24 February 2014

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ON THE GALLOPS
ON THE GALLOPS
Peter Curling (b.1955)

Auction Date / Lot No.: 24 February 2014 / 1

Published Estimate: €€5000-€7000

Price Realised: €6000


READY TO RUN I, 2009
READY TO RUN I, 2009
Mark O'Neill (b.1963)

Auction Date / Lot No.: 24 February 2014 / 2

Published Estimate: €€3000-€4000

Price Realised: €2800

  • Signature: signed and dated lower left
  • Medium: oil on board
  • Dimensions: 24 by 15in., 60 by 37.5cm.
  • Provenance: Adam's, Dublin;Private collection
  • Exhibited: 'An Exhibition of New Works by Mark O'Neill', Adam's, Dublin, 19-23 October 2009, catalogue no. 25
  • The proceeds of this sale will be donated by the seller to The Church Mission Society Ireland & The United Christian Broadcasting & The Walk Through The Bible Ministries.

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BOG, BLOODY FORELAND, DONEGAL
BOG, BLOODY FORELAND, DONEGAL
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 24 February 2014 / 4

Published Estimate: €€2000-€3000

Price Realised: €2000

  • Signature: signed lower left; inscribed with title on reverse
  • Medium: oil on canvas
  • Dimensions: 15 by 36in., 37.5 by 90cm.
  • Provenance: Whyte's, 8 March 2000, lot 121;Whence purchased by the current owner
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CÓMHRÁ II
CÓMHRÁ II
Liam O’Neill (b.1954)

Auction Date / Lot No.: 24 February 2014 / 5

Published Estimate: €€1500-€1800

Price Realised: €2300


EVENING STUDY, TALLOW HORSE FAIR
EVENING STUDY, TALLOW HORSE FAIR
Arthur K. Maderson (b.1942)

Auction Date / Lot No.: 24 February 2014 / 6

Published Estimate: €€2000-€3000

Price Realised: €4600


BOG COTTON AND HEATHER, CONNEMARA
BOG COTTON AND HEATHER, CONNEMARA
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 24 February 2014 / 7

Published Estimate: €€1800-€2200

Price Realised: €2800


FARM BUILDINGS
FARM BUILDINGS
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 24 February 2014 / 8

Published Estimate: €€2000-€3000

Price Realised: €3200


STILL LIFE WITH BUTTERFLY
STILL LIFE WITH BUTTERFLY
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 24 February 2014 / 9

Published Estimate: €€3000-€5000

Price Realised: €2900

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 14 by 18in., 35 by 45cm.
  • Provenance: Acquired from Theo Waddington [Waddington Gallery] c.1968;Thence by descent to the present owner
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STILL LIFE WITH CRUCIFIX
STILL LIFE WITH CRUCIFIX
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 24 February 2014 / 10

Published Estimate: €€1800-€2200

Price Realised: €1700


THE BRIDGE, c.1963
THE BRIDGE, c.1963
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 24 February 2014 / 11

Published Estimate: €€6000-€8000

Price Realised: €6000

  • Signature: signed upper right; titled on original hand-written label on reverse
  • Medium: oil on board
  • Dimensions: 20 by 24in., 50 by 60cm.
  • Provenance: Dawson Gallery, Dublin;Private collection;Adam's, Dublin, 4 October 2006, lot 160;Private collection
  • Exhibited: 'Daniel O'Neill', Dawson Gallery, Dublin, February 1963, catalogue no. 15
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BOY CHRIST
BOY CHRIST
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 24 February 2014 / 12

Published Estimate: €€6000-€8000

Price Realised: €9000


ROUND TOPPED COMPOSITION (I & II), c.1922
ROUND TOPPED COMPOSITION (I & II), c.1922
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 24 February 2014 / 13

Published Estimate: €€2000-€3000

Price Realised: €0

  • Signature: each with inscribed Peppercanister Gallery label on reverse
  • Medium: gouache; (2)
  • Dimensions: 10 by 4in., 25 by 10cm.
  • Provenance: The Collection of Dr Eileen MacCarville;with the Neptune Gallery, Dublin;Private collection;with the Peppercanister Gallery, Dublin;Private collection
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UNTITLED ABSTRACT, c.early 1940s
UNTITLED ABSTRACT, c.early 1940s
Kenneth Hall (1913-1946)

Auction Date / Lot No.: 24 February 2014 / 14

Published Estimate: €€700-€900

Price Realised: €0

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 13.5 by 9.5in., 33.75 by 23.75cm.
  • Provenance: Victor Waddington Gallery, Dublin;Where purchased by the present owner's aunt, a friend of the White Staggists, Rákóczi and Hall;Thence by descent to the current owner
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FIGURES EMBRACING
FIGURES EMBRACING
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 24 February 2014 / 15

Published Estimate: €€3000-€5000

Price Realised: €0


FIGURES IN BOATS, INISHMORE, ARAN ISLANDS
FIGURES IN BOATS, INISHMORE, ARAN ISLANDS
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 24 February 2014 / 16

Published Estimate: €€800-€1200

Price Realised: €1350

  • Signature: signed lower right; with Victor Waddington label on reverse
  • Medium: pen and ink with watercolour
  • Dimensions: 7.75 by 9.75in., 19.375 by 24.375cm.
  • Provenance: Victor Waddington Gallery, Dublin;Where purchased by the present owner's aunt, a friend of the White Staggists, Rákóczi and Hall;Thence by descent to the current owner
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HOUSES ON ARAN
HOUSES ON ARAN
Kenneth Hall (1913-1946)

Auction Date / Lot No.: 24 February 2014 / 17

Published Estimate: €€800-€1000

Price Realised: €1050

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 9.5 by 13.5in., 23.75 by 33.75cm.
  • Provenance: Victor Waddington Gallery, Dublin;Where purchased by the present owner's aunt, a friend of the White Staggists, Rákóczi and Hall;Thence by descent to the current owner
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PIERROT AND SLEEPING FEMALE, c.1960s
PIERROT AND SLEEPING FEMALE, c.1960s
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 24 February 2014 / 18

