21 May 2012

  Records 1 to 50 of 211     Next 20 results Last results

STUDY FOR HOMAGE TO NATHANIEL HONE, 1991
STUDY FOR HOMAGE TO NATHANIEL HONE, 1991
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 21 May 2012 / 1

Published Estimate: €2000-3000

Price Realised: €2200

  • Signature: signed lower right; with typed Taylor Galleries exhibition label on reverse
  • Medium: oil on linen
  • Dimensions: 8 by 12in., 20.32 by 30.48cm.
  • Provenance: Taylor Galleries, Dublin
  • Exhibited: 'Charles Brady', Taylor Galleries, Dublin, 11-27 July, 1991, catalogue no. 26
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


A WRAPPED-UP BRONZE, 1987
A WRAPPED-UP BRONZE, 1987
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 21 May 2012 / 2

Published Estimate: €3000-5000

Price Realised: €2900

  • Signature: signed lower right; with typed Taylor Galleries label on reverse
  • Medium: oil on board
  • Dimensions: 16.5 by 24.5in., 41.91 by 62.23cm.
  • Provenance: Taylor Galleries, Dublin
  • Exhibited: 'Charles Brady, New Paintings and A Few Painted Bronzes', Taylor Galleries, Dublin, 28 May - 13 June, 1987, catalogue no. 30
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


STRANGFORD QUARRY, 1994
STRANGFORD QUARRY, 1994
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 21 May 2012 / 3

Published Estimate: €5000-7000

Price Realised: €4800

  • Signature: inscribed ["Camille Souter 1994"] on reverse, a copy of same visible on reverse of frame; also with exhibition number [34] on reverse
  • Medium: oil on paper
  • Dimensions: 9.25 by 7.5in., 23.495 by 19.05cm.
  • Provenance: Taylor Galleries, Dublin
  • Exhibited: 'Camille Souter /Nano Reid Retrospective Exhibition', Droichead Arts Centre, Drogheda, Co. Louth, 5-29 May; (touring), Linen Hall Arts Centre, Castlebar, Co. Mayo, 3-26 June, 1999, catalogue no. 34
  • Literature: Cormican, Garrett, Camille Souter, The Mirror in the Sea, Whyte's Dublin 2006, catalogue no. 459, p.311 (listed) & 316 (illustrated in colour)
  • In Camille Souter, The Mirror in the Sea Cormican notes that the artist also refers to this work as: "Gabbro Quarry Strangford Lough".

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


PIERROT AND EASEL
PIERROT AND EASEL
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 21 May 2012 / 4

Published Estimate: €4000-6000

Price Realised: €4000

  • Signature: signed lower right; with inscribed Taylor Galleries label on reverse
  • Medium: pen and ink with gouache and pastel and collage element on paper
  • Dimensions: 16 by 21.25in., 40.64 by 53.975cm.
  • Provenance: Taylor Galleries, Dublin
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


ABSTRACT CITYSCAPE
ABSTRACT CITYSCAPE
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 21 May 2012 / 5

Published Estimate: €3000-5000

Price Realised: €2800

  • Medium: oil with sand on board
  • Dimensions: 24.25 by 36in., 61.595 by 91.44cm.
  • Provenance: Taylor Galleries, Dublin
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


DRUID'S MOON, 1981
DRUID'S MOON, 1981
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 21 May 2012 / 6

Published Estimate: €14000-16000

Price Realised: €14000

  • Signature: signed and dated lower left; with inscribed Arts Council exhibition label on reverse; also with typed Sligo Art Gallery exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 32 by 38in., 81.28 by 96.52cm.
  • Provenance: Collection of the artist
  • Exhibited: ’Patrick Collins: Retrospective Exhibition’, Arts Council/An Chomhairle Ealaíon and the Arts Council of Northern Ireland, touring exhibition, Cork, Dublin and Belfast, 1982, catalogue no. 84 (loaned by the Artist); 'Patrick Collins', Sligo Art Gallery, 27 March - 21 April, 1985
  • Literature: Frances Ruane, Patrick Collins, An Chomhairle Ealaíon/The Arts Council, Dublin; The Arts Council of Northern Ireland, Belfast , 1982, pp.92 (illustrated) pp.113 (listed)
  • After living in France for six years, Collins returned to Ireland in 1977 and produced some remarkable work for an exhibition in 1979. The canvases increased in size, the colour became more complex and the gestures became rounder and more active. After a brief period when personal and financial difficulties made it impossible for him to paint, he received assistance from the Arts Council and from friends in 1980 and was able to pick up where he left off.
    The dynamism and sweeping movement typical of paintings done around this time can be seen in Druid's Moon. Collins pivots the composition around a central point, the paint is applied with gusto and the serenity of the 1960s and '70s has given way to a livelier, more ebullient mood. In Druid's Moon Collins returns to using a 'frame within a frame' device, the main body of the painting hovering within a rectangle. It has the effect of isolating the subject from the reality of its surroundings, a self-contained vignette abstracted from a specific moment and place. However, in this painting the rectangle is incomplete and, together with the head-like moon, it suggests a figure whose arms are open in a comforting embrace. Collins had certainly achieved some stability in his life around this time and, with a major retrospective of his work planned for the following year, had finally received institutional approbation. It is not surprising to find this sense of security reflected in paintings like this one.
    Frances Ruane HRHA
    April 2012

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


UNTITLED, 1981
UNTITLED, 1981
Charles Tyrrell (b.1950)

Auction Date / Lot No.: 21 May 2012 / 7

Published Estimate: €5000-7000

Price Realised: €5000

  • Signature: signed, inscribed and dated on reverse; with inscribed Taylor Galleries exhibition label on reverse
  • Medium: oil over acrylic and mixed media on wood
  • Dimensions: 39 by 39in., 99.06 by 99.06cm.
  • Provenance: Taylor Galleries, Dublin
  • Exhibited: 'Charles Tyrrell, paintings + drawings', Taylor Galleries, Dublin, 19 June - 4 July, 1981, catalogue no. 9
  • The artist's inscription on reverse reads, "reworked in oil March 2003 Charles Tyrrell '03". The National Irish Visual Artist's Library's [NIVAL] copy of this exhibitIon catalogue records that paintings numbered "4" and "8" (diptych) from this series were purchased by AIB. Untitled, 1981 is an example of the artist's early work after graduating from the National College of Art and Design in 1974. It shows the influence of his trips to the United States in both its subject matter and scale, both of which were a break from the norm for Irish audiences at the time. In his note in May 2010, Aidan Dunne remarked on the artist's distinctive style in reference to Slow Turn, 1987, formerly in the O'Driscoll collection.
    "He developed a personal, grid-based pictorial vocabulary based on rhythmic subdivisions of the picture plane, combining textural painting with lines, angles and arcs..."

