27 February 2017

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

Auction Date / Lot No.: 27 February 2017 / 1

Published Estimate: €2,000-3,000

Price Realised: €4200


FALCARRAGH, COUNTY DONEGAL, 1908
FALCARRAGH, COUNTY DONEGAL, 1908
William Percy French (1854-1920)

Auction Date / Lot No.: 27 February 2017 / 2

Published Estimate: €2,000-3,000

Price Realised: €5000


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

Auction Date / Lot No.: 27 February 2017 / 3

Published Estimate: €1,000-1,500

Price Realised: €3200

  • Signature: signed and indistinctly dated [190_] lower right
  • Medium: watercolour
  • Dimensions: 4¾ x 6¾in. (12.07 x 17.15cm)
  • Provenance
  • Exhibited
  • Literature
  • LANDSCAPE

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PULLING UP, RED BAY, COUNTY ANTRIM
PULLING UP, RED BAY, COUNTY ANTRIM
Charles J. McAuley (1910-1999)

Auction Date / Lot No.: 27 February 2017 / 4

Published Estimate: €1,500-2,000

Price Realised: €2800


WHITE PONY, SUMMER, COUNTY MEATH, 1981
WHITE PONY, SUMMER, COUNTY MEATH, 1981
John Skelton (1923-2009)

Auction Date / Lot No.: 27 February 2017 / 5

Published Estimate: €3,000-5,000

Price Realised: €0

  • Signature: signed and dated lower right; signed and titled on reverse; with Grattan Gallery [Dublin] label on reverse
  • Medium: oil and acrylic on canvas
  • Dimensions: 19¼ x 23¼in. (48.90 x 59.06cm)
  • Provenance
  • Exhibited
  • Literature
  • FIGURATIVE

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WOMEN IN THE PARK
WOMEN IN THE PARK
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 27 February 2017 / 6

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 16 x 20in. (40.64 x 50.80cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • With moonlight scene painted on reverse. FIGURATIVE

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AT LAYTOWN RACES, 1994
AT LAYTOWN RACES, 1994
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 27 February 2017 / 7

Published Estimate: €6,000-8,000

Price Realised: €5000

  • Signature: signed and dated [1995] lower right; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 20 x 36in. (50.80 x 91.44cm)
  • Provenance: Whyte's, 26 April 2005, lot 173; Private collection
  • Exhibited
  • Literature
  • Laytown strand races have been in existence for nearly one hundred and fifty years. At one time strand races were quite common in Ireland. Today Laytown races occupies a unique position in the Irish and English racing calendar as it is the only race event run on a beach under the rules of the Turf Club. FIGURATIVE

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VIEW OF LAMBAY ISLAND FROM LOUGHSHINNY, COUNTY DUBLIN
VIEW OF LAMBAY ISLAND FROM LOUGHSHINNY, COUNTY DUBLIN
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 27 February 2017 / 8

Published Estimate: €1,500-2,000

Price Realised: €3200

  • Signature: signed on reverse
  • Medium: oil on board
  • Dimensions: 16 x 20in. (40.64 x 50.80cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • With finished still life painting on reverse. LANDSCAPE

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LOUGHSHINNY HARBOUR, COUNTY DUBLIN
LOUGHSHINNY HARBOUR, COUNTY DUBLIN
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 27 February 2017 / 9

Published Estimate: €1,500-2,000

Price Realised: €0

  • Signature: signed lower left; signed, titled and with artist's address [30 Lorcan Avenue, Santry, Dublin] on reverse
  • Medium: oil on board
  • Dimensions: 16 x 20in. (40.64 x 50.80cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • LANDSCAPE

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THE NEW PIER, ROUNDSTONE, COUNTY GALWAY, 1993
THE NEW PIER, ROUNDSTONE, COUNTY GALWAY, 1993
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 27 February 2017 / 10

Published Estimate: €5,000-7,000

Price Realised: €5800

  • Signature: signed and dated lower right; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 20 x 24in. (50.80 x 60.96cm)
  • Provenance: Whyte's, 22 February 2005, lot 81; Private collection
  • Exhibited
  • Literature
  • LANDSCAPE

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WEST OF IRELAND LANDSCAPE WITH MOUNTAINS AND LOUGH
WEST OF IRELAND LANDSCAPE WITH MOUNTAINS AND LOUGH
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 27 February 2017 / 11

Published Estimate: €3,000-4,000

Price Realised: €0

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 19¼ x 23¼in. (48.90 x 59.06cm)
  • Provenance
  • Exhibited
  • Literature
  • With incomplete female portrait on reverse. LANDSCAPE

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DELPHI, CONNEMARA, 1975
DELPHI, CONNEMARA, 1975
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 27 February 2017 / 12

