18 May 2009

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On The Banks of The Canal, Celbridge, 1999
On The Banks of The Canal, Celbridge, 1999
Liam Treacy (1934-2004)

Auction Date / Lot No.: 18 May 2009 / 1

Published Estimate: €1000-1500

Price Realised: €900


Annalong, County Down
Annalong, County Down
Liam Treacy (1934-2004)

Auction Date / Lot No.: 18 May 2009 / 2

Published Estimate: €1500-2000

Price Realised: €1200


BALLYDONNELL VALLEY, COUNTY WICKLOW
BALLYDONNELL VALLEY, COUNTY WICKLOW
Fergus O'Ryan RHA (1911-1989)

Auction Date / Lot No.: 18 May 2009 / 3

Published Estimate: €1000-1500

Price Realised: €1300


HIGH TIDE, ROSCOFF, FRANCE
HIGH TIDE, ROSCOFF, FRANCE
Arthur K. Maderson (b.1942)

Auction Date / Lot No.: 18 May 2009 / 4

Published Estimate: €3000-4000

Price Realised: €6800

  • Signature: signed lower left; signed and inscribed on reverse
  • Medium: oil on board
  • Dimensions: 107 by 77cm., 42 by 30.2 5in.
  • Provenance: De Vere's, Dublin, October 2005, lot 19; Private collection
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FISH QUAY, HOWTH, circa 1960-70
FISH QUAY, HOWTH, circa 1960-70
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 18 May 2009 / 5

Published Estimate: €2000-3000

Price Realised: €2300


STILL LIFE WITH COFFEE AND EGGS
STILL LIFE WITH COFFEE AND EGGS
Stuart Morle (b.1960)

Auction Date / Lot No.: 18 May 2009 / 6

Published Estimate: €1000-1500

Price Realised: €1600

  • Signature: signed lower right; with artist's label on reverse
  • Medium: oil on canvas board
  • Dimensions: 18 by 22cm., 7 by 8.5in.
  • Stuart Morle was born near Liverpool and studied Fine Art at the Central School of Art & Design in London from 1979-82. On completing his degree course, and having won an Italian Government Scholarship, Morle went to live in Siena, Italy. There he established himself as a portrait painter working for both British and Italian clients. In 1996 he was commissioned to portray Anne, the Princess Royal. In early 2000 he moved to Ireland and is presently living and working in Dublin. Morle’s approach to painting is based on a reinterpretation of traditional forms applied to contemporary life, in which he uses both traditional and modern methods to arrive at the final image. For Morle, modernism and abstraction have avoided the challenges of illustrating the realism of contemporary life. Since 2005 Stuart Morle has been spending some time each year painting in Italy. See also lots 7, 197 and 200. For further information: www.stuartmorle.com

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SPRING FLOWERS
SPRING FLOWERS
Stuart Morle (b.1960)

Auction Date / Lot No.: 18 May 2009 / 7

Published Estimate: €1000-1500

Price Realised: €850


THREE MUSHROOMS, 2001
THREE MUSHROOMS, 2001
Comhghall Casey (b.1976)

Auction Date / Lot No.: 18 May 2009 / 8

Published Estimate: €1500-2000

Price Realised: €1700

  • Signature: signed and dated lower right; inscribed on reverse
  • Medium: oil on linen
  • Dimensions: 28 by 51cm., 11 by 20in.
  • Exhibited: 'Comhghall Casey: Recent Paintings', Gorry Gallery, Dublin, 19-27 September 2002, catalogue no. 25 (illustrated p.14 of the catalogue)
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A VIEW TO THE GARDEN, 1998
A VIEW TO THE GARDEN, 1998
Mark O'Neill (b.1963)

Auction Date / Lot No.: 18 May 2009 / 9

Published Estimate: €4000-5000

Price Realised: €4000


SORRENTO STEPS, DALKEY
SORRENTO STEPS, DALKEY
Gerard Byrne (b.1958)

Auction Date / Lot No.: 18 May 2009 / 10

Published Estimate: €3000-5000

Price Realised: €4200

  • Signature: signed lower centre
  • Medium: oil on canvas
  • Dimensions: 100 by 50cm., 39.2 5 by 19.5in.
  • Exhibited: 'Gerard Byrne', Gallery 4, Sandymount, 24 May-9 June 2007, catalogue no. 7 (illustrated on back cover of catalogue)
  • A view of steps up to houses on Vico Road, Dalkey. This area of Dalkey, a location consistently revisited by Byrne, bears Italiante road names including Sorrento, Nerano and Vico from where the views are compared to the Bay of Naples.

