page 81
  • Mural VI measures 36 by 15 inches.

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SEVEN CREATURES, 1970
SEVEN CREATURES, 1970
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 30 April 2007 / 31

Published Estimate: €25000-35000

Price Realised: €25000

  • Signature: signed lower right; inscribed, dated and signed again on reverse
  • Medium: oil on board
  • Dimensions: 122 by 122cm., 48 by 48in.
  • Provenance: Christie's, London, 20 May 1999, lot 71; Whyte's, Dublin, 17 February 2004, lot 92; Whence purchased by the present owner
  • Literature: A Buyer's Guide to Irish Art, Ashville Media, Dublin, 1999, illustrated on front cover
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ANCESTRAL HOMEAGE 3 and ANCESTRAL HOMAGE 4, 1968 (A PAIR)
ANCESTRAL HOMEAGE 3 and ANCESTRAL HOMAGE 4, 1968 (A PAIR)
Robert Emmett Costelloe (1943-1974)

Auction Date / Lot No.: 30 April 2007 / 32

Published Estimate: €1500-2000

Price Realised: €1500

  • Signature: each signed and dated lower right; typed exhibition labels on reverse
  • Medium: gouache and pencil on tinted paper
  • Dimensions: 52 by 37cm., 20.5 by 14.7 5in.
  • Provenance: Hendriks Gallery, Dublin; Whence purchased by Erik Adriaan van der Grijn
  • Exhibited: 'Robert E. Costello' (first one-man show), Hendriks Gallery, Dublin, June - July 1968, catalogue nos. 36 and 38
  • The second work measures 17 by 14.5 inches. In the original frames of the Hendriks Gallery, Dublin. Robert Costelloe was a Dublin-born painter, sculptor and art teacher. After studying at the National College of Art he moved to London, then Rome, again to study art, with a special interest in ceramics. Upon returning to Dublin one of his first commissions was for a poured concrete sculpture for Lansdowne House. Dublin Airport commissioned a similar piece, which was dismantled some years ago but recently discovered and reassembled inside the terminal building. In 1968 he won the Carrolls Prize for painting and in the same year began exhibiting with the Hendriks Gallery. Costelloe moved to North America in 1970, teaching at the North Carolina School of the Arts, and receiving numerous corporate commissions for his large-scale sculptures. He returned to Ireland in 1973 to teach at the Regional Technical College, Letterkenny, only to be killed the following year in a road accident. His brother Paul is the distinguished fashion designer.

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CENTRIPETAL PROJECT, 1969
CENTRIPETAL PROJECT, 1969
Evin Nolan (b.1930)

Auction Date / Lot No.: 30 April 2007 / 33

Published Estimate: €2000-3000

Price Realised: 

  • Signature: signed and dated lower right; remains of label on reverse
  • Medium: oil on canvas
  • Dimensions: 127 by 86cm., 50 by 34in.
  • Exhibited: Possibly exhibited as Centripetal Project 2 at the IELA, Dublin, 1969, catalogue no. 54 (£70-0-0)
  • Sculptor and painter Evin Nolan was born in Kildare and won the Taylor Art Prize in 1954. He first exhibited the following year at the IELA and shortly after began showing with the RHA and the Project Arts Centre, of which he was a founding member. His first solo show was held in the Dublin Painters Gallery in 1963. More recently he held a retrospective of work dating from 1984-1999 at the RHA Gallagher Gallery. He is represented in the collections of the Arts Council of Ireland / An Chomhairle Ealaíon, IMMA, UCD and Bank of Ireland among others.

