30 September 2013

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STILL LIFE WITH MUG
STILL LIFE WITH MUG
Peter Collis RHA (1929-2012)

Auction Date / Lot No.: 30 September 2013 / 1

Published Estimate: €1000-1500

Price Realised: €1200


LARGE POT AND PLANT [BEGONIA]
LARGE POT AND PLANT [BEGONIA]
Peter Collis RHA (1929-2012)

Auction Date / Lot No.: 30 September 2013 / 2

Published Estimate: €2500-3500

Price Realised: €0


WICKLOW LANDSCAPE
WICKLOW LANDSCAPE
Peter Collis RHA (1929-2012)

Auction Date / Lot No.: 30 September 2013 / 3

Published Estimate: €2500-3500

Price Realised: €4200


THATCHED COTTAGES AND WILD DAISIES
THATCHED COTTAGES AND WILD DAISIES
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 30 September 2013 / 4

Published Estimate: €4000-6000

Price Realised: €0


FARM IN THE MOURNES, COUNTY DOWN, 1963
FARM IN THE MOURNES, COUNTY DOWN, 1963
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 30 September 2013 / 5

Published Estimate: €2500-3500

Price Realised: €2700


TURFCUTTERS
TURFCUTTERS
Liam O’Neill (b.1954)

Auction Date / Lot No.: 30 September 2013 / 6

Published Estimate: €3000-4000

Price Realised: €5200


THE CLASH OF THE TITANS" [ALL IRELAND FOOTBALL FINAL, KERRY v DUBLIN, 1985]"
Liam O’Neill (b.1954)

Auction Date / Lot No.: 30 September 2013 / 7

Published Estimate: €3000-5000

Price Realised: €0

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 40 by 30in., 100 by 75cm.
  • Provenance: James Gallery, Dalkey;Private collection
  • Kerry won the 1985 All Ireland Football Final and the artist was present to witness his team's success. Friend and classmate, the late great Páidí Ó Sé was Kerry captain that year and lifted the Sam Maguire for The Kingdom. Over the years O'Neill has made several works in pastel and oil based on those fierce county clashes from images in books, newspapers and from memory. We are grateful to the artist for his assistance in cataloguing this lot.

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EVENING SHADOWS, TALLOW HORSE FAIR, COUNTY WATERFORD
EVENING SHADOWS, TALLOW HORSE FAIR, COUNTY WATERFORD
Arthur K. Maderson (b.1942)

Auction Date / Lot No.: 30 September 2013 / 8

Published Estimate: €3000-4000

Price Realised: €3000


STUDY, ROSSES POINT, TOWARDS EVENING and EVE, ROSSES POINT, SLIGO (PAIR)
STUDY, ROSSES POINT, TOWARDS EVENING and EVE, ROSSES POINT, SLIGO (PAIR)
Arthur K. Maderson (b.1942)

Auction Date / Lot No.: 30 September 2013 / 9

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: both signed lower right; both signed again and titled on reverse
  • Medium: oil with gouache on board; (1); oil on board; (1)
  • Dimensions: 16 by 16in., 40 by 40cm.
  • Dimensions of second title: 6.5 by 6.5in. Both works depict members of the artist's family.

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SEPTEMBER DAY, GALWAY COAST
SEPTEMBER DAY, GALWAY COAST
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 30 September 2013 / 10

Published Estimate: €2000-3000

Price Realised: €4600


PROSPECT OF THE GOLDEN VALE", COUNTY TIPPERARY (SOUTH RIDING)"
Peter Curling (b.1955)

Auction Date / Lot No.: 30 September 2013 / 11

Published Estimate: €600-800

Price Realised: €1800


REFLECTIONS, NEAR LENANNE [SIC], COUNTY MAYO
REFLECTIONS, NEAR LENANNE [SIC], COUNTY MAYO
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 30 September 2013 / 12

Published Estimate: €2500-3500

Price Realised: €3200


HARBOUR ROUNDSTONE, CONNEMARA
HARBOUR ROUNDSTONE, CONNEMARA
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 30 September 2013 / 13

Published Estimate: €3500-4500

Price Realised: €3600


MANNIN, GALWAY, 1986-87
MANNIN, GALWAY, 1986-87
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 30 September 2013 / 14

Published Estimate: €3000-4000

Price Realised: €2900

  • Signature: signed and dated ['87] lower right; titled and dated [July '86] on reverse; also with artist's address [Belfast] on reverse
  • Medium: oil on board
  • Dimensions: 14 by 18in., 35 by 45cm.
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BRINGING IN THE NETS, CUSHENDUN
BRINGING IN THE NETS, CUSHENDUN
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 30 September 2013 / 15

Published Estimate: €6000-8000

Price Realised: €0

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 15 by 20in., 37.5 by 50cm.
  • Provenance: Pearson and Westergaard Fine Art Dealers, Glasgow;Private Collection, Glasgow;with Gormley's;Private collection, Co. Antrim;From whom purchased by the present owner
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RIVER BEND, 1913
RIVER BEND, 1913
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 30 September 2013 / 16

Published Estimate: €2000-3000

Price Realised: €1800


ON THE RIVER BANN
ON THE RIVER BANN
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 30 September 2013 / 17

Published Estimate: €7000-9000

Price Realised: €7000

  • Signature: signed lower left; titled on reverse
  • Medium: oil on canvas
  • Dimensions: 16 by 20in., 40 by 50cm.
  • Provenance: Sotheby's, London, 6 May 2010, lot 7;Where purchased by the present owner
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AN ACHILL BOG, c.1928-1930
AN ACHILL BOG, c.1928-1930
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 30 September 2013 / 18

