25 May 2015

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ANXIOUS MOMENTS
ANXIOUS MOMENTS
Ciarán Clear (1920-2000)

Auction Date / Lot No.: 25 May 2015 / 1

Published Estimate: €800-1,200

Price Realised: €1400

  • Signature: signed and titled on reverse
  • Medium: oil on board
  • Dimensions: 8 x 12in. (20.32 x 30.48cm)
  • Ciarán Clear is best known for dramatic moonlight scenes of his native Rush in North County Dublin and of Connemara. He was a founder member of the Fingal Artists Group in 1963, which included Maurice MacGonigal, Fergus O'Ryan, Bea Orpen, Patrick Leonard and Tom Nisbet. Together they held exhibitions throughout Leinster in a bid to make art more accessible to wider audiences. His first solo exhibition took place at the Goodwin gallery in Limerick and his last with Gerald Davis in Dublin in 1999. He was a keen musician as well as being involved in his local Dramatic Society in Rush.

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WAITING FOR THE CURRACHS, 1996
WAITING FOR THE CURRACHS, 1996
Ciarán Clear (1920-2000)

Auction Date / Lot No.: 25 May 2015 / 2

Published Estimate: €800-1,000

Price Realised: €1050

  • Signature: signed lower left; signed again, dated, titled and with artist's address [The Studio, Rush, County Dublin] inscribed on reverse
  • Medium: oil on board
  • Dimensions: 12 x 16in. (30.48 x 40.64cm)
  • Ciarán Clear is best known for dramatic moonlight scenes of his native Rush in North County Dublin and of Connemara. He was a founder member of the Fingal Artists Group in 1963, which included Maurice MacGonigal, Fergus O'Ryan, Bea Orpen, Patrick Leonard and Tom Nisbet. Together they held exhibitions throughout Leinster in a bid to make art more accessible to wider audiences. His first solo exhibition took place at the Goodwin gallery in Limerick and his last with Gerald Davis in Dublin in 1999. He was a keen musician as well as being involved in his local Dramatic Society in Rush.

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MOON OVER RUSH HARBOUR
MOON OVER RUSH HARBOUR
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 25 May 2015 / 3

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: signed on reverse
  • Medium: oil on canvas
  • Dimensions: 16 x 18in. (40.64 x 45.72cm)
  • Provenance: Purchased from the artist by George McClelland; From whom acquired by the previous owner;Whyte's, 21 February 2006, lot 18;Whence purchased by the present owner
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EARLY MOON RISING, NORTH STRAND, RUSH
EARLY MOON RISING, NORTH STRAND, RUSH
Ciarán Clear (1920-2000)

Auction Date / Lot No.: 25 May 2015 / 4

Published Estimate: €600-800

Price Realised: €0

  • Signature: signed lower left; signed again and with title and artist's address [The Studio, Rush, County Dublin] inscribed on reverse
  • Medium: oil on board
  • Dimensions: 14 x 20in. (35.56 x 50.80cm)
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WASHING DAY, BURANO, VENICE, 1975
WASHING DAY, BURANO, VENICE, 1975
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 25 May 2015 / 5

Published Estimate: €1,500-2,000

Price Realised: €1500


BLACKSOD BAY, INISHNEE, ROUNDSTONE, CONNEMARA
BLACKSOD BAY, INISHNEE, ROUNDSTONE, CONNEMARA
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 25 May 2015 / 6

Published Estimate: €800-1,200

Price Realised: €1600


WOMEN OF ARAN, 1972
WOMEN OF ARAN, 1972
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 25 May 2015 / 7

Published Estimate: €4,000-6,000

Price Realised: €10500

  • Signature: signed and dated lower right; signed again and inscribed with title on reverse; also with artist's [Lurgan] address on reverse
  • Medium: oil on board
  • Dimensions: 18 x 24in. (45.72 x 60.96cm)
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COTTAGES BY A SHORE
COTTAGES BY A SHORE
John Kirwan (b.1956)

Auction Date / Lot No.: 25 May 2015 / 8

Published Estimate: €2,000-3,000

Price Realised: €4200

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 72 x 50in. (182.88 x 127cm)
  • The proceeds of the sale of this lot will be donated to The Society of St Vincent de Paul.

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A QUIET COVE NEAR CLIFDEN, CONNEMARA, COUNTY GALWAY
A QUIET COVE NEAR CLIFDEN, CONNEMARA, COUNTY GALWAY
Fergus O’Ryan RHA (1911-1989)

Auction Date / Lot No.: 25 May 2015 / 9

Published Estimate: €1,500-1,800

Price Realised: €2200


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

Auction Date / Lot No.: 25 May 2015 / 10

Published Estimate: €3,000-5,000

Price Realised: €2000

  • 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 to 25 April 1993
  • Literature: S. B. Kennedy, Frank McKelvey RHA RUA: A Painter in his Time, Irish Academic Press, Blackrock, Co. Dublin, pp.28 and 36 (illustrated, colour plate no. 14)
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NEAR GEARHA BRIDGE, SNEEM, COUNTY KERRY, 1976
NEAR GEARHA BRIDGE, SNEEM, COUNTY KERRY, 1976
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 25 May 2015 / 11

Published Estimate: €1,500-2,000

Price Realised: €1400

  • Signature: signed and dated lower left; inscribed on reverse beneath backing board
  • Medium: watercolour
  • Dimensions: 21 x 30in. (53.34 x 76.20cm)
  • Provenance: Whyte's, 20 September 2005, lot 50;Private collection
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LANDSCAPE AT BALLINAKILL, CONNEMARA
LANDSCAPE AT BALLINAKILL, CONNEMARA
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 25 May 2015 / 12

Published Estimate: €1,800-2,200

Price Realised: €1700


COUNTY DOWN LANDSCAPE NEAR BALLYNAHINCH
COUNTY DOWN LANDSCAPE NEAR BALLYNAHINCH
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 25 May 2015 / 13

Published Estimate: €1,200-1,500

Price Realised: €2300


MUCKISH RIVER, COUNTY DONEGAL
MUCKISH RIVER, COUNTY DONEGAL
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 25 May 2015 / 14

Published Estimate: €2,000-3,000

Price Realised: €2200


FISHERMEN BY THE RIVER BANK
FISHERMEN BY THE RIVER BANK
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 25 May 2015 / 15

Published Estimate: €1,200-1,500

Price Realised: €1900

  • Signature: signed lower right; with Apollo Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 16 x 20in. (40.64 x 50.80cm)
  • Provenance: Apollo Gallery, Dublin;Private collection
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RAIN STORM, COUNTY ANTRIM, c.1920
RAIN STORM, COUNTY ANTRIM, c.1920
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 25 May 2015 / 16

Published Estimate: €4,000-6,000

Price Realised: €0

  • Signature: signed lower right; with original label inscribed with title, exhibition number [6] and price [£12-12-0] on reverse; with remnants of exhibition label also on reverse
  • Medium: oil on canvas
  • Dimensions: 14½ x 19½in. (36.83 x 49.53cm)
  • Provenance: Cynthia O'Connor Gallery, Dublin;Private collection;Adam's, 26 March 2003, lot 68;Private collection
  • Exhibited: RHA, Dublin, 1920, catalogue no. 192
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DONEGAL COAST
DONEGAL COAST
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 25 May 2015 / 17

Published Estimate: €4,000-6,000

Price Realised: €4500

  • Signature: signed lower left; with original label detailing title on reverse; also with Waddington Galleries framing label on reverse
  • Medium: oil on canvas
  • Dimensions: 16 x 20in. (40.64 x 50.80cm)
  • Provenance: Adam's & Bonhams , 30 May 2007, lot 141;Private collection;Whyte's, 26 November 2012, lot 78;Private collection
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MAAM VALLEY, CONNEMARA
MAAM VALLEY, CONNEMARA
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 25 May 2015 / 18

Published Estimate: €30,000-40,000

Price Realised: €52000

  • Signature: signed lower left; with faint inscription [Lady Mrs Power Conn? Glen?" and framing instructions] in pencil on reverse; with label of C.D. Soar & Son [Kensington] also on reverse"
  • Medium: oil on canvas laid on board
  • Dimensions: 11¼ x 13in. (28.58 x 33.02cm)
  • Provenance: Artist's studio till 1956;Where acquired by P. R. Jennings, Esq.; Adam's & Bonhams, Dublin, 8 December 2004, lot 162;Private collection;Whyte's, 21 May 2012, lot 79;Whence purchased by the present owner
  • Exhibited: 'Paintings by Paul Henry, R.H.A.', Combridge's Gallery, Dublin, 23 October- 6 November 1945, catalogue no. 5; 'Pictures by Paul Henry, RHA', Heal & Son, Tottenham Court Road, London, from 14 January 1946, no. 3; 'Paintings and Charcoals: Paul Henry RHA', Waddington Galleries, Dublin, 21 February - 3 March 1952 (no. 3, as The Maam Valley); RHA, Annual Exhibition, Dublin, Spring 1953, no. 28; 'Paintings and Drawings by Paul Henry', The Studio, Sidmonton Square, Bray, until 8 November 1956, no. 12 (probably acquired by P. R. Jennings); 'Paul Henry: Retrospective Exhibition', Ritchie Hendriks Gallery, St. Stephen's Green, Dublin, and Belfast Museum & Art Gallery, Belfast, May-July 1957, no. 58 (Lent by P. R. Jennings)
  • Literature: Stewart, Anne M. (ed.), Royal Hibernian Academy of Arts: Index of Exhibitors and their Works 1826-1979, Dublin, Manton Publishing, 1985, vol. 2, p.82; Kennedy, S. B., Paul Henry, New Haven and London, Yale University Press, 2000, p.135; Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale, 2007, catalogue no. 1035, p.303 (illustrated)
  • Painted in June or July 1942 when Henry visited Maam. The light palette and the bravura of the brushwork throughout, and notably in the foreground, are characteristic of his work at this time. As often with Henry, little artistic license has been taken with his interpretation of the landscape, which represents the view westwards on the road north from Maam Cross in County Galway, near the junction with the Leenane to Cong road at Feernakill Bridge. The river in the foreground is the Failmore River and the mountains beyond, which arrest the eye's recession, are the Maamturks and the hills of Joyce's Country. Dr. S.B. Kennedy

