12 March 2012

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WILD GARDEN, BALLINABOY, GALWAY
WILD GARDEN, BALLINABOY, GALWAY
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 12 March 2012 / 1

Published Estimate: €2000-3000

Price Realised: €3400

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 30.48 by 22.86cm., 12 by 9in.
  • Colour and nature are dominant features of Kenneth Webb’s painting with the West of Ireland marrying these characteristics of the artist’s expression and forming a crucial part of his vocabulary since he first arrived in Galway over fifty years ago. His garden in Connemara is a recurring source of inspiration for him, whether he focuses on its wild flowers, waterlilies, rock pools or turf banks.Born in London, Kenneth Webb began his artistic career in the UK with a Slade Scholarship. He exhibited for the first time with the Royal Academy in 1949 and continued to pursue his studies in design that year in Gloucester College. In 1953 he relocated to Belfast and was appointed Head of The Painting School at the Ulster College of Art where his part-time assistants included Tom Carr, John Luke and Colin Middleton. During his 6 years in this position Webb had a solo show care of the Arts Council of Northern Ireland, founded the Irish School of Landscape Painting and was elected to the Royal Society of Arts. An array of solo exhibitions took place in subsequent years in Dublin and Belfast as well as in the UK, Europe and the US and Canada. In the 1970s Webb opened his studio in Ballinaboy, near Clifden and began exhibiting regularly with Kenny’s in Galway. A 1990s retrospective show was held with Kenny’s and the artist has been the subject of film documentaries and texts exploring his life and works to date. 2006 marked the artist’s 80th birthday and his 18th solo show in Kennys since 1963.To coincide with the Olympic celebrations in London, Webb’s UK agent W.H. Patterson’s, with whom he has a thirty year relationship, will host an exhibition of his current work and highlights from previous years. It will launch on 17 July and run until end August 2012 after which point the exhibits will travel to Hong Kong to be show cased there. We are grateful to the artist for his kind assistance in cataloguing these lots.

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THE ENCHANTED FOREST, c.1960s
THE ENCHANTED FOREST, c.1960s
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 12 March 2012 / 2

Published Estimate: €6000-8000

Price Realised: €7800

  • Signature: signed lower left; inscribed by artist on reverse; also with inscribed Blue Door Studio label on reverse
  • Medium: oil on canvas
  • Dimensions: 41.91 by 102.87cm., 16.5 by 40.5in.
  • Provenance: The Blue Door Studio, Dublin; Private collection
  • Colour and nature are dominant features of Kenneth Webb’s painting with the West of Ireland marrying these characteristics of the artist’s expression and forming a crucial part of his vocabulary since he first arrived in Galway over fifty years ago. His garden in Connemara is a recurring source of inspiration for him, whether he focuses on its wild flowers, waterlilies, rock pools or turf banks.Born in London, Kenneth Webb began his artistic career in the UK with a Slade Scholarship. He exhibited for the first time with the Royal Academy in 1949 and continued to pursue his studies in design that year in Gloucester College. In 1953 he relocated to Belfast and was appointed Head of The Painting School at the Ulster College of Art where his part-time assistants included Tom Carr, John Luke and Colin Middleton. During his 6 years in this position Webb had a solo show care of the Arts Council of Northern Ireland, founded the Irish School of Landscape Painting and was elected to the Royal Society of Arts. An array of solo exhibitions took place in subsequent years in Dublin and Belfast as well as in the UK, Europe and the US and Canada. In the 1970s Webb opened his studio in Ballinaboy, near Clifden and began exhibiting regularly with Kenny’s in Galway. A 1990s retrospective show was held with Kenny’s and the artist has been the subject of film documentaries and texts exploring his life and works to date. 2006 marked the artist’s 80th birthday and his 18th solo show in Kennys since 1963.To coincide with the Olympic celebrations in London, Webb’s UK agent W.H. Patterson’s, with whom he has a thirty year relationship, will host an exhibition of his current work and highlights from previous years. It will launch on 17 July and run until end August 2012 after which point the exhibits will travel to Hong Kong to be show cased there. We are grateful to the artist for his kind assistance in cataloguing these lots.

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POPPIES ON YELLOW, c.1980s
POPPIES ON YELLOW, c.1980s
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 12 March 2012 / 3

Published Estimate: €4000-5000

Price Realised: €4000

  • Signature: signed lower right; with title on reverse
  • Medium: oil on canvas
  • Dimensions: 50.8 by 76.2cm., 20 by 30in.
  • Colour and nature are dominant features of Kenneth Webb’s painting with the West of Ireland marrying these characteristics of the artist’s expression and forming a crucial part of his vocabulary since he first arrived in Galway over fifty years ago. His garden in Connemara is a recurring source of inspiration for him, whether he focuses on its wild flowers, waterlilies, rock pools or turf banks.Born in London, Kenneth Webb began his artistic career in the UK with a Slade Scholarship. He exhibited for the first time with the Royal Academy in 1949 and continued to pursue his studies in design that year in Gloucester College. In 1953 he relocated to Belfast and was appointed Head of The Painting School at the Ulster College of Art where his part-time assistants included Tom Carr, John Luke and Colin Middleton. During his 6 years in this position Webb had a solo show care of the Arts Council of Northern Ireland, founded the Irish School of Landscape Painting and was elected to the Royal Society of Arts. An array of solo exhibitions took place in subsequent years in Dublin and Belfast as well as in the UK, Europe and the US and Canada. In the 1970s Webb opened his studio in Ballinaboy, near Clifden and began exhibiting regularly with Kenny’s in Galway. A 1990s retrospective show was held with Kenny’s and the artist has been the subject of film documentaries and texts exploring his life and works to date. 2006 marked the artist’s 80th birthday and his 18th solo show in Kennys since 1963.To coincide with the Olympic celebrations in London, Webb’s UK agent W.H. Patterson’s, with whom he has a thirty year relationship, will host an exhibition of his current work and highlights from previous years. It will launch on 17 July and run until end August 2012 after which point the exhibits will travel to Hong Kong to be show cased there. We are grateful to the artist for his kind assistance in cataloguing these lots.