Published Estimate: €30000-40000

Price Realised: €42000

  • Signature: signed lower right; titled in another hand in pencil on stretcher verso; with Dawson Gallery framing label also on reverse
  • Medium: oil on canvas
  • Dimensions: 11.5 by 13.5in., 28.75 by 33.75cm.
  • Provenance: Given as a wedding present to the previous owner's parents, 1936;Thence by descent;Adam's, 30 March 1994, lot 24;deVere's, 20 November 2001, lot 243;Private collection
  • Literature: Kennedy, S.B., Paul Henry, Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, p.240, catalogue no. 688 (reproduced)
  • One cannot know for sure where the setting for this scene may be, but despite the title it must be in Connemara. As is well known, Henry lived on Achill Island from 1910 until 1919, when he moved to Dublin. But from 1917 he was employed as a Paymaster for the Congested Districts Board, his autobiography, An Irish Portrait, London, 1951, pp. 83-4, noting his work here. His duties for the Board were not onerous, but they allowed him to travel more widely than hitherto so that increasingly he drew upon the areas around Ballycroy, Bangor Erris and Pollatomish in north County Mayo for his subject matter. His practice thereafter was to make sketches as he journeyed and these he used later for compositions. His handling of this picture is characteristic of his work in the late 1920s, although the overall tonal key is brighter than many of his works from that time. In the sky the paint has been fairly evenly applied to the canvas, with little overpainting or other changes, while on the distant mountain there is more impasto and a clear direction of the fall of light. The middle distance is similarly treated. But the foreground, with its warm tones, heavier impasto, briskly executed brushwork and the upward thrust of the turfstacks which link the foreground with the middle distance, shows the exuberance of Henry at the height of his powers.There is a label on the reverse of the Dawson Gallery, Dublin, as the framer. The title is written in pencil on the back of the stretcher, but in whose hand is unknown. Dated 1928-30 on stylistic grounds.Dr S.B. KennedySeptember 2013

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COTTAGES AT CARRAROE
COTTAGES AT CARRAROE
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 30 September 2013 / 19

Published Estimate: €3000-5000

Price Realised: €2900

  • Signature: signed lower left
  • Medium: oil on paper laid on board
  • Dimensions: 11.5 by 14.5in., 28.75 by 36.25cm.
  • Provenance: Christie's c.1988 / 1989;Whence purchased by the present owner's father;Thence by descent
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LOUGH DERRYCLARE, CONNEMARA, COUNTY GALWAY
LOUGH DERRYCLARE, CONNEMARA, COUNTY GALWAY
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 30 September 2013 / 20

Published Estimate: €1000-1500

Price Realised: €1200


COASTAL SCENE WITH COTTAGES AND CHICKENS
COASTAL SCENE WITH COTTAGES AND CHICKENS
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 30 September 2013 / 21

Published Estimate: €1500-2000

Price Realised: €1500


MOUNTAINS AND LOUGH
MOUNTAINS AND LOUGH
Mabel Young (1889-1974)

Auction Date / Lot No.: 30 September 2013 / 22

Published Estimate: €2500-3500

Price Realised: €4000

  • Signature: signed lower right; with original Windsor & Newton Rathbone Canvas label on reverse
  • Medium: oil on canvas board
  • Dimensions: 12 by 16in., 30 by 40cm.
  • Provenance: Whyte's, 30 November 2004, lot 59;Whence purchased by the present owner
  • Most probably a view of Killary Harbour, Connemara.Mabel Young was the second wife of artist Paul Henry whose influence can be clearly seen in the present work.

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LAKE SCENE, COUNTY WICKLOW
LAKE SCENE, COUNTY WICKLOW
Mabel Young (1889-1974)

Auction Date / Lot No.: 30 September 2013 / 23

Published Estimate: €1500-1800

Price Realised: €1700


DINGLE BAY, COUNTY KERRY
DINGLE BAY, COUNTY KERRY
Mabel Young (1889-1974)

Auction Date / Lot No.: 30 September 2013 / 24

Published Estimate: €1200-1500

Price Realised: €0

  • Signature: signed lower left; remains of inscription on reverse
  • Medium: oil on canvas
  • Dimensions: 14 by 16in., 35 by 40cm.
  • In original frame from Harrods' Picture Department, London.

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SPRING, WOODED RIVERSCAPE
SPRING, WOODED RIVERSCAPE
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 30 September 2013 / 25

Published Estimate: €3000-5000

Price Realised: €2900


OVER THE MOOR
OVER THE MOOR
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 30 September 2013 / 26

Published Estimate: €2000-3000

Price Realised: €1900

  • Signature: signed lower left; with David Hendriks Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 18 by 22in., 45 by 55cm.
  • Provenance: Newton School, Waterford, c/o Rotary Club of Waterford;Where purchased by the present owners, 1975
  • Exhibited: 'Exhibition of Paintings by Prominent Irish Artists', Newton School, Waterford, c/o Rotary Club of Waterford, 29-31 May, 1975, catalogue no. 73
  • Other artists featured in the exhibition included Harry Kernoff, Kitty Wilmer O'Brien, Thomas Ryan, Pauline Bewick Ciarán Clear and Peter Collis among others. A copy of the catalogue accompanies this lot.

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FELTRIM, COUNTY DUBLIN
FELTRIM, COUNTY DUBLIN
John Crampton Walker ARHA (1890-1942)

Auction Date / Lot No.: 30 September 2013 / 27

Published Estimate: €800-1000

Price Realised: €0

  • Signature: indistinctly signed lower right; inscribed in a later hand on reverse
  • Medium: oil on canvas board
  • Dimensions: 10 by 14in., 25 by 35cm.
  • Scenes of Feltrim featured regularly in the artist's oeuvre and several scenes of the area were shown at the RHA from 1914 to 1942 including A Relic of the Past - Feltrim (1937, catalogue no. 89) which sold in these rooms on 26 June 2000, as lot 53.

