29 May 2017

  Records 1 to 50 of 182     Next 20 results Last results

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

Auction Date / Lot No.: 29 May 2017 / 1

Published Estimate: €3,000-4,000

Price Realised: €2500


BEMBRIDGE, ISLE OF WIGHT, 1902
BEMBRIDGE, ISLE OF WIGHT, 1902
William Percy French (1854-1920)

Auction Date / Lot No.: 29 May 2017 / 2

Published Estimate: €3,000-4,000

Price Realised: €0


A NORTH ANTRIM BOG, 1915
A NORTH ANTRIM BOG, 1915
William Percy French (1854-1920)

Auction Date / Lot No.: 29 May 2017 / 3

Published Estimate: €8,000-12,000

Price Realised: €7400

  • Signature: signed and dated lower right; inscribed on label on reverse
  • Medium: watercolour
  • Dimensions: 13½ x 20½in. (34.29 x 52.07cm)
  • Provenance: William Rodman & Co. Belfast; Private collection; Adam's, 2 June 2010, lot 150; Private collection
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


NEAR CLONBUR, COUNTY MAYO
NEAR CLONBUR, COUNTY MAYO
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 29 May 2017 / 4

Published Estimate: €1,000-1,500

Price Realised: €0


LAKE SCENE WITH COTTAGES
LAKE SCENE WITH COTTAGES
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 29 May 2017 / 5

Published Estimate: €1,500-2,000

Price Realised: €850


FIGURE WITH TWO GOATS ON A PATH, COUNTY ANTRIM
FIGURE WITH TWO GOATS ON A PATH, COUNTY ANTRIM
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 29 May 2017 / 6

Published Estimate: €3,000-4,000

Price Realised: €4400


CATTLE BY A MOUNTAIN STREAM
CATTLE BY A MOUNTAIN STREAM
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 29 May 2017 / 7

Published Estimate: €3,000-5,000

Price Realised: €0

  • Signature: signed lower left; with illegible title on label on reverse
  • Medium: oil on board
  • Dimensions: 11¾ x 13½in. (29.85 x 34.29cm)
  • Provenance
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


RIVER SCENE
RIVER SCENE
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 29 May 2017 / 8

Published Estimate: €2,000-3,000

Price Realised: €1900


WINTER IN ANTRIM
WINTER IN ANTRIM
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 29 May 2017 / 9

Published Estimate: €4,000-6,000

Price Realised: €4800

  • Signature: signed lower left; with letter from the artist to Zoltan Lewinter-Frankl on reverse
  • Medium: oil on board
  • Dimensions: 19¼ x 14½in. (48.90 x 36.83cm)
  • Provenance: Purchased from the artist by Zoltan Lewinter-Frankl; Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Zoltan Lewinter-Frankl was Northern Ireland's only significant private patron of fine art throughout the 1940s and early 1950s. Having fled from Vienna after the Anschluss he set up textile factories in Northern Ireland. Frankl began collecting art almost as soon as he arrived there. In 1944 he lent 39 pictures to a travelling exhibition of Ulster. All were Irish in origin including works by James Humbert Craig and it is possible that this example was in that show. In 1958 the Belfast Museum staged an exhibition of the highlights of Frankl's collection and the catalogue ran to 248 works and it is likely this painting was included.

  • Have one to sell? Interested in Similar Items?


THE VILLAGE OF DUGORT, ACHILL ISLAND, COUNTY MAYO, 1936
THE VILLAGE OF DUGORT, ACHILL ISLAND, COUNTY MAYO, 1936
Maurice MacGonigal PRHA HRA HRSA (1900-1979)

Auction Date / Lot No.: 29 May 2017 / 10

Published Estimate: €3,000-5,000

Price Realised: €3200

  • Signature: signed lower right; signed, titled and dated on reverse
  • Medium: oil on panel
  • Dimensions: 11¾ x 15¼in. (29.85 x 38.74cm)
  • Provenance
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


SALMON RUN, DINGLE PENINSULA, COUNTY KERRY, 1974
SALMON RUN, DINGLE PENINSULA, COUNTY KERRY, 1974
Maurice MacGonigal PRHA HRA HRSA (1900-1979)

Auction Date / Lot No.: 29 May 2017 / 11

Published Estimate: €3,500-4,500

Price Realised: €0

  • Signature: signed lower left; signed, titled and dated on reverse
  • Medium: oil on board
  • Dimensions: 20 x 24in. (50.80 x 60.96cm)
  • Provenance: Mealy's, 6 October 1998, lot 1412; Private collection
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


COASTAL SCENE, COUNTY DONEGAL
COASTAL SCENE, COUNTY DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 29 May 2017 / 12

Published Estimate: €6,000-8,000

Price Realised: €5200


FRANCIS VALERIO
FRANCIS VALERIO
Lady Beatrice Glenavy RHA (1881-1970)

