26 September 2016

  Records 1 to 50 of 178     Next 20 results Last results

POINT OF GARRON, COUNTY ANTRIM
POINT OF GARRON, COUNTY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 26 September 2016 / 3

Published Estimate: €2,000-3,000

Price Realised: €2500

  • Signature: signed lower left; titled on reverse
  • Medium: oil on canvas
  • Dimensions: 16 x 24in. (40.64 x 60.96cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


THE HARBOUR, BUNBEG, COUNTY DONEGAL
THE HARBOUR, BUNBEG, COUNTY DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 26 September 2016 / 4

Published Estimate: €5,000-7,000

Price Realised: €7600

  • Signature: signed lower left; titled on reverse
  • Medium: oil on board
  • Dimensions: 11¾ x 16¼in. (29.85 x 41.28cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


GYPSIES ON THE MOVE
GYPSIES ON THE MOVE
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 26 September 2016 / 5

Published Estimate: €5,000-7,000

Price Realised: €6400

  • Signature: signed lower left; titled on reverse
  • Medium: oil on canvas
  • Dimensions: 19½ x 26½in. (49.53 x 67.31cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature: The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.130 as Tinkers Moving (full page illustration)
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


BOYS FISHING
BOYS FISHING
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 26 September 2016 / 6

Published Estimate: €5,000-7,000

Price Realised: €11500

  • Signature: signed lower left; titled and with provenance "bought at RHA, Dublin" in a later hand on reverse
  • Medium: oil on canvas
  • Dimensions: 20 x 27in. (50.80 x 68.58cm)
  • Provenance
  • Exhibited
  • Literature
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


WOMEN WITH UMBRELLAS
WOMEN WITH UMBRELLAS
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 September 2016 / 7

Published Estimate: €2,000-3,000

Price Realised: €3800

  • Signature: signed lower left
  • Medium: charcoal
  • Dimensions: 13½ x 19½in. (34.29 x 49.53cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


MINDING GRANNY'S  HENS
MINDING GRANNY'S HENS
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 26 September 2016 / 8

Published Estimate: €5,000-7,000

Price Realised: €5600

  • Signature: signed lower left.
  • Medium: watercolour
  • Dimensions: 14½ x 20½in. (36.83 x 52.07cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature: The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.131 (illustrated)
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


GOING FOR THE BALLYGULLION BUS
GOING FOR THE BALLYGULLION BUS
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 September 2016 / 9

Published Estimate: €3,000-4,000

Price Realised: €5200

  • Signature: signed upper right; titled on reverse
  • Medium: crayon
  • Dimensions: 15¾ x 10½in. (40.01 x 26.67cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Ballygullion Ballads was a book of poetry written by Northern Irish writer Leslie Montgomery published in 1936. William Conor provided the illustrations for this and several later editions of the book. Previous to this, Montgomery had written the Ballygullion series, twenty books which fondly caricatured Northern Irish village life. Ballygullion is an imaginary townland area in the Slieve Gullion region of County Down. [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


ELDERLY WOMAN AND CHILD
ELDERLY WOMAN AND CHILD
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 September 2016 / 10

Published Estimate: €3,000-4,000

Price Realised: €4200

  • Signature: signed lower left; with John Magee [Belfast] label on reverse
  • Medium: crayon
  • Dimensions: 14¾ x 10¾in. (37.47 x 27.31cm)
  • Provenance: Gifted to R.M. Smyllie by the artist; Thence by descent; with John Magee, Belfast; Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Robert Maire "Bertie" Smyllie (1893-1954), was editor of The Irish Times from 1934 until his death in 1954. [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


WOMAN WITH HORSE AND CART
WOMAN WITH HORSE AND CART
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 September 2016 / 11

Published Estimate: €2,000-3,000

Price Realised: €2000

  • Signature: signed lower left
  • Medium: pencil
  • Dimensions: 19¾ x 15in. (50.17 x 38.10cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


SWIMMING GALA
SWIMMING GALA
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 September 2016 / 12

Published Estimate: €10,000-15,000

Price Realised: €0

  • Signature: signed lower right
  • Medium: crayon
  • Dimensions: 30 x 24in. (76.20 x 60.96cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


THE MILL GIRLS
THE MILL GIRLS
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 September 2016 / 13

Published Estimate: €3,000-5,000

Price Realised: €2800

  • Signature: signed lower left; titled on reverse
  • Medium: crayon
  • Dimensions: 13 x 9½in. (33.02 x 24.13cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Oil paintings on the theme of mill workers were shown at the RHA, Dublin, in 1919 (no. 137) and 1920 (no. 214). [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


THE SEE-SAW
THE SEE-SAW
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 September 2016 / 14

