28 November 2011

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FIGURES DINING IN AN OUTDOOR CAFE, PARIS, c.1931
FIGURES DINING IN AN OUTDOOR CAFE, PARIS, c.1931
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2011 / 1

Published Estimate: €3000-4000

Price Realised: €3000

  • Signature: signed upper right
  • Medium: oil on board
  • Dimensions: 30 by 41cm., 12 by 16in.
  • Provenance: Provenance:Purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin
  • The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five decades. He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later published on article on his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among others. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.
    The location for this scene could be that of Jardin du Luxembourg, the second largest public park in the French capital. The gardens, which were originally the palace ground for Marie de Medici (1611) later reconstructed by Napoleon in the 1860s. In the 1930s the garden contained a marionette theatre, a music kiosk, an apiary as well as an orangerie used to exhibit modern art and sculpture.

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POUND ROW, LEWIS ROAD, KILLARNEY
POUND ROW, LEWIS ROAD, KILLARNEY
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2011 / 2

Published Estimate: €4000-5000

Price Realised: €5400

  • Signature: signed, inscribed and dated lower right; further inscribed and numbered [11] on reverse watercolour
  • Medium: watercolour
  • Dimensions: 23 by 34cm., 9.25 by 13.2 5in.
  • Provenance: Provenance:Purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin
  • The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five decades. He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later published on article on his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among others. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.
    Another view of this street, executed the same year, sold through Sotheby's, London, 7 May 2008, as lot 164.

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THE HANDY SHOP AFTER RAIN, KILLARNEY
THE HANDY SHOP AFTER RAIN, KILLARNEY
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2011 / 3

Published Estimate: €3500-4500

Price Realised: €5900

  • Signature: signed and dated lower left; inscribed with title and numbered [9] on reverse
  • Medium: watercolour
  • Dimensions: 27 by 37cm., 10.7 5 by 14.7 5in.
  • Provenance: Provenance:Purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin
  • “The Handy Shop”, still exists today, although it has been considerably modernised since 1943. Ross Hotel is now located beside it across the laneway.
    The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five ecades. He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later ublished on article on his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among thers. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.
    In this scene a shawled lady strides down the street her image mirrored in the wet road hile a little bob-haired girl in red stands with only one boot. The Handy Store with green painted windows and open door appears full to the brim with an assortment of wares. To the back of the alley a bicycle rests against a wall which leads to a barn beyond. The rear of a white horse hints at its function. A fine house to the right of the scene is enclosed with metal ailings. Through the ground floor window a couple can be seen in close conversation. The year after these Killarney watercolours [lots 3-5] were executed, Kernoff exhibited six oils at the RHA all depicting scenes from the area. The titles include, After Rain, O’Malley’s Lane, Killarney (no. 98); Hilliard’s Lane, Killarney (no. 89); Capt Doyle, Bugler, Gap of Dunloe, Killarney (no. 41) and two other unspecified landscapes of the locale.

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WET STREET, KILLARNEY, 1943
WET STREET, KILLARNEY, 1943
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2011 / 4

Published Estimate: €2500-3500

Price Realised: €4200

  • Signature: signed and dated lower right; with title inscribed in ink; also numbered [9] on reverse
  • Medium:  watercolour over pencil
  • Dimensions: 27 by 37cm., 10.7 5 by 14.5in.
  • Provenance: Provenance:Purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin
  • This Street has been identified as Market Street, Killarney, with the three lanes; Pawn office Lane, Barry's lane and Fleming's Lane off to the right.
    The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five decades. He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later published on article on his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among others. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.
    The right side of the watercolour shows the side stone wall of a church (possibly St. Mary’s) with an arched window. A shawled woman walks by carrying a child, another lady with a red shirt and black shawl ahead of her. A barefoot boy in shorts appears at the corner of the street of dilapidated houses, one with an ornate lantern towering above him. A fourth character, a mother tending to her child in a pram, draws the eye to the centre of the scene with the figure of a man beyond indicating the end of the street.
    This Street has been identified as Market Street, Killarney, with the three lanes; Pawn office Lane, Barry's lane and Fleming's Lane off to the right.

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OLD GEORGIAN HOUSE OPPOSITE TOWNHALL, KILLARNEY, KERRY, 1943
OLD GEORGIAN HOUSE OPPOSITE TOWNHALL, KILLARNEY, KERRY, 1943
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2011 / 5

Published Estimate: €3000-4000

Price Realised: €5200

  • Signature: signed and dated lower left; inscribed with title, dated and numbered [(6) and (9)] on reverse
  • Medium: watercolour
  • Dimensions: 27 by 37cm., 10.7 5 by 14.7 5in.
  • Provenance: Provenance:Purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin
  • The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five decades. He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later published on article on his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among others. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.
    The scene shows two nuns in their traditional habits walking up a wet street in Killarney away from the square. A moustached man leans against the wall of the Townhall with a parked red cart and resting blinkered donkey by a lamppost opposite. Towards the end of the street a couple pass a lady in a yellow coat pushing a pram. The white awning of Michael Moriarty's drapery store can be seen clearly to the left of the scene.

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OUTHOUSES, MORNING SUNLIGHT, NEAR DUBLIN, 1930
OUTHOUSES, MORNING SUNLIGHT, NEAR DUBLIN, 1930
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2011 / 6

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed and dated lower left; titled, dated and numbered [2] on reverse
  • Medium: watercolour
  • Dimensions: 27 by 38cm., 10.7 5 by 15in.
  • Provenance: Provenance:Purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin
  • The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five decades. He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later published on article on his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among others. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.
    Kernoff painted views of outhouses in Howth in the 1930s, one of which was exhibited (no. 34) at a show of his 'Recent Paintings' at Mill's Hall, Merrion Row, Dublin in December 1937.

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OLD-BARN ON FOYNES ISLAND, LIMERICK, EIRE, 1930
OLD-BARN ON FOYNES ISLAND, LIMERICK, EIRE, 1930
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2011 / 7

Published Estimate: €2000-3000

Price Realised: €2700

  • Signature: signed and dated lower left;inscribed with title and numbered [1] on reverse
  • Medium: watercolour
  • Dimensions: 41 by 28cm., 16 by 11in.
  • Provenance: Provenance:Purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin
  • The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five decades. He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later published on article on his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among others. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.
    Foynes Island is located on the Shannon just off the village of Foynes in the parish of Robertstown. The island is only accessible by boat and measures approximately 1 mile in diameter. The two cottages illustrated are some of the few buildings, most of which have been abandoned, on the Island. Two views of Foynes Island were exhibited by Kernoff in May 1938 at the White Gallery, London (nos. 1& 10).