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


UNTITLED, 1986
UNTITLED, 1986
Felim Egan (b.1952)

Auction Date / Lot No.: 21 May 2012 / 8

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: signed and dated on reverse
  • Medium: oil with mixed media element on canvas
  • Dimensions: 36 by 36in., 91.44 by 91.44cm.
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


WATER ON A PLOUGHED FIELD, c.1976
WATER ON A PLOUGHED FIELD, c.1976
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 21 May 2012 / 9

Published Estimate: €10000-15000

Price Realised: €0

  • Signature: signed lower left; inscribed with title on reverse
  • Medium: oil on canvas
  • Dimensions: 28.5 by 36in., 72.39 by 91.44cm.
  • Provenance: Tom Caldwell Galleries, Dublin
  • Exhibited: 'Patrick Collins', Tom Caldwell Galleries, Dublin, until 30 November 1976, catalogue no. 23
  • Although Patrick Collins sometimes paints other subjects, landscape dominates his art. He had an affinity with nature that began in his Sligo childhood and which eventually formed the foundation for his painting. Boyhood memories fed his art; he saw the bogs, earth, rocks and stones of the landscape as a physical link with his own youth as well as uniting the contemporary Celt with the ancients.
    Collins always interpreted the landscape in an abstractly poetic way, but in the late 1960s excessive sentimentality and formlessness began to creep into the work. However, after working for nine months digging drainage ditches in Connemara he produced a remarkable series of austere bog pictures in 1970 which demonstrated a newly-found vigour. Although Water on a Ploughed Field was first exhibited in 1976, its style suggests that it may have been painted around the same time as the bog pictures rather than during his stay in France from 1971-76. This painting strips away inessentials with the exceptional boldness that characterised his work of 1970. It shows an elemental absorption with land, with moisture impregnating the entire picture and light bouncing off the surface water. The restrained composition sets a few strong lines against an animated void - Collins wanted to make empty spaces 'talk.' Water on Ploughed Field does talk to the viewer, poignantly expressing the loneliness and isolation Collins felt during this period.
    Frances Ruane HRHA
    April, 2012

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


ÓRZOLA, 1988
ÓRZOLA, 1988
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 21 May 2012 / 10

Published Estimate: €1500-2000

Price Realised: €1700

  • Signature: signed with initials and dated lower left; titled lower right; with inscribed Taylor Galleries exhibition label on reverse
  • Medium: acrylic with collage on paper
  • Dimensions: 11.5 by 16.5in., 29.21 by 41.91cm.
  • Provenance: Taylor Galleries, Dublin
  • Exhibited: 'Tony O'Malley', Taylor Galleries, Dublin, October 1990, catalogue no. 4
  • Órzola is a village in the Las Palmas province of northern Lanzarote in the Canary Islands. It is the departure point for the ferry to La Graciosa.
    For an example by O'Malley of La Graciosa see lot 21.

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


STUDY 90, 1990
STUDY 90, 1990
Samuel Walsh (b.1951)

Auction Date / Lot No.: 21 May 2012 / 11

Published Estimate: €600-800

Price Realised: €0

  • Signature: signed and dated in pencil lower right; with typed Oliver Dowling Gallery exhibition label on reverse
  • Medium: oil on paper
  • Dimensions: 24 by 30in., 60.96 by 76.2cm.
  • Provenance: Oliver Dowling Gallery, Dublin
  • Exhibited: 'Samuel Walsh', Oliver Dowling Gallery, Dublin, 1990
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


INIS OIRR, 1990
INIS OIRR, 1990
Michael Mulcahy (b.1952)

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

Published Estimate: €1500-1800

Price Realised: €1400

  • Signature: signed and numbered [16] on reverse
  • Medium: oil on canvas
  • Dimensions: 26 by 24in., 66.04 by 60.96cm.
  • Provenance: Taylor Galleries, Dublin
  • In 1990 Mulcahy's work was included in 'Images from Ireland, Brussels', Banquet Exhibition at the RHA, Dublin and Oireachtas.

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


IRISH INSCAPE - STUDIO, PHYSICIANSTOWN, CALLAN, 1984
IRISH INSCAPE - STUDIO, PHYSICIANSTOWN, CALLAN, 1984
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 21 May 2012 / 13

Published Estimate: €20000-30000

Price Realised: €0

  • Signature: signed with initials lower left; dated [November] lower right; signed again, titled and dated on reverse; also with artist's archival number [No. 832] on reverse; with typed Taylor Galleries exhibition label on reverse
  • Medium: oil on wood with collage element
  • Dimensions: 48 by 36in., 121.92 by 91.44cm.
  • Provenance: Taylor Galleries, Dublin
  • Exhibited: 'Tony O'Malley', Taylor Galleries, Dublin, October 1986, no. 18
  • After many years in Cornwall Tony O'Malley began extensive visits back to Ireland in the late 1970s, establishing a studio at Physicanstown, near to Callan Co. Kilkenny where he was born. This, like his studios in the Bahamas and St. Ives, often formed the subject of his paintings. The work is not a representation of an actual location but an 'inscape'. This word, which recurs in a number of O'Malley's titles, comes from the writings of Gerard Manley Hopkins. Inscape is a term used to describe 'individually-distinctive beauty' or in visual art terms an interior landscape, a poetic evocation of the artist's thoughts and responses to a place or object rather than a conventional outward view. O'Malley's introspective practice came from his early isolation as a self-trained artist but it was also informed by his years of working with English modernist artists in Cornwall. Through the St. Ives school he developed a sophisticated understanding and engagement with modern art which is reflected in the distinctive language of forms found in this work.