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SUMMER GARDEN, ARDGILLAN CASTLE
SUMMER GARDEN, ARDGILLAN CASTLE
Paul Kelly (b.1968)

Auction Date / Lot No.: 18 May 2009 / 11

Published Estimate: €1000-1500

Price Realised: €2200

  • Signature: signed lower left; with original Gorry Gallery exhibition label on reverse
  • Medium: watercolour
  • Dimensions: 23 by 34cm., 9.25 by 13.2 5in.
  • Provenance: Gorry Gallery, Dublin; Private collection
  • Exhibited: 'Paul Kelly Recent Paintings', Gorry Gallery, Dublin, 25 March - 9 April, 1999, exhibition no. 49
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WALKING TO MASS, SKERRIES, 2005
WALKING TO MASS, SKERRIES, 2005
Paul Kelly (b.1968)

Auction Date / Lot No.: 18 May 2009 / 12

Published Estimate: €1500-2000

Price Realised: €2200

  • Signature: signed lower left; signed, titled and dated on reverse
  • Medium: oil on board
  • Dimensions: 19 by 24cm., 7.5 by 9.5in.
  • Provenance: Killarney Art Gallery, County Kerry; Private collection
  • Exhibited: 'Brohan, O'Neill, Kelly & Lawlor', Killarney Art Gallery, September 2005
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SUNNY DAY, 2005
SUNNY DAY, 2005
Paul Kelly (b.1968)

Auction Date / Lot No.: 18 May 2009 / 13

Published Estimate: €1000-1500

Price Realised: €1700

  • Signature: signed with initials lower left; signed, titled and dated on reverse
  • Medium: oil on board
  • Dimensions: 15 by 19cm., 5.75 by 7.5in.
  • Provenance: Killarney Art Gallery, County Kerry; Private collection
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The Red Cart, Hartford's Yard, Rush, County Dublin
The Red Cart, Hartford's Yard, Rush, County Dublin
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 18 May 2009 / 14

Published Estimate: €3000-4000

Price Realised: €3600

  • Signature: signed lower left; inscribed with title and artist's name on reverse
  • Medium: oil on board
  • Dimensions: 60 by 74cm., 23.5 by 29in.
  • The Hartford's were relations of Patrick Leonard. Their farmyard was located in Rush, County Dublin. With thanks to the artist's family for their assistance in cataloguing this work.

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LATE EVENING, CONNEMARA
LATE EVENING, CONNEMARA
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 18 May 2009 / 15

Published Estimate: €1500-2000

Price Realised: €2000

  • Signature: signed lower left; with original inscribed William Rodman & Co. Belfast label on reverse
  • Medium: watercolour
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Provenance: William Rodman & Co. Belfast; Private Collection
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PORT, COUNTY DONEGAL, 1986
PORT, COUNTY DONEGAL, 1986
Terence P. Flanagan RHA PPRUA (b.1929)

Auction Date / Lot No.: 18 May 2009 / 16

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed and dated lower right; original typed Hendriks Gallery exhibition label on reverse
  • Medium: watercolour
  • Dimensions: 46 by 37cm., 18.2 5 by 14.7 5in.
  • Provenance: Hendriks Gallery 1987, Dublin; Private collection
  • Exhibited: 'T.P. Flanagan', Hendriks Gallery, Dublin, 4 June - 10 November, 1987
  • In the catalogue introduction to this exhibition, Dorothy Walker, Dublin, 24 May 1986, makes reference to a quote by poet Seamus Heaney from the Irish Imagination, 1971. In this text Heaney describes T.P. Flanagan’s work as follows, “…Flanagan’s pictures insinuate themselves into the memory like watermarks... what invites the eye back again and again is the fetch of water and air, their mutual flirtation, their eternal triangle with moody light….” Flanagan was first invited to exhibit at the Ritchie Hendriks Gallery in 1962. This was followed by his first one-man show in 1964. From 1964 to 1987 he exhibited in one-man shows biannually at the Hendriks Gallery. This exhibition, from June to November 1987, represented 25 years of fruitful relations between artist and dealer.

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Barnett's Park, Shaw's Bridge, Belfast
Barnett's Park, Shaw's Bridge, Belfast
Tom Carr HRHA HRUA ARWS (1909-1999)

Auction Date / Lot No.: 18 May 2009 / 17

Published Estimate: €3000-4000

Price Realised: 


A CHESTNUT COB
A CHESTNUT COB
Basil Blackshaw HRHA RUA (b.1932)

Auction Date / Lot No.: 18 May 2009 / 18

Published Estimate: €12000-15000

Price Realised: €11500


UNTITLED, 1981
UNTITLED, 1981
John Kingerlee (b.1936)

Auction Date / Lot No.: 18 May 2009 / 19

Published Estimate: €800-1000

Price Realised: €1000

  • Signature: signed in monogram as integral part of the work, upper left; dated 5 June 1981 lower right; inscribed on reverse
  • Medium: oil pastel and gouache with pencil over paper
  • Dimensions: 25 by 34cm., 10 by 13.5in.
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BIRDS IN THE DISTANCE, 1985
BIRDS IN THE DISTANCE, 1985
John Kingerlee (b.1936)

Auction Date / Lot No.: 18 May 2009 / 20

Published Estimate: €400-600

Price Realised: €800


TABLE WITH WINE, SOLITARY FIGURE BY TREE
TABLE WITH WINE, SOLITARY FIGURE BY TREE
Tom Carr HRHA HRUA ARWS (1909-1999)

Auction Date / Lot No.: 18 May 2009 / 21

Published Estimate: €1500-2000

Price Realised: 


ANOTHER PLACE, 2004 (WITH A SECOND WORK ON REVERSE)
ANOTHER PLACE, 2004 (WITH A SECOND WORK ON REVERSE)
Basil Blackshaw HRHA RUA (b.1932)