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CONNEMARA SUMMER, RENVYLE, IRELAND, 1933
CONNEMARA SUMMER, RENVYLE, IRELAND, 1933
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2011 / 8

Published Estimate: €1500-2000

Price Realised: €1500

  • Signature: signed and dated lower left; inscribed in green ink with title, artist's address [13 Stamer St., Dublin 8, Ireland]; original price [£12-12-0]; also numbered [1] on reverse
  • Medium: watercolour
  • Dimensions: 25 by 36cm., 10 by 14.2 5in.
  • Provenance: Provenance:Purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin
  • The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five decades. He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later published on article on his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among others. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.
    A view of The Twelve Bens dominates above a thatched cottage with smoke billowing from the chimney. A solitary figure can be seen stacking turf in the lower right-hand corner.

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HOUSES NEAR JEAN-JAURES, PARIS, c.1931
HOUSES NEAR JEAN-JAURES, PARIS, c.1931
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2011 / 9

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: signed lower right; with title inscribed twice on reverse; with original price [£10-0-0] and number [4] alos inscribed on reverse
  • Medium: watercolour over pencil
  • Dimensions: 27 by 38cm., 10.7 5 by 15in.
  • Provenance: Provenance:Purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin
  • The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five decades. He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later published on article on his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among others. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.
    As with his Irish scenes, Kernoff methodically records the names of the now-forgotten establishments in the foreground including, Cafe Restaurant Louvre and Appareillage Electrique.

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CANAL JEAN-JAURES, PARIS, 1931
CANAL JEAN-JAURES, PARIS, 1931
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2011 / 10

Published Estimate: €2000-3000

Price Realised: €2300

  • Signature: signed and dated lower left; with title inscribed in the artist's hand on reverse; also with original price [£10-0-0] and numbered [3] on reverse
  • Medium: watercolour over pencil
  • Dimensions: 27 by 38cm., 10.7 5 by 15in.
  • Provenance: Provenance:Purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin
  • The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five decades. He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later published on article on his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among others. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.
    The signage for 'Le Popular Restaurant Hotel' can be seen upper right.

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RUE DE SEINE, PARIS, 1931
RUE DE SEINE, PARIS, 1931
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2011 / 11

Published Estimate: €2000-3000

Price Realised: €4800

  • Signature: signed, titled and dated lower left; with title inscribed again on reverse; also with artist's address [Stamer St., Dublin] and number [5] on reverse
  • Medium: watercolour over pencil
  • Dimensions: 38 by 29cm., 15 by 11.2 5in.
  • Provenance: Provenance:Purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin
  • The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five decades. He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later published on article on his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among others. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.
    Rue de Seine, in the district of Saint-Germain-des-Prés, began to draw the attention of artists and writers such as Manet, Balzac and Georges Sand in the 19th century. But it was after WWII that the district exploded into a hotspot for existentialist thinking, avant-garde theatre, painting and jazz and became synonymous with names like Picasso, Sartre, de Beauvoir, Beckett and Gainsbourg. Signs for the 'Pharmacie', 'Vins' and a 'Hotel' beyond can be seen on the street. With the prominence of a distinct blue umbrella, this work could be read as a homáge to Renoir's The Umbrellas (1881-6) or Gustav Caillebotte's Rainy Day 1877 works which the artist would have been exposed to at this time.

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A YOUNG MAN'S TROUBLES, 1900
A YOUNG MAN'S TROUBLES, 1900
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 28 November 2011 / 12

Published Estimate: €20000-30000

Price Realised: €24000

  • Signature: signed lower right
  • Medium: watercolour, pastel and pencil on paper
  • Dimensions: 15 by 46cm., 6 by 18in.
  • Provenance: Provenance: Clausen Galleries, New York whence purchased by John Quinn in 1904; Purchased by W. C. Murphy at The Quinn Collection Sale, New York, 10 February 1927, lot 268; Private collection; Whyte’s, 17 September 2002, lot 54; Whence purchased by the present owner
  • Exhibited: ’Sketches of Life in The West of Ireland’, series of exhibitions:Leinster Hall, Dublin, March 1900, Clarendon Hotel, Oxford October, 24-29 October 1900, Walker Art Gallery, London, February 1901, Clausen Galleries, New York, 31 March – 16 April, 1904
  • Literature: Literature:All Ireland Review,10 March 1900, p.5; Hilary Pyle, Jack B. Yeats: His watercolours, Drawings and Pastels, Irish Academic Press 1993, catalogue no.267, p.93
  • This work was described in the All Ireland Review of 10 March 1900 as depicting “a shop interior in a Connaught town; a sad-faced young man stands brooding at one side of a broad board or counter; behind him pasted on the wall are a row of emigration notices; in front of him, at the far side of the counter, two elderly men stand drinking, and they watch with kindly distant disinterest the working of his thoughts”. Purchased by the famed art collector John Quinn – then Chairman of the board of the Metropolitan Museum and a great supporter of European modernists – the work was later sold as part of his collection, where it was listed in the inventory as The Bar.

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SAINT BRENDAN, c.1903
SAINT BRENDAN, c.1903
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 28 November 2011 / 13

Published Estimate: €12000-15000

Price Realised: €0

  • Signature: signed in monogram lower left; with Ritchie Hendriks Gallery framing label on reverse
  • Medium: gouache on card
  • Dimensions: 81 by 51cm., 32 by 20in.
  • Provenance: Provenance:Miss Lily Yeats; Miss Hyland; Purchased by Thomas MacGreevy c.1958; The Collection of James White (former Director of the National Gallery of Ireland); Private collection
  • This gouache was intended as a design for an embroidered sodality banner for Loughrea Cathedral, Co. Galway. It was executed in 1903 as part of a commission awarded to the fledgling Dún Emer Guild, which was founded in 1902 by Evelyn Gleeson. Her two principal partners in the venture were Jack Yeats’ sisters, Susan and Elizabeth (or Lily and Lolly as they were known to family and friends). When the Guild received this prestigious commission, they invited Jack and his wife Mary (known as Cottie) to supply designs for the banners. Jack designed the Sacred Heart banner and the banners for all the male saints bar two (these were designed by Æ), whilst Cottie supplied designs for nearly all of the female saints. In all, twenty-nine banners were completed, with a further four designs being executed but ultimately not used. In the present work Yeats depicts St. Brendan, called "the Navigator", one of the early Irish monastic saints chiefly renowned for his legendary quest to the "Isle of the Blessed," also called St. Brendan's Island and interpreted by some to be America.
    In common with other Loughrea designs, the figure is drawn in heavy black outline. At the time of the commission, The Irish Homestead described the banners as displaying “freshness and quaint naturalness”, combined with “sympathy and native feeling” and hailed them as the start “of a new epoch in art work of this kind, wherein originality of design shall replace vulgarity and simple beauty replace tawdriness” (13 February 1904, p. 134).