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HAYSTACK
HAYSTACK
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 30 September 2013 / 28

Published Estimate: €10000-15000

Price Realised: €10000

  • Signature: signed lower left; inscribed with title on original label on reverse
  • Medium: oil on panel
  • Dimensions: 15.5 by 13.5in., 38.75 by 33.75cm.
  • Provenance: Kitty Le Marquand, Jersey; Thence to her son, the late Richard Wigginton;By whom given to the previous owner;Whyte's, 29 September 2008, lot 109;Private collection
  • Exhibited: Possibly 'Paintings by William J. Leech RHA', Dawson Gallery, Dublin, 1-8 June 1945, catalogue no. 8 (£35)
  • Haystack epitomises Leech’s awareness of Monet’s work and his assimilation of Impressionism, first apparent in Leech’s paintings of c.1912. The more strident yellows and greens of A Secret Garden and A Convent Garden are resolved into a harmonious arrangement of the foreground’s pink and blue shadows in Haystack, which contrasts against the yellow greens of the newly-mown meadow. The change in Leech’s painting technique is apparent; textured strokes have been replaced by smooth brush strokes, freely drawn, leaving areas of the support to shine through. This free execution indicates that Leech probably painted this work directly in the landscape, perhaps from the upper level of the Devon Cider barn, with its wide opening, planned for easy access of loads of apples but ideal as an artist’s advantage viewpoint and studio workspace. The Blitz of 1941 twice damaged Leech’s Steele’s Studio in Hampstead but May Botterell’s Abbey Road flat escaped damage and became home and studio for them both. Leech’s family, especially his brother Cecil and wife ‘Babs’, who ran an apple orchard in Devon, provided a refuge for the couple in the countryside away from the bombings in London for months at this time. Cecil Leech cleared the upper part of one of the cider barns as a studio for his younger brother William John who began a series of paintings of farmyard gates, meadows of hay and apple orchards during these war years, a respite from London back gardens and views from the fifth floor of May’s flat. Leech exhibited a similar work, A Haystack, at the RHA in 1944, the same year he exhibited Back Gardens and A War Time Garden, all care of Leo Smith. This present work was probably included in Leech’s first solo exhibition at the Dawson Gallery in June 1945. He exhibited his oil Haystack and Window, Evening, which depicts a haystack in a farmyard scene with chickens, at the Oireachtas Exhibition of 1945 and at the RHA in 1948 and which was also included in Leech’s exhibition with Frances Kelly and Evie Hone at the Dawson Gallery in July/August 1953. His journeys to France were ended by the Second World War and Leech was never to return to his earlier Breton subject matter or his later paintings in the South of France. These were replaced by sunlit Regent Park gardens, flowers on windowsills and later his garden at Candy Cottage, but during the war years his work focuses on a series of haystacks in farmyards framed though open windows or, as in Haystack, through a five barred wooden gate and the diagonal trunk of a nearby tree. Dr Denise Ferran

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PORTRAIT OF CAPTAIN COLIN DAVID BRODIE, 1928
PORTRAIT OF CAPTAIN COLIN DAVID BRODIE, 1928
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 30 September 2013 / 29