Auction Date / Lot No.: 18 May 2009 / 22

Published Estimate: €8000-10000

Price Realised: 

  • Signature: both sides signed lower right
  • Medium: oil on paper; contained within a double-sided glass frame
  • Dimensions: 29 by 20cm., 11.2 5 by 8in.
  • Literature: 'Mourne: words by Paul Yates, images by Basil Blackshaw, Tom Caldwell Gallery, Belfast, 2005, p. 192, illustrated p.191
  • With this work is a copy of Mourne, limited edition of 395 copies, of which this is no. 104. Fine publication of Yates’ poems, illustrated by Blackshaw, and with an original signed lithograph (no. 104 from an edition of 400) by Blackshaw. Published by the Caldwell Gallery, Belfast in 2005, this is an interesting collaborative effort from two of the Caldwell Gallery’s regular exhibitors. Yates is a Northern Irish documentary-maker, painter and poet. The poems here were the inspiration for a series of oil sketches by Basil Blackshaw, reproduced alongside the text. With an introduction by Jack Pakenham. Original cloth, blind-stamped at spine and on upper board, with matching slipcase, signed and numbered by Yates. Also with this lot is the paperback edition of Mourne signed on overleaf of title page by both Yates and Blackshaw. Also see Paul Yates, lot 23.

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HOUSE MADE OF STRAW, 1972
HOUSE MADE OF STRAW, 1972
Paul Yates (b.1954)

Auction Date / Lot No.: 18 May 2009 / 23

Published Estimate: €1500-1800

Price Realised: 

  • Signature: signed in monogram and dated lower right; signed, titled and dated on reverse
  • Medium: oil on canvas board
  • Dimensions: 35 by 40cm., 13.7 5 by 15.7 5in.
  • Exhibited: Tom Caldwell Gallery, Belfast, 1972
  • Artist, poet, film-maker and sculptor, Paul Yates was born in Belfast and began writing and painting at an early age encouraged by his high school teacher, the artist Jack Pakenham. His first solo exhibition, curated by Patricia Riddell, took place at the Tom Caldwell Gallery in 1972 when he was just eighteen years of age. His first solo exhibition in London was held at the ICA in 1976. His first collection of poems and drawings, ‘A White Cat With A Human Face’, was published in 1974, sponsored by John Hewitt and Gladys Maccabe among others. Several collections have been published since, with translations in French, Spanish, Danish and Russian. Yates’ most recent show at the Tom Caldwell Gallery, ‘Paul Yates A - Z’, formed part of the Belfast Festival at Queens University, 2008. This exhibition attracted wide acclaim and drew record attendances. Also in 2008, the Caldwell Gallery published Mourne, poems by Paul Yates with images by Basil Blackshaw, one of a number of successful collaborations between Yates and Blackshaw. A limited edition of this work also features in this sale, see lot 22.

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LITTLE BOAT ON A SHED I
LITTLE BOAT ON A SHED I
Veronica Bolay RHA (b.1941)

Auction Date / Lot No.: 18 May 2009 / 24

Published Estimate: €600-800

Price Realised: 


THE RE-PLANTING, 2007
THE RE-PLANTING, 2007
William Crozier HRHA (b.1930)

Auction Date / Lot No.: 18 May 2009 / 25

Published Estimate: €18000-22000

Price Realised: 

  • Signature: signed lower right; with gallery reference number on reverse
  • Medium: oil on canvas
  • Dimensions: 76 by 86cm., 30 by 34in.
  • Exhibited: William Crozier', Flowers East Gallery, London, 19 October - 17 November, 2007, catalogue no. 15
  • The subject of this work is William Crozier's garden and is considered by the artist to be a very strong example from his current style. With thanks to Ms. Katharine Crouan for her assistance in cataloguing this work.

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NOCTURNE, TREVAYLOR, 1965
NOCTURNE, TREVAYLOR, 1965
Tony O'Malley (1913-2003)

Auction Date / Lot No.: 18 May 2009 / 26

Published Estimate: €10000-15000

Price Realised: €10000

  • Signature: signed, inscribed, dated and numbered (no. 2817) on reverse
  • Medium: oil on board
  • Dimensions: 122 by 61cm., 48 by 24in.
  • Provenance: Acquired directly from the artist by the present owner
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POOLS AND SHADOWS, 2006
POOLS AND SHADOWS, 2006
Donald Teskey RHA (b.1956)

Auction Date / Lot No.: 18 May 2009 / 27

Published Estimate: €25000-35000

Price Realised: €27000


BOVINE DEVOTIONAL HARE GROWTH, 1997
BOVINE DEVOTIONAL HARE GROWTH, 1997
Dermot Seymour (b.1956)

Auction Date / Lot No.: 18 May 2009 / 28

Published Estimate: €4000-6000

Price Realised: 