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EVENING GLOW, BALLINABOY POND, c.2005
EVENING GLOW, BALLINABOY POND, c.2005
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 12 March 2012 / 4

Published Estimate: €4000-6000

Price Realised: €7200

  • Signature: signed lower right; with inscribed label of the Purple Onion Gallery, on reverse
  • Medium: oil on canvas
  • Dimensions: 50.8 by 40.64cm., 20 by 16in.
  • Provenance: Purple Onion Gallery, Roscommon; Private collection
  • Colour and nature are dominant features of Kenneth Webb’s painting with the West of Ireland marrying these characteristics of the artist’s expression and forming a crucial part of his vocabulary since he first arrived in Galway over fifty years ago. His garden in Connemara is a recurring source of inspiration for him, whether he focuses on its wild flowers, waterlilies, rock pools or turf banks.Born in London, Kenneth Webb began his artistic career in the UK with a Slade Scholarship. He exhibited for the first time with the Royal Academy in 1949 and continued to pursue his studies in design that year in Gloucester College. In 1953 he relocated to Belfast and was appointed Head of The Painting School at the Ulster College of Art where his part-time assistants included Tom Carr, John Luke and Colin Middleton. During his 6 years in this position Webb had a solo show care of the Arts Council of Northern Ireland, founded the Irish School of Landscape Painting and was elected to the Royal Society of Arts. An array of solo exhibitions took place in subsequent years in Dublin and Belfast as well as in the UK, Europe and the US and Canada. In the 1970s Webb opened his studio in Ballinaboy, near Clifden and began exhibiting regularly with Kenny’s in Galway. A 1990s retrospective show was held with Kenny’s and the artist has been the subject of film documentaries and texts exploring his life and works to date. 2006 marked the artist’s 80th birthday and his 18th solo show in Kennys since 1963.To coincide with the Olympic celebrations in London, Webb’s UK agent W.H. Patterson’s, with whom he has a thirty year relationship, will host an exhibition of his current work and highlights from previous years. It will launch on 17 July and run until end August 2012 after which point the exhibits will travel to Hong Kong to be show cased there. We are grateful to the artist for his kind assistance in cataloguing these lots.

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WATERLILIES, MARCONI POND, c.1970s
WATERLILIES, MARCONI POND, c.1970s
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 12 March 2012 / 5

Published Estimate: €3000-5000

Price Realised: €4400

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 50.8 by 76.2cm., 20 by 30in.
  • Colour and nature are dominant features of Kenneth Webb’s painting with the West of Ireland marrying these characteristics of the artist’s expression and forming a crucial part of his vocabulary since he first arrived in Galway over fifty years ago. His garden in Connemara is a recurring source of inspiration for him, whether he focuses on its wild flowers, waterlilies, rock pools or turf banks.Born in London, Kenneth Webb began his artistic career in the UK with a Slade Scholarship. He exhibited for the first time with the Royal Academy in 1949 and continued to pursue his studies in design that year in Gloucester College. In 1953 he relocated to Belfast and was appointed Head of The Painting School at the Ulster College of Art where his part-time assistants included Tom Carr, John Luke and Colin Middleton. During his 6 years in this position Webb had a solo show care of the Arts Council of Northern Ireland, founded the Irish School of Landscape Painting and was elected to the Royal Society of Arts. An array of solo exhibitions took place in subsequent years in Dublin and Belfast as well as in the UK, Europe and the US and Canada. In the 1970s Webb opened his studio in Ballinaboy, near Clifden and began exhibiting regularly with Kenny’s in Galway. A 1990s retrospective show was held with Kenny’s and the artist has been the subject of film documentaries and texts exploring his life and works to date. 2006 marked the artist’s 80th birthday and his 18th solo show in Kennys since 1963.To coincide with the Olympic celebrations in London, Webb’s UK agent W.H. Patterson’s, with whom he has a thirty year relationship, will host an exhibition of his current work and highlights from previous years. It will launch on 17 July and run until end August 2012 after which point the exhibits will travel to Hong Kong to be show cased there. We are grateful to the artist for his kind assistance in cataloguing these lots.

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HORSES
HORSES
Liam O'Neill (b.1954)

Auction Date / Lot No.: 12 March 2012 / 6

Published Estimate: €4000-6000

Price Realised: €4800

  • Signature: signed lower right; with typed gallery label on reverse
  • Medium: acrylic on canvas
  • Dimensions: 76.2 by 50.8cm., 30 by 20in.
  • Provenance: Apollo Gallery, Dublin; Private collection
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STUDY, TALLOW HORSE FAIR, 1992
STUDY, TALLOW HORSE FAIR, 1992
Arthur K. Maderson (b.1942)

Auction Date / Lot No.: 12 March 2012 / 7

Published Estimate: €2500-3500

Price Realised: €2500


STUDY, NIGHT MARKET, LE VIGNAN, MIDI-FRANCE
STUDY, NIGHT MARKET, LE VIGNAN, MIDI-FRANCE
Arthur K. Maderson (b.1942)

Auction Date / Lot No.: 12 March 2012 / 8

Published Estimate: €3000-4000

Price Realised: €2900

  • Signature: signed lower left; signed and inscribed again on reverse
  • Medium: oil on board
  • Dimensions: 81.28 by 119.38cm., 32 by 47in.
  • Provenance: Whyte's, 20 September 2005, lot 160; Whence purchased by the present owner
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WHITE FARM BUILDINGS, NUTTS CORNER, BELFAST, c.1960s
WHITE FARM BUILDINGS, NUTTS CORNER, BELFAST, c.1960s
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 12 March 2012 / 9

Published Estimate: €3000-4000

Price Realised: €4000

  • Signature: signed lower left; signed again, with title and original price [£150gns] inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 50.8 by 60.96cm., 20 by 24in.
  • Colour and nature are dominant features of Kenneth Webb’s painting with the West of Ireland marrying these characteristics of the artist’s expression and forming a crucial part of his vocabulary since he first arrived in Galway over fifty years ago. His garden in Connemara is a recurring source of inspiration for him, whether he focuses on its wild flowers, waterlilies, rock pools or turf banks.Born in London, Kenneth Webb began his artistic career in the UK with a Slade Scholarship. He exhibited for the first time with the Royal Academy in 1949 and continued to pursue his studies in design that year in Gloucester College. In 1953 he relocated to Belfast and was appointed Head of The Painting School at the Ulster College of Art where his part-time assistants included Tom Carr, John Luke and Colin Middleton. During his 6 years in this position Webb had a solo show care of the Arts Council of Northern Ireland, founded the Irish School of Landscape Painting and was elected to the Royal Society of Arts. An array of solo exhibitions took place in subsequent years in Dublin and Belfast as well as in the UK, Europe and the US and Canada. In the 1970s Webb opened his studio in Ballinaboy, near Clifden and began exhibiting regularly with Kenny’s in Galway. A 1990s retrospective show was held with Kenny’s and the artist has been the subject of film documentaries and texts exploring his life and works to date. 2006 marked the artist’s 80th birthday and his 18th solo show in Kennys since 1963.To coincide with the Olympic celebrations in London, Webb’s UK agent W.H. Patterson’s, with whom he has a thirty year relationship, will host an exhibition of his current work and highlights from previous years. It will launch on 17 July and run until end August 2012 after which point the exhibits will travel to Hong Kong to be show cased there. We are grateful to the artist for his kind assistance in cataloguing these lots.