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CABBAGE PATCH, DONEGAL
CABBAGE PATCH, DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 25 May 2015 / 19

Published Estimate: €4,000-6,000

Price Realised: €4800

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 12 x 16in. (30.48 x 40.64cm)
  • Provenance: George A. Connell;Patrick Mackie;with Stiles Gallery, Saintfield, Co. Down;Private collection
  • With certificate of provenance, Stiles Gallery.A previous owner, George A. Connell, was author of James Humbert Craig: The Natural Talentsof JH Craig “The People’s Artist”, published by The Arches Gallery, Belfast, 1988.

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COTTAGE IN A WOODED MOUNTAIN LANDSCAPE, c.1923-1924
COTTAGE IN A WOODED MOUNTAIN LANDSCAPE, c.1923-1924
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 25 May 2015 / 20

Published Estimate: €10,000-15,000

Price Realised: €13000

  • Signature: signed lower left; with Jorgensen Fine Art exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 10½ x 13½in. (26.67 x 34.29cm)
  • Provenance: Adam's, Dublin, 29 March 1995, lot 15;Acquired by Jorgensen Fine Art, Dublin;Private collection;HOK, 28-29 May 2001, lot 168 as Cottage, Turf Stacks and Trees;Private collection
  • Exhibited: ‘Recent Acquisitions', Jorgensen Fine Art, Dublin, from 29 May 1995, catalogue no.5, as Cottage in a Kerry Landscape (repr. in colour)
  • Literature: Kennedy, S. B., Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, New Haven and London, Yale University Press, 2007, catalogue no. 604, p.223 (illustrated)
  • Almost certainly a scene in County Wicklow. Dated 1923-4 on stylistic grounds. Number 604 in Kennedy's catalogue raisonné, where it is reproduced. We are grateful to Dr S.B. Kennedy for his assistance in cataloguing this lot.

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ON THE ANTRIM COAST
ON THE ANTRIM COAST
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 25 May 2015 / 21

Published Estimate: €2,500-3,500

Price Realised: €2500


FARMSTEAD, WEST OF IRELAND
FARMSTEAD, WEST OF IRELAND
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 25 May 2015 / 22

Published Estimate: €4,000-6,000

Price Realised: €4400

  • Signature: signed lower right
  • Medium: oil on canvas board
  • Dimensions: 12 x 17in. (30.48 x 43.18cm)
  • Provenance: Adam's, 26 September 2012, lot 152;Private collection;de Veres, 25 March 2014, lot 12;Private collection
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IRISH FREE STATE BACON, 1928
IRISH FREE STATE BACON, 1928
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 25 May 2015 / 23

Published Estimate: €15,000-20,000

Price Realised: €0

  • Signature: signed lower right
  • Medium: gouache, pencil and coloured chalk
  • Dimensions: 39 x 59in. (99.06 x 149.86cm)
  • Provenance: Paul Conran; From whom purchased by the previous owner in October 1982; Christie's, The Irish Sale, London, 10 May 2007, lot 74 (part); Whyte's, 24 November 2008, lot 81;Private collection
  • The Empire Marketing Board (EMB) was established in London in 1926 for the purpose of promoting the sale of produce from countries associated with the British Empire. The methods of advertising included posters for shop windows and outdoor billboards. Continued access to the British market was of vital economic necessity to the newly established Irish Free State, a point that was given recognition when in 1927 the EMB commissioned Seán Keating to undertake the design of three posters, Irish Free State Dairying, Irish Free State Bacon and Irish Free State Chicken, to advertise Irish produce to the English market. The three posters were used around England between June and July 1929 on specially designed outdoor billboards. Keating was familiar with the skills necessary for large-scale poster design owing to his training at the Metropolitan School of Art in Dublin. His brief was firmly controlled by the EMB, and at the same time, the artist knew that the designs had to be visually specific and immediately legible. The drawing illustrated is Keating's innovative design for Irish Free State Bacon, which is replete with the visual iconography that was expected of Ireland in the 1920s. However, this is a design by Keating, and therefore there is more to the image than immediately apparent. Keating's work for the EMB appears at first glance, to reflect an imagined view of Ireland as a rural ideal and idyll, as dictated by the advertising concerns of the EMB. But arguably, there is degree of artistic subterfuge in the image. There are no green rolling hills, shamrocks, shillelaghs or white thatched cottages. Instead, Keating posited an image of a peaceful and prosperous peasantry within a well maintained farmyard, which refutes the age-old vision of misery and deprivation in Ireland of the 1920s. The close range view and the stage-like setting combined with clear architectural and figurative detail serves to further engage the viewer with the atmosphere of a real and flourishing farm. The appeal in the work is therefore premised on Keating's ability to suitably advertise Irish Free State Bacon within the limits of the constraints set by the EMB, but without reducing the images to mere pastiche. The survival of Keating's original design for Irish Free State Bacon, which was intentionally ephemeral, is noteworthy, and an exceptionally rare surviving example of Keating's extensive career as an artist of ephemeral work.Dr Éimear O'Connor HRHA, IAPHResearch AssociateTRIARC-Irish Art Research CentreTrinity College Dublin

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YORK MINSTER CATHEDRAL, c.1930s
YORK MINSTER CATHEDRAL, c.1930s
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 25 May 2015 / 24

Published Estimate: €2,000-3,000

Price Realised: €1600

  • Signature: signed with initials lower left
  • Medium: oil on board
  • Dimensions: 13 x 15½in. (33.02 x 39.37cm)
  • Provenance: Whyte's, 12 June 2001, lot 101;Whence purchased by the present owner
  • Exhibited: Possibly exhibited at the French Gallery, Berkeley Square, London, 1934
  • Thoe Snoddy notes that Hamilton showed forty-five works at the French Gallery, London in 1934 and among the subjects included were York and Venice. See Snoddy, p.218-219.

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VIEW OF BOLTON STREET, DUBLIN AT THE INTERSECTION WITH CAPEL STREET, c.1927
VIEW OF BOLTON STREET, DUBLIN AT THE INTERSECTION WITH CAPEL STREET, c.1927
Maurice MacGonigal PRHA (1900-1979)

Auction Date / Lot No.: 25 May 2015 / 25

Published Estimate: €4,000-5,000

Price Realised: €4600

  • Signature: signed lower right
  • Medium: oil on panel
  • Dimensions: 14 x 18in. (35.56 x 45.72cm)
  • Provenance: de Veres, 25 November 2003, lot 81 (“Busy Street Scene”);Private collection
  • With a landscape of hillside fields and cattle grazing on reverse.We are grateful to Ciarán MacGonigal for his assistance in cataloguing this lot.

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GLADYS COOPER
GLADYS COOPER
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 25 May 2015 / 26