Published Estimate: €20000-30000

Price Realised: €34000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 30 by 23in., 75 by 57.5cm.
  • Provenance: A wedding gift from the artist to Daphne Cecil Rosemary Harmsworth, daughter of Lord Harmsworth, on her marriage to the sitter;Given by the sitter to Lord Swinfen;1Thence to Averil, Lady Swinfen;With James Robson 1983;de Vere's, 21 November 2000, lot 276;
  • With an original letter from the sitter to Lord Swinfen, 6 May 1964.In 1937, remembering Orpen, Seán Keating produced the most succinct assessment of his master's abilities, 'What he observed', he wrote, seemed to go in through his eyes, be analysed and arranged by his brain, and written down with inevitable rightness by his unerring hand, as one complicated movement of his will'.2 There was a sense of immediacy in this: the painter could uncannily read the mind's construction on the face of his sitter and express it with concision. The glimpse, not the gaze, was enough. His later work was as 'authoritative as the shot of a pistol', Keating concluded. While later critics, coloured by the vitriolic comments of his nephew, John Rothenstein, dismissed the portrait cavalcade of Orpen's closing years, his pupil's encomium rings true as we examine the Portrait of Captain Colin David Brodie. This present work sets out the essential character of a man who despite his chequered career, was handsome and debonair. His strong jaw, regular features and trimmed moustache indicate a Scot, secure in his class identity.3 The second son of an insurance company secretary, Colin David Brodie (1893-1969) was born in Edinburgh. At the age of seventeen he was dispatched to Manitoba, Canada to work on a farm, but only remained there for a short time, before travelling to East Africa where, in 1915, he enlisted in the Uganda Volunteer Reserve, rising through the ranks of the King's African Rifles Battalion of the Middlesex Regiment. He repatriated to the family home, by that stage at Wokingham, Berkshire, in 1919. Failing to settle, he returned to Canada and the United States in 1923, describing himself as a 'retiredArmy Officer' and giving his occupation as 'salesman'. However, by the time of his return to England in July 1923, he had upgraded to 'stockbroker' and during the next four years his fortunes improved. Probably through his friend, 'Carol' Charles Swinfen Eady, second Baron Swinfen, he met, and in March 1928, married Daphne Cecil Rosemary Harmsworth, the daughter of Lord Harmsworth, the publisher and newspaper proprietor.4 It was probably through Cecil, Harmsworth's son, that the contact with Orpen was established, he having painted various members of the Harmsworth dynasty since 1907.5 In this instance the painter agreed to produce the portrait as a wedding present and no fee is recorded in his studio book.6 Orpen's wife, Grace, along with one of their daughters attended the wedding.7What appeared before Orpen was a young man in his mid-thirties wearing a 'Balmoral' bonnet with his clan insignia and an 'Argyll' waistcoat and jacket, traditionally worn for stalking in the Highlands. His tie is knotted and pulled forward, and after the fashion of the day, a brightly coloured handkerchief emerges from his breast pocket. Although this is not a military costume, it must have called to mindOrpen's eighteen months as an Official War Artist and he even shows Brodie facing right and turning to engage the viewer, in a favourite pose used for his own self-portraits. Despite the claim that these last years were fuelled by alcohol, there is no diminution of Orpen's powers in the handling of the portrait. The figure is confidently executed and brushstrokes crossing the left shoulder follow the direction of the formdown into the sleeve before they fade into under-paint. Close examination reveals that the hat ribbons have been repositioned, and its contour softened and sharpened around the crown of the head. Keating accurately observed Van Dyck, Hals and Goya in Orpen - but in this instance we have a sitter who is 'assured and well-bred like thepeople of Raeburn'.8 Sadly Brodie's marriage ended in divorce in 1937 and twelve years later he emigrated to Australia. But this too did not last, and by 1956 he was back in Scotland where he married for a second time. He died in Montrose in 1969, aged 75.Professor Kenneth McConkey and Christopher PearsonOrpen Research ProjectSeptember 2013Footnotes:1 See accompanying letter Colin David Brodie to Carol, Lord Swinfen, 6 May 1964.2 Seán Keating. 'William Orpen, A Tribute', Ireland Today, 1937 p. 21-23 The Brodie clan hailed from Lethen, on the Moray Firth in Scotland.4 Carol Swinfen Eady, second Baron Swinfen, was a barrister who inherited his father's profession and his wealth. Like the Harmsworths he lived in Hyde Park Gardens.5 Bruce Arnold, Orpen, Mirror to an Age, 1981 (Jonathan Cape), p.423, provides this reference, but mistakenly attributes Orpen's remarks to Daphne's brother Cecil's wedding, which took place nearly two years earlier in December 1926. Cecil Harmsworth, like his elder brothers, Viscount Northcliffe and Viscount Rothermere was a publisher. He had however, a deeper interest in the arts than either. His younger brother, Alfred St John Harmsworth was painted by Orpen in1929.6 The artist's Studio Book for 1928 records the present work as 'Mr Brodie for Miss Harmsworth (present)'. Cara Copeland in her list of Orpen's pictures confirms this with the note: 'a wedding present to Cecil Harmsworth's daughter'.7 The Times (London, England), Thursday, Mar 15, 1928; pg. 17; Issue 44842. MARRIAGE. Captain C. D. Brodie and Miss Harmsworth.8 Seán Keating. 'William Orpen, A Tribute', Ireland Today, 1937 p. 25.Biographical note on Captain Colin David Brodie:Colin David Brodie was born at 5 Great Stuart Street, Edinburgh, Midlothian, Scotland, on 26 December 1893, the second son of George James Brodie (1860-1936), Writer to the Signet, Insurance Manager and Insurance Company Secretary, and Theresa Sophia Charlotte Wayne (1866-1910). In April 1911, Colin, then a 17 year old farm pupil, arrived in Souris, Manitoba, Canada with the intention of becoming a farmer. Only resident there between 1911-1912, he was recorded as on 1st June 1911 on the 1911 Census of Canada, as being a farm labourer. It appears that by 1915 Colin was resident in Uganda in East Africa, as he enlists in the Uganda Volunteer Reserve as a private, on 12th September 1915. On 4th November 1916, he joins the Middlesex Regiment, as a 2nd Lieutenant, possibly serving under a colonial officer. On 21st August 1917, he is promoted to Temporary Captain, Middlesex Regiment, King's African Rifles Battalion, Quaternary Unit: 4th Regiment. It is therefore likely that he served out the rest of the war in the East African threatre, returning to England, from Port Said, Egypt, arriving at Falmouth on 19th May 1919. For his First World War service, Colin received the three-medal cluster of the 1914-1915 Star, British Army Medal and Victory Medal.It seems that, for at least the first part of the 1920s, he resided at The Gables, Wokingham, Berkshire, the home of his father and the latter's second wife, Margaret Sarah Mary Josephine, nèe Barber-Starkey (1876-1962), whom his father had married in 1914, after the death, in 1910, of his first wife, i.e. Colin's mother.In February 1923, he visited the United States, at which time he still declared his occupation as Retired Army Officer", and gave his address in the United Kingdom as 11 St James' Place, London SW. He was looking to the USA as his country of future permanent residence. By mid-year he had taken up a civilian occupation. On 2nd June 1923, on a border crossing card from Canada to the USA Colin was described as:- 6ft 2½ ins, fair complexion, fair hair, and blue eyes. He had been staying in the YMCA in Montreal, his stated occupation was salesman, and he was going to H. B. Chamberlain in New York City, but on his return to England on 15th July 1923, his occupation was described, probably more accurately, as a stockbroker.Over the next few years, Colin began to engage with the higher echelons of British Society, counting such people as 'Carol' Charles Swinfen Eady, 2nd Baron Swinfen (1904-1977) among his friends. 'Carol's father, 1st Baron Swinfen (1851-1919), had lived in the same London street as Cecil Bisshopp Harmsworth, 1st Baron Harmsworth of Egham (1869-1948), and most significantly the father of Daphne Cecil Rosemary Harmsworth (1901-1993), whom the sitter was eventually to marry in 1928, i.e. 23 and 13 Hyde Park Gardens, London, W2, respectively. On 14th March 1928, at the Temple Church, in the City of London, the sitter, Colin David Brodie, married Daphne Cecil Rosemary Harmsworth, the daughter of Cecil Bisshopp Harmsworth, 1st Baron Harmsworth of Egham, (politician and with his brothers in the newspapers business), and Emilie Alberta Harmsworth nèe Maffett (Abt. 1874-1942). Colin's best man was 'Carol', 2nd Baron Swinfen, and the reception was held at 1st Baron Harmsworth's London home, 13 Hyde Park Gardens. The Times newspaper for the following day records the event in some detail, even giving a list of guests. Among these guests were Orpen's wife, Grace, Lady Orpen, along with one of the artist's daughters. In keeping with a letter he wrote to Grace, emphatically expressing his intentions concerning the wedding, he did not actually attend the wedding himself. However he did go on to say that he was doing a portrait of the bridegroom as a present, i.e. the current portrait. He also records in his Studio Book for 1928 that he painted Mr Brodie for Miss Harmsworth as a present. In fact, by the time of this portrait, Orpen's association with the Harmsworth family went back over twenty years when, he had painted two of the bride's first cousins, the young daughters of Robert Leicester Harmsworth (1870-1937), Annie Mary Geraldine Harmsworth (1900-1990), in 1907, and Violet Lilian Rosemary Harmsworth (1902-1986), in 1910. In the case of the prersent picture the artist has chosen to represent his subject in civilian informal Highland dress - an Argyll jacket and a Balmoral bonnet. The badge on the Balmoral bonnet appears to be a clan badge (probably the Brodie crest badge).Spontaneity coupled with an exciting use of colour, ochre contrasting with deep black and blues, adding a touch of red, Orpen created an overall effect which is entirely delightful. In 1929, Orpen did a studio portrait of one of Daphne's uncles, (William Albert) St. John Harmsworth (1876-1933). It is a colourful, three-quarter length, seated composition and was exhibited in the Royal Academy Summer Exhition the following year.R.R. Tatlock (Robert Rattray Tatlock) of the Daily Telegraph wrote about William Orpen that he had two very peculiar habits as a portraitist: ‘He never made preliminary sketches, and he commenced his portraits at the first sitting by painting in full detail only one of the sitter’s eyes leaving the whole of the rest of the canvas to be filled in later on…’ [From Irish Artists 20th Century by Theo Snoddy] This outburst of inspiration most probably as Tatlock pointed started on a bare canvas with one of the intriguing eyes of the sitter and later a rapid sequence of Orpen’s most magical and spontaneous brush strokes did the rest. Although still working as a stockbroker, in June 1932, Colin, staying at the Chateau Laurier, attended the Imperial Economic Conference, held in Ottawa, Ontario, Canada, hosted by the then Canadian Prime Minister, Richard Bedford Bennett, and attended by the leaders of the independent dominions of the British Empire (which later became the Commonwealth of Nations). He had travelled out with Lord Rothermere, then owner of the Daily Mirror and the Daily Mail, and other newspaper executives, and so may have formed part of the press corps. He returned the following month stating that he intended to stay at his brother-in-law, Cecil, 2nd Baron Harmsworth's house, Lime Lodge, Egham, Surrey, despite giving his address on the way out as as c/o Mr Harmsworth, 13 Hyde Park Gardens (the 1st Baron's London home).In 1937, the childless Colin and Daphne divorced. The following year, 12th May 1838, Daphne married Lietenant-Colonel Frank Harold Macneile Dixon (1897-1974) (Royal Army Service Corps), and they had two daughters. In February1949, the 55 year old Colin, then resident at 27 Inverness Terrace, London, W2, set out for Freemantle, Australia. His occupation is recorded as an Agent and his intended country of permanent residence, Australia. However, by 1956, it appears that he had returned to Scotland, the country of his birth, when, in that year, he married Iva Ashwell P Fox nèe Kelly (1902-1998) in Edinburgh. Iva had previously married Alwyn Derek Fox (1906-1982) in 1929 in Newton Abbot, Devon. In 1969 he died childless, in Montrose, Angus, Scotland, age 75, leaving his widow Iva, who died in Taunton, Somerset in 1998."