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LIGHTHOUSE, GALLEY HEAD, WEST CORK, 2005
LIGHTHOUSE, GALLEY HEAD, WEST CORK, 2005
Donald Teskey RHA (b.1956)

Auction Date / Lot No.: 12 March 2012 / 10

Published Estimate: €5000-7000

Price Realised: €12000


LIGHTHOUSE, KILCATHERINE, CORK
LIGHTHOUSE, KILCATHERINE, CORK
John Kingerlee (b.1936)

Auction Date / Lot No.: 12 March 2012 / 11

Published Estimate: €800-1200

Price Realised: €850


MAN WITH A MAGRITTE, 1973
MAN WITH A MAGRITTE, 1973
Robert Ballagh (b.1943)

Auction Date / Lot No.: 12 March 2012 / 12

Published Estimate: €25000-35000

Price Realised: 

  • Signature: each of the eight panels numbered, signed in monogram [RB] and dated ['73] on reverse
  • Medium: oil on canvas; (octaptych)
  • Dimensions: 243.84 by 121.92cm., 96 by 48in.
  • Provenance: Private collection
  • Exhibited: 'Portrayal or Betrayal' - an exhibition of portraits of Nicholas Treadwell, Nicholas Treadwell Gallery, London, 1973
  • Man with a Magritte was painted at a pivotal stage in Robert Ballagh's emergence as an international artist. Earlier in 1972 his first show at the Lerner Heller Gallery in New York was called off at the last moment. He was down to his last £100 and needed to sell a few paintings quickly. The painter Cecil King, an exhibitions officer at the Arts Council, advised him to try the Basel Art Fair, a sort of cultural Spring Show where hundreds of leading European galleries had stands. After four days without making a single contact, he was about to give up. Perhaps sensing his desperation, the Parisian Galerie des Quatre Mouvements agreed to look through his slides of series depicting people looking at paintings by iconic contemporary artists. They promptly offered to buy the lot for £2,500. Ballagh had chanced upon a style strikingly in tune with the New Realism then coming into vogue while painting a portrait of his collector friend Gordon Lambert standing beside an Albers painting. Now suddenly everyone wanted his work. Aktionsgalerie mounted a sell-out show in Bern, the Isy Brachot Gallery in Brussels followed suit. But first Ballagh accepted an invitation to participate in a group show on the theme of 'Portrayal or Betrayal' at the Nicholas Treadwell Gallery in London. The idea was to provide an interesting comparison of styles of portraiture in the spirit of the 1970s at a time when it was considered aesthetically redundant. Ballagh's acrylic on eight canvas panels show a man in white with a mop of black hair - in fact a portrait of the gallery owner, Nicholas Treadwell - looking at a surreal painting of a shattered window with jagged pieces of glass on the floor between drawn curtains. It is not a copy of an actual Magritte but rather a pastiche, as are all the paintings in this series that would become a virtual gallery of Ballagh's own version of iconic painters who come to define modern art. It uses a panel format; originally developed purely as a means of making large paintings in the small room in a terraced cottage in Broadstone, which he used as a studio up to 1970. Shattered glass would become a recurring motif in Ballagh's visual iconography, most notably in his portrait of the Miami Showband in 1976 and more recently, his 2009 portrait of the murdered Belfast solicitor Pat Finucane. The people looking at paintings series gradually developed into Ballagh's own personal examination of modernism. By the time he finished with it in 1975 by painting himself bending down to sign his 1970 homage to Goya's The Third of May he wasn't just signing off from the series, he was signing off from modernism itself and its rejection of all art that preceded it. Ciarán Carty Dublin, February 2012

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STAMP DESIGNS
STAMP DESIGNS
Robert Ballagh (b.1943)

Auction Date / Lot No.: 12 March 2012 / 13

Published Estimate: €3000-4000

Price Realised: 

  • Signature: signed lower right
  • Medium: mixed media
  • Dimensions: 396.24 by 182.88cm., 156 by 72in.
  • Provenance: Purchased from the artist by the present owner
  • Exhibited: 'Robert Ballagh', RHA Gallagher Gallery, Dublin, 14 September to 22 October 2006
  • A photomontage of Robert Ballagh's Irish postage stamp designs. Ballagh designed many commemorative and special stamps for the Irish Post Office in the 1970s to 1990s. He also designed the last series of Irish banknotes, replaced by the Euro in 2002.

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TWO SISTERS, 1979
TWO SISTERS, 1979
Barry Castle (1935-2006)

Auction Date / Lot No.: 12 March 2012 / 14

Published Estimate: €600-800

Price Realised: €750

  • Signature: signed with initials lower left; dated lower right; with title and artist's name on original gallery label affixed on reverse
  • Medium: oil on board
  • Dimensions: 41.91 by 60.96cm., 16.5 by 24in.
  • Provenance: Portal Gallery, Dublin; Private collection
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WITHOUT, 2, 1980
WITHOUT, 2, 1980
Cecil King (1921-1986)

Auction Date / Lot No.: 12 March 2012 / 15

Published Estimate: €300-500

Price Realised: €280

  • Signature: signed lower right; with original typed David Hendriks Gallery label on reverse; also with typed Cecil King Retrospective Exhibition label on reverse
  • Medium: oil on paper
  • Dimensions: 34.925 by 45.085cm., 13.75 by 17.75in.
  • Provenance: David Hendriks Gallery, Dublin; Where purchased by the present owner
  • Exhibited: 'Cecil King', David Hendriks Gallery, Dublin, March 1980;'Cecil King Retrospective Exhibition', Municipal Gallery of Modern Art, Dublin, 12 October to 8 November, 1981
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GEORGIAN DANCERS
GEORGIAN DANCERS
John Shinnors (b.1950)

Auction Date / Lot No.: 12 March 2012 / 16

Published Estimate: €4000-6000

Price Realised: €5400

  • Signature: signed lower right; titled and with artist's address [Roxboro Rd., Limerick] on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 40.64 by 50.8cm., 16 by 20in.
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MISS O'MURPHY, THE VERY FIRST REAL IRISH POLITICAL PICTURE SERIES, 1977
MISS O'MURPHY, THE VERY FIRST REAL IRISH POLITICAL PICTURE SERIES, 1977
Micheal Farrell (1940-2000)

