30 May 2016

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DAYS END, INISHEER, ARAN
DAYS END, INISHEER, ARAN
John Skelton (1923-2009)

Auction Date / Lot No.: 30 May 2016 / 1

Published Estimate: €3000-5000

Price Realised: €3800

  • Signature: signed lower left; with original Oisín Gallery exhibition label on reverse
  • Medium: oil on canvas board
  • Dimensions: 14 x 18in. (35.56 x 45.72cm)
  • Provenance: Oisín Gallery, Dublin; Private collection;Whyte's, 30 May 2011, lot 241;Private collection
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WAITING FOR THE FOG TO CLEAR, DUNQUIN, COUNTY KERRY
WAITING FOR THE FOG TO CLEAR, DUNQUIN, COUNTY KERRY
John Skelton (1923-2009)

Auction Date / Lot No.: 30 May 2016 / 2

Published Estimate: €1000-1500

Price Realised: €1600

  • Signature: signed lower left; titled on Oisín Gallery [Dublin] label on reverse
  • Medium: oil on board
  • Dimensions: 11 x 16in. (27.94 x 40.64cm)
  • Provenance: Oisín Gallery, Dublin;Private collection
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HERE'S TO YOU MATT, 1986
HERE'S TO YOU MATT, 1986
Robert Taylor Carson HRUA  (1919-2008)

Auction Date / Lot No.: 30 May 2016 / 3

Published Estimate: €1500-2000

Price Realised: €1400


FIGURE BY A POND
FIGURE BY A POND
John Skelton (1923-2009)

Auction Date / Lot No.: 30 May 2016 / 4

Published Estimate: €1500-1800

Price Realised: €2200


GLENDALOUGH, COUNTY WICKLOW
GLENDALOUGH, COUNTY WICKLOW
Séamus Ó Colmáin (1925-1990)

Auction Date / Lot No.: 30 May 2016 / 5

Published Estimate: €1500-1800

Price Realised: €1400


VALLEYMOUNT AND POULAPHOUCA LAKE
VALLEYMOUNT AND POULAPHOUCA LAKE
Fergus O’Ryan RHA (1911-1989)

Auction Date / Lot No.: 30 May 2016 / 6

Published Estimate: €800-1200

Price Realised: €1000


THE MONASTERY, ROUNDSTONE
THE MONASTERY, ROUNDSTONE
Séamus Ó Colmáin (1925-1990)

Auction Date / Lot No.: 30 May 2016 / 7

Published Estimate: €1500-1800

Price Realised: €0

  • Signature: signed lower right; titled on reverse; with Oriel Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 16½ x 22½in. (41.91 x 57.15cm)
  • Provenance: Oriel Gallery, Dublin;Private collection
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LAKE WITH MOUNTAINS IN THE DISTANCE
LAKE WITH MOUNTAINS IN THE DISTANCE
Fergus O’Ryan RHA (1911-1989)

Auction Date / Lot No.: 30 May 2016 / 8

Published Estimate: €800-1200

Price Realised: €1000


NORTHEAST GALE, ANTRIM COAST
NORTHEAST GALE, ANTRIM COAST
Maurice Canning Wilks (1910-1984)

Auction Date / Lot No.: 30 May 2016 / 9

Published Estimate: €1800-2200

Price Realised: €3800


LANDSCAPE WITH THATCHED COTTAGE
LANDSCAPE WITH THATCHED COTTAGE
Charles J. McAuley (1910-1999)

Auction Date / Lot No.: 30 May 2016 / 10

Published Estimate: €1000-1500

Price Realised: €1100

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 12¾ x 16½in. (32.39 x 41.91cm)
  • Provenance: Whyte's, 29 September 2008, lot 155;Private collection
  • The proceeds of the sale of this work will be donated to the I.S.P.C.A. on behalf of the owner.

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COASTLINE, GWEEDORE, COUNTY DONEGAL, 1968
COASTLINE, GWEEDORE, COUNTY DONEGAL, 1968
Robert Taylor Carson HRUA  (1919-2008)

Auction Date / Lot No.: 30 May 2016 / 11

Published Estimate: €1800-2200

Price Realised: €1700


MUCKISH VIEW, COUNTY DONEGAL
MUCKISH VIEW, COUNTY DONEGAL
Robert Taylor Carson HRUA  (1919-2008)

Auction Date / Lot No.: 30 May 2016 / 12

Published Estimate: €1000-1500

Price Realised: €2200


DROPPING WELL, MILLTOWN, DUBLIN
DROPPING WELL, MILLTOWN, DUBLIN
Maurice  MacGonigal PRHA HRA HRSA (1900-1979)

Auction Date / Lot No.: 30 May 2016 / 13

Published Estimate: €800-1200

Price Realised: €1000

  • Signature: signed lower right; titled on reverse
  • Medium: oil on board
  • Dimensions: 6 x 5½in. (15.24 x 13.97cm)
  • Provenance: Acquired directly from the artist by the present owner's father
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COWS, CONNEMARA, 1978
COWS, CONNEMARA, 1978
Maurice  MacGonigal PRHA HRA HRSA (1900-1979)

Auction Date / Lot No.: 30 May 2016 / 14

Published Estimate: €600-800

Price Realised: €600

  • Signature: signed and dated lower right; with Taylor Galleries label on reverse
  • Medium: watercolour
  • Dimensions: 6 x 12in. (15.24 x 30.48cm)
  • Provenance: Taylor Galleries, Dublin;Private collection
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LÁ EARRAIGH, CONNEMARA [SPRING DAY, CONNEMARA]
LÁ EARRAIGH, CONNEMARA [SPRING DAY, CONNEMARA]
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 30 May 2016 / 15

Published Estimate: €2000-3000

Price Realised: €1700


WEST OF IRELAND LANDSCAPE
WEST OF IRELAND LANDSCAPE
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 30 May 2016 / 16

Published Estimate: €1200-1500

Price Realised: €1900

  • Signature: signed lower left; with Dawson Gallery framing label on reverse
  • Medium: oil on board
  • Dimensions: 10½ x 14in. (26.67 x 35.56cm)
  • Provenance: Private collection, Montreal;Galerie Heffel Québec, June 2012, lot 140;Whence purchased by the present owner
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THE ROAD TO MUCKISH GAP
THE ROAD TO MUCKISH GAP
James Humbert Craig RHA RUA  (1877-1944)

Auction Date / Lot No.: 30 May 2016 / 17

Published Estimate: €3000-5000

Price Realised: €2200


FARMHOUSE, WOMAN AND HENS
FARMHOUSE, WOMAN AND HENS
James Humbert Craig RHA RUA  (1877-1944)

Auction Date / Lot No.: 30 May 2016 / 18

Published Estimate: €10000-15000

Price Realised: €8000

  • Signature: signed lower left; with John Magee [Belfast] label on reverse
  • Medium: oil on canvas
  • Dimensions: 20 x 24in. (50.80 x 60.96cm)
  • Provenance: John Magee, Belfast;Private collection
  • Exhibited
  • Literature
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CONNEMARA LANDSCAPE, 1930-1940
CONNEMARA LANDSCAPE, 1930-1940
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 30 May 2016 / 19