Published Estimate: €3,000-4,000

Price Realised: €3800


DONAGHADEE HARBOUR, COUNTY DOWN
DONAGHADEE HARBOUR, COUNTY DOWN
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 27 February 2017 / 13

Published Estimate: €5,000-7,000

Price Realised: €7400

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 14½ x 35½in. (36.83 x 90.17cm)
  • Provenance
  • Exhibited
  • Literature
  • Kenneth Webb will celebrate his 90th birthday this year with a major exhibition at The Gladwell Patterson Gallery, London, 12 May to 12 June. LANDSCAPE

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CATTLE IN A LANDSCAPE
CATTLE IN A LANDSCAPE
Charles J. McAuley (1910-1999)

Auction Date / Lot No.: 27 February 2017 / 14

Published Estimate: €1,000-1,500

Price Realised: €1000


IRISH COASTLINE, A SUMMER'S DAY
IRISH COASTLINE, A SUMMER'S DAY
James le Jeune RHA (1910-1983)

Auction Date / Lot No.: 27 February 2017 / 15

Published Estimate: €3,000-4,000

Price Realised: €0


BEACH NEAR ARDARA, COUNTY DONEGAL
BEACH NEAR ARDARA, COUNTY DONEGAL
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 27 February 2017 / 16

Published Estimate: €3,000-5,000

Price Realised: €3200


LOUGH FINN, COUNTY DONEGAL
LOUGH FINN, COUNTY DONEGAL
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 27 February 2017 / 17

Published Estimate: €3,000-4,000

Price Realised: €2900


ON THE RIVER SHANNON, CORBALLY, COUNTY LIMERICK
ON THE RIVER SHANNON, CORBALLY, COUNTY LIMERICK
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 27 February 2017 / 18

Published Estimate: €3,000-4,000

Price Realised: €0

  • Signature: signed lower left; titled on reverse; with Eakin Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 29¼ x 39½in. (74.30 x 100.33cm)
  • Provenance: Eakin Gallery, Belfast; Private collection
  • Exhibited
  • Literature
  • LANDSCAPE

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PORTNABLAGH, COUNTY DONEGAL, 1921
PORTNABLAGH, COUNTY DONEGAL, 1921
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 27 February 2017 / 19

Published Estimate: €4,000-6,000

Price Realised: €3100

  • Signature: signed lower left; signed, dated and titled on reverse
  • Medium: oil on panel
  • Dimensions: 14 x 17in. (35.56 x 43.18cm)
  • Provenance
  • Exhibited
  • Literature
  • LANDSCAPE

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LOUGH ALTAN, COUNTY DONEGAL, c.1934-38
LOUGH ALTAN, COUNTY DONEGAL, c.1934-38
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 27 February 2017 / 20

Published Estimate: €60,000-80,000

Price Realised: €58000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 13¾ x 15¾in. (34.93 x 40.01cm)
  • Provenance: Combridge's, Dublin; Where purchased by the father of the present owner
  • Exhibited
  • Literature: Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, no. 899, p. 277 (illustrated) as Landscape c.1934-38
  • This is a view of Altan Lough in County Donegal. It is identical to a picture of that title in Kennedy, catalogue number 828, which is titled on the reverse. This picture was possibly painted in late 1929 when Henry - just before he moved into Carrigoona Cottage in County Wicklow - took a break in north County Donegal, staying with his brother Robert at McFadden's Hotel in Gortahork. Yet, judged stylistically it is more likely to date from the 1930s at a time when Henry's manner had become much freeer. Lough Altan, or 'Lake of the Hillock', a mountain tarn virtually inaccessible by road, is situated some five or six miles south of the village of Gortahork in north County Donegal. The view represented in this picture looks to the south, the hills in the background being the Derryveagh Mountains and the peak at the centre of the composition being Dooish, which rises to a height of 2,147 feet. Henry painted in the area a number of times over the years as, for example, his Lough Altan, County Donegal, 1918-19 (Allied Irish Bank), testifies, and he and his elder brother Bob holidayed at McFadden's Hotel in Gortahork in the late 1920s (see Kennedy, 2007, catalogue number 231). The view depicted here is more dramatic in execution and thus must be of a later date, as the bold use of strong colours and modelling of light on the distant mountains - which is quite different from the Whistler-esque treatment of the artist's earlier pictures of the same scene - also suggests. In the original frame of Combridge's Gallery. This painting is listed as Landscape, c. 1934-38 and numbered 899 in S. B. Kennedy's 2007 catalogue raisonné. Dr. S.B. Kennedy January 2017 LANDSCAPE

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MOONLIGHT, INNER HARBOUR, BOSTON, 1905
MOONLIGHT, INNER HARBOUR, BOSTON, 1905
William Gerard Barry (1864-1941)