    The pale blue of the painting contained within a darker blue frame suggests space and light. But the seeming simplicity of the blue expanse and its floating birdlike forms is disrupted by its rich, three dimensional surface. As in his other work O'Malley adds material to his paint to create thick lines that project up from the surface. Elsewhere paint is scraped back so that the underlying board is visible. The resulting rhythmic lines compliment the painted floating grid of colourful forms. The simple and direct treatment of the work in conjunction with its exotic elements and colours evoke a primitive space while its marked surface anchors it within the physical world of the artist's studio.
    Dr. Róisín Kennedy
    April 2012



    We are grateful to the Taylor Galleries for their assistance in cataloguing this lot.
    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


FILLING TIDE, 1998
FILLING TIDE, 1998
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 21 May 2012 / 14

Published Estimate: €5000-7000

Price Realised: €6200

  • Signature: signed, titled and with artist's archival number [98.46] inscribed on reverse; also with typed Taylor Galleries exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 24 by 32in., 60.96 by 81.28cm.
  • Provenance: Taylor Galleries, Dublin
  • Exhibited: 'Boglana Shoureline, Sligo', Taylor Galleries, Dublin, October, 1998, catalogue no. 46
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


GARDEN, 1997
GARDEN, 1997
William Crozier HRHA (1930-2011)

Auction Date / Lot No.: 21 May 2012 / 15

Published Estimate: €1000-1500

Price Realised: €900

  • Signature: signed and dated lower centre; with title and catalogue number [32] on typed label on reverse
  • Medium: gouache on paper
  • Dimensions: 14.5 by 14.5in., 36.83 by 36.83cm.
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


THE RIVER IN THE WOOD, 1991
THE RIVER IN THE WOOD, 1991
William Crozier HRHA (1930-2011)

Auction Date / Lot No.: 21 May 2012 / 16

Published Estimate: €10000-15000

Price Realised: €10000

  • Signature: signed lower left; signed again, titled and dated on reverse; with inscribed label also on reverse
  • Medium: oil on canvas
  • Dimensions: 24 by 30in., 60.96 by 76.2cm.
  • The River in the Wood shows William Crozier engaging with two of his favourite motifs - the tree and the river. Scottish by birth, later becoming an Irish citizen, Crozier's landscapes avoid any of the characteristics of national stereotype. Crozier settled in West Cork in 1983 although he continued to travel and work abroad. His vibrant, almost abstract paintings of the landscape of West Cork, such as this example, were a revelation when they came to wider public attention in Ireland after a retrospective of Crozier's work at the RHA Gallery in 1991. Jim O'Driscoll, a native of West Cork, clearly recognised the novelty of Crozier's engagement with the locality. He was an important collector of his work.

    In The River in the Wood strong vivid colours are applied directly onto the white primed canvas, visible in the red branches of the trees to the right. Using a flattened perspective, Crozier creates a rich varied surface of competing forms, juxtaposing the rushing flow of the river and the vertical shapes of the trees. The blue water severs the composition separating an island of deep red and green trees from a sunlit group of pale green and orange woods to the left. The latter introduce a subtle sense of movement into the composition in contrast to the more dynamic form of the river.

    This work, like other paintings by Crozier, is deceptively simple in its construction. However the careful selection of colours and control of form reflect a deep understanding of both historical and modern European art. It evokes the iridescence of Gothic stained glass as well as the expressionist vigour of French Fauvism. The work is a direct response to nature. As Crozier declared, 'I cannot invent anything. I've got to see it'. The painting is then made in the studio directly on the canvas, without preliminary drawings. Through this intuitive approach, the final work becomes an internalised response to not just a specific location but to a particular moment and to the combination of psychological and physical forces which influenced Crozier while painting it. One of his stated aims in creating a painting was to 'invest it with an epic quality'. The understated yet dramatic combinations of forms and colours make The River in the Wood such an epic landscape.

    Dr. Róisín Kennedy
    April 2012

    1. Quoted in P. Vann., 'A Man of Imagination', in ed. C. Crouan, William Crozier, Lund Humphries, 2007, p.20.
    2. Ibid, p.39.

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


TAMAK'S CLEARING (EDGE OF THE JUNGLE), 1975
TAMAK'S CLEARING (EDGE OF THE JUNGLE), 1975
Barrie Cooke HRHA (b.1931)

Auction Date / Lot No.: 21 May 2012 / 17

Published Estimate: €5000-7000

Price Realised: €4800

  • Signature: signed, titled and dated on reverse; with descriptive passage by the artist inscribed on reverse; also with David Hendriks exhibition and framing labels on reverse
  • Medium: oil on canvas
  • Dimensions: 39.75 by 39.75in., 100.965 by 100.965cm.
  • Provenance: David Hendriks Gallery, Dublin;
    Whence purchased by Mr & Mrs W. O'Sullivan, May 1976;
    Adam's, 27 September, 2001, lot 84 as Edge of the Jungle
  • Exhibited: 'Barrie Cooke', David Hendriks Gallery, Dublin, 22 April - 15 May, 1976, catalogue no. 11 (as Tamak's Clearing)
  • Artist's descriptive passage verso reads: "Edge of the jungle (Tamak's clearing). This is just as you step up out of black. Where Sinak & Tamak had made a hole, a plantation. On the way to Pa Umor. A log track over. His grove of the ubi cayu. (All chickens killed by leopard so we ate mushrooms!) & ubi! More difficult to walk out jungle than inside it."

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


SWITZERLAND, 1972
SWITZERLAND, 1972
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 21 May 2012 / 18

Published Estimate: €800-1200

Price Realised: €0

  • Signature: signed, titled and dated lower right
  • Medium: coloured pencil on paper
  • Dimensions: 19 by 13.75in., 48.26 by 34.925cm.
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


POND REVERIE I, 1994
POND REVERIE I, 1994
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 21 May 2012 / 19

Published Estimate: €25000-35000

Price Realised: €0

  • Signature: signed, titled and dated on reverse; with typed Taylor Galleries exhibition label also on reverse
  • Medium: oil on board
  • Dimensions: 48 by 48in., 121.92 by 121.92cm.
  • Provenance: Taylor Galleries, Dublin
  • Exhibited: 'Tony O'Malley', Taylor Galleries, Dublin, April - May, 1996, catalogue no. 9
  • Literature: Ed. Lynch, Brian, Tony O'Malley, Scolar Press in Association with the Butler Gallery, Kilkenny, 1996, p. 290 (full page illustration)
  • This work is part of a series of pond paintings made by O'Malley over the later years of his life. In 1977 he and his wife Jane had bought a cottage at Physicanstown in Co. Kilkenny which became their permanent home in 1990. The garden was carefully cultivated and its pond provided the inspiration for an ongoing cycle of works that signal the stability of O'Malley's domestic surroundings and its impact on his artwork. Thinly painted on board Pond Reverie I explores the changing effects of sunlight on water. Reflections of light on the surface and on the fish and plant life below are picked out in bright oranges and blues. Flecks of impasto across the composition along with dots of flickering colourful forms suggest the vigorous organic life of the pond and create a rich and absorbing work of art.

