24/11/2014

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THE BUSHY PARK, TERENURE, 1896
THE BUSHY PARK, TERENURE, 1896
William Percy French (1854-1920)

Auction Date / Lot No.: 24/11/2014 / 1

Published Estimate: €800-1,200

Price Realised: €1400

  • Signature: signed with initials and dated lower left; titled and numbered [8] on original exhibition label on reverse
  • Medium: watercolour
  • Dimensions: 4.80 x 6.60in. (12.19 x 16.76cm)
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SAILING BOATS AT SUNSET
SAILING BOATS AT SUNSET
William Percy French (1854-1920)

Auction Date / Lot No.: 24/11/2014 / 2

Published Estimate: €1,500-2,000

Price Realised: €1400


BOGLAND RIVER AND TURF STACKS, 1907
BOGLAND RIVER AND TURF STACKS, 1907
William Percy French (1854-1920)

Auction Date / Lot No.: 24/11/2014 / 3

Published Estimate: €2,000-3,000

Price Realised: €1900


TENDING HER GOATS, c.1925
TENDING HER GOATS, c.1925
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 24/11/2014 / 4

Published Estimate: €4,000-6,000

Price Realised: €0

  • Signature: signed lower left; titled in margin lower left; with Jorgensen Fine Art label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 8¼ x 11¾in. (20.96 x 29.85cm)
  • Provenance: Whyte's, 21 February 2006, lot 87;Private collection
  • Exhibited: 'Frank McKelvey Exhibition', Ulster Museum, Belfast, 4 March - 25 April 1993
  • Literature: S. B. Kennedy, Frank McKelvey, RHA, RUA: A Painter in his Time, Irish Academic Press, Blackrock, Co. Dublin, pages 28 and 36 illustrated, colour plate no. 14
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LANDSCAPE WITH PINE TREES AND LAKE
LANDSCAPE WITH PINE TREES AND LAKE
William Percy French (1854-1920)

Auction Date / Lot No.: 24/11/2014 / 5

Published Estimate: €1,500-2,000

Price Realised: €1900


BRIDGET WITH A MUFF
BRIDGET WITH A MUFF
Richard Thomas Moynan RHA (1856-1906)

Auction Date / Lot No.: 24/11/2014 / 6

Published Estimate: €4,000-6,000

Price Realised: €0

  • Medium: oil on canvas
  • Dimensions: 24 x 14in. (60.96 x 35.56cm)
  • Provenance: Acquired from the artist's family by the previous owner;Thence by descent
  • Richard Thomas Moynan (1856 -1906) was born in Dublin. Moynan originally set out to study medicine, but opted for a career in the arts shortly before his final examinations. He enrolled at the Dublin Metropolitan School of Art in 1879 and found quick success by winning both the Taylor and Cowper prizes. In 1883 Moynan attended Academie Royale des Beaux Arts in Antwerp along with Roderic O'Conor and Henry Allen. He studied there until moving to Paris in 1885 to study at Academie Julien . By the late 1880s Moynan had returned to his native Dublin to exhibit his paintings, and was elected to the Royal Hibernian Academy in 1890.This painting and lot 7, Bridget With A Book And Toys, are typical of his 1890s genre works, which often included his daughter Bridget as a model. It was around this time that Moyan produced some of his masterpieces including Military Manoeuveres and Tug of War.

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GIRL WITH A BOOK AND TOYS, 1893
GIRL WITH A BOOK AND TOYS, 1893
Richard Thomas Moynan RHA (1856-1906)

Auction Date / Lot No.: 24/11/2014 / 7

Published Estimate: €5,000-7,000

Price Realised: €0

  • Signature: signed and dated lower left
  • Medium: oil on canvas
  • Dimensions: 14 x 18in. (35.56 x 45.72cm)
  • Provenance: Acquired from the artist's family by the previous owner;Thence by descent
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MOTHER AND CHILD
MOTHER AND CHILD
Aloysius C. O’Kelly (1853-1936)

Auction Date / Lot No.: 24/11/2014 / 8

Published Estimate: €2,000-3,000

Price Realised: €2000

  • Medium: oil on canvas
  • Dimensions: 16 x 12in. (40.64 x 30.48cm)
  • Provenance: Family of the artist
  • O'Kelly loved painting children and did so throughout his artistic career. Charming Irish, English, French, North African and American children recur in his work. There are thus examples in all phases and styles of his long career, executed in a Realist mode in Ireland and England, Naturalist in France and America and Orientalist in North Africa. Many include a maternal figure, sitting by a window and engrossed in sewing, knitting or tatting. This painting would appear to be an early work, before he came under the influence of Jules Bastien-Lepage in Brittany in the early 1880s.Professor Niamh O'Sullivan, Dublin, October 2014Inaugural Curator, Great Hunger Museum, Hamden, Connecticut (USA) and Professor Emeritus of Visual Culture, National College of Art and Design, Dublin, author of Aloysius O'Kelly: Art, Nation, Empire, Field Day Publications, 2010.

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PORTRAIT OF A GENTLEMAN
PORTRAIT OF A GENTLEMAN
Richard Thomas Moynan RHA (1856-1906)

Auction Date / Lot No.: 24/11/2014 / 9

Published Estimate: €2,000-3,000

Price Realised: €2000


PORTRAIT OF A YOUNG LADY READING
PORTRAIT OF A YOUNG LADY READING
Sarah Cecilia Harrison (1863-1941)

Auction Date / Lot No.: 24/11/2014 / 10

Published Estimate: €3,000-5,000

Price Realised: €6600

  • Signature: dated indistinctly and inscribed with Miss Connolly" and artist's name on reverse"
  • Medium: oil on canvas
  • Dimensions: 30 x 18in. (76.20 x 45.72cm)
  • Provenance: With James Gorry Senior, 1954; Private collection
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VILLAGE WITH SHEPHERD AND HIS FLOCK, 1909
VILLAGE WITH SHEPHERD AND HIS FLOCK, 1909
William Henry Bartlett RBA (1858-1932)

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

Published Estimate: €800-1,200

Price Realised: €900

  • Signature: signed and dated lower right; with Jorgensen Fine Art label on reverse
  • Medium: watercolour and pastel
  • Dimensions: 17 x 21in. (43.18 x 53.34cm)
  • Provenance: Jorgensen Fine Art, Dublin;Private collection
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LANDSCAPE WITH DRY RIVERBED, COTTAGE AND SEA BEYOND
LANDSCAPE WITH DRY RIVERBED, COTTAGE AND SEA BEYOND
Richard Thomas Moynan RHA (1856-1906)

Auction Date / Lot No.: 24/11/2014 / 12

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: signed indistinctly lower left
  • Medium: oil on canvas
  • Dimensions: 14 x 21in. (35.56 x 53.34cm)
  • Provenance: Acquired from the artist's family by the previous owner;Thence by descent
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THE DESERT CHARGE
THE DESERT CHARGE
Aloysius C. O’Kelly (1853-1936)

