25 November 2013

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ACROSS DUBLIN BAY FROM RED ROCK, COUNTY DUBLIN
ACROSS DUBLIN BAY FROM RED ROCK, COUNTY DUBLIN
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 25 November 2013 / 1

Published Estimate: €1000-1500

Price Realised: €0


ROCKPORT, CUSHENDUN, COUNTY ANTRIM
ROCKPORT, CUSHENDUN, COUNTY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 25 November 2013 / 2

Published Estimate: €1800-2200

Price Realised: €2100

  • Signature: signed lower right; inscribed with title on reverse; also with original labels on reverse


  • Medium: oil on canvas
  • Dimensions: 18 by 24in., 45 by 60cm.
  • Provenance: E. Walker and Son, Coleraine;

    Where purchased by the present owner's mother


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GLEN HEAD, GLENCOLMKILE [SIC], COUNTY DONEGAL
GLEN HEAD, GLENCOLMKILE [SIC], COUNTY DONEGAL
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 25 November 2013 / 3

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: signed lower left; titled on reverse
  • Medium: oil on canvas
  • Dimensions: 24 by 36in., 60 by 90cm.
  • Provenance: James Gallery, Dublin;

    Whence purchased by the present owner in 2005

  • Exhibited: 'An Exhibition of Fine Paintings by George Gillespie (1924-1995)', James Gallery, Dublin, from 7 May 2005, catalogue no. 18 (illustrated)
  • Original James Gallery exhibition catalogue included with this lot.

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CONNEMARA LANDSCAPE
CONNEMARA LANDSCAPE
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 25 November 2013 / 4

Published Estimate: €2000-3000

Price Realised: €3000


RENVYLE, CONNEMARA
RENVYLE, CONNEMARA
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 25 November 2013 / 5

Published Estimate: €1500-2000

Price Realised: €2300


IN THE RAY VALLEY, COUNTY DONEGAL
IN THE RAY VALLEY, COUNTY DONEGAL
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 25 November 2013 / 6

Published Estimate: €1500-2000

Price Realised: €0


MAIDEN HURDLE, CLONMEL, COUNTY TIPPERARY
MAIDEN HURDLE, CLONMEL, COUNTY TIPPERARY
Peter Curling (b.1955)

Auction Date / Lot No.: 25 November 2013 / 7

Published Estimate: €15000-20000

Price Realised: €18000

  • Signature: signed lower left; with Tryon Gallery [London] label on reverse
  • Medium: oil on canvas
  • Dimensions: 32 by 38in., 80 by 95cm.
  • The present work is an early example by Ireland's foremost equestrian artist painted shortly after he moved to Tipperary. Here he employs artistic license in his choice of backdrop - the imposing Slievenamon (in the northeast of Clonmel in the south of the County) - and demonstrates his early mastery of the contre-jour technique. Of the jockeys depicted, only one represents a specific portrait, that of Willy Mullins (second rider from the right) who remains a good friend of the artist.

    Maiden Hurdle, Clonmel was included in an equestrian themed group show at The Tryon Gallery, London founded by sporting and wildlife art advocate Aylmer Tryon. Tryon was instrumental in promoting and encouraging Curling from an early age and Maiden Hurdle, Clonmel was used to advertise the exhibition in Country Life magazine and other publications at the time.

    For another example by this artist see lot 155 [25 November 213].

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EARLY SPRING, BALLYFERMOT, COUNTY DUBLIN
EARLY SPRING, BALLYFERMOT, COUNTY DUBLIN
Maurice MacGonigal PRHA HRA HRSA (1900-1979)

Auction Date / Lot No.: 25 November 2013 / 8

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed lower left; titled and with artist's [Booterstown] address inscribed on reverse
  • Medium: oil on board
  • Dimensions: 12 by 16in., 30 by 40cm.
  • Provenance: Private collection, Dublin;

    Adam's, 3 December 2008, lot 141;

    Private collection

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THE IRONWORKS, CLONSKEAGH, COUNTY DUBLIN, 1945
THE IRONWORKS, CLONSKEAGH, COUNTY DUBLIN, 1945
Rosaleen Brigid Ganly HRHA (1909-2002)

Auction Date / Lot No.: 25 November 2013 / 9

Published Estimate: €800-1200

Price Realised: €0

  • Signature: signed with initials and dated lower left; titled on original label on reverse; also with Victor Waddington framing label preserved on reverse; inscribed by the artist in 1989 also on reverse
  • Medium: oil on board
  • Dimensions: 10.5 by 14in., 26.25 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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COTTAGE ON A LAKE, WEST OF IRELAND
COTTAGE ON A LAKE, WEST OF IRELAND
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 25 November 2013 / 10

Published Estimate: €2500-3500

Price Realised: €2400


COTTAGE WITH CATTLE and WEST OF IRELAND LANDSCAPE NEAR CARRAROE (A PAIR)
COTTAGE WITH CATTLE and WEST OF IRELAND LANDSCAPE NEAR CARRAROE (A PAIR)
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 25 November 2013 / 11

Published Estimate: €3000-4000

Price Realised: €0


THE KILLARIES, CONNEMARA
THE KILLARIES, CONNEMARA
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 25 November 2013 / 12

Published Estimate: €6000-8000

Price Realised: €6600

  • Signature: signed lower left; original label on reverse inscribed with title, price, and artist's address [Craiglea, Groomsport, Co. Down]


  • Medium: oil on panel
  • Dimensions: 15 by 19.5in., 37.5 by 48.75cm.
  • Provenance: RHA, Dublin;

    Private collection;

    Whyte's, 29 November 2005, lot 139;

    Whence purchased by the present owner

  • Exhibited: RHA, Dublin, 1926, catalogue no. 73
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THE TWELVE PINS, CONNEMARA
THE TWELVE PINS, CONNEMARA
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 25 November 2013 / 13

Published Estimate: €6000-8000

Price Realised: €5200

  • Signature: signed lower left; inscribed with title on John Magee, Belfast label and with reference number [984-46] on reverse
  • Medium: oil on board
  • Dimensions: 14.5 by 19in., 36.25 by 47.5cm.
  • Provenance: John Magee, Belfast;