Published Estimate: €80000-120000

Price Realised: €100000

  • Signature: signed lower right; with handwritten Bell Gallery [Belfast] and typed Frederick Gallery [Dublin] labels on reverse
  • Medium: oil on canvas
  • Dimensions: 15¼ x 18½in. (38.74 x 46.99cm)
  • Provenance: H. Bell, Esq., Belfast;Bell Gallery, Belfast;Frederick Gallery, Dublin, March 1998;Adam's, 1 June 2011, lot 16;Private collection
  • The subject of the present work is likely to be Connemara or County Kerry where the artist worked in the early to mid 1930s and it is probably based on sketches done while touring the west. The lightness of the palette - a reflection of his improved financial and domestic situation - as well as the handling of the paint in the sky and foreground also suggests an execution date around this period. The use of the roadway as a device to draw the eye into the composition is one which Henry frequently employed to bring depth to a composition. Here, the viewer's eye is drawn to the middle distance where the road recedes and is quickly halted by the background mountains and low hills. The narrative of the scene is confined to the cottages and turf stacks in the lower picture plane thus allowing the dominant cumulous clouds to take centre stage. Connemara Landscape was reproduced in the 1930s, possibly by the artist's dealer Combridge's, although the publishers are not known.We are grateful to Dr. S.B. Kennedy for his kind assistance in cataloguing this lot.

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ROUNDSTONE HARBOUR, 1970
ROUNDSTONE HARBOUR, 1970
Cecil  Maguire RHA RUA   (b.1930)

Auction Date / Lot No.: 30 May 2016 / 20

Published Estimate: €2000-3000

Price Realised: €3900


WICKLOW HARBOUR, 1923
WICKLOW HARBOUR, 1923
Leo Whelan RHA  (1892-1956)

Auction Date / Lot No.: 30 May 2016 / 21

Published Estimate: €3000-5000

Price Realised: €4000

  • Signature: signed and dated lower left; signed, titled and with artist's studio address [64 Dawson Street, Dublin] on reverse; also with provenance details on reverse
  • Medium: oil on canvas
  • Dimensions: 22½ x 29¾in. (57.15 x 75.57cm)
  • Provenance: RHA, Dublin;Where purchased by the Hon. Fred K. Lawless;Later with the Hon. Lady 'Rose' McGrath, Dublin (1969);Private collection
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WEST OF IRELAND ROAD THROUGH THE BOG, c.1932-1935
WEST OF IRELAND ROAD THROUGH THE BOG, c.1932-1935
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 30 May 2016 / 22

Published Estimate: €50000-70000

Price Realised: €82000

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 13 x 15in. (33.02 x 38.10cm)
  • Provenance: In the ownership of the present family for approximately fifty years
  • The overall light tone of this painting suggests a date of c.1932-5. The mountain seen in the background, given this date, is likely to be in Co. Kerry, rather than Connemara. The scene might even have been painted on the Dingle Peninsula, which Henry visited in 1935 (cf. The Mountain Road, S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale University Press, New Haven & London, 2007, p. 270, catalogue no. 856) to work on his Iveragh pictures (Kennedy, 'Paul Henry's Iveragh Pictures' in John Crowley & John Sheehan, The Iveragh Peninsula, Cork University Press, 2009, pp. 441-4.) The use of very fluid paint on the roadway and elsewhere also suggests a date of the early 1930s when the artist's mood - which is clearly reflected in his work - was lighter than it had been for most of the previous decade. The mountain, with its shoulder to the left, is also similar to The Mountain Road picture. In characteristic Henry fashion almost half of the picture plane is given to the sky, with its mixture of heavy cumulous clouds, which are not yet ominous, and the lighter cirrus clouds which are much higher. West of Ireland Road Through The Bog is numbered 1304 in S. B. Kennedy's ongoing cataloguing of Paul Henry's oeuvre.Dr. S.B. KennedyApril 2016

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SAINT FRANCIS OF ASSISI, c.1903
SAINT FRANCIS OF ASSISI, c.1903
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2016 / 23

Published Estimate: €4000-6000

Price Realised: €8000

  • Signature: signed in monogram upper left; with Dawson gallery framing label on reverse
  • Medium: gouache on card
  • Dimensions: 31½ x 19in. (80.01 x 48.26cm)
  • Provenance: 'Auction in Aid of the RHA Gallagher Gallery', Ely Place, Dublin, 6 May 1988; Where purchased by the present owner
  • This gouache was intended as a design for an embroidered sodality banner for Loughrea Cathedral, Co. Galway. It was executed in 1903 as part of a commission awarded to the fledgling Dún Emer Guild, which was founded in 1902 by Evelyn Gleeson. Her two principal partners in the venture were Jack Yeats' sisters, Susan and Elizabeth (or Lily and Lolly as they were known to family and friends). When the Guild received this prestigious commission, they invited Jack and his wife Mary (known as Cottie) to supply designs for the banners. Jack designed the Sacred Heart banner and the banners for all the male saints bar two (these were designed by Æ), whilst Cottie supplied designs for nearly all of the female saints. In all, twenty-nine banners were completed, with a further four designs being executed but ultimately not used. In the present work Yeats depicts St. Francis of Assisi, the Patron Saint of Ecology celebrated for his great love for animals and the environment. The scene depicted would suggest a reference to his Sermon to the Birds. In common with other Loughrea designs, the figure is drawn in heavy black outline silhouetted against a pale background. They wear monastic dress or Old Irish garments and their movement is created by the different attitudes or poses they adopt and by the vigorous lines or the folds of their garments. At the time of the commission, The Irish Homestead described the banners as displaying 'freshness and quaint naturalness', combined with 'sympathy and native feeling' and hailed them as the start 'of a new epoch in art work of this kind, wherein originality of design shall replace vulgarity and simple beauty replace tawdriness' (13 February 1904, p. 134).Examples of these designs can be found in the National Gallery of Ireland and Áras an Uachtarain.For further reading see: Pyle, Hilary, Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, nos. 447-459, p. 121-125.