Auction Date / Lot No.: 24/11/2014 / 13

Published Estimate: €6,000-8,000

Price Realised: €11500

  • Medium: oil on canvas
  • Dimensions: 18 x 30in. (45.72 x 76.20cm)
  • Provenance: Family of the artist
  • Indicative of a broader plan to destabilise Britain in Ireland, in 1883 Aloysius O'Kelly and his brother James went to Sudan to report on the British campaign against the Mahdi, James as correspondent for the Daily News and Aloysius as illustrator for the Pictorial World. With them were a number of French revolutionaries and socialists who had forged alliances with Irish militant and cultural nationalists during O'Kelly's sojourn in Paris in the 1870s. British involvement in the region was ostensibly to end the slave trade but, in reality, to extend Anglo-Egyptian influence further south.In 1881, Muhammad Ahmad ibn Abdallah declared himself the prophesied Mahdi and called for a jihad to purge Islam of the infidel and rout the foreign forces from Sudan. His fearsome reputation as a violent anti-colonialist grew over the next three years.The jihad had strong resonance for Fenian opponents of the British regime in Ireland. If 'England is engaged in a great war that will strain her resources to the utmost', wrote James O'Kelly to Michael Davitt, 'seizing some critical moment [if we] attack her with all our power... we help ourselves by promoting the long wished for opportunity".' There was much at stake; according to the Victorian domino theory, Irish demands for Home Rule constituted the beginning of the disintegration of the empire. The mantra, that Britain's pain was Ireland's gain, was given powerful visual expression by O'Kelly. This work is part of a unique series of paintings and illustrations of these events. Most war artists acted, in effect, as public relations personnel for Britain's colonial projects overseas. O'Kelly's decision to cover the colonial war from behind the battle lines of Britain's enemy was thus an act of remarkable audacity.O'Kelly painted many scenes in the Orientalist manner of his master, Jean-Léon Gérôme. But desert skirmishes, such as this, full of colour and movement, gave rise to several virtuoso paintings by O'Kelly that are unusual in that they demonstrate an early application of Impressionist technique to an Orientalist subject, a further indication of O'Kelly's originality. O'Kelly was at his best when adapting an aesthetic subversion to a political one.Professor Niamh O'Sullivan, Dublin, October 2014Inaugural Curator, Great Hunger Museum, Hamden, Connecticut (USA) and Professor Emeritus of Visual Culture, National College of Art and Design, Dublin, author of Aloysius O'Kelly: Art, Nation, Empire, Field Day Publications, 2010."

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CASHEL, 1923
CASHEL, 1923
Aloysius C. O’Kelly (1853-1936)

Auction Date / Lot No.: 24/11/2014 / 14

Published Estimate: €4,000-6,000

Price Realised: €0

  • Signature: signed and titled lower right
  • Medium: oil on canvas
  • Dimensions: 18 x 24in. (45.72 x 60.96cm)
  • O'Kelly emigrated to New York in 1895, where he had impressive connections and his work was highly regarded. Yet his late work betrays a nostalgic relationship with his political and artistic past. He returned to Ireland in 1926, at the age of 73, still pressing his case for the establishment of a national school of painting. During this time, he wrote regularly to his nephew, James Herbert, back in New York. In this correspondence, he describes how, in Ireland, he first established himself in Cashel, which he described as 'a very ancient place with much interest but the sleepiest, quietest place you can imagine'. Here he lived a life of 'simplicity itself'. He went on to say: 'my two subjects are the ancient ecclesiastical buildings on the Rock of Cashel (of which he executed seven paintings), and Holycross Abbey. In an effort to secure commissions, O'Kelly called on the Archbishop of Cashel. When the Archbishop - 'a very well fed looking man with little inclination for art'- declined to purchase, O'Kelly pronounced 'a very low opinion of His Grace.' The Dean of Cashel, on the other hand, responded positively, commissioning a Rock of Cashel - possibly this painting. This sojourn culminated in an exhibition in Dublin, in Combridge's, Grafton Street, before he left Ireland for his final visit to Brittany, before returning to America. Professor Niamh O'Sullivan

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FISHING BOATS AT CONCARNEAU, FRANCE
FISHING BOATS AT CONCARNEAU, FRANCE
Aloysius C. O’Kelly (1853-1936)

Auction Date / Lot No.: 24/11/2014 / 15

Published Estimate: €5,000-7,000

Price Realised: €4600

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 17 x 21¾in. (43.18 x 55¼cm)
  • Provenance: Family of the artist
  • The most prolific subject of O'Kelly's career was Brittany. This painting was set in Concarneau, the most important fishing village of Cornouaille, just outside the fortified walls of the Ville Close, to which O'Kelly returned over and over from the 1880s to the 1920s. He was drawn time and again to the working harbour, and his paintings of Breton peasants display empathy with the hardworking fishermen and sardine factory workers of the region, just like his paintings of Irish peasants of the west of Ireland. This painting exudes spontaneity, especially in the handling of the blue and madder sails, and the reflections in the translucent water; it is nonetheless carefully structured on the axis of the foreshortened fishing boats.Professor Niamh O'Sullivan, Dublin, October 2014Inaugural Curator, Great Hunger Museum, Hamden, Connecticut (USA) and Professor Emeritus of Visual Culture, National College of Art and Design, Dublin, author of Aloysius O'Kelly: Art, Nation, Empire, Field Day Publications, 2010.

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PROFILE OF A SMARTLY ATTIRED MAN
PROFILE OF A SMARTLY ATTIRED MAN
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 24/11/2014 / 16

Published Estimate: €1,000-1,500

Price Realised: €1600

  • Signature: with Certificate of Authenticity on reverse
  • Medium: watercolour over pencil
  • Dimensions: 4.90 x 3½in. (12.45 x 8.89cm)
  • Provenance: Collection of Ernie O'Malley (1897-1957);Thence by descent;Whyte's, 4 October 2010, lot 18;Private collection
  • This work and lot 17 were once part of a complete collection of works from a sketch book by Jack Butler Yeats RHA, dated, 1899, Gort, Co.Galway. The sketchbook was gifted by Yeats to his friend and patron Ernie O’Malley (1897-1957) and is listed in Hilary Pyle’s Jack B. Yeats, His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, p.184, nos. 15-17 [Three sketchbooks in the Ernie O’Malley Collection].

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TREES REFLECTED IN COOLE LAKE
TREES REFLECTED IN COOLE LAKE
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 24/11/2014 / 17

Published Estimate: €500-700

Price Realised: €850

  • Signature: with Certificate of Authenticity on reverse
  • Medium: watercolour over pencil
  • Dimensions: 3½ x 4.90in. (8.89 x 12.45cm)
  • Provenance: Collection of Ernie O'Malley (1897-1957);Thence by descent;Whyte's, 4 October 2010, lot 18;Private collection
  • This work and lot 16 were once part of complete collection of works from a sketch book by Jack Butler Yeats RHA, dated, 1899, Gort, Co.Galway. The sketchbook was gifted by Yeats to his friend and patron Ernie O’Malley (1897-1957) and is listed in Hilary Pyle’s Jack B. Yeats, His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, p.184, nos. 15-17 [Three sketchbooks in the Ernie O’Malley Collection].