Published Estimate: €80,000-120,000

Price Realised: €175000

  • Signature: signed upper right; with exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 30 x 25in. (76.20 x 63½cm)
  • Provenance: The sitter's family;Thence by descent;Private Treaty sale, Sotheby's, 2001;Private collection
  • Exhibited: ‘158th Summer Exhibition’, Royal Academy, London, 1926, no. 19;‘54th Autumn Exhibition’, Walker Art Gallery, Liverpool, 1926, no. 143
  • Literature: Cooper, Gladys, Gladys Cooper, Hutchinson & Co., London, 1930, p.264,265 (illustrated on frontispiece)Konody, P.G. & Dark, Sidney, Sir William Orpen, Artist and Man, Seeley Service & Co. London, 1932, p.273 (Appendices, Chronological list of Paintings (1924);Arnold, Bruce, Orpen Mirror to an Age, Jonathan Cape, London, 1981, pp.409, 417
  • In 1924 former Gaiety girl and future screen star Gladys Cooper sat for one of the most soughtafter society portrait painters of the 20th century, Sir William Orpen. Both artists were at the height of their celebrity at this juncture. The present work is a testament to the beauty of the performer and the skill and enduring quality of the artist. Gladys Cooper, born in 1888, had her stage debut in 1905. In 1913 she began a mutually successful theatrical partnership and lasting friendship with actor/manager Gerald du Maurier. She also ran the Playhouse Theatre on the Embankment with thespian and businessman Frank Curzon. The variety ofplays produced at the Playhouse brought financial success and praise from the critics. Her celebrity was further consolidated through her famed collaborations with Somerset Maugham in the 1920s.Among the fêted shows at London’s Adephi Theatre in the 1920s was J. M. Barrie’s Peter Pan. At the time the present work was painted Gladys Cooper wasrehearsing for the title role; that of the impish eternal boy with the gift of flight, and leader of his gang of Lost Boys on the island of Neverland. In her autobiographypublished in 1930 she records her time sitting before Orpen and lifts the curtain on their respective mindset.. “… I was never allowed to catch even a glimpse of it while it was being done, and when it was finished I found that I had been given a distinct Peter Pan-ish sort of look. This was rather strange, but I think I can explain it. While Orpen was painting me I was thinking very hard about playing Peter and it may be that he saw something in my face which was from my mind.Orpen wrote me the following letter aboutthe picture:Dear Miss Cooper although I was too shy to show you the picture I am really very keen on it- what do you think of making it into ‘Peter Pan’ just a little bit by bringingthe shadow along with you - it really was the idea I had when I painted out the white cloak – because your face became what I thought you looked like in the partor what Peter ought to look like. Yours ever,William OrpenJust say ‘rubbish’ if you don’t like theidea. 2”Miss Cooper must have been pleased with the nod to her stage role as the shadow is visible, hovering against her right shoulder next to the lighter coloured backdrop. Orpen shows her sitting sideways, relaxedwith arms crossed and gazing into the distance beyond – perhaps emulating the expression of Peter’s aloofness from this world, as observed by the critic Mr J. T. Grein, writing in The Sketch, as he reviewed Cooper’s revival of the part.3 Her timelessly beautiful elfin face and long elegant neck are accentuated by her fashionable flapper hair-style and a string of glittering beads, which add a hint of glamour to hermodest attire. The feeling of success around the painting was mutual as Orpen selected it to represent his oeuvre at the Royal Academy exhibition in 1926. Two years previously another celebrity was also chosen by him for the RA exhibition; Irish tenor Count John McCormack (Acquired by NGI 2009). The differences in their depictions are dramatic and a clear reflection of his method of expression. Bruce Arnold suggests, “Orpen’s view was that portrait painting, like conversation between two people, was a method of expressing character on both sides…And in a successful portrait the result went outside mere representation of the figure itself.”4 In his own words for Weekly Dispatch (1923) Orpen said, “The character seems to have emanated from the person portrayed into the surrounding. It spreads a radiance of personality over the entire canvas. You could not remove any part of it… [the portrait painter] must have in his make-up a knowledge of life, a sympathy withhuman weakness, a good deal of the philosopher, and, most essentially, a sense of humour. That is merely to say that an artist must be a man.”5Gladys Cooper’s portrait is listed in Orpen’s Studiorecords in 1925. It is noted as selling for £500 to thesitter. This was a reduced fee, a sign of his affectionfor her and a gesture, Arnold suggests, he bestowed on others he favoured such as actress Madge Kendal who became a family friend.6 However, Orpen wasshrewd enough to retain the copyright on the image, later reproduced as the frontispiece for the sitter’s autobiography.7Almost ten years after the publication, Cooper relocated to Hollywood and transitioned to thesilver screen. She was thrice nominated for anAcademy Award and is best-known for her roles inAlfred Hitchcock’s Rebecca and My Fair Lady. In 1967 she became Dame Gladys Cooper DBE.The present painting remained in the collection of the sitter’s family - unseen in the public domain since 1926 – until it sold privately in 2001.Footnotes:1 Cooper, Gladys, Gladys Cooper, Hutchinson & Co., London, 1930, p.1682 Ibid., pp.264, 2653 Ibid., p.193: “Miss Gladys Cooper makes us realise the aloofness of Peter from this world. There is more hard-hearted cruelty and defiance, and yet the children love her and laugh at her.”4 Arnold, Bruce, Orpen Mirror to an Age, Jonathan Cape, London, 1981, p.4095 ‘Paintings Men’s Hearts’, Weekly Dispatch, January 28, 19236 Arnold, Bruce, Orpen Mirror to an Age, Jonathan Cape, London, 1981, p.4167 Ibid., p.417

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

Auction Date / Lot No.: 25 May 2015 / 27

Published Estimate: €1,000-1,500

Price Realised: €1600

  • 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 to The William Orpen Memorial Fund.Local 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’spaintings 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 asculpture 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 Collegein 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 to find a visual counterpart to the birth of a new national literary language. Although his studio was in London, he spent time in Ireland painting; he was a friend ofHugh Lane and influenced the Irish realist painters, like Seán Keating, who in turn influenced another generation of Irish painters. Orpen was appointed a War Artist in 1914 and knighted for his services.Rowan Gillespie, renowned sculptor, from neighbouring 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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ORPEN AND GRACE
ORPEN AND GRACE
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 25 May 2015 / 28

Published Estimate: €1,200-1,500

Price Realised: €1300


SURPRISE IN COLLEGE GREEN, DUBLIN
SURPRISE IN COLLEGE GREEN, DUBLIN
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 25 May 2015 / 29

Published Estimate: €1,200-1,500

Price Realised: €1300


A BACCHANTE, 1910
A BACCHANTE, 1910
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 25 May 2015 / 30

Published Estimate: €60,000-80,000

Price Realised: €135000

  • Signature: signed lower left; signed again, titled [A Bacchante], dated and inscribed with artist's London address [5 Cromwell] on reverse
  • Medium: oil on canvas
  • Dimensions: 30 x 25in. (76.20 x 63½cm)
  • Provenance: The Collection of Mr and Mrs George A. Hearn, New York until 1913;Their sale, American Art Gallery, New York, George A. Hearn Collection, 25 February to 4 March 1918, catalogue no. 228;To K.W. Kraushaar, New York; J.G. Butler, Butler Institute, Youngstown
  • Exhibited: Royal Society of Portrait Painters, London, 1910, as Mrs Ralph Peto;Coronation Exhibition, Shepherd's Bush, London, 1910, as Mrs Ralph Peto;Autumn Exhibition, Walker Art Gallery, Liverpool, 1912, catalogue no. 372;Exhibition of British Pictures, The Lotus Club, New York
  • Literature: 'Exhibition in London: Society of Portrait Painters', Western Daily Press, 26 September 1910, p. 9Walter Shaw Sparrow, John Lavery and his Work, n.d., [1912], (Kegan Paul, Trubner, Trench & Co), p. 191Velhagen und Klasing Almanach, 1912American Art Annual XV, 1918, p. 311
  • In 1910 the calls for John Lavery to be elected to the Royal Academy rose to a crescendo in the press. Fêted in Europe and North America, he had the unique distinction of having two works in the French national collection and his reputation as a leading portrait painter had grown among the younger layers of the British aristocracy with prominent sitters including the McLarens, the Windsor-Clives, the Hely-Hutchinsons and others.1 To confirm his pre-eminence that year,he was chosen to represent Britain with a solo exhibition at the prestigious Venice Biennale and it was at this point, the striking Ruby Peto came to the studio in Cromwell Place to be painted. Dressed as a ‘bacchante’, she moved across the field of vision, looking round to catch the painter’s eye. In her cerise wrapper, laurel wreath and pale make-up, she trailed memories of Reynolds and Romney, cherished eighteenth century masters now the height of fashion with Gilded Age collectors. In Lavery’s terms, as he told Selwyn Brinton, the artist ‘who can depict the fashion of his day [in such a way] that it shall be of his day, and yet for all time … has solved the problem’. 2 Like Baudelaire he believed that catching the complexities of ‘modern life’ was the painter’s sole objective. In this instance, the twenty-six year old Mrs Peto took him close to achieving his goal. Although of different generations, Ruby, like Lavery,had been married for less than a year when the portrait was painted. A scion of the Crawford and Balcarres dynasty, Frances Vera Ruby Lindsay (1884-1951), was a favoured cousin of Diana and Marjorie Manners, daughters of the Duke and Duchess of Rutland. According to Lady Diana, she ‘… did not lack for swains, being very beautiful and spirited’. Accompanying the Manners’ daughters to Florencein her early twenties, and touring the galleries withher Baedeker, she was discovered ‘making eyes atthe uniformed officers’. 3 In July 1909, Ruby Lindsaymarried a dashing member of the Diplomatic Service, Ralph Harding Peto (1877-1945) at a ceremony for 600 guests at St Margaret’s Church, Westminster.4After their honeymoon in Paris, the couple quickly became prominent society figures and were frequently mentioned in ‘court circulars’. Ruby attended at first nights, concerts, charity ‘masques’ and tableauxin which she, like Hazel Lavery, often took a leading role.It is not known how she and the Laverys first met, but her name was frequently joined with that of Lady Diana, the Asquith sisters, Gwendoline Churchill, Duff Cooper and the Laverys in the years leading up to the Great War. Cooper records her husband, now a major in the 10th Royal Hussars attending bridge, poker and drinking soirées around the time of the birth of his daughter, Maud Rosemary Peto, at the beginning of April 1916. By the early twenties, scarred by the war, Peto’s drinking and consequent rows with his wife, was sadly giving cause for concern, and the marriageended in 1923. 5 A few years later Ruby changed hername back to Lindsay. Happier times are nevertheless reflected in the present portrait. The theatrical treatment of A Bacchante may indeed anticipate the eagerly awaited Anna Pavlova season which enthralled London society in the summer of 1910. In this, the Russian dancer created a sensation by performing the danse bacchanale from Marius Pepita’s ballet, The Seasons.6 Lavery was immediately commissioned by the editor of The Illustrated London News to produce a study of the dancer for a two-page colour reproduction in the weekly which echoes the theatrical air of the Petoportrait.7 Although the original commission was forno more than an unfinished sketch, there are remarkable resonances between it and the presentpicture, in that both show the sitter, in half-length,turning to address the spectator. Lavery appears to have originally planned Ruby Peto’sportrait with the sitter facing left in a dramatic oil sketch. This work is however signed and dated ‘1914’,possibly the date on which it was finally sold or gifted to the sitter or one of her friends in circumstances thatremain obscure. 8What strikes the viewer in both versions of the portrait is the undoubted presence of this young woman. Lavery submitted her portrait along with those of Pavlova and Priscilla, Countess of Annesley (Ulster Museum, Belfast) to the Society of Portrait Painters exhibition in 1910. When it opened, all eyes were on the celebrity dancer, however one reviewer, turning to Mrs Peto’s portrait felt compelled to remark, ‘… no one better than he [Lavery] can enhance in painting the radiance of a fair face’. 9 It was confirmation, if such was required, that the Royal Academy needs to make amends. A few months later, holidaying in Tangier, he received the news that he had finally been elected. Prof. Kenneth McConkeyApril 2015Footnotes:1 Kenneth McConkey, John Lavery, A Painter and his World,2010 (Atelier Books), pp. 59-60, 90-952 Selwyn Brinton, ‘Recent Paintings by John Lavery RSA, RHA’, The Studio,vol xlv, 1909, p. 176; quoted in McConkey 1910, p. 90. 3 Lady Diana Cooper, Autobiography, vol 1 (The Rainbow Comes and Goes), 1958 (Michael Russell, single vol ed, 1979), p. 56, 63. 4 The Manners sisters were among the bridesmaids. Peto later joined the 10th Royal Hussars in the rank of major. 5 John Julius Norwich, ed, The Duff Cooper Diaries, 2005 (Weidenfeld and Nicolson), pp. 166-7.6 McConkey, 2010, pp. 109-111. Pavlova opened in April 1910 at the Palace Theatre of Varieties. 7 It also furnished the occasion for the extraordinary Anna Pavlova as a Bacchante (Glasgow Museums), see McConkey 2010, p. 110. 8 It was not unusual for the painter to present such small preparatory studies to a sitter after a series of sittings. This picture was sold in Whyte’s 25 November 2013. 9 ‘Exhibition in London: Society of Portrait Painters’, Western Daily Press, 26 September 1910, p. 9.