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WALL, MAYO, 1977
WALL, MAYO, 1977
Erik Adriaan van der Grijn (b.1941)

Auction Date / Lot No.: 30 April 2007 / 34

Published Estimate: €1500-2000

Price Realised: €2000

  • Signature: signed lower right; dated lower left; exhibition label on reverse
  • Medium: acrylic on board
  • Dimensions: 35 by 35cm., 13.7 5 by 13.7in.
  • Provenance: Hendriks Gallery, Dublin; Whence purchased by the present owner in January 1979
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PREGNANT WOMAN WITH MAN, 1977
PREGNANT WOMAN WITH MAN, 1977
Rowan Gillespie (b.1953)

Auction Date / Lot No.: 30 April 2007 / 35

Published Estimate: €5000-7000

Price Realised: €6400

  • Signature: signed, numbered and dated at base
  • Medium: cast alloy on a marble base (no. 6 from an edition of 6)
  • Dimensions: 36 cm., 14 in. high
  • Provenance: Purchased by Joe Kelly, the original owner of this work, was the first Grand Prix Formula One Racing driver to represent the Republic of Ireland.
  • Exhibited: 'Rowan and Hanne Gillespie: Exhibition of Sculpture and Tapestries', Lad Lane Gallery, Dublin, 5-23 Decemeber 1977, catalogue no. 8
  • Born in Dublin in 1953, Gillespie spent his childhood in Cyprus and England. In 1969 he began his art training at the York School of Art where he was first introduced to bronze casting. He has remained loyal to this process throughout his career, casting his bronzes himself using the old block moulding method of lost wax casting. He later studied at the Kingston College of Art, London, and then completed his studies at the Statens Kunstole in Oslo. He exhibited widely in Norway from 1975 while working as a lecturer at the Munch Museum. Indeed Gillespie’s sculpture often echoes the work of Munch in both concept and style. He had his first one man show in Ireland in 1976 at the Lad Lane Gallery and set up his own foundry in 1977. Since then he has had numerous solo shows in Dublin, New York, Holland and London and has received many major public commissions including his bronze series of figures titled Famine on Customs House Quay. In 1996 he made the decision to stop working on exhibition pieces and to focus solely on site specific commissions which has made his smaller sculptures such as this and the following two lots scarce. His smaller works are often inspired by events in his own life and this work was completed at a time when Gillespie himself had a young family. Joe Kelly, the original owner of this work, was the first Grand Prix Formula One racing driver to represent the Republic of Ireland.

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AMBITION II, 1976
AMBITION II, 1976
Rowan Gillespie (b.1953)

Auction Date / Lot No.: 30 April 2007 / 36

Published Estimate: €8000-10000

Price Realised: €8500

  • Signature: signed, numbered and dated at base
  • Medium: cast alloy on a granite base (no. 2 from an edition of 6)
  • Dimensions: 76 cm., 30 in. high
  • Provenance: Purchased by Joe Kelly, the original owner of this work, was the first Grand Prix Formula One Racing driver to represent the Republic of Ireland.
  • Exhibited: 'Rowan and Hanne Gillespie: Exhibition of Sculpture and Tapestries', Lad Lane Gallery, Dublin, 5-23 Decemeber 1977, catalogue no. 7
  • Literature: Patrick Glendon, 'Sculpture, tapestries in Lad Lane', The Independent, 21 December 1977
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JOY OF LIVING, 1977
JOY OF LIVING, 1977
Rowan Gillespie (b.1953)

Auction Date / Lot No.: 30 April 2007 / 37

Published Estimate: €12000-15000

Price Realised: €11500

  • Signature: signed, numbered and dated at base
  • Medium: cast alloy on a granite base (no. 1 from an edition of 6)
  • Dimensions: 90 cm., 35.2 5 in. high
  • Provenance: Purchased by Joe Kelly, the original owner of this work, was the first Grand Prix Formula One Racing driver to represent the Republic of Ireland.
  • Exhibited: 'Rowan and Hanne Gillespie: Exhibition of Sculpture and Tapestries', Lad Lane Gallery, Dublin, 5-23 December 1977, catalogue no. 4
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DEIRDRE
DEIRDRE
John Behan RHA (b.1932)

Auction Date / Lot No.: 30 April 2007 / 38

Published Estimate: €3500-4500

Price Realised: €3500

  • Medium: welded bronze and steel on a marble plinth
  • Dimensions: 38 cm., 15 in. high
  • Provenance: Gordon Gallery, Derry; Whence purchased by the present owner
  • Exhibited: Behan Solo Exhibition, Gordon Gallery, Derry, year unknown
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CUCHULAINN
CUCHULAINN
John Behan RHA (b.1932)