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WITHOUT PREJUDICE" - PENCIL SKETCH OF MAJOR RALPH WALTER MAUDE and ILLUSTRATED LETTER TO MAJOR MAUD, 1920 (A PAIR)"
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 30 September 2013 / 30

Published Estimate: €4000-5000

Price Realised: €4000

  • Signature: the former inscribed lower centre; the latter signed love Orps""
  • Medium: pencil on paper (1); pen and ink on paper (1)
  • Dimensions: 7.25 by 3.75in., 18.125 by 9.375cm.
  • Provenance: By descent from Major Ralph Walter Maude; Private collection;Whyte's, 19 February 2007, lot 63;Whence purchased by the present owner
  • Orpen met Captain Maude during World War I in Amiens, where Maude was A.P.M. (Army Provost Marshall). The two became great friends, and Orpen recounts numerous humorous anecdotes about Maude in his memoir, An Onlooker in France. In 1918 Maude was promoted to Major and appointed A.P.M. Cologne, where he remained until demobilisation in 1920. He then accepted the position of Secretary to the Guards Club in London. In the letter, written from the Hotel Majestic, Paris, 14 November 1920, Orpen asks for his friend’s help in connection to a portrait of Lord Cavan that he had painted for the Guard’s Club. As it transpired, Maude never assumed duties at the club owing to illness, and died of T. B. in 1922. Accompanying the lot are two letters from Major Maude’s son, dated 1987, detailing the background to the letter and pencil sketch. The letter measures 12.75 by 8 inches. (2)

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BORED STIFF again
BORED STIFF again
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 30 September 2013 / 31

Published Estimate: €1200-1500

Price Realised: €0

  • Signature: inscribed with title upper left
  • Medium: pen and ink on paper; (mounted)
  • Dimensions: 9.5 by 16in., 23.75 by 40cm.
  • Provenance: Whyte's, 26 May 2007, lot 180;Private collection
  • The figure with his hat blown off in the wind atop some sea-cliffs is a self-portrait of the artist. The same small bull-dog that is depicted here appears in other sketches by the artist showing his studio with Ms Gardenia and Mrs St. George c.1907-1909.

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THE LADY PARMOOR, 1919
THE LADY PARMOOR, 1919
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 30 September 2013 / 33