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MEN BEATING LAMBEG DRUMS
MEN BEATING LAMBEG DRUMS
William Conor OBE RHA RUA ROI  (1881-1968)

Auction Date / Lot No.: 30 May 2016 / 24

Published Estimate: €5000-7000

Price Realised: €5600


JOE THE SWINEHERD, 1890
JOE THE SWINEHERD, 1890
Walter Frederick Osborne RHA ROI  (1859-1903)

Auction Date / Lot No.: 30 May 2016 / 25

Published Estimate: €60000-80000

Price Realised: €0

  • Signature: signed and dated lower left
  • Medium: oil on canvas
  • Dimensions: 20 x 27in. (50.80 x 68.58cm)
  • Provenance: Collection of the artist;Thence by descent;Private collection
  • Walter Osborne was fascinated by scenes of rural life and farming. This picture, Joe the Swineherd, is one of a series of atmospheric images of country people and farm hands at work, which he painted in the rural English landscape in the late 1880s and early 1890s. A boy in cap is shown in the foreground, watching over a group of pigs. The figures are vied in shadow, 'au contre jour', casting shadows upon the ground. The stubble fields stretch towards the gentle Downs in the distance, and the scene is lit by a warm golden light, evoking a sense of heat and atmosphere in a late summer or early autumn day. Small figures at work and some animals, a large haystack and a caravan, are visible in the distance and smoke rises from a fire.The scene may be set in Berkshire, in the Hampshire Downs, or close to Rye in Kent, where Osborne was working in these years. (1)Osborne's choice of subject, whether in Ireland, England, or on the Continent, was influenced not only by the village environment or landscape around him, but also by the availability of models, the boys and girls who agreed to pose for him; the girls in coiffes and aprons in villages in Brittany, for instance; the ragged crop-haired boys in Dublin streets, local children on English farms and in harbour towns; as well as the children of friends in Dublin gardens. In certain cases the particular name of the model has been recorded, giving a sense of intimacy to the subject. Thus, we have, for example, Marie, a Girl In Brittany; Bessie Osborne (no relation to the artist), who modelled for his painting Feeding Chickens, 1884 (2); Michael, a waiter in a hotel in Co. Kerry; Walter Armstrong in the Café de Madrid; and here, Joe, the Swineherd.Osborne painted a series of pictures of people at work in the flat English countryside. These include The Return of the Flock, 1885, A Shepherd and his Flock, 1887, Ploughing, c.1887, Potato Gathering, 1888, Harvest Time, 1890, (3) and Joe the Swineherd, 1890, one of the largest pictures in the series. Like the great French Peasant artists such as Millet and Charles Jacque, and the Dutchman Anton Mauve, who represented humble people and their flocks in an heroic manner, Osborne also observed shepherds and herders with their farm animals, such as horses, cattle, sheep, goats and here, pigs.During the medieval period belief in the Four Humours and the Four Elements associated the pig with the earth(4). Small groups of pigs grazing were depicted in some Books of Hours, and they appeared occasionally in Dutch and Flemish Genre paintings in the 17th Century.However, pigs appeared rarely in paintings by Barbizon and Realist artists of the 19th Century. The swineherd regarded as a lowly member of society. Yet pigs were featured in some farmyard scenes in Paul Serusier, of the Pont-Aven School, and later in a lively drawing by Picasso. (5)Osborne was thus most original in depicting this humble animal and its minder in their landscape in a Naturalistic and sympathetic manner. He may have been struck, as the present-day visitor to England is, by the large number of pig farms scattered across the countryside (6). He depicts a number of black domestic pigs, one of the common breeds, and a couple of brindled ones (7), conveying well their sociability and curiosity.Osborne places the figure of the boy in the lower right-hand corner of the picture. He wears a cap over fair hair, and is clad in plain, workday clothes; jacket, breeches and boots. He is viewed from behind, and looks at the pigs and into the landscape. Light falls on the side of his cap, trousers and boots, and shines on the backs of the pigs. The figures are set against the light, and cast mauve shadows upon the stubble field, which is rendered with bold, textured strokes. Osborne employs a rich variety of hues in the landscape: golds, pinks, yellows and lime greens, blues, violets and reds, the Downs in the background are green and pink, conveyed in long brushstrokes, while pale clouds rise above the horizon, gleaming with sunlight, giving a serene mood.The line of the stick held by the boy, leading into the picture, is counterpointed by a diagonal line on the Downs. From the foreground faint lines lead through the stubble into the distance, giving a sense of perspective to the picture. This perspective, the cropping of the composition, and the kind of glow around the figures, could suggest that Osborne made use of photography in composing his pictures, but this has not been confirmed.The model for the boy in Joe the Swineherd may appear in other contemporary pictures by Osborne, for example the fair-haired child with cap who rests against the haystacks in Harvest Time, c.1890, (although the latter appears younger), and in The Cornfield, 1890, (Dublin City Gallery The Hugh Lane). Osborne also painted a small study of Joe the Swineherd, which he exhibited at the Dublin Art Club in 1891. The forms of the pigs are echoed in a delightful pencil study of pigs sketched in Roundstone, Co. Galway in 1897 (8).The present picture of Joe the Swineherd was exhibited at several venues shortly after its completion: at the Royal Academy, London and at the Autumn Exhibition, Liverpool, in 1891 and at the Royal Hibernian Academy, Dublin the following year. It appears to have remained unsold at these venues, and Stephen Gwynn suggests that it remained in the artist's collection during his lifetime (8) (and perhaps reminding him (Osborne) of his happy youthful days painting in the countryside in sunshine). In 1983 the painting was included in the large Walter Osborne exhibition curated by Jeanne Sheehy, and held at the National Gallery of Ireland, Dublin.Dr Julian CampbellApril 2016 FOOTNOTES:1. Jeanne Sheehy Walter Osborne, Ballycotton, 1974, p.282. J. Sheehy, 1974, p.28; and Donal Maguire, 'A Letter from Walter Osborne', Irish Arts Review, Spring 2016, p.1443. J. Sheehy, 1974, cat. nos. 128, 152, 154, 180, 236 and 234; respectively, Irish Sale, Christie's, 15 May 2003, lot 37; J. Sheehy, Walter Osborne, 1983, cat. no. 26Important Irish Art, Adam's, 5 Dec. 2001, lot 41;Important Irish Art, Adam's, 4 Dec. 2015, lot 69;Important Irish Art, Adam's/Bonham's, 29 May 2002, lot 41;4. James Hall, Dictionary of Subjects and Symbols in Art, 1979 edition, p.130.5. eg. Paul Serusier, Breton Woman Feeding Pigs. (Musée departmen de Prieure, Saint-Germain-en-Laye; Picasso, Pigs, c.1906 (Succession Picasso).6. However, some native breeds of pig are in decline in Britain, Country Life, 18 Feb. 2015, p.26.7. Stephen Gwynn described the animals in Osborne's pictures as 'black Berkshire yearlings'. Gwynn, Garden Wisdom, 1921, p.30.8. W. Osborne, Pig Studies, Roundstone, 1897, Important Irish Art, Adam's, 4 Dec. 2012 lot 67. Compare to Picasso's drawing Pigs, (see note 5, above).(I am grateful to George Mealy, Snr, and Cait Madigan, Mealy's Castlecomer, for assistance in my research).