Auction Date / Lot No.: 12 March 2012 / 17

Published Estimate: €800-1200

Price Realised: €950

  • Signature: signed, titled and dated [in the margins]; inscribed variously
  • Medium: watercolour with gouache over pencil on buff-coloured paper
  • Dimensions: 49.53 by 64.77cm., 19.5 by 25.5in.
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CAT AND BIRD
CAT AND BIRD
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 12 March 2012 / 18

Published Estimate: €800-1000

Price Realised: €1100


OLD MILL PORTMARNOCK, c.1926
OLD MILL PORTMARNOCK, c.1926
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 12 March 2012 / 19

Published Estimate: €5000-7000

Price Realised: €5000

  • Signature: signed lower left; with title and original price [£5-5-0] on reverse
  • Medium: oil on board
  • Dimensions: 28.575 by 38.735cm., 11.25 by 15.25in.
  • Exhibited: 'Impressions and Landscape Paintings by Harry A. Kernoff', St. Stephen's Green, 20 April to 4 May, 1926, catalogue no. 38
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THE BOLD ONE, KILRONAN QUAY, ARAN, 1971
THE BOLD ONE, KILRONAN QUAY, ARAN, 1971
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 12 March 2012 / 20

Published Estimate: €5000-6000

Price Realised: €5800

  • Signature: signed and dated lower right; inscribed with title and artist's address [Woodlane, Lurgan] on backing board; also bearing original inscribed artist's label on reverse
  • Medium: oil on board
  • Dimensions: 45.72 by 60.96cm., 18 by 24in.
  • Provenance: RHA, Dublin; Private collection
  • Exhibited: RHA, Dublin, 1972, catalogue no. 61
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EBB-TIDE
EBB-TIDE
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 12 March 2012 / 21

Published Estimate: €2000-3000

Price Realised: 

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 60.96 by 76.2cm., 24 by 30in.
  • Exhibited: thought to have been exhibited at, 'Further Aspects of Landscape: Exhibition of Paintings by Arthur Armstrong', Gallery 22, Dublin, 6-23 May 1980, as catalogue no. 16
  • Throughout the late sixties and seventies Armstrong painted at least four known works titled Ebb-Tide. The present example is most likely the last in that series, exhibited in 1980 at Gallery 22 on St Stephen’s Green. In reviewing this show, Desmond MacAvock noted that “all the paintings are of the rocky foreshore of the sea. Sometimes the view is across a bay with a hill on the far shore, but usually the subject is the pools and seaweed-festooned rocks weaving across the sands towards the distant sea” (Irish Times, 12 May 1980). He also noted the earthy palette of the works in that show - “browns, dark blues, sands coloured by the setting sun” - all of which aptly describes the present work.

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BARLEY MOON
BARLEY MOON
Norah McGuinness HRHA (1901-1980)

Auction Date / Lot No.: 12 March 2012 / 22

Published Estimate: €10000-15000

Price Realised: €17000

  • Signature: signed lower right; with original label on reverse
  • Medium: oil on canvas
  • Dimensions: 76.2 by 127cm., 30 by 50in.
  • Provenance: Dawson Gallery, Dublin; Whence purchased by the first owner; Adam's & Bonhams, Dublin, 30 May 2007; Private collection
  • Exhibited: 'Norah McGuinness Exhibition', Dawson Gallery, Dublin, 1964, catalogue no. 14
  • In the original frame of the Dawson Gallery, Dublin.This dark impressive landscape was exhibited at the Dawson Gallery, Dublin in 1964 during which time McGuinness had returned to live in Ireland. Having been formally trained at the Metropolitan School of Art, Dublin, the Chelsea Polytechnic, London, and on Mainie Jellett’s advice, under André l’Hôte in Paris, McGuinness, who was originally from Derry, proved to be a rounded, well travelled and informed artist at this point in her career. The present work, which is likely to have been executed from her cottage studio in the Dublin Mountains where she was living from 1957, shows the artist at her most confident. Her brushwork, while loose and fluid, retains control of technique with its precise application. The tone of Barley Moon is romantic both in title and subject matter. A full September moon dominates the sky and filters into the body of the work before resting in a pool of creamy luminosity in the foreground of the canvas. There is a sense of theatricality to this autumnal moonlight - an element to the work that perhaps resonates her time spent in the theatre world, in The Abbey, Dublin in the mid-twenties and later in the Westminster Theatre in London in the mid-thirties. The spotlight however in this case is focused on Barley Moon’s poetic lunar activity; the overall effect is sensual, mysterious and distinctly feminine.

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SYCAMORES, 1940
SYCAMORES, 1940
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 12 March 2012 / 23

Published Estimate: €15000-20000

Price Realised: €14500

  • Signature: signed lower left; with original typed label detailing title, date and artist's name and address [28, Chichester Avenue, Belfast] on reverse
  • Medium: oil on canvas
  • Dimensions: 50.8 by 60.96cm., 20 by 24in.
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FIGURE ON A SHORE
FIGURE ON A SHORE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 12 March 2012 / 24

Published Estimate: €15000-20000

Price Realised: €14500

  • Signature: signed lower left; with inscribed label detailing title and original price on reverse; also with Victor Waddington Galleries stamp preserved on reverse
  • Medium: oil on board
  • Dimensions: 41.275 by 62.23cm., 16.25 by 24.5in.
  • Provenance: Victor Waddington Galleries, Dublin; Private collection; Sotheby's, London, 2 June 1995, lot 328; Private collection
  • Exhibited: Victor Waddington Galleries, Dublin (catalogue untraced)
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LAC D'ANNECY, THE ALPS, c.1930s
LAC D'ANNECY, THE ALPS, c.1930s
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 12 March 2012 / 25

Published Estimate: €2000-3000

Price Realised: €1100


LANDSCAPE
LANDSCAPE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 12 March 2012 / 26

Published Estimate: €1800-2200

Price Realised: 

  • Signature: signed lower right; with typed label on reverse detailing artist's name, title and catalogue number [195]; also variously numbered and with "Z Lewinter Frankl" in pencil on reverse
  • Medium: watercolour with gouache
  • Dimensions: 12.065 by 19.685cm., 4.75 by 7.75in.
  • Provenance: The Collection of Zoltan Lewinter Frankl, Belfast; With the Ava Gallery, Clandeboye; Private collection
  • Exhibited: Ava Gallery, Clandeboye (catalogue untraced)
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NIGHTSCAPE I
NIGHTSCAPE I
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 12 March 2012 / 27

Published Estimate: €1500-2000

Price Realised: 