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NEAR SAINT PATRICK'S CLOSE DUBLIN, c. late1890s
NEAR SAINT PATRICK'S CLOSE DUBLIN, c. late1890s
Walter Frederick Osborne RHA ROI (1859-1903)

Auction Date / Lot No.: 25 May 2015 / 31

Published Estimate: €10,000-15,000

Price Realised: €18000

  • Signature: inscribed on reverse, By Osborne / Bought after his death at his studio sale from Dermod O'Brien his Executor""
  • Medium: oil on board
  • Dimensions: 7½ x 11in. (19.05 x 27.94cm)
  • Provenance: Acquired 8 June 1903, after the artist's death, from Dermod O'Brien PRHA, one of his executors;Taylor de Veres, 26 May 1992, catalogue no. 100;Where purchased by previous owner;Private collection
  • Literature: Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, full page illustration plate 42, catalogue no. 561
  • Many of Walter Osborne’s paintings of Dublin are set in and around St. Patrick’s Cathedral, the Liberties, St. Patrick’s Street, Marsh’s Library and St. Patrick’s Close. He was attracted to this historic area of Dublin for a number of reasons. Living in Rathmines, he may often have travelled through this district on his way into the city. He was of Church of Ireland faith, and his brother Charles had been ordained a clergyman.He evidentially had an interest in St. Patrick’s, which was then the largest church in Ireland, and painted several pictures of its impressive interior. Moreover, Osborne was fascinated by the bustling street lifeand markets which he observed around this area. The church had originally been built in 1191 on the site of a preNorman church of St. Patrick, and was promoted to cathedral status on 1213. In 1300 its status became over-shadowed by that of ChristchurchCathedral, and during the Reformation it was demoted as a church. Over the centuries it suffered much damage but, during Osborne’s childhood, restoration work was carried out by his architect Thomas Drew (1838-1910), partially funded by MP and philanthropist Benjamin Lee Guinness (1798-1868) and St. Patrick’s was restored to its full glory. After the disestablishment of the Church of Ireland in 1869 St. Patrick’s was set apart as the ‘national cathedral’ of the Church of Ireland.1Some of the surrounding streets in the Liberties had become among the most deprived parts of Dublin. But Arthur Guinness and Edward Cecil Guinness, sons of Benjamin, contributed much to the renewal of this area, with the clearance of old tenements and the construction of new residential buildings.Thus, during Osborne’s life St. Patrick’s Cathedral and the surrounding streets were undergoing much change. The life on the streets, the little markets, street traders, shawled women, musicians and children,provided the subject-matter for many of this paintings. Two of the most popular of these are Near St. Patrick’s Close, 1887 (National Gallery of Ireland) and Life in the Streets, Musicians, 1893 (Dublin City Gallery, Hugh Lane). A few years earlier than Osborne, Rose Barton had also depicted this area in her bustling, colourful watercolour St. Patrick’s Close, 1881 (Ulster Museum, Belfast).The view of the present small painting Near St. Patrick’s Close is taken near Marsh’s Library, looking across the Close with part of the Cathedral on the right, and buildings with hipped roofs and tall chimney stacks in the background. A few figures are shown going about their business, including women with shawls, a carriage or cart, perhaps with a coachman, beside the porch of the Cathedral, seated with aprons across the road, and in the foreground right, a womanbustling along beside the wall or railings. Although the tonality of the picture is dark Osborne captures a glimpse of Dublin at the turn of the nineteenth and twentieth centuries.He employs a palette of greys, maroons, viridian, and raw umber, perhaps to convey the tones and sparse light of a grey wintry day. Yet the forms of the buildings are represented by broad brushstrokes and the surface is lifted by lively marks in the foreground. Thus we note, for example, the bold stroke of white in the woman’s dress, lower right, the touches of colour in the shop or stall in the background on the left, andsmall patches of blue sky showing through the clouds. A date of 1888 is written on the reverse of the panel. But the vigorous surface of the painting and sweeping brushstrokes would suggest a later date: perhaps the late 1890s, when Osborne was painting lively village scenes in Rush, Co. Dublin, or, as Jeanne Sheehy suggested in her Catalogue Raisonné of Osborne’s work, around 19012 , thus contemporaneous with his atmospheric painting The Four Courts, Dublin (NGI). Sheehy included an illustration of Near St Patrick’s Close in her publication on Walter Osborne, 1974.Dr. Julian CampbellApril 20151 Lord Killanin and Michael V. Duignan, Shell Guide To Ireland, 1962, 1967, p. 234; and Alan O’Day, The Guinness Family, in Brian Lalor, ed. Encyclopaedia ofIreland, 2003, p. 4642 Jeanne Sheehy, Walter Osborne, Ballycotton, 1974, catalogue no. 561, p. 150

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OLD CANON STREET, ST PATRICK'S CLOSE, DUBLIN
OLD CANON STREET, ST PATRICK'S CLOSE, DUBLIN
Alexander Williams RHA (1846-1930)

Auction Date / Lot No.: 25 May 2015 / 32

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: signed lower right; titled lower left
  • Medium: watercolour over pencil
  • Dimensions: 10 x 13in. (25.40 x 33.02cm)
  • Provenance: de Veres, 23 February 2004, ex lot 41;Private collection
  • Literature: Ledbetter, Gordon T., Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010, p.91 (illustrated)
  • Alexander Williams RHA (1846-1930) is primarily remembered as a marine and landscape painter, and most especially for opening up Achill Island to a wider public at a time coincident with the extension of the railway from Westport to Achill Sound. But his copious sketchbooks, leather bound and inscribed in gold, indicate, as he travelled all over Ireland and across the water, he had more than a passing interest in recording buildings and streetscapes that took his fancy, usually old and quaint, and these found their way into his exhibitions.While Williams was born in the Square, Monaghan on 21 April, 1846, his formative years were spent in Drogheda until, when he was fifteen, the family moved to Dublin. His professional career as an artist may be said to have started in 1870 when he first exhibited at the Royal Hibernian Academy. He continued to do so for sixty-one consecutive years, a record that remains unequalled.The annual solo exhibitions he held from 1884 in Dublin, usually at the Leinster Hall in Molesworth Street, from 1884 became eagerly awaited social events, attended by a thousand and more and usually patronised by the Lord Lieutenant or his wife, and the Castle set". Unless issued with an invitation or you were a member of the likes of the Dublin Sketching Club, (of which Williams was a founder member and secretary for fifty years), you were expected to pay to gain entry! His catalogues were innovative in that they were often illustrated. Musical concerts by local worthies took place on Friday afternoons when afternoon teas were hosted by the artist's chic wife.In 1892 Williams devoted a special section of his exhibition at the Leinster Hall to 'Bits of Old Dublin.' It drew praise from all quarters. 'Most of these latter drawings,' noted the Irish Society, 'were sketched by the artist at four for five o'clock a.m. on summer mornings, when immunity from street traffic and idle watchers could be securely counted upon.' The Daily Express presciently recognised the significance of what he was doing: '"Bits of Old Dublin" are highly interesting little pictures, and as some of them relate to such localities as Hanover Lane, Nicolas Street, and Old Wood Street - unsavoury relics of bygone times, which have recently been effaced by the Public Health Department - they may serve a useful historic purpose hereafter.' Indeed the street scenes in this catalogue have all changed beyond recognition since Williams' day. The artist captured not only the quaintness of those old buildings, but their intimacy and scale, the small dwellings and artisans' shops, higgledy piggledy and cheek by jowl, evoking an age remote from our own. Williams caught the passing of the old city, often just in time. As the Irish Times recorded: 'This is a bit of Dublin now passed away, for old Canon Street, with its quaint curio shops, was part of the site taken in by St Patrick's Park. Mr Williams took this sketch on the very last day of the existence of Old Canon Street in the form here pictured.' The exception among these six water colours is St Audeon's Gate one of the few bits of Medieval Dublin to survive. It was to the work of Alexander Williams that Dublin Corporation turned for historic reference during restoration of this famous landmark some years ago. Gordon T. LedbetterApril 2015 Gordon T. Ledbetter is the author of Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010"