Published Estimate: €€7000-€9000

Price Realised: €6800

  • Signature: signed lower right; with number 3" and "No. 50" inscribed in pencil on reverse; with Dawson Gallery label on reverse"
  • Medium: watercolour with collage on paper
  • Dimensions: 22.5 by 17in., 56.25 by 42.5cm.
  • Provenance: Acquired directly from the artist;Thence by descent to the present owner
  • ExhibitedPossibly shown at 'Gerard Dillon: Drawings and Collages', Dawson Gallery, Dublin, 1-16 April, 1966
  • Contained in original Dawson Gallery frame.Thirty-six works were shown in Dillon's Dawson Gallery exhibition in spring 1966. The pierrot theme dominated and a number of similar exhibits from the show were illustrated in the Irish Times the following month on Monday, 5 May 1966. Dillon continued with this subject and showed 'New Collages', again at the Dawson, three years later in May [1-17] of 1969 where several titles are also possible matches for the present work.In the present work, the recumbent female, partially swathed with striped linen and surrounded by a dominating wall-hanging (which would appear to be a monotype incorporated into the collage), recalls Henri Matisse. A similar motif to the wall-hanging pattern is used by Dillon in another work of the period, Clown in a Hand Stand, 1964.

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VANISHING DUBLIN
VANISHING DUBLIN
Flora H. Mitchell (1890-1973)

Auction Date / Lot No.: 24 February 2014 / 19

Published Estimate: €€250-€350

Price Realised: €540

  • Medium: limited edition book; (from an edition of 600)
  • Dimensions: 11.5 by 8.5in., 28.75 by 21.25cm.
  • Allen and Figgis, Dublin, 1966. First and only edition; the plates were destroyed after printing. A glimpse of old Dublin with fifty full colour plates and an introduction by the Earl of Wicklow. Quarto; original green cloth with gilt titled spine and dust jacket. Many of the 600 copies of this book have subsequently been broken up for the prints which were then sold individually. Other editions remain in public and special collections, thus Vanishing Dublin is a highly rare and desirable collectors item.

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CARTOON FOR PENTECOST WINDOW, BLACKROCK COLLEGE, COUNTY DUBLIN, c.1940
CARTOON FOR PENTECOST WINDOW, BLACKROCK COLLEGE, COUNTY DUBLIN, c.1940
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 24 February 2014 / 20

Published Estimate: €€2500-€3500

Price Realised: €2500

  • Signature: inscribed on reverse
  • Medium: gouache on board; (triptych); (pentagonal)
  • Dimensions: 15 by 7in., 37.5 by 17.5cm.
  • Dimensions of individual cartoons given; overall size 15 by 23.25in. Contained in original frame and linen mount. The present work is a cartoon sketch for the Pentecost Window commissioned by Blackrock College for their Castle Oratory in 1940. The Castle building continues to cater to final year boarders at the school and the Hone windows remain on display to students and staff. Interestingly, in 1968 the Dawson Gallery offered 60 works from the collection of artist Fr. Jack Hanlon among which is listed a Design for Stained Glass Window in Blackrock College" Pentecost [5-15 November, 1969, catalogue no. 53]. "

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GIRL SEATED, c.1940s
GIRL SEATED, c.1940s
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 24 February 2014 / 21

Published Estimate: €€2000-€3000

Price Realised: €1900

  • Signature: signed lower right
  • Medium: pastel on tinted paper
  • Dimensions: 20 by 16in., 50 by 40cm.
  • Provenance: Purchased directly from the artist at his studio, 1973
  • The artist noted at the time of purchase that the present work was done c.1940s.

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PORTRAIT OF A WOMAN WITH HEADSCARF
PORTRAIT OF A WOMAN WITH HEADSCARF
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 24 February 2014 / 22

Published Estimate: €€3000-€4000

Price Realised: €4400


A COLLECTION OF 22 PAINTINGS AND DRAWINGS
A COLLECTION OF 22 PAINTINGS AND DRAWINGS
Leo Whelan RHA (1892-1956)

Auction Date / Lot No.: 24 February 2014 / 23

Published Estimate: €€2000-€3000

Price Realised: €4800

  • Signature: pastel, signed lower right; canvases variously signed and inscribed
  • Medium: pastel on card; (1); oil on unstretched canvas; (21)
  • Dimensions: 18.5 by 14.5in., 46.25 by 36.25cm.
  • Provenance: Family of the Artist
  • Unstretched canvases include: Woman in a Shawl, (23.5 by 19.5in.); Portrait of a Lady in Red, (29.5 by 26in.), signed lower left; Portrait of Mr R.R. Adamson, 1935, (29.5 by 25in.), signed inscribed and dated lower left; Portrait of a Lady in Black with Crimson Lips, faintly signed upper right, (29 by 25in.); Portrait of Aida MacGonigal née Kelly (14.5 by 16.25in.) [Aida Kelly, a part-time model at the college of art in Dublin where she met and later married artist Maurice MacGonigal in 1941.]; Nude Aida, (27 by 23ins.), inscribed with title on reverse; Portrait of a Lady in Black with Pearl Earrings, (40.5 by 32in.); Portrait of a Lady in White, (34.5 by 37in.). Two Still Life Studies, (14 by 10in.) (each). Also includes an unstretched canvas, Coastal Scene with Boat, which may only be attributed to the artist as an early work, (25.25 by 32in.)