Auction Date / Lot No.: 30 April 2007 / 39

Published Estimate: €5000-7000

Price Realised: 


STANDING NUDE
STANDING NUDE
Edward Delaney RHA (b.1930)

Auction Date / Lot No.: 30 April 2007 / 40

Published Estimate: €6000-8000

Price Realised: €9500

  • Medium: bronze (unique)
  • Dimensions: 57 cm., 22.5 in. high
  • Provenance: Purchased by the father of the present owner at one of the artist's earliest exhibitions held at a gallery on Baggot Street.
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BLASTED BALLYORNEY, 1962
BLASTED BALLYORNEY, 1962
Camille Souter (b.1929)

Auction Date / Lot No.: 30 April 2007 / 41

Published Estimate: €10000-15000

Price Realised: €28000

  • Signature: signed and dated upper left
  • Medium: oil on Kraft paper
  • Dimensions: 43 by 36cm., 16.7 5 by 14in.
  • Provenance: Collection of Sir Basil Goulding, Bt; Sold by the Goulding Estate through the Taylor Galleries, 1982; Whence purchased by the present owner
  • Exhibited: ’Two Painters from the Collection of Sir Basil Goulding’, joint exhibition with Barrie Cooke, Ulster Museum, Belfast, 28 January – 27 February 1965, catalogue no. 33; ’2 Deeply: One Hundred Paintings by Barrie Cooke and Camille Souter’, The Carroll Building, Grand Parade, Dublin, August 1971, in aid of the Central Remedial Clinic, catalogue no. 23; ’Camille Souter: An exhibition of paintings from the collection of Sir Basil Goulding, Bt., and a selection of Still Life paintings from other collections’, YMCA Hall, North Main Street, Wexford, organised by the Friends of the Wexford Festival in conjunction with the Arts Council / An Chomhairle Ealaíon, 28 October – 5 November 1972, catalogue no. 21; ’From the Collection of Sir Basil Goulding Bart.’, Taylor Galleries, Dublin, 2-18 December 1982, catalogue no. 69
  • Literature: Garrett Cormican, Camille Souter: The Mirror in The Sea, Whyte’s, Dublin, 2006, catalogue no. 143, page 62, listed page 243, illustrated page 63
  • In the original frame of the Dawson Gallery, Dublin. Developing a career while raising a family is never easy. Constantly on the move between London, Dublin, Achill and the continent, Camille Souter’s early years as a painter were a chaotic struggle for survival. In 1960 Frank Morris returned from London and things began to settle down a little. Within months, he and Souter had married. A year later, they moved to the gate lodge at the back of Charleville House, Enniskerry, County Wicklow. It was at the gate lodge that Souter first met Sir Basil Goulding, one of the country’s leading industrialists and one of the most acquisitive collectors of modern twentieth century Irish art of all time. As his son Tim would later recall paintings “trickled into the house in the manner of stray pets until every wall and corner was filled”. Goulding arrived with the American painter Morris Graves and bought quite a few works. Within 20 years of that first meeting he had amassed some sixty paintings by Souter. This particular work once formed part of his collection. Its content is also indirectly connected with Goulding. When he first met Souter, he offered her the use of a small farmhouse at the top of the Ballyorney Road to use as a studio. Every day she would take her three children on her bicycle to school. After dropping them off, she would make the arduous journey back up to the top of the Ballyorney Road to work. Later in the day she would pick them up. Often these trips were made on foot and several children would tag along with her own. With the constant travelling up and down the hill, the farmhouse came to be known as “the little Hell studio”, the road to and from it became “the Blasted Ballyorney”. Her deep irritation and discomfort with her working arrangements not only manifests itself in the title of the painting. The central motif almost seems to buckle, bend and strain in twisted knot of green paint. It has been applied quite thickly by Souter’s standards and one senses almost in anger. It is though, a more beautiful painting than one would ever realise from reproduction. The yellow textured background forms a satisfying complimentary colour to the principal motif. Small droplets of pink give an added shimmering vibrancy. Garrett Cormican © April 2007