Published Estimate: €8,000-10,000

Price Realised: €8500

  • Signature: signed lower left
  • Medium: crayon
  • Dimensions: 13½ x 18½in. (34.29 x 46.99cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • The present lot is almost a mirror image, in terms of subject matter and composition, of The See-Saw (Botanic Gardens) which sold through these rooms on 10 October 2011 as lot 35. [TRADITIONAL] In the mid 1940s and early '50s Conor exhibited a series of work depicting children at play, including Swing High, Swing Low (1944), Hobby Horses (1947) and Chair-o-Planes (1951) and given the style of dress and the subject the present work can be dated to this same period. In the catalogue to the 2006 National Gallery exhibition 'A Time and a Place: Two Centuries of Irish Social Life', Brendan Rooney wrote on the companion piece - The See-Saw (Bontanic Gardens) included in that show - and his words would be equally fitting to describe the present example from that same series. "The carefree, excited play of children on a see-saw on a bright summer's day can be seen as a kind of pictorial antidote to some of the harsher realities - illness, physical work, penury and unemployment - of life in working-class Belfast in the 1920s and 1930s, and a counterpoint to the daily toils of artisans and the lower middle-class. Significantly, and not withstanding the complexity of Conor's identity, these pictures, including those of children at play, transcend the sectarianism that had crept with increasing virulence into Belfast from the late nineteenth century onwards. Conor delighted in depicting recreational activities, from music and games to singing, dancing, visits to the beach, theatre and even polo… [Conor's] ability to communicate glee and good-humour was unsurpassed. Nor was it one-dimensional. He could capture with equal alacrity the jovial confidence of an army recruit, the celebratory air of a wedding party, or the giddiness of a dancing couple." (1) A similar study for the present lot was exhibited at the Oriel Gallery's 'William Conor Centenary Exhibition', 8-22 July 1981, catalogue no. 9 (illustrated). 1. Rooney, Brendan, A Time and a Place: Two Centuries of Irish Social Life, NGI, Dublin, 2006, p. 119-20

  • Have one to sell? Interested in Similar Items?


NEAR FIESOLE, FLORENCE
NEAR FIESOLE, FLORENCE
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 26 September 2016 / 15

Published Estimate: €1,500-2,000

Price Realised: €5600

  • Signature: signed with initials lower left; signed and titled on reverse
  • Medium: oil on board
  • Dimensions: 7¾ x 10in. (19.69 x 25.40cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


WOMAN WITH CHILDREN AND LAMB IN A GARDEN
WOMAN WITH CHILDREN AND LAMB IN A GARDEN
Lady Beatrice Glenavy RHA (1881-1970)

Auction Date / Lot No.: 26 September 2016 / 16

Published Estimate: €4,000-6,000

Price Realised: €0

  • Signature: signed with monogram lower right
  • Medium: oil on canvas
  • Dimensions: 24 x 16in. (60.96 x 40.64cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


BOWL OF FRUIT c.1944
BOWL OF FRUIT c.1944
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 26 September 2016 / 17

Published Estimate: €12,000-15,000

Price Realised: €22000

  • Signature: signed lower left; titled on Dawson Gallery label on reverse; also with ROSC [1980] exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 20 x 22in. (50.80 x 55.88cm)
  • Provenance: Dawson Gallery, Dublin; Collection of George and Maura McClelland
  • Exhibited
  • Literature: The Hunter Gatherer - the Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p. 38 (illustrated)
  • Leech's Steele's Street studio was bombed twice during the Blitz of London in WWII but 20, Abbey Road, which May Botterell, Leech's subsequent second wife, had rented since 1938, had escaped with little damage. This fifth floor flat became Leech's home and studio until his Steele's Studio was repaired and until the couple moved to West Clandon, Surrey in 1958. Unable to paint in Regent's Park or down at the fish markets in Billingsgate, which reminded Leech of the earlier subject matter he enjoyed painting in the fishing village of Concarneau, Brittany. Indeed travel to France was now impossible so Leech's subject matter focused more on still-lifes, with views out of the window, flowers on a windowsill or a 'Bowl of Fruit'. The sunlight streams in the open window, highlighting the yellow of the bananas and some of the sides of the peaches, echoing the circular shape of the bowl. Leech's dramatic, characteristic, diagonal composition is evident in the framework of the Crittal windows and the edge of the windowsill. Areas of light contrast with the dark greens of the shadows of the trees in the garden below. This work was exhibited in Leech's first solo exhibition at the Dawson Gallery, Dublin, in June 1945. Surprisingly, Leo Smith reduced the price from Leech's £38 to £25 for the exhibition, perhaps indicating that Leech thought more highly of this work than Smith, as in most cases Smith invariably increased the prices submitted by Leech. The six works exhibited by Leech in the RHA in 1945, were mostly borrowed and were submitted from The Smith Gallery. 'Bowl of Fruit' was not exhibited at the RHA, possibly because Leech preferred to exhibit the work in his first exhibition with Leo Smith, a relationship which lasted until Leech's death in 1968, when all of Leech's finished works in his house and studio were bequeathed to Leo Smith of the Dawson Gallery for future exhibitions of his work after his death. This work, was purchased directly from the Dawson Gallery, by George and Maura McClelland, possibly during the period after Leech's death, when George McClelland had opened his art gallery in Belfast. George had an unerringly good eye and his love and appreciation of Leech's paintings remained unwavering throughout his life, with this work hanging constantly in the McClelland home. Dr Denise Ferran August 2016 [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


DONKEYS
DONKEYS
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 26 September 2016 / 18

Published Estimate: €1,500-2,000

Price Realised: €1400

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 13½ x 17½in. (34.29 x 44.45cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


A HOT DAY IN RUSH, COUNTY DUBLIN
A HOT DAY IN RUSH, COUNTY DUBLIN
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 26 September 2016 / 19

Published Estimate: €8,000-10,000

Price Realised: €18000

  • Signature: signed lower right; signed and titled on reverse
  • Medium: oil on canvas
  • Dimensions: 34 x 40in. (86.36 x 101.60cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


THE YELLOW JUG
THE YELLOW JUG
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 26 September 2016 / 20

Published Estimate: €2,000-3,000

Price Realised: €3600

  • Signature: signed lower right; signed and titled on reverse
  • Medium: oil on board
  • Dimensions: 19 x 15¼in. (48.26 x 38.74cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [TRADITIONAL]

  • Have one to sell? Interested in Similar Items?