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CHAPTER PLACE, ST PATRICK'S CLOSE, 1910
CHAPTER PLACE, ST PATRICK'S CLOSE, 1910
Alexander Williams RHA (1846-1930)

Auction Date / Lot No.: 25 May 2015 / 33

Published Estimate: €2,000-3,000

Price Realised: €2100

  • Signature: signed lower left; titled and dated lower right
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 13¾ x 10¼in. (34.93 x 26.04cm)
  • Provenance: Keys, Norfolk, 23 June 2000, lot 412;Private collection;Whyte's, 10 October 2000, lot 20; Private collection;Adam's, 13 December 2000, lot 186;Private collection;Adam's, 31 May 2006, lot 142;Private collection
  • Literature: Ledbetter, Gordon T., Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010, p.29 (illustrated)
  • Alexander Williams RHA (1846-1930) is primarily remembered as a marine and landscape painter, and most especially for opening up Achill Island to a wider public at a time coincident with the extension of the railway from Westport to Achill Sound. But his copious sketchbooks, leather bound and inscribed in gold, indicate, as he travelled all over Ireland and across the water, he had more than a passing interest in recording buildings and streetscapes that took his fancy, usually old and quaint, and these found their way into his exhibitions.While Williams was born in the Square, Monaghan on 21 April, 1846, his formative years were spent in Drogheda until, when he was fifteen, the family moved to Dublin. His professional career as an artist may be said to have started in 1870 when he first exhibited at the Royal Hibernian Academy. He continued to do so for sixty-one consecutive years, a record that remains unequalled.The annual solo exhibitions he held from 1884 in Dublin, usually at the Leinster Hall in Molesworth Street, from 1884 became eagerly awaited social events, attended by a thousand and more and usually patronised by the Lord Lieutenant or his wife, and the Castle set". Unless issued with an invitation or you were a member of the likes of the Dublin Sketching Club, (of which Williams was a founder member and secretary for fifty years), you were expected to pay to gain entry! His catalogues were innovative in that they were often illustrated. Musical concerts by local worthies took place on Friday afternoons when afternoon teas were hosted by the artist's chic wife.In 1892 Williams devoted a special section of his exhibition at the Leinster Hall to 'Bits of Old Dublin.' It drew praise from all quarters. 'Most of these latter drawings,' noted the Irish Society, 'were sketched by the artist at four for five o'clock a.m. on summer mornings, when immunity from street traffic and idle watchers could be securely counted upon.' The Daily Express presciently recognised the significance of what he was doing: '"Bits of Old Dublin" are highly interesting little pictures, and as some of them relate to such localities as Hanover Lane, Nicolas Street, and Old Wood Street - unsavoury relics of bygone times, which have recently been effaced by the Public Health Department - they may serve a useful historic purpose hereafter.' Indeed the street scenes in this catalogue have all changed beyond recognition since Williams' day. The artist captured not only the quaintness of those old buildings, but their intimacy and scale, the small dwellings and artisans' shops, higgledy piggledy and cheek by jowl, evoking an age remote from our own. Williams caught the passing of the old city, often just in time. As the Irish Times recorded: 'This is a bit of Dublin now passed away, for old Canon Street, with its quaint curio shops, was part of the site taken in by St Patrick's Park. Mr Williams took this sketch on the very last day of the existence of Old Canon Street in the form here pictured.' The exception among these six water colours is St Audeon's Gate one of the few bits of Medieval Dublin to survive. It was to the work of Alexander Williams that Dublin Corporation turned for historic reference during restoration of this famous landmark some years ago. Gordon T. LedbetterApril 2015 Gordon T. Ledbetter is the author of Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010"

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OLD CLOTHES SHOPS, PATRICK STREET DUBLIN, 1885
OLD CLOTHES SHOPS, PATRICK STREET DUBLIN, 1885
Alexander Williams RHA (1846-1930)

Auction Date / Lot No.: 25 May 2015 / 34

Published Estimate: €2,000-3,000

Price Realised: €2000

  • Signature: signed lower right; titled and dated lower left
  • Medium: watercolour heightened with white
  • Dimensions: 14½ x 10.20in. (36.83 x 25.91cm)
  • Provenance: Waddington's, Toronto, Canada, 16 June 2003, lot 184;Private collection;Gorry Gallery, Dublin;Private collection
  • Exhibited: Watercolour Society of Ireland, Dublin, 1920, catalogue no. 57 (6 gns);'An Exhibition of 18th - 21st Century Irish Paintings', Gorry Gallery, Dublin, 26 November to 6 December 2003, p. 35, catalogue no. 38 (illustrated)
  • Alexander Williams RHA (1846-1930) is primarily remembered as a marine and landscape painter, and most especially for opening up Achill Island to a wider public at a time coincident with the extension of the railway from Westport to Achill Sound. But his copious sketchbooks, leather bound and inscribed in gold, indicate, as he travelled all over Ireland and across the water, he had more than a passing interest in recording buildings and streetscapes that took his fancy, usually old and quaint, and these found their way into his exhibitions.While Williams was born in the Square, Monaghan on 21 April, 1846, his formative years were spent in Drogheda until, when he was fifteen, the family moved to Dublin. His professional career as an artist may be said to have started in 1870 when he first exhibited at the Royal Hibernian Academy. He continued to do so for sixty-one consecutive years, a record that remains unequalled.The annual solo exhibitions he held from 1884 in Dublin, usually at the Leinster Hall in Molesworth Street, from 1884 became eagerly awaited social events, attended by a thousand and more and usually patronised by the Lord Lieutenant or his wife, and the Castle set". Unless issued with an invitation or you were a member of the likes of the Dublin Sketching Club, (of which Williams was a founder member and secretary for fifty years), you were expected to pay to gain entry! His catalogues were innovative in that they were often illustrated. Musical concerts by local worthies took place on Friday afternoons when afternoon teas were hosted by the artist's chic wife.In 1892 Williams devoted a special section of his exhibition at the Leinster Hall to 'Bits of Old Dublin.' It drew praise from all quarters. 'Most of these latter drawings,' noted the Irish Society, 'were sketched by the artist at four for five o'clock a.m. on summer mornings, when immunity from street traffic and idle watchers could be securely counted upon.' The Daily Express presciently recognised the significance of what he was doing: '"Bits of Old Dublin" are highly interesting little pictures, and as some of them relate to such localities as Hanover Lane, Nicolas Street, and Old Wood Street - unsavoury relics of bygone times, which have recently been effaced by the Public Health Department - they may serve a useful historic purpose hereafter.' Indeed the street scenes in this catalogue have all changed beyond recognition since Williams' day. The artist captured not only the quaintness of those old buildings, but their intimacy and scale, the small dwellings and artisans' shops, higgledy piggledy and cheek by jowl, evoking an age remote from our own. Williams caught the passing of the old city, often just in time. As the Irish Times recorded: 'This is a bit of Dublin now passed away, for old Canon Street, with its quaint curio shops, was part of the site taken in by St Patrick's Park. Mr Williams took this sketch on the very last day of the existence of Old Canon Street in the form here pictured.' The exception among these six water colours is St Audeon's Gate one of the few bits of Medieval Dublin to survive. It was to the work of Alexander Williams that Dublin Corporation turned for historic reference during restoration of this famous landmark some years ago. Gordon T. LedbetterApril 2015 Gordon T. Ledbetter is the author of Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010"

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NORTH PATRICK'S CLOSE, DUBLIN
NORTH PATRICK'S CLOSE, DUBLIN
Alexander Williams RHA (1846-1930)