    Private collection

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THE LAKE, 1928
THE LAKE, 1928
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 25 November 2013 / 14

Published Estimate: €80000-100000

Price Realised: €93000

  • Signature: signed lower left; inscribed with title and dated and numbered [76] on Fine Art Society label on reverse; also with partial label from another work [A Connemara Peasant] (possibly presented in this frame by the artist in the past) on reverse
  • Medium: oil on board
  • Dimensions: 15 by 21in., 37.5 by 52.5cm.
  • Provenance: Adam's, 8 July 1982, lot 68;

    Whence purchased by the present owner's family


  • Exhibited: 'Four Irish Artists: J.H. Craig, Paul Henry , E.L. Lawson, J. Crampton Walker', Fine Art Society, London, March, 1928, catalogue no. 76
  • Literature: Kennedy, Dr S.B., Paul Henry, Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, p.225, catalogue no. 614, as West of Ireland Landscape with Cottages 1924-5
  • The dark palette that characterises this painting reflects Henry's mood in the late 1920s, a period of domestic turmoil as his marriage to his first wife, Grace, finally deteriorated and ended in their separation. Throughout the twenties, and notably in the later years of the decade, the artist's mood was sombre as is reflected in his pictures of the time. Yet, as in The Lake, Henry excelled in capturing the quality of the landscape, which here is soft underfoot while the background mountain dramatically halts the eye's recession. The vigorous brushwork notable in the foreground is typical of his work at the time.

    Dr SB Kennedy

    October, 2013

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WESTERN LANDSCAPE, c.1918-1919
WESTERN LANDSCAPE, c.1918-1919
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 25 November 2013 / 15

Published Estimate: €40000-50000

Price Realised: €40000

  • Signature: signed lower left; inscribed on stretcher on reverse; with original price [£6-6-0] on reverse
  • Medium: oil on canvas
  • Dimensions: 14 by 16in., 35 by 40cm.
  • Provenance: Private collection, London;

    with the Berkeley Square Gallery, London;

    Christie's, ‘The Irish Sale’, May 2006, lot 171;

    Private collection

  • Exhibited: '20th Century British Art', Scholar Fine Art and Berkeley Square Gallery, London, 12 June to 26 July 2003, catalogue no. 17, erroneously as Bringing in the Harvest (illustrated)
  • The low hills in the distance and the flatness of the foreground bog which borders the sea suggest that the present work is a view looking west across Blacksod Bay in Co. Mayo where Henry worked during his later years in the West. For a number of years after he first arrived on Achill Island his movements were confined mostly to the island itself, with occasional trips to Leenane and the southern shores of Killary Harbour. However, early in 1917 he took a part-time job with the Congested Districts Board as Paymaster for the areas of Achill Island, Ballycroy, Bangor Erris and Pollatomish in north Co. Mayo. The work, which was not onerous, allowed Henry to travel further afield than was hitherto possible.

    Western Landscape was probably made from sketches done on one of these occasions. The handling of the paint, which has been built up in layers of precise brushwork, the heavy massing of the menacing cumulous clouds and the band of blue of the distant hills, which are devoid of any modelling and which halt the eye's recession, are all characteristics of Henry's work of his later years in the West. The picture is dated 1918-19 on stylistic grounds as well as the form of the signature, with a dot after both names. Western Landscape is catalogued as number 511 in Kennedy's ongoing catalogue raisonné of the artist's oeuvre.

    Dr SB Kennedy

    October, 2013

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A BOG ROAD, c.1929-1930
A BOG ROAD, c.1929-1930
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 25 November 2013 / 16

Published Estimate: €30000-40000

Price Realised: €29000

  • Signature: signed lower left; faintly inscribed in pencil on reverse
  • Medium: oil on board
  • Dimensions: 8 by 10.5in., 20 by 26.25cm.
  • Provenance: Private Collection, USA;

    Clarke Auction Gallery , Larchmont, NY, USA, 4 May 2009 (lot no. untraced);

    Adam's & Bonhams, Dublin, 10 June 2009, lot 10;

    Private collection

  • The setting of this scene is almost certainly Connemara, the picture probably having been made from sketches done earlier, as was Henry's usual practice and is dated c.1929-30 on stylistic grounds. During this period, Henry held a number of exhibitions in the United States (for details see S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale University Press, New Haven and London, 2009, pp. 320-321.) and this picture was almost certainly included in one of those exhibitions, but its identity is unknown.

    On the reverse, in pencil, are the markings 'Combridge', '£15-15-0', '3' and possibly A Bog Road, but the latter is very indistinct. A Bog Road is listed as A Western Landscape and is numbered 1236 in S. B. Kennedy's ongoing catalogue of Henry's oeuvre.

    Dr SB Kennedy

    October, 2013

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PORTRAIT OF MRS E. BOWEN-DAVIES, 1923
PORTRAIT OF MRS E. BOWEN-DAVIES, 1923
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 25 November 2013 / 17

Published Estimate: €30000-50000

Price Realised: €29000

  • Signature: signed lower right; signed again, inscribed with sitter's name and dated on the reverse
  • Medium: oil on canvas
  • Dimensions: 40 by 30in., 100 by 75cm.
  • Provenance: Bonhams, 2 July 2002, lot 21;

    Private collection;

    Christie's, London, 10 May 2007, lot 226;

    Private collection

  • Exhibited: Royal Academy, London, 1924, catalogue no. 334
  • LiteratureRoyal Academy Illustrated, London, 1924, p. 46
  • In the early 1920s Edwardian grand manner portraiture was suddenly démodé - it was, said James Laver, as if the world of John Singer Sargent had 'hit a sunken reef'. Sitters now 'sat' where once they had 'stood', and half-lengths concentrating on simpler couture and shorter hair-styles reflected the new freedoms accorded to women. Sir John Lavery intuitively responded to these changes, simplifying his handling as much in response to competition from younger painters such as Ambrose McEvoy, Charles Sims and William Orpen, as from a desire to renovate his practice. The days when he would adopt more evasive Whistlerian techniques had passed and he now recorded the subject cleanly in one or two sittings. At the same time, swift, brilliant portrait sketches on monochrome backgrounds catching the vitality of the sitter but left deliberately unfinished - The Blue Hat, Miss Elizabeth Asquith, 1916 (Private Collection) or Miss Irene Vanbrugh, 1916 (National Portrait Gallery, London) - also fell from favour. Fashioning identities for a new age was not to be taken lightly and the look of a portrait, as ever, was an undeclared act of collusion.