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THE BALLAD SINGER'S CHILDREN
THE BALLAD SINGER'S CHILDREN
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 24/11/2014 / 18

Published Estimate: €10,000-15,000

Price Realised: €19000

  • Signature: signed lower right
  • Medium: watercolour on artist board
  • Dimensions: 10 x 14in. (25.40 x 35.56cm)
  • Exhibited: Sketches of Life in the West of Ireland, Wells Central Hall, 1902, catalogue no. 17;Sketches of Life in the West of Ireland, Walker Art Gallery, 1903
  • Literature: Pyle, Hilary, Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 403, p. 114
  • Yeats was an enormous admirer of the ballad singer. This nomadic figure survived by singing new and old popular songs and selling cheaply produced copies of them in towns and villages all over the country. Yeats assembled a large collection of these ballad sheets and even wrote his own versions under the pseudonym Wolfe Tone MacGowan. In the 19th century ballad singers were powerful figures whose songs could cause unrest and spread seditious ideas because they linked a world of literacy with one in which oral traditions continued to be paramount. By the time Yeats was painting, the authority of the ballad singer was rapidly declining. In this early watercolour three figures, the children of a ballad singer, sit in the shelter of a tent-like structure, of the type that was widely used by the poor in the 19th century. It is pitched on a narrow piece of grass between a roadway and a stone wall. The children stare out at the viewer in a wary manner that suggests their vulnerability. In the distance behind them a more elaborate series of structures is just visible. These indicate that a travelling fair is taking place. Such events offered the ballad singers an invaluable opportunity to ply their wares. John Purser has written that 'Yeats invests [the ballad singer] with wild nobility'. This painting accords with this observation. It presents the figure's impoverished but self-possessed family in a sympathetic and dignified manner. The carefully constructed composition and the concentrated use of colour - the faded orange of the tent and the intense purple of the wall - aestheticize the subject, producing a highly wrought image. The work was exhibited in Dublin in 1902 and was bought by the Irish American lawyer, John Quinn, the following year. Quinn was an astute collector of modernist art. In 1904 he arranged for Yeats to visit New York and hold a one-man exhibition in the city. He continued to be an important patron of Jack Yeats's work recognising its unique contribution to modern art. Jenny McCarthy, 'Jack B. Yeats's A Broadsheet'. Images of Orality', in N. Cronin, S. Crosson and J. Eastlake (eds), Anáil an Bhéil Bheo: Orality and Modern Irish Culture (Cambridge Scholars Publishing, 2009), pp.87-97. 2 Quoted in McCarthy, p.89. Dr. Róisín KennedyDublin October 2014Dr. Róisín Kennedy is a graduate of UCD and the University of Edinburgh. She curated and catalogued the historic and contemporary State art collection at Dublin Castle, and wrote Dublin Castle Art, (1999). She is former Yeats Curator at the National Gallery of Ireland, (2006-08), where she curated The Fantastic in Irish Art and Masquerade and Spectacle: The Travelling Fair in the Work of Jack B. Yeats in 2007.

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

Auction Date / Lot No.: 24/11/2014 / 19

Published Estimate: €3,000-4,000

Price Realised: €2900


A BOREEN
A BOREEN
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 24/11/2014 / 20

Published Estimate: €15,000-20,000

Price Realised: €14000

  • Signature: signed lower left
  • Medium: watercolour on artist board
  • Dimensions: 10 x 14in. (25.40 x 35.56cm)
  • Provenance: American Art Galleries, New York, 9 February, 1927, lot 39B;Private collection
  • Exhibited: Sketches of Life in the West of Ireland, Central Hall, 1903, catalogue no. 19
  • Literature: Pyle, Hilary , Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 441, p. 120
  • A Boreen was exhibited at Jack Yeats's Sketches of Life in the West of Ireland exhibition in Dublin in 1902 and is mentioned in contemporary reviews of the show. It depicts a young boy on a donkey riding along a narrow boreen between dry stone walls towards a group of thatched cottages. A view of the sea is visible in the distance beyond. This is a classic Yeats composition, of the type that he was to develop in his later oil paintings. The boy looks back towards the viewer, his face silhouetted against the distinctive landscape of the West of Ireland to which he belongs. His dark steady gaze and set features counteract negative stereotypical images of the Irish peasant that permeated visual representations of the Irish throughout the later 19th century. Yeats subtly brings in his knowledge of contemporary design in the carefully delineated structure of the walls and in the narrow undulating form of the tree that severs the composition. Both are indebted to Art Nouveau and to Japanese prints. Still perceptible are the strong purples and greens that characterised Yeats's watercolours of this period. Such modern and stylised imagery of rural Ireland enthralled contemporary commentators especially those concerned with the creation of a new image of Irish life. The painting was acquired soon after it was painted by John Quinn, the New York attorney, who was a close friend of the Yeats family and a key patron of modernist art and literature. Dr. Róisín KennedyOctober 2014Dr. Róisín Kennedy is a graduate of UCD and the University of Edinburgh. She curated and catalogued the historic and contemporary State art collection at Dublin Castle, and wrote Dublin Castle Art, (1999). She is former Yeats Curator at the National Gallery of Ireland, (2006-08), where she curated The Fantastic in Irish Art and Masquerade and Spectacle: The Travelling Fair in the Work of Jack B. Yeats in 2007.

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ARTIST PLAYING BILLIARDS AT PAULTONS, ROMSEY, HAMPSHIRE
ARTIST PLAYING BILLIARDS AT PAULTONS, ROMSEY, HAMPSHIRE
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 24/11/2014 / 21

Published Estimate: €1,000-1,500

Price Realised: €1500

  • Medium: ink
  • Dimensions: 6 x 9.30in. (15.24 x 23.62cm)
  • Kindly donated by Richard Olivier, grandson of William Orpen.The William Orpen Memorial FundLocal photographer Dominic Lee of Priory Studios has always been an admirer of the work of William Orpen. In 2012 he persuaded the Stillorgan Village Shopping Centre to exhibit a permanent display of Orpen's paintings and to rename the first floor Orpen Mall". Mr Jimmy Deenihan TD, Minister for the Arts, Heritage and the Gaeltacht officially opened the exhibition at which Dominic announced part two of his plan - to have a sculpture of William Orpen erected in Stillorgan.William Orpen was born in Oriel Lodge, Grove Avenue, Stillorgan in 1878. At the age of 12 he attended the Metropolitian School of Art (now the National College of Art & Design) and later attended the Slade Art College in London. He became a very successful society portrait painter and returned to Dublin regularly to teach in his old college. He was involved in the "Celtic revival" in Ireland and took part in the attempt there to find a visual counterpart to the birth of new national literary language. Although his studio was in London, he spent time in Ireland painting, he was a friend of Hugh Lane and influenced the Irish realist painters, like Sean Keating, who in turn influenced another generation of Irish painters. He was appointed a War Artist in 1914 and knighted for his services.Rowan Gillespie, renowned sculptor, from neigbouring Blackrock, has been commissioned to create the memorial. Donations may be made to: The Stillorgan Chamber of Commerce - Orpen Fund,12 Lower Kilmacud Road, Stillorgan, Co Dublin, or to www.iDonate.ie/WilliamOrpenThe proceeds of this lot will go to the William Orpen Memorial Fund."