Auction Date / Lot No.: 25 May 2015 / 35

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: signed lower right; titled lower left
  • Medium: watercolour
  • Dimensions: 14½ x 10in. (36.83 x 25.40cm)
  • Provenance: de Veres, 23 February 2004, ex lot 41;Private collection
  • Alexander Williams RHA (1846-1930) is primarily remembered as a marine and landscape painter, and most especially for opening up Achill Island to a wider public at a time coincident with the extension of the railway from Westport to Achill Sound. But his copious sketchbooks, leather bound and inscribed in gold, indicate, as he travelled all over Ireland and across the water, he had more than a passing interest in recording buildings and streetscapes that took his fancy, usually old and quaint, and these found their way into his exhibitions.While Williams was born in the Square, Monaghan on 21 April, 1846, his formative years were spent in Drogheda until, when he was fifteen, the family moved to Dublin. His professional career as an artist may be said to have started in 1870 when he first exhibited at the Royal Hibernian Academy. He continued to do so for sixty-one consecutive years, a record that remains unequalled.The annual solo exhibitions he held from 1884 in Dublin, usually at the Leinster Hall in Molesworth Street, from 1884 became eagerly awaited social events, attended by a thousand and more and usually patronised by the Lord Lieutenant or his wife, and the Castle set". Unless issued with an invitation or you were a member of the likes of the Dublin Sketching Club, (of which Williams was a founder member and secretary for fifty years), you were expected to pay to gain entry! His catalogues were innovative in that they were often illustrated. Musical concerts by local worthies took place on Friday afternoons when afternoon teas were hosted by the artist's chic wife.In 1892 Williams devoted a special section of his exhibition at the Leinster Hall to 'Bits of Old Dublin.' It drew praise from all quarters. 'Most of these latter drawings,' noted the Irish Society, 'were sketched by the artist at four for five o'clock a.m. on summer mornings, when immunity from street traffic and idle watchers could be securely counted upon.' The Daily Express presciently recognised the significance of what he was doing: '"Bits of Old Dublin" are highly interesting little pictures, and as some of them relate to such localities as Hanover Lane, Nicolas Street, and Old Wood Street - unsavoury relics of bygone times, which have recently been effaced by the Public Health Department - they may serve a useful historic purpose hereafter.' Indeed the street scenes in this catalogue have all changed beyond recognition since Williams' day. The artist captured not only the quaintness of those old buildings, but their intimacy and scale, the small dwellings and artisans' shops, higgledy piggledy and cheek by jowl, evoking an age remote from our own. Williams caught the passing of the old city, often just in time. As the Irish Times recorded: 'This is a bit of Dublin now passed away, for old Canon Street, with its quaint curio shops, was part of the site taken in by St Patrick's Park. Mr Williams took this sketch on the very last day of the existence of Old Canon Street in the form here pictured.' The exception among these six water colours is St Audeon's Gate one of the few bits of Medieval Dublin to survive. It was to the work of Alexander Williams that Dublin Corporation turned for historic reference during restoration of this famous landmark some years ago. Gordon T. LedbetterApril 2015 Gordon T. Ledbetter is the author of Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010"

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POOLE STREET, DUBLIN, 1892
POOLE STREET, DUBLIN, 1892
Alexander Williams RHA (1846-1930)

Auction Date / Lot No.: 25 May 2015 / 36

Published Estimate: €2,000-3,000

Price Realised: €1900

  • Signature: signed lower right; titled and dated lower left
  • Medium: watercolour
  • Dimensions: 14½ x 10in. (36.83 x 25.40cm)
  • Provenance: de Veres, 23 February 2004, ex lot 41;Private collection
  • Alexander Williams RHA (1846-1930) is primarily remembered as a marine and landscape painter, and most especially for opening up Achill Island to a wider public at a time coincident with the extension of the railway from Westport to Achill Sound. But his copious sketchbooks, leather bound and inscribed in gold, indicate, as he travelled all over Ireland and across the water, he had more than a passing interest in recording buildings and streetscapes that took his fancy, usually old and quaint, and these found their way into his exhibitions.While Williams was born in the Square, Monaghan on 21 April, 1846, his formative years were spent in Drogheda until, when he was fifteen, the family moved to Dublin. His professional career as an artist may be said to have started in 1870 when he first exhibited at the Royal Hibernian Academy. He continued to do so for sixty-one consecutive years, a record that remains unequalled.The annual solo exhibitions he held from 1884 in Dublin, usually at the Leinster Hall in Molesworth Street, from 1884 became eagerly awaited social events, attended by a thousand and more and usually patronised by the Lord Lieutenant or his wife, and the Castle set". Unless issued with an invitation or you were a member of the likes of the Dublin Sketching Club, (of which Williams was a founder member and secretary for fifty years), you were expected to pay to gain entry! His catalogues were innovative in that they were often illustrated. Musical concerts by local worthies took place on Friday afternoons when afternoon teas were hosted by the artist's chic wife.In 1892 Williams devoted a special section of his exhibition at the Leinster Hall to 'Bits of Old Dublin.' It drew praise from all quarters. 'Most of these latter drawings,' noted the Irish Society, 'were sketched by the artist at four for five o'clock a.m. on summer mornings, when immunity from street traffic and idle watchers could be securely counted upon.' The Daily Express presciently recognised the significance of what he was doing: '"Bits of Old Dublin" are highly interesting little pictures, and as some of them relate to such localities as Hanover Lane, Nicolas Street, and Old Wood Street - unsavoury relics of bygone times, which have recently been effaced by the Public Health Department - they may serve a useful historic purpose hereafter.' Indeed the street scenes in this catalogue have all changed beyond recognition since Williams' day. The artist captured not only the quaintness of those old buildings, but their intimacy and scale, the small dwellings and artisans' shops, higgledy piggledy and cheek by jowl, evoking an age remote from our own. Williams caught the passing of the old city, often just in time. As the Irish Times recorded: 'This is a bit of Dublin now passed away, for old Canon Street, with its quaint curio shops, was part of the site taken in by St Patrick's Park. Mr Williams took this sketch on the very last day of the existence of Old Canon Street in the form here pictured.' The exception among these six water colours is St Audeon's Gate one of the few bits of Medieval Dublin to survive. It was to the work of Alexander Williams that Dublin Corporation turned for historic reference during restoration of this famous landmark some years ago. Gordon T. LedbetterApril 2015 Gordon T. Ledbetter is the author of Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010"

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SAINT AUDEON'S ARCH, A BIT OF THE OLD CITY WALL, DUBLIN
SAINT AUDEON'S ARCH, A BIT OF THE OLD CITY WALL, DUBLIN
Alexander Williams RHA (1846-1930)

Auction Date / Lot No.: 25 May 2015 / 37

Published Estimate: €2,000-3,000

Price Realised: €2100

  • Signature: signed lower right; titled lower left
  • Medium: watercolour heightened with white
  • Dimensions: 14½ x 10.20in. (36.83 x 25.91cm)
  • Provenance: Waddington's, Toronto, Canada, 16 June 2003, lot 183;Private collection;Gorry Gallery, Dublin;Private collection
  • Exhibited: 'An Exhibition of 18th - 21st Century Irish Paintings', Gorry Gallery, Dublin, 26 November to 6 December 2003, p. 35, catalogue no. 36 (illustrated)
  • Literature: Ledbetter, Gordon T., Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010, p.270 (illustrated)
  • Alexander Williams RHA (1846-1930) is primarily remembered as a marine and landscape painter, and most especially for opening up Achill Island to a wider public at a time coincident with the extension of the railway from Westport to Achill Sound. But as his copious sketchbooks, leather bound and inscribed in gold, indicate, as he travelled all over Ireland and across the water, he had more than a passing interest in recording buildings and streetscapes that took his fancy, usually old and quaint, and these found their way into his exhibitions.While Williams was born in the Square Monaghan on April 21, 1846, his formative years were spent in Drogheda until, when he was fifteen, the family moved to Dublin. His professional career as an artist may be said to have started in 1870 when he first exhibited at the Royal Hibernian Academy. He continued to do so for sixty-one consecutive years, a record that remains unequalled.The annual solo exhibitions he held in Dublin; usually at the Leinster Hall in Molesworth Street, from 1884 became eagerly awaited social events, attended by a thousand and more and usually patronised by the Lord Lieutenant or his wife, and the Castle set. Unless issued with an invitation or you were a member of the likes of the Dublin Sketching Club, (of which Williams was a founder member and secretary for fifty years), you were expected to pay to gain entry! His catalogues were innovative in that they were often illustrated. Musical concerts by local worthies took place on Friday afternoons when afternoon teas were hosted by the artist's chic wife.In 1892 Williams devoted a special section of his exhibition at the Leinster Hall to 'Bits of Old Dublin.' It drew praise from all quarters. 'Most of these latter drawings,' noted the Irish Society, 'were sketched by the artist at four for five o'clock a.m. on summer mornings, when immunity from street traffic and idle watchers could be securely counted upon.' The Daily Express presciently recognised the significance of what he was doing: 'Bits of Old Dublin" are highly interesting little pictures, and as some of them relate to such localities as Hanover Lane, Nicolas street, and Old Wood Street - unsavoury relics of bygone times, which have recently been effaced by the Public Health Department - they may serve a useful historic purpose hereafter.' Indeed the street scenes in this catalogue have all changed beyond recognition since Williams' day. The artist captured not only the quaintness of those old buildings, but their intimacy and scale, the small dwellings and artisans' shops, higgledy piggledy and cheek by jowl, evoking an age remote from our own. Williams caught the passing of the old city, often just in time. As the Irish Times recorded: 'This is a bit of Dublin now passed away, for old Canon Street, with its quaint curio shops, was part of the site taken in by St Patrick's Park. Mr Williams took this sketch on the very last day of the existence of Old Canon Street in the form here pictured.' The exception among these six water colours is St Audeon's Gate one of the few bits of Medieval Dublin to survive. It was to the work of Alexander Williams that Dublin Corporation turned for historic reference during restoration of this famous landmark some years ago. Gordon T. LedbetterApril 2015 Author: Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010"