Published Estimate: €30000-50000

Price Realised: €50000

  • Signature: signed lower right; signed, titled and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 30 by 25in., 75 by 62.5cm.
  • Provenance: Lord and Lady Parmoor by descent; 1Adam's, 11 December 1990, lot 73;Where purchased and by descent to the previous owners;Adam's, 6 December 2010, lot 97;Private collection
  • Exhibited: Royal Academy, London, 1920, catalogue no. 159
  • With the cessation of hostilities on the Western Front in November 1918, Lavery was much in demand. Not yet released from his commission as an Official War Artist, he had a large commemorative oil painting depicting the surrender of the German Navy to complete. He was also given the additional task to tour supply depots and hospitals in Northern France before they were dismantled and record women's work behind the lines. While his diary quickly filled with portrait commissions, normal everyday life in the busy studio in Cromwell Place, South Kensington, did not resume until after his holiday in February 1919 at Baron d'Erlanger's villa at Sidi-bu-Said on the bay of Tunis. 2Back for the start of the London Season, sittings began with feverish intensity and within the year he completed portraits of Duff Cooper, Lady Diana Manners, Flora Lion (sold in these rooms, 19 February 2007, lot 93 for €24,000), Lord Londonderry, the aviator, Sir John Alcock, and other prominent society figures. Among these was Marion Emily Ellis, who in July of that year became the second Baroness Parmoor. The portrait may indeed have been painted as a wedding gift from Charles Cripps, 1st Baron Parmoor, to his bride.3 Cripps and his new wife were both staunch anti-war Liberals, Marion's radicalism being deeply ingrained by family tradition.4 Her mother, Maria Rowntree, was one of the eminent Quaker philanthropist dynasty that hailed from York.5 No social butterfly, she had been an implacable campaigner against conscription, narrowly escaping imprisonment for her convictions. During the twenties she and her husband veered increasingly towards the Labour Party, he becoming Leader of the House of Lords and a supporter of Ramsay MacDonald. It was this formidable personality who sat for the painter in 1919 and no doubt they discussed his recent exploits as a war artist, flying over the North Sea convoys in airships on the look-out for enemy men-of-war. Lavery too had pacifist sympathies, but his task at this point was to find an arrangement of colour and form that matched his subject and the scheme he adopted in The Lady Parmoor was a familiar one. His favoured 30 by 25in. canvases were ideally suited to half-lengths and the sitter, dressed in dark blue-grey and black, relieved with a fur stoll provided an ideal 'harmony in brown'. It was a variation on a sequence which began in 1894 with the portrait of Esther McLaren, exhibited at the Royal Academy as Lady in Brown. It was memorably revisited with his first portrait of Hazel Trudeau, as Brown Furs Dame en Noir) c.1906, (Dublin City Gallery, The Hugh Lane.) and in the years which followed, reworked it in early portraits of Lady Diana Manners and Lady Gwendoline Churchill (both c.1913, private collections).6Fine furs, Lavery felt, tended to flatter a sitter and in the present example they lead the eye to one of his most serious female subjects. At this point Marian Cripps had taken up the causes of reconciliation and fighting famine in war-torn Europe and post-revolutionary Russia. She would go on to lead the World YWCA and the Women's International League for Peace and Freedom, and in her seventies, at the end of a very active career, she spoke out against the use of nuclear weapons.For Lavery, the drama he sought for The Lady Parmoor contained distinct echoes of the past and intimations of the future. Its Old Master tonalities took him back to his days as a copyist in the Prado, while they anticipate the haunting cadences of his second half-length treatment of Gwendoline Churchill in 1920 and the visual éclat of The Gold Turban, 1928 (both Private Collections). Prof. Kenneth McConkeySeptember 2013Footnotes:1 It has not been possible to determine precisely when the present picture left the Cripps family. A number of dispersals of land and chattels took place during and after the Second World War from the family estate at Parmoor House, Buckinghamshire. 2 Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Edinburgh, Atelier Books), pp. 143-5.3 Parmoor's first wife, Theresa Potter, sister of the Fabian, Beatrice Webb, died in 1893. Marian Ellis was forty-one at the time of their marriage on 14 July 1919. By that year, Lavery had painted the portrait of Violet Mary Nelson,(Private Collection), the future wife of Parmoor's son, Frederick Heyworth Cripps, by his first marriage. 4 Marion's twin sister, Edith, who shared her views, was in fact imprisoned in 1918. 5 The Rowntree family philanthropy was a direct result of her uncle, Joseph Rowntree's encounter at the age of fourteen with victims of the Irish Famine. 6 McConkey, 2010, pp. 108-9.7 McConkey, 2010, p. 179.

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A CORNER OF THE FARMYARD, c.1886-1888
A CORNER OF THE FARMYARD, c.1886-1888
Walter Frederick Osborne RHA ROI (1859-1903)

Auction Date / Lot No.: 30 September 2013 / 34

Published Estimate: €20000-30000

Price Realised: €38000

  • Signature: signed lower right; with Arnold Wiggins & Sons [London] label on reverse
  • Medium: oil on board
  • Dimensions: 10.25 by 13.75in., 25.625 by 34.375cm.
  • Provenance: Pyms Gallery, London;Where purchased by the present owner
  • Exhibited: 'The Irish Revival', Pyms Gallery, London, May - June 1982, catalogue no. 3 (illustrated)
  • Literature: Potterton, Homan, 'Irish Painters', in Irish America, 1990, p.64 (illustrated)McConkey, Kenneth, A Free Spirit. Irish Art 1860-1960, Antique Collector's Club, Pyms Gallery, London, 1990, p.34, 36 (illustrated)
  • Throughout his career, as well as his other genre scenes with children and country people, Walter Osborne painted intimate studies of nature: farmyards, cottage gardens, orchards, little woods and quiet rustic corners. He often gave them as much attention as his more substantial subject pictures; indeed it could be said that these small paintings contain much of Osborne's spirit as an artist. He painted such studies of farmyards, thatched buildings and gardens in Belgium and Brittany and equally in England and Ireland. Fine examples of this genre include An Intruder, 1883 (1) , featuring an old cottage, chickens, ducks and a cat; and Landscape with Child in White (NGI cat. no. 4332), which includes a little girl and a cabbage patch.The present picture, A Corner of a Farmyard, is a painting in this genre. Osborne observes the rural details with realism, intimacy and a distinctive sense of colour; cabbages in the foreground, chickens pecking on the grass, triangular-shaped haystack, sunflowers, the thatched roof of a rustic barn behind the trees, and the blue sky at the top of the picture. The humble cabbage patch was a subject represented by many naturalistic artists of Osborne's generation; and chickens being fed or pecking for food appear in many of his pictures, painted most convincingly. There is an area of pentimento in the lower right-hand corner of the picture; Kenneth McConkey notes that Osborne had included geese there, but then painted over them, but leaving the forms still visible (2). Osborne employs an attractive palette of blue-greens, olives, grey-greens, ochres, silvers and blues, to evoke the warmth and pinkish sunlight of a summer's day. The artist's signature with squared letters, small capitals, and 'R'S' with long tails, may date to the mid 1880s, when Osborne was working in English villages. Dr Julian CampbellSeptember 2013Footnotes:1 The Intruder, 1883, Irish Sale, Christie's, London, 21 May 1997, lot 150.2 Kenneth McConkey, A Free Spirit, Irish Art 1860-1960, 1990, p.34

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ARCHIVE OF NINE DRAWINGS & WATERCOLOURS
ARCHIVE OF NINE DRAWINGS & WATERCOLOURS
Captain Henry Butler (d.1881)

Auction Date / Lot No.: 30 September 2013 / 36

Published Estimate: €1000-1500

Price Realised: €500

  • Signature: variously signed with initials or H. Butler"; two examples inscribed with location in lower margin"
  • Medium: pencil drawings; (5); watercolours; (4); (all unframed)
  • Dimensions: 8 by 10in., 20 by 25cm.
  • Average size given. Captain Henry Butler was father to Mildred Anne. Captain Butler illustrated a book of hunting scenes entitled South African Sketches in 1841.