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NUDE IN ORPEN' STUDIO
NUDE IN ORPEN' STUDIO
Ken Howard RA PNEAC (b.1932)

Auction Date / Lot No.: 24/11/2014 / 22

Published Estimate: €1,500-2,000

Price Realised: €2100

  • Signature: signed lower right
  • Medium: oil on canvas board
  • Dimensions: 12 x 10in. (30.48 x 25.40cm)
  • The William Orpen Memorial FundLocal photographer Dominic Lee of Priory Studios has always been an admirer of the work of William Orpen. In 2012 he persuaded the Stillorgan Village Shopping Centre to exhibit a permanent display of Orpen's paintings and to rename the first floor Orpen Mall". Mr Jimmy Deenihan TD, Minister for the Arts, Heritage and the Gaeltacht officially opened the exhibition at which Dominic announced part two of his plan - to have a sculpture of William Orpen erected in Stillorgan.William Orpen was born in Oriel Lodge, Grove Avenue, Stillorgan in 1878. At the age of 12 he attended the Metropolitian School of Art (now the National College of Art & Design) and later attended the Slade Art College in London. He became a very successful society portrait painter and returned to Dublin regularly to teach in his old college. He was involved in the "Celtic revival" in Ireland and took part in the attempt there to find a visual counterpart to the birth of new national literary language. Although his studio was in London, he spent time in Ireland painting, he was a friend of Hugh Lane and influenced the Irish realist painters, like Sean Keating, who in turn influenced another generation of Irish painters. He was appointed a War Artist in 1914 and knighted for his services.Rowan Gillespie, renowned sculptor, from neigbouring Blackrock, has been commissioned to create the memorial. Donations may be made to: The Stillorgan Chamber of Commerce - Orpen Fund,12 Lower Kilmacud Road, Stillorgan, Co Dublin, or to www.iDonate.ie/WilliamOrpenThe proceeds of this lot will go to the William Orpen Memorial Fund.Kindly donated by Ken Howard.Ken Howard was born in London, studied at the Hornsey College of Art and the Royal College of Art (1955-58). In 1973 he was appointed, like William Orpen, an official Military Artist and served in various locations, including Northern Ireland, Hong Kong, Cyprus and Canada with the British Army. In 1983 he was elected an Associate of the Royal Academy (ARA). In 1998 he became President of the New English Art Club, a post he held until 2003. In 1991 he was elected a Royal Academician (RA).He paints in a "traditional" manner, based on strong observation and a high degree of draughtsmanship combined with tonal precision. The depiction of light is a strong and recurrent element of his work. A notable theme is the nude model in his studio, which is the same London studio that William Orpen painted in.His work is in public collections including the National Army Museum, Guildhall Art Gallery, Ulster Museum and Imperial War Museum. Howard was appointed Officer of the Order of the British Empire (OBE) in 2010."

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A DREAM: I IMAGINE THAT DUBLIN HAS SEEN FIT TO HONOUR ME, c.1900
A DREAM: I IMAGINE THAT DUBLIN HAS SEEN FIT TO HONOUR ME, c.1900
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 24/11/2014 / 23

Published Estimate: €1,000-1,500

Price Realised: €950

  • Signature: with letter written by the artist on reverse
  • Medium: ink
  • Dimensions: 9 x 7in. (22.86 x 17.78cm)
  • Literature: Orpen, W., 'Stories of Ireland and Myself', William and Norgate Ltd., London, 1924, p. 54
  • Kindly donated by Richard Olivier, grandson of William Orpen.The William Orpen Memorial FundLocal photographer Dominic Lee of Priory Studios has always been an admirer of the work of William Orpen. In 2012 he persuaded the Stillorgan Village Shopping Centre to exhibit a permanent display of Orpen's paintings and to rename the first floor Orpen Mall". Mr Jimmy Deenihan TD, Minister for the Arts, Heritage and the Gaeltacht officially opened the exhibition at which Dominic announced part two of his plan - to have a sculpture of William Orpen erected in Stillorgan.William Orpen was born in Oriel Lodge, Grove Avenue, Stillorgan in 1878. At the age of 12 he attended the Metropolitian School of Art (now the National College of Art & Design) and later attended the Slade Art College in London. He became a very successful society portrait painter and returned to Dublin regularly to teach in his old college. He was involved in the "Celtic revival" in Ireland and took part in the attempt there to find a visual counterpart to the birth of new national literary language. Although his studio was in London, he spent time in Ireland painting, he was a friend of Hugh Lane and influenced the Irish realist painters, like Sean Keating, who in turn influenced another generation of Irish painters. He was appointed a War Artist in 1914 and knighted for his services.Rowan Gillespie, renowned sculptor, from neigbouring Blackrock, has been commissioned to create the memorial. Donations may be made to: The Stillorgan Chamber of Commerce - Orpen Fund,12 Lower Kilmacud Road, Stillorgan, Co Dublin, or to www.iDonate.ie/WilliamOrpenThe proceeds of this lot will go to the William Orpen Memorial Fund."

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THE RETURN
THE RETURN
Sir William Orpen RA RI RHA (1878-1931)

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

Published Estimate: €1,500-2,000

Price Realised: €0

  • Signature: inscribed with title lower right
  • Medium: ink
  • Dimensions: 10 x 7in. (25.40 x 17.78cm)
  • Kindly donated by Richard Olivier, grandson of William Orpen.The William Orpen Memorial FundLocal photographer Dominic Lee of Priory Studios has always been an admirer of the work of William Orpen. In 2012 he persuaded the Stillorgan Village Shopping Centre to exhibit a permanent display of Orpen's paintings and to rename the first floor Orpen Mall". Mr Jimmy Deenihan TD, Minister for the Arts, Heritage and the Gaeltacht officially opened the exhibition at which Dominic announced part two of his plan - to have a sculpture of William Orpen erected in Stillorgan.William Orpen was born in Oriel Lodge, Grove Avenue, Stillorgan in 1878. At the age of 12 he attended the Metropolitian School of Art (now the National College of Art & Design) and later attended the Slade Art College in London. He became a very successful society portrait painter and returned to Dublin regularly to teach in his old college. He was involved in the "Celtic revival" in Ireland and took part in the attempt there to find a visual counterpart to the birth of new national literary language. Although his studio was in London, he spent time in Ireland painting, he was a friend of Hugh Lane and influenced the Irish realist painters, like Sean Keating, who in turn influenced another generation of Irish painters. He was appointed a War Artist in 1914 and knighted for his services.Rowan Gillespie, renowned sculptor, from neigbouring Blackrock, has been commissioned to create the memorial. Donations may be made to: The Stillorgan Chamber of Commerce - Orpen Fund,12 Lower Kilmacud Road, Stillorgan, Co Dublin, or to www.iDonate.ie/WilliamOrpenThe proceeds of this lot will go to the William Orpen Memorial Fund."