  • Signature: signed and inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 97 by 150cm., 38 by 59in.
  • Exhibited: 'Fair to Mizen, Martin Gale and Dermot Seymour', Warren's Boathouse Gallery, Castletownshend, Co. Cork, 3 - 18 May, 1998, illustrated in catalogue p. 10
  • ‘Fair to Mizen, Martin Gale and Dermot Seymour’ at the Warren’s Boathouse Gallery, Cork brought together the work of two of Ireland’s best known ‘photorealist’ artists. While this is a title that neither artist would fully agree with, the viewer can be forgiven for thinking that their images represent little more than a random snapshot of the world around us. In Seymour’s case, nothing could be farther from the truth and this is aptly expressed in the artful Bovine devotional hare growth. Here Seymour crafts a subtle alliance between two worlds, the natural and the man-made, and suspends the union in a dizzying expanse for us to examine. Seymour’s preoccupation with environmental and political issues can be seen in this work in the circled corner of the canvas, which one might say represents the warped ‘civilising’ influence of Man. These sheathed protests against man’s cruelty to beast bleed into the vast majority of Seymour’s artistic output. His titles, which at first glance seem bizarre, in fact derive from a carefully orchestrated collage of newspaper clippings, history book snippets and, like the bovine and the hare, chance encounters.

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BUENA VISTA, 2007
BUENA VISTA, 2007
Martin Gale RHA (b.1949)

Auction Date / Lot No.: 18 May 2009 / 29

Published Estimate: €7000-9000

Price Realised: €9500

  • Signature: signed lower right; inscribed, dated and signed again on reverse
  • Medium: oil on canvas
  • Dimensions: 91 by 91cm., 36 by 36in.
  • Exhibited: RHA, 2007, catalogue no. 381
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LOVE POTION II, 1999
LOVE POTION II, 1999
Liam Belton RHA (b.1947)

Auction Date / Lot No.: 18 May 2009 / 30

Published Estimate: €8000-10000

Price Realised: €7500


BLUE FACED SCARECROW, 2002
BLUE FACED SCARECROW, 2002
John Shinnors (b.1950)

Auction Date / Lot No.: 18 May 2009 / 31

Published Estimate: €25000-30000

Price Realised: €22000


SALOME, 1982
SALOME, 1982
John Shinnors (b.1950)

Auction Date / Lot No.: 18 May 2009 / 33

Published Estimate: €6000-8000

Price Realised: €7500

  • Signature: signed and dated lower right; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 97 by 77cm., 38.2 5 by 30.2 5in.
  • Exhibited: Possibly exhibited at 'Shinnors, New Paintings at the Belltable', Belltable Arts Centre, 11 - 25 November, 1984
  • Salomé was the Daughter of Herodias and in Christian tradition is depicted as an icon of the hazardous femme fatale who danced so seductively for Herod that she was granted anything she wished. Saint John the Baptist, who publicly reproved of Herod’s unlawful marriage to Herodias, his brother’s wife, fell victim to Salomé when she was advised by her mother to request his head on a silver platter. Reluctantly, Herod fulfilled her desire. The subject of Salomé has been variously interpreted throughout history; Botticelli, Titian and Caravaggio all depicted the gruesome tale. However, a new ramification was added by Oscar Wilde in his play Salomé (1893) when his understanding of events allowed the figure of Salomé devolve into a darker, more sinister, necrophiliac, who was killed the same day as the man whose death she had requested. Shinnors’ dramatic interpretation, which is equally dark, depicts the gruesome scene after the fatal Dance of the Seven Veils, when the head is being ‘served up’. With its chiaroscuro, bold reds and theatrical patterns, this canvas lulls the viewer behind the scenes and into a shady world where the perverse outshines the grey normality of the backdrop. Shinnors moved away from this earlier representational style later in his career, however, an undercurrent of the essence of these dark figurative works can still be felt in his abstract contemporary pieces.

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JESSIE'S HEARTED SCARECROW AND MOON
JESSIE'S HEARTED SCARECROW AND MOON
John Shinnors (b.1950)

Auction Date / Lot No.: 18 May 2009 / 34

Published Estimate: €15000-20000

Price Realised: 

  • Signature: signed on canvas edge lower right; inscribed on reverse; also with original gallery exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 50 by 50cm., 19.5 by 19.5in.
  • Provenance: John Martin Gallery, London; Private collection
  • Exhibited: 'Pat Harris Seán McSweeney John Shinnors', John Martin Gallery, London, 9 - 26 May 2007, illustrated in exhibition catalogue p.2 and again on p.51
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BAHAMAS COLLAGE, 1985
BAHAMAS COLLAGE, 1985
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 18 May 2009 / 35

Published Estimate: €10000-15000

Price Realised: 

  • Signature: signed with initials lower left; dated, February 1985, lower right; inscribed on reverse
  • Medium: gouache and collage on paper laid on board
  • Dimensions: 36 by 55cm., 14 by 21.7 5in.
  • Provenance: Originally purchased in St. Ives, 1988; Whyte's, 29 November 2005, lot 180; Private collection
  • No. 1031 in the artist's oeuvre.

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EIGHT IRISH PORTRAITS IN WORDS AND WATERCOLOUR, 1990
EIGHT IRISH PORTRAITS IN WORDS AND WATERCOLOUR, 1990
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 18 May 2009 / 36

Published Estimate: €2000-3000

Price Realised: €1900

  • Signature: signed and numbered on colophon
  • Medium: offset lithograph prints (no. 133 from an edition of 1,000)
  • Dimensions: 25 by 22cm., 10 by 8.5in.
  • Commissioned by Marie Donnelly on behalf of the Irish Hospice Foundation. Each print is loosely inserted in a glassine sleeve on which is printed a written profile of the subject. The entire set is presented in a folding case of black linen and papered boards with a matching slipcase. A fine production.