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PEACOCKS
PEACOCKS
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 30 September 2013 / 37

Published Estimate: €600-800

Price Realised: €0

  • Medium: pencil
  • Dimensions: 10.5 by 15in., 26.25 by 37.5cm.
  • Provenance: Artist's Studio Sale, Kilmurry, Co. Kilkenny, 1981;Whence purchased by the previous owner;From whom gifted to the present owner
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STUDY OF A DOVE and ARCHIVE OF PREPARATORY SKETCHES
STUDY OF A DOVE and ARCHIVE OF PREPARATORY SKETCHES
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 30 September 2013 / 38

Published Estimate: €800-1000

Price Realised: €0

  • Signature: Dove signed with initials lower right; archive with some annotation
  • Medium: watercolour, pencil and charcoal
  • Dimensions: 6.5 by 5.25in., 16.25 by 13.125cm.
  • 27 items including 15 sketches. Mostly small rough sketches of birds, cattle, peacocks and cats. Of various sizes from 17 by 11ins to 3.5ins squared. Also includes samples of unbleached Arnold" drawing and watercolour papers. All contained in paper folder."

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COLLECTION OF 5 SKETCHES OF ANIMALS AND FIGURES
COLLECTION OF 5 SKETCHES OF ANIMALS AND FIGURES
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 30 September 2013 / 39

Published Estimate: €1200-1500

Price Realised: €0

  • Signature: some signed and titled; others variously annotated
  • Medium: pencil with watercolour; (2); pencil; (2); pencil on tinted paper; (1); (all framed)
  • Dimensions: 13 by 5in., 32.5 by 12.5cm.
  • Dimensions from 3.75 by 5.5in upwards.

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PASTURELAND
PASTURELAND
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 30 September 2013 / 40

Published Estimate: €2500-3500

Price Realised: €0

  • Signature: signed lower right; original label on reverse inscribed with title, price (£8-0-0) and exhibition details
  • Medium: watercolour heightened with white
  • Dimensions: 6.75 by 9.75in., 16.875 by 24.375cm.
  • Provenance: Whyte's, 20 September 2005, lot 64;Private collection
  • Exhibited: WCSI, Dublin, 1932, catalogue no. 32
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POND SCENE WITH PURPLE HYDRANGEA
POND SCENE WITH PURPLE HYDRANGEA
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 30 September 2013 / 41

Published Estimate: €2000-3000

Price Realised: €2400


THAT EVENING CLOUD
THAT EVENING CLOUD
William Percy French (1854-1920)

Auction Date / Lot No.: 30 September 2013 / 42

Published Estimate: €2500-3500

Price Realised: €3200


DUSK OVER A FOREST
DUSK OVER A FOREST
William Percy French (1854-1920)

Auction Date / Lot No.: 30 September 2013 / 43

Published Estimate: €1000-1500

Price Realised: €1150


THE BLUE HILLS
THE BLUE HILLS
William Percy French (1854-1920)

Auction Date / Lot No.: 30 September 2013 / 44

Published Estimate: €2000-3000

Price Realised: €2100

  • Signature: signed lower right; with Oriel Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 6.75 by 9in., 16.875 by 22.5cm.
  • Provenance: Oriel Gallery, Dublin; Where purchased by the present owner in the mid 1990s
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THE PURPLE MOOR, 1905
THE PURPLE MOOR, 1905
William Percy French (1854-1920)

Auction Date / Lot No.: 30 September 2013 / 45

Published Estimate: €8000-12000

Price Realised: €9500

  • Signature: signed and dated lower right; with Oriel Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 15.5 by 23in., 38.75 by 57.5cm.
  • Provenance: Oriel Gallery, Dublin;Private collection
  • Exhibited: 'Lead Kindly Light, 35 Years of Percy French at the Oriel Gallery: A Millennium Retrospective', Oriel Gallery, Dublin, 2002
  • Literature: Lead Kindly Light, 35 Years of Percy French at the Oriel Gallery: A Millennium Retrospective, Oriel Gallery, Dublin, 2002, p.59 (illustrated)
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VIEW OF LAKE AND FOOTBRIDGE, MOUNT USHER, COUNTY WICKLOW, 1926
VIEW OF LAKE AND FOOTBRIDGE, MOUNT USHER, COUNTY WICKLOW, 1926
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 30 September 2013 / 46

Published Estimate: €1200-1500

Price Realised: €1250

  • Signature: signed with initials lower right
  • Medium: watercolour over pencil
  • Dimensions: 11.5 by 15in., 28.75 by 37.5cm.
  • Provenance: Gift from the Walpole family of Mount Usher to the present owner's father who was head gardener for forty years
  • Literature: Walpole, E. H., Mount Usher 1868-1928. A Short History, p.27 (illustrated in colour)
  • Contained in what appears to be its original gold frame and mount. Also included with this lot is Mount Usher 1868-1928. A Short History a rare privately published text compiled by E.H. Walpole which contains several plate and photographs including the present work.

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VIEW AT MOUNT USHER, c.1926-1928
VIEW AT MOUNT USHER, c.1926-1928
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 30 September 2013 / 47

Published Estimate: €1200-1500

Price Realised: €1150

  • Signature: signed with initials lower right
  • Medium: watercolour over pencil
  • Dimensions: 11.5 by 15in., 28.75 by 37.5cm.
  • Provenance: Gift from the Walpole family of Mount Usher to the present owner's father who was head gardener for forty years
  • Literature: Walpole, E. H., Mount Usher 1868-1928. A Short History, p. 53 (illustrated in colour)
  • Contained in what appears to be its original gold frame and mount. Also included with this lot is Mount Usher 1868-1928. A Short History a rare privately published text compiled by E.H. Walpole which contains several plate and photographs including the present work.