    In the present instance, the young Mrs Bowen-Davies goes bare-headed. The 'chokers' of yesteryear have gone, to be replaced by a long single string of pearls and she is simply swathed in a loose-fitting fur-trimmed black cloak. Lavery knew from long experience that black dramatized the flesh tones. He had used such formulae to great effect in recent portraits of Lady Parmoor 1919 (sold Whyte's 30 September 2013) and Lady Gwendoline Churchill, 1921 (Private Collection), only here the flash of colour in the chair-back would intensify that of the eyes. Such 'notes' were effectively deployed in the cases of The Countess of Powis and Lady Manton, painted in 1922 and The Hon Mrs Forbes-Sempill and Ann Moira (Ulster Museum, Belfast) shown in 1923.

    Sadly, the precise identity of the sitter remains obscure. Earlier suggestions that this young woman was a relative of the American painter, Arthur Bowen Davies, now seem very unlikely - the only connection being in the Welsh/Irish origins of her husband's name. Her prominent wedding ring may even indicate that the picture was painted to celebrate her marriage - as was sometimes the case with Lavery's commissions. There is however, no disputing Mrs Bowen-Davies' elegance. Her presence fills the rectangle, face and hands linked by the snaking pearls that help delineate her form. It was a pose he was to use in later years when he painted Lady Raeburn and Rosemary Hope-Vere at the end of the decade, but few of these later sitters surpass the poise of Mrs E Bowen-Davies.

    Prof. Kenneth McConkey

    October 2013

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PORTRAIT OF A LADY THOUGHT TO BE MRS RALPH PETO
PORTRAIT OF A LADY THOUGHT TO BE MRS RALPH PETO
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 25 November 2013 / 18

Published Estimate: €15000-20000

Price Realised: €26000

  • Signature: signed lower left; signed again and dated on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 10.25 by 7in., 25.625 by 17.5cm.
  • Provenance: Purchased by the present owner's father from Fr Martin in Whitefriar Street, Dublin
  • Throughout his career, Lavery often painted small sketches in preparation for larger canvases. This applies to portraits as much as to other genres. A sketch would begin the process of close observation of the sitter's features, note a characteristic pose or record the essential shape and proportions of a face or figure. The present Portrait of a Lady is one such work. What we see is an Edwardian lady wearing a cerise dress with her hair tied back and garlanded in flowers. She may be performing in a pageant, attending a masque, or taking part in the re-staging of a well-known Pre-Raphaelite painting as part of a society charity event. Such performances, in which Hazel Lavery participated, were increasingly fashionable in the years leading up to the Great War.

    Hair style, facial shape and drapery in this instance makes it possible to tentatively suggest that the model is Mrs Ralph Peto, whose portrait Lavery first painted in 1910 and exhibited in the Royal Society of Portrait Painters exhibition. A well-known beauty and socialite, Frances Ruby Vera Lindsay, was the cousin of Lady Diana Manners, the daughter of the Duke of Rutland. She grew up with the Manners sisters and according to Lady Diana, '... did not lack for swains, being very beautiful and spirited' (Lady Diana Cooper, Autobiography, Vol 1 (The Rainbow Comes and Goes), 1958, single Vol ed., Michael Russell, 1979, p. 56).

    In 1907 she accompanied the Manners' daughters to Florence, touring the galleries with her Baedeker and 'making eyes at the uniformed officers' (Ibid, p. 63). Two years later she married Major Ralph Harding Peto (1877-1945) of the Royal Hussars and quickly became friendly with Hazel Lavery, participating with her in charity events such as the Savoy Theatre Cinema Supper, the Petticoat Lane Fair at the Albert Hall, and the 'Picture Ball' where she appeared as a Bacchante holding a lyre. A work which bears comparison to the present sketch, Mrs Ralph Peto as a Bacchante was painted to commemorate this latter occasion. Other social events before the birth of her daughter, Rosemary, in 1916 are noted in Duff Cooper's diaries. Sadly after furious rows, fuelled by accusations of heavy drinking on her husband's part, Ruby's marriage to Peto ended in divorce in 1923. She died in 1951.

    Prof. Kenneth McConkey

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ON THE STONES - THE CATTLE MARKET, CALEDONIAN ROAD, SELLING CHEAP NAGS, c.1905
ON THE STONES - THE CATTLE MARKET, CALEDONIAN ROAD, SELLING CHEAP NAGS, c.1905
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 25 November 2013 / 19

Published Estimate: €15000-20000

Price Realised: €0

  • Signature: signed lower right; with artist's name and title on reverse; also with number [12] on reverse in pencil and number [10] on reverse in ink
  • Medium: Indian ink on card
  • Dimensions: 14 by 20.5in., 35 by 51.25cm.
  • Provenance: Waddington Galleries, London;

    Private collection

  • Exhibited: '25th Annual Exhibition', Art Society, Belfast, 1905; 'Sketches of Life in the West of Ireland', Leinster Hall, Dublin, 1-20 October, 1906, catalogue no. 40; 'Pictures of Life in the West of Ireland' , Walker Art Gallery, London, 3-29 February, 1908, no. 43; 'Early Drawings and Watercolours', Victor Waddington, London, 27 October - 18 November, 1967, no. 10 (reproduced); 'Jack B. Yeats Retrospective Exhibition', Waddington Fine Arts, Montreal, 12 March - 5 April, 1969, no. 40
  • LiteratureManchester Guardian, 28 January, 1905 (7); (reproduced);

    Pyle, Hilary, The Different Worlds of Jack B. Yeats. His Cartoons and Illustrations, Irish Academic Press, 1994, catalogue no. 651, p.117 (listed), p.119 (illustrated)

  • This dramatic black and white drawing is part of series of twenty-eight illustrations of life in the East End of London, called Pastimes of the Londoners. Intended as a book which was not in the end published, this illustration did appear in the Manchester Guardian in January 1905 when it was accompanied by an article by Jack Yeats. In this he recounts his visit to the famous Caledonian Market where cattle, sheep and pigs were bought and sold. London Corporation constructed it in the 1850s and 1860s with the market area arranged in a rectangle around a tall central clock tower. The latter dominates the composition, drawing attention to the wide expanse of open sky and space that surrounds the market and on which Yeats commented in his article.