    Dr. Róisín Kennedy
    April 2012

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


NORTH STAR AND VENUS, 1982
NORTH STAR AND VENUS, 1982
William Crozier HRHA (1930-2011)

Auction Date / Lot No.: 21 May 2012 / 20

Published Estimate: €15000-20000

Price Realised: €0

  • Signature: signed lower right; with typed label of The Scottish Gallery [Edinburgh & London] on reverse
  • Medium: oil on canvas
  • Dimensions: 42 by 45in., 106.68 by 114.3cm.
  • Provenance: The Scottish Gallery, Edinburgh & London
  • This nocturnal landscape was painted after a period spent in New York in 1979 which had a profound effect on Crozier's work. It shows the impact of the vigorous colours and design of modernist art, such as that found in the work of Henri Matisse and Edvard Munch, on the artist.
    The composition is dominated by the strong green of the ground. Above the high horizon line two tiny circles of red and white indicate the planet Venus and the North Star. The scene is intensified by the dark ambiguous forms of the shadows cast by the tree and other unseen elements across the ground. Small lines and dots of pale blue and red enliven the surface suggesting the effect of starlight on the landscape. From a simple motif of a tree at night, Crozier creates a complex and evocative landscape in the grand tradition of modernist painting.

    Dr. Róisín Kennedy
    April 2012

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


PEDRO BARBA - ISLA DE GRACIOSA, 1993
PEDRO BARBA - ISLA DE GRACIOSA, 1993
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 21 May 2012 / 21

Published Estimate: €20000-30000

Price Realised: €22000

  • Signature: signed with initials and dated lower left; signed again, titled and dated on reverse; also with artist's archival number [no. 2466] on reverse; with typed Taylor Galleries exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 48 by 36in., 121.92 by 91.44cm.
  • Provenance: Taylor Galleries, Dublin
  • Exhibited: 'Tony O'Malley at 80. Recent Work', Taylor Galleries, Dublin, 21 October - 6 November 1993, catalogue no. 17 (illustrated on front cover of catalogue); 'An Advocate For Art : A Tribute To Jim O'Driscoll SC', Irish Museum of Modern Art, Dublin, 6 July - 15 August, 2010
  • Literature: Ed. Lynch, Brian, Tony O'Malley, Scolar Press in Association with the Butler Gallery, Kilkenny, 1996, p. 310 (full page illustration)
  • Pedro Barba, on the island of Graciosa, is close to Lanzarote in the Canary Islands. The island is surrounded by an uninhabited archipelago which is a nature reserve. It has formed the subject of another work by O'Malley's now in the collection of IMMA. The painting, like much of O'Malley later oeuvre, can be considered joyful in mood. This is largely due to the light tonality, bright colours and almost playful juxtaposition of forms that appear to float across the space of the wood. O'Malley preferred to paint on wood or board as opposed to canvas. The former enabled him to carve and scrap into the surface and to create almost sculptural work rather than being restricted to conventional painting. In Pedro Barba, Isla de Graciosa, O'Malley's interventions into the wood are very evident. He has drilled sequences of holes into various parts of the painting. For example such lines are visible in the large blue rectangular element in the upper part of the composition and along the edge of the yellow element in the lower right. The holes, which appear to be made by a screwdriver or nail are highlighted in different coloured paints. Elsewhere scratch marks make what could almost be described as existential marks which disrupt the painterly surface and introduce a more tangible quality into the work.

    Dr. Róisín Kennedy
    April 2012

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


CHINESE LANDSCAPE, SILVER PAINTING I, 1986
CHINESE LANDSCAPE, SILVER PAINTING I, 1986
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 21 May 2012 / 22

Published Estimate: €5000-7000

Price Realised: €4800

  • Medium: silver leaf and tempera on canvas
  • Dimensions: 24 by 24in., 60.96 by 60.96cm.
  • Provenance: Taylor Galleries, Dublin
  • Exhibited: 'Patrick Scott, Chinese Landscapes', Taylor Galleries, Dublin, July, 1986 (ex-catalogue)
  • We are grateful to the Taylor Galleries for their assistance in cataloguing this lot.

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


GIRL READING, 1986
GIRL READING, 1986
James Mac Carthy (b.1945)

Auction Date / Lot No.: 21 May 2012 / 23

Published Estimate: €400-600

Price Realised: €900

  • Signature: signed [MAC] and numbered on seat
  • Medium: bronze with green patina on wooden base (no. 3 from an edition of 6)
  • Dimensions: 10 by 5 by 5in., 25.4 by 12.7 by 12.7cm.
  • Dimensions of base: 6.5 by 5.5 by 1ins.
    This work was cast by the artist in Dunmanway, Cork in 1986 and sold to the present owner the following year.

    We are grateful to the artist for his assistance in cataloguing this lot.

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


MAYO MOON, BLACK SCARECROW AND BADGER, 1996
MAYO MOON, BLACK SCARECROW AND BADGER, 1996
John Shinnors (b.1950)

Auction Date / Lot No.: 21 May 2012 / 24

Published Estimate: €12000-15000

Price Realised: €11500

  • Signature: with inscribed RHA exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 36 by 38in., 91.44 by 96.52cm.
  • Provenance: RHA , Dublin, 1996
  • Exhibited: RHA Annual Exhibition, Dublin, 1996, catalogue no. 436
  • John Shinnors was among the artists Jim O'Driscoll knew personally and his works hold a prominent place within his collection. This outstanding example by the Limerick artist displays all the characteristics one would associate with his work. As with many of his paintings the title guides the viewer into the narrative. Mayo Moon, Black Scarecrow and Badger, all familiar motifs in Shinnors' oeuvre, are shown here from an askew aerial perspective. The moon in the extreme left-hand corner casts a theatrical light on the scene hitting the figure of the scarecrow first, picking up accents of colour in the field, before resting on the striped back of the nocturnal creature lower right. The soft light cast off the Mayo moon lightens the mood of the canvas providing relief to the unsettling tone sometimes associated with the artist's work. Mayo Moon, Black Scarecrow and Badger was accepted to the RHA in 1996 from where it was sold to the present owner.