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IMAGE OF FRANCIS BACON, 1999
IMAGE OF FRANCIS BACON, 1999
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 18 May 2009 / 37

Published Estimate: €30000-50000

Price Realised: 

  • Signature: signed and dated lower right; inscribed on reverse
  • Medium: watercolour
  • Dimensions: 60 by 44cm., 23.5 by 17.5in.
  • “Louis le Brocquy belongs to a category of artists who have always existed - obsessed by figuration outside and on the other side of illustration - who are aware of the vast and potent possibilities of inventing ways by which fact and appearance can be reconjugated.” Francis Bacon. Quoted in the catalogue for the exhibition, ‘Louis le Brocquy, A Retrospective Selection of Oil Paintings 1939-1966’, The Municipal Gallery of Modern Art, Dublin, 8 November 66 - 11 December 66, p. 2.

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STUDY, 1971
STUDY, 1971
Patrick Pye RHA (b.1929)

Auction Date / Lot No.: 18 May 2009 / 38

Published Estimate: €1000-1500

Price Realised: €1000

  • Signature: signed and dated lower right; inscribed on reverse; with gallery stamp on reverse; also with Davis Hendriks gallery label
  • Medium: oil pastel
  • Dimensions: 27 by 26cm., 10.5 by 10.2 5in.
  • Provenance: Brock Fine Arts, Dublin; Private collection
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MARKINGS III, OCTOBER 1985
MARKINGS III, OCTOBER 1985
Tony O'Malley (1913-2003)

Auction Date / Lot No.: 18 May 2009 / 39

Published Estimate: €4000-6000

Price Realised: 

  • Signature: signed and dated lower centre; Inscribed with title and numbered no. 7546 on reverse
  • Medium: gouache on paper
  • Dimensions: 41 by 29cm., 16 by 11.5in.
  • Provenance: Acquired directly from the artist by the present owner
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WORK TABLE II WITH DRAWING, 1977
WORK TABLE II WITH DRAWING, 1977
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 18 May 2009 / 40

Published Estimate: €9000-12000

Price Realised: 

  • Signature: signed twice with initials and dated lower centre; titled and dated [11/77] again lower right; with the Irish Museum of Modern Art exhibition label on reverse
  • Medium: gouache and charcoal on paper
  • Dimensions: 42 by 29cm., 16.5 by 11.5in.
  • Provenance: The Collection of George and Maura McClelland; Adams & Bonhams, 7 December 2005, lot 130; Private collection
  • Exhibited: 'Holding on to the Outside, Tony O'Malley: Paintings and Gouaches from the McClelland Collection', IMMA, 3 July, 2001 - 6 January, 2002
  • ‘Holding on to the Outside’ was an exhibition drawn from the McClelland collection of 80 or so oil paintings and gouaches by Tony O’Malley from the 1960s and ‘70s, when the artist was based at St. Ives in Cornwall. These works, when exhibited in this context in 2002, presented an opportunity for viewers to study an important period in O’Malley’s development before he became an established figure in Irish art world.

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THE SAMSON RIDDLE (SET OF TWELVE), 1972
THE SAMSON RIDDLE (SET OF TWELVE), 1972
Edward Delaney RHA (b.1930)

Auction Date / Lot No.: 18 May 2009 / 41

Published Estimate: €4000-6000

Price Realised: 

  • Signature: signed, inscribed and dated on cover page; each signed, numbered and dated in the lower margin
  • Medium: set of twelve lithographs; each lithograph no. 8 from an edition of 75; displayed in tan and black coloured hardbacked case with title and image on front and monogram verso
  • Dimensions: 39 by 29cm., 15.2 5 by 11.2 5in.
  • Published by the Davis Gallery, Dublin, in a limited edition of 75. The title derives from the book of the same name by Wolf Mankowitz, the London-born author and screen writer whose film credits include Casino Royale (1967). Mankowitz lived in Ireland for a period in the early 1970s and collaborated with Delaney on a number of projects. The Samson Riddle was a series of tales of love and passion based on the Old Testament. Delaney illustrated the book (published by Valentine Mitchell, 1972) and produced a series of prints - the only such series he ever made.

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SANDYMOUNT 1986
SANDYMOUNT 1986
Catherine Delaney (b.1965)

Auction Date / Lot No.: 18 May 2009 / 42

Published Estimate: €800-1000

Price Realised: €750

  • Medium: watercolour and collage over pencil on paper
  • Dimensions: 51 by 77cm., 20.2 5 by 30.5in.
  • Provenance: Taylor Galleries Dublin; Private collection
  • Catherine Delaney, daughter of celebrated sculptor Edward Delaney, was born in Dublin in 1965 and graduated from the National College of Art and Design, Dublin in 1984. She continued her study in sculpture at the Johnson Atelier in Princeton, New Jersey, USA where she secured a scholarship to continue studying in the area of photography and sculpture at the Akademie Der Bildenden Kunste, Munich. Delaney had her first solo exhibition in the Project Arts Centre in 1994 entitled ‘Rib By Rib’ and was later selected for EAST International in 1996 in the Sainsbury Centre in Norwich. In one of her most recent projects, August 2008, Delaney collaborated with Wicklow County Council on a Per Cent for Art Commissioning Programme with a collaborative public art piece entitled, ‘Inside-Outside’, designed specifically for Baltinglass, Co. Wicklow. She is presently a Cnuas recipient from an Aosdána.