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SAINT COLUMBANUS, c.1903
SAINT COLUMBANUS, c.1903
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 28 November 2011 / 14

Published Estimate: €10000-15000

Price Realised: €0

  • Signature: signed in monogram lower right; with title inscribed on card preserved on reverse; with David Hendriks Gallery framing label on reverse
  • Medium: gouache on card
  • Dimensions: 81 by 51cm., 32 by 20in.
  • Provenance: Provenance:Miss Lily Yeats; Miss Hyland; Purchased by Thomas MacGreevy c.1958; The Collection of James White (former Director of the National Gallery of Ireland); Private collection
  • This gouache was intended as a design for an embroidered sodality banner for Loughrea Cathedral, Co. Galway. It was executed in 1903 as part of a commission awarded to the fledgling Dún Emer Guild, which was founded in 1902 by Evelyn Gleeson. Her two principal partners in the venture were Jack Yeats’ sisters, Susan and Elizabeth (or Lily and Lolly as they were known to family and friends). When the Guild received this prestigious commission, they invited Jack and his wife Mary (known as Cottie) to supply designs for the banners. Jack designed the Sacred Heart banner and the banners for all the male saints bar two (these were designed by Æ), whilst Cottie supplied designs for nearly all of the female saints. In all, twenty-nine banners were completed, with a further four designs being executed but ultimately not used. In the present work Yeats depicts St. Columbanus, the Irish missionary notable for founding a number of monasteries on the Continent from around 590.
    In common with other Loughrea designs, the figure is drawn in heavy black outline. At the time of the commission, The Irish Homestead described the banners as displaying “freshness and quaint naturalness”, combined with “sympathy and native feeling” and hailed them as the start “of a new epoch in art work of this kind, wherein originality of design shall replace vulgarity and simple beauty replace tawdriness” (13 February 1904, p. 134).

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IRISH FREE STATE BACON, 1928
IRISH FREE STATE BACON, 1928
Sean Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 28 November 2011 / 15

Published Estimate: €15000-20000

Price Realised: €0

  • Signature: signed lower right
  • Medium: gouache, pencil and coloured chalk
  • Dimensions: 99 by 150cm., 39 by 59in.
  • Provenance: Provenance:Paul Conran; From whom purchased by the previous owner in October 1982; Christie's, The Irish Sale, London, 10 May 2007, lot 74 (part); Whyte's, 24 November 2008, lot 81; Private collection
  • The Empire Marketing Board (EMB) was established in London in 1926 for the purpose of promoting the sale of produce from countries associated with the British Empire. The methods of advertising included posters for shop windows and outdoor billboards. Continued access to the British market was of vital economic necessity to the newly established Irish Free State, a point that was given recognition when in 1927 the EMB commissioned Seán Keating to undertake the design of three posters, Irish Free State Dairying, Irish Free State Bacon and Irish Free State Chicken, to advertise Irish produce to the English market. The three posters were used around England between June and July 1929 on specially designed outdoor billboards. Keating was familiar with the skills necessary for large-scale poster design owing to his training at the Metropolitan School of Art in Dublin. His brief was firmly controlled by the EMB, and at the same time, the artist knew that the designs had to be visually specific and immediately legible. The drawing illustrated is Keating's innovative design for Irish Free State Bacon, which is replete with the visual iconography that was expected of Ireland in the 1920s. However, this is a design by Keating, and therefore there is more to the image than immediately apparent. Keating's work for the EMB appears at first glance, to reflect an imagined view of Ireland as a rural ideal and idyll, as dictated by the advertising concerns of the EMB. But arguably, there is degree of artistic subterfuge in the image. There are no green rolling hills, shamrocks, shillelaghs or white thatched cottages. Instead, Keating posited an image of a peaceful and prosperous peasantry within a well maintained farmyard, which refutes the age-old vision of misery and deprivation in Ireland of the 1920s. The close range view and the stage-like setting combined with clear architectural and figurative detail serves to further engage the viewer with the atmosphere of a real and flourishing farm. The appeal in the work is therefore premised on Keating's ability to suitably advertise Irish Free State Bacon within the limits of the constraints set by the EMB, but without reducing the images to mere pastiche. The survival of Keating's original design for Irish Free State Bacon, which was intentionally ephemeral, is noteworthy, and an exceptionally rare surviving example of Keating's extensive career as an artist of ephemeral work.Dr Eimear O' Connor HRHA TRIARC - Irish Art Research Centre, TCD

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SIR WILLIAM ARMSTRONG READING, 1925
SIR WILLIAM ARMSTRONG READING, 1925
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 28 November 2011 / 16

Published Estimate: €800-1200

Price Realised: €1200

  • Signature: signed, inscribed ["To my friend Armstrong with great affection, July 1925"] lower right; with artist's and sitter's names printed in the mount; with William Rodman & Co., Belfast label and printed label referencing Oriel Gallery on reverse
  • Medium: pencil
  • Dimensions: 24 by 18cm., 9.5 by 7in.
  • Provenance: Provenance:William Rodman & Co., Belfast; Private collection; Adam's & Bonhams, 27 May 1998, lot 90; With the Oriel Gallery, Dublin; Private collection
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THE BREEZE, 1910 and LETTER TO 'MY DEAR ALEX', 26 FEBRUARY 1917
THE BREEZE, 1910 and LETTER TO 'MY DEAR ALEX', 26 FEBRUARY 1917
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 28 November 2011 / 17

Published Estimate: €400-600

Price Realised: €570

  • Signature: signed and dated in the plate lower right; with facsimile signature and title in the margin lower right and lower left respectively; letter, signed and dated on [8 South Bolton Gardens, S.W.] headed paper
  • Medium: print (1); letter (1); (framed)
  • Dimensions: 22 by 13cm., 8.75 by 5in.
  • Dimensions for letter, 9.5 by 7.75ins. The Breeze pertains to a body of work Orpen created inspired by Howth. Many of the original canvases from this series were created en plein air and involved initially a Hungarian gypsy couple and their bear and later members of his family: his wife and daughters. The letter makes reference to "Stabb", C.T. Stabb, a fellow student of Orpen’s at the Slade school. Stabb it appears was the source of much playful teasing for his eagerness to be married. (See: Arnold, Bruce, Orpen Mirror to an Age, p.98 for further reading.).