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


COMPOSITION WITH GREEN BACKGROUND, 1950
COMPOSITION WITH GREEN BACKGROUND, 1950
Juan Miró (Spanish, 1893-1983)

Auction Date / Lot No.: 21 May 2012 / 25

Published Estimate: €2000-3000

Price Realised: €3200

  • Signature: signed and dated in the margin lower right; numbered lower left; with Dawson Gallery framing label on reverse
  • Medium: chromolithograph (no. 140 from an edition of 300)
  • Dimensions: 13.5 by 18.25in., 34.29 by 46.355cm.
  • Provenance: Whyte's, 29 April 2003, lot 48
  • Sheet size: 16.5 by 21ins.

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


TWO MONKS
TWO MONKS
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 21 May 2012 / 26

Published Estimate: €1000-1500

Price Realised: €1900

  • Signature: signed lower left; with title on reverse
  • Medium: gouache and ink on paper
  • Dimensions: 8.25 by 5.25in., 20.955 by 13.335cm.
  • This work was created on a 'ready-made' sheet of paper. Beneath image is printed text which reads "Top Dogs / MacDonald Dalys Crufts Week."

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


STUDY FOR PORTRAIT OF POPE INNOCENT X, 1989
STUDY FOR PORTRAIT OF POPE INNOCENT X, 1989
Francis Bacon (1909-1992)

Auction Date / Lot No.: 21 May 2012 / 27

Published Estimate: €6000-8000

Price Realised: €25000

  • Signature: signed lower right; with edition ["E.A."] lower left
  • Medium: lithograph in colour; (épreuve d'artiste, artist's proof)
  • Dimensions: 37.5 by 27in., 95.25 by 68.58cm.
  • Study for Portrait of Pope Innocent X was created in an edition of 60. Sheet size: 46 by 30.25in.

    In 1953, Bacon painted Study after Velázquez's Portrait of Pope Innocent X also known as The Screaming Pope based on the Spanish master's portrait of the same subject from 1650. The subject as depicted by both artists is considered a masterpiece from their respective oeuvres. Bacon was fixated with the image and painted numerous versions of the subject. The present work mirrors the composition and palette of Velázquez's painting but is imbued with a characteristically Bacon quality.

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


MOVEMENT IN SUMMER, 1991-1993
MOVEMENT IN SUMMER, 1991-1993
Maurice Desmond (b.1944)

Auction Date / Lot No.: 21 May 2012 / 28

Published Estimate: €600-800

Price Realised: €850

  • Signature: signed lower right; with title, medium and dates on reverse
  • Medium: acrylic on wood
  • Dimensions: 13.25 by 16.5in., 33.655 by 41.91cm.
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


BATHING NUDE, 1980
BATHING NUDE, 1980
Maurice Desmond (b.1944)

Auction Date / Lot No.: 21 May 2012 / 29

Published Estimate: €800-1200

Price Realised: €1400

  • Signature: signed and dated lower right; with La Galerie Cork label on reverse
  • Medium: oil on board
  • Dimensions: 36 by 23in., 91.44 by 58.42cm.
  • Provenance: La Galerie, Cork
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


FIGURE IN DOWNWARD FACING POSE, 1978
FIGURE IN DOWNWARD FACING POSE, 1978
Pat Connor (b.1948)

Auction Date / Lot No.: 21 May 2012 / 30

Published Estimate: €400-600

Price Realised: €0

  • Signature: signed and dated on reverse; also with artist's name, location [Schull, W. Cork] and year [1984] on reverse
  • Medium: ceramic on white marble base
  • Dimensions: 8.5 by 7 by 4.5in., 21.59 by 17.78 by 11.43cm.
  • Dimensions of base: 6 by 4 by 1.5ins.

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


ELEPHANT, 1995
ELEPHANT, 1995
Pat Connor (b.1948)

Auction Date / Lot No.: 21 May 2012 / 31

Published Estimate: €400-600

Price Realised: €0

  • Signature: signed and dated beneath the base
  • Medium: ceramic
  • Dimensions: 9 by 8.25 by 6in., 22.86 by 20.955 by 15.24cm.
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


CHIEFTAIN WITH EARRINGS
CHIEFTAIN WITH EARRINGS
Vincent Browne (b.1947)

Auction Date / Lot No.: 21 May 2012 / 32

Published Estimate: €600-800

Price Realised: €0

  • Medium: copper with mixed media element on cylindrical black marble base
  • Dimensions: 7.5 by 4 by 3in., 19.05 by 10.16 by 7.62cm.
  • Dimensions of base: 4 by 3.25 (diameter). We are grateful to Leo Higgins, Cast Foundry, Dublin, for his assistance in cataloguing this lot.

    Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation.
    This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks.

  • Have one to sell? Interested in Similar Items?


STUDY FOR A PORTRAIT OF JOHN EDWARDS, 1987
STUDY FOR A PORTRAIT OF JOHN EDWARDS, 1987
Francis Bacon (1909-1992)

Auction Date / Lot No.: 21 May 2012 / 33

Published Estimate: €3000-4000

Price Realised: €4600

  • Signature: signed in the margin lower right; numbered lower left
  • Medium: lithograph in colour; (no. 145 from an edition of 180)
  • Dimensions: 26.75 by 20in., 67.945 by 50.8cm.
  • Provenance: Marlborough Gallery, London; Where purchased by the present owner
  • Francis Bacon met John Edwards at the infamous Colony Club in London's Soho in 1974. He became Bacon's companion from then on. Edwards was the subject of some of his most significant portraits and later sole heir to his estate. He donated the entire contents of the artist's Reece Mews Studio to the Dublin City Gallery, the Hugh Lane in 1998.

  • Have one to sell? Interested in Similar Items?