THE VILLAGE BEYOND
THE VILLAGE BEYOND
Anne Estelle Rice (1877-1959)

Auction Date / Lot No.: 26 September 2016 / 21

Published Estimate: €3,000-5,000

Price Realised: €7000

  • Signature: signed and titled on reverse; with provenance details, Anne Estelle Rice exhibition catalogue [The Fosse Gallery, The Square, Stow-on-the-Wold, Gloucestershire, 8-20 December 1986] and ephemera relating to another solo show [The Annexe Gallery, 45 Wimbled
  • Medium: oil on board
  • Dimensions: 12 x 15½in. (30.48 x 39.37cm)
  • Provenance: As per the note on reverse: Acquired by George McClelland from the artist's daughter in-law Gill Drey at the Chenil Gallery, 181 Kings Road, London 1987
  • Exhibited
  • Literature
  • Born to Irish-American parents in Conshohocken, Pennsylvania in 1877 Rice studied at the School of Industrial Art and at the Academy of Fine Arts, both in her native city. During these early years she contributed illustrations to a number of magazines, including Collier's, Harper's and the Saturday Evening Post. In 1905 Rice travelled to Paris to illustrate the latest fashions for Philadelphia's North American magazine. Two years later she met the Scottish artist John Duncan Fergusson who encouraged her to become a painter. Her exposure in Paris to Post-Impressionism and Fauvism influenced her vivid palette and from 1910 she began to use pure primary and secondary colours. In 1909, Rice garnered an important commission from American merchant John Wannamaker to provide decorative murals for a new store in Philadelphia. Together with Fergusson and other members of his circle - she exhibited at the Ashnur Gallery in Paris, the Salon d'Automne (1908-1913) and the Salon des Independents (1911-1912). London's progressive Baillie Gallery gave Rice major exhibitions (1911 & 1913) and her work was also included in salons of the Allied Artists Association in England. In 1912 Rice met English art and theatre critic Raymond Drey and they were married in 1913 settling in England. During WWI her American patronage dwindled but by the 1920s she was painting still lifes and exhibiting at the Leicester Galleries and the Wildenstein Gallery in England. Rice continued to travel during this period to France, and sold paintings to collectors there and in the Netherlands, Denmark and Germany. In the 1930s her interest in theatre lead to work with London operatic and dramatic productions for whom she designed sets and costumes. Rice's work is represented in numerous private collections in the United States and the United Kingdom, as well as in University of Hull Art Collection; Te Papa, Wellington, New Zealand; and the Government Art Collection, England. [TRADITIONAL] Please note condition of this lot: Further to your recent inquiry, we are pleased to provide you with the condition report(s) as requested. This report has been prepared by Whyte's specialists and is in no way a substitute for physical examination by you and/or your advisors. Our specialists are not trained restorers and the report set forth below is not a comprehensive condition report prepared by a professional conservator. While we make certain observations on the work which we trust are helpful, we recommend you consult your own restorer for a more in depth report. Prospective buyers should note that this report will not disclose any imperfections which may only be revealed during the course of subsequent restoration. Buyers are reminded that Whyte's warranties with respect to property are limited as set forth in our conditions of sale and do not extend to condition. If you would like to receive a glossary of terms used in our condition reports, please contact the fine art department. Minor surface dirt visible throughout. Paint loss evident in cactus leaf lower centre. Chips of paint loss also visible tight to frame centre, right and in foreground lower left. Minor cracks visible in strip of green lower centre. Board is in stable condition. The work is presented unglazed in a contemporary gilt frame.

  • Have one to sell? Interested in Similar Items?


CUBIST COMPOSITION
CUBIST COMPOSITION
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 26 September 2016 / 22

Published Estimate: €2,000-3,000

Price Realised: €5200

  • Signature
  • Medium: gouache on card
  • Dimensions: 12 x 8½in. (30.48 x 21.59cm)
  • Provenance: Acquired from Leo Smith of the Dawson Gallery, 1972; Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [ABSTRACTS]

  • Have one to sell? Interested in Similar Items?


ABSTRACT COMPOSITION
ABSTRACT COMPOSITION
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 26 September 2016 / 23

Published Estimate: €2,500-3,500

Price Realised: €4400


VERONICA WIPES THE FACE OF CHRIST, 1949
VERONICA WIPES THE FACE OF CHRIST, 1949
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 26 September 2016 / 24

Published Estimate: €1,500-2,000

Price Realised: €2000

  • Signature: signed with initials and dated lower right; titled and inscribed [Design for the station of the cross at Killtulla [sic], Athenry, Co. Galway] on Dawson Gallery label on reverse
  • Medium: gouache
  • Dimensions: 12 x 9¾in. (30.48 x 24.77cm)
  • Provenance: Dawson Gallery, Dublin; Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • A memorial exhibition of Evie Hone's work took place in 1955. Among the exhibits was an example in stained glass of 'St. Veronica' lent by the artist Miss Kathleen Fox (1880-1963), catalogue no. 148. [ABSTRACTS]

  • Have one to sell? Interested in Similar Items?