BOATS IN FALCARRAGH, COUNTY DONEGAL
BOATS IN FALCARRAGH, COUNTY DONEGAL
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 12 March 2012 / 28

Published Estimate: €12000-15000

Price Realised: €11500

  • Signature: signed lower left; with title on reverse; also with Victor Waddington Galleries label on reverse
  • Medium: oil on board
  • Dimensions: 50.8 by 60.96cm., 20 by 24in.
  • Provenance: Victor Waddington Galleries, Dublin; Private collection
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ON THE COURTHOUSE STEPS, 1946
ON THE COURTHOUSE STEPS, 1946
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 12 March 2012 / 29

Published Estimate: €90000-120000

Price Realised: €88000

  • Signature: signed lower right; inscribed with title on stretcher on reverse; with typed Arts Council exhibition label affixed on reverse; also with Dawson Gallery framing label on reverse
  • Medium: oil on canvas
  • Dimensions: 35.56 by 45.72cm., 14 by 18in.
  • Provenance: Purchased directly from the artist by Leo Smith, April 1946; with the Dawson Gallery, Dublin; 'The Irish Sale', Christies, 12 May 2006, lot 74; Private collection
  • Exhibited: 'Contemporary Irish Art Society: Paintings and Sculpture from Private Collections', Municipal Gallery, Dublin, July 1965, exhibition no. 72; 'Modern Irish Painting, European Tour', Arts Council of Ireland (An Chomhairle Ealaíon), Dublin, 1969-1971, exhibition no. 54, travelling exhibition: Helsinki, Gothenburg, Norköpping, Stockholm, Copenhagen, Bielefeld, Bonn, Saarbrücken, London, Leeds, Glasgow, Mayo and Donegal
  • Literature: Pyle, Hilary, Jack B. Yeats A Catalogue Raisonné of the Oil Paintings, Vol. II, p.672, no. 744 (illustrated, Vol. III, p.396)
  • Contained in its original hand-carved Waddington frame. The painting shows a vagrant resting on the steps of a court house, identified as that of Naas, Co. Kildare. (See footnote 1.) His stick and bundle of belongings are beside him. The man’s casual appearance is in marked contrast to the classical formality of the building which is typical of the grand-style architecture of Irish court houses. These were designed to project a sense of authority on to the surrounding streets and their inhabitants, although this is not evident in Yeats’ picture.

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MEN FISHING, WEST RIVER FALLS, NOVA SCOTIA, CANADA, 1957
MEN FISHING, WEST RIVER FALLS, NOVA SCOTIA, CANADA, 1957
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 12 March 2012 / 30

Published Estimate: €6000-8000

Price Realised: 

  • Signature: signed lower left; titled and dated on reverse
  • Medium: oil and pastel on board
  • Dimensions: 43.18 by 53.34cm., 17 by 21in.
  • Provenance: Jefferson Smurfit Group, Dublin; Adam's & Bonhams, 8 December 2004, lot 113; Private collection
  • Exhibited: Hendriks Gallery, Dublin, 1958 (catalogue untraced); '30th Anniversary Exhibition of Harry Kernoff (1900-1974)', Spiller Art, Dublin, 16-28 February 2005, catalogue no. 2
  • Kernoff visited Canada for six months in 1957 at the invitation of a Canadian businessman, whom he met and befriended in the Bailey pub. He completed approximately thirty works there and they all sold in the Hendriks Gallery in 1958, including this oil and pastel of West River Falls. This painting was subsequently in the Jefferson Smurfit Collection and has been in another private collection since 2004.

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AN ASPECT OF SUPERREALISM or FLOATING CUBES, (AN ESSAY IN SUPERREALISM)
AN ASPECT OF SUPERREALISM or FLOATING CUBES, (AN ESSAY IN SUPERREALISM)
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 12 March 2012 / 31

Published Estimate: €2000-3000

Price Realised: €1800

  • Signature: signed lower right; with title inscribed on reverse; also with typed label on reverse
  • Medium: oil on board
  • Dimensions: 50.8 by 54.61cm., 20 by 21.5in.
  • Exhibited: RHA, Dublin, 1962, as Floating Cubes, (an essay in Superrealism), catalogue no. 122 [£55-0-0]; 'The 30th Anniversary Exhibition of Harry Kernoff (1900-1974)', Spiller Art Gallery, Dublin, 16-26 February, 2005, catalogue no. 7 (illustrated)
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PORTRAIT OF HERMAN (THE ARTIST'S BROTHER), 1925
PORTRAIT OF HERMAN (THE ARTIST'S BROTHER), 1925
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 12 March 2012 / 32

Published Estimate: €2500-3500

Price Realised: €2500

  • Signature: signed and dated upper right; with dedication ["To my darling Winnie with love, K"] inscribed in pencil on reverse
  • Medium: oil on panel
  • Dimensions: 29.845 by 20.955cm., 11.75 by 8.25in.
  • Provenance: The collection of Winifred Gorry; Thence by descent to the present owner
  • Exhibited: possibly exhibited at 'Exhibition of Painting and Sculpture (Radical Club Painters' Group)', Daniel Egan's Salon, Dublin, 3-17 May 1926, catalogue no. 2 [as Head of the Artist's Brother by Harry A. Kernoff]
  • It would appear that in 1925 the artist painted several works with his family as the subject. The Harry Kernoff Memorial Exhibition at the Dublin City Gallery, The Hugh Lane (14 December to 30 January 1977) included two works dating to 1925 both of which depicted the artist's father in his workshop, one by day the other by night (catalogue nos. 51 and 52 respectively).Miss Winifred Gorry was romantically linked to Harry Kernoff’s brother, Herman (affectionately known as “Hymie” or “K”). Lots 32 to 34 are testament to their relationship which was clearly one of great affection. Owing to their differing religious backgrounds marriage was never a possibility for the couple and like his brother Harry, who similarly never married, Herman’s relationship with Winifred was never legally bound. Miss Gorry was a lady of independent means and formed part of a strong fashion team with Arnotts department store in Dublin where she was responsible for buying hats and jewellery. She retired in 1975 and is remembered fondly in Arnotts 1843-1993 as “inventive, quiet and politely confident”, “[a] modest but extremely clever buyer with outstanding taste”.