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STORIES OF OLD IRELAND AND MYSELF, 1924
STORIES OF OLD IRELAND AND MYSELF, 1924
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 24/11/2014 / 25

Published Estimate: €1,000-1,500

Price Realised: €0

  • Signature: signed
  • Medium: limited edition book; (no. 75 from edition of 100)
  • This edition has two extra plates not found in the regular edition, viz: plates opposite pages 18 (Mancini working in Dublin) and 26 (Keeping fit in Ireland) are not in the regular edition.The William Orpen Memorial FundLocal photographer Dominic Lee of Priory Studios has always been an admirer of the work of William Orpen. In 2012 he persuaded the Stillorgan Village Shopping Centre to exhibit a permanent display of Orpen's paintings and to rename the first floor Orpen Mall". Mr Jimmy Deenihan TD, Minister for the Arts, Heritage and the Gaeltacht officially opened the exhibition at which Dominic announced part two of his plan - to have a sculpture of William Orpen erected in Stillorgan.William Orpen was born in Oriel Lodge, Grove Avenue, Stillorgan in 1878. At the age of 12 he attended the Metropolitian School of Art (now the National College of Art & Design) and later attended the Slade Art College in London. He became a very successful society portrait painter and returned to Dublin regularly to teach in his old college. He was involved in the "Celtic revival" in Ireland and took part in the attempt there to find a visual counterpart to the birth of new national literary language. Although his studio was in London, he spent time in Ireland painting, he was a friend of Hugh Lane and influenced the Irish realist painters, like Sean Keating, who in turn influenced another generation of Irish painters. He was appointed a War Artist in 1914 and knighted for his services.Rowan Gillespie, renowned sculptor, from neigbouring Blackrock, has been commissioned to create the memorial. Donations may be made to: The Stillorgan Chamber of Commerce - Orpen Fund,12 Lower Kilmacud Road, Stillorgan, Co Dublin, or to www.iDonate.ie/WilliamOrpenThe proceeds of this lot will go to the William Orpen Memorial Fund.Williams and Norgate, London, 1924. The very rare large paper edition. Large octavo; original white linen boards with gilt lettering at spine and both boards. Top edge gilt. Illustrated throughout. Kindly donated by Chris Pearson of the Orpen Research Project."

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YOUTH AND AGE, c. 1920-21
YOUTH AND AGE, c. 1920-21
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 24/11/2014 / 26

Published Estimate: €20,000-25,000

Price Realised: €20000

  • Signature: signed lower left; titled on reverse
  • Medium: oil on board
  • Dimensions: 25 x 21in. (63½ x 53.34cm)
  • Provenance: Victor Waddington c.1950;Private collection
  • Exhibited: Loan Exhibition of Paintings, probably Belfast Museum, 1921, number 137 as Youth and Old Age, lent by the artist;Possibly Waddington Gallery, Dublin, from 15 April 1948
  • As a young man William Conor was apprenticed to David Allen & Sons, Ltd., Belfast, as a lithographer. The work and method of working made such an impression on him that later when he turned to painting the lithographic manner stayed with him. Thus, in this painting the broken textures, evident in the figure with the reddish shawl and the treatment of the sky and landscape beyond, betray his early training at Allen's. Much of Conor's work illustrates local life in the Belfast of his time. Working-class families then often lived in close proximity with one another and helped with the upbringing of older, and younger, family members which was more a part of life than it is now. Thus the imagery in Youth and Age, and the pathos expressed in both faces, is entirely appropriate. Conor's method of working was from sketches. He carried a sketchbook in his pocket in which he noted 'any little happening which strikes me as interesting and significant'. These sketches he later worked up into paintings. Reviewing his exhibition at the Waddington Galleries in April 1948 - in which this picture may have been included - the Irish Times (16 April 1948) commented that he had 'a very rich technique, not only is his drawing massive and solid, his colour rich and varied but he has that mysterious quality called touch".' While these attributes are quite true, it is the colour in Youth and Age that most engages us. Many of the artist's works tend towards the monochromatic in colour, but here the rich red of the younger girl's cloak contrasts with the black of the older woman's shawl-colloquially such people were known as 'shawlies'. The setting, which cannot be identified, may be the Mourne Mountains. Dr S. B. Kennedy November 2014"

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VIEW OF BELFAST LOUGH
VIEW OF BELFAST LOUGH
John Luke RUA (1906-1975)

Auction Date / Lot No.: 24/11/2014 / 27

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: signed lower left
  • Medium: watercolour
  • Dimensions: 9 x 12½in. (22.86 x 31¾cm)
  • Provenance: Gift from the artist to Professor John Earls;Thence to Irene Calvert MP;Thence by descent to the present owner
  • It was following, and partly as a result of this commission, that the artist was commissioned to paint the then Governor of Northern Ireland, LordWakehurst. Irene Calvert was an enthusiastic patron of Blackshaw and other young artists in Northern Ireland during the 1950s. Irene Calvert (1909-2000) was a Northern Irish politician and economist. Bornin Belfast, as Lillian Irene Mercer Earls, she studied at Methodist College, Belfast. She studied economics and philosophy at Queen's University, Belfast. In 1941 she was appointed Chief Welfare Officer for Northern Ireland, immediately having to organise care for a flood of wartime evacuees. In 1944, she contested a by-election for the Queen's University Belfastconstituency. She was unsuccessful but stood again in the Northern Ireland general election, 1945, as an independent (non-party) candidate, and on thisoccasion succeeded in taking a seat at Stormont. She held the seat until she stood down at the 1953 election. In Parliament, she avoided the traditional Unionist versus Nationalist arguments, which she regarded as a distraction from the real task of socialreform, including the passage of the Education Act, 1947. In her resignation speech, she did however question whether the Northern Irish economy couldthrive while the partition of Ireland continued. In 1950 Calvert began working at the Ulster Weaving Company as an economist, and having successfully helped build up their institutional sales was appointed a managing director. In 1956 she was invited to become a group chairman at the Duke of Edinburgh's Study Conference on Industry. She also served on the Belfast City Chamber of Commerce, becoming its first - and, to date, only - woman president in 1965-1966. She also served on Queen's University's Senate and Board of Curators, and was active in the Irish Association. In 1964, she worked as an executive manager with Great Southern Hotels, a subsidiary of CIE, the Irish Transport Company, with whom she worked until early 1970. She retired to Dublin where she was an active supporter of the Irish Labour Party until her death in 2000.

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SEATED FEMALE IN PROFILE (0.5 HOUR), STUDY OF BEECH, 1927 and HEAD OF A GIRL (SET OF 3)
SEATED FEMALE IN PROFILE (0.5 HOUR), STUDY OF BEECH, 1927 and HEAD OF A GIRL (SET OF 3)
John Luke RUA (1906-1975)

Auction Date / Lot No.: 24/11/2014 / 28

Published Estimate: €1,200-1,500

Price Realised: €1150

  • Signature: first signed and iscribed [0.5 hour S.C.] top right; inscribed 'work done out of class hours' on reverse; second signed, titled and dated top right
  • Medium: pencil; (3)
  • Dimensions: 12 x 10in. (30.48 x 25.40cm)
  • Provenance: The artist's sister;Thence by descent
  • Dimensions of second work 14.5 by 11.5 in., third work 5.7 by 6.3 in.