Auction Date / Lot No.: 29 May 2017 / 13

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: inscribed [DAF88] and numbered on side
  • Medium: bronze relief; (numbered 5 from 12)
  • Dimensions: 13¾ x 11¼in. (34.93 x 28.58cm)
  • Provenance
  • Exhibited
  • Literature
  • Cast ordered from the Dublin Art Foundry in 1988 by Alan Denson. Alan Denson, poet, author, art historian and close friend of Leech, was the author of An Irish Artist. W.J. Leech (1881-1968) published in two volumes in 1968 and 1969. It is possible that the plaster cast was in Leech's effects as he and Beatrice Elvery (later Lady Glenavy) were good friends and studied together at the Metropolitan School of Art under William Orpen. Beatrice Moss Elvery was born in 1883, the second daughter of the Dublin businessman, William Elvery, whose family owned Elvery's sports store in Wicklow Street, Dublin. She attended the Dublin Metropolitan School of Art where William Orpen (1878–1931) taught painting and later used Beatrice as a model. When Sarah Purser founded her studio An Túr Gloine (The Tower of Glass) in 1903, she invited Beatrice Elvery to be one of the designers.Beatrice married Charles Campbell, 2nd Baron Glenavy in 1912 and they settled in London, returning to their home in Sandycove, Co. Dublin at the end of the war when she then concentrated on painting. She also produced numerous illustrations for children's books. Francis Valerio was born to Italian parents in Dublin in 1884. He was a regular model at the Metropolitan school for, among others, John Hughes and Wiliam Orpen.

  • Have one to sell? Interested in Similar Items?


LANDSCAPE
LANDSCAPE
Estella Frances Solomons HRHA (1882-1968)

Auction Date / Lot No.: 29 May 2017 / 14

Published Estimate: €800-1,200

Price Realised: €0

  • Signature: titled and numbered [240/69] on reverse; also with typed Frederick Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 15 x 19in. (38.10 x 48.26cm)
  • Provenance: Frederick Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


GREY BRIDGE, REGENT'S PARK, LONDON
GREY BRIDGE, REGENT'S PARK, LONDON
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 29 May 2017 / 15

Published Estimate: €8,000-12,000

Price Realised: €25000

  • Signature: signed lower left
  • Medium: oil on panel
  • Dimensions: 13¼ x 17¼in. (33.66 x 43.82cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature: Ferran, Denise, William John Leech: An Irish Painter Abroad, Merrel Holberton, London, 1996, p.253 and 255 (illustrated); The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.41 (illustrated)
  • Dr Denise Ferran, in William Leech: An Irish Painter Abroad, q.v., writes "The Bridge, Regent's Park, is painted in a silvery light with York Bridge, a high horizon-band of subdued umber tones, merging into the soft blue-grey tones of the background. In the foreground, the river reflects the cool grey of a winter sky which mingles with the muddy browns and greens of the still water".

  • Have one to sell? Interested in Similar Items?


AN IRISH BOG, c.1938
AN IRISH BOG, c.1938
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 29 May 2017 / 16

Published Estimate: €90,000-150,000

Price Realised: €130000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 21¾ x 25¾in. (55¼ x 65.41cm)
  • Provenance: Private collection, USA; Adam's & Bonhams, 8 December 2009, lot 108; Private collection, Ireland
  • Exhibited
  • Literature
  • This is as fine Paul Henry painting as one might expect to come across. The sky bristles with activity, the clouds promising a fine day. Yet there is a hint of threat in the clouds, although that will probably not amount to a great deal. The small habitation in the middle distance is set against the mountains which provide both a setting and act as a backdrop to the scene, halting the eye's recession. In the foreground all is peaceful, the turf stacks giving a necessary upward thrust to the composition, which would be very flat otherwise, while the lake, which meanders through the whole, is redolent of the area, which can only be the West of Ireland. Henry, when he first went to the West, to Achill Island, was captivated by the people around him and their lifestyle, but only later - from about 1915 - did he turn his attention to the landscape per se. Thereafter, it was the landscape that took his attention. It is impossible to know where this landscape represents, but it may be the area around Glenbeigh which Henry, and Mabel, his second wife, first visited in 1933. He was entranced by the area, writing to James Healy in America saying that 'Wherever one turns there is material for dozens of pictures'. The area reminded him of Cape Cod, 'very lonely & wild but not very paintable … nicer at a distance'. He was in good spirits at the time, making various sketches which, later in the studio, were turned into paintings. This picture may be one of those. An Irish Bog is numbered 1243 in S.B. Kennedy's on-going cataloguing of Paul Henry's oeuvre. Dr S.B. Kennedy April 2017

  • Have one to sell? Interested in Similar Items?