    Horse drawn carts parade in the foreground with dealers looking on. Most of the vast crowd faces away from the viewer, towards the dealer's offices which were located around the base of the tower. The noise and excitement of the event is conveyed by the sprinting horse in the centre of the foreground whose handler shouts down to the driver of a passing dogcart. This tiny vessel is dangerously positioned between two taller carriages. Another man stands in his cart waving a whip at the vehicle. Behind him a camel makes an exotic addition to the line-up. Another hint at the cosmopolitan nature of the market is given in the sign shown by one of the traders in the lower left of the crowd. 'Ici en parle francais', while misspelt at least suggests an ability and a willingness to speak French with potential buyers.

    As in the other illustrations in the Pastimes, the work is made using dark black Indian ink on card. The image is created largely through cross-hatching, an effective way of shading and constructing form as well as adding simplicity and clarity to the depiction of a large congested crowd. A striking repoussoir figure in the lower left leans on a railing, his large hat casting his face in shadow. His function is to draw us, the viewers, into the spectacle of the market. He is positioned in a rare open area that permits a view of the vast, packed gathering from which he is slightly removed. Close to him stand an array of other characters, each distinguished by peculiarities of dress and appearance and all caught up in the business of the day.

    Dr Róisín Kennedy

    October 2013

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THE STUCK UP ARTISTE, 1891
THE STUCK UP ARTISTE, 1891
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 25 November 2013 / 20

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed, title and dated in lower margin
  • Medium: ink on card
  • Dimensions: 6 by 4in., 15 by 10cm.
  • LiteratureAriel or the London Puck, 10 October 1891, (reproduced)

    Pyle, Hilary, The Different Worlds of Jack B. Yeats, His Cartoons and Illustrations, Irish Academic Press, 1994, catalogue no. 198, p.73

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A GIRL CLINGS TO A YOUNG MAN ON A BEACH [ILLUSTRATION TO <i>THE COLLEGIANS</i>, 1904]
A GIRL CLINGS TO A YOUNG MAN ON A BEACH [ILLUSTRATION TO THE COLLEGIANS, 1904]
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 25 November 2013 / 21

Published Estimate: €5000-7000

Price Realised: €0

  • Signature: signed lower left
  • Medium: pencil
  • Dimensions: 9.5 by 6in., 23.75 by 15cm.
  • Provenance: Victor Waddington Galleries, London;

    Private collection

  • Exhibited: 'Watercolours and Drawings', Waddington Galleries III, London, 8-31 March 1973, (37: repro)
  • Literature: Griffin, G., The Collegians, 1904;

    Pyle, Hilary, The Different Worlds of Jack B. Yeats. His Cartoons and Illustrations, Irish Academic Press, 1994, catalogue no.1339, p.182

  • Griffin's 1829 novel The Collegians is based on one of the most notorious murder cases of the day, that of a young woman, Ellen Hanley, in Co. Limerick in 1819. Married in secret to a local landlord, her body

    was washed up from the lake into which it had been dumped weeks previously. Griffin's version of the tale which transfers the events to the scenic setting of Killarney formed the basis of Dion Boucicault's hugely successful melodrama, the Colleen Bawn, (1859). Yeats makes reference to this in his painting In Memory of Boucicault and Bianconi, (1937, National Gallery of Ireland) where a group of travelling players re-enact celebrated plays by the famous dramatist.

    This striking drawing which was published as an illustration to a 1904 edition of Griffin's book conveys the wildness and tragedy of the story in the windswept trees, blustering skies and steep mountains that form the dramatic backdrop to the scene. The central characters of the novel, the wealthy landlord, Hardress Cregan and Eily O'Connor his young and beautiful wife stand on a rocky beach while the villainous servant Danny Mann pulls the sailing boat to shore. The character of Hardress is central to The Collegians where he is sympathetically portrayed as a flawed individual. His clandestine marriage to an uneducated local beauty ends in tragedy when he decides to abandon her in order to maintain his social standing and respectability. Later in the novel he allows Danny Mann to get rid of his wife, not realising that he intends to murder her.

    The stances of Hardress and Eily suggest the incompatibility of their relationship. She looks wistfully up at her husband whose face is turned away, his fist clenched in anger. Behind them the sinister form of Danny Mann stares up at his master with an expression of abject loyalty in his face. The work reveals Yeats' appreciation of dramatic narrative and his versatility as an artist in his ability to evoke the romantic sensibility of an earlier era.

    Dr Róisín Kennedy

    October 2013

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A VISIT TO THE BEEHIVES, 1905
A VISIT TO THE BEEHIVES, 1905
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 25 November 2013 / 22

Published Estimate: €3000-5000

Price Realised: €3000

  • Signature: signed and dated lower right
  • Medium: charcoal on paper
  • Dimensions: 13.5 by 9in., 33.75 by 22.5cm.
  • Provenance: Probably the artist's studio;

    Thence by descent to Mabel Young;

    Private collection, Dublin


  • Literature: Kennedy, Dr. S.B., Paul Henry, Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, p.114, catalogue no. 73 (illustrated)
  • Kennedy notes that the title for this work is inscribed in the lower margin and that it was possibly drawn as an illustration for To-day a twopenny weekly journal founded in 1893 by novelist and playwright Jerome K. Jerome. Kennedy records that Ladbroke Black became joint editor in 1902 and

    gathered around him on the little paper a number of friends, including Paul, Robert Lynd and Walter Riddall.... Paul did illustrations, Lynd contributed essays, criticism and gossip, and Riddall wrote short sketches and book reviews... Paul described the weekly ritual of having to produce 'copy' on time and the frequent occasions on which he and his comrades were sacked by Black for holding up the production of the paper through their lateness, only to be hired again the next week."