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SEA CREATURE
SEA CREATURE
Edward Delaney RHA (b.1930)

Auction Date / Lot No.: 18 May 2009 / 43

Published Estimate: €10000-15000

Price Realised: €7500

  • Medium: bronze on granite base
  • Dimensions: 140 cm., 55 in. high
  • Provenance: Family of the artist
  • Exhibited: 'Edward Delaney', National Building Centre, Dublin, 1960; Open Air Exhibition of Sculpture, Cork, 1960; 'Edward Delaney', Hendriks Gallery, Dublin, 1966; Open Air Scuplture Exhibition, People's Park, Dun Laoghaire, 1975
  • Literature: Colman Doyle, 'People of Ireland', Mercier Press, 1971, p. 64
  • ‘Sea Creature’ is a striking early work of Delaney’s, cast in his own foundry in Dun Laoghaire, Co Dublin, and capturing his strange, distinctive world of imaginative zoomorphic creatures – a style that is both figurative and abstract. The piece was first exhibited in Delaney’s third one-man show, held in the old Building Centre on Baggot Street, a breakthrough event for Delaney, which established him as a major artist working in bronze. Sea Creature has since been exhibited many times, including in the David Hendriks gallery in 1966, as well as open air shows and national exhibitions. In a 1966 Irish Times review, the critic, Brian Fallon referred back to the 1960 Building Centre show: ‘Delaney patented his style early and it has remained - with little change - unmistakably his own, though with some resemblances to Frick and Chadwick and other sculptors of the 1950s. His ribbed, angular figures sometimes appear as half human, half robots sometimes as organic creatures, pitted and lopped like dead trees, and, sometimes, as combinations of all these.’

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EMERGENT BEING, 1962
EMERGENT BEING, 1962
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 18 May 2009 / 44