COMPOSITION, 1924
COMPOSITION, 1924
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 26 September 2016 / 25

Published Estimate: €1,000-1,500

Price Realised: €3000

  • Signature: signed and dated lower right; exhibition label on reverse
  • Medium: gouache
  • Dimensions: 6¾ x 9¾in. (17.15 x 24.77cm)
  • Provenance: Artist's studio; Neptune Gallery, Dublin; Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [ABSTRACTS]

  • Have one to sell? Interested in Similar Items?


NATIVITY
NATIVITY
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 September 2016 / 26

Published Estimate: €20,000-30,000

Price Realised: €19000

  • Signature
  • Medium: hand-painted stone carving; (unique)
  • Dimensions: 17¾ x 18 x 3in. (45.09 x 45.72 x 7.62cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Images and textures of stone recur throughout Gerard Dillon's oeuvre, from the distinctive wall patterns in his West of Ireland paintings, to his idiosyncratic and playful interpretations of the carved Irish scripture crosses. Nativity, a hand-painted stone carving, is without parallel in Dillon's body of work, a unique and individual exploration of the traditional religious iconography and early Irish stone carving that he drew on throughout his career. Marking a departure from his two-dimensional work on paper and canvas, Nativity reveals Dillon's exploration of the graphic and sculptural potential of shallow-relief carving, as well as the layering of colours and tones on polished limestone. Although more often associated with his scenes of the Western Irish coast, and with his highly personal 'pierrot' or clown series, Dillon frequently employed religious iconography. In his biography of Dillon, James White highlighted the intensely religious visual culture that surrounded Dillon during his youth in Belfast, describing the 'altars with lamps and flowers would be in almost every little Catholic house in the Falls Road area', as well as the 'large coloured reproductions of the Sacred Heart and the Virgin'. (1) Forgive us our Trespasses (1942), for example, depicts the long queue for confession, whereas paintings such as The Holy Island or Fast Day engage explicitly with religious iconography and experience. Dillon's highly personal interpretations in these works, and particularly in Nativity, affirm his importance to the canon of religious art in twentieth-century Ireland. The formal structure of Nativity, with the individual figures depicted in carefully defined compartments, reflects the arrangements on the Irish carved scripture crosses, as well as his 'childhood love of cutting out and rearranging images from newspapers and magazines' (2). The inclusion of the three kings, and the kneeling shepherds at the base of the limestone block, balances the composition and focuses attention on the cross shape formed by the Christ child and angels. Both the formal arrangement and the treatment of colour and figures within Nativity reveal Dillon's deep engagement with Irish and European religious iconography. The figures of Mary and Joseph in profile reflect the flattened and stylised graphic style of Insular manuscripts such as the Book of Kells. The delicate washes of colour on stone and careful incisions delineating mass and form, however, may reflect the influence of medieval and early Renaissance Italian art, particularly the work of Giotto, or even the richly-coloured depictions of the Kings from the mosaics in Ravenna's Basilica of Sant' Apollinare Nuovo. The shallow-relief carving and formal arrangement of Nativity also echo early modern Irish grave-slab carving. The tonal depth and delicacy of this work on polished limestone is particularly evident when compared with a similar arrangement in wax crayon on paper, with its brighter and harsher colours, and with a flattened arrangement that resembles a design for stained glass (3). While Nativity remains unique within Dillon's oeuvre, the carved sharp relief of each figure in the stone perhaps influenced the strong graphic style of his later works, and particularly works such as Clown with Magnifying Glass in his Pierrot series. (4) Dr Niamh NicGhabhann August 2016 1. James White, Gerard Dillon: an illustrated biography (Dublin: Wolfhound Press, 1994), 18. 2. Catherine Marshall, 'Gerard Dillon', in Catherine Marshall, Peter Murray and Andrew Carpenter (eds.), Art and Architecture of Ireland, Volume 5 Twentieth Century, (London and New Haven: Yale University Press, 2015), p. 141. 3. Karen Reihill, Gerard Dillon, Art and Friendships, Adam's, Dublin, 2013, p.97 (catalogue no. 85 'Nativity'. "A preliminary drawing for a Bord Failte Christmas Card.") 4. Karen Reihill, 'Behind the mask', Irish Arts Review, Vol. 29, No. 3, Autumn/Winter 2012, 104-107.

  • Have one to sell? Interested in Similar Items?


CHILDREN AT PLAY, 1939
CHILDREN AT PLAY, 1939
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 September 2016 / 27