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JACK BUTLER YEATS DOLL, c.1958
JACK BUTLER YEATS DOLL, c.1958
Frances & Lillian 'Lily' Whelan (1888-c.1970) & (1890-1967) respectively

Auction Date / Lot No.: 24 February 2014 / 24

Published Estimate: €€600-€800

Price Realised: €620

  • Signature: letter written and signed by Jack B. Yeats; catalogue signed by Leo Whelan
  • Medium: puppet; (1); letter; (1); exhibition catalogue; (1); photograph; (1)
  • Dimensions: 8.5 by 4in., 21.25 by 10cm.
  • Provenance: Family of the Artist
  • Frances and Lily Whelan were the elder sisters of artist Leo Whelan and lived with him at the family home (which doubled as a hotel) at 65 Eccles Street, Dublin. The Whelan sisters were artists in their own right and designed among other items; dolls, puppets, miniature costumes, cushions, quilting, fire-screens, table lamps, shades and mirrors. Their craftwork was the subject of a very well received exhibition at the United Arts Club, 3 Upper Fitzwilliam St., Dublin in June 1958 where among the items shown was the Jack B. Yeats doll offered in this lot. The show's success is recorded in newspaper cuttings and was described as an outstanding exhibition of really fine craftsmanship" (Evening Main, 28 June 1958) and "A delightful exhibition of works" (Irish Independent, 28 June 1958). Other political figures including deValera, Churchill and President O'Kelly will be offered in Whyte's forthcoming History, Literature and Collectibles auction on 9 March 2014. Also included in this lot is a copy of the Jack Yeats National Loan Exhibition catalogue [June-July 1945] signed by Leo Whelan, a letter from Jack B. Yeats to "the Misses Whelan" [on 18 Fitzwilliam Square headed paper] offering his condolences on the death of their brother Leo [dated November 8th 1956] and a photograph showing Yeats, Whelan, Victor Waddington and Thomas MacGreevy, Director of the National Gallery of Ireland [1950-1963]."

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LAMBAY ISLAND, 1911, A COLLECTIONS OF SKETCHES AND DRAWINGS and ARTIST'S ENGRAVED WATERMAN'S GOLD PROPELLING PENCIL
LAMBAY ISLAND, 1911, A COLLECTIONS OF SKETCHES AND DRAWINGS and ARTIST'S ENGRAVED WATERMAN'S GOLD PROPELLING PENCIL
Leo Whelan RHA (1892-1956)

Auction Date / Lot No.: 24 February 2014 / 25

Published Estimate: €€600-€800

Price Realised: €560

  • Signature: oil signed and dated lower right; titled on reverse; works on paper or card variously signed and inscribed; gold propelling pencil engraved with artist's signature and hallmarked
  • Medium: oil on canvas; (1); works on paper or card; (7); gold pencil; (1)
  • Dimensions: 8 by 10in., 20 by 25cm.
  • Provenance: The Artist's Family
  • Dimensions of oil given. Among the sketches is a caricature of the artist painting a Cardinal's portrait, sizes vary from 3.5 to 10ins. All unframed. 9 items total.

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COLLECTION OF ARTIST'S ARCHIVAL MATERIAL INCLUDING INVENTORY RECORDS, CORRESPONDENCE, PHOTOGRAPHS AND PRESS CUTTINGS [1930s to 1950s]
COLLECTION OF ARTIST'S ARCHIVAL MATERIAL INCLUDING INVENTORY RECORDS, CORRESPONDENCE, PHOTOGRAPHS AND PRESS CUTTINGS [1930s to 1950s]
Leo Whelan RHA (1892-1956)

Auction Date / Lot No.: 24 February 2014 / 26

Published Estimate: €€500-€700

Price Realised: €1000

  • Signature: variously signed, inscribed and dated
  • Dimensions:  by in., 0 by 0cm.
  • Provenance: Family of the Artist
  • A fascinating collection of archival material providing an eye-opening insight into the artist's personal and professional life. The collection includes various personal and professional photographs of the artist, family members, sitters and artworks as well as a photographic inventory of his artworks, most variously annotated by Whelan. A significant collection of press cuttings relating to his exhibitions and his comments and contributions to artistic life in Ireland. Among correspondence is a postcard from The Perjurer [Thomas] Bodkin" to the artist 22 August 1950 and letters from Bodkin to the artist's sister. Legal correspondence between the artist and solicitors [Arthur Cox & Co.] from the 1950s and Senior Counsel directions in a court case between Whelan [plaintiff] and a Dorothy Countess Beatty [defendant]. Letters regarding commissions etc can also be found. Among them, The Thomas Haverty Trust [5/06/31], John Power & Son, Ltd [3/11/38], Oifig an Tánaiste [1945], The Department of Education [2/05/51], Malcolm John MacDonald British politician and diplomat [19/03/1937], Royal St. George Yacht Club and All Hallows College. Communication post-1956 (the year of Whelan's death) also proves interesting, with letters from James Bourlet & Sons Ltd and the RHA among others. Humorous entries by the artist and his sisters among others into "The School Girls Own Confession Album" are testament to the Whelans' sense of humour and their close-knit relationship."

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COLLECTION OF BOOKS AND CATALOGUES FROM THE ARTIST'S LIBRARY
COLLECTION OF BOOKS AND CATALOGUES FROM THE ARTIST'S LIBRARY
Leo Whelan RHA (1892-1956)

Auction Date / Lot No.: 24 February 2014 / 27

Published Estimate: €€500-€700

Price Realised: €440

  • Dimensions:  by in., 0 by 0cm.
  • Provenance: Family of the Artist
  • Collection includes a rare 1928 exhibition catalogue for Exhibition of Irish Art at the Metropolitan School of Art, Dublin; 'Memorial Exhibition Patrick Tuohy RHA', 14-25 July, 1931; RHA catalogues (1952 & 1966); IELA (1948); 'Thomas Ryan' at Brown Thomas (1961); City of Bradford Corp. Art Gallery, spring exhibition (1929); Royal Society of Portrait Painters (1932, 1934 & 1938). Auction catalogues include Leo Whelan's Estate Sale held at 26/27 Lower Ormond Quay, 14 May 1957 and catalogue for the Executor's Sale for late Reverend Canon Dempsey, 25 May 1937. Among the books are: Whelan's copy of Sir William Orpen [1923], a signed and dedicated copy of As I Was Going Down Sackville Street by Oliver St. John Gogarty [1937] the dust jacket of which illustrates a painting of Nelson's Pillar [Sackville Street, later O'Connell St.] by Whelan, Recollections of a Court Painter by H. Jones Thaddeus, Jan Vermeer Van Delft by A.B. De Vries and The Paintings of Frans Hals (both signed and dated by Whelan). Pocket size editions of The Masterpieces of Teniers The Younger (1912) and of Raeburn(1908) among others.(29 items total)