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CORRESPONDENCE AND ARCHIVE MATERIAL
CORRESPONDENCE AND ARCHIVE MATERIAL
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 24/11/2014 / 29

Published Estimate: €1,500-2,000

Price Realised: €1700

  • Letters written by the artist dating from 1929- 1931 mainly in correspondence with Ms Helen Hackett of Helen Hackett Galleries, New York. Also newspaper cuttings, including several from US papers, photographs of paintings, Oriel Gallery Exhibition catalogue of paintings by Lady Coralie Kinahan. 10 photographs, numerous newspaper cuttings, and 18 letters between Keating and Hackett. A valuable primary source for researchers of this iconic Irish artist.After gaining its independence in 1922, Ireland's economic status took precedence over the country's cultural development, thus the newly established Ministry of Fine Arts was swiftly merged with Department of Education. With very little funding available at home, artists looked to the international market, finding a willing and wealthy clientele in America. The period of late 1920s and early 1930s was a time when Irish arts suffered the most at home. The Helen Heckett Gallery was one of the New York galleries that took a particular interest in Irish art, representing artists such as Jack B. Yeats, Paul Henry and Seán Keating. The correspondence between Keating and Miss Hackett during 1929-31 and the numerous newspaper cuttings which accompany this lot offer an insight into the artist's involvement with the arts scene both overseas and in Ireland. (55 items)

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LAKE MAGGIORE, ITALY
LAKE MAGGIORE, ITALY
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 24/11/2014 / 30

Published Estimate: €3,000-5,000

Price Realised: €6200

  • Signature: signed with initials lower right
  • Medium: oil on canvas
  • Dimensions: 15 x 17½in. (38.10 x 44.45cm)
  • Provenance: A gift in 1960 from Castleknock National School to the Rev. W. W. L. Rooke on his moving from the parish; Thence by descent
  • With original letter of thanks from the National School along with a copy of a greeting card bearing the pupil's names.

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COTTAGE
COTTAGE
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 24/11/2014 / 31

Published Estimate: €2,000-3,000

Price Realised: €2600


AUTUMN, PHOENIX PARK, DUBLIN
AUTUMN, PHOENIX PARK, DUBLIN
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 24/11/2014 / 32

Published Estimate: €1,500-2,000

Price Realised: €2200


THE STRAND AT CARRAROE
THE STRAND AT CARRAROE
Frances J. Kelly ARHA (1908-2002)

Auction Date / Lot No.: 24/11/2014 / 33

Published Estimate: €600-800

Price Realised: €560

  • Signature: signed lower right; inscribed with title on reverse
  • Medium: gouache
  • Dimensions: 15.70 x 24.70in. (39.88 x 62.74c
  • Provenance: Grafton Gallery, Dublin;Smurfit Collection; Private collection, Dublin;Whyte's, 17 September, 2007, lot 123;Private collection
  • Exhibited: Possibly exhibited as Sraid-Bhaile na Ceathramhan Rua (watercolour), at the Oireachtas Art Exhibition, 1945, catalogue no. 124 (£21-0-0); Also possibly exhibited as Carraroe Landscape in the artist’s solo exhibition at the Dawson Gallery, October 1946, ca
  • Born in Co. Louth, Frances Kelly – known as Judy to her friends – studied at the Dublin Metropolitan School of Art. In 1932 she won the Henry Higgins travelling scholarship, which enabled her to live in Paris for three years, studying under the Cubist artist Léopold Survage (1879-1968) and attending a number of other ateliers. On her return to Dublin she exhibited at Daniel Egan’s Gallery (1934); other solo exhibitions followed at the Dublin Painters Gallery (1941) and the Dawson Gallery (1945 and ’46). She also took part in group shows with the Dublin Painters Society, the RHA and the IELA. In 1935 she married the Irish statesman, F. H. Boland (1904-1985), who would become the first permanent Irish representative to the UN and later President of the General Assembly. During the early years of her marriage she painted portraits of the Director of the National Gallery, George Furlong, and poet Máire MacEntee. Michael Scott commissioned her to paint murals for the Irish pavilion at the 1939 New York World’s Fair and, in 1941, for Tullamore Hospital (The Legend of St Columcille). The Russell Hotel on St Stephen’s Green and Butlin’s holiday centre at Mosney, Co. Meath, also commissioned murals, whilst others, depicting Irish labour, were painted in collaboration with Nano Reid for the Four Provinces building in Harcourt Street. In between she found time to raise five children including the poet Eavan Boland. Frances Kelly’s work is represented in every major public collection in Ireland.

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CLARE IS[LAND] FROM WESTPORT HARBOUR, TIDE OUT, 2 SEP 1949, 12.30PM
CLARE IS[LAND] FROM WESTPORT HARBOUR, TIDE OUT, 2 SEP 1949, 12.30PM
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 24/11/2014 / 34

Published Estimate: €1,500-2,000

Price Realised: €1800


HUBAND BRIDGE, GRAND CANAL, DUBLIN, 1936
HUBAND BRIDGE, GRAND CANAL, DUBLIN, 1936
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 24/11/2014 / 35

Published Estimate: €15,000-20,000

Price Realised: €0

  • Signature: signed and dated lower right
  • Medium: oil on panel
  • Dimensions: 12 x 16in. (30.48 x 40.64cm)
  • Provenance: Private collection, Westport, Co. Mayo; Thence by descent;Whyte's, 30 April 2007, lot 54;Private collection
  • Exhibited: `Exhibition of Pictures by Harry Kernoff, RHA', Victor Waddington Galleries, Dublin, 13-22 October 1936, catalogue no. 18 (£10-0-0)
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CIRCUS, 1934
CIRCUS, 1934
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 24/11/2014 / 36

Published Estimate: €4,000-5,000

Price Realised: €4200


MATINEE IN ASHBOURNE, DUFFY'S CIRCUS, 1974
MATINEE IN ASHBOURNE, DUFFY'S CIRCUS, 1974
Thomas Ryan PPRHA (b.1929)

Auction Date / Lot No.: 24/11/2014 / 37

Published Estimate: €400-600

Price Realised: €0

  • Signature: titled lower left; signed and dated [13 July 1974] lower right; with an inscribed artist's studio label on reverse
  • Medium: chalk and watercolour
  • Dimensions: 11 x 15½in. (27.94 x 39.37cm)
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WINDMILL
WINDMILL
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 24/11/2014 / 38

Published Estimate: €8,000-10,000

Price Realised: €7500

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 22 x 18in. (55.88 x 45.72cm)
  • Similar to Old Skerries Windmill, oil crayon on panel, sold at Whyte's as lot 44, 20 September 2005.

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CROWN OF THORNS
CROWN OF THORNS
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 24/11/2014 / 39

Published Estimate: €1,500-2,000

Price Realised: €0

  • Signature: signed in pencil lower left; numberd [4] lower right; inscribed with title on reverse
  • Medium: gouache
  • Dimensions: 19½ x 14.70in. (49.53 x 37.34cm)
  • Exhibited: Possibly Religious and Secular Works by Evie Hone, Dawson Gallery, June 1957, catalogue no 5, £65-0
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CARTOON FOR WINDOW (THE ANNUNCIATION)
CARTOON FOR WINDOW (THE ANNUNCIATION)
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 24/11/2014 / 40

Published Estimate: €1,000-1,500

Price Realised: €950


THE LAST SUPPER
THE LAST SUPPER
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 24/11/2014 / 41

Published Estimate: €2,000-3,000

Price Realised: €2600

  • Signature: signed centre; with Liam Slattery framing label on reverse
  • Medium: gouache, crayon and pencil on card
  • Dimensions: 17 x 27in. (43.18 x 68.58cm)
  • Gerard Dillon has depicted himself as the Apostle to the left of Jesus.