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COLLECTION OF 9 WOODCUTS and A LIMITED EDITION BOOK
COLLECTION OF 9 WOODCUTS and A LIMITED EDITION BOOK
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 12 March 2012 / 33

Published Estimate: €600-800

Price Realised: €600

  • Signature: variously signed, numbered, titled and dated; some with dedications ["To Winnie"] inscribed on reverse
  • Medium: limited edition book (no. 85 from an edition of 300, lacks 8 plates); (1); woodcuts; (framed); (1); (unframed); (8)
  • Dimensions: 17.78 by 15.24cm., 7 by 6in.
  • Provenance: The collection of Winifred Gorry; Thence by descent to the present owner
  • Average size given.Limited edition book, 12 Woodcuts, lacks 8 plates. Titles of loose woodcuts include, Mendicant Flute Player; (framed), Carol Singers, Leprechaun (2), A Quiet Smoke, The Masher, Byzantine Madonna, A Dublin Cab and Breacadh an Lae.

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A COLLECTION OF KERNOFF EPHEMERA
A COLLECTION OF KERNOFF EPHEMERA
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 12 March 2012 / 34

Published Estimate: €500-700

Price Realised: €680

  • Signature: variously signed, inscribed, annotated and dated; some of the texts with pencil sketches within
  • Medium: books; (6); photographs; (8); negative; (1); exhibition catalogues; (2); calendars; (4); miscellaneous; (6)
  • Dimensions: 0 by 0cm., by in.
  • Provenance: The collection of Winifred Gorry; Thence by descent to the present owner
  • Collection contains personal photographs showing Herman ["Hymie"] and his companion Miss Gorry, catalogues (Harry Kernoff exhibitions, group exhibitions, RHA (1941) and IELA (1955) among others, calendars designed by Kernoff (1968 and 1974), an Order Form for woodcuts, reading material including; The Crown Jewels, Semi Precious Stones (both first editions) and Edible Fungi (revised, 1948) as well as Psychology and Psychotherapy by Willuam Brown (1921). Also with sketches by the artist within. Humorous notes such as “I AM THE GREAT KERNOFF!” on one page. Van Gogh by Paul Colin (1926) contains several portrait sketches including a self portrait and a portrait of Herman. A rare, exciting and desirable collection.

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THIRTY-SIX WOODCUTS (1951) and STROLLING - PLAYER
THIRTY-SIX WOODCUTS (1951) and STROLLING - PLAYER
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 12 March 2012 / 35

Published Estimate: €350-450

Price Realised: €340

  • Signature: book, signed and numbered [24] in red ink on title page; woodcut, signed in red ink lower centre; signed and titled in the plate lower right and lower left respectively
  • Medium: limited edition book; (1); woodcut; (1)
  • Dimensions: 26.035 by 20.32cm., 10.25 by 8in.
  • Dimensions of woodcut, 5 by 4.5ins; sheet size, 6 by 5ins. Thirty-Six Woodcuts, privately published, 1951. Printed in the Republic of Ireland by Hely's Limited, Dublin.

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MOTHER AND CHILD
MOTHER AND CHILD
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 12 March 2012 / 36

Published Estimate: €10000-15000

Price Realised: €10000


PORTRAIT OF A RED HAIRED GIRL WEARING A GREEN BLOUSE
PORTRAIT OF A RED HAIRED GIRL WEARING A GREEN BLOUSE
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 12 March 2012 / 37

Published Estimate: €4000-5000

Price Realised: €4800

  • Medium: oil on canvas
  • Dimensions: 59.69 by 48.895cm., 23.5 by 19.25in.
  • Provenance: Collection of the artist, by whom bequeathed to the Linen Hall Library, Belfast; Sold on their behalf by the Bell Gallery, Belfast, to Mr. Courtenay Thompson, Belfast, prior to May 1978 (Certificate of Provenance from the Bell Gallery, dated 30 June 1989); Whyte's, 21 September 2004, lot 56; Whence purchased by the present owner
  • Accompanied by a signed manuscript letter from the artist's biographer, Judith C. Wilson, who researched the history of the painting on behalf of Mr. Courtenay Thompson, in January 1991. Also with numerous photocopied newspaper clippings and photographs. The sitter in this portrait has been variously identified as 'Red-Haired Kitty', 'Lily', ‘Miss Y’, and ‘Mrs T. Walker’. It seems likely that she is actually all of the above. A photograph exists in Conor’s papers (now in the Ulster Folk and Transport Museum), that would appear to be the basis of the present portrait. It is squared up in preparation for transfer to a larger composition, and on the reverse is written: “To Billy with best love from Lily”. The same woman appears in a crayon drawing, in exact mirror image to the present work (see Young Woman in Yellow Dress, catalogue no. 78 in the Conor exhibition, 'Children of Ulster', held at the McClelland Galleries, Belfast, in 1969, illustrated on p.9 of the catalogue). Judith Wilson traced two further portraits of the same sitter. The first known, simply titled Kitty, was exhibited at the Royal Society of Portrait Painters in London, 1930, and was illustrated on the front cover of Colour magazine (Vol. III, No. 2, December 1930). This work is now in the collection of the Ulster Folk and Transport Museum. A second portrait of the same woman, this time leaning against a table, was painted circa 1930, and reproduced in The Daily Express, 10 December 1930, where it titled as Mrs T. Walker. It was used to illustrate an article by R. Stephen Williams, for part of a series by him on “Beauty in Ulster”. Conor was asked to select the representative beauties and paint their portraits, after which Williams interviewed them. The portrait was later exhibited as Red-Haired Kitty at the Royal Academy in London, 1931, and was illustrated in the accompanying catalogue. The following year it appeared on the front of G.F.S. Magazine, along with a short ‘puff’ by journalist May Cunningham, eulogising the sitter’s “charming and racy” looks. Conor evidently liked the work too, for he showed it again, this time in Dublin at the 1936 RHA, where it was enigmatically titled “Miss Y” and illustrated in a review of the exhibition. The present work was presumably a favourite of the artist’s, as gallery owner Nelson Bell recollects that it formerly hung over the fireplace in Conor’s dining room in his home on Salisbury Avenue, Belfast.

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MOLLY, c.1925
MOLLY, c.1925
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 12 March 2012 / 38

Published Estimate: €800-1200

Price Realised: €800

  • Signature: signed lower right; with inscribed John Magee label on reverse; also with contemporary newspaper clipping affixed on reverse
  • Medium: pencil and conté on paper
  • Dimensions: 28.575 by 22.86cm., 11.25 by 9in.
  • Provenance: John Magee, Belfast; Private collection
  • Inscribed Magee label details title, artist's name and dated 2 October 1925 [reference no. 6531]. Newspaper clipping [On This Day, May 6, 1924] heading reads, "Belfast painter honoured by Paris Salon exhibition". The article references a recent issue of the Irish Statesman's "striking tribute" to Conor's "genius" saying how he might be described as, "...a Belfast counterpart to Jack Yeats who records the rich character of the Northern capital with the same delight as Yeats depicts the West..."