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COMPOTIER AND BENTWOOD CHAIR, 1979
COMPOTIER AND BENTWOOD CHAIR, 1979
Nevill Johnson RHA (1911-1999)

Auction Date / Lot No.: 30 April 2007 / 42

Published Estimate: €6000-8000

Price Realised: €5800

  • Signature: signed and dated lower centre; inscribed and signed again on reverse
  • Medium: acrylic on canvas
  • Dimensions: 51 by 41cm., 20 by 16in.
  • Provenance: Tom Caldwell Gallery, Belfast; Private collection
  • No. 1379 in the artist's archive

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SEATED FIGURE, 1977
SEATED FIGURE, 1977
Nevill Johnson RHA (1911-1999)

Auction Date / Lot No.: 30 April 2007 / 43

Published Estimate: €2500-3500

Price Realised: €4200


FIGURES IN A ROOM, 1978
FIGURES IN A ROOM, 1978
Nevill Johnson RHA (1911-1999)

Auction Date / Lot No.: 30 April 2007 / 44

Published Estimate: €800-1000

Price Realised: €1000

  • Signature: signed and dated lower left; inscribed and signed again on reverse
  • Medium: pencil, pen and ink and wash on paper
  • Dimensions: 16 by 20cm., 6.25 by 7.75in.
  • Artist's number A.278.

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STILL LIFE NO. 10, 1965
STILL LIFE NO. 10, 1965
Noel Sheridan (1936-2006)

Auction Date / Lot No.: 30 April 2007 / 45

Published Estimate: €600-800

Price Realised: €700

  • Signature: signed and dated lower right; label inscribed with title and price (30 gns) on reverse
  • Medium: oil and graphite on board
  • Dimensions: 51 by 50cm., 20 by 19.5in.
  • In the original frame of the Dawson Gallery, Dublin

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CHAIR, 1967
CHAIR, 1967
Noel Sheridan (1936-2006)

Auction Date / Lot No.: 30 April 2007 / 46

Published Estimate: €3000-4000

Price Realised: 

  • Medium: oil on canvas
  • Dimensions: 51 by 51cm., 20 by 20in.
  • Chair belongs to a series that Sheridan painted in New York in the mid-sixties. He later explained: “I found the chairs discarded on 21st Street. They seemed cut from a cube, perfect for the shallow picture plane, except the drawing extension arm which would not fit. This was the problem: where to accommodate it? I was also interested in maintaining the content as ‘chair’ but changing the form of representation” (On Reflection, Four Courts Press, Dublin, 2001, page 25). One of the artist’s last projects, completed at the Stoney Road Press early in 2006, was a series of prints returning to the 1960s chair theme.

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ONION, CABBAGE AND RAMEKIN
ONION, CABBAGE AND RAMEKIN
Edward McGuire RHA (1932-1986)

Auction Date / Lot No.: 30 April 2007 / 47

Published Estimate: €2000-3000

Price Realised: €5000


CHILD'S HEAD - STUDY OF NIALL SCOTT, 1945
CHILD'S HEAD - STUDY OF NIALL SCOTT, 1945
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 30 April 2007 / 48

Published Estimate: €5000-7000

Price Realised: €7500

  • Signature: signed lower left
  • Medium: pencil
  • Dimensions: 7 by 9cm., 2.75 by 3.5in.
  • Provenance: Estate of Mrs Phyllis Millar, Dublin
  • Study for an oil of Niall Scott (b.1940), son of Michael Scott (1905-1989) the distinguished architect, artist and arts patron. and Walker. The oil was amongst the exhibits at the 1945 Living Art Exhibition.