DESIRE, 1985
DESIRE, 1985
Sean Scully (b.1945)

Auction Date / Lot No.: 21 May 2012 / 34

Published Estimate: €1500-2000

Price Realised: €1400

  • Signature: signed and dated in the margin lower right; titled centre; numbered lower left
  • Medium: etching with aquatint on Arches paper; (no. 21 from an edition of 25)
  • Dimensions: 16.75 by 23.75in., 42.545 by 60.325cm.
  • Sheet size: 22.25 by 29.75ins.

  • Have one to sell? Interested in Similar Items?


CONWAY'S BOG, 2004
CONWAY'S BOG, 2004
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 21 May 2012 / 35

Published Estimate: €3000-4000

Price Realised: €0

  • Signature: signed and dated in pencil lower left; signed, with title and with artist's archival number [04-67] on reverse; with typed Taylor Galleries exhibition label also on reverse
  • Medium: acrylic on paper
  • Dimensions: 23 by 30in., 58.42 by 76.2cm.
  • Provenance: Taylor Galleries, Dublin; Private collection
  • Exhibited: 'Seán McSweeney', Taylor Galleries, Dublin, October - November 2004, catalogue no. 31
  • Have one to sell? Interested in Similar Items?


EVENING BOGLAND, 2005
EVENING BOGLAND, 2005
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 21 May 2012 / 36

Published Estimate: €3000-4000

Price Realised: €0

  • Signature: signed and dated lower left; signed again, titled and dated on reverse; with artist's archival number on reverse; with Vangard Gallery exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 16 by 20in., 40.64 by 50.8cm.
  • Provenance: Vangard Gallery, Cork; Private collection
  • Exhibited: 'Seán McSweeney, New Works', Vangard Gallery, Cork, 13 October - 5 November 2005
  • Have one to sell? Interested in Similar Items?


THE PENITENT THIEF, 1988
THE PENITENT THIEF, 1988
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 21 May 2012 / 37

Published Estimate: €3000-4000

Price Realised: €0

  • Signature: signed and dated lower centre; with inscribed Caldwell Galleries label on reverse
  • Medium: oil on canvas
  • Dimensions: 30 by 25in., 76.2 by 63.5cm.
  • Provenance: Caldwell Galleries; Where purchased by Vincent Ferguson
  • Exhibited: 'Patrick Collins', Caldwell Galleries, Dublin, until 30 November 1989, no. 6; 'Patrick Collins', Clifford Street Fine Art, London, 6 February to 3 March 1990 (illustrated on front cover of exhibition catalogue & backcover of private viewing invite); 'Patrick Collins HRHA, Last Daylight, the late cut-out paintings of Patrick Collins', RHA, Dublin, 14 January – 27 March 2011 (illustrated p.22 of exhibition catalogue)
  • "Someone once asked me why didn't I teach - pass on my experience to somebody else? In reply, I said I would have to start by saying, I can teach you nothing because I know nothing and that's after a lifetime of working for artistic completion, reading, writing, researching, discussing and observing. I broke all the rules in an effort to get at the truth of something and landed back on my own two feet with the conclusion that nobody else knows anything either. So there are no teachers, no pundits, only yourself.

    I started by trying to wed the thing and some hidden meaning of it and instinctively demanding a shape that overall accommodated both. Now I've arrived at a logical development of this idea with the blanks substituting or suggesting what I didn't know."

    Patrick Collins, from the exhibition catalogue to his solo show at the Caldwell Galleries, Dublin, November, 1989

    The recent RHA exhibition of Collins' 'cut outs' in 2011 brought into focus this controversial series from the mid-eighties. While these works show the artist employing a new technique, the brutal cutting of canvas with a scissors, they tie in with his earlier preoccupation of relating the painted image to the edge of the picture plane. For earlier works by the artist see lots X and X.

  • Have one to sell? Interested in Similar Items?


DIDYMO, N.Z.I., 2006
DIDYMO, N.Z.I., 2006
Barrie Cooke HRHA (b.1931)

Auction Date / Lot No.: 21 May 2012 / 38

Published Estimate: €3000-4000

Price Realised: €0

  • Signature: signed, titled, dated and with artist's archival number [BC28506] on reverse; with typed Kerlin Gallery exhibition label also on reverse
  • Medium: oil on canvas
  • Dimensions: 27.5 by 33.5in., 69.85 by 85.09cm.
  • Provenance: Kerlin Gallery, Dublin; Private collection
  • Exhibited: 'Barrie Cooke', Kerlin Gallery, Dublin, 5 May - 3 June 2006
  • The Kerlin exhibition in 2006 marked the artist's 75th birthday and featured several reoccurring themes in his oeuvre. The present work represent his preoccupation with water pollution and an algae called Didymosphenia geminata discovered in New Zealand in 2004.

  • Have one to sell? Interested in Similar Items?


TERRIBLE DAY, LOOP HEAD, COUNTY CLARE
TERRIBLE DAY, LOOP HEAD, COUNTY CLARE
John Shinnors (b.1950)

Auction Date / Lot No.: 21 May 2012 / 39

Published Estimate: €8000-10000

Price Realised: €0

  • Signature: signed in the lower right panel lower left; signed and titled on reverse; with Leinster Gallery label on reverse
  • Medium: oil on panel; (in four parts)
  • Dimensions: 24 by 26.75in., 60.96 by 67.945cm.
  • Provenance: Leinster Gallery, Dublin; Private collection
  • Dimensions of each panel: 11.5 by 13ins.

  • Have one to sell? Interested in Similar Items?


GOLD PAINTING 8/93
GOLD PAINTING 8/93
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 21 May 2012 / 40

Published Estimate: €5000-7000

Price Realised: €4800

  • Signature: signed and inscribed on reverse
  • Medium: gold leaf and tempera on canvas
  • Dimensions: 34 by 34in., 86.36 by 86.36cm.
  • Provenance: Whyte's, 17 February 2004, lot 30; Whence purchased by the present owner
  • Exhibited: 'Patrick Scott', Taylor Galleries, Dublin, 21 June - 6 July 1994, catalogue no. 5; RHA Banquet Exhibition, Dublin 1997
  • Have one to sell? Interested in Similar Items?