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STILL LIFE WITH CHRYSANTHEMUMS IN SILVER JUG
STILL LIFE WITH CHRYSANTHEMUMS IN SILVER JUG
Hans Iten RHA (1874-1930)

Auction Date / Lot No.: 12 March 2012 / 39

Published Estimate: €1500-2000

Price Realised: 

  • Signature: signed lower left; with small hand-written label on reverse detailing artist's name and dates
  • Medium: oil on canvas board
  • Dimensions: 50.8 by 40.64cm., 20 by 16in.
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THREE GIRLS PLAYING IN THE SAND DUNES
THREE GIRLS PLAYING IN THE SAND DUNES
George Russell Æ (1867-1935)

Auction Date / Lot No.: 12 March 2012 / 40

Published Estimate: €4000-6000

Price Realised: €6400


COMING HOME, ACHILL ISLAND [THE WATER IS CALLED THE SOUND], c.1915
COMING HOME, ACHILL ISLAND [THE WATER IS CALLED THE SOUND], c.1915
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 12 March 2012 / 41

Published Estimate: €2500-3500

Price Realised: €3800

  • Signature: signed lower right; with title inscribed on original label on reverse; also with faint inscriptions detailing price [£7-7-0] and framing instructions visible in pencil on the stretcher on reverse
  • Medium: oil on canvas
  • Dimensions: 40.64 by 35.56cm., 16 by 14in.
  • Contained in its original frame as instructed by the artist.

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WOMAN WITH FAN
WOMAN WITH FAN
Sarah Henrietta Purser HRHA (1848-1943)

Auction Date / Lot No.: 12 March 2012 / 42

Published Estimate: €8000-10000

Price Realised: €10500

  • Medium: oil on canvas
  • Dimensions: 85.09 by 66.04cm., 33.5 by 26in.
  • Provenance: The collection of the Artist; Her Estate Sale, Mespil House, Dublin, 1943; Private collection; 'The Sarah Purser Sale', Adams, 12 December 2006, lot 9; Where purchased by the present owner
  • Exhibited: thought to have been exhibited at 'Pictures Old and New by Sarah Purser ARHA', Engineers Hall, Dawson Street, Dublin, 1923, catalogue no. 80 [price £50-0-0]
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LOVERS IN A GARDEN
LOVERS IN A GARDEN
Charles Edward Perugini (1839-1918)

Auction Date / Lot No.: 12 March 2012 / 43

Published Estimate: €50000-70000

Price Realised: €48000

  • Signature: signed in monogram lower right
  • Medium: oil on canvas laid on board
  • Dimensions: 116.205 by 140.97cm., 45.75 by 55.5in.
  • Provenance: Private collection, New York; Private collection, Westport , Co. Mayo
  • "Elegance, purity, and correctness of draughtsmanship, perfect refinement and dignity, grace and charm, delicacy in colour, and the tenderness of harmonious line - these are the qualities of his academic art which are now, it must be recognised outside, the sweep of the modern movement, but which has delighted two generations of picture-lovers who look for sound scholarship severely disciplined and veiled by melodious sweetness and distinction."From Perugini's obituary recorded in The Times on 23 December 1918.Although Charles Edward Perugini was a boy when the Pre-Raphaelite movement began in 1848, its effects had far-reaching consequences and were felt late into the 1890s with the beginning of the Arts and Crafts movement; a development which had its roots in England but which spread rapidly throughout Ireland and the British isles. The Pre-Raphaelite Brotherhood was a secret society formed by artist's who had found themselves disenchanted by the Royal Academy and who, in their disillusionment, turned to the art of the early Renaissance and late medieval age, finding solace in its moral message, truthful depictions of nature and minute attention to detail all of which were in stark contrast to the mass industrialisation of their own era.Perugini, born "Carlo" in Naples relocated with his family to London at an early age but he returned to his native Italy and later Paris to begin his artistic training. While on the Continent he met Lord Frederick Leighton, an associate of the Brotherhood, to whom he would become protégé. Under Leighton's tutorage from the 1850s Perugini submitted to the RA, garnered numerous commissions and gained financial success. In 1873 Perugini married Charles Dickens' daughter, Kate, an artist and muse to members of the Brotherhood including John Everett Milliais (1829-1896) and widow of Charles Allston Collins, also a Pre-Raphaelite. An accomplished portrait and genre painter, Perugini, was her second husband who she both posed for and collaborated with on artistic projects during their marriage. It is possible that the lovers depicted here are an idealised portrayal of husband and wife, the figure of the man with his distinctly Italianate colouring and aquiline nose point to a possible self-portrait while images of Kate are comparable to the present "child-bride".Lovers in a Garden may date to the late 1880s or early 1890s. The classical setting and abundance of delicate foliage complement the tender romantic scene between the man and his young love and are comparable with the setting for The Green Lizard 1902 which he exhibited in the RA that year. The subject and sitters' dress echo literary inspirations of the time and while not as overt in their affections as depicted by his Irish counterpart, Sir Frederic William Burton in The Meeting on the Turret Stairs, 1864 (National Gallery of Ireland) for example, theirs is a shared sentiment.

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COUPLE RESTING BY A GRASSEY KNOLL, 1852
COUPLE RESTING BY A GRASSEY KNOLL, 1852
Erskine Nicol RSA ARA (1825-1904)

Auction Date / Lot No.: 12 March 2012 / 44

Published Estimate: €4000-5000

Price Realised: €4000

  • Signature: signed and dated lower right; with framer's details stamped on reverse
  • Medium: oil on board
  • Dimensions: 24.13 by 37.465cm., 9.5 by 14.75in.
  • This work was executed the same year as a comparable work in oil now in the collection of the Tate entitled Wayside Prayer, 1852, presented by Sir Henry Tate in 1894 (Tate reference, N01537). The female character wears the same dress and headscarf in both works and the setting, gravely path and rickety fence all bear a striking resemblance to the Tate's example. It is possible that the woman in this work is also praying, having perhaps had some sustenance from the jug in the left foreground. However, the animated face of the man, his gaze directed towards her, suggests a more light-hearted flirtatious ambience. His left hand appears to be touching the ring finger of his right, indicating perhaps their relationship either present or anticipated.