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A LADY IN WHITE (A PORTRAIT OF LADY LYLE)
A LADY IN WHITE (A PORTRAIT OF LADY LYLE)
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 24 February 2014 / 28

Published Estimate: €€30000-€50000

Price Realised: €27500

  • Signature: signed and dated upper left
  • Medium: oil on canvas
  • Dimensions: 50.5 by 40.5in., 126.25 by 101.25cm.
  • Provenance: Sotheby's New York, 22 February 1989, lot 452;with Kurt E. Schon, Ltd., New Orleans;Private collection
  • Exhibited: Royal Academy, London, 1895, no. 88, as A Lady in White
  • Literature: Anon., 'The Royal Academy', The Art Journal, 1895, p.179Anon., 'The Royal Academy - Fourth Notice', The Athenaeum, 22 June 1895, p.811;Royal Academy Pictures, 1895, p.140, illustrated.;Shaw Sparrow, Walter, John Lavery and his Work
  • By the 1890s, there was an element of risk involved in having one's portrait painted. As Oscar Wilde infers in The Picture of Dorian Gray, (1890) a mystical exchange was believed to occur between the image and the living reality, and the painter's role in this transfer was that of aesthetic alchemist. It was a common conceit that an international elite - a select band of portrait painters - brought life to their beautiful sitters and writers toyed amusingly with the idea that when the visitors were gone, the portraits in an exhibition actually stepped from their frames to say scandalous things about them. (1)So it was that in 1895 when he considered John Lavery's portraits of A Lady in White, Mrs Park Lyle and A Lady in Black, (Miss Esther McLaren), the Pygmalion myth was not far from George Moore's thoughts. He wanted nevertheless; to separate the artist's pictures in that year's Royal Academy from the ego-inflation that was such an obvious feature of John Singer Sargent's and James Jebusa Shannon's bloodless bravura. Their 'white satin duchesses' were now being produced to order and he hoped, by contrast that the 'fashionable lady' would be 'induced to go to Mr Lavery', that she would 'refrain from advising him regarding the dress she should be painted in', and recognise that with this artist, her opinion was of no consequence. (2) It was up to the painter to arrive at a 'harmony' or 'arrangement' that lifted mere face painting and flashy couture into the realm of art. James Stanley Little was quite explicit on this point, noting that Lavery had learned from Velázquez and Whistler the abstract elements that go to make a great portrait, (3) and recording the artist's views on his craft, he noted that, He holds that the artist has license and prerogative to treat his sitter as he would treat a model, to this extent: he is entitled to seize upon and give prominence to those points which in form and colour suggest to him an attractive and interesting pictorial idea, and that, while the essential facts and characteristics which would enable a third person to recognise immediately the sitter in the picture must be preserved, the painter is entirely justified - further that no portrait can be a work of art otherwise - in treating his sitter subjectively, and infusing into his presentment his own artistic individuality. (4)It was this quest for an interesting 'pictorial idea' that led to the refinement of Lavery's portraits, and there is clear evidence of constant correction and adjustment of colour and tone in The Lady in White. If we study the sketch for instance, we can see that the artist had some difficulty in establishing the pose (fig 1, Sketch for 'A Lady in White', 1895, unlocated, formerly The Fine Art Society, London). If we look at the image used for reproduction in Royal Academy Pictures (fig 2, A Lady in White (Portrait of Lady Lyle), 1895, from Royal Academy Pictures, 1895, (Cassell and Co), p. 140) we see that a posy of flowers, harmonising with the delicate pinks and mauves of the background, has been substituted for a visually distracting black fan.(5) Lady Lyle's aesthetic integrity was at first emphasised by a blue-and-white Nankin vase of flowers, placed on a side table, but this, as the picture developed, was lowered in tone.(6) The normally hostile critic of The Athenaeum approved these changes commenting that while he found the picture 'stiff', The Lady in White 'possesses character' and it was 'to be praised for its tones'.(7) Faint praise of this kind drove a later writer to affirm that Lavery was no flatterer, and he remarked that, ….we do not mean that his popularity has been achieved by compliments dexterously conveyed in paint. His success rests on more serious grounds … (8)By 1895 Lavery was the leading international representative of the Glasgow School. In that year his paintings were shown in Glasgow, Edinburgh, London and Paris, and with a touring exhibition of 'Glasgow Boys' paintings in the United States. As a rising star he had secured a gold medal at the Paris Salon in 1888 - the first of his contemporaries, and it was claimed, the first 'Scottish' artist to do so. (9) And when in that year he was commissioned paint the State Visit of Queen Victoria by Glasgow Corporation, his future was secured. Thereafter his clientele was drawn from wealthy Scots industrialists and ship-owners who included the families of wool and yarn manufacturers, the Fultons, the McKeans and the Clarks, as well as the renowned collector, William Burrell and the adventurer-laird of Gartmore, RB Cunninghame Graham. Now in 1895, he was admitted to the ranks of the Royal Scottish Academy with a portrait of Mrs Christie Smith, entitled The Rocking Chair, as his Diploma piece. (10) At this point, at the height of his fame in Scotland, Lavery's magisterial Lady in White, thought to represent Mrs Park Lyle, a member of the Abram Lyle dynasty, took its place in the cavalcade of dignitaries associated with 'the second city of the empire'. (11)Deliberating on Lavery's achievement at the end of that important year, Moore's avant-garde comrade, D. S. MacColl pressed the painter to extend himself further: When he paints a pretty woman, he seizes upon one or two obvious points of likeness, fixes the general allure of the figure, and makes a striking assertion of the éclat of fair flesh ... A painter who can imagine the beautiful harmony of colour in the draperies of one of those portraits, and whose appreciation of the principles of picture making is evidently so high, owes it to his talent to try for other virtues. (12)MacColl was looking for more and so too was the painter. Glasgow was no longer enough for him. Rome, Berlin, Paris and London were calling. The international success of the Glasgow group continued and while there were 'Glasgow Boys' exhibitions in St Louis and Chicago, its members, Lavery among them, were defecting. In March 1895 Blackwood's Edinburgh Magazine carried an article chauvinistically declaring the new Scottish painting 'the most vital art movement' of the day, conveniently neglecting the fact that Lavery, its most ambitious member, did not hail from the Glasgow hinterland. He was nevertheless singled out for praise and 'elegance of arrangement and style' were regarded as the chief characteristics of his work. (13) The writer could indeed have been thinking about the picture then in his studio and nearing completion - A Lady in White. Prof. Kenneth McConkeyJanuary 2014Footnotes:1. See for instance, Two Art Critics, Pictures at Play, 1888 (Longmans, Green & Co); also William Sharp, Fair Women in Painting and Poetry, 1894 (Seeley and Co), quoted in Kenneth McConkey, Memory and Desire, 2002 (Ashgate), pp. 90-94. 2. George Moore, 'The Royal Academy', The Speaker, 11 May 1895, p. 516.3. Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 63-8. Having painted Mrs JJ Cowan and her daughter, Laura, Lavery recommended Whistler to her husband for a small full-length portrait (National Galleries of Scotland).4. JS Little, 'A Cosmopolitan Painter: John Lavery', The Studio, vol xxvii, 1902-3, p. 118.5. McConkey, 2010, p. 68. It was not unusual for paintings to be photographed for Royal Academy Pictures, while still in progress. Although there is no evidence to suggest that changes to the picture were made prior to, or shortly after its showing, this is likely to have been the case. 6. Lavery had used a similar motif in the portrait of Miss Mary Burrell, in the previous year and for this reason as much as any, he may have sought to reduce its effect in the present composition. 7. 'The Royal Academy, Fourth Notice', The Athenaeum, 22 June 1895, p. 811. 8. Anon, 'The Glasgow School of Painting', The Edinburgh Review, no. 398, 1901, p. 498.9. Charles M Kurtz, 'The Glasgow School, The Men and their Work', Modern Art, vol 4, no. 1, 1896, p. 8.10. McConkey, 2010, p. 68. 11. Walter Shaw Sparrow, John Lavery and His Art, n.d., [1912], (Kegan Paul, Trubner, Trench and Co), p. 177. Abram Lyle, the Greenock sugar refiner and ship-owner, merged his company with that of Henry Tate, founder of the Tate Gallery, London, to form the world famous Tate and Lyle sugar manufacturer. The Lyle company specialised in syrup and its motto, taken from the Old Testament story of Samson, remains 'Out of the strong cometh forth sweetness'. Mrs Park Lyle is thought to be either of Abram Lyle's daughters-in-law, Grace Eleanora Moir (1855-1918), who married his son, Sir Alexander Park Lyle (1849-1933), in 1880 or Agnes Jaimeson (d 1943) the wife of Alexander's elder brother, Robert, 1st Baron Lyle of Greenock. A further complication arises from the fact that Harrington Mann, a successful portrait painter and one of Lavery's Glasgow associates, produced a portrait of Mrs Park Lyle c. 1910 (National Trust, Barrington Court), this time, the wife of William Park Lyle, also of the sugar refining dynasty. 12. The Spectator, 23 November 1895, p. 725.13. Anon., 'The Scottish School of Painting', Blackwood's Edinburgh Magazine, vol CLVII, March 1895, pp. 339, 344.