Published Estimate: €30,000-50,000

Price Realised: €29000

  • Signature: signed [Colin M] and dated [1939] lower left; titled on reverse
  • Medium: oil on canvas
  • Dimensions: 24 x 29½in. (60.96 x 74.93cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • The Belfast street scenes that Colin Middleton painted mostly during the war years reflect the depth and complexity of his own relationship with the city where he lived until well into his thirties. Some represent a particular named place, while many are unspecific but, as in Children at Play, present a highly stylised synthesis of the Victorian terraces and repeated architectural features that occurred throughout the city. Despite his familiarity, as a damask designer, with the factories and industrial landscape of Belfast, Middleton usually chose in his paintings to concentrate on the opposite side of city life, the tightly-organised residential streets and the lives led there. This housing was largely the result of Belfast's swift industrial expansion; the building that rises in the distance with its three chimneys resembles a factory or mill and is a reminder of the relationship between the people he depicted and the places that provided employment. The present painting demonstrates Middleton's affection for Belfast and his sense of solidarity with these anonymous inhabitants with whom he shared the city. Alongside the intense, generally non-naturalistic colour and the simplification of forms, this painting is composed with extreme sophistication, based on geometrical arrangements that connect the figures and the architectural environment in a series of interlocking shapes. A number of triangles both isolate and connect the cat and the various figures, while the arrangement of shapes in a range of scale and complexity creates small harmonious sections that also become part of the larger geometry of the composition. The repeated flat planes of colour and the abrupt curve as the street rises away demonstrate Middleton's awareness of Cézanne's compositional arrangements. The year of Children at Play, 1939, was highly significant for Middleton. His first wife, Maye, died in the summer of that year and following this loss he was apparently unable to paint for almost a year and also destroyed many of the paintings in his studio. It seems likely that this was painted earlier in the year and escaped the destruction of works. In this context, particularly given the outbreak of World War II in that same year, it takes on an added poignancy, a high-toned, intimate and peaceful recollection of an ordinary world in which children play innocently in the street and people go quietly about their business. Dickon Hall August 2016

  • Have one to sell? Interested in Similar Items?


ASTRAL SYMBOLS III
ASTRAL SYMBOLS III
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 September 2016 / 28

Published Estimate: €3,000-5,000

Price Realised: €3800

  • Signature: signed in monogram on tacky margin verso; also with provenance written on stretcher verso
  • Medium: oil on canvas
  • Dimensions: 14½ x 11in. (36.83 x 27.94cm)
  • Provenance: Acquired directly from the artist, 1971; Collection of George and Maura McClelland
  • Exhibited
  • Literature: The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.72 (illustrated)
  • Have one to sell? Interested in Similar Items?


ASTRAL SYMBOLS
ASTRAL SYMBOLS
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 September 2016 / 29

Published Estimate: €3,000-5,000

Price Realised: €3800

  • Signature: signed with monogram lower right
  • Medium: oil on canvas
  • Dimensions: 14¼ x 10¼in. (36.20 x 26.04cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


STUDIO FANTASY, 1961
STUDIO FANTASY, 1961
Gerard Dillon (1916-1971)

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

Published Estimate: €1,500-2,000

Price Realised: €1800

  • Signature: signed and dated lower right; with exhibition label on reverse
  • Medium: mixed media
  • Dimensions: 9½ x 7in. (24.13 x 17.78cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


OLD WOMAN AND CLOCK
OLD WOMAN AND CLOCK
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 September 2016 / 31

Published Estimate: €5,000-7,000

Price Realised: €0

  • Signature: with artist's studio stamp on reverse
  • Medium: oil and ink on board
  • Dimensions: 8¾ x 8¾in. (22.23 x 22.23cm)
  • Provenance: 'The Colin Middleton Studio Sale', Christie's, 4 October 1985, lot 197; Private collection
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


CROSS BOA ISLAND, COUNTY FERMANAGH
CROSS BOA ISLAND, COUNTY FERMANAGH
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 September 2016 / 32

Published Estimate: €1,500-2,000

Price Realised: €1800

  • Signature: signed with monogram lower right; inscribed with title, artist's name and date on Irish Museum of Modern Art exhibition label on reverse
  • Medium: oil on balsam wood
  • Dimensions: 3 x 3in. (7.62 x 7.62cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Boa Island is located near the north shore of Lower Lough Erne in County Fermanagh.

  • Have one to sell? Interested in Similar Items?


FEMALE FIGURE, 1958
FEMALE FIGURE, 1958
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 September 2016 / 33

Published Estimate: €1,500-2,000

Price Realised: €1400

  • Signature: signed with monogram and dated lower right
  • Medium: crayon and watercolour on paper
  • Dimensions: 12½ x 9in. (31¾ x 22.86cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


LEA VALLEY, CORK, 1971
LEA VALLEY, CORK, 1971
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 September 2016 / 34

Published Estimate: €3,000-4,000

Price Realised: €4800

  • Signature: signed lower right; signed, dated and titled on reverse
  • Medium: oil on board
  • Dimensions: 12 x 12in. (30.48 x 30.48cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


THE STRANGER, 1952
THE STRANGER, 1952
Deborah Brown HRUA (b.1927)

Auction Date / Lot No.: 26 September 2016 / 35

Published Estimate: €2,000-3,000

Price Realised: €1900

  • Signature: signed lower right; signed, titled, dated and with artist's address [53 Marlborough Park Sth, Belfast] on reverse
  • Medium: oil on board
  • Dimensions: 18 x 24in. (45.72 x 60.96cm)
  • Provenance
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


VAGABONDS
VAGABONDS
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 26 September 2016 / 36

Published Estimate: €4,000-6,000

Price Realised: €3800

  • Signature: signed lower right; titled on reverse
  • Medium: oil on board
  • Dimensions: 12 x 16in. (30.48 x 40.64cm)
  • Provenance: Sotheby's, 20 July 1988, Lot 194; Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


THE YOUNG BRIDE
THE YOUNG BRIDE
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 26 September 2016 / 37

Published Estimate: €2,000-3,000

Price Realised: €3200

  • Signature: signed lower right; titled on reverse
  • Medium: oil on board
  • Dimensions: 11¾ x 4¾in. (29.85 x 12.07cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


FLOWERS IN A VASE
FLOWERS IN A VASE
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 26 September 2016 / 38

Published Estimate: €3,000-5,000

Price Realised: €2800

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 15¾ x 11¾in. (40.01 x 29.85cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