THE LIGHTHOUSE KEEPER'S CAT
THE LIGHTHOUSE KEEPER'S CAT
John Shinnors (b.1950)

Auction Date / Lot No.: 21 May 2012 / 41

Published Estimate: €5000-6000

Price Realised: €5200


OVER LOOP, COUNTY CLARE, JANUARY
OVER LOOP, COUNTY CLARE, JANUARY
John Shinnors (b.1950)

Auction Date / Lot No.: 21 May 2012 / 42

Published Estimate: €6000-8000

Price Realised: €0

  • Signature: signed lower right; with title on reverse; also with Leinster Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 18.5 by 19.75in., 46.99 by 50.165cm.
  • Provenance: Leinster Gallery, Dublin; Private collection
  • Exhibited: 'John Shinnors - Paintings & Drawings', Limerick City Gallery of Art, September to November, 2002
  • LiteraturePROFILE 18 - John Shinnors, Gandon Editions, Cork, 1996, p.47 (illustrated)
  • Have one to sell? Interested in Similar Items?


STUDY FOR RECONSTRUCTED HEAD OF S. B. (SAMUEL BECKETT), 1965
STUDY FOR RECONSTRUCTED HEAD OF S. B. (SAMUEL BECKETT), 1965
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 43

Published Estimate: €25000-35000

Price Realised: €0

  • Signature: signed and dated lower left
  • Medium: watercolour
  • Dimensions: 22 by 15in., 55.88 by 38.1cm.
  • Provenance: Gimpel Fils Gallery, London; Whence purchased by Bruce Arnold in 1968; Sold to the present owner, May 1975
  • Exhibited: 'Louis le Brocquy Paintings', Gimpel Fils, London, 1-26 March 1966, catalogue no. 67; 'The Irish Imagination 1959-1971, an exhibition in association with Rosc', Municipal Gallery of Modern Art, Dublin, 23 October to 31 December 1971, catalogue no. 11 in 'The Literary Influence' section (Lent by Bruce Arnold); 'Irish Art 1943-1973: an exhibition in association with Rosc', Crawford Municipal Gallery of Art, Cork, 24 August to 7 November 1980, toured to the Ulster Museum, Belfast, January to February 1981, catalogue no. 66 (Lent by the present owner)
  • Artist's archive number W.51.

    Over a period of thirty or so years, from 1965 when this work was painted, Louis le Brocquy carried out numerous images of Samuel Beckett, mainly in oils but also, as in this case, in watercolour. The Head series began with the early experimental works, known collectively as the Ancestral Heads (1964-1975), followed by the Portrait Heads (c.1975-2005). It is thought that the present Study is the first watercolour in the series, and the artist himself confirmed this on a visit to Whyte's in 2007.1. Study for Reconstructed Head of S.B. (Samuel Beckett) belongs to the early experimental phase when the artist was searching for a distinctive method for representing the intellect, imagination and creativity of a range of individuals chosen for their historical significance or exceptional literary and artistic achievements. Mostly, though not exclusively, Irish, the figures included James Joyce, WB Yeats, Louis' wife - artist Anne Madden - and his friends Francis Bacon and Seamus Heaney, as well as Beckett.
    The Head series was a remarkable development for le Brocquy, emerging after a period of struggle for direction. A visit to the Musée de l'Homme in Paris in the winter of 1964 brought him into contact with the Polynesian heads in that collection, which touched a chord in the artist. As he explained "Like the Celts I tend to regard the head as this magic box containing the spirit. Enter that box, enter behind the billowing curtain of the face, and you have the whole landscape of the spirit." 2.
    In attempting to convey the elusive presence of the person within, the heads are presented as touches and swathes of colour, devoid of defining outlines, and variously ethereal. While he knew Beckett, le Brocquy did not paint the images from life, but from photographs or memory, preferring to respond to the afterimage rather than the literal presence of the individuals. Typically, each head in the series is shown floating, disembodied, on a muted background, thereby focusing attention on the essential individuality of the character, as well as the ultimate reality of human isolation.
    The Study presented here shows one of the earliest experiments in this genre. Composed in blues, red and brown, the head is modelled to give an overall form, but limited detail: there are no visible eyes, and little external description - it is not intended as literal and mimetic, though some later works of Beckett are more recognizable. This work, however, while referencing the distinctive brow, high cheekbones, and strongly cleft chin, is less concerned with the surfaces of his appearance than with the interior abstract complexities of his imagination.

    Dr Yvonne Scott
    April, 2012

    1. My thanks to Whyte's for this observation.
    2. Michael Peppiatt, 'Interview with Louis le Brocquy', Art International, Vol. XXIII/7, October, 1979, pp.60-66. Reproduced in Pierre le Brocquy (ed.), Louis le Brocquy, The Head Image, Gandon Editions, Kinsale, 1996, p.23.

  • Have one to sell? Interested in Similar Items?


THE CURRAGH, 1991
THE CURRAGH, 1991
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 44

Published Estimate: €5000-6000

Price Realised: €7500

  • Signature: signed and dated in pencil lower left; with typed Solomon Gallery label on reverse; with artist's archival number [W1077] also on reverse
  • Medium: watercolour
  • Dimensions: 7 by 10.25in., 17.78 by 26.035cm.
  • Provenance: Solomon Gallery, Dublin
  • From the artist's 'Irish landscape Series' (c.1987-94)
    Dr. Yvonne Scott observes, "The watercolour landscapes have a particular place in his oeuvre. These are primarily understood as personal rather than mainstream works. As he has explained: "these were always made to one side of the more problematic work which preoccupied me, so that I have tended to think of them as a diversion, the exploration of a private avenue". The landscape paintings are, nonetheless, very significant. During the late 1980s and early 1990s, le Brocquy produced a series of works addressing locations in various parts of the country, primarily Beara, Wicklow and Dublin. These are not the incidental painted sketches of a transient visitor, but considered responses to places he knows well, or whose experience has a special meaning for him ... The artist is clear about his exploration of the topography of landscape which he intentionally transforms from objective description to subjective response. This process, he explains, is not so much "creation" as "discovery" - the uncovering of the essence of a place, and its experience."
    1. Scott Yvonne, Painting Ireland. Topographical Views from Glin Castle, William Laffan, ed., Curchill House Press, Tralee, 2006, p. 91-92

  • Have one to sell? Interested in Similar Items?