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RABBITING
RABBITING
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2016 / 26

Published Estimate: €10000-15000

Price Realised: €0

  • Signature: signed upper right; original Dawson Gallery label on reverse
  • Medium: ink drawing
  • Dimensions: 13½ x 12in. (34.29 x 30.48cm)
  • Provenance: Dawson Gallery, Dublin;Private collection;Whyte's, 18 May 2009, lot 73;Private collection
  • Both pencil and ink drawings (lots 26 27) were originally acquired from the Dawson Gallery. Each is inscribed on the back 'Jack B. Yeats, Strete, N. Dartmouth, South Devon', in the artist's hand.Yeats lived in Strete between 1897 and 1910, after which he settled in Ireland permanently. During these 13 years Yeats was a prolific illustrator, producing images for the Dun Emer and Cuala Industries in Dublin as well as work for London based publishers. The medium and the technique of cross-hatching seen in the two drawings are typical of his working method at this time. The drawings were probably made as designs for printed illustrations but they do not appear to have been published. The subjects are of rural life, possibly of Devon rather than Ireland. After settling in the West Country of England Yeats became fascinated by local farming communities and his sketchbooks and watercolour paintings of the late 1890s are dominated by scenes of English rural life. From 1898 onwards Ireland becomes a more significant theme. The subject matter of both works refers to distinctive aspects of rural life, and possibly to the idea of different seasons. Rabbiting is a rather humorous image of a determined hunter looking for his prey while his dog stands guard. The latter appears to be modelled on Yeats' own dog, 'Hooley' who features in many of the artist's sketches of domestic life in Devon in these years. The subject recalls another untraced work which was exhibited in London in 1897 entitled 'When ferrets lie up and when rabbits are plentiful', which was subsequently reproduced but has not been traced (1). A print of the latter was sold through Whyte's as lot 26, 29 November 2005. The dominant trunk of the tree which forms the background to the scene is very stylised and indebted to the current vogue for Art Nouveau which Yeats experimented with in his graphic work of the 1890s. Thatching in the Sun also focuses on a single individual. A thatcher at work on a rooftop is depicted in acute foreshortening which has the effect of flattening the thatch and the various tools strewn across it. The exaggerated awkwardness of the figure and the extreme perspective accentuate the primitive notions of the subject which could be either English or Irish in its origins. These drawings appear to date to an early period in the artist's development as a black and white illustrator before he had fully developed a distinctive style and approach. Both show his knowledge of post-impressionist art and design and his skill at creating vibrant and complex images from very simple subject matter. Footnote: H. Pyle, Jack B. Yeats. His Watercolours, Drawings and Pastels , Irish Academic Press, 1993, nos. 46-7, p. 63 Dr. Róisín Kennedy

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THATCHING IN THE SUN
THATCHING IN THE SUN
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2016 / 27

Published Estimate: €10000-15000

Price Realised: €0

  • Signature: signed lower right; original Dawson Gallery label on reverse
  • Medium: ink over pencil
  • Dimensions: 13½ x 12in. (34.29 x 30.48cm)
  • Provenance: Dawson Gallery, Dublin;Private collection;Whyte's, 18 May 2009, lot 74;Private collection
  • Both pencil and ink drawings (lots 26 27) were originally acquired from the Dawson Gallery. Each is inscribed on the back 'Jack B. Yeats, Strete, N. Dartmouth, South Devon', in the artist's hand. Yeats lived in Strete between 1897 and 1910, after which he settled in Ireland permanently. During these 13 years Yeats was a prolific illustrator, producing images for the Dun Emer and Cuala Industries in Dublin as well as work for London based publishers. The medium and the technique of cross-hatching seen in the two drawings are typical of his working method at this time. The drawings were probably made as designs for printed illustrations but they do not appear to have been published. The subjects are of rural life, possibly of Devon rather than Ireland. After settling in the West Country of England Yeats became fascinated by local farming communities and his sketchbooks and watercolour paintings of the late 1890s are dominated by scenes of English rural life. From 1898 onwards Ireland becomes a more significant theme. The subject matter of both works refers to distinctive aspects of rural life, and possibly to the idea of different seasons. Rabbiting is a rather humorous image of a determined hunter looking for his prey while his dog stands guard. The latter appears to be modelled on Yeats' own dog, 'Hooley' who features in many of the artist's sketches of domestic life in Devon in these years. The subject recalls another untraced work which was exhibited in London in 1897 entitled 'When ferrets lie up and when rabbits are plentiful', which was subsequently reproduced but has not been traced (1). A print of the latter was sold through Whyte's as lot 26, 29 November 2005. The dominant trunk of the tree which forms the background to the scene is very stylised and indebted to the current vogue for Art Nouveau which Yeats experimented with in his graphic work of the 1890s. Thatching in the Sun also focuses on a single individual. A thatcher at work on a rooftop is depicted in acute foreshortening which has the effect of flattening the thatch and the various tools strewn across it. The exaggerated awkwardness of the figure and the extreme perspective accentuate the primitive notions of the subject which could be either English or Irish in its origins. These drawings appear to date to an early period in the artist's development as a black and white illustrator before he had fully developed a distinctive style and approach. Both show his knowledge of post-impressionist art and design and his skill at creating vibrant and complex images from very simple subject matter. Footnote: H. Pyle, Jack B. Yeats. His Watercolours, Drawings and Pastels , Irish Academic Press, 1993, nos. 46-7, p. 63 Dr. Róisín Kennedy

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LOCAL AND TRAVELLING CHAMPIONS, DEVONSHIRE, 1897
LOCAL AND TRAVELLING CHAMPIONS, DEVONSHIRE, 1897
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2016 / 28

Published Estimate: €15000-20000

Price Realised: €0

  • Signature: signed lower left; with Waddington Galleries labels on reverse
  • Medium: watercolour, black chalk and pencil on paper
  • Dimensions: 14 x 10in. (35.56 x 25.40cm)
  • Provenance: Waddington Galleries, London;From where acquired by Mr & Mrs F. Hess, London;Sotheby's, 18 May 2000, lot 140;Private collection
  • Yeats was living in Devon when he painted this work, having moved there from London with his wife Cottie in 1895. It is one of several scenes of local fairs and markets that he produced before moving his focus to the West of Ireland in 1898. A tall thin man in a blue jacket approaches a man at a boxing booth. The title of the work, Local and Travelling Champions suggest that the stall's main attraction was pitching its champions against local contenders. The pair of boxing gloves hanging from the roof also indicates that visitors were welcome to try their luck in the ring. Paintings of boxing fights are prominently displayed above the entrance. One boxer, Sullivan, is named. The large rattle in the proprietor's hand was used to attract the crowds to the booth. Beyond to the right a competing attraction, 'the petrified man' is advertised. Yeats sketched boxing matches and travelling fairs endlessly in the early decades of his career. They provided opportunities to observe the performers and the crowds. His keen sense of the types of character that frequented such events is evident in the stance and expression of the stall holder. With his flat cap pulled down over his eyes, his patterned necktie, and his hand thrust in his pocket he appears both shrewd and shifty. The painting was included in one of Yeats's first one-man shows, at the Clifford Gallery in London in 1897. Dr Róisín KennedyApril 2016

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A PROFESSIONAL MAN, c.1905
A PROFESSIONAL MAN, c.1905
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2016 / 29