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THINGS INSIDE, 1957
THINGS INSIDE, 1957
Camille Souter (b.1929)

Auction Date / Lot No.: 30 April 2007 / 49

Published Estimate: €20000-30000

Price Realised: €22000

  • Signature: signed, inscribed "Dublin" and dated lower right; titled in another hand on reverse
  • Medium: watercolour on Kraft paper
  • Dimensions: 42 by 71cm., 16.5 by 28in.
  • Provenance: Collection of Sir Basil Goulding, Bt; Sold by the Goulding Estate through the Taylor Galleries, 1982; Whence purchased by the present owner
  • Exhibited: Irish Exhibition of Living Art, Dublin, 1957, catalogue no. 79; ’Two Painters from the Collection of Sir Basil Goulding’, joint exhibition with Barrie Cooke, Ulster Museum, Belfast, 28 January – 27 February 1965, catalogue no. 9; ’2 Deeply: One Hundred Paintings by Barrie Cooke and Camille Souter’, The Carroll Building, Grand Parade, Dublin, August 1971, in aid of the Central Remedial Clinic, catalogue no. 6; ’Camille Souter: An exhibition of paintings from the collection of Sir Basil Goulding, Bt., and a selection of Still Life paintings from other collections’, YMCA Hall, North Main Street, Wexford, organised by the Friends of the Wexford Festival in conjunction with the Arts Council / An Chomhairle Ealaíon, 28 October – 5 November 1972, catalogue no. 4; ’Camille Souter’, Douglas Hyde Gallery, Trinity College Dublin, 8 June – 9 July 1980, catalogue no. 4 (reproduced page 11 of the catalogue); ’From the Collection of Sir Basil Goulding Bart.’, Taylor Galleries, Dublin, 2-18 December 1982, catalogue no. 80
  • Literature: Garrett Cormican, Camille Souter: The Mirror in The Sea, Whyte's, Dublin, 2006, catalogue no. 60, listed page 230, illustrated page 232
  • By 1957 Camille Souter was pregnant and expecting the birth of her third child in three years. It was an incredibly busy period in her life. Her first solo exhibition opened at El Habano Restaurant at 43 Grafton Street in December 1956 and everything sold. Within a matter of months, a number of her paintings including this one were accepted to the Irish Exhibition of Living Art. One of them was selected as an illustration in the catalogue. Though a newcomer to the Irish art scene, the critics were impressed with what they saw as “the most precise statements … remarkably skilful and creative”. Camille Souter’s early paintings drew their influences from a variety of artists, most notably perhaps Paul Klee. Souter admired his economy of means, the way he would use just a few summary, calligraphic elements over a lightly textured background. The dot, the line, arrows and the written word would be used in an improvisational manner, almost like a Jazz musician improvising within the confines of a particular scale, to produce works of great precision and freshness. By extension of the analogy, Things Inside operates within a key comprised of patches of red, blue/violet, ochre and brown which are repeated in almost syncopated rhythm across the picture plane. These patches of colour in turn are demarcated by a grid-like pattern of broadly vertical lines and oval shapes. Space is indeterminate, shifting forward and backward in equal measure. The oval elements never allow the eye to settle in one place forcing the viewer to look, literally, around the picture. It is worth noting that this painting has on occasion been exhibited under the title Figures in Embryo, for that is essentially what we are looking at. It is directly related to Souter’s pregnancy at the time. While there is a large oval line around the perimeter which may be suggestive of a womb, one should not look for anything too definite; a foetus, a head, a leg or a hand etc. The appropriately inchoate, anthropomorphic forms we find here evoke emergent life, rather than a fully developed human being. They do not attempt to illustrate Souter’s pregnancy in a mimetic way, to show you what a pregnant woman or a foetus looks like, so much as recreate the feeling of being pregnant. Garrett Cormican © April 2007

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A FAMILY, 1951
A FAMILY, 1951
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 30 April 2007 / 50