Auction Date / Lot No.: 27 February 2017 / 22

Published Estimate: €2,000-3,000

Price Realised: €3200

  • Signature: signed lower right; signed, titled and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 21½ x 35½in. (54.61 x 90.17cm)
  • Provenance
  • Exhibited
  • Literature
  • William Gerard Barry was born in Carrigtwohill in County Cork. His father was a local magistrate and he had seven siblings. He studied at the Crawford College and was known as a talented draughtsman. Encouraged by his tutor, Henry Jones Thaddeus, he continued his studies in Paris at the Académie Julian. Barry returned to Ireland, but following a row with his father he left on board a ship travelling from Cobh to Canada. He worked as a deck hand to pay his passage and in Canada he worked his way around until he could again afford to paint. He travelled through the United States and received commissions, including, it is said, one to paint President Wilson. Barry continued his travels south and on to the South Seas. He eventually settled back in Europe and worked from a studio on the French Riviera. He retired in France and is said to have shared a studio with Augustus John later in life. He painted less as he got older, instead preferring to carry out portraits in charcoal. The present work would date from his sojurn in America. Very few of Barry's paintings are in Irish collections and it is believed that most of them are in America unrecognised. LANDSCAPE

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TREE LINED SHORE
TREE LINED SHORE
Aloysius C. O’Kelly (1853-1936)

Auction Date / Lot No.: 27 February 2017 / 23

Published Estimate: €1,800-2,200

Price Realised: €1800


IN THE POTATO FIELDS, ECCLESFIELD, EARLY EVENING, 1913
IN THE POTATO FIELDS, ECCLESFIELD, EARLY EVENING, 1913
Stanley Royle RBA ARWA (1888-1961)

Auction Date / Lot No.: 27 February 2017 / 24

Published Estimate: €3,000-5,000

Price Realised: €4800

  • Signature: signed and dated lower right
  • Medium: watercolour and gouache
  • Dimensions: 18 x 27¾in. (45.72 x 70.49cm)
  • Provenance
  • Exhibited
  • Literature
  • In 1893 Stanley Royle's family moved from Stalybridge, Cheshire to Ecclesfield, a rural outlying district of Sheffield in South Yorkshire where his father became the stationmaster at Ecclesfield railway station. Royle's elder cousin, Herbert - already a highly successful landscape painter - encouraged him to pursue a career in painting. He gained a scholarship to the Sheffield Technical School of Art in 1908 and began exhibiting professionally three years later. Three of his paintings were accepted by the Royal Academy Summer Exhibition in 1913 - the year the present work was painted - and a prestigious commission from Frederick Horner, a local art dealer, to paint four large views in oils of Sheffield, followed in 1922. Royle and his family emigrated to Canada in the 1930s. There he taught at the Nova Scotia School of Art and later at the Mount Allison University in New Brunswick. In 1936 he was made an Associate Member of the Royal Canadian Academy, and the Art Gallery of Nova Scotia hold one of the largest public collections of his work. He returned to Britain in 1945 and continued to exhibit at the Royal Academy and was elected president of the Sheffield Society of Artists in 1950. The Paris Salon awarded him the Silver Medal in 1951 and the Gold Medal in 1955. During this decade Royle visited Ireland, Scotland, Cornwall and Brittany. Perhaps the best-known example of Royle's work in Ireland is the controversial The Goose Girl, c.1924 in the National Collection, Dublin which had originally been attributed to Irish artist William Leech. ANTIQUE FIGURATIVE

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AN EAST WIND, 1912
AN EAST WIND, 1912
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 27 February 2017 / 25