    (Kennedy, p.22-23)"

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THE MAGIC POOL
George Russell (Æ")" (1867-1935)

Auction Date / Lot No.: 25 November 2013 / 23

Published Estimate: €4000-5000

Price Realised: €0


EVENING STAR, 1909
EVENING STAR, 1909
William Percy French (1854-1920)

Auction Date / Lot No.: 25 November 2013 / 24

Published Estimate: €2000-3000

Price Realised: €2000


REFLECTIONS II, 1909
REFLECTIONS II, 1909
William Percy French (1854-1920)

Auction Date / Lot No.: 25 November 2013 / 25

Published Estimate: €2000-3000

Price Realised: €3000

  • Signature: signed and dated lower left
  • Medium: watercolour heightened with white
  • Dimensions: 13.5 by 9.5in., 33.75 by 23.75cm.
  • Provenance: Purchased directly from the artist by the previous owner's grandparents;

    Christie's, 10 May 2007, lot 251;

    Private collection

  • The location of this scene is thought to be Castledawson, Co. Derry.

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SET OF FOUR SEASCAPES
SET OF FOUR SEASCAPES
William Percy French (1854-1920)

Auction Date / Lot No.: 25 November 2013 / 26

Published Estimate: €5000-6000

Price Realised: €6200

  • Signature: the first signed lower left; each with a printed poem by the artist [from Some Impressions for Pictures and Snatches of Song] affixed on reverse
  • Medium: watercolour; (4)
  • Dimensions: 4.5 by 6.5in., 11.25 by 16.25cm.
  • All works of equal size; each framed and mounted uniformly. First work is accompanied by poem Evening on reverse, second; The Fairies' Lough, third; To E.R., fourth and final watercolour includes title [Some Impressions...] and poem.

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THE RICK-YARD, 1908
THE RICK-YARD, 1908
Harry Scully RHA (c.1863-1935)

Auction Date / Lot No.: 25 November 2013 / 27

Published Estimate: €1500-1800

Price Realised: €0

  • Signature: signed and dated lower left; with original label on reverse detailing artist's name, address [11 Nelson's Place, Cork] and title
  • Medium: watercolour
  • Dimensions: 22 by 26in., 55 by 65cm.
  • Exhibited: RHA, Dublin, 1909, catalogue no. 224 [£50-0-0]
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TURNIP GATHERING, c.1889
TURNIP GATHERING, c.1889
Nathaniel Hill RHA (1860-1930)

Auction Date / Lot No.: 25 November 2013 / 28

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: with partial original inscribed exhibition label on reverse; also with [Hill"] in pencil on reverse"
  • Medium: oil on board
  • Dimensions: 5.5 by 9in., 13.75 by 22.5cm.
  • Provenance: A wedding gift to present owner’s father in 1927 from the Collector General at the time
  • Exhibitedpossibly in Dublin Art Club, 1889, no. 14 [£2-2-0]
  • At this juncture in the artist's career he was living in Queensborough, Drogheda, Co. Louth in his family home.

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THE VILLAGE STREET, RUSH & LUSK, COUNTY DUBLIN, c.1898
THE VILLAGE STREET, RUSH & LUSK, COUNTY DUBLIN, c.1898
Walter Frederick Osborne RHA ROI (1859-1903)

Auction Date / Lot No.: 25 November 2013 / 29

Published Estimate: €15000-20000

Price Realised: €28000

  • Signature: signed lower left; with inscribed exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 7.25 by 10.75in., 18.125 by 26.875cm.
  • Provenance: The Collection of Sir George F. Brooke, Bart.;

    Thence by descent to Lady Brooke;

    with Mealy's, Castlecomer, May 1991, lot 1028;

    Private collection

  • Exhibited: 'Memorial Exhibition of the works of Walter Osborne', Royal Hibernian Academy, Winter 1903-04, catalogue no. 145 (Lent by George Brooke, Bart.)


  • Literature: Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, p.144, catalogue no. 498 (listed)
  • Walter Osborne's passion for painting en plein air is thought to have been the cause of his premature death in an unusually cold April in 1903. He was forty-three and at the height of his artistic powers. The present work, which dates to the most prolific period in his oeuvre, is testament to this passion and captures the rustic charm of a village street in half-light in North County Dublin.

    The scene is an intimate view of an ordinary street where the everyday humdrum of village life is taking place. Fowl peck at the dirt in the centre of the road by a water pump while a figure with a cart stops and engages with another in a doorway on the left. This scene appears to repeat itself further down the street on the opposite side of the road where hints of figures and animals are suggested. Osborne elevates the routine happenings of village life to the level of the extraordinary by seeing beauty in its simplicity and communicating this to the viewer in an honest vocabulary that draws on the Realist's in subject, tone and palette and the Impressionist's in execution and responsiveness to light.

    Osborne's brushstrokes are deceptively simple. The fowl in the centre are delivered to the viewer by a mere dab of the paint-brush; a single, fluid and bold movement that is unassumingly brilliant. They lift out of the canvas in delicate impasto that invite the eye into the composition. The flatter façades of the buildings lining the street draw the viewer towards the brightest corner of the street, treating us to insights into village life on route. The glow that radiates from this point touches road and wall until resting back in the foreground in the fowl's plumage.

    A charged, powerful and unpretentious painting, The Village Street, Rush & Lusk formed part of a large memorial exhibition held at the RHA, Dublin after Osborne's death. It was one of 270 paintings and drawings loaned mostly from private collections. The present example was owned at that time by a wine merchant based on Gardiner's Row, Dublin. 1

    Footnote:

    1. Brooke, George F., 1 Gardiner's Row (wine merchant) [ex Dublin City Directory 1850]

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YARMOUTH NORTH WITH TRAWLERS LEAVING HARBOUR, c.1880
YARMOUTH NORTH WITH TRAWLERS LEAVING HARBOUR, c.1880
Edwin Hayes RHA RI ROI (1819-1904)

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

Published Estimate: €1200-1500

Price Realised: €1700

  • Signature: signed and indistinctly dated lower left; signed and titled on reverse; with typed Aldridge Bros. [Worthing] label on reverse
  • Medium: oil on canvas
  • Dimensions: 10.5 by 16.5in., 26.25 by 41.25cm.
  • Provenance: Aldridge Bros., Worthing;

    Private collection;

    Christie's, 10 May 1996, lot 570;