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

Auction Date / Lot No.: 24 February 2014 / 29

Published Estimate: €€5000-€7000

Price Realised: €5400

  • 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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DANCING GIRL, 1892
DANCING GIRL, 1892
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 24 February 2014 / 30

Published Estimate: €€6000-€8000

Price Realised: €0

  • Signature: signed and dated lower right
  • Medium: oil on panel
  • Dimensions: 8.5 by 5.5in., 21.25 by 13.75cm.
  • North Africa was a place of 'artistic pilgrimage' throughout the 19th century and in the 1880s British artists rediscovered Tangier.(1) Lavery first visited Morocco in 1891 and from this journey produced a large body of work which he showed at the Goupil Gallery, London in spring that year. The present work dates to the early months of 1892 - his second trip to Tangier -and demonstrates his interest in the exotic customs of its natives. Dancing Girl can be linked to A Moorish Dance, 1892 and, more particularly, to El Casbah of the same year (Collection of Allied Irish Banks PLC) which depicts a poised female dancer accompanied by seated musicians. The execution of the present work is lightly drawn and effectively conveys the grace and movement of this delightful figure.Footnote:1. McConkey, Kenneth, Sir John Lavery, Canongate, Edinburgh, 1993, p.83

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NANNY, c.1913-1914
NANNY, c.1913-1914
Annie Osborne Campbell (b.1889)