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MELIN Y GOF AT TREARDDUR BAY, 1903
MELIN Y GOF AT TREARDDUR BAY, 1903
Harry Jones Thaddeus (1859-1929)

Auction Date / Lot No.: 28 November 2011 / 18

Published Estimate: €1200-1500

Price Realised: €0

  • Signature: signed and dated lower left; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 20 by 24cm., 7.75 by 9.5in.
  • Literature: Literature:Rooney, Brendan, The Life and Work of Harry Jones Thaddeus 1859-1912, Four Courts Press, Dublin, 2003, p.208 (illustrated)
  • Melin y Gof lies about a kilometre from Treaddur Bay, near Holyhead, Wales. In his text on the artist Rooney describes Thaddeus' "readiness to record, on location, scenes from his travels" and continues, "The precise spot from which the windmill is seen..[is from] a footpath between a point called Four Mile Bridge and a house called Penybont... Thaddeus is likely to have sketched the scene on one of his painting excursions from Maesmawr Hall, in mid-Wales, where he was living with his family in the early years of the century." (Rooney, p.208-209)

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THE HOUSE-TOPS, TANGIER, 1912
THE HOUSE-TOPS, TANGIER, 1912
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 28 November 2011 / 19

Published Estimate: €20000-25000

Price Realised: €23000

  • Signature: signed lower left; signed again and inscribed with title in pencil on reverse; also with title and provenance details on reverse; with partial Rodman & Co., Ltd inscribed label on reverse
  • Medium: oil on board
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Provenance: Provenance:Presented by the artist to the Belfast Red Cross Fund, 1917; Collection of Molly Laurence, Belfast; The Laurence Collection Sale, Ross's, Belfast, 6 February 2002, lot 66; Whyte's, 17 February 2004, lot 57; Whence purchased by the present owner
  • Lavery first visited the so called 'White City', Tangier, in 1891, possibly as an antidote to the demands placed on him as a society portraitist. Morocco was then becoming a Mecca for British artists who were attracted to the brilliant white light, exotic colours, and "the abstract drama of shape...found in its slab-like architecture" From thereon Lavery made repeated trips to Tangier, basing himself and his family at the small hillside property called Dar El Midfah, a little way out from the main town, and becoming a well-known feature of the expatriate community's social scene. The House-Tops Tangier shares much in common with a number of works which Lavery exhibited in London at the Goupil Gallery in 1908. Kenneth McConkey records that for many of the smaller works from this exhibition, "Lavery positioned himself upon rooftops overlooking the city. Invariably the foreground was occupied by one or two Arab musicians sitting on or behind a parapet wall. As he discovered, the rooftops of Tangier generated their own form of life. Beyond them, the slab-like tower of the Green Mosque became a familiar landmark. Lavery's repeated engagement with this subject at different times of the day amounted almost to an obsession". Unlike a number of his genre scenes from Morocco which were painted in the studio, The House-Tops Tangier was painted en plein air, around dusk. The high horizon reveals a sky imbued with pale violet tints, whilst the whitewashed buildings have taken on the subtle shell-pinks and warm creams of the setting sun's last rays. The distant hillside of buildings at the left of the composition is suggested by mere notation: rapid impasto strokes indicating the mass of walls and roofs. In contrast, the Mediterranean Sea is painted with long smooth strokes in cerulean streaked with mauve. For all its rapid execution, Lavery evidently considered the work complete, for in 1917 he donated it to the Belfast Red Cross Fund, most likely at the instigation of his wife Hazel who was then heavily involved with war charity work.

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THE STREET IN SHADOW, 1932
THE STREET IN SHADOW, 1932
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 28 November 2011 / 20

Published Estimate: €50000-70000

Price Realised: €72000

  • Signature: signed lower right
  • Medium: oil on panel
  • Dimensions: 24 by 36cm., 9.5 by 14.2 5in.
  • Provenance: Provenance:Sold through the Victor Waddington Galleries, Dublin, in 1943 to Mrs Chase for a Wedding present to Miss Post and M. Block, United States; Private collection, Ireland; Whyte's, Important Irish Art, 24 November 2008, lot 72; Private collection
  • Exhibited: Exhibited:'Ireland and the Irish in Paintings', Leger Galleries, London, 5-25 October 1932, catalogue no. 14
  • Literature: Literature:Pyle, Hilary, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings, Andre Deutsch, London, 1992, Vol. II, p.394, catalogue no. 436
  • In The Street in Shadow Jack Yeats depicts himself, accompanied by his wife, Cottie, standing on O'Connell Street, looking directly out at the viewer. Cottie wears a distinctive black cloche, similar to the one she is shown wearing in the 1925 painting, O'Connell Bridge (private collection). The shadowy form of a passer-by, a man in a cap, interjects between the two figures. Their pose, silhouetted against two of the city's most famous landmarks, Clerys department store and Nelson's Pillar, is reminiscent of the kind of portrait snapshot taken by on street photographers, a familiar feature of O'Connell Street until relatively recently. The distinctive profile of Clerys dominates the right hand side of the background. Immediately behind the artist's head can be seen the spiralling form of Nelson's Pillar, with its normally solid structure appearing elongated and tenuous in the clear daylight. Mr. and Mrs. Yeats, by contrast, stand in the shade of two buildings, one of which is the GPO, on the west side of the street. The faces of Cottie and Jack are depicted in dark green and yellows which suggest the effects of shadow on their features. The passer-by stands further back towards the street and his form, which appears to be almost transparent, is dissolved by its exposure to direct sunlight. Yeats' daring exaggeration of colour and ebullient application of paint elucidates the spatial relationships of the different elements in the painting. In spite of its seeming complexity his use of paint guides the viewer and enables him to read the shapes and forms in terms of tangible reality. The myriad of colours used in the depiction of the sky and in the streetscape evoke the sense of movement and excitement which the modern city encapsulated. Yeats saw this energy as parallel to the vitality of nature. The opaque murky colours so evident in parts of this work are typical of this period in Yeats' oeuvre when the artist was moving from his early realist style to his later expressionist approach. In this regard it is interesting to note that Yeats chose to exhibit the work along with other Dublin scenes in London rather than Dublin. The exhibition at the Leger Galleries in 1932 attracted a great deal of critical interest with the London press praising Yeats' work for its unity of purpose and joyousness of colour and craftsmanship. The dramatic handling of paint and colour and the theme of urban life in The Street in Shadow is reminiscent of the work of expressionist artists working on the Continent. This is particularly evident in the way in which Yeats has transformed the features of Cottie. Her black hat, pearl necklace and red collar take on a primitive appearance as if she was part of an exotic tribe. While the city often evoked an anxious response on the part of the expressionist artists, Yeats does not respond to modern Dublin with apprehension. It was for him a familiar and accessible space in which one could observe the interaction of different social groups and types, and in which for a moment, like Cottie, one could become an unfamiliar and anonymous figure. Dr. Róisín Kennedy Dublin, November 2011