    Private collection

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CATTLE WATERING - ABBEY AND ROUNDTOWER, DEVENISH ISLAND
CATTLE WATERING - ABBEY AND ROUNDTOWER, DEVENISH ISLAND
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 25 November 2013 / 31

Published Estimate: €2000-3000

Price Realised: €1500


FISHING BOATS OFF A HARBOUR, c.1892-1900
FISHING BOATS OFF A HARBOUR, c.1892-1900
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 25 November 2013 / 32

Published Estimate: €12000-15000

Price Realised: €0

  • Signature: signed lower left; with partial inscribed labels on reverse, reads _____ Out to Sea by Edwin Hayes"; with artist's address [Olive Villas, Quex Road, W. Hampstead, London] identifiable on reverse"
  • Medium: oil on canvas
  • Dimensions: 29 by 48in., 72.5 by 120cm.
  • Olive Villas, Quex Road, W. Hampstead, London is listed as the artist's address in RHA Index of Exhibitors between 1892 - 1900, this time frame assists in dating the painting.

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A MOONLIT LANDSCAPE
A MOONLIT LANDSCAPE
James Arthur O’Connor (1792-1841)

Auction Date / Lot No.: 25 November 2013 / 33

Published Estimate: €3000-4000

Price Realised: €4600

  • Signature: signed lower right; with Cynthia O'Connor label on reverse
  • Medium: oil on board
  • Dimensions: 7 by 6in., 17.5 by 15cm.
  • Provenance: Cynthia O'Connor Gallery, Dublin;

    Private collection

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PORTRAIT OF THE ARTIST'S MOTHER
PORTRAIT OF THE ARTIST'S MOTHER
Sir Gerald Festus Kelly PRA RHA HRSA (1879-1972)

Auction Date / Lot No.: 25 November 2013 / 34

Published Estimate: €1500-2000

Price Realised: €0

  • Medium: oil on board
  • Dimensions: 16 by 13in., 40 by 32.5cm.
  • With a page from an old untraced auction catalogue, including a listing of this painting, believed to be from The Flight Collection, on reverse.

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STELLA DI ROMA, c.1831-1834
STELLA DI ROMA, c.1831-1834
Richard Rothwell RHA (1800-1868)

Auction Date / Lot No.: 25 November 2013 / 35

Published Estimate: €4000-6000

Price Realised: €0

  • Signature: signed and titled lower centre
  • Medium: oil on canvas; (tondo)
  • Dimensions: 25 by 24.75in., 62.5 by 61.875cm.
  • Richard Rothwell is the only major Irish painter to have been born in Athlone. He studied at the Dublin Society's school between 1814-1820 where he won a silver medal for his painting. He showed with the RHA between 1826 and 1829 and was elected to the Academy at the age of 24. He later moved to London and was studio assistant to the leading portrait painter of the age, Thomas Lawrence. Following Lawrence's death in 1830 Rothwell was seen as a possible successor and finished many incomplete paintings by his master. He should have taken on Lawrence's practice since in style they were similar, but Rothwell took another course.

    The present work may date between 1933 and 1834 when Rothwell travelled to Italy. There he studied the language and 'history' paintings. This example is similar to two other versions, both reflecting the rich, strong colours of his palette at this time in the 1830s; his best period. One is in the collection of the Ulster Museum [BELUM.U152].

    His return to England saw a steep decline in patronage. He left for Italy again in 1868 and died in Rome of a fever that year. Among his most famous sitters were authors Gerald Griffin and Mary Shelly. The later was exhibited at the RA in 1840 (no. 459) as Mrs. Shelly, authoress of Frankenstein". The National Gallery of Ireland holds several works by Rothwell including a very fine self-portrait [NGI.265] and a female nude, the nymph, Calisto [NGI.506], which he considered his masterpiece."

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THE PRINCESSES MADELEINE AND OLGA VON DEMBINSKA
THE PRINCESSES MADELEINE AND OLGA VON DEMBINSKA
St. George Hare RI ROI (1857-1933)

Auction Date / Lot No.: 25 November 2013 / 36

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 27 by 36in., 67.5 by 90cm.
  • The subjects of this double portrait were Polish sisters of the von Dembinski family who claimed direct lineage from King Canute and therefore a connection to the English Royal Family. Through the death of a co-lineal relative they purportedly inherited their titles and claim to the Polish throne (since beyond reclaim) and a large area of land in Poland which they believed was being denied to them by a French syndicate. They lived in Barrowgate Road, Westminster in London where they came into contact with a physicist John Fredrick Heard who rented accommodation from the family and recorded his time in their company in 1976. 1. In 2009 the Princesses' story became the subject of a television series, Heir Hunters, which endeavoured to seek out the rightful heirs to their unclaimed estate.

    Footnote:

    1 Journal of the Royal Astronomical Society of Canada, Vol. 73, Collected Reminiscences of John Frederick Heard, My Brush with Royalty, p.195-197

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BRETON WOMEN IN A KITCHEN, 1905
BRETON WOMEN IN A KITCHEN, 1905
Aloysius C. O’Kelly (1853-1936)

Auction Date / Lot No.: 25 November 2013 / 37

Published Estimate: €25000-35000

Price Realised: €0

  • Signature: signed and dated lower right; with Ludwig Katzenstein Fine Art label [Baltimore] on reverse
  • Medium: oil on canvas
  • Dimensions: 39 by 32.25in., 97.5 by 80.625cm.
  • Provenance: with Ludwig Katzenstein Fine Art Gallery, Baltimore, Maryland;

    Private collection

  • In the Pension Gloanec, where O'Kelly lived while in Pont-Aven, fellow artist, Corwin K. Linson noted the two great Breton beds 'flanking the fireside' where slept 'the mistress and her maids'. A number of O'Kelly paintings in the first decade of the twentieth century are set in the famous pension: Breton Woman Cleaning Pans (1909), Breton Women by the Fireside (probably exhibited as Devant le Feu at the Salon in 1908), By the Fireside (exhibited at the Art Institute of Chicago in the same year) and, it would seem, this earlier 1905 painting may also have been painted there.