Published Estimate: €15,000-20,000

Price Realised: €22000

  • Signature: inscribed [To The Countess Becdelievre from John Lavery 1912] lower left; signed and titled on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 10 x 14in. (25.40 x 35.56cm)
  • Provenance: Adam's, 1 April 2009, lot 131; Private collection
  • Exhibited
  • Literature
  • In the autumn of 1912 Lavery sent his recently completed full-length portrait of Cécile Marie Ernestine Roger de Villers, Countess Becdelièvre, to the annual Autumn Exhibition at the Walker Art Gallery, Liverpool. Nothing is known about the circumstances of the commission and the portrait in which the countess wears, 'a wonderful Parisian creation in shimmering satin' remains unlocated. The present seascape, probably given to the countess at the time of the sittings, is the only evidence we have of the friendship that was formed as a result of the commission. Sketches, personally inscribed to favoured sitters, are not uncommon in the Lavery oeuvre. The fact that this represents a familiar group of rocks on the shore at Tangier may also indicate that the painter and his subject met in the 'White City'. In March 1912 while Lavery was working at his Tangier studio, and anticipating the wedding of his daughter, Eileen, General Lyautey invaded Morocco, making it a French protectorate. The numbers of diplomats and military personnel in the city immediately increased. Since the illustrious Becdelièvres were a military family, it is possible that the portrait commission resulted from this intervention - it was one of a number of portraits of the French nobility painted around this time, when the painter's reputation in Paris was consistently high. Between March and September 1912, at the International Society's exhibition in June, the painter had exhibited five small recent seascapes to which the present example may relate. All of these were 10 x 14 canvasboards, of which he had an ample supply. In the present case, the rocks on the left, stretching into a choppy sea, are likely to be those depicted on other occasions - most notably in A Rough Sea (Paisley Art Institute). At low tide, on a calmer day, these same rock pools would attract his wife and step-daughter, and their presence would be used to punctuate compositions that would then be re-worked on a larger scale. The beach also became a convenient thoroughfare for passers-by as in The West Wind 1911 (Private Collection). Few beach scenes however, apart from the Paisley picture and possibly, Tangier Bay, Rain 1910 (Ulster Museum), show inclement or potentially stormy conditions - as here. During the early months of 1912, as Lavery noted in a letter, the weather was colder and less predictable than usual, and strong easterlies swept the Straits of Gibraltar. While his painting activities were restricted, he was nevertheless a seasoned campaigner and small studies such as the present example were always possible. While the wind may whip up the sands on the shore, and threaten to overturn a larger easel, it made no impact upon the delightful freshness of the present sketch held securely in a field-box. Professor Kenneth McConkey January 2017 ANTIQUE LANDSCAPE

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MAN IN HELMET
MAN IN HELMET
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 27 February 2017 / 26

Published Estimate: €1,500-2,000

Price Realised: €1500

  • Signature: signed lower left
  • Medium: chalk
  • Dimensions: 20¼ x 14¾in. (51.44 x 37.47cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • It is thought that this drawing was done in the 1950s, when Keating began experimenting with crayon, pastel and coloured pencil together. He did an exhibition of 'pastels and drawings' which included work like this, in the Ritchie Hendriks Gallery in 1956, and showed more work like this in the Kenny Gallery in the 1970s. We are grateful to Dr Éimear O'Connor HRHA for her assistance in cataloguing this work. FIGURATIVE

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PORTRAIT SKETCH OF C.L. LIDBURY
PORTRAIT SKETCH OF C.L. LIDBURY
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 27 February 2017 / 27

Published Estimate: €1,500-2,000

Price Realised: €2300

  • Signature: with sitter's name lower right; with note relating to provenance on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 8½ x 6in. (21.59 x 15.24cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • On reverse: "This was a group of 5 sketches 4 similar to this and one costume sketch of cloths by Royal Dressmaker. The 3 men and 1 woman were all named similar to this one. The costume sketch and the bottom right of these 4 were signed. All sold separately, except this one later" signed by George McClelland and dated (1973) ANTIQUE FIGURATIVE

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PORTRAIT OF AN ELDERLY LADY, c.1904-1905
PORTRAIT OF AN ELDERLY LADY, c.1904-1905
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 27 February 2017 / 28

Published Estimate: €5,000-7,000

Price Realised: €5000

  • Signature: signed lower left
  • Medium: charcoal
  • Dimensions: 21½ x 15in. (54.61 x 38.10cm)
  • Provenance
  • Exhibited
  • Literature
  • Almost certainly drawn for the newspaper, To-day's 'Types' series which Henry worked on in 1904-5. In 1902 Ladbroke Black, a close friend of Henry's, left the Morning Leader and joined the weekly journal To-day as joint editor with Frank Rutter. Founded in 1893 by the novelist and playwright Jerome K. Jerome (1859-1927), To-day had a literary bias and therefore scope for original illustrations. Black gathered around him on the paper a number of friends, including Paul Henry, Robert Lynd and Walter Riddall, and so gradually the mantle of To-day was cast over them all. Paul Henry did illustrations, Lynd contributed essays, criticism and gossip, and Riddall wrote short sketches and book reviews. For his contributions Lynd was paid thirty shillings a week, so presumably Paul Henry earned a similar amount, an adequate wage by Edwardian standards. In the autumn of 1904 Henry began a series of illustrations called 'Types', for To-day. The Unfortunate, a drawing of an elderly pauper reading a paper by the Thames embankment at dusk first appeared on 5 October 1904, and was followed by The Grandmother (2 November), The Stick-Gatherer (9 November), The Ballad Singer (16 November), The Crank (23 November) and others. All of these drawings show Henry's debt to Whistler, his former teacher in Paris, and, indeed that he continued to admire Whistler is evident from his attendance at the latter's funeral on 23 July 1903. Henry's spell of full-time employment on To-day ended about 1905. This may have had something to do with Frank Rutter's leaving the paper to become art critic for the Sunday Times or, perhaps more likely, Paul simply grew tired of the repetitive routine, for throughout his life he disliked working to order. In any case he now began to work for a number of clients. Portrait of an Elderly Lady must date from about 1904-5, although its date of likely publication in To-day is not known. It is numbered 110A in S. B. Kennedy's ongoing cataloguing of Henry's oeuvre, and is similar in style to his Head of a Woman, also of c. 1904-5, reproduced in Kennedy, 2007, number 126, p. 125. Dr S.B. Kennedy ANTIQUE