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RIVER AT SUNSET
RIVER AT SUNSET
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 28 November 2011 / 22

Published Estimate: €2000-3000

Price Realised: €1900

  • Signature: signed lower right
  • Medium: oil on canvas laid on board
  • Dimensions: 24 by 34cm., 9.5 by 13.5in.
  • Provenance: Provenance:Whyte's, 2 March 2009, lot 193; Where purchased by the present owner
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THE DUN RIVER, CUSHENDUN, COUNTY ANTRIM
THE DUN RIVER, CUSHENDUN, COUNTY ANTRIM
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 28 November 2011 / 23

Published Estimate: €3000-4000

Price Realised: €0

  • Signature: signed lower left; with original inscribed John Magee [4 Donegall Square, Belfast] label on reverse detailing artist name, title and reference number [8514.29]
  • Medium: oil on board
  • Dimensions: 30 by 42cm., 11.7 5 by 16.5in.
  • Provenance: Provenance:John Magee, Belfast; Private collection
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COTTAGES, WEST OF IRELAND
COTTAGES, WEST OF IRELAND
Michael Augustine Power O'Malley (1870-1946)

Auction Date / Lot No.: 28 November 2011 / 24

Published Estimate: €1000-1500

Price Realised: €1000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Provenance:Whyte's, 8 May 2002, lot 214; Private collection
  • Michael Augustine Power O’Malley of Dungarvan, County Waterford studied art in France and Italy and later emigrated to the USA. In 1904 he went to New York and did book illustrations and covers for Life, The Literary Digest, Harper's and Puck. He travelled to the west coast where he advised John Ford on film settings and painted sets for Cecil B. de Mille's epic The King of Kings. O'Malley made regular painting trips back to Ireland. In October 1912 Maud Gonne attended an exhibition of O’Malley’s work in Dublin. Her opinion of his work was ‘as clever and far more sincere than most of the paintings I have seen in France’. She subsequently wrote a letter of introduction for the artist to New Yorker John Quinn, an Irish-American lawyer, art collector and Celtic enthusiast in which she drew comparisons between Power O’Malley and Édouard Manet. Power O’Malley exhibited widely and with great success in New York City, Fort Worth, Los Angeles, San Antonio, London (Beaux Arts Gallery) and in Ireland in Dublin and in the Crawford in Cork (1940). Memorial exhibitions were held in New Rochelle and Rochester New York in 2002-03 and 2010 respectively. His work can be found in public and private collections in both countries.
    For further reading see Snoddy pp.486-487.

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THE LAYDE ROAD, CUSHENDUN
THE LAYDE ROAD, CUSHENDUN
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 28 November 2011 / 25

Published Estimate: €5000-6000

Price Realised: €5800


WICKLOW SCENE
WICKLOW SCENE
Mabel Young (1889-1974)

Auction Date / Lot No.: 28 November 2011 / 26

Published Estimate: €1000-1500

Price Realised: €0

  • Signature: signed lower left; inscribed with title on reverse; with Dawson Gallery framing label on reverse
  • Medium: oil on board
  • Dimensions: 30 by 51cm., 12 by 20in.
  • Provenance: Provenance:Dawson Gallery, Dublin; Where purchased by the family of the present owner
  • Contained in original Dawson Gallery frame.

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GLEN HEAD, GLENCOLUMBKILLE, COUNTY DONEGAL
GLEN HEAD, GLENCOLUMBKILLE, COUNTY DONEGAL
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 28 November 2011 / 27

Published Estimate: €1500-2000

Price Realised: €2000


ALTAN LOUGH, DONEGAL c.1933-34
ALTAN LOUGH, DONEGAL c.1933-34
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 28 November 2011 / 28

Published Estimate: €40000-50000

Price Realised: €75000

  • Signature: signed lower right; with title hand-written on label on reverse; also partial number [16] label on reverse; with Winsor & Newton stamp also visible on reverse
  • Medium: oil on canvas
  • Dimensions: 38 by 46cm., 15 by 18in.
  • Provenance: Provenance:'The Irish Sale', Sotheby's, 21 May 1999, lot 329; Whence purchased by the present owner
  • Exhibited: Exhibited:Thought to have been exhibited as In Connemara, Paintings by Paul Henry, R.H.A., Fine Art Society, London, from 11 April 1934 (catalogue no. 43)
  • Literature: Literature:Kennedy, Dr. S.B., Paul Henry, Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, p.266, catalogue no. 828 (illustrated)
  • Lough Altan, or ‘Lake of the Hillock’, a mountain tarn virtually inaccessible by road, is situated some five or six miles south of the village of Gortahork in north County Donegal. The view represented in this picture almost certainly looks to the south, the hills in the background being the Derryveagh Mountains and the peak at the centre of the composition being Dooish, which rises to a height of 2,147 ft. Henry painted in the area a number of times over the years as, for example, his Lough Altan, Co. Donegal, 1918-19 (collection Allied Irish Bank), testifies, and he and his elder brother Bob holidayed at McFadden’s Hotel in Gortahork in the late 1920s (see Kennedy, 2007, catalogue no. 231). The view depicted here, while similar to the AIB work and another, In the West of Ireland (Kennedy, nos. 515 and 510 respectively), is more dramatic in execution and thus must be of a later date, as the bold use of strong colours and modelling of light on the distant mountains—which is quite different from the Whistler-esque treatment of the artist’s earlier pictures of the same scene—also suggests. The brushwork in the foreground, with its recognisable impasto, also suggests a latish date of execution. The composition is very similar to that in Henry’s Landscape, c. 1934-8 (Kennedy, number 899), although the latter picture is probably a scene in County Kerry. The Altan Lough composition is titled on a label on the stretcher, but is dated c.1933-4 on stylistic grounds. Dr. S.B. Kennedy November, 2011

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TINKER CHILDREN AT A FAIR, 1946
TINKER CHILDREN AT A FAIR, 1946
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2011 / 29