    During the long summer breaks from the École, artists from all nationalities made their way to Brittany, in keeping with the cult of peasant Realism that swept through the salons of France. But the aesthetic of modernity engaged few Irish artists who tended to identify with the more naturalistic modes of representing rural experience. It was in Brittany that O'Kelly learned to reconcile a range of styles derived from both traditional and avant-garde art, in effect blending academic, Realist and plein-air elements into an innovative mode of rural Naturalism.

    These paintings demonstrate a marked stylistic cohesion and show O'Kelly's ability to handle figures in increasingly complex interior spaces. In these, O'Kelly's academic draughtsmanship and painting skills are evidence of his training with the illustrious Jean-Léon Gérôme, acquired while a student in the École des Beaux-Arts in Paris in the 1870s.

    O'Kelly's connections to Brittany lasted for over fifty years, from his first sojourn in the mid 1870s, while a student in Paris, to his final visits in the 1920s. Indeed O'Kelly was the first Irish artist to discover Brittany. Pont-Aven and Concarneau were his main haunts, but he travelled extensively around the various painting spots of the peninsula over five decades.

    Some late nineteenth-century painters, like O'Kelly, responded to the pressures of modernism by employing Impressionist techniques for outdoor subjects while retaining more academic methods for indoor genre scenes. This painting holds traditional high finish and modern informality in the balance. The strong architectonic qualities are countered by a looseness of handling. The tonation is achieved by the addition of vibrant touches of green, blue and red, enlivening what is otherwise a predominantly muted palette.

    The upright figure is strong, the two girls sitting on the floor utterly delightful. The still-life elements - furniture, pottery, brass and copper - are rugged and rustic but, paradoxically, subtle and charming.

    Prof. Emeritus Niamh O'Sullivan

    October, 2013

    For another Breton scene by the artist see lot 39 [25 November 2013].

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THE SILVER BIRCH
THE SILVER BIRCH
Nathaniel Hone RA (1718-1784)

Auction Date / Lot No.: 25 November 2013 / 38

Published Estimate: €8000-12000

Price Realised: €7500

  • Signature: signed with initials lower right
  • Medium: oil on canvas
  • Dimensions: 17 by 27in., 42.5 by 67.5cm.
  • Provenance: Collection of Dermod O'Brien PRHA (no. 458 in an inventory of his collection);

    Dr Brendan O'Brien, by descent;

    Adam's, 17 May 1987, lot 143 (£4,000);

    Private collection;

    Gorry Gallery, Dublin;

    Private collection

  • Exhibited: ‘Paintings of the 18th, 19th and 20th Centuries’, The Gorry Gallery, November 2003
  • This is a rapidly painted landscape with firs and mountains, probably painted on the Continent. The relaxed manner in which it is painted belies the skill with which the artist can convey the essence of the landscape. The figures of the standing man and the woman who bends towards the ground add a pleasing human quality to the scene. In many later landscapes Hone deliberately subdued his colour range, with a sort of “less is more” philosophy, and here the palette of olives, silvers and ochres is original. He employs an interesting ‘scuffed’ technique to indicate the lightness or movement of the trees on the right.

    Dr Julian Campbell

    (Reprinted courtesy of the author and The Gorry Gallery, Dublin)

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A BRETON FARMYARD
A BRETON FARMYARD
Aloysius C. O'Kelly (1850-1929)

Auction Date / Lot No.: 25 November 2013 / 39

Published Estimate: €15000-20000

Price Realised: €11000


NUDE IN THE STUDIO
NUDE IN THE STUDIO
Roderic O'Conor (1860-1940)

Auction Date / Lot No.: 25 November 2013 / 40

Published Estimate: €25000-35000

Price Realised: €0

  • Signature: with O'Conor Atelier stamp on reverse; with typed Crane Kalman Gallery [London] label on reverse
  • Medium: oil on canvas
  • Dimensions: 21.75 by 18.25in., 54.375 by 45.625cm.
  • Provenance: with The Crane Kalman Gallery, London;

    Where purchased by Barnett Shine;

    Private collection

  • This quietly contemplative nude model was painted by Roderic O'Conor in his rue du Cherche-Midi studio in the Montparnasse quarter of Paris, where he lived and painted for thirty years after his return to Paris in 1904 following a thirteen year period of residence in Brittany at Pont-Aven and at Rochefort-en-Terre in Morbihan.

    The change in O'Conor's environment from rural France to the busy and artistically competitive arena of the Paris art world early in the 20th century marked the beginning of a period of detachment from landscape themes, and a greater engagement with traditional studio subjects, including still-lifes, portraits, figure studies and paintings of unclothed female models.

    In O'Conor's first-floor studio there was one entire wall comprised of small panes of glass admitting natural light into an interior described by Clive Bell in his memoir, Old Friends (1956), as being spacious but gloomy." For this painting O'Conor chose to pose his model deep in the studio interior taking up a viewing position with his back to the wall of windows. As a result the quality of light which illuminated his subject is soft and quite diffuse, unlike his more frequently used rich contrasts of colour which appear in other figure paintings and still-lifes where the subject was placed much closer to the light source. Behind the seated figure we see the solid mass of the large cast iron stove, which was the only source of heating in his studio and which appears in many of his studio paintings.

    O'Conor typically preferred to take a direct approach to his studio paintings, working initially in broad generalised tonal masses with little preliminary drawing as he had done in his landscape paintings from Brittany, and from Cassis in the Midi where he painted in 1913. For this portrait however, O'Conor began by making a series of preliminary sketches and drawings of his model, both clothed and unclothed (more than ten such drawings have been identified), with slight variations to the pose and the positioning of her right arm, which in the painting is bent at the elbow and rests on the arm of the chair to provide a support for her slightly inclined head.

    He also worked on a heavier grade of canvas than usual having a pronounced texture to which he applied a thin stain, deliberately leaving background areas untouched as the painting progressed. Selected passages in the model's upper body and head were similarly treated. Thicker paint was then applied to her upper body as he modelled the forms while keeping to the generally restrained technique and the mood of the painting. It is only in the green drapery on the armchair and in the white sheet or towel covering her left leg that we see O'Conor's typically vigorous and direct brush strokes and his mixing and blending of the oil paint directly on the canvas.