Published Estimate: €30000-40000

Price Realised: €0

  • Signature: signed lower left; with Waddington Galleries label on reverse
  • Medium: watercolour on card laid on board
  • Dimensions: 23 x 19¼in. (58.42 x 48.90cm)
  • Provenance: James Adam, 5 April 1979, lot 85;Private collection;Taylor de Vere, 1989;with Trinity Gallery, London;Private collection
  • Yeats was always fascinated by the social fabric of rural Ireland. His awareness of social class was sharpened by his travels with John Millington Synge through the Congested Districts Board in 1905, the year this work was painted. The two men noted the encounters between shopkeepers and wealthy farmers and the ordinary labourers in the illustrated articles that they produced for the Manchester Guardian. This splendidly coloured watercolour of a professional man in his frock coat is one of several paintings of different male occupations or types that Yeats produced at this time. The figure strides purposefully across the landscape in his urban attire with his incongruous umbrella and a red book, probably a ledger, in his gloved hand. The low-viewpoint and opaque application of paint enables Yeats to create a kaleidoscope of forms and colours in the sky and the rolling fields behind him.Dr Róisín KennedyApril 2016

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SALUD, 1924
SALUD, 1924
Seán Keating PRHA HRA HRSA   (1889-1977)

Auction Date / Lot No.: 30 May 2016 / 30

Published Estimate: €35000-45000

Price Realised: €52000

  • Signature: signed in Irish lower right
  • Medium: oil on board; with a second, incomplete self portrait on reverse
  • Provenance: RHA, Dublin, 1924;Purchased by Lady Longford from the artist, 1926; Edward Pakenham, 6th Earl of Longford; By whom given as a wedding gift to the parents of the present owner, 1949
  • One of the most important lessons passed to Seán Keating by his teacher at the Dublin Metropolitan School of Art, William Orpen, was the necessity to paint every day. Rather like a trained musician, such practice keeps the eyes and hands in constant coordination. It was for this purpose, and not for reasons of vanity, that Keating painted so many self-portraits throughout his life. When without a model or a commission, nothing was easier for the artist than to follow the journey of his life by observing the ever-changing lines and contours of his face. Keating's wife, May, spent many years in Spain and is said to have even dreamed in Spanish. The couple maintained an interest in Spain and in later years had some involvement with the ambulance brigade that supported Irish men fighting on the republican side of the Spanish civil war. Keating rarely inscribed his paintings with their correct titles, and over the years new titles have been ascribed according to the content of the work. It is, therefore, a genuine pleasure to be in a position to reinstate the correct title to a previously mistitled work.Painted in 1924 at the artist's home in Woodtown, Rathfarnham, Salud meaning good health or cheers, is an early, light filled and visually pleasing example of Keating's work. The artist has positioned himself in front of what appears to be a Spanish hacienda, with a Spanish-style blue and white majolica jug to his right; two visual signals which led to the painting being previously mistitled Self Portrait at the Hacienda. Holding his ubiquitous cigarette in one hand, with a drink of whatever in the other, and wearing his fedora hat, the artist appears extremely content amid the colourful landscape. His attitude is in stark contrast to the incomplete self-portrait on the reverse of the painting in which he stands minus his fedora hat and other accoutrements, and without his Spanish-style landscape. Keating sold the painting to Lady Longford in 1926, and from there it made its way to a private collection. Consequently, it has not been seen on public exhibition as Salud since 1924; it is an exciting rediscovery and a wonderful addition to the artist's lifelong series of self-portraits. Dr Éimear O'Connor HRHAAuthor of Seán Keating: Art, Politics and Building the Irish Nation(Kildare: Irish Academic Press, 2013)May 2016

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'THE DISCOVERY' BERTHED ON THE THAMES WITH SHELL MEX HOUSE IN THE DISTANCE, 1938
'THE DISCOVERY' BERTHED ON THE THAMES WITH SHELL MEX HOUSE IN THE DISTANCE, 1938
Harry  Kernoff RHA   (1900-1974)

Auction Date / Lot No.: 30 May 2016 / 31

Published Estimate: €1500-2000

Price Realised: €2300

  • Signature: signed lower left
  • Medium: watercolour
  • Dimensions: 13 x 9in. (33.02 x 22.86cm)
  • RRS Discovery was designed for Antarctic research and was the last traditional wooden three-masted ship to be built in Britain. In 1901 it was launched as a Royal Research Ship (RRS) and its inaugural mission was the British National Antarctic Expedition, carrying Robert Falcon Scott and Ernest Shackleton on their Discovery Expedition. In the late 1930s - when her research days were over - she was presented to the Boy Scouts Association as a static training ship for scouts in London. During the war her engines and boilers were removed for scrap to help with the war effort. She became too costly for the Scouts Association to maintain and was transferred to the Admiralty in 1954 and later used as a drill ship for the Royal Navy Auxiliary Reserve and also as a training ship for the Westminster Sea Cadet Corps.Today the Discovery is the centrepiece of the Discovery Point museum in Dundee.

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THE WINDOW, c.1940s
THE WINDOW, c.1940s
Patrick  Hennessy RHA   (1915-1980)

Auction Date / Lot No.: 30 May 2016 / 32

Published Estimate: €3500-4500

Price Realised: €3500

  • Signature: signed and indistinctly dated upper right
  • Medium: oil on canvas
  • Dimensions: 19½ x 11½in. (49.53 x 29.21cm)
  • Provenance: Sotheby's, 21 May 1999, lot 399;Private collection
  • Exhibited
  • Literature
  • Examples from this period in the artist's oeuvre form part of a major retrospective 'Patrick Hennessy: De Profundis' [24 March - 24 July 2016] currently taking place at the Irish Museum of Modern Art, Dublin and curated by Seán Kissane.

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MOTHER AND CHILD, 1950
MOTHER AND CHILD, 1950
Louis  le Brocquy HRHA   (1916-2012)

Auction Date / Lot No.: 30 May 2016 / 33

Published Estimate: €6000-8000

Price Realised: €6800

  • Signature: signed and dated lower right
  • Medium: pencil, wash and white crayon
  • Dimensions: 6¼ x 6¼in. (15.88 x 15.88cm)
  • Provenance: Sotheby's, 11 May 2006, lot 106;Private collection
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LIME WORKS, DOLPHIN'S BARN, DUBLIN, 1931
LIME WORKS, DOLPHIN'S BARN, DUBLIN, 1931
Harry  Kernoff RHA   (1900-1974)

Auction Date / Lot No.: 30 May 2016 / 34

Published Estimate: €2000-3000

Price Realised: €1900


THE FISH EATERS, 1946
THE FISH EATERS, 1946
Gerard  Dillon (1916-1971)