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READING BY CANDLELIGHT
READING BY CANDLELIGHT
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 27 February 2017 / 29

Published Estimate: €1,500-2,000

Price Realised: €4000

  • Signature: signed lower right
  • Medium: ink
  • Dimensions: 3¼ x 6½in. (8.26 x 16.51cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ANTIQUE FIGURATIVE

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LANDSCAPE AT NIGHT
LANDSCAPE AT NIGHT
Susan Mary ('Lily') Yeats  (1866-1949)

Auction Date / Lot No.: 27 February 2017 / 30

Published Estimate: €3,000-5,000

Price Realised: €4600

  • Signature: signed lower right
  • Medium: silk embroidery on blue poplin ground; (framed)
  • Dimensions: 9½ x 14½in. (24.13 x 36.83cm)
  • Provenance
  • Exhibited
  • Literature
  • The present work is very close in design, colour and execution to Two Magpies on a Stone Wall, c.1934 which sold through Whyte's on 29 September 2008 as lot 123. In her catalogue note for that work Dr Nicola Gordon Bowe noted: "Lily Yeats first worked this distinctive design by her brother, the painter and graphic illustrator Jack Yeats, c.1910 in a version which remained in the Yeats' family collection until Anne Yeats' death. Before she and her sister Elizabeth ('Lolly') set up their independent Cuala Industries in 1908 in Churchtown, in the foothills of the Dublin mountains, both her brother and sister provided designs for Lily Yeats to execute. These she interpreted with the embroidered skills she had learnt and eminently practised during the six years she worked with William Morris's daughter, May, in London. In 1894, she left the Morris workshop and soon began exhibiting her own embroidered pieces, mostly focussing on artistically stylised flower compositions….. These were worked in the embroidery workshop she was invited to set up in 1902 by Evelyn Gleeson at her Dún Emer Guild in Dundrum, Co. Dublin. There she taught local, untrained girls a wide range of expressive stitches to emphasise the compositional and textural elements in the work they produced. Some pieces were framed, some incorporated into cushions, table or bed linen or furnishings, and some into clothing. Many were sold at nationalist art fairs and arts and crafts exhibitions in Dublin, London and New York, or given as presents far and wide." A rare and beautiful example of the Yeats' Cuala designs. LANDSCAPE

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SIDE CAR LEAVING AN INN or THE BAG MAN
SIDE CAR LEAVING AN INN or THE BAG MAN
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 27 February 2017 / 31

Published Estimate: €8,000-12,000

Price Realised: €7500

  • Signature: signed lower left
  • Medium: watercolour and pencil on card
  • Dimensions: 10 x 14in. (25.40 x 35.56cm)
  • Provenance
  • Exhibited
  • Literature
  • It is thought this picture might be that listed by Hilary Pyle in Jack Yeats - His Watercolours, Drawings And Pastels, as number 172 The Bag Man. The bowler hatted man seated on the side car features in Pyle (q.v.) number 173 - Untitled: "Two men on a side-car move quickly over a strand, drawn by a tandem [pair of horses]. "The latter was sold at Adam's on 26 September 2012 as lot 31 for €15,000. The same man can be seen on the side of the car in this picture and the side car and pair of horses is identical to those depicted here. The note to Pyle 172, The Bag Man, reads "The 'bag man' or commercial traveller, was an intriguing subject for Yeats. The same man is depicted in Pyle 162, After the Next Race I'll be Giving Away a Gold Watch, where Pyle describes him as a "fat bookie". The latter description is probably erroneous as there is no board behind him; rather he was a bag man or huckster who attends fairs, markets and race meetings selling discounted wares, with a talent for sales patter and tempting offers. If this is Pyle 172, it was sold to Sir Horace Plunket in 1899. Sir Horace Curzon Plunkett KCVO PC JP DL FRS, was an Anglo-Irish agricultural reformer, pioneer of agricultural cooperatives, Unionist MP for South Dublin 1892-1900, later supporter of Home Rule, Irish Senator and author. It has not been recorded in public until it was acquired in the USA in recent years by the present owner. If this fine drawing is not 172, it certainly it can be dated to 1899-1901 stylistically and for its subject matter. ANTIQUE FIGURATIVE

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FRESH HORSES, c. 1914
FRESH HORSES, c. 1914
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 27 February 2017 / 32