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CONTEMPLATION
CONTEMPLATION
George “AE” Russell (1867-1935)

Auction Date / Lot No.: 30 September 2013 / 48

Published Estimate: €7000-9000

Price Realised: €0

  • Signature: signed in monogram lower left; titled on reverse; with handwritten label also on reverse [reads, A wedding present from a Mr Hogg to Rev. Geo. Townshend, 1981"]"
  • Medium: oil on canvas
  • Dimensions: 21.25 by 32.25in., 53.125 by 80.625cm.
  • Provenance: with the Oriel Gallery, 1989;Where purchased by the present owner's father;Thence by descent
  • Exhibited: 'George Russell ~ AE… at The Oriel's 21st Anniversary', Oriel Gallery, Dublin, 13 November to 2 December, 1989, catalogue no. 32a
  • It was fitting that the Oriel Gallery should choose to highlight the work of AE for the gallery's 21st anniversary as it was with George Russell's work that it launched onto the arts scene in Dublin in 1968.In the catalogue for the 1989 anniversary exhibition, Oliver Nulty writes, Given AE's awareness of the other world it is small wonder that he painted so many pictures of it and its inhabitants. Even his paintings of ordinary landscapes seem to be so influenced by it we often find it difficult to be certain whether the figures belong to this world or another, were it not for the fact that all those other worldly beings have colourful radiances coming from them. Of course there is no doubt about some of the poses - the half crouched or kneeling figures gazing with awe at some great being radiantly aflame. But others, such as those of children frolicking on a shore or playing in the water can recall some happy memories.""

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CHILDREN ROCKPOOLING ON THE BEACH
CHILDREN ROCKPOOLING ON THE BEACH
Estella Frances Solomons HRHA (1882-1968)

Auction Date / Lot No.: 30 September 2013 / 49

Published Estimate: €2000-3000

Price Realised: €2900

  • Signature: with Crawford and Frederick Gallery exhibition labels on reverse
  • Medium: oil on canvas
  • Dimensions: 10.5 by 14in., 26.25 by 35cm.
  • Provenance: The Artist's Estate;with Frederick Gallery, Dublin;Where purchased by the previous owner;Adam's, 13 October 2010, lot 29;Private collection
  • Exhibited: 'Estella Solomons Exhibition', Crawford Gallery, Cork, 1986, catalogue no. 160;'Estella Solomons Exhibition of Etchings and Paintings', Frederick Gallery, October 2000, catalogue no. 42;'The French Connection', AVA Gallery, Clandeboye, August to September
  • A sketch for the present work can be found in the Solomons papers in Trinity College, Dublin (their reference: 4515, p.1).

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THE DINGHIES AT SUTTON, COUNTY DUBLIN, c.1928-1935
THE DINGHIES AT SUTTON, COUNTY DUBLIN, c.1928-1935
Rosaleen Brigid Ganly HRHA (1909-2002)

Auction Date / Lot No.: 30 September 2013 / 50

Published Estimate: €800-1000

Price Realised: €1150

  • Signature: signed with initials lower left; titled on reverse
  • Medium: oil on canvas
  • Dimensions: 10 by 14in., 25 by 35cm.
  • The Gorry Gallery hosted a retrospective of the artist's work in 1987 and later there followed a retrospective in the Hugh Lane Municipal Gallery in 1998. Brigid Ganly (neé O'Brien) was the daughter of RHA past president Dermod O'Brien and sister-in-law Kitty Wilmer O'Brien. Born in Limerick but raised in Fitzwilliam Square, Dublin, Ganly entered the Metropolitan School of Art in 1925 where she studied painting under Seán Keating and Patrick Tuohy and sculpture under Oliver Sheppard. Her first exhibit with the RHA was in 1928 and she was elected Associate of the RHA the same year. Although she was an accomplished sculptor (she won the California Gold Medal for the Taylor Scholarship in 1929) it was in painting where she focused her talents. In 1930 she won the Taylor Scholarship and three years later travelled to Italy taking a studio in Florence for six months. In 1935 Ganly had her first solo show with the Dublin Painters Gallery, was elected a full member of the RHA and completed her first commission for All Saints Church, Blackrock. The following year she married Andrew Ganly, B.D.S. The period between the mid 1940s and early 1950s Ganly exhibited with Kitty Wilmer in Dublin, travelled to America to execute portrait commissions and represented Ireland in an Exhibition of Contemporary Irish Painting. Later she travelled to Paris to study briefly under André Lhote. On return to Ireland a solo show took place at the Dawson Gallery (1965) and by the late 1960s her conflicting attitudes with RHA on the matter of the modern school of painting and the 'Living Art' group of artists" led to her resignation from the Academy (1969). She was made an Honorary member of RHA in 1972. Ganly continued to show work nationally during the 1970s and 1980s and a retrospective exhibition was held in the Gorry Gallery, Dublin in 1987 and later at the Hugh Lane Municipal Gallery in 1998. Her work can be found in the collection of the Hugh Lane, Crawford Gallery, Cork and the National Self Portrait Collection among others."

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EVENING SUNSHINE
EVENING SUNSHINE
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 30 September 2013 / 51

Published Estimate: €1800-2200

Price Realised: €0

  • Signature: signed and titled on reverse; also with an unfinished work in oil on reverse depicting two figures running
  • Medium: gouache on paper laid on board
  • Dimensions: 10 by 14in., 25 by 35cm.
  • Provenance: Family of Austin Clarke; Private collection
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ARRANGING FLOWERS
ARRANGING FLOWERS
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 30 September 2013 / 52

Published Estimate: €1000-1500

Price Realised: €1600

  • Signature: signed lower right; with Jorgensen retrospective exhibition label on reverse; with number [6] on label on reverse
  • Medium: oil on canvas board
  • Dimensions: 13.5 by 10.75in., 33.75 by 26.875cm.
  • Provenance: The Collection of Dr James Cruickshank
  • Exhibited: 'Grace Henry HRHA 1868-1953, Retrospective Exhibition', Jorgensen Fine Art, Dublin, 7-27 January 2010
  • A copy of Dr Cruickshank's text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies this lot.Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist."

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