Published Estimate: €500000-700000

Price Realised: €680000

  • Signature: signed and dated lower left; exhibition label on reverse
  • Medium: oil on canvas board
  • Dimensions: 30 by 40cm., 11.7 5 by 15.7 5i
  • Provenance: Christie’s, London, 15 March 1985, lot 93 (illustrated): Pyms Gallery, London, 1985; Whence purchased by the present owner
  • Exhibited: ’Celtic Splendour: An Exhibition of Irish Paintings and Drawings 1850-1950’, Pyms Gallery, London, 24 April - 25 May 1985, catalogue no. 47 (illustrated)
  • Literature: Kenneth McConkey, A Free Spirit: Irish Art 1860-1960, Antique Collectors Club, 1990, p. 84, fig. 65
  • This painting, variously titled A Family and their Cat 1 and A Family 2 (1951), is one of the series by le Brocquy that includes the well-known version in the National Gallery of Ireland collection, also entitled A Family and painted earlier in the same year (fig. 1). The NGI painting has been the subject of several articles that draw attention to its iconic status in the Irish context, related principally to its challenging subject matter, but also to its contribution to Modernism.3 Carried out in the aftermath of World War II, it was intended to reflect the threatening and unstable environment, indicated in the painting by the austere surroundings, and revealed in the agonised expression of the woman and defeated posture of the man. The artist had this to say about the work: A Family was conceived in 1950 … in the face of atomic threat, social upheaval and refugees of World War II and its aftermath … Fifty years ago it was painted while contemplating a human condition stripped back to Paleolithic circumstance under the electric light bulbs.4 During the early 1950s when this series was carried out, le Brocquy was living in London, visiting Ireland only periodically. However, the subject of this suite of images has been analysed largely in terms of its significance in the Irish context, tackling a taboo subject in confronting the complexities of family relationships. The Family series was remarkable in its time in various respects. On one hand it dealt with physical intimacy in an era when even the representation of the nude was rare in Irish art. On the other, it suggests marital conflict articulated both through the postures and the space that separate the couple. It has been noted that the painting coincided with the proposal to introduce the Mother and Child Service, a scheme designed to provide healthcare to expectant mothers and to young children regardless of income. Proposed by Noel Browne, the Minister for Health of the time, the scheme was opposed both by the Catholic Archbishop of Dublin and sectors of the medical profession, and the political crisis that ensued ultimately brought down the coalition government. While the artist was living in London at the time, he was aware of the controversy raging at home. As he explains, he had known Browne since his days in Trinity College Dublin as a medical student, and it was an issue that deeply concerned the artist’s mother, Sybil le Brocquy.5 The impact of the aftermath of the War, in particular the atomic threat, was a concern of the artist that emerged also in the Travellers series of the late 1940s, and le Brocquy was both vociferous and active in his opposition. The potential to devastate not only humanity, but also even their cultural traces, concerned him deeply, and is reflected in the naked vulnerability of the figures, the bunker-like environment, and the monochromatic tonality. The NGI painting was one of several shown in an independent exhibition of le Brocquy’s work at the Gimpel Fils Gallery in 1951. The critical response was largely favourable being praised by John Berger and by Eric Newton, and discussed on BBC radio. It was shown later in Victor Waddington’s gallery in Dublin, where opinions were more sharply divided, some critics finding it difficult to come to terms with what was termed ‘distortion’ and overlooking perhaps the appropriate relationship between form and content. In spite of such reservations, Waddington suggested to the Friends of the National Collections in Ireland (FNCI) that they should purchase the painting for the Municipal Gallery of Modern Art (now known as the Dublin City Gallery the Hugh Lane).6 However, the Gallery refused the gift. It was subsequently selected to represent Ireland at the Venice Biennale in 1956 where it was awarded the Premio Aquisitato prize. In 1958, it was selected for the show 50 Ans d’Art Moderne, Brussels, placing it in an international context. While the NGI painting is the largest and best known of the works in this series, the related works, including the present version, are significant in developing