Auction Date / Lot No.: 30 May 2016 / 35

Published Estimate: €25000-35000

Price Realised: €24000

  • Signature: signed lower right; Arts Council of Ireland label on reverse
  • Medium: oil on board
  • Dimensions: 17¼ x 21in. (43.82 x 53.34cm)
  • Provenance: C.E.M.A. Collection, Tyrone House;Arts Council of Northern Ireland;Sotheby's, 24 November 1993, lot 29;Private collection;Sotheby's, 13 May 2005, lot 97;Private collection
  • In The Fish Eaters Gerard Dillon draws inspiration from Celtic manuscripts and the relief carving on the High Crosses that he studied while staying with his friend, the artist Nano Reid, in Drogheda. Dillon and Reid went out sketching to Monasterboice and Mellifont Abbey in the Boyne Valley where they studied the architecture and the relief carving on the monumental High Crosses which date from the tenth century. While staying with Reid in 1950, Dillon wrote to the Australian art historian Bernard Smith, 'I've done a lot of watercolours from early Christian carvings on an old Celtic Cross near here, they are wonderful - all the male figures have got big walrus moustaches like Douglas Hyde, the last President.' (1)The 'big walrus moustaches' that Dillon admired, one of which can be seen in The Fish Eaters, originate on Muiredach's Cross at Monasterboice. Like the Tall Cross at the same site, Muiredach's Cross is a 'scripture cross' carved with scenes from the Bible. In later paintings such as Holy Island, Dillon included balding figures with long curling moustaches that are comic self-portraits. The resemblance between the moustached figure in The Fish Eaters and the artist is not as obvious as it is in later works but this may still be an instance of the artist putting himself into the painting. As Niamh NicGhabhann has pointed out in her essay in the catalogue for the exhibition Nano Reid and Gerard Dillon, the images that Dillon borrowed from the high crosses were often changed or rearranged to suit his needs. (3) In this work, he has utilised the stylised figurative style and flattened perspective from high crosses to create a scene of four figures eating a meal of fish and potatoes. The bottle of Chianti in its traditional fiasco bottle, brings a contemporary note to what could otherwise be a timeless scene. From the window a west of Ireland landscape is visible and the statue of the Madonna and Child also helps to contextualise the scene. Unlike the similar work, Fast Day, which is now in the Drogheda Municipal Collection at Highlanes Gallery, The Fish Eaters does not feature the stylised patterning taken directly from Celtic manuscripts such as The Book of Kells. And yet, the simple dress and bare feet of the four figures, which appear to be two men and two women, are more austere than other paintings of this period. The unadorned interior, simple clothes and dominance of the statue of the Madonna and Child may suggest that this is an image of a religious community eating the traditional Friday meal of fish, or simply a very poor and pious household. Nano Reid's painting Friday Fare, painted in 1945, a year before The Fish Eaters, also depicts a table laden with fresh fish, wine, fruit and vegetables, ready to be made into Friday's dinner.In his biography of Dillon, James White suggested that the high cross carvings plus the influence of manuscript illuminations, allowed Dillon to move away from the literary nature of much Irish art and to combine narrative painting with modernist flatness. In The Fish Eaters, Dillon is not illustrating any particular story but does hint at a narrative that is neither ancient nor modern, but timeless. Dr Riann CoulterApril 20161. Letter from Gerard Dillon to Bernard Smith, 1950, CSIA, National Gallery of Ireland. 2. Niamh NicGhabhann, 'Ancient and Modern', Nano Reid and Gerard Dillon, exhibition catalogue, Highlanes Gallery, Drogheda, 2009, p.52.

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[MISCELLANEOUS OBJECTS], NORTH BRAY HARBOUR, COUNTY WICKLOW, 1935
[MISCELLANEOUS OBJECTS], NORTH BRAY HARBOUR, COUNTY WICKLOW, 1935
Harry  Kernoff RHA   (1900-1974)

Auction Date / Lot No.: 30 May 2016 / 36

Published Estimate: €30000-50000

Price Realised: €28000

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 27½ x 35in. (69.85 x 88.90cm)
  • Provenance: Acquired directly from the artist by the present owner's family
  • While perhaps better known for his city paintings, a large section of Harry Kernoff's oeuvre is concerned with the depiction of coastal resorts in close proximity to Dublin. Over the course of his long and productive career, the artist frequently visited and painted scenes of day-trippers and holiday-makers at Howth, Dollymount, Portmarnock, Dun Laoghaire, Sandymount, and as seen in this painting, Bray. As is typical of the artist's style, these paintings are generally painted in a bright, cheerful palette, complete with active figures and lively details. Bray was a popular destination for visitors from home and abroad: in 1933, the Irish Times praised the town for its 'fine esplanade and good facilities for bathing. It is fully provided with the best of hotels and boarding houses, and is an admirable starting place for motor and omnibus tours… .'(1) The present work shows a busy section of the beach, replete with boats and bathers. Against a blue sky, an idle train carriage stands on the embankment, and the frame of a gasometer (demolished in 1979) can be seen in the upper left hand corner. While some figures rest easy, such as the girl tentatively tanning her legs from the shadow of one of the boats or the man in a peaked cap enjoying his pipe, others are imbued with a sense of purpose and movement: a well-dressed woman walks resolutely past the pleasure-seekers, and a boy, perhaps fresh from the water, leaves with a towel wrapped around his shoulders. The Traveller caravan is a colourful, if slightly anomalous addition to the composition, while the 'Up Dev' slogan hints at the underlying political context of the period. Kernoff made a sketch for this painting on the 3 July, 1935 (NGI. 7766.352), and there are few differences between his initial notation of the scene and the finished oil painting; with the pale sunbather and small child in the lower right-hand corner forming the only additions. Born in London to Russian-Jewish parents, Kernoff and his family moved to Dublin in 1914. In addition to serving as an apprentice cabinetmaker to his father, Kernoff attended the Kevin Street Technical Schools, before graduating to evening classes at the Dublin Metropolitan School of Art. Success in the Taylor Scholarship in 1923 allowed the young artist to attend the DMSA as a full-time student, and his first one-man exhibition was held in 'The Gallery', 7 St Stephen's Green, in 1927. For the majority of his life, the artist lived at 13 Stamer Street, and became a well-known figure in Dublin - a reputation fastened by his dedication to portraying the city and its environs in his art. Kernoff's fondness for the Irish coast and landscape is recoded in his answer to a letter from Seán Ó'Faoláin, who wrote to the artist in August 1940 asking, 'what is the most beautiful thing you ever saw in Ireland?' He replied, 'A sunset from the top of Tibradden, away to Bray head and the Sugar Loaf…' FOOTNOTE [2]Dr Kathryn MilliganESB Fellow, ESB Centre for the Study of Irish Art, National Gallery of IrelandApril 2016Footnotes:1. 'Holiday Attractions', Irish Times, 12 August 1933, 13.2. Harry Kernoff Papers, National Library of Ireland, Ms 20, 917.