Published Estimate: €50000-70000

Price Realised: €39000

  • Signature: signed and dated lower right; titled and signed again on reverse; in original frame of the Dawson Gallery; also with their label on reverse
  • Medium: oil on canvas
  • Dimensions: 76 by 64cm., 30 by 25in.
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Exhibited: 'Louis le Brocquy', Dawson Gallery, Dublin, 21 June, 1962, catalogue no. 10
  • Emergent Being belongs to Louis le Brocquy’s Presence series, the abstracted figurative works that he created in London and France between 1956 and the mid 1960s. Today, paintings such as Travelling Woman with Newspaper, 1947, A Family, 1951, and his haunting portraits of Irish writers are le Brocquy’s most celebrated works. However, during the late 1950s his growing reputation in the international art world was based on this series of evocative paintings that breached the boundaries between figuration and abstraction. In 1946, after spending the war years in Dublin, where he played a fundamental role in the establishment of the Irish Exhibition of Living Art, le Brocquy moved to London. There, he quickly became part of the avantgarde artistic circle that included Francis Bacon and Lucien Freud. Initially working on the series of paintings inspired by Ireland’s Travellers, by the early 1950s he had embarked upon his Grey Period works. Executed in a limited palette of white, greys and browns, this series, which includes A Family (National Gallery of Ireland), is dominated by figures trapped in claustrophobic, cell-like interiors. These images resonated with the zeitgeist of the post-war period when recent memories of the Holocaust, the plight of refugees throughout Europe and the threat of atomic war weighed heavily on the conscience of the world. As le Brocquy has explained, in those post-war, cold war days we, all of us, walked in the fear of eventual nuclear disaster obliterating civilised life and returning those who were unfortunate enough to survive to Palaeolithic circumstances (See note i below). The Grey Period works expressed some of these fears, but by the mid 1950s le Brocquy was exploring new territory. The resulting Presences also tapped into the atmosphere of the era, in this case the climate of existentialism. An ethical body of thought that centres on the uniqueness and isolation of individual experience, existentialism treats human existence as unexplainable and emphasises man’s freedom of choice and responsibility for the consequences of his acts. In its twentieth-century incarnation, existentialism was centred on Paris, and in particular the writings of Jean- Paul Sartre, Albert Camus and Maurice Merleau-Ponty. By the early 1950s, young British artists and critics who had studied in Paris, including William Turnball, Eduardo Paolozzi, Nigel Henderson and David Sylvester were creating art influenced by existentialism in London. They shared a particular respect for the sculptor Alberto Giacometti, whom Sartre had championed as an existentialist hero (See note ii below). As Alistair Smith has suggested, the abstracted figures in the Presences are reminiscent of Giacometti’s skeletal sculptures. Recalling that the two artists met briefly at the Venice Biennale in 1956, Smith concludes that while there is “...only a general physical resemblance’ between le Brocquy’s Presences and Giacometti’s sculptures, there is ‘a close community of concern, a cast of mind which unites their work – the human being isolated, vulnerable and frontally disposed within the emptiness of time itself” (See note iii below). Although le Brocquy was not a self-declared existentialist, as a friend of Francis Bacon and an admirer of Giacometti he worked within an artistic milieu dominated by existentialist ideas. After their first meeting in London in 1951, Bacon and le Brocquy remained friends and admirers of one another’s work for the next forty years (See note iv). Several critics have remarked on the affinities between their approaches, but Anne Madden points out that, “...Bacon saw no resemblance to his own work, but recognised both Cézanne and Giacometti in Louis” (See note v below). As the poet John Montague has observed, while there is violence in Bacon’s art le Brocquy’s paintings are, “...not images of destruction but celebration, attempts to touch the spirit … to make the immaterial palpable” (See note vi below). Yet, as Smith has suggested, `Bacon’s work displays for us the blood, sinews, bones and indefinable interior of the human physique that is part of the subject matter of the Presences … no matter how differently it was expressed, Bacon and le Brocquy shared a common need to strip away the veneer of the skin’ (See note vii below). While Emergent Being bears little aesthetic relationship to Bacon’s work, the triptych Trilogy dating from 1963 (lot 45 in this sale), has clear affinities with the latter’s visual violations of the human body. In an interview in 1987, Louis le Brocquy argued that, “...art is in its essence most truthful or valuable as an emanation of the society or culture behind it” (See note viii below). Although he is now considered to be the ultimate Irish modernist artist, his Presences are an expression of the artistic climate he encountered in post-war London, a climate steeped in existentialism. Dr Riann Coulter New York, April 2009 Notes: i Louis le Brocquy quoted in Anne Madden le Brocquy, Louis le Brocquy: A Painter Seeing his Way, Dublin: Gill & Macmillan, 1994, p. 84. ii David Mellor, Existentialism and Post War British Art, Paris Post-War: Art and Existentialism 1945–55, ed. Francis Morris, London: TATE, 1993, pp. 53–54. iii Frances Morris, Alberto Giacometti, Paris Post-War: Art and Existentialism 1945–55, p. 105. iv Alistair Smith Louis le Brocquy: Paintings 1939–1996, Dublin: Irish Museum of Modern Art, 1996, p. 17. v Le Brocquy bought Bacon’s Study for a Portrait, 1953, in 1955. Madden le Brocquy, p. 87. vi Including John Russell and John Montague. Madden le Brocquy, p. 36. vii John Montague, ‘Primal Scream: The Later Le Brocquy’, The Arts in Ireland, vol. 2, no. 2, 1973, p. 4. viii Smith, q.v.,p. 20. ix Le Brocquy quoted by Brian Fallon, ‘Le Brocquy Exhibition at the Hop Store’, Irish Times, 14 September, 1989.

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HAYSTACK
HAYSTACK
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 18 May 2009 / 46

Published Estimate: €2000-3000

Price Realised: €3100

  • Signature: signed lower centre; inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 25 by 34cm., 10 by 13.5in.
  • Painted 1964-70. We are grateful to Pat Taylor of The Taylor Galleries, Dublin - where Brady exhibited for many years - for his assistance in cataloguing this work. See www.taylorgalleries.ie

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WINDOW NO.1, 1967
WINDOW NO.1, 1967
Noel Sheridan (1936-2006)

Auction Date / Lot No.: 18 May 2009 / 47

Published Estimate: €800-1200

Price Realised: €750

  • Signature: signed lower right; with original Dawson Gallery label on reverse
  • Medium: acrylic-vinyl copolymer on canvas
  • Dimensions: 20 by 25cm., 8 by 10in.
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Exhibited: 'Noel Sheridan', Dawson Gallery, Dublin, 15 - 29 June, 1967, catalogue no. 14
  • Sheridan’s exhibition at the Dawson Gallery in 1967 was comprised of twenty-two works, half of which took a humble chair as their subject; the other half focussed on windows. The windows series was painted at night in Sheridan’s New York studio. He later wrote of this period: “In contrast to the uproar of 21st Street by day, the Hopper stillness of New York by night was uncanny. The building opposite was in total darkness except for one floor that left its lights on all the time. How not to paint a Hopper was the problem (Matisse save us)” (Noel Sheridan, On Reflection, Four Courts Press, Dublin, 2001, p. 31).

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SEA WOMAN, 1962
SEA WOMAN, 1962
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 18 May 2009 / 48

Published Estimate: €8000-12000

Price Realised: €8000

  • Signature: signed lower right; original Ritchie Hendriks Gallery label on reverse, dated July 1965
  • Medium: oil on board
  • Dimensions: 36 by 30cm., 14 by 12in.
  • Provenance: Ritchie Hendriks Gallery, Dublin, July 1965
  • In 1963 a work entitled Head of Girl was exhibited at the Ritchie Hendriks Gallery in May, catalogue no. 20. It is possible that this work, Sea Woman, 1962, was exhibited under a different title considering its date of execution and subject matter. The Ritchie Hendriks Gallery also hosted another exhibition of thirty-four works by Collins 24 June to 19 July 1965, while this date would correspond with the gallery label on the reverse of the work, there was no similarly titled piece exhibited at this show.