Published Estimate: €20000-25000

Price Realised: €0

  • Signature: signed lower right; with Dawson Gallery framing label on reverse
  • Medium: watercolour with ink
  • Dimensions: 28 by 23cm., 11 by 9.25in.
  • Provenance: Provenance:Acquired by private treaty through James Adam's Saleroom, Dublin, 1978 by the present owner
  • The Tinker Period in le Brocquy's oeuvre represents a very important and distinct body of work within the artist's career to date spanning the years c.1945-1948. Tinker Children at a Fair is a striking early example of the artist's interpretation of the travelling community and captures aptly his enthusiasm and passion for their independent and inimitable way of life. It was the summer previous to the execution of this work when le Brocquy first encountered the tinkers near Tullamore, County Offaly and like John Millington Synge and artists on the Continent such as Picasso, le Brocquy's interest in this particular society was born out of a wider re-discovery and renewed interest in "primitive" cultures. However, for le Brocquy the tinkers came to symbolise more; the individual's struggle against ordered and settled culture and he drew parallels between their struggle and that of the artist. Tinker Children at a Fair typifies the artist's style from the period in colour and composition. The children, who dominate the work, all actively engage the viewer each with an inquisitive and lively gaze. The background comprises other figures; a horse and rider, and a stationary male figure and cow, but these presences are cropped by the artist's cut-off composition, rendering their presence in the work secondary to that of the children. The children carry sticks in their hands perhaps a reference to the ritual of sign making in tinker culture. Le Brocquy, in an interview with Yvonne Scott, 28 April, 2006, commented, "...People were always suspicious of them and they had to contend with that and they had various ways of contending with it. Amongst others they made signs for each other when they left the sites. They left 'twig' signs behind them and some of these were of a prosaic kind, such as: there are some good chickens up there in the bohereen - that kind of thing. But other signs were made to cast spells, so that local farmers hesitated to disturb them." Testament to the artist's continued advocacy for this isolated community is the recent use of images from his Tinker Period for the Pavee Point Travellers Centre, Dublin 2007 calendar which was published in association with Ireland Embracing Cultural Diversity. Paintings from this period can be found in the collection of the Tate, London and the National Gallery of Ireland among others.

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WAR
WAR
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 28 November 2011 / 30

Published Estimate: €2000-3000

Price Realised: €2200

  • Signature: with studio stamp lower left
  • Medium: oil on canvas laid on board
  • Dimensions: 30 by 38cm., 12 by 15in.
  • With an unfinished scene of boats by water on reverse.
    Mary Swanzy's eclectic style drew on trends she discovered upon her many travels throughout her lengthy career spanning almost eighty years. This view stems from the latter years of WWII when the ton

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FIGURE ON A BALCONY OVER A BEACH
FIGURE ON A BALCONY OVER A BEACH
Norah McGuinness HRHA (1901-1980)

Auction Date / Lot No.: 28 November 2011 / 31

Published Estimate: €700-900

Price Realised: €1150


THE BIRDS
THE BIRDS
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 28 November 2011 / 32

Published Estimate: €800-1000

Price Realised: €0


BATHERS, c.1951
BATHERS, c.1951
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2011 / 33

Published Estimate: €4000-5000

Price Realised: €0

  • Signature: signed lower left
  • Medium: watercolour
  • Dimensions: 24 by 32cm., 9.5 by 12.5in.
  • In 1951 Gerard Dillon visited Spain with artist George Campbell and his wife Madge. For Campbell, the connection he made there was to have a lasting effect on his style and subject matter and he forged an instant bond with the south of the country returning annually to the small fishing village of El Palo, outside Málaga. For Dillon, the Mediterranean light made the greatest impression. Here the light coupled with the subjects, the athletic standing figures, the Moorish looking man seated on a canoe and a costumed female bather in the distance all point to a Continental scene, most likely on the Costa del Sol.

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COTTAGE AND COW
COTTAGE AND COW
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2011 / 34

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: bearing signature in pencil lower right; with hand-written label on reverse detailing artist name and title
  • Medium: watercolour
  • Dimensions: 24 by 34cm., 9.5 by 13.2 5in.
  • Provenance: Provenance:Dawson Gallery, Dublin; Private collection;
  • The original frame and mount accompanies this lot.

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GIRL ON BEACH
GIRL ON BEACH
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2011 / 35

Published Estimate: €30000-40000

Price Realised: €29000

  • Signature: signed lower right
  • Medium: oilon hessian sackcloth
  • Dimensions: 56 by 66cm., 22 by 26in.
  • Provenance: Provenance:Gifted to the previous owner's mother. 1956; Whyte's, 26 November 2007, lot 57; Whence purchased by the present owner
  • With a copy of a letter from James White to the present owner, dated 14 February 1994, in which he states that he had included it as Beach Scene in his catalogue, and noting the resemblance to Grey Beach (illustrated p. 56 of his book) and On the Beach (illustrated p. 57), both of which were painted on Inishlacken, off the coast of Roundstone, circa 1950-1. He might also with good reason have noted the similarity in composition to Mid-day Rest, Inishlacken, c.1951 (fig. 1) in which a monumental figure reclines in the foreground.
    This is one of a series of paintings by Gerard Dillon that depict figures in a beach setting. Like On the Beach, c.1950 and Stones on the Beach, c.1951-53 (CIÉ Collection) this work probably dates from the early 1950s, when Dillon spent periods painting in Connemara. These beach scenes are some of the most enigmatic images of Dillon’s oeuvre. In each case figures occupy a landscape that is both the western seaboard and a marginal space where the laws of everyday life seem to falter.
    In this image the barren beach setting concentrates attention on the three figures. While the man and woman in the background appear to be engaged in conversation, the dark-haired girl, whose reclining body fills the foreground, twists her torso to gaze back out of the canvas towards the viewer. The man’s moustache, balding head and brightly coloured shirt resemble contemporary pictures of Dillon and suggest that this image is a self-portrait.
    Self-portraiture and the inclusion of figures who address the viewer are recurring themes within Dillon’s art. Self-contained Flat, c.1953 (Ulster Museum), contains three self-portraits, including one image of Dillon as the artist gazing out at his audience. This painting also features a reclining figure, a nude, whose long dark hair and twisted torso are reminiscent of Girl on Beach. While the figure in Selfcontained Flat has been linked to the nude in Gauguin’s Manao Tu Tapu, the girl in this painting is more reminiscent of myth than art history.1 Despite the flat expanse of sand between them, the couple do not appear to notice her presence. It is not clear whether she is visible to them or reserved for our eyes only.
    In Irish legend the West coast is a site of contact between the world of men and the world of the Sidhe. Tír na nÓg, the land of youth where Oisín spent three hundred years, is perceived to be off the West coast and there are many tales of contact between mortals and Selkies or Merrows, the bewitching Irish mermaids who would occasionally become trapped in human form. Whether or not Dillon intended the mysterious figure in Girl on Beach to be interpreted as an otherworldly being, he certainly left the interpretation of this scene open, a sense that is enhanced by setting this picture in the wide open spaces of the western shoreline.
    Dr. Riann Coulter
    Footnote:
    1. Gerard Keenan, ‘Farset and Gomorrah’, Honest Ulsterman, no. 57, 1977, pp. 84-5.