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QUEEN'S MEWS COURT, STORE STREET, DUBLIN, c.1939-1940
QUEEN'S MEWS COURT, STORE STREET, DUBLIN, c.1939-1940
Harry  Kernoff RHA   (1900-1974)

Auction Date / Lot No.: 30 May 2016 / 37

Published Estimate: €15000-20000

Price Realised: €16000

  • Signature: signed lower right; inscribed with title [Queen's Mews Court, Store Street, Dublin (Now Gone), 1940] and artist's address [Stamer St., Dublin] on reverse
  • Medium: oil on panel
  • Dimensions: 21 x 20in. (53.34 x 50.80cm)
  • Provenance: Acquired directly from the artist by the present owner's family
  • Brightly coloured and filled with bustling detail, this painting is characteristic of Kernoff's views of streets and lanes around Dublin.No longer part of the city's streetscape, Queen's Mews Court was located at the junction of Mabbot Street and Store Street, almost tucked under the overhead railway track. The original function of the Court was to serve as stabling for the Custom House, and in his seminal text Dublin 1660 - 1860 Maurice Craig described it as 'the Custom House Stables, Store Street'. (1) Kernoff has filled the composition with small details evocative of daily life in this small corner of the city. Clean laundry appears to waft gently in a breeze, casting strong, dark shadows on the pink wall of the terrace. The pavement is neat and tidy, save for a lingering puddle. The small black dog in the left hand corner can be found in many of Kernoff's Dublin paintings, such as Liberty Hall, Dublin (Night), (Whyte's, 1 October 2012, lot 64). The stance and braided hair of the young girl in on the right hand side is also repeated in other works, for example, Sunny Day, Dublin, 1943 (Crawford Art Gallery, Cork). A preparatory sketch in the collection of the National Gallery of Ireland (NGI.7766.411) is dated to 14 August 1939, and a comparison of the two works show that Kernoff made a number of changes to the composition in the finished painting. In the drawing, a steam engine is coming into sight on the railway bridge, while above the 'Kosy Kottage', two advertisements can be seen. In the present work, an eye-catching blue and white sign touts cut price cigarettes - a notable change from eggs, as seen in the drawing. The addition of the woman pushing a cart of laundry bags at the edge of the canvas, draws the viewer's eye, and we cannot but help follow her glance towards the children playing to the side. Dr Kathryn MilliganESB Fellow, ESB Centre for the Study of Irish Art, National Gallery of IrelandApril 2016Footnote:1. Maurice Craig, Dublin 1660 - 1860: a social and architectural history, Dublin, Allen Figgis Ltd., 1969, plate XLI.

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WEST OF IRELAND COUPLE AND HORSES
WEST OF IRELAND COUPLE AND HORSES
Gerard  Dillon (1916-1971)

Auction Date / Lot No.: 30 May 2016 / 39

Published Estimate: €30000-50000

Price Realised: €36000

  • Signature: signed lower right; with partial handwritten label on reverse detailing artist's name and address [26 Lower Clonard Street, Belfast]; also with canvas stamp verso [CH West / 115 Finchley Road / N.W.]
  • Medium: oil on canvas
  • Dimensions: 16½ x 21½in. (41.91 x 54.61cm)
  • Provenance: Collection of Phil Rafferty (friend of the artist);Thence by descent
  • Roundstone and Inishlacken were recurring sources of material and inspiration for Gerard Dillon, who became preoccupied with the 'Western idyll' (1) following his first trip to the west of Ireland in 1939. The present work shows a couple taking a leisurely stroll at the days end. Ahead of them along the narrow road are two horses grazing and, their bodies coupled with the neat stone walls, invite the viewer's eye into the picture and towards the centre of the composition. The peacefulness of the rural setting is echoed in the soft rhythmic brushstrokes and gentle changing of light in the dominant sky. There is an aura of calm surrounding the scene and this is further enhanced by the horses who appear unaffected by the approaching pair. Horses appear in several examples of Dillon's west of Ireland paintings such as The Jockey and Omey Island Ponies; the latter shown at the artist's retrospective exhibition in 1972-1973. In these works the figures are also shown interacting in a very natural way with the animals, riding bareback and with minimal reins. In 1949 Eileen Philomena (Phil) Rafferty (1919-1996) - to whom the present work pertains - and Alice West, both amateur artists, accompanied Dillon to Roundstone. Dillon had met Rafferty in London where he was working on building sites and they became firm friends. Dillon's oeuvre had a significant impact on her work and she would later exhibit at the IELA in 1960. In subsequent years Dillon's pilgrimages west drew others such as artist George Campbell and his wife Madge, author Kate O'Brien, Drogheda artist Nano Reid, Dr Maura McQuaid and artist Oisín Campbell among others.Footnote:1. White, James, Gerard Dillon: An Illustrated Biography, Dublin: Wolfhound Press, 1994, p.60

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SHAWL
SHAWL
Gerard  Dillon (1916-1971)

Auction Date / Lot No.: 30 May 2016 / 40

Published Estimate: €8000-12000

Price Realised: €10500

  • Signature: signed lower right; titled on label on reverse
  • Medium: oil on board
  • Dimensions: 9½ x 14in. (24.13 x 35.56cm)
  • This painting, depicting a woman sheltering two children under a traditional shawl, is set in a landscape that has the distinctive stone walls and white cottages of Connemara. Dillon first visited the west in 1939 and continued to spend periods painting in Connemara throughout the late 1940s and early 1950s. The figure of the woman sheltering her children has echoes of Beatrice Elvery's famous image Éire (1907). That painting depicts a female figure, half Madonna, half Celtic goddess, sheltering the people of Ireland in the folds of her green cloak. Bought by Maud Gonne for St. Enda's, the school that Padraig Pearse founded in Ranelagh, Éire combines nationalism and religion to create an iconic image that helped to inspire the struggle for Irish independence. Dillon was brought up in a Catholic and nationalist family in the Falls Road area of west Belfast and although he was to lose his faith and spent most of his life in London, he remained a committed nationalist and famously withdrew his work from the Irish Exhibition of Living Art when it toured to Belfast in 1969 in protest at Civil Rights abuses in the North. Although Shawl is not an explicitly nationalist painting, both Dillon's love of Connemara, the area of Ireland least influenced by British rule, and his use of Catholic and Celtic imagery within his work, enables a reading of this painting as part of his celebration of what he considered to be the 'real' Ireland. Dr Riann CoulterApril 2016

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ROMANTIC TINKER
ROMANTIC TINKER
Gerard  Dillon (1916-1971)

Auction Date / Lot No.: 30 May 2016 / 41

Published Estimate: €15000-20000

Price Realised: €0

  • Signature: signed lower left; with labels of Associated American Artists Galleries on reverse
  • Medium: oil on canvas
  • Dimensions: 14 x 18in. (35.56 x 45.72cm)
  • Provenance: Associated American Artists Galleries, New York, 1947;Private collection, USA;Thence by family descent
  • This painting which was first sold during an exhibition of Irish art held at the Associated American Artists Galleries, New York, in 1947 is also set in a west of Ireland landscape. In this case, a man kneels down to a woman and child who are sitting at the side of the road. The bright red cart in the background is familiar from a number of Dillon's paintings of Connemara from this period. The term Tinker which Dillon uses in the title, is now considered derogatory but was in common usage during the 1940s. In the 1930s and 1940s, Irish artists including Jack B. Yeats and Louis le Brocquy painted travellers and romanticised their way of life for similar reasons as British and European artists, such as Augustus John, had done a few years before. Traveller culture and their specific way of life, was considered to be more authentic and less tainted by materialism and British rule. In this image, it is unclear whether the man and woman are related or whether this is a chance meeting. There are two more figures on the cart who appear to be waiting for the man to come back. The man is dressed in a traditional waistcoat and kerchief and the barefoot woman wraps herself and her child in a large shawl not unlike the one featured in Shawl (lot 39). Dillon's observation of this scene verges on the ethnographic. Not only was he only a visitor in Connemara but he was also a boy 'from the red brick city' for whom the west and its inhabitants were exotic and worthy subjects for art. Dr Riann CoulterApril 2016