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ALPINE SCENE
ALPINE SCENE
William Percy French (1854-1920)

Auction Date / Lot No.: 25 May 2015 / 38

Published Estimate: €1,000-1,200

Price Realised: €950


FLOWERS BY A RIVERBANK
FLOWERS BY A RIVERBANK
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 25 May 2015 / 39

Published Estimate: €600-800

Price Realised: €550


VIEW FROM SALTHILL HOTEL, DUBLIN BAY
VIEW FROM SALTHILL HOTEL, DUBLIN BAY
William Percy French (1854-1920)

Auction Date / Lot No.: 25 May 2015 / 40

Published Estimate: €2,000-3,000

Price Realised: €3600

  • Signature: signed with initials lower left; signed again and titled on reverse
  • Medium: watercolour
  • Dimensions: 6½ x 8½in. (16.51 x 21.59cm)
  • The Salthill Hotel was located in Monkstown near Seapoint, Co. Dublin.

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BOG LANDSCAPE WITH TREES
BOG LANDSCAPE WITH TREES
William Percy French (1854-1920)

Auction Date / Lot No.: 25 May 2015 / 41

Published Estimate: €2,000-3,000

Price Realised: €2000

  • Signature: signed lower right; with Cynthia O'Connor label on reverse
  • Medium: watercolour
  • Dimensions: 9 x 11½in. (22.86 x 29.21cm)
  • Provenance: Cynthia O'Connor Gallery, Dublin;Private collection
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PORTRAIT OF LAURA REDDEN SEARING IN THE STUDIO, 1867
PORTRAIT OF LAURA REDDEN SEARING IN THE STUDIO, 1867
Michael George Brennan (1839-1871)

Auction Date / Lot No.: 25 May 2015 / 42

Published Estimate: €10,000-15,000

Price Realised: €0

  • Signature: faintly inscribed and dated on the stretcher
  • Medium: oil on canvas
  • Dimensions: 25 x 18in. (63½ x 45.72cm)
  • Michael George Brennan, subject and landscape painter, was born and educated in Castlebar Co. Mayo where his talents were noted by Charles O'Donal, afterwards a police magistrate in Dublin (Strickland, p.83). Aged fifteen he was sent to the Dublin Society's School and later the Royal Hibernian Academy where his skills where honed. He later travelled to London, working on several publications there, including Fun, a rival to Punch. Ill health in the form of typhoid fever led Brennan back to Ireland and later prompted a further relocation to the warmer climes of Italy. Settling first in Rome, Brennan continued to send back paintings for exhibition in the Royal Academy between the years 1865-1878. Strickland describes how his works were warmly praised as admirably painted, harmonious in colour, and full of character and feeling." Brennan's deteriorating condition provoked later trips to Capri and it was here that he came in contact with the subject of this work, Miss Laura Catherine Redden, a celebrated deaf American poet, journalist and author. The pair were engaged within ten days of meeting and while they discussed their future wedding plans the engagement was ultimately broken off, the reasons for which are unknown. One rumoured explanation was that Redden was not willing to forego her flourishing career. Brennan died from a fall in 1871. Laura Catherine Redden (1839-1923) was born in Maryland in the United States. Having lost her hearing at the age eleven she enrolled in the Missouri School for the Deaf (MSD) and later developed the skill of sign language and the American Manual Alphabet. Upon graduation in 1859 Redden was unable to enrol in college because of her disability; thus to supplement her education she travelled to Europe between 1865-1896 where she studied several languages. When she met Brennan she was already a published writer with articles in Harper's Magazine and American Annals of the Deaf where she championed the struggles of the deaf community. Earlier in 1860, she became the editorialist for the St. Louis Republican and officially adopted the pseudonym Howard Glyndon. In 1861, she was sent by the St. Louis Republican to Washington D.C. report on the American Civil War. She was a pro-Union loyalist and wrote poems about the experiences and human interests of the battlefield. Redden also wrote to Abraham Lincoln and Ulysses S. Grant during the war period and it was with this wealth of experience that she later travelled to Europe between 1865-1869 to become a correspondent for The New York Times. After the engagement to Brennan was called off, Redden returned to America and in 1876 married Edward Whelan Searing, a lawyer, with whom she had one child. By 1870, she returned to New York and Boston and was a staff writer for the New York Evening Mail and contributed to Galaxy, Harper's Magazine, and the Tribune. The marriage did not last and they divorced in 1894. Laura Redden Searing died in 1923 and was buried in Colma, California. She is remembered as a pioneer within the deaf community and is pictured here as a sensual muse of a former lover in the prime of her life."

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

Auction Date / Lot No.: 25 May 2015 / 43

Published Estimate: €30,000-40,000

Price Realised: €0

  • Signature: with O'Conor Atelier stamp on reverse; with typed Crane Kalman Gallery [London] label on reverse
  • Medium: oil on canvas
  • Dimensions: 21¾ x 18¼in. (55¼ x 46.36cm)
  • Provenance: with The Crane Kalman Gallery, London;Where purchased by Barnett Shine;Private collection
  • This quietly contemplative nude model was painted by Roderic O'Conor in his rue du Cherche-Midi studio in the Montparnasse quarter of Paris, where he lived and painted for thirty years after his return to Paris in 1904 following a thirteen year period of residence in Brittany at Pont-Aven and at Rochefort-en-Terre in Morbihan. The change in O'Conor's environment from rural France to the busy and artistically competitive arena of the Paris art world early in the 20th century marked the beginning of a period of detachment from landscape themes, and a greater engagement with traditional studio subjects, including still-lifes, portraits, figure studies and paintings of unclothed female models.In O'Conor's first-floor studio there was one entire wall comprised of small panes of glass admitting natural light into an interior described by Clive Bell in his memoir, Old Friends (1956), as being spacious but gloomy." For this painting O'Conor chose to pose his model deep in the studio interior taking up a viewing position with his back to the wall of windows. As a result the quality of light which illuminated his subject is soft and quite diffuse, unlike his more frequently used rich contrasts of colour which appear in other figure paintings and still-lifes where the subject was placed much closer to the light source. Behind the seated figure we see the solid mass of the large cast iron stove, which was the only source of heating in his studio and which appears in many of his studio paintings. O'Conor typically preferred to take a direct approach to his studio paintings, working initially in broad generalised tonal masses with little preliminary drawing as he had done in his landscape paintings from Brittany, and from Cassis in the Midi where he painted in 1913. For this portrait however, O'Conor began by making a series of preliminary sketches and drawings of his model, both clothed and unclothed (more than ten such drawings have been identified), with slight variations to the pose and the positioning of her right arm, which in the painting is bent at the elbow and rests on the arm of the chair to provide a support for her slightly inclined head. He also worked on a heavier grade of canvas than usual having a pronounced texture to which he applied a thin stain, deliberately leaving background areas untouched as the painting progressed. Selected passages in the model's upper body and head were similarly treated. Thicker paint was then applied to her upper body as he modelled the forms while keeping to the generally restrained technique and the mood of the painting. It is only in the green drapery on the armchair and in the white sheet or towel covering her left leg that we see O'Conor's typically vigorous and direct brush strokes and his mixing and blending of the oil paint directly on the canvas. This model is also the subject of a particularly strong and highly finished portrait known by the title Rouge et Vert which he exhibited at the Salon d'Automne of 1919, in which she wears a red dress and is seated against a background of patterned red and tan fabric which is generously draped in front of a green wall. Seated Nude was purchased from the Crane Kalman Gallery in London in 1969 by the enthusiastic O'Conor admirer and collector, Barnett Shine. Over the years he and his wife made several donations from their collection including in 1977 what is perhaps O'Conor's best known painting, the quite remarkable Van Gogh influenced Yellow Landscape of 1892, now in the collection of Tate Britain. Dr. Roy Johnston"

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STILL LIFE WITH GREEN BOTTLE
STILL LIFE WITH GREEN BOTTLE
May Guinness (1863-1955)