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STILL LIFE WITH FRUIT
STILL LIFE WITH FRUIT
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 18 May 2009 / 49

Published Estimate: €10000-15000

Price Realised: 

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 39 by 51cm., 15.5 by 20in.
  • Provenance: 'The Irish Sale', Sotheby's, London, 9 May 2007, lot 109; Private collection
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WEEDS FROM THE DEEP
WEEDS FROM THE DEEP
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 18 May 2009 / 50

Published Estimate: €4000-6000

Price Realised: €3000

  • Signature: signed lower right; inscribed with title on reverse
  • Medium: oil and sand on board
  • Dimensions: 91 by 121cm., 35.7 5 by 47.7 5in.
  • Provenance: Sotheby's, 21 May 1999, lot 370; Private collection
  • In the 1960s Dillon began introducing a variety of unconventional materials into his artistic practice such as sand and other textured substances which he mixed into oils and applied to canvas. In the exhibition. ‘New Work by Gerard Dillon’ at the Dawson Gallery, Dublin, April 1962, evidence of this practice could be seen in a variety of works, such as Masquerade, 1960, catalogue no. 1, sold in these rooms in November 2005, lot 105.

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SEAFARING MEN
SEAFARING MEN
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 18 May 2009 / 51

Published Estimate: €30000-50000

Price Realised: €34000

  • Signature: signed lower right; inscribed on reverse; in original frame of the Victor Waddington Galleries
  • Medium: oil on board
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Victor Waddington Galleries, Dublin; Private collection; Christie's, London, 12 May 2006, catalogue no. 105; Private collection
  • Exhibited: Victor Waddington Galleries, Dublin
  • Dan O’Neill, the man, was described by Anne Marie Keaveney in The Hunter Gatherer: The Collection of George and Maura McClelland at the Irish Museum of Modern Art, London, 2005, introductory essay as, “…introspective, very quiet and preoccupied with this thoughts.” This early work by the artist reflects these sentiments and echo a loneliness and melancholy that can be found in his canvases throughout his life. In this work we see three figures dressed in their worker’s garb reluctantly dominate the foreground of the canvas, each gazing in separate directions eerily detached from each other in spite of their tight positioning. The seascape in the background is dark, almost menacing and recalls the backdrops of subsequent landscapes by the artist. The textured sky with the sharp bursts of light are picked up in the foreground in the figures’ clothes creating an alliance of sorts between them and the vast ocean behind. These ordinary figures in this context are elevated to the extraordinary by means of O’Neill’s inherent gift of expression and his perceptive, poignant interpretation of his surroundings. In 1946 an exhibition of Daniel O’Neill’s works was shown at the Victor Waddington Galleries, Dublin, with a remarkable twenty-one out of twenty-three pictures sold. At this point O’Neill’s reputation in the art world was sealed and he repeatedly secured exhibitions through the Waddington Galleries, and its successor, the Dawson Gallery. In 1969 the artist met George McClelland, the Belfast dealer, who did much to promote his work both nationally, and internationally, along with his contemporaries, Gerard Dillon, Colin Middleton and Tony O’Malley.

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THE WALLS OF DUBLIN, c.1939
THE WALLS OF DUBLIN, c.1939
Stephen Bone NEAC (1904-1958)

Auction Date / Lot No.: 18 May 2009 / 52

Published Estimate: €1000-1500

Price Realised: €900

  • Signature: signed lower left; inscribed with title and artist's name and address (140 Haverstock Hill, London NW3) on reverse
  • Medium: oil on board
  • Dimensions: 29 by 39cm., 11.5 by 15.5in.
  • Exhibited: RHA, Dublin, 1939, catalogue no. 154 (£42-0-0) with an address of 94 Regents Park Road, London
  • Literature: Ann M. Stewart (ed.), Royal Hibernian Academy of Arts: Index of Exhibitors and their Works 1826-1979, 3 Vols., Manton Publishing, Dublin, 1985, vol I, page 62
  • Born in London, the son of artist Sir Muirhead Bone and author Gertrude Dodd, Stephen Bone first exhibited at the NEAC at the age of sixteen, and shortly afterward enrolled at the Slade School of Art (1922-24). In 1928 he collaborated with his friend, the Irish artist William Eric Horsbrugh-Porter (see lot 132), painting murals for Piccadilly Underground; the pair also shared a flat in Knightsbridge. The following year he married the artist Mary Adshead, and together they travelled across Britain, Italy and Greece. Around the same time Bone seems to have also visited Ireland, for in 1929 he held a joint exhibition with another Irish artist, Sine MacKinnon, at the Fine Art Society, London, where he exhibited mainly Connemara landscapes. At the outbreak of World War II he re-visited Dublin; it was during this visit in 1939 that Bone exhibited the work, The Walls of Dublin, at the RHA. During the war he served as a camouflage officer (1939-43) and as an official war artist attached to the navy (1943-45). He returned to Dublin in 1947, painting views of O’Connell Street Bridge, the Customs House and Trinity College (all of which sold through these rooms, 19 November 2001, lots 19 and 20 and 19 September, 2006 lot 29, respectively).

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