the theme beyond a single frame. This painting similarly pays homage to the artists and iconic images that hold a special interest for le Brocquy. Stylistically, the work has been most closely related to Picasso, and described as ‘faux-Cubism’. However, the artist also acknowledges the role of Cézanne “the Cimabue of the New Age” and describes his own formal expression as an “absorbed” version.7 The reclining nude in this series refers to Edouard Manet’s iconic Olympia (1863) a work that caused controversy and drew critical comment in its own time (fig. 2). Le Brocquy’s comments on the relationship between Manet’s painting and the NGI painting are relevant to this smaller work: The elements in its composition correspond in some ways to those of Olympia, if not to Manet’s cool sensuality. The female figure in A Family may be seen to take on a very different significance. The man, replacing Manet’s black servant with bouquet, sits alone. The bouquet is reduced to a mere wisp held by a child. The Olympian black cat in turn becomes white, ominously emerging from the sheets.8 An exhibition of recent work by le Brocquy at the Dublin City Gallery the Hugh Lane, entitled Louis le Brocquy and his Masters: Early Heroes Later Homage, included new explorations of the Olympia image acknowledged in A Family. Like Manet’s prototype, several of the Family paintings include a cat. However, the present work, like Manet’s, displays a feral black cat demonstrating the remnants, or the intrusion, of the wild in the domestic, “rather an ominous and fierce cat – not a particularly tame, family cat.”9 The woman/mother in this painting is markedly different also from the NGI image – her expression is composed, her face surrounded by a cloud of dark hair. She is clearly reminiscent of Goya’s portrait of Doña Antonia Zárate (c.1805, fig. 3), in the collection of the National Gallery of Ireland, an image that le Brocquy is know to admire, and to have adopted as the basis of certain works, such as the recent Looking at Goya. Doña Antonia Zárate (2005), included in the Homage show (fig. 4). To the left two childlike figures are a new element, though their expression seems somewhat anxious; they gravitate towards the mother as though for protection and she is evidently a pivotal figure in the scene. To the right, the child with the flowers turns out instead of into the painting. The image clearly relates to the NGI work, in the “persistent interest” to use the artist’s words, in the compositional and thematic possibilities of the reclining nude. This work similarly reflects his fascination with this type as he has mentioned: I have always been fascinated by the horizontal monumentality of traditional Odalisque painting, the reclining woman depicted voluptuously by one Master after another throughout the history of European art – Titian’s Venus of Urbino, Velasquez’ Roqueby Venus turning her back on the Spanish Court, Goya’s Maja clothed and unclothed, Ingres’ Reclining Odalisque in her seraglio and finally the great Olympia of Edouard Manet celebrating his favourite model, Victorine Meurent.10 Like the NGI version, this painting plays a contributing role in a substantial, even revolutionary, reworking of the theme. This painting demonstrates a degree of independence also, in its evocation of a somewhat more optimistic mood, presenting in this variant work, “a further essay on the matter”.11 Yvonne Scott, Irish Art Research Centre (TRIARC), Trinity College Dublin 1 It was listed under this title in Christie’s sale catalogue, 15 March 1985, lot 93 (illustrated), and subsequently exhibited under this title in the exhibition Celtic Splendour, Pyms Gallery, 24 April – 25 May 1985, catalogue no. 47 (illustrated). 2 Pierre le Brocquy has advised Whyte’s that according to Louis le Brocquy the correct title of this work is A Family. 3 Medb Ruane, ‘Le Brocquy’s The Family’, Irish Arts Review, Summer 2002, pp. 22-23; Síghle Bhreathnach-Lynch ‘Louis le Brocquy’s A Family: ‘An Unwholesome and Satanic Distortion of Natural Beauty’’, Recirca.com, September 2002; Róisín Kennedy, ‘Made in England: The Critical Reception of Louis le Brocquy’s A Family’, Third Text, Ireland Special Issue edited by Lucy Cotter, Volume 19, no. 5, September 2005, pp. 475-486. 4 Síghle Bhreathnach-Lynch, op.cit. 5 Louis le Brocquy, in discussion with the author, 27th March 2007. 6 Minutes of Council Meeting, 25 January 1952. FNCI/03/03. Box 16, National Irish Visual Art Library archives. 7 Le Brocquy to the author, op.cit. 8 Síghle Bhreathnach-Lynch, op.cit. 9 Le Brocquy to the author, op.cit. 10 Síghle Bhreathnach-Lynch, op.cit. 11 Le Brocquy to the author, op.cit.

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