SHAWLIE WITH TREES AND COTTAGES
SHAWLIE WITH TREES AND COTTAGES
Markey Robinson (1918-1999)

Auction Date / Lot No.: 26 September 2016 / 39

Published Estimate: €2,000-3,000

Price Realised: €3400


THE TINKERS' CAMP
THE TINKERS' CAMP
Markey Robinson (1918-1999)

Auction Date / Lot No.: 26 September 2016 / 40

Published Estimate: €5,000-7,000

Price Realised: €11000

  • Signature: signed lower right; titled on reverse
  • Medium: oil on masonite board
  • Dimensions: 24 x 48in. (60.96 x 121.92cm)
  • Provenance: Purchased directly from the artist in 1969; Private collection; Whyte's, 30 April 2007, lot 168; Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


COUPLE
COUPLE
Markey Robinson (1918-1999)

Auction Date / Lot No.: 26 September 2016 / 41

Published Estimate: €800-1,200

Price Realised: €1050

  • Signature: signed and numbered at base
  • Medium: bronze; (no. 3 from an edition of 4)
  • Dimensions: 9 x 6 x 3in. (22.86 x 15.24 x 7.62cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature: The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.139 (illustrated)
  • This work - also known as 'Man and Woman' - was also created in terracotta.

  • Have one to sell? Interested in Similar Items?


WAITING, FISH MARKET, GALWAY, 1971
WAITING, FISH MARKET, GALWAY, 1971
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 26 September 2016 / 42

Published Estimate: €2,000-3,000

Price Realised: €4200

  • Signature: signed and dated lower left; signed and titled on reverse
  • Medium: oil on board
  • Dimensions: 9½ x 11½in. (24.13 x 29.21cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


CARNIVAL AT GALWAY, 1956
CARNIVAL AT GALWAY, 1956
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 26 September 2016 / 43

Published Estimate: €2,000-3,000

Price Realised: €4800

  • Signature: signed and dated lower right; titled on reverse
  • Medium: oil on paper
  • Dimensions: 6¼ x 8in. (15.88 x 20.32cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [ABSTRACTS]

  • Have one to sell? Interested in Similar Items?


THE BROKEN GERANIUM, 1981
THE BROKEN GERANIUM, 1981
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 26 September 2016 / 44

Published Estimate: €8,000-10,000

Price Realised: €7500

  • Signature: signed lower right; with typed Ritchie Hendriks Gallery label on reverse; also with partial Caldwell Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 23½ x 15½in. (59.69 x 39.37cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature: The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.123 as 'Geranium in a Flowerpot, 1981' (full page illustration) [ABSTRACTS]
  • Have one to sell? Interested in Similar Items?


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

Auction Date / Lot No.: 26 September 2016 / 45

Published Estimate: €2,000-3,000

Price Realised: €5200

  • Signature: signed and numbered lower left
  • Medium: lithograph; (no. 6 from an edition of 20)
  • Dimensions: 30½ x 20½in. (77.47 x 52.07cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • The original watercolour and carbon drawing, Child with Doll, sold at Whyte's, 28 April 2008, as lot 53. Child with Doll was made in London in January 1949, at a crucial point in the development of Louis le Brocquy's art. Created between his celebrated Traveller paintings and the Grey Period works, of which A Family, 1951 (National Gallery of Ireland), is the best-known example, Child with Doll includes elements of both series. In form, the ragged toddler who trots along while embracing a smiling doll is reminiscent of the Traveller children who hang on their mother's skirts in paintings such as Tinkers Enter the City, 1947, and Tinkers Break Whitethorn, 1947. Yet in setting and theme Child with Doll presages many of the Grey Period works. Like A Family, Child in a Yard, 1953 (Dublin City Gallery: The Hugh Lane), and several of the other paintings that le Brocquy exhibited at the Venice Biennale in 1956, this image features a child whose humanity is contrasted with its stark surroundings. Dating from the post-war period when atomic catastrophe seemed a very real threat, these works combine the existential angst that dominated the work of le Brocquy's friend, Francis Bacon, with a humanistic celebration of the innocence of youth. Writing in 1950, James White suggested that the toddler in Child with Doll was based on the figure of a girl hugging a doll in The Fair at Bray Head, 1949 (see Lot 146). White wrote that, "the child became ... charged with a meaning of its own as a symbol of the lost children of Europe, wandering through a cruel world with wonder and only half-understanding". When it was recreated as a separate work (Child with Doll), the doll remained with it, as a symbol of yet another future generation that these children carry with them. In short, the child with doll is a parable of recurrent life, springing up through the ruins as fireweed grows on the rubble of a bombed house". (1) Le Brocquy has recalled how he heard of the horrors of the Holocaust first hand from his friend, the French-Jewish art dealer Charles Gimpel. Both the Traveller series and the stark interiors of the Grey Period works have been related to the multitudes of refugees displaced during World War II and its aftermath. (2) The connections between Child with Doll and the horrors of war are strengthened by an inscription on the verso of the original work which reads Homage À Jankel Adler. Born in 1895 into an Orthodox Jewish community in Poland, Adler made his home in Germany until the rise of National Socialism forced him to flee, firstly to France, and then to London. Adler, whom le Brocquy met in London in 1947, soon became both a friend and an inspiration to the young Irish artist. Throughout his long and fruitful career, Louis le Brocquy often acknowledged his artistic influences by creating hommages to their work. While his last shows in Dublin and London included hommages to Velazquez, Goya, Manet and Cezanne, Child with Doll is both one of his earliest hommages and a transitional work that lies at an important crossroads between the Irish orbit of the Travellers and the international arena of the Grey Period. Dr Riann Coulter 1 James White, 'Contemporary Irish Artists (VI): Louis le Brocquy', Envoy, vol. 2, no. 6, Dublin, May 6, 1950, p. 59. 2 See for example Yvonne Scott, Louis le Brocquy Allegory and Legend, exhibition catalogue Hunt Museum, Limerick, 2006, p. 24 [ABSTRACTS]

  • Have one to sell? Interested in Similar Items?