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FLOWER TREE
FLOWER TREE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 28 November 2011 / 36

Published Estimate: €5000-7000

Price Realised: €0

  • Signature: signed lower right; with inscribed label detailing title and provenance on reverse
  • Medium: oil on board
  • Dimensions: 50 by 38cm., 19.7 5 by 15in.
  • Label on reverse reads: "Flower Tree; by Dan O'Neill: oil on board. This was painted sometime in the early 1950s and is one of a number of contemporary pictures on a similar theme. It was amongst an assortment of paintings, sketches and drawings given to and left with Sheilagh Deacon, the artist's friend and model. On her death in 1980 the painting came to Deacon's sister of Woolwich, the [then] present owner. It has not previously been shown or offered for sale." Inscription dated May 1996.

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THE BROTHERS
THE BROTHERS
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2011 / 37

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: signed lower right inscribed ["To Dan /The Brothers" / Gerard Dillon"] on reverse
  • Medium: oil on board with coloured pencil
  • Dimensions: 10 by 32cm., 4 by 12.7 5in.
  • Provenance: Provenance:Family of Dan O'Neill; Private collection
  • This work shows the particular influence of Matisse with its bold use of colour and decoupage-style technique.

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THE BEACHCOMBERS
THE BEACHCOMBERS
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 28 November 2011 / 38

Published Estimate: €12000-15000

Price Realised: €12500


"...AND DISAPPEARED WITH A CURIOUS PERFUME AND MOST MELODIOUS TWANG."
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2011 / 39

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed lower left; with poem inscribed in the right-hand margin; with poem printed and affixed verso
  • Medium: pen and ink with gouache over pencil
  • Dimensions: 11 by 17cm., 4.5 by 6.75in.
  • Provenance: Provenance:Private Collector Gallery, Cork; Private collection
  • Poem reads, "Anno 1670, not far from Cirencester, was an apparition; being demanded whether a good spirit or a bad? returned no answer, but disappeared with a curious perfume and most melodious twang. Mr. W. Lilly believes it was a fairy." John Aubery, Apparition, Miscellanies (1696) John Aubery (1626-1697) was an English antiquary, natural philosopher and writer. Miscellanies was a collection of twenty-one short chapters on supernatural phenomena and the occult.

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THE SHEPHERD DRIVING HIS FLOCK TO THE EAST END OF TORY ISLAND, 1967
THE SHEPHERD DRIVING HIS FLOCK TO THE EAST END OF TORY ISLAND, 1967
James Dixon (1887-1970)

Auction Date / Lot No.: 28 November 2011 / 40

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: signed, inscribed and dated in pencil lower right
  • Medium: oil on paper
  • Dimensions: 55 by 74cm., 21.5 by 29in.
  • James Dixon was the first of the Tory Islanders to begin painting, spurred on by the example of Derek Hill, who first visited the island 1959. After watching Hill at work on a view of West End village, Dixon commented, "I think I could do better". Hill immediately offered the fisherman paints, paper and brushes; although the latter were politely declined in favour of brushes that Dixon constructed himself using donkey hairs. The majority of Dixon's subjects are local scenes and events on Tory such as this one.

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PIPERSTOWN SANDPITS, 1973
PIPERSTOWN SANDPITS, 1973
Patrick Pye (b.1929)

Auction Date / Lot No.: 28 November 2011 / 41

Published Estimate: €600-800

Price Realised: €950

  • Signature: signed with initials and dated lower right; with typed David Hendriks Gallery label on reverse
  • Medium: pastel
  • Dimensions: 43 by 65cm., 17 by 25.5in.
  • Provenance: Provenance:David Hendriks Gallery, Dublin; Private collection
  • Exhibited: Exhibited:'Patrick Pye', David Hendriks Gallery, Dublin, 5-21 September 1974, catalogue no. 8 [£90]
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STRAW MAN, c.1950
STRAW MAN, c.1950
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 28 November 2011 / 42

Published Estimate: €1000-1500

Price Realised: €2000


THE NUN, 1956
THE NUN, 1956
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 28 November 2011 / 43

Published Estimate: €6000-8000

Price Realised: €5800

  • Signature: signed and dated lower right; with title printed in the mount lower right; inscribed with title, medium and address [Upper Mount Street] on label on reverse
  • Medium: ink and watercolour on Japanese paper
  • Dimensions: 58 by 39cm., 23 by 15.2 5in.
  • Provenance: Provenance:Formerly in the Collection of Sir Basil Goulding; Private collection
  • Exhibited: Exhibited:'Irish Exhibition of Living Art, 1957, no. 58; 'Two Painters', 1965, no. 1
  • Literature: Literature:Cormican, Garrett, Camille Souter, The Mirror in the Sea, Whyte's Dublin 2006, catalogue no. 26, p.216
  • This painting may have also been exhibited in El Habano Restaurant under the title Two Nuns. Its whereabouts until now had been unknown to author Garrett Cormican. The reference to Mount Street on reverse would date this work to the latter half of 1956, as some months after July, Cormican notes a change of address for the artist and her family. The move to Upper Mount Street brought Souter into a dense artistic community, “Nearly every painter and writer lived between Mount Street, Herbert Street, Upper and Lower Fitzwilliam Street and Lesson Street before they were all done up for business. It was an artistic hub. One knew everybody…. Anne Yeats, Patrick Hickey, Patrick Pye, Patrick Collins and, for a time, Charles Brady were all virtually next-door neighbours.”

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RECONSTRUCTED HEAD OF A YOUNG WOMAN, 1968
RECONSTRUCTED HEAD OF A YOUNG WOMAN, 1968
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2011 / 43.1