    This model is also the subject of a particularly strong and highly finished portrait known by the title Rouge et Vert which he exhibited at the Salon d'Automne of 1919, in which she wears a red dress and is seated against a background of patterned red and tan fabric which is generously draped in front of a green wall.

    Seated Nude was purchased from the Crane Kalman Gallery in London in 1969 by the enthusiastic O'Conor admirer and collector, Barnett Shine. Over the years he and his wife made several donations from their collection including in 1977 what is perhaps O'Conor's best known painting, the quite remarkable Van Gogh influenced Yellow Landscape of 1892, now in the collection of Tate Britain.

    Dr. Roy Johnston

    October 2013"

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GIRL PLAYING AN ACCORDION
GIRL PLAYING AN ACCORDION
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 25 November 2013 / 41

Published Estimate: €15000-18000

Price Realised: €0

  • Medium: watercolour and wax crayon on paper
  • Dimensions: 19.25 by 14.75in., 48.125 by 36.875cm.
  • Provenance: Bell Gallery, Belfast;

    Private Collection;

    Eakin Gallery, Belfast;

    Private Collection;

    Whyte's, 28 November 2006, lot 82;

    Private collection

  • Exhibited: Almost certainly exhibited as Girl Playing an Accordion in 'William Conor', CEMA Exhibition, Museum and Art Gallery, Belfast, 1957, catalogue no. 138 (lent by W. McKee)


  • A photograph of William Conor working on the version in oil of the present lot can be seen on page 87 of Judith Wilson's book, Conor 1881-1968 The Life and Work of an Ulster Artist.

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THE SIDE CAR, 1910
THE SIDE CAR, 1910
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 25 November 2013 / 42

Published Estimate: €3000-5000

Price Realised: €3000

  • Signature: signed upper left; titled and dated upper centre
  • Medium: crayon with watercolour; (squared for transfer)
  • Dimensions: 6.25 by 7.75in., 15.625 by 19.375cm.
  • Provenance: Christie's, 17 May 2002 lot 200;

    Private collection;

    with the Wren Gallery, Oxfordshire;

    Private collection

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RAINY DAY, BELFAST
RAINY DAY, BELFAST
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 25 November 2013 / 43

Published Estimate: €18000-22000

Price Realised: 

  • Signature: signed lower left
  • Medium: watercolour and wax crayon on paper
  • Dimensions: 14.25 by 17.75in., 35.625 by 44.375cm.
  • Provenance: Taylor Gallery, Belfast;

    Private collection

  • The façade in the background is probably Belfast City Hall.

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CLERIC
CLERIC
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 25 November 2013 / 44

Published Estimate: €800-1000

Price Realised: €750


PORTRAIT OF A LADY, 1928
PORTRAIT OF A LADY, 1928
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 25 November 2013 / 45

Published Estimate: €1000-1500

Price Realised: €950

  • Signature: signed and dated lower left
  • Medium: chalk pastel on buff-coloured paper; (1); woodcuts; (2)
  • Dimensions: 21 by 15in., 52.5 by 37.5cm.
  • Also with this lot are two woodcuts by Harry Kernoff, Breacadh an Lae or Dawn, 1929 and Profile of a Man in Shirt and Tie, 1931. Each signed and dated in the lower margin. Folio size of each title: 11.25 by 9in. and 8.5 by 6in., respectively.

    Breacadh an Lae or Dawn is illustrated in two books, the first, Woodcuts, Harry Kernoff, RHA a limited edition book (220 copies) published in Dublin, 1942 by Cahill and Company Ltd. The second title, Cap with Bells, Woodcuts by Harry Kernoff and Ink Washes by Noel Sheridan, by Coburn Britton, The Dolmen Press, Dublin 1959 (320 copies, illustrated p.26).

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LAUGHING GIRL and SANTA CLAUS, 1961 (A PAIR)
LAUGHING GIRL and SANTA CLAUS, 1961 (A PAIR)
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 25 November 2013 / 46

Published Estimate: €600-800

Price Realised: €580

  • Signature: each signed lower right and lower left respectively; Santa Claus with a Christmas message for 1961
  • Medium: watercolour over ink and crayon on paper; (1); coloured pencil over ink and pencil on paper; (1)
  • Dimensions: 4 by 3in., 10 by 7.5cm.
  • Provenance: Acquired directly from the artist by the present owner's mother, a friend and fellow artist in Belfast;

    Thence by descent

  • Dimensions of Santa Claus 6.25 by 4.25in. Framed and mounted uniformly.

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SUNLIT WORKSHOP, 1925
SUNLIT WORKSHOP, 1925
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 25 November 2013 / 47

Published Estimate: €5000-7000

Price Realised: €0

  • Signature: signed lower left; inscribed with title and dated on reverse; also with artist's address [Stamer St., Dublin] on reverse
  • Medium: oil on board
  • Dimensions: 15 by 20in., 37.5 by 50cm.
  • This daytime scene depicts the artist's father in his workshop.

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WORKSHOP, NIGHT, 1925
WORKSHOP, NIGHT, 1925
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 25 November 2013 / 48

Published Estimate: €4000-6000

Price Realised: €0

  • Signature: signed lower right; signed again, titled and dated on reverse
  • Medium: oil on board
  • Dimensions: 15 by 20in., 37.5 by 50cm.
  • This night-time scene depicts the artist's father in his workshop.

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OUR LADY AND CHILD
OUR LADY AND CHILD
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 25 November 2013 / 49

Published Estimate: €1500-2000

Price Realised: €2100

  • Signature: signed lower right; with title on Dawson Gallery label on reverse
  • Medium: gouache
  • Dimensions: 9 by 6in., 22.5 by 15cm.
  • Provenance: Dawson Gallery, Dublin;

    Private collection

  • Contained in bespoke free-standing wooden frame.

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ABSTRACT COMPOSITION
ABSTRACT COMPOSITION
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 25 November 2013 / 50

Published Estimate: €1000-1500

Price Realised: €1000

  • Signature: with photocopies affixed verso detailing annotations in margins and on reverse concealed beneath mount and frame
  • Medium: gouache
  • Dimensions: 10 by 4in., 25 by 10cm.
  • Provenance: The Collection of Jim O'Driscoll SC
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