Auction Date / Lot No.: 24 February 2014 / 31

Published Estimate: €€500-€700

Price Realised: €1300

  • Signature: with inscribed label of The Glasgow School of Art on reverse
  • Medium: oil on canvas
  • Dimensions: 30 by 24in., 75 by 60cm.
  • Artist Annie Osborne Campbell (born 27 May 1889), is recorded as having attended the Glasgow School of Art (GSA) from 1910 to 1918. The present work was executed under the tutelage of Allan D. Mainds, based on the exhibition label on reverse which notes: Session: 1913-1914 / Artist: Annie O. Campbell/ Registration no. 387"This painting was formerly in the collection of Lissadell House and the sitter is thought to be a nanny employed by the Gore-Booth family. A pencil sketch by Constance Markievicz, sold through Whyte's [26 November 2007, ex lot 94] bears a striking resemblance to the sitter. In her first year Campbell studied afternoon classes of 'Preparatory Antique; Ornament and Preparatory Painting' under Alexander Musgrove with a registered address at 970 Sauchiehall St., Glasgow. Between 1912 and 1914 her address changed to 89 Marlborough Avenue, Broomhill and her focus was 'Drawing and Painting' as a day student. It was during this period that the present work was executed under the tutelage of Allan D. Mainds, based on the label on reverse.From 1914 to 1918 GSA records note a further change of address, to the Smithston Poorhouse and Asylum, Greenock, she continues as a day student and is awarded a number of bursaries; 1914/1915, Bursary £2, 1915/1916 the Haldane Travelling Scholarship, £50 and 1917/1918 a "Special Bursary". From 1916/1917 she adds 'Life; Lettering and Studio' to her subjects. The final entry in her GSA records date to 1917/1918. These are scored through and marked "not coming"."

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TREES IN MALAHIDE, COUNTY DUBLIN
TREES IN MALAHIDE, COUNTY DUBLIN
Nathaniel Hone RHA (1831-1917)

Auction Date / Lot No.: 24 February 2014 / 32

Published Estimate: €€2000-€3000

Price Realised: €2600

  • Signature: with hand-written label on reverse detailing artist's name and title; also with inscribed Bell Gallery label detailing provenance on reverse
  • Medium: oil on canvas board
  • Dimensions: 7 by 10in., 17.5 by 25cm.
  • Provenance: The Collection of C.P. Curran, Dublin;with the Bell Gallery, Belfast, May 1976;The Robert Workman Collection 1976-2008;His sale, Ross's, Belfast, January, 2009;Private collection
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HEAD OF OLD WOMAN
HEAD OF OLD WOMAN
Augustus Nicholas Burke RHA (1838-1891)

Auction Date / Lot No.: 24 February 2014 / 33

Published Estimate: €€1500-€2000

Price Realised: €0

  • Signature: titled and with artist's name on original label on reverse; also with W. Carling & Son Art Dealers [Whitley Bay, North Tyneside, England] label on reverse
  • Medium: oil on canvas
  • Dimensions: 21 by 18.5in., 52.5 by 46.25cm.
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ROCKS AND SHORE
ROCKS AND SHORE
Nathaniel Hone RHA (1831-1917)

Auction Date / Lot No.: 24 February 2014 / 34

Published Estimate: €€1500-€1800

Price Realised: €2300

  • Signature: signed with initials lower left, with original hand-written label on reverse; with typed Bell Gallery label also on reverse
  • Medium: oil on canvas board
  • Dimensions: 7.25 by 10in., 18.125 by 25cm.
  • Provenance: The Collection of Lady Maffey;Thence by descent to her daughter, Lady Penelope Aitken (1910-2005):Sold on her behalf by The Bell Gallery, Belfast, May 1976;The Robert Workman Collection, early 1970s-2008;His sale, Ross's, Belfast, January, 200
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SUNSHINE AND SHADOW, [LA RUE DE L'APPORT], DINAN, 1883
SUNSHINE AND SHADOW, [LA RUE DE L'APPORT], DINAN, 1883
Walter Frederick Osborne RHA ROI (1859-1903)