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SHELTERED GRAZING
SHELTERED GRAZING
Nano Reid (1900-1981)

Auction Date / Lot No.: 30 May 2016 / 42

Published Estimate: €5000-7000

Price Realised: €4800

  • Signature: signed lower left; inscribed and with exhibition labels on reverse
  • Medium: oil on board
  • Dimensions: 20 x 24in. (50.80 x 60.96cm)
  • Provenance: Dawson Gallery, Dublin;Gerard Byrne, Dundalk;Taylor Galleries, Dublin, August 1987;Private collection;Whyte's, 29 November 2005, lot 20;Collection of Jim O'Driscoll SC
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ABSTRACT COMPOSITION
ABSTRACT COMPOSITION
Gerard  Dillon (1916-1971)

Auction Date / Lot No.: 30 May 2016 / 43

Published Estimate: €1500-2000

Price Realised: €2500

  • Signature: inscribed with title and artist's name on reverse; with Arthur Armstrong Studio stamp on reverse
  • Medium: oil and sand on board
  • Dimensions: 20 x 19in. (50.80 x 48.26cm)
  • Provenance: Collection of Arthur Armstrong;His studio sale, de Vere's, 3 February, 1998;Private collection;Garrett O'Connor & Associates, 12 September 2005, lot 163;Private collection;Whyte's, 26 May 2014, lot 74;Private collection
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I SAW NOTHING
I SAW NOTHING
Gerard  Dillon (1916-1971)

Auction Date / Lot No.: 30 May 2016 / 44

Published Estimate: €8000-10000

Price Realised: €7500

  • Signature: signed lower right; with Taylor Galleries label on reverse
  • Medium: watercolour and pastel with collage on paper
  • Dimensions: 21 x 17½in. (53.34 x 44.45cm)
  • Provenance: Taylor Galleries, Dublin;Private collection
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SEA BEAST
SEA BEAST
Gerard  Dillon (1916-1971)

Auction Date / Lot No.: 30 May 2016 / 45

Published Estimate: €2500-3500

Price Realised: €2500

  • Signature: signed on reverse; with Taylor Galleries label on reverse
  • Medium: oil and sand on board
  • Dimensions: 20 x 24in. (50.80 x 60.96cm)
  • Provenance: Taylor Galleries, Dublin;Private collection
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MOON & GRASSES and CLOUDS, GRASSES AND STONES (A PAIR)
MOON & GRASSES and CLOUDS, GRASSES AND STONES (A PAIR)
Anne Yeats (1919-2001)

Auction Date / Lot No.: 30 May 2016 / 46

Published Estimate: €1200-1500

Price Realised: €2000

  • Signature: signed lower right; with typed Tom Caldwell Gallery [Dublin] labels on reverse
  • Medium: oil on board; (2)
  • Dimensions: 16 x 21½in. (40.64 x 54.61cm)
  • Provenance: Tom Caldwell Gallery, Dublin;Private collection
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NOCTURNAL SCENE WITH GOATS AND BIRDS
NOCTURNAL SCENE WITH GOATS AND BIRDS
Basil Ivan  Rákóczi   (1908-1979)

Auction Date / Lot No.: 30 May 2016 / 47

Published Estimate: €3000-5000

Price Realised: €4000

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 24½ x 31in. (62.23 x 78.74cm)
  • Basil Rákóczi was born in London in 1908 to a Hungarian father and an Irish mother. He painted from a very early age and received his formal training at Brighton School of Art before studying at the Académie de la Grande Chaumiére, Paris. In 1935 he founded the Society for Creative Psychology at 8 Fitzroy Street, London, where he met fellow artist Kenneth Hall. The two became good friends and as war approached the pair decided to move to Ireland. While in Ireland, they exhibited with other artists such as Mainie Jellett, Norah McGuinness and Louis le Brocquy as the White Stag Group. Rákóczi showed ten works at the RHA between 1946 and 1952.

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FROM THE ARTIST'S STUDIO ACROSS THE DUBLIN MOUNTAINS
FROM THE ARTIST'S STUDIO ACROSS THE DUBLIN MOUNTAINS
Norah   McGuinness HRHA   (1901-1980)

Auction Date / Lot No.: 30 May 2016 / 48

Published Estimate: €2000-3000

Price Realised: €1400

  • Signature: signed with initials lower right; titled on reverse; bears handwritten label inscribed [Rhoda McGuinness, 53 York Rd, D/L] on reverse
  • Medium: watercolour
  • Dimensions: 15½ x 19½in. (39.37 x 49.53cm)
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VIEW OF THE CARLISLE BRIDGE AND DARGLE RIVER, BRAY
VIEW OF THE CARLISLE BRIDGE AND DARGLE RIVER, BRAY
Yann Ranard Goulet RHA (1914-1919)

Auction Date / Lot No.: 30 May 2016 / 49

Published Estimate: €600-800

Price Realised: €950

  • Signature: signed lower left; with an Irish Times excerpt on Goulet by Aidan Dunne preserved on reverse
  • Medium: oil on canvas
  • Dimensions: 21 x 25in. (53.34 x 63½cm)
  • Yann Renard Goulet was born in St Nazaire in Brittany in 1914, but became an Irish citizen when he moved here in 1947. Based in Bray, he quickly established himself on the artistic scene by winning a competition for the Custom House memorial in 1950. Known mainly for his sculptures, Goulet's expressive style distinguished him as an innovator in the Irish arts scene. He exhibited regularly at the RHA from 1960 to 1993 showing more than sixty works.For further reading see Theo Snoddy p.559

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CHELSEA FROM BATTERSEA BRIDGE
CHELSEA FROM BATTERSEA BRIDGE
George  Campbell RHA (1917-1979)

Auction Date / Lot No.: 30 May 2016 / 50

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: signed lower left; with title inscribed on Goodwin Galleries label on reverse
  • Medium: oil on board
  • Dimensions: 12 x 15in. (30.48 x 38.10cm)
  • Provenance: Goodwin Galleries, Limerick;Private collection
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MEDITERRANEAN COVE
MEDITERRANEAN COVE
Kenneth Hall (1913-1946)

Auction Date / Lot No.: 30 May 2016 / 51

Published Estimate: €1000-1200

Price Realised: €1050

  • Signature: 'K. Hall' inscribed on reverse; also with 'Wertheim' on reverse
  • Medium: oil on canvas
  • Dimensions: 20 x 24in. (50.80 x 60.96cm)
  • The location of this scene is possibly Glyfada , Greece or a nearby coastal village where the artist spent time in the late 1930s. It is likely that this work formed part of the Lucy Wertheim (1883-1971) collection and was exhibited at her gallery of the same name in Albany, London. Wertheim was an avid supporter of emerging artists in London, many of those who formed part of the 'Twenties Group', such as Hall, Rákóczi, Kitwood and Norah McGuinness, all of whom benefited enormously from her patronage and support. Kenneth Hall would later be a key member of the ‘White Stag’ group in Dublin 1939–1945.

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