SEASIDE FAIRGROUND, BRAY HEAD, 1949
SEASIDE FAIRGROUND, BRAY HEAD, 1949
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 26 September 2016 / 46

Published Estimate: €6,000-8,000

Price Realised: €10000

  • Signature: signed and dated lower left; with note in the artist's hand on Gimpel Fils paper on reverse
  • Medium: watercolour on card
  • Dimensions: 6½ x 6in. (16.51 x 15.24cm)
  • Provenance: Gimpel Fils Gallery, London; Collection of George and Maura McClelland
  • Exhibited
  • Literature: The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p. 90 as Gypsy Children at Play, 1949
  • Note verso reads: 'Seaside Fairground' [16.8 x 15.2cm] This is a sketch of a fair at Bray Head made in 1949 from which I painted an oil (about 70 x 50cm) of the same subject now owned by my wife Anne Madden. Louis le Brocquy, London 25 / 4 / 1983 [ABSTRACTS]

  • Have one to sell? Interested in Similar Items?


TRAVELLERS, 1948
TRAVELLERS, 1948
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 26 September 2016 / 47

Published Estimate: €60,000-80,000

Price Realised: €58000

  • Signature: signed in the weave lower right
  • Medium: Aubusson tapestry, Atelier Tabard Frères et Soeurs, France; (from an edition of 9)
  • Dimensions: 70¼ x 39¼in. (178.44 x 99.70cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature: The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.88 (full page illustration)
  • In the years 1945-50, Louis le Brocquy was particularly drawn to the subject of Travellers, producing a substantial range of artworks - paintings, sketches and tapestries - exploring various aspects of the theme. As an artist, le Brocquy felt an affinity with the 'outsider' status of travellers, empathising with their exclusion from settled society, and admiring what he saw as their closeness to nature and lack of inhibition as well as their peripatetic, independent lifestyle. He was fascinated too by their rituals, and the symbolism like a secret language, conveyed through marks and arrangements of sticks. Le Brocquy had a special regard for strong female figures, and often spoke of how his mother Sybil set an important example for him, not least by bringing him as a child to witness the poverty of parts of the city. (1) Le Brocquy's admiration for maternal figures extended also to the women of the Traveller community, addressed in a number of his artworks, including the iconic painting Travelling Woman with Newspaper (1947-8), and the present tapestry Travellers (1948), which is understood to be the first of the tapestry series. (2) The artist explained that when he was based at Tullamore to carry out a private commission, he took the opportunity to observe and to sketch the travellers encamped nearby and noted in particular the role of women within the community. (3) In his tapestry designs of the 1940s and 50s, carried out by Atelier Tabard Frères et Souers at Aubusson, le Brocquy drew on his knowledge of classical mythology, and several examples involve the symbolism of the sun and the moon. Invoked in the writings of various philosophers who influenced Modernist thinking, the sun or Apollo, was associated with reason and logic, while the moon, typically personified by the huntress goddess Diana, could signify earthy nature and human emotion. As with many Modernist artists of the time, le Brocquy was interested in oppositions. In the Travellers tapestry, the crescent moon appears in the upper left of the image, and is reflected in the curls of the woman's hair and also in the patterning on her chemise. The woman is flanked on one side by the faun-like figure of a male, who clasps her arm, and on the other by a naked child clutched to her hip. This composition indicates something of the woman's prescribed role in the family at that time. She is presented as confined but also pivotal, providing the focal point of the image. Le Brocquy was aware of contemporary developments in art, and while the influence of Picasso and of Lurçat have been detected in the Travellers tapestry in terms of both aesthetic and design, this work is arguably as significant for demonstrating le Brocquy's interest in contemporary allegory, here relating Modernist philosophy and classical mythological symbolism to the rituals and way of life he observed as a local phenomenon in Ireland at the time. Dr. Yvonne Scott August 2016 1. Author in conversation with Louis le Brocquy, various dates. 2. Dorothy Walker, 'Le Brocquy's Tapestries' in Louis le Brocquy, Aubusson Tapestries, London (2001), unpaginated. 3. Yvonne Scott, 'Louis le Brocquy, Allegory and Legend' in Louis le Brocquy Allegory and Legend, Limerick (2006), pp.11-25. [ABSTRACTS]

  • Have one to sell? Interested in Similar Items?


STUDIES FOR WOMEN OF BELFAST SERIES (SET OF FIVE) 1973
STUDIES FOR WOMEN OF BELFAST SERIES (SET OF FIVE) 1973
Frederick Edward McWilliam RA HRUA (1909-1992)

Auction Date / Lot No.: 26 September 2016 / 48

Published Estimate: €8,000-10,000

Price Realised: €0

  • Signature: each signed and dated lower right
  • Medium: ink and watercolour; (5); (two of three framed uniformly)
  • Dimensions: 11 x 15½in. (27.94 x 39.37cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature: The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.114 (similiar studies from this series)
  • Dimensions of framed examples given. Sizes of other works: 11.75 by 16.5in, 8.25 by 11in. and 7.75 by 11in. [ABSTRACTS]

  • Have one to sell? Interested in Similar Items?