Auction Date / Lot No.: 24 February 2014 / 35

Published Estimate: €€70000-€90000

Price Realised: €69000

  • Signature: signed and dated lower left; signed again in pencil on stretcher on reverse; with Spence's Fine Art Gallery [Sackville St., Dublin] label on reverse
  • Medium: oil on canvas
  • Dimensions: 17.5 by 13.5in., 43.75 by 33.75cm.
  • Provenance: RHA, Dublin;Private collection;Christie's, London, 9 May 1996, lot 69 as La Rue de l'Apport, Dinanwith Cynthia O'Connor Gallery, Dublin;Private collection
  • Exhibited: RHA, Dublin, 1884, catalogue no. 333 [£21-0-0];Irish Paintings for the 31st Antique Dealers Fair, RDS, Dublin, 26-29 September 1996, catalogue no. 5 as as La Rue de l'Apport, Dinan (illustrated)
  • Literature: Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, p.115, catalogue no. 76 (listed);Campbell, J. Peintres Irlandais en Bretagne, Musée de Pont Aven, 1999, p.48
  • Lovers of Irish art may feel a sense of familiarity with his picture by Walter Osborne, even if they have not seen it before, or visited Dinan in Brittany. For it shows the same motif: gateway at Dinan which is featured in the much -admired painting The Hôtel Beaumanoir's Portal, Dinan, 1883 also known as Old Convent Gate, Dinan, 1883, by Osborne's contemporary Joseph Malachy Kavanagh, in the National Gallery of Ireland (NGI. 1194).The medieval walled town of Dinan in the district Cote d'Eméraude in the north of Brittany, was often the first port-of-call for Irish and English visitors to the Continent, quite easily accessible by ferry from Southampton to St. Malo, and then by local steamer down the River Rance. Strategically situated on a hill above the river, Dinan was a picturesque medieval town encircled by a stout wall, notable for the port, the imposing St. Servan Church, the Tour d'Horloge dating form the 15th Century, and the Jardin Anglais; as well as for its cobbled squares and streets, stone entrance gates, and stone bridges. There was a long-established English colony there, and throughout the 19th Century, Dinan attracted many artists, including Dagnan and Stanfield in the Romantic period, the Pre-Raphaelites Seddon and Boyce, History painters Ward and Lady Elizabeth Butler, and French Realists Corot and Bonvin. Shortly before Osborne's visit the old stone Porte de Brest had been demolished. Of more significance to Walter Osborne was the fact that young English contemporaries, such as Ralph Todd, Blandford Fletcher, William Breakspeare and Edwin Harris (some of them students in Antwerp) had painted in Dinan c.1879-80. After completing their studies in Antwerp Osborne and Kavanagh travelled to Brittany in spring or early summer 1883. In spite of the town's historic sites Osborne preferred the more quiet or secluded corners of Dinan, for example the narrow Rue de l'Apport leading from the Place des Merciers, and the Rue du Jerzual, which led downhill to the port. The large gateway (entitled Old Convent Gate in Kavanagh's picture) is situated on the Rue de l'Apport, the Renaissance portal to the Hôtel Beaumanoir, built in the 15th Century. Rather than showing the gate from outside, bathed in sunlight, the artist represents it from inside and largely in shadow. Framed by the gateway, an elderly street cleaner with a long-handled twig broom pauses from his work, standing in reflection, or looking at the viewer. He wears the plain costume of the Dinan worker: wide-brimmed hat, blue jacket, faded trousers and wooden clogs. The painting is a fine piece of Social Realism. Yet the man stands in shadow, and Osborne's attention is given as much to the architectural features of the scene, and contrast of sunlight and shadow, as to the human presence. Although small in scale, the picture is well constructed, and painted with a kind of rapturous verisimilitude. Osborne was attracted by the variety of rough textures: old stone, weathered wood, cobbles, slates, tiles, grass and foliage, on which sunlight falls. He shows the imposing gateway with its latticed upper area through which the sun pierces. The gate and the workman's hut appear in a state of neglect, the timberwork battered, and weeds growing. (Behind the artist was a small square in which the manor was situated, while the top of the gate's exterior was decorated by a religious statue and curling fish motifs). Warm sunlight in the street begins to enter through the arch, falling on the woodwork and cobbles and along the top of the gate. The area of sunlight at the top right is balanced by a small section of blue sky in the top left corner. The fruit or vegetable stall outside the gate is in shadow, but the sturdy stone house captures the sunlight. Osborne even observed such details as the plaque bearing the name of the street, Rue de l'Apport, and a globe-like glass lamp hanging from the gate.Osborne enjoyed working in the company of fellow-artists, and the close similarity of his painting with Kavanagh's suggests that the two artists were painting in Dinan together. However, Kavanagh's picture is larger in scale, and his viewpoint further back in the square. The man is viewed from behind, and sunshine enters the square more fully, suffusing the cobble stones with warmth. And the little glass globe is omitted from Kavanagh's picture.In one of Osborne's sketchbooks in the National Gallery is a tiny pencil drawing of his painting (NGI no. 19, 201 facing p.3, iv), entitled Sunshine and Shadow. This, surprisingly, may be the title of the picture, rather than Rue de l'Apport whose name he identifies in the street sign in the painting. Both pictures were exhibited at the RHA in 1884, along with several other Breton works. (Sunshine and Shadow, along with later titles such as Light and Shade, indicate Osborne's plein-air as well as topographical preoccupations). There is a small black and white photograph of the exterior of the gate, La Porte du Couvent, in Osborne's photographic album in the National Gallery (NGI, CSIA). The arch appears to have a grill with an open doorway in it. Osborne's painting has an important historical significance, for it shows the house outside the gate as it was in 1883. It was later destroyed (perhaps during World War II), and a fine handsome, traditionally-styled house built on its site. However, the ancient Hôtel de Beaumanoir with its fine doorway, staircase and gate, has been beautifully restored. Dr Julian CampbellJanuary 2014

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VIEW OF THE SUGARLOAF, COUNTY WICKLOW
VIEW OF THE SUGARLOAF, COUNTY WICKLOW
William Sadler II (c.1782-1839)

Auction Date / Lot No.: 24 February 2014 / 36

Published Estimate: €€1000-€1500

Price Realised: €1050

  • Signature: with Bell Gallery label on reverse
  • Medium: oil on mahogany panel
  • Dimensions: 8 by 11in., 20 by 27.5cm.
  • Provenance: with the Bell Gallery, Belfast; 1981;The Robert Workman Collection;His sale, Ross's, Belfast, January, 2009;Private collection
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VIEW OF IRELAND'S EYE
VIEW OF IRELAND'S EYE
William Sadler II (c.1782-1839)

Auction Date / Lot No.: 24 February 2014 / 37

Published Estimate: €€1500-€1800

Price Realised: €2000

  • Medium: oil on panel
  • Dimensions: 5.5 by 7.25in., 13.75 by 18.125cm.
  • Provenance: Cynthia O'Connor Gallery, Dublin;Private collection
  • Exhibited: 'Recent Acquisitions', Cynthia O'Connor Gallery, Dublin, 10-30 April 1993, catalogue no. 3
  • With a copy of the Cynthia O'Connor Gallery catalogue on reverse.

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VENETIAN SCENE
VENETIAN SCENE
William Sadler II (c.1782-1839)

Auction Date / Lot No.: 24 February 2014 / 38

Published Estimate: €€1500-€1800

Price Realised: €1400


FIGURES BY A RIVER
FIGURES BY A RIVER
James Arthur O’Connor (1792-1841)

Auction Date / Lot No.: 24 February 2014 / 39

Published Estimate: €€8000-€10000

Price Realised: €0


SHIPPING IN SQUALL OFF DOVER
SHIPPING IN SQUALL OFF DOVER
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 24 February 2014 / 40

Published Estimate: €€6000-€8000

Price Realised: €0


A HEAVY SWELL, c.1850 to 1860s
A HEAVY SWELL, c.1850 to 1860s
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 24 February 2014 / 41

Published Estimate: €€800-€1200

Price Realised: €1100

  • Signature: indistinctly signed lower right; with hand-written label on reverse detailing artist's name and subject [Seascape Shipping]
  • Medium: oil on canvas
  • Dimensions: 9 by 14in., 22.5 by 35cm.
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H.C.S. WARREN HASTINGS OFF ASCENSION ISLAND
H.C.S. WARREN HASTINGS OFF ASCENSION ISLAND
George Mounsey Wheatley Atkinson (1806-1884)