Published Estimate: €40,000-60,000

Price Realised: €42000

  • Signature: signed lower right; inscribed on reverse; with Waddington Galleries [London] exhibition label on reverse
  • Medium: oil on panel
  • Dimensions: 14 x 9in. (35.56 x 22.86cm)
  • Provenance: Sold by the artist to L. Smith, 1946; R. MacGonigal, Dublin; Victor Waddington, London, 1965; Peter O'Toole, London; Waddington Galleries, London; deVeres, 27 November 2012, lot 51; Private collection
  • Exhibited
  • Literature: Pyle, Hilary, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsh, London, 1992, Vol. I, page 78, catalogue no. 91 (illustrated in black and white)
  • Fresh Horses depicts a night-time scene of a well-dressed horseman bringing out new animals. These are intended for an unseen cart that has stopped temporarily for this purpose on its long excursion. The freshness of the horses is evident from their prancing legs and the frisky movement of their heads. This is especially obvious in that of the brown horse whose upturned eye reflects a night-time light and on whose rein the man has a firm hold. (The same light is reflected on the nose and body of the dun (beige) horse and on the jacket of the man, uniting the group and suggesting their vivid intrusion into the peaceful evening). The experienced coachman in his black cap and white muffler contrasts with the horses in his steady gait. The dramatic cut-off composition adds a note of modernity as well as elevating the sense of forward movement. The long empty road leading across a barren landscape behind the group suggests the long journey ahead and the ordeal of nocturnal travel. But the particular austere nature of the landscape dominated by the broad expanse of sky, also evokes the peculiar nature of coastal Mayo where sea and sky constantly intrude into the land. Hilary Pyle has traced Fresh Horses to an earlier drawing in one of Yeats's sketchbooks dating to 1905 when the artist was travelling in north Mayo in the company of J. M. Synge. The drawing is inscribed 'Changing Horses on the way to Belmullet'. Yeats referred to another sketch from this visit to Belmullet in his creation of The Country Shop (1912, National Gallery of Ireland). The experience of visiting this region was clearly very memorable and important to him. Yeats's interest in horses is evident from other paintings of this period including The Circus Wagon (1912, Private Collection), that shows the night-time arrival of a horse-driven coach into a sleeping town. The composition of Fresh Horses is however more intimate and more focused on the relationship between the animals and their minder. The painting has a very prestigious provenance. Having been acquired by the Dublin gallerist and admirer of Yeats's work, Leo Smith, it was subsequently owned by the collector and barrister, Richard MacGonigal and by the distinguished stage and screen actor, Peter O'Toole. 1. Hilary Pyle, Jack B. Yeats. A Catalogue Raisonné of the Oil Paintings, Andre Deutsch, 1992, I, p.78. FIGURATIVE

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GARDEN AT KILMURRY, COUNTY KILKENNY, 1901
GARDEN AT KILMURRY, COUNTY KILKENNY, 1901
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 27 February 2017 / 33

Published Estimate: €4,000-6,000

Price Realised: €0


WOODLAND FLOWERS
WOODLAND FLOWERS
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 27 February 2017 / 34

Published Estimate: €1,000-1,500

Price Realised: €950


GIRLS PLAYING IN THE WOODS
George Russell ("Æ") (1867-1935)

Auction Date / Lot No.: 27 February 2017 / 35

Published Estimate: €9,000-12,000

Price Realised: €0

  • Signature
  • Medium: oil on canvas
  • Dimensions: 20½ x 31½in. (52.07 x 80.01cm)
  • Provenance: Waddington Gallery, Dublin; Private collection of Leo Smith, Dawson Gallery; Thence to his sister Marion, Her sale, H.J. Byrne, Esplanade Hotel, Bray, 28 April 1983; Private collection
  • Exhibited
  • Literature
  • ANTIQUE FIGURATIVE

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CLIFDEN, COUNTY GALWAY
CLIFDEN, COUNTY GALWAY
Eva Henrietta Hamilton (1876-1960)

Auction Date / Lot No.: 27 February 2017 / 36

Published Estimate: €3,000-5,000

Price Realised: €2500

  • Signature: inscribed on reverse
  • Medium: oil on board
  • Dimensions: 14¼ x 17¼in. (36.20 x 43.82cm)
  • Provenance: Gifted by the artist to The Most, Reverend Michael Ramsey, Archbishop of Canterbury (1961-1974); Then gifted by Baron Ramsey's widow, Lady Joan Ramsey, to the father of the current owner
  • Exhibited
  • Literature
  • LANDSCAPE

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ROOFTOPS
ROOFTOPS
Stella Steyn (1907-1987)