THE JUDO PLAYERS
THE JUDO PLAYERS
Frederick Edward McWilliam RA HRUA (1909-1992)

Auction Date / Lot No.: 26 September 2016 / 49

Published Estimate: €8,000-12,000

Price Realised: €8000

  • Signature: signed with initials and numbered at base
  • Medium: bronze; (no. 1 from an edition of 5)
  • Dimensions: 22 x 16 x 9in. (55.88 x 40.64 x 22.86cm)
  • Provenance: Bonham's, 16 July 1992, lot 180; Collection of George and Maura McClelland
  • Exhibited
  • Literature: The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.116 (full page illustration)
  • [ABSTRACTS], [SCULPTURE]

  • Have one to sell? Interested in Similar Items?


MATRIARCH, 1935
MATRIARCH, 1935
Frederick Edward McWilliam RA HRUA (1909-1992)

Auction Date / Lot No.: 26 September 2016 / 50

Published Estimate: €100,000-150,000

Price Realised: €90000

  • Signature: signed with initials
  • Medium: cherrywood; (unique)
  • Dimensions: 22 x 9 x 7in. (55.88 x 22.86 x 17.78cm)
  • Provenance: Collection of George and Maura McClelland Acquired from McWilliam's studio in the 1970s McW records 35.07 (the seventh work sculpted in 1935). Renovated by McWilliam in 1984.
  • Exhibited
  • Literature
  • In 1931, F.E. McWilliam travelled to Paris on a Robert Ross Leaving Scholarship from the Slade with fellow student Beth Crowther, from Golear, near Huddersfield, whom he was to marry in March 1932 at St. John's Presbyterian Church, Kensington, London. The McWilliams intended to live, study and work in Paris since: 'it was the mecca, and the whole atmosphere testified to this; holy ground, full of memories of Cézanne and the presence of Picasso.' He met Zadkine and visited his studio and he also went to Brancusi's studio and was given an extensive tour by the Romanian sculptor with long discussions on his work practice. However, in 1932/33 sterling collapsed against the French franc and both Beth and "Mac" (as he was known affectionately by his friends) were forced to return to England where they rented a home in Chartridge, Buckinghamshire set in a cherry orchard surrounded by sycamores. The couple only produced paintings when in Paris as sculpture was taught as a secondary subject at the Slade when McWilliam studied there and paintings were easier to sell, easier to execute and much easier to transport. However, with the ready material of fallen cherry trees and the space available McWilliam began carving, which was his first love. He had befriended the Belfast sculptor George MacCann (1909-67) as students in London and through him was introduced to Henry Moore. MacCann had been a student of Moore's at the Royal College of Art. Moore was, at the time, a carver in stone and wood and his influence then was enormous, not only in England but also internationally. Matriarch, the present work, belongs to this period when McWilliam realised the possibility of the trunk of a fallen cherry tree, to carve it into the recognisable form of a woman, yet creating an open space between the enfolding arms and the crossed legs as Moore had extolled in 1932. Moore believed that by opening up the sculpture it gave the work depth and the space creates a sense of volume, which McWilliam referred to as 'the 4th dimension.' McWilliam has revealed the richness of the cherry wood in carving along the grain and then painstakingly sanding it to smooth perfection. He never employed assistants or apprentices to finish his work or in Henry Moore's case to enlarge works from smaller maquettes. McWilliam's love of natural material is exemplified in this sensitive and timeless Matriarch. Dr Denise Ferran August 2016 [ABSTRACTS], [SCULPTURE]

  • Have one to sell? Interested in Similar Items?


RECLINING FEMALE, 1975
RECLINING FEMALE, 1975
Conor Fallon HRHA (1939-2007)

Auction Date / Lot No.: 26 September 2016 / 51

Published Estimate: €2,000-3,000

Price Realised: €3000

  • Signature: signed and dated on base
  • Medium: steel
  • Dimensions: 16 x 19½ x 11½in. (40.64 x 49.53 x 29.21cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [ABSTRACTS], [SCULPTURE]

  • Have one to sell? Interested in Similar Items?


GIRL WITH HAND ON HIP
GIRL WITH HAND ON HIP
Frederick Edward McWilliam RA HRUA (1909-1992)

Auction Date / Lot No.: 26 September 2016 / 52

Published Estimate: €10,000-15,000

Price Realised: €8000

  • Signature: initialled and numbered on base; with New Art Centre [London] exhibition card on underside of base
  • Medium: bronze; (no. 3 from an edition of 5)
  • Dimensions: 6 x 14½ x 4¾in. (15.24 x 36.83 x 12.07cm)
  • Provenance: New Art Centre, London; Collection of George and Maura McClelland
  • Exhibited
  • Literature: Gooding, Mel, F.E. McWilliam, Sculpture 1932-1989, Tate Gallery, London, 1989, p. 32 (another edition illustrated)
  • [ABSTRACTS], [SCULPTURE]

  • Have one to sell? Interested in Similar Items?


  Records 1 to 50 of 178     Next 20 results Last results