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LITTLE BOY PLAYING AT GOD, 1945-46
LITTLE BOY PLAYING AT GOD, 1945-46
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 24/11/2014 / 42

Published Estimate: €15,000-20,000

Price Realised: €24000

  • Signature: signed and dated lower left; titled on Waddington Galleries [London] label on reverse
  • Medium: oil on canvas
  • Dimensions: 20 x 30in. (50.80 x 76.20cm)
  • Provenance: Waddington Galleries, London;Private collection;Bonhams, 12 August 2014, lot 236;Private collection
  • This early work by Gerard Dillon shows children playing in the West of Ireland. One boy prays while another older one stands as if he has just been brought back to life. A wooden cross in the currach behind him adds to the religious theme. Two girls embrace each other in mock fear as they look on. Another figure, possibly a fisherman, strides off, making a gesture that suggests he does not take their game very seriously. The barren yellow setting adds to the incongruousness of the subject. A puddle of water reflects the praying child, while a large black mass behind the children adds solidity to the composition. Dillon was captivated by the West of Ireland which he first visited on a cycling holiday in 1939 and to which he returned many times in subsequent years. It became a central theme in his work and featured in the first paintings that he exhibited in Dublin and Belfast during World War II when he was embarking on his career as an artist. In many of his paintings of the West, as in this one, Dillon combines his fascination with the region with an astute knowledge of modern art, often making humorous references to the work of other and more famous artists. The latter he knew from visiting museums in London where he lived before being marooned in Ireland during the war. He also gained much knowledge of modern French art through colour reproductions in illustrated art books, then becoming more widely available. Little Boy Playing at God appears to make reference to Puvis de Chavannes's 1881 painting, The Poor Fisherman. It plays on the simplicity of life in the West of Ireland and on the inherent spirituality of its inhabitants. The children are able to re-enact a powerful religious story through the power of their imagination. But typically of Dillon it also brings in a note of levity that is absent from more established representations of the West as seen in the work of Paul Henry or Sean Keating, two older and more senior artists than he. This novel way of approaching the subject delighted a new generation of Irish art lovers who sought a less reverential way of portraying the West, one that related to their experience of it. Dr. Róisín KennedyOctober 2014

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CHOGGIA, VENICE, ITALIA
CHOGGIA, VENICE, ITALIA
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 24/11/2014 / 43

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: signed lower right; signed again and inscribed with title on reverse; with Liam Slattery framing label also on reverse
  • Medium: oil on board
  • Dimensions: 13 x 10½in. (33.02 x 26.67cm)
  • Provenance: Whyte's, 26 June 2000, lot 54;Private collection
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CAT
CAT
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 24/11/2014 / 44

Published Estimate: €3,000-4,000

Price Realised: €2900


IRENE CALVERT MP, 1952
IRENE CALVERT MP, 1952
Basil Blackshaw HRHA RUA (b.1932)

Auction Date / Lot No.: 24/11/2014 / 45

Published Estimate: €3,500-4,500

Price Realised: €5200

  • Signature: signed and dated upper right
  • Medium: oil on canvas
  • Dimensions: 27 x 20in. (68.58 x 50.80cm)
  • Provenance: Commissioned by the sitter;Thence by descent
  • Exhibited: CEMA 'Basil Blackshaw & Martin McKeown', Donegall Street Gallery, Belfast, September 1952
  • It was following, and partly as a result of this commission, that the artist was commissioned to paint the then Governor of Northern Ireland, Lord Wakehurst.Irene Calvert (1909–2000) was a Northern Irish politician and economist. Born in Belfast, as Lilian Irene Mercer Earls, she studied at Methodist College, Belfast. She studied economics and philosophy at Queen's University, Belfast. In 1941 she was appointed Chief Welfare Officer for Northern Ireland, immediately having to organise care for a flood of wartime evacuees.In 1944, she contested a by-election for the Queen's University Belfast constituency. She was unsuccessful but stood again in the Northern Ireland general election, 1945, as an independent (non-party) candidate, and on this occasion succeeded in taking a seat at Stormont. She held the seat until she stood down at the 1953 election.In Parliament, she avoided the traditional Unionist versus Nationalist arguments, which she regarded as a distraction from the real task of social reform, including the passage of the Education Act, 1947. In her resignation speech, she did however question whether the Northern Irish economy could thrive while the partition of Ireland continued.In 1950 Calvert began working at the Ulster Weaving Company as an economist, and having successfully helped build up their institutional sales was appointed a managing director. In 1956 she was invited to become a group chairman at the Duke of Edinburgh's Study Conference on Industry. She also served on the Belfast City Chamber of Commerce, becoming its first - and, to date, only - woman president in 1965–1966. She also served on Queen's University's Senate and Board of Curators, and was active in the Irish Association. In 1964, she worked as an executive manager with Great Southern Hotels, a subsidiary of CIE, the Irish Transport Company, with whom she worked until early 1970. She retired to Dublin where she was an active supporter of the Irish Labour Party until her death in 2000.

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BERYL RESTING, 1952
BERYL RESTING, 1952
Basil Blackshaw HRHA RUA (b.1932)

Auction Date / Lot No.: 24/11/2014 / 46

Published Estimate: €2,500-3,500

Price Realised: €2600

  • Signature: signed and dated lower left; with Dawson Gallery framing label on reverse
  • Medium: gouache on paper
  • Dimensions: 15 x 9.80in. (38.10 x 24.89cm)
  • Provenance: Collection of Mrs Irene Calvert MP since 1952; Thence by descent
  • Exhibited: CEMA 'Basil Blackshaw & Martin McKeown', Donegall Street Gallery, Belfast, September 1952
  • It was following, and partly as a result of this commission, that the artist was commissioned to paint the then Governor of Northern Ireland, LordWakehurst. Irene Calvert was an enthusiastic patron of Blackshaw and other young artists in Northern Ireland during the 1950s. Irene Calvert (1909-2000) was a Northern Irish politician and economist. Bornin Belfast, as Lillian Irene Mercer Earls, she studied at Methodist College, Belfast. She studied economics and philosophy at Queen's University, Belfast. In 1941 she was appointed Chief Welfare Officer for Northern Ireland, immediately having to organise care for a flood of wartime evacuees. In 1944, she contested a by-election for the Queen's University Belfastconstituency. She was unsuccessful but stood again in the Northern Ireland general election, 1945, as an independent (non-party) candidate, and on thisoccasion succeeded in taking a seat at Stormont. She held the seat until she stood down at the 1953 election. In Parliament, she avoided the traditional Unionist versus Nationalist arguments, which she regarded as a distraction from the real task of socialreform, including the passage of the Education Act, 1947. In her resignation speech, she did however question whether the Northern Irish economy couldthrive while the partition of Ireland continued. In 1950 Calvert began working at the Ulster Weaving Company as an economist, and having successfully helped build up their institutional sales was appointed a managing director. In 1956 she was invited to become a group chairman at the Duke of Edinburgh's Study Conference on Industry. She also served on the Belfast City Chamber of Commerce, becoming its first - and, to date, only - woman president in 1965-1966. She also served on Queen's University's Senate and Board of Curators, and was active in the Irish Association. In 1964, she worked as an executive manager with Great Southern Hotels, a subsidiary of CIE, the Irish Transport Company, with whom she worked until early 1970. She retired to Dublin where she was an active supporter of the Irish Labour Party until her death in 2000.