Auction Date / Lot No.: 27 February 2017 / 37

Published Estimate: €1,200-1,500

Price Realised: €1200

  • Signature: signed on reverse
  • Medium: oil on canvas
  • Dimensions: 20 x 30in. (50.80 x 76.20cm)
  • Provenance: Whyte's, 17 September 2002, lot 66; Private collection
  • Exhibited
  • Literature
  • LANDSCAPE

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GATHERING TURF
George Russell ("Æ") (1867-1935)

Auction Date / Lot No.: 27 February 2017 / 38

Published Estimate: €6,000-8,000

Price Realised: €0

  • Signature: signed with monogram lower right
  • Medium: oil on canvas
  • Dimensions: 20¾ x 31¾in. (52.71 x 80.65cm)
  • Provenance: James Adam & Sons, 14 October 1976, lot 122; Private collection
  • Exhibited
  • Literature
  • ANTIQUE FIGURATIVE

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THE OLD COUNTY DOWN RAILWAY OFFICE, 1930
THE OLD COUNTY DOWN RAILWAY OFFICE, 1930
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 27 February 2017 / 39

Published Estimate: €1,500-2,000

Price Realised: €1300

  • Signature: signed and dated lower left; inscribed on Bell Gallery label on reverse
  • Medium: crayon
  • Dimensions: 9½ x 7¾in. (24.13 x 19.69cm)
  • Provenance: Bell Gallery, Belfast; Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • FIGURATIVE

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OLD BELFAST SHAWLIE
OLD BELFAST SHAWLIE
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 27 February 2017 / 40

Published Estimate: €1,000-1,500

Price Realised: €800

  • Signature: signed lower right
  • Medium: crayon on paper
  • Dimensions: 9 x 7in. (22.86 x 17.78cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • FIGURATIVE

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THREE GENERATIONS
THREE GENERATIONS
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 27 February 2017 / 41

Published Estimate: €3,000-4,000

Price Realised: €2900

  • Signature: signed lower centre
  • Medium: crayon on board
  • Dimensions: 29 x 23in. (73.66 x 58.42cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • FIGURATIVE

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SOFTLY SLEEPING, 1910
SOFTLY SLEEPING, 1910
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 27 February 2017 / 42

Published Estimate: €1,500-2,000

Price Realised: €1000

  • Signature: signed lower right; titled and dated upper left
  • Medium: ink over wax crayon on paper
  • Dimensions: 5½ x 7¼in. (13.97 x 18.42cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • FIGURATIVE

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

Auction Date / Lot No.: 27 February 2017 / 43

Published Estimate: €2,000-4,000

Price Realised: €0

  • Signature: signed lower right; with pencil sketch and inscription [20A] on reverse
  • Medium: pencil
  • Dimensions: 19½ x 15in. (49.53 x 38.10cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • FIGURATIVE

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SWING BOAT
SWING BOAT
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 27 February 2017 / 44

Published Estimate: €2,000-4,000

Price Realised: €0

  • Signature: signed lower right
  • Medium: pencil
  • Dimensions: 19 x 13in. (48.26 x 33.02cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • FIGURATIVE

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THE CHASE HOME
THE CHASE HOME
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 27 February 2017 / 45

Published Estimate: €2,000-4,000

Price Realised: €1600

  • Signature: signed lower right; inscribed [Fight it out,
  • Medium: pencil
  • Dimensions: 15 x 20in. (38.10 x 50.80cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • FIGURATIVE

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WOMAN READING, 1910
WOMAN READING, 1910
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 27 February 2017 / 46

Published Estimate: €1,000-1,500

Price Realised: €900

  • Signature: signed upper right; titled and dated upper left
  • Medium: ink over wax crayon on paper
  • Dimensions: 5½ x 4½in. (13.97 x 11.43cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • FIGURATIVE

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REST AFTER TOIL, 1924
REST AFTER TOIL, 1924
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 27 February 2017 / 47