Auction Date / Lot No.: 24 February 2014 / 42

Published Estimate: €€5000-€7000

Price Realised: €4200

  • Signature: signed and indistinctly dated lower right; with inscribed gallery label on reverse; also with Parker Gallery [London] label on reverse
  • Medium: oil on canvas
  • Dimensions: 18 by 26in., 45 by 65cm.
  • Provenance: Private Collection, France; Private Collection, Co. Down
  • There were five Honourable East India Company Service ships named Warren Hastings. John Pascal Larkins, along with other family members, were part owners of all five ships named Warren Hastings from 1781 to 1833. To confuse matters, Warren Hastings number two, [There was a major incident with number three, which was captured by the French.], was on the high seas at the same time as number five. Number two was built in 1808 was 154ft and weighed 1000 tons. She was on the seas at least until 1833 and one of her captains was Thomas Larkins.From extracts of the journal and ship's log of the Warren Hastings (East India Docks, London, England) written by the Captain, Commander R. Rawes - Voyage to the Far East [1825-1826] - that the vessel passed the Island of Ascension at 3.39pm on Friday 12 May.For further reading on its voyages see: ed., Farrington, Anthony, Catalogue of East India Company Ships' Journals and Logs 1600-1834, British Library, Euston, London, 1999The Crawford Gallery, Cork holds an example by Atkinson in their collection entitled A Boating Party in Cork Harbour, 1840, purchased from Mills Antiques Paul St., Cork, 1986.

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COTTAGES IN BOG LANDSCAPE, 1916
COTTAGES IN BOG LANDSCAPE, 1916
William Percy French (1854-1920)

Auction Date / Lot No.: 24 February 2014 / 43

Published Estimate: €€2000-€3000

Price Realised: €4800


BOG LAKE AND TREES, 1914
BOG LAKE AND TREES, 1914
William Percy French (1854-1920)

Auction Date / Lot No.: 24 February 2014 / 44

Published Estimate: €€1500-€1800

Price Realised: €3800

  • Signature: signed and dated lower left; with Oriel Gallery label on reverse; with location Mayo" in a later hand also on reverse"
  • Medium: watercolour
  • Dimensions: 7 by 10in., 17.5 by 25cm.
  • Provenance: Oriel Gallery, Dublin;Private collection
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BOG LAKE
BOG LAKE
William Percy French (1854-1920)

Auction Date / Lot No.: 24 February 2014 / 45

Published Estimate: €€1500-€1800

Price Realised: €2300

  • Signature: signed with initials lower left; with Oriel Gallery label on reverse; with location Mayo" in a later hand on reverse"
  • Medium: watercolour
  • Dimensions: 7.5 by 10.5in., 18.75 by 26.25cm.
  • Provenance: Oriel Gallery, Dublin;Private collection
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BOG LAKE WITH HEATHER
BOG LAKE WITH HEATHER
William Percy French (1854-1920)

Auction Date / Lot No.: 24 February 2014 / 46

Published Estimate: €€1000-€1500

Price Realised: €2700

  • Signature: signed lower left; with Combridge Fine Art label on reverse
  • Medium: watercolour
  • Dimensions: 7 by 10in., 17.5 by 25cm.
  • Contained in original Combridge Gallery frame.

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BOG LAKE
BOG LAKE
William Percy French (1854-1920)

Auction Date / Lot No.: 24 February 2014 / 47

Published Estimate: €€1000-€1500

Price Realised: €2800

  • Signature: signed lower left; with Combridge Fine Art label on reverse
  • Medium: watercolour
  • Dimensions: 7 by 9in., 17.5 by 22.5cm.
  • Contained in original Combridge Gallery frame.

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BEAN AN DROCHSHÚIL [THE WOMAN WITH THE EVIL EYE], c.1954
BEAN AN DROCHSHÚIL [THE WOMAN WITH THE EVIL EYE], c.1954
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 24 February 2014 / 48

Published Estimate: €€4000-€6000

Price Realised: €4000

  • Signature: signed lower right; with typed exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 20 by 24in., 50 by 60cm.
  • Provenance: Previously in the Collection of Mrs. Katherine Lamb, Carraroe, Co. Galway;Private collection
  • Exhibited: RHA Dublin, 1954, catalogue no. 81;‘Charles Lamb Memorial Exhibition’, Municipal Gallery of Modern Art, Dublin, 1-27 April 1969, catalogue no. 78
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FLUKE FISHING AT KILLYHOEY, COUNTY DONEGAL
FLUKE FISHING AT KILLYHOEY, COUNTY DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 24 February 2014 / 49

Published Estimate: €€6000-€8000

Price Realised: €7400

  • Signature: signed lower left; signed and inscribed with location on reverse; also with Oriel Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 14.5 by 19.5in., 36.25 by 48.75cm.
  • Provenance: with the Oriel Gallery, Dublin;Formerly in the Collection of George A. Connell;Private collection, Co. Tyrone;Whyte's, 16 September 2003, lot 106;Private collection
  • Literature: Connell, George A., James Humbert Craig RHA: The Natural Talents of J.H. Craig 'The People's Artist', Arches Art Gallery, Belfast, 1988, p.57 (illustrated)
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CORNER OF LOUGH ERNE, COUNTY FERMANAGH
CORNER OF LOUGH ERNE, COUNTY FERMANAGH
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 24 February 2014 / 50

Published Estimate: €€1000-€1500

Price Realised: €0


PEACEFUL MORNING, BALLINAHINCH, CONNEMARA
PEACEFUL MORNING, BALLINAHINCH, CONNEMARA
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 24 February 2014 / 51

Published Estimate: €€1800-€2200

Price Realised: €0

  • Signature: signed lower right; signed again and titled on reverse; with Combridge Fine Art label on reverse
  • Medium: oil on canvas
  • Dimensions: 18 by 24in., 45 by 60cm.
  • Provenance: Combridge Fine Art, Dublin;Private collection
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