Published Estimate: €50000-70000

Price Realised: €0

  • Signature: signed, inscribed and dated on reverse; also with original exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 102 by 102cm., 40 by 40in.
  • Provenance: Provenance:Gimpel Fils Gallery, London; Taylor Galleries, Dublin; Whence purchased by the present owner in 1989
  • Exhibited: Exhibited:'Louis le Brocquy: Recent Paintings', Gimpel Fils Gallery, London, 1-26 October 1968; Gimpel and Hanover Galerie, Zurich, 10 January - 12 February, 1969, catalogue no. 29 (illustrated in catalogue)
  • Literature: Literature:'Louis le Brocquy: Recent Paintings', Gimpel Fils Gallery, London, 1-26 October 1968, and Gimpel and Hanover Galerie, Zurich, 10 January - 12 February, catalogue no. 29 (illustrated in catalogue)
  • Artist's archival no. 217. Louis le Brocquy has long been interested in the ancient Celtic conception of the human skull as a “magic box that holds the spirit prisoner”. This idea first stirred his imagination during a visit in 1964 to the Musée de l’Homme in Paris, where he was intrigued by a collection of Polynesian heads modelled in clay and decorated with vegetable paints and cowrie shells. Some months later he visited the archaeological site of Entremont, near Aix-en-Provence, where he sketched the remains of Celtic steles (or commemorative stones) carved with symbolic ancestral heads. As Dorothy Walker has observed, this encounter with the artist’s “own vestigial culture” – that of the Celtic people – “strengthened and brightened the personal revelation of the Oceanic heads”. Le Brocquy set to work on a series of ancestral heads, adding to the “double revelation” of the Oceanic and Celtic heads his own “vivid sense of the loneliness of Palaeolithic man” (Dorothy Walker, Louis le Brocquy, Ward River Press, 1981, p. 44).With Louis le Brocquy, and particularly the head series, the iconography of the Neolithic temple of Entremont in France and the cult of the severed head, is equally pertinent to Willem de Kooning’s interest in ancient fetishes of the female deity. Le Brocquy’s body of work with the head, which has been a source of exploration and engagement for him, has direct parallels to the head of de Kooning’s painting in Woman (MOMA, New York). The discovery in Paris of the decorated craniums from ancient cultures by le Brocquy in 1964 was a seminal moment in his practice as an artist. This paralleled the momentous epoch in New York, where the European avant-garde had been in exile through the IIWW, and out of which had developed Abstract Expressionism or the New York School.Like Bacon, de Kooning decided to continue the exploration of body in space and the iconographic aspects of its physical presence as a motif, and integrated the apparent extremes of paint and application into a more formally constructed but deliberately eviscerated surface quality. The paint has its own internal dynamic, as in abstraction, but the consideration of the motif has a challenging identity which responds to our historical relationship with classical western art and ancient symbolism.It is this parallel tradition to late modernist abstraction that places Louis le Brocquy’s work of this period succinctly within the tradition of Bacon and de Kooning. The brushstrokes emote a sense of deconstructed internal dialogue, yet succinctly articulate an image: the human head.Ciarán BennettPollock Krasner Research Fellow, New York

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BOGLAND FIELD, 1996
BOGLAND FIELD, 1996
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 28 November 2011 / 44

Published Estimate: €2500-3500

Price Realised: €3400

  • Signature: signed and dated in pencil lower left; signed again and with title on reverse; with typed Taylor Galleries label on reverse
  • Medium: egg tempera on paper
  • Dimensions: 56 by 76cm., 22 by 30in.
  • Provenance: Provenance:Taylor Galleries, Dublin; Private collection
  • Exhibited: Exhibited:'Seán McSweeney', Taylor Galleries, Dublin, c.1998, catalogue no. 48
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DANNY MAC'S, 1994
DANNY MAC'S, 1994
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 28 November 2011 / 45

Published Estimate: €1500-2000

Price Realised: €2100

  • Signature: signed and dated lower left; inscribed with title, signed and dated on reverse
  • Medium: acrylic on paper
  • Dimensions: 33 by 50cm., 13 by 19.5in.
  • Provenance: Provenance:Taylor Galleries Dublin; Whence purchased by the present owner
  • Exhibited: Exhibited:'Seán McSweeney', Taylor Galleries, Dublin, December 1994 to January 1995, catalogue no. 31
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SHORELINE, SLIGO, 1992
SHORELINE, SLIGO, 1992
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 28 November 2011 / 46

Published Estimate: €600-800

Price Realised: €0

  • Signature: signed and dated in pencil lower right; with typed Frederick Gallery label on reverse
  • Medium: oil over watercolour with pencil on paper
  • Dimensions: 13 by 19cm., 5 by 7.5in.
  • Provenance: Provenance:Frederick Gallery, Dublin; Private collection
  • Exhibited: Exhibited:Frederick Gallery, Dublin; October, 1995, catalogue no. 8
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LA GRACIOSA, 1989
LA GRACIOSA, 1989
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 28 November 2011 / 47

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed with initials lower left; dated lower right; with typed Taylor Galleries label on reverse; also with photocopied image affixed on reverse indicating the artist's archival number [6296] beneath the backing board
  • Medium: oil on board with collage element
  • Dimensions: 15 by 30cm., 6 by 11.7 5in.
  • Provenance: Provenance:Taylor Galleries, Dublin; Private collection
  • La Graciosa (Spanish for graceful) is a Volcanic Island in the Canary Islands located 2km north of Lanzarote. In 1973 O'Malley married his artist wife, Jane Harris, and together they made regular visits to the isles of Sicilly, the Bahamas and the Canary Islands.

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UNTITLED ABSTRACT (BLUE), 1968
UNTITLED ABSTRACT (BLUE), 1968
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 28 November 2011 / 48

Published Estimate: €1000-1500

Price Realised: €1000

  • Signature: signed and dated lower right
  • Medium: watercolour, crayon and ink on paper
  • Dimensions: 23 by 28cm., 9 by 11in.
  • Exhibited: Exhibited:Peterloo Gallery, Manchester, c.1968, catalogue no. 41
  • Painted at the Ship Studio, St. Ives.

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UNTITLED ABSTRACT (GREEN), 1968
UNTITLED ABSTRACT (GREEN), 1968
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 28 November 2011 / 49

Published Estimate: €1000-1500

Price Realised: €1500

  • Signature: signed and dated lower right
  • Medium: watercolour, crayon, gouache and ink on paper
  • Dimensions: 23 by 28cm., 9 by 11in.
  • Exhibited: Exhibited:Peterloo Gallery, Manchester, circa 1968, catalogue no. 40
  • Painted at the Ship Studio, St. Ives, Cornwall.

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MORNING IN THE MOUNTAINS, 1982
MORNING IN THE MOUNTAINS, 1982
Terence P. Flanagan RHA PPRUA (1929-2011)

Auction Date / Lot No.: 28 November 2011 / 50

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed lower right; with inscribed Caldwell Galleries label on reverse; with title and date hand-written on reverse
  • Medium: watercolour
  • Dimensions: 56 by 76cm., 22 by 30in.
  • Provenance: Provenance:Tom Caldwell Gallery, Belfast; Private collection
  • Exhibited: Exhibited:'New Watercolours by TP Flanagan', Tom Caldwell Gallery, Belfast, 18 May -14 June 1982, exhibition no. 1, as Distant Islands, [£630] (illustrated in colour on exhibition invitation and on cover of exhibition listing)
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