STUDY TOWARDS AN IMAGE OF W.B. YEATS, 1975
STUDY TOWARDS AN IMAGE OF W.B. YEATS, 1975
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 45

Published Estimate: €4000-6000

Price Realised: €5600

  • Signature: signed with initials and dated lower right; with inscribed Dawson Gallery label on reverse; with typed exhibition label for Musée 'Art Moderne de la Ville de Paris and Richard Demarco Gallery exhibition labels also on reverse
  • Medium: charcoal
  • Dimensions: 8.75 by 7in., 22.225 by 17.78cm.
  • Provenance: Dawson Gallery, Dublin; Where purchased by the present owner
  • Exhibited: 'A la Recherche de Yeats', Musée d'Art Moderne de la Ville de Paris, 15 October - 28 November 1976, catalogue no "Etude 27/1975"; Richard Demarco Gallery, Festival '77 exhibition, study no. 20
  • Contained in its original Dawson Gallery frame and linen mount.

  • Have one to sell? Interested in Similar Items?


BEING, 1998
BEING, 1998
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 46

Published Estimate: €10000-15000

Price Realised: €17000

  • Signature: signed and dated in pencil lower right; signed again, with title, date, medium and measurements in cm and with artist's archival number [W 1447B] in pencil on reverse
  • Medium: watercolour and gouache
  • Dimensions: 19.75 by 14in., 50.165 by 35.56cm.
  • Provenance: Acquired directly from the artist by original owner; Yello Gallery, Kinsale; Where purchased by the current owner
  • Have one to sell? Interested in Similar Items?


THE TÁIN COLLECTION
THE TÁIN COLLECTION
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 47

Published Estimate: €250000-300000

Price Realised: €245000

  • Signature: signed with initials in the weave on reverse by maître-lissier, René Duché and numbered lower right; with certificate of authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duché
  • Medium: Aubusson tapestry; Atelier René Duché (each no. 4 from an edition of 9)
  • Dimensions: 72.5 by 110in., 184.15 by 279.4cm.
  • Provenance: Agnew's, London; Where purchased by the current owner
  • Exhibited: 'Louis le Brocquy Aubusson Tapestries', Agnew's, London, 3-29 May 2001, The Táin Tapestries
  • Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with him on a new translation of Ireland's oldest saga written by Thomas Kinsella. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin.
    The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce's Finnegans Wake drew on its meandering style - but Thomas Kinsella's Táin was the first widely-accessible version, especially when Oxford University Press' 1970 paperback followed the de luxe and limited editions produced by Dolmen Press.
    The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass' Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love."
    Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, Kinsella and le Brocquy translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation.
    The images le Brocquy called 'shadows thrown by the text' became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in such a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in these tapestries. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post.
    Le Brocquy's innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. This shows immediately in Army Massing, where marks cascade in rivulets that resemble both chain mail and hand-writing, and in the H-shaped Cúchulainn confronting Ferdia. Different ages and cultures whisper through the images - and through these twenty tapestries made during 1998-2000, when le Brocquy collaborated with maître-lissier René Duché, whose firm had recently been awarded the honour Meilleur Ouvrier de France. Cuchulainn's Warp Spasm, for example, speaks both of calligraphic marks from Sun Tzu's The Art of War and Yves Klein's bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples.
    The translation into tapestry, via le Brocquy's Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché's subtly-textured cottons and wools freed le Brocquy's black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book's relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or sentence. They belong together. The tapestries were last seen at the Irish Museum of Modern Art in 2003, when they were acquired under the Heritage Tax Scheme. It is profoundly moving to see them together in these weeks after the artist's passing on 25 April 2012. Le Brocquy's hand reaches out through them.

    Medb Ruane April 2012

  • Have one to sell? Interested in Similar Items?


THE TÁIN. THE BULL OF CUAILNGE, 1969
THE TÁIN. THE BULL OF CUAILNGE, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 48

Published Estimate: €800-1000

Price Realised: €1900

  • Signature: signed, numbered, dated and with edition number in pencil in the margin lower right
  • Medium: lithographic brush drawing (no. 68 from an edition of 70)
  • Dimensions: 15 by 21.5in., 38.1 by 54.61cm.
  • Provenance: Taylor Galleries, Dublin; Private Collection
  • Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 33 in the series from Portfolio 3.

  • Have one to sell? Interested in Similar Items?


THE TÁIN. LEAPING WOLFHOUND, 1969
THE TÁIN. LEAPING WOLFHOUND, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 49

Published Estimate: €800-1000

Price Realised: €1800

  • Signature: signed, numbered, dated and with edition number in pencil in the margin lower right
  • Medium: lithographic brush drawing (no. 68 from an edition of 70)
  • Dimensions: 15 by 21.5in., 38.1 by 54.61cm.
  • Provenance: Taylor Galleries, Dublin; Private Collection
  • Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 30 in the series from portfolio 3.

  • Have one to sell? Interested in Similar Items?


THE TÁIN. PIGS, 1969
THE TÁIN. PIGS, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 50

Published Estimate: €800-1000

Price Realised: €950

  • Signature: signed, numbered, dated and with edition number in pencil in the margin lower right
  • Medium: lithographic brush drawing (no. 68 from an edition of 70)
  • Dimensions: 15 by 21.5in., 38.1 by 54.61cm.
  • Provenance: Taylor Galleries, Dublin; Private Collection
  • Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 28 in the series from Portfolio 3.

  • Have one to sell? Interested in Similar Items?


  Records 1 to 50 of 211     Next 20 results Last results

FREE VALUATIONS: DUBLIN: Informal and confidential advice and valuations for prospective sellers given by appointment at our galleries, 38 Molesworth Street, Dublin 2; Monday to Friday,10am to 5pm. .
ELSEWHERE: send images and details to info@whytes.ie for a free appraisal and advice on selling. We also travel throughout Ireland and Great Britain, and occasionally to the US and elsewhere, to appraise large collections or valuable single items. 
CLICK HERE FOR GUIDE TO SELLING AT WHYTE'S, or watch our video here.

Whyte & Sons Auctioneers Ltd., 38 Molesworth Street, Dublin D02 KF80, Ireland. Tel: +353 (0)1 676 2888 Email: info@whytes.ie
Licensed to conduct auctions by The Property Services Regulatory Authority of Ireland. Licence No. 001759.