Published Estimate: €20,000-25,000

Price Realised: €26000

  • Signature: signed lower left; signed again in Irish [Céitínn] on reverse
  • Medium: oil on canvas
  • Dimensions: 22 x 27in. (55.88 x 68.58cm)
  • Provenance: Christie's, London, The Irish Sale 14 May 2004, lot 188 as 'Man Standing by a Column'; Private collection; Whyte's, 22 February 2005, lot 45 as 'Man Leaning on a Capital'; Private collection
  • Exhibited
  • Literature
  • Seán Keating is recognised for his use of allegory; this painting, known as 'Man Leaning on a Pillar' is an excellent example. The man in question stands in a landscape that features what looks like a Spanish building, but is, in fact, a farm building in the Dublin Mountains. Keating featured the same building in another painting - a self-portrait entitled 'Salud' - exhibited in the RHA in 1924, and sold at Whyte's, 30 May 1916 as lot 30. Prominent on the gable end of the building is a feature known as a bell cote, and in times past the bell was used to call farm labourers to work. Although the bell is no longer in place, it is the symbolism that is important to the artist's intended meaning. The unidentified man, hat tilted to protect his gaze from the evening sun, and sleeves rolled up, appears to be the person in charge of whatever work has taken place. He is well dressed, with a blue striped tie hanging loosely around his neck. He seems relaxed, happy even, with the days' work, as he leans on a very unusual decorative pillar. While a feature of the painting, such a pillar would not ordinarily be found in a farmstead in the Dublin Mountains. It is part of a Corinthian column, and its presence in the composition gives further allegorical significance to the peaceful scene. In consideration of the theme of work evident in the painting, Keating's use of the column brings to mind The Book of Corinthians, which is replete with references to the spiritual value of labour and, importantly, to the significance of common purpose such as that suggested by the bell cote: 'Now I appeal to you, brothers and sisters … that all of you be in agreement, and that there be no divisions among you, but that you be united in the same mind and the same purpose.' 1 Corinthians 1:10 When Keating exhibited the aforementioned 'Salud' in 1924, he also showed a painting entitled 'Rest after Toil'. The artist's original titles are often lost, but it seems clear given the allegorical meaning associated with the bell cote and the Corinthian column, and the man's contented demeanour, that this painting is 'Rest after Toil.' Featuring the same farm building, the two paintings would have had strong meaning for the viewing audience in 1924. In post-Treaty Ireland Keating used allegory to remind, and to implore his viewing audience to work hard, and to work together. It is a message that is equally relevant in the twenty first century. Dr Éimear O'Connor HRHA Research Associate TRIARC - Irish Art Research Centre TCD Author of Seán Keating: Art, Politics and Building the Irish Nation (Kildare: Irish Academic Press, 2013) FIGURATIVE

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RIVER LIFFEY, DUBLIN
RIVER LIFFEY, DUBLIN
Flora H. Mitchell (1890-1973)

Auction Date / Lot No.: 27 February 2017 / 48

Published Estimate: €1,000-1,500

Price Realised: €2000

  • Signature: signed in the margin lower right; titled lower left
  • Medium: pen and ink with watercolour over pencil
  • Dimensions: 6½ x 10in. (16.51 x 25.40cm)
  • Provenance: Whyte's, 26 November 2012, lot 75; Private collection
  • Exhibited
  • Literature
  • A scene on the River Liffey looking towards O'Connell Bridge features in the artist's text Vanishing Dublin, p.80. LANDSCAPE

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THE SMITHY, LUPPITT, DEVON, 1920
THE SMITHY, LUPPITT, DEVON, 1920
Robert Polhill Bevan (British, 1865-1925)

Auction Date / Lot No.: 27 February 2017 / 49

Published Estimate: €500-700

Price Realised: €1300

  • Signature: signed lower right; numbered lower left; with Executors of the late Robert Bevan label on reverse
  • Medium: lithograph; (from an edition of 45)
  • Dimensions: 9¾ x 12¾in. (24.77 x 32.39cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • An example of this edition can be found in the Victoria & Albert Collection. LANDSCAPE

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MAY BOTTERELL
MAY BOTTERELL
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 27 February 2017 / 50

Published Estimate: €400-600

Price Realised: €800

  • Signature: signed lower right
  • Medium: pencil
  • Dimensions: 13¼ x 14¼in. (33.66 x 36.20cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • William John Leech met the Botterell family in London in 1919, at the end of the First World War, on his return from painting in France and the Botterell family’s return from Holland. Percy Botterell, an eminent London lawyer had been a commercial attaché to The Hague during the war, and through his wife May, they had met Leech’s older brother, Cecil. Cecil Leech had fought in the First World War, as a commissioned officer in the Royal Horse Artillery. He had spent four years in a prisoner of war camp and as a released prisoner met May Botterell in Holland, where she had organised a relief centre for released prisoners, providing clothes, money and information to aid prisoners on their return home. It was Cecil Leech who, on his return to London, organised the meeting between the Botterell family and the Leech family and it was Percy Botterell who commissioned W. J. Leech to paint portraits of himself, his wife, May and his three children, James, Guy and Suzanne. This meeting and the painting of May’s portrait was to change the Botterell family life irrevocably and was to begin the lifelong relationship between May Botterell and W. J. Leech, which culminated in their wedding in 1953, after the deaths of Percy Botterell in 1951 and Leech’s wife Elizabeth, in 1950. Dr. Denise Ferran FIGURATIVE

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HARBOUR SCENE
HARBOUR SCENE
André Lhote French, (1885-1962)

Auction Date / Lot No.: 27 February 2017 / 51

Published Estimate: €2,000-3,000

Price Realised: €3000


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