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PORTRAIT OF A YOUNG GIRL
PORTRAIT OF A YOUNG GIRL
Lady Blanche Lindsay (née Fitzroy) (c.1844-1912)

Auction Date / Lot No.: 12 March 2012 / 45

Published Estimate: €500-700

Price Realised: €750

  • Signature: with faintly inscribed label on reverse detailing artist's name, address [41 Hans P., Chelsea] and price [ten?]
  • Medium: oil on board
  • Dimensions: 10.16 by 10.16cm., 4 by 4in.
  • Caroline Blanche Elizabeth (née FitzRoy), Lady Lindsay daughter of Hon. Henry Fitzroy (the son of Lord Southhampton) and Hannah Mayer de Rothschild was an amateur painter, poetess, musician and wife of Sir Coutts Lindsay whom she married in1864. Together they founded the Grosvenor Gallery in 1877 which was heralded at the time as a favourable alternative to the Royal Academy and a chief artistic and social venue for second-generation pre-Raphaelites among other artists of the day. Although only thirteen years in operation the Lindsays' innovations in terms of their exhibition practices had far reaching effects. The couple later separated but Lady Lindsay continued to play a vital role in the arts community, hosting gatherings which included Mary Shelley, Browning, Eliot and Tennyson among others at her home in 41 Hans Place, Chelsea.A portrait miniature of Lady Lindsay was painted by Dickens' daughter Kate Perugini (see lot 43).

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MY FRIEND SLIPPER (SOME EXPERIENCES OF AN IRISH R.M.), c.1899
MY FRIEND SLIPPER (SOME EXPERIENCES OF AN IRISH R.M.), c.1899
Edith Œnone Somerville (1858-1949)

Auction Date / Lot No.: 12 March 2012 / 46

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed lower left; inscribed with title, medium and signed again on original Arthur Ackerman & Son Ltd label on reverse; with remains of old typed label on reverse detailing title
  • Medium: watercolour and pencil on paper
  • Dimensions: 22.86 by 15.24cm., 9 by 6in.
  • Provenance: Arthur Ackerman & Son Ltd, New York; Private collection
  • Exhibited: Arthur Ackerman & Son Ltd, New York, c.1899
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VIEW OF CLONTARF CASTLE, 1805
VIEW OF CLONTARF CASTLE, 1805
Thomas Snagg (1746-1812)

Auction Date / Lot No.: 12 March 2012 / 47

Published Estimate: €5000-7000

Price Realised: €9000

  • Signature: signed and dated lower right
  • Medium: oil on canvas
  • Dimensions: 60.96 by 91.44cm., 24 by 36in.
  • Provenance: Stackallan House Co. Meath Sale, Christie's, 20 October, 1992, lot 197; Private collection
  • This rare Thomas Snagg oil painting places its main feature- Clontarf Castle - on the left-hand side of the picture, a characteristic also found in the works of his exact contemporary William Ashford who had dominated Irish landscape painting for a quarter of a century before Snagg put brush to canvas here in 1805. The castle stands on the site of the Norman fortress built around 1200 by the Knights Templar and the tower at the right-hand end of the building may be part of a later medieval commandery of the Knights Hospitallers to whom the property was transferred in the 14th century. The remainder of the castle seen in Snagg's canvas is probably a creation of the later18th century; one of the earliest examples of the Neo-Gothic style in Ireland, and the predecessor of the present Tudor-Revival structure designed by William Vitruvius Morrison in 1836. A closer view of 1772 by Gabriel Beranger, of which there is a watercolour copy in the National Library, shows out the Gothic fenestration more clearly. In 1998, Sotheby's auctioned for £40,000 a sketch of the castle of around 1817, allegedly by the famous English painter J.M.W. Turner, which was apparently copied from an original by Maria Sophie Vernon. She was a member of the family which had been in residence since the mid-17th century - the builders of the structure painted by Snagg - and whose name is still attached to the various roads in the vicinity. It is doubtless they or their guests feature in the charming vignette in the bottom of the picture, seen on the horse-drawn carriage at the top of the road leading down to the sea.The right half of the picture gives a break in the foliage to reveal a splendid vista of Dublin Bay, reaching as far as the two Sugarloaves - Dunleary (afterwards, Kingstown and later Dún Laoghaire) before its harbour was built. A notable feature is the South Wall, finished in 1786, and extending from Ringsend (out of sight) past the Pidgeon house out to the old Poolbeg Lighthouse which helped guide shipping up the River to the Custom House, completed only fourteen years before Snagg's panorama was created. A most unexpected, and rather fanciful, feature of the picture is the series of houses and other buildings presented at such a scale as to be almost Lilliputian, and placed along the shore where there were probably slobs at the time, a plan to reclaim which was prepared in the year of the painting, 1805. Snagg, thrice married, was born in London and became a successful actor, performing with David Garrick at Drury Lane. He took up painting around the mid-1770s and travelled as far as St. Petersburg, where he painted Empress Catherine the Great. On his return journey, Robespierre arrested him and his family in northern France, where he was held captive for more than a year - an ordeal he recorded in a print in the British Museum.In 1804, twelve months before he painted Clontarf, Snagg exhibited four landscapes at Allen's in Dame Street, one of which may have been the view of Dublin Bay seen from the University Rowing Club in Ringsend now in the National Gallery of Ireland, and which - like the Clontarf picture - has the main building on the left-hand side of the painting.Dr. Peter HarbisonHonorary Academic Editor, Royal Irish AcademyFebruary, 2012

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A SURREY LANE
A SURREY LANE
Alfred Augustus Glendening Junior (1862-1907)

Auction Date / Lot No.: 12 March 2012 / 48

Published Estimate: €3000-4000

Price Realised: €2800

  • Signature: with artist's name and dates on plaque affixed to frame lower centre; with indistinct location inscribed on stretcher on reverse; also with Mandell's Gallery [Norfolk] label on reverse
  • Medium: oil on board
  • Dimensions: 50.8 by 81.28cm., 20 by 32in.
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GLEN SANNOX, ARRAN (LOOKING IN THE SEA)
GLEN SANNOX, ARRAN (LOOKING IN THE SEA)
John Mac Whirter RA HRSA RI (Scottish, 1839-1911)

Auction Date / Lot No.: 12 March 2012 / 48.1

Published Estimate: €1200-1500

Price Realised: €1200

  • Signature: signed lower left; inscribed with title and artist's name on stretcher on reverse
  • Medium: oil on canvas
  • Dimensions: 50.8 by 76.2cm., 20 by 30in.
  • John MacWhirter exhibited in Ireland at the RHA between 1861 and 1908 from addresses in Edinburgh and later London. Landscapes dominated in the examples shown.

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ORCHARD MORNING, 1893
ORCHARD MORNING, 1893
Sidney Pike 1846–1907 (1846-1907)

Auction Date / Lot No.: 12 March 2012 / 49

Published Estimate: €600-800

Price Realised: €1800


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