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CHILD WITH DOLL, HOMMAGE À JANKEL ADLER, 1949
CHILD WITH DOLL, HOMMAGE À JANKEL ADLER, 1949
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 24/11/2014 / 48

Published Estimate: €2,000-3,000

Price Realised: €2600

  • Signature: inscribed on reverse with mounting instructions in the artist's hand, unnumbered and not signed; probably an artist's proof; the edition numbered twentu plus artist's proofs
  • Medium: lithograph (from an edition of 20)
  • Dimensions: 30½ x 20½in. (77.47 x 52.07cm)
  • The original watercolour and carbon drawing, Child With Doll, sold at Whyte's, 28 April 2008, as lot 53. Child With Doll was made in London in January 1949, at a crucial point in the development of Louis le Brocquy's art. Created between his celebrated Traveller paintings and the Grey Period works, of which A Family, 1951 (National Gallery of Ireland), is the best-known example, Child with Doll includes elements of both series. In form, the ragged toddler who trots along while embracing a smiling doll is reminiscent of the Traveller children who hang on their mother's skirts in paintings such as Tinkers Enter the City, 1947, and Tinkers Break Whitethorn, 1947. Yet in setting and theme Child with Doll presages many of the Grey Period works. Like A Family, Child in a Yard, 1953 (Dublin City Gallery: The Hugh Lane), and several of the other paintings that le Brocquy exhibited at the Venice Biennale in 1956, this image features a child whose humanity is contrasted with its stark surroundings. Dating from the post-war period when atomic catastrophe seemed a very real threat, these works combine the existential angst that dominated the work of le Brocquy's friend, Francis Bacon, with a humanistic celebration of the innocence of youth. Writing in 1950, James White suggested that the toddler in Child with Doll was based on the figure of a girl hugging a doll in The Fair at Bray Head, 1949. White wrote that the child became ... charged with a meaning of its own as a symbol of the lost children of Europe, wandering through a cruel world with wonder and only half-understanding. When it was recreated as a separate work (Child with Doll), the doll remained with it, as a symbol of yet another future generation that these children carry with them. In short, the child with doll is a parable of recurrent life, springing up through the ruins as fireweed grows on the rubble of a bombed house".1 Le Brocquy has recalled how he heard of the horrors of the Holocaust first hand from his friend, the French-Jewish art dealer Charles Gimpel. Both the Traveller series and the stark interiors of the Grey Period works have been related to the multitudes of refugees displaced during World War II and its aftermath. 2 The connections between Child with Doll and the horrors of war are strengthened by an inscription on the verso of the original work which reads Homage À Jankel Adler. Born in 1895 into an Orthodox Jewish community in Poland, Adler made his home in Germany until the rise of National Socialism forced him to flee, firstly to France, and then to London. Adler, whom le Brocquy met in London in 1947, soon became both a friend and an inspiration to the young Irish artist. Throughout his long and fruitful career, Louis le Brocquy often acknowledged his artistic influences by creating hommages to their work. While his last shows in Dublin and London included hommages to Velazquez, Goya, Manet and Cezanne, Child with Doll is both one of his earliest hommages and a transitional work that lies at an important crossroads between the Irish orbit of the Travellers and the international arena of the Grey Period.Dr Riann Coulter 1 James White, 'Contemporary Irish Artists (VI): Louis le Brocquy', Envoy, vol. 2, no. 6, Dublin, May 6, 1950, p. 59. 2 See for example Yvonne Scott, Louis le Brocquy Allegory and Legend, exhib. cat. Hunt Museum, Limerick, 2006, p. 24."

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LOVE AND HOPE, 1965
LOVE AND HOPE, 1965
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 24/11/2014 / 49

Published Estimate: €2,000-3,000

Price Realised: €2300


LANDSCAPE COUNTY DOWN
LANDSCAPE COUNTY DOWN
Basil Blackshaw HRHA RUA (b.1932)

Auction Date / Lot No.: 24/11/2014 / 50

Published Estimate: €6,000-8,000

Price Realised: €0

  • Signature: signed upper left; inscribed with title on reverse; with Dawson Gallery framing label on reverse
  • Medium: gouache on buff-coloured paper
  • Dimensions: 15 x 21in. (38.10 x 53.34cm)
  • Provenance: Collection of Mrs Irene Calvert MP; Thence by descent
  • It was following, and partly as a result of this commission, that the artist was commissioned to paint the then Governor of Northern Ireland, LordWakehurst. Irene Calvert was an enthusiastic patron of Blackshaw and other young artists in Northern Ireland during the 1950s. Irene Calvert (1909-2000) was a Northern Irish politician and economist. Bornin Belfast, as Lillian Irene Mercer Earls, she studied at Methodist College, Belfast. She studied economics and philosophy at Queen's University, Belfast. In 1941 she was appointed Chief Welfare Officer for Northern Ireland, immediately having to organise care for a flood of wartime evacuees. In 1944, she contested a by-election for the Queen's University Belfastconstituency. She was unsuccessful but stood again in the Northern Ireland general election, 1945, as an independent (non-party) candidate, and on thisoccasion succeeded in taking a seat at Stormont. She held the seat until she stood down at the 1953 election. In Parliament, she avoided the traditional Unionist versus Nationalist arguments, which she regarded as a distraction from the real task of socialreform, including the passage of the Education Act, 1947. In her resignation speech, she did however question whether the Northern Irish economy couldthrive while the partition of Ireland continued. In 1950 Calvert began working at the Ulster Weaving Company as an economist, and having successfully helped build up their institutional sales was appointed a managing director. In 1956 she was invited to become a group chairman at the Duke of Edinburgh's Study Conference on Industry. She also served on the Belfast City Chamber of Commerce, becoming its first - and, to date, only - woman president in 1965-1966. She also served on Queen's University's Senate and Board of Curators, and was active in the Irish Association. In 1964, she worked as an executive manager with Great Southern Hotels, a subsidiary of CIE, the Irish Transport Company, with whom she worked until early 1970. She retired to Dublin where she was an active supporter of the Irish Labour Party until her death in 2000.

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COCKEREL (AFTER BRANCUSI)
COCKEREL (AFTER BRANCUSI)
Conor Fallon HRHA (1939-2007)

Auction Date / Lot No.: 24/11/2014 / 51

Published Estimate: €5,000-7,000

Price Realised: €4800


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