Auction Date / Lot No.: 25 May 2015 / 44

Published Estimate: €6,000-8,000

Price Realised: €6000

  • Medium: oil on canvas
  • Dimensions: 25 x 20in. (63½ x 50.80cm)
  • Provenance: Christie's, London, 16 October 2003, lot 481;Private collection;Whyte's, 24 November 2008, lot 127;Private collection
  • Exhibited: Probably exhibited as 'La Bouteille Verte', 'May Guinness', Galerie Visconti, Paris, January 1925; the exhibition later travelled in the same year to the Mayor Gallery, London;'Analysing Cubism', Irish Museum of Modern Art, Dublin, Crawford Art Gallery, Cork and F.E. McWilliam Gallery & Studio, Banbridge, Co. Down, 20 February 2013 to 30 November 2013 (loaned by present owner)
  • Literature: Analysing Cubism, exhibition catalogue, IMMA, Dublin, 2013, p.71 (full page illustration)
  • May Guinness is one of the unsung heroes of Irish Modernism. Born in Dublin in 1863 she was part of a generation of pioneering Irish artists that included Grace Henry (1868-1953), Eileen Gray (1878-1976), and Mary Swanzy (1882-1978) who travelled outside Ireland to learn about the most innovative movements in art. In the mid-1890s, Guinness began by studying in Cornwall with Norman Garstin where plein-air painting was encouraged. Soon after, she exhibited for the first time at the Royal Hibernian Academy in Dublin. From 1902-03 she travelled to Florence and then later to Paris where she was exposed to the avant-garde developments of early Cubism around the salon of Gertrude Stein. During the First World War she became a nurse in the French army and was awarded the Médaille de la Reconnaissance Française for bravery. After the war, she returned to Paris to study with Kees Van Dongen whose Expressionist style would long influence her. Guinness was already fifty-nine years old when she went to study with André Lhote in 1922. She exhibited at the Salon des Indépendants in 1923 and continued to work with Lhote until 1925.Still Life with Green Bottle was made concurrently with her time in Paris and demonstrates that she had absorbed many of the principles of Cubism in her work. Breaking with academic tradition and the laws of perspective inherited from Renaissance masters, cubist painters no longer copied from nature or from the works of other masters. The rules of modelling, foreshortening and especially perspective were abandoned. Paintings should no longer attempt to fool the eye by conveying three dimensionality, rather the two dimensional space of the surface, canvas and paint should be celebrated for their formal qualities. The image to be conveyed was reduced to geometric forms. It was then fractured and seen from multiple viewpoints. Paintings were no longer lit from a single viewpoint but modelled for volume. Still life was a popular subject for the cubists and Still Life with Green Bottle is a good example of the genre. The objects depicted such as the fruit bowl and table-cloth have been successfully reduced to patterns and groups of shapes. We see an image that has been so abstracted that it has become almost unreadable. The viewpoints taken by Guinness create an overlapping and layered effect, pulling apart the subject, before putting it back together again - something that was radical for its time. The first works of Cubism by Picasso and Braque demonstrated a restrained palette, using blacks, browns and greys; here Guinness uses more vibrant colours although the stippling and wood-grain effects are very typical of the style of Picasso. André Lhote taught a number of Irish painters including Mainie Jellett, Evie Hone, Norah McGuinness, Jack Hanlon and others. These artists studied with this master of Cubism, but the lessons each learned, the influences they absorbed and the methods with which they applied these were as unique as each individual artist. As artists who wished to paint in the Modern manner, they rejected academic traditions and instead turned to Cubism as a short-hand for Modernism, taking many traditional subjects and transforming them in many unique ways. It points to the tumult of other ideas and styles to be found in Paris in the 1920s and the freedom artists felt to express themselves in whole range of ways. This was especially true of Guinness whose style would evolve and adapt throughout her life as she engaged with different ideas and made them her own. She died in Dublin in 1955 and a retrospective of her work was held the following year at the Dawson Gallery, Dublin.Seán KissaneApril 2015Seán Kissane was curator of 'Analysing Cubism', IMMA, Crawford Art Gallery, Cork and F.E. McWilliam Gallery & Studio, Banbridge, Co. Down, 20 February 2013 to 30 November 2013

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ABSTRACT FORMS
ABSTRACT FORMS
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 25 May 2015 / 45

Published Estimate: €3,000-4,000

Price Realised: €0

  • Signature: titled on reverse
  • Medium: gouache
  • Dimensions: 21¾ x 11½in. (55¼ x 29.21cm)
  • Provenance: The McClelland Collection;Adam's 13 October 2010, lot 123;Private collection
  • Loaned to the Irish Museum of Modern Art (from McClelland) 1999 to 2004.

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COMPOSITION
COMPOSITION
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 25 May 2015 / 46

Published Estimate: €1,200-1,500

Price Realised: €1400

  • Signature: signed in pencil lower left
  • Medium: gouache
  • Dimensions: 10 x 6½in. (25.40 x 16.51cm)
  • Provenance: Dawson Gallery, Dublin;Where purchased by Mrs Phillip Feldblum;Private collection
  • Contained in original Dawson Gallery frame.

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CHRIST AMONG THE DOCTORS, 1944
CHRIST AMONG THE DOCTORS, 1944
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 25 May 2015 / 47

Published Estimate: €5,000-7,000

Price Realised: €4600

  • Signature: signed and dated lower right
  • Medium: watercolour
  • Dimensions: 55 x 44in. (139.70 x 111.76cm)
  • Provenance: Collection of Dr. Eileen MacCarvill;Dawson Gallery, Dublin;Private collection
  • Exhibited: 'Religious & Secular Works by Evie Hone', Dawson Gallery, Dublin, from 4 June 1957, catalogue no. 25;'Evie Hone 1894-1955', The Great Hall, University College, Earlsfort Terrace, Dublin, 29 July to 5 September 1958, catalogue no. 63 (lent by Dr. E. MacCarvill)
  • The present work is described in the Great Hall exhibition catalogue as, Cartoon for the window submitted to the Drogheda Grammar School and not accepted / c.1943". The commission for the designing of a stained glass window for Drogheda Grammar School was ultimately awarded to the Harry Clarke Stained Glass Studio and was funded by donations and contributions to the school. The window was originally installed in the old school building in Laurence's Street and later went into storage until 1976. In 2012 the stained glass window was reinstalled in a reflection room in the new school building extension."

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NOSSA SENHORA DO MONTE (OUR LADY OF THE MOUNTAINS), 1965
NOSSA SENHORA DO MONTE (OUR LADY OF THE MOUNTAINS), 1965
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 25 May 2015 / 48

Published Estimate: €3,000-5,000

Price Realised: €2900

  • Signature: signed and dated lower right; titled on reverse
  • Medium: oil on board
  • Dimensions: 23½ x 19½in. (59.69 x 49.53cm)
  • Provenance: deVere's, 25 March 2014, lot 53;Private collection
  • In original Dawson Gallery frame.

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ABSTRACT COMPOSITION
ABSTRACT COMPOSITION
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 25 May 2015 / 49

Published Estimate: €1,500-1,800

Price Realised: €0

  • Signature: signed lower left; with Jorgensen Gallery exhibition label on reverse; with Dawson Gallery framing label also on reverse
  • Medium: gouache
  • Dimensions: 6½ x 5.20in. (16.51 x 13.21cm)
  • Provenance: Jorgensen Gallery, Dublin;Private collection
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PATCH-WORK QUILT, 1949
PATCH-WORK QUILT, 1949
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 25 May 2015 / 50

Published Estimate: €8,000-12,000

Price Realised: €8000

  • Signature: signed twice and dated lower right
  • Medium: oil on canvas
  • Dimensions: 17½ x 23½in. (44.45 x 59.69cm)
  • Provenance: Family of the artist;Thence by descent; James Adam & Bonhams, 25 May 2005, lot 131, as Woman and Cat;Private collection
  • Exhibited: Irish Exhibition of Living Art, Dublin, 1949, catalogue no. 58 (£21-0-0)
  • Throughout his relatively short life the painter Fr. Jack P. Hanlon (1913-1968) explored many styles and techniques and was always open to new ideas. His oeuvre included landscapes, still life studies, religious paintings and quite frequently genre studies. One of the four works which he submitted to the 1949 Irish Exhibition of Living Art was entitled Patchwork Quilt. In oil on canvas, this is one of his more extravagant genre scenes. While the subject matter is an ordinary task, the ensemble is very rich and evocative. The painting shows a woman in an interior setting, working on a patchwork quilt, accompanied by a cat. This was probably a fairly common scene in the 1940s. Fr. Hanlon, however, has chosen to place the figures in what could best be described as a very 'busy' setting. He was known to have loved bright colours and frequently used them in his paintings to create an atmosphere of lightness and charm, when this was appropriate. The woman in the painting appears to be concentrating on her task, but all around her is a riot of patterns and shapes.The quilt, of its nature, is composed of colourful patches of fabric, both square and rectangular; the couch to her left is covered in a striped material in different hues, which echo the stripes on the wallpaper at the back of the room; the cushions, both square and round, display a multitude of patterns and colours. A container to the woman's right holds different coloured balls of wool or thread. Likewise, the top of the sideboard at the back of the room is crammed with objects in different shapes, sizes and colours, and even the pictures on the walls are varied. It is necessary to look very closely at this work in order to distinguish the various elements, which tend to become confused in the overall effect. Even the two figures can be drawn into the seething mass of textural activity. Once this distinction has been made it is interesting to see that Fr. Hanlon has succeeded in creating a tension in the work between the apparent calmness and tranquillity of the woman and the cat, and the wildly patterned setting.As a work of Fr. Hanlon's mid-period, Patch-work Quilt is reminiscent of the style of Matisse, who was said to have had an influence on him. There was a suggestion that he actually took lessons from Matisse during one of his trips to France, but there is no evidence for this.Mary Reilly Mary Reilly’s MA thesis was on Jack Hanlon and she has written extensively and given lectures on his work over the past decade.

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