ROAD TO DESTINY
ROAD TO DESTINY
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 29 May 2017 / 17

Published Estimate: €2,000-3,000

Price Realised: €7500

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 9¾ x 7¼in. (24.77 x 18.42cm)
  • Provenance
  • Exhibited
  • Literature: Irish Arts Review, 1993, Grace Henry by J. G. Cruickshank, p175; Cruickshank, J.G., Grace Henry, The Person and Artist, Designroom, p.23 (illustrated)
  • According to Dr J. G. Cruickshank, (Irish Arts Review 1993, page 175) the original title found was "The Long Grey Road to Disting"; he then states that was a long repeated error of Destiny.

  • Have one to sell? Interested in Similar Items?


ARTIST IN BLUE SMOCK [EARLY SELF PORTRAIT]
ARTIST IN BLUE SMOCK [EARLY SELF PORTRAIT]
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 29 May 2017 / 18

Published Estimate: €3,000-4,000

Price Realised: €3000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 13½ x 11¾in. (34.29 x 29.85cm)
  • Provenance
  • Exhibited
  • Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, Designroom 2010, p.50 (illustrated)
  • Have one to sell? Interested in Similar Items?


BETTY, DAUGHTER OF EDGAR OLIVER, WIMBLEDON, SURREY, c.1892
BETTY, DAUGHTER OF EDGAR OLIVER, WIMBLEDON, SURREY, c.1892
John Butler Yeats RHA (1839-1922)

Auction Date / Lot No.: 29 May 2017 / 19

Published Estimate: €8,000-12,000

Price Realised: €12500


PORTRAIT OF LEE HANKEY
PORTRAIT OF LEE HANKEY
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 29 May 2017 / 20

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: signed lower left; with typed Southgate Gallery label on reverse
  • Medium: pencil
  • Dimensions: 8 x 6in. (20.32 x 15.24cm)
  • Provenance: Southgate Gallery, Wolverhampton; Private collection
  • Exhibited
  • Literature
  • An impromptu sketch at a dinner party, drawn on the reverse of a dinner menu. William Lee Hankey (1869–1952) RWS RI ROI RE NS was a British painter and book illustrator. He specialised in landscapes, character studies and portraits of pastoral life, particularly in studies of mothers with young children. Hankey's black and white and coloured etchings of the people of Étaples, gained him a reputation as 'one of the most gifted of the figurative printmakers working in original drypoint during the first thirty years of the 20th century'

  • Have one to sell? Interested in Similar Items?


HEAD OF A DOG, c.1914-1918
HEAD OF A DOG, c.1914-1918
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 29 May 2017 / 21

Published Estimate: €1,000-1,500

Price Realised: €1000

  • Signature: pencil on page iv of 'Stories of Old Ireland And Myself' by the artist, published by Williams & Norgate, London, 1924
  • Medium: signed with initial 'O' upper right
  • Dimensions: 6 x 6in. (15.24 x 15.24cm)
  • Provenance
  • Exhibited
  • Literature
  • Accompanied by a letter in Orpen's hand to "Alex", congratulating him on his promotion and mentioning that he was a "budding major at present, I expect to be a Field Marshall next week" - thus dating the letter to the 1914-1918 war - signed "Yours, Orpen"

  • Have one to sell? Interested in Similar Items?


PORTRAIT OF W.B. YEATS, 1897
George Russell ("Æ") (1867-1935)

Auction Date / Lot No.: 29 May 2017 / 22

Published Estimate: €2,000-3,000

Price Realised: €3400


"HARVEY"
John Butler Yeats RHA (1839-1922)

Auction Date / Lot No.: 29 May 2017 / 23

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: inscribed lower right "Harvey"
  • Medium: pencil on card
  • Dimensions: 11¼ x 9in. (28.58 x 22.86cm)
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • Exhibited
  • Literature
  • Yeats was aquainted with two Havey brothers. The first was Arnold Harvey (1878-1966) who was a student of Divinity at Trinity College Dublin and who came to Coole Park as tutor to Robert Gregory (son of Lady Gregory). There he met various members of the Yeats family and became a particular friend of Jack and Cottie Yeats. He was an international rugby player and cricketer and later became Bishop of Cashel and Waterford from 1935 to 1958. Two descendants of Thomas Arnold Harvey do not think this portrait is of him. The other likely sitter is Sir Henry Paul Harvey (1869-1948) knighted in 1911, editor of the Oxford Companion to English Literature (1932), and the Oxford Companion to Classical Literature (1937). Henry Paul Harvey Durant (1869-1948) was the illegitimate child of the French sculptor Henri Triqueti and the English sculptor Susan Durant. After his mother died, he was brought up by Blanche Lee Childe, variously described as his aunt or his half-sister, and when Childe also died in 1886, he was sponsored by Augusta, Lady Gregory with help from Henry James. He spent some time at Coole where he would have met Yeats.

  • Have one to sell? Interested in Similar Items?


KELP-BURNING, c.1905
KELP-BURNING, c.1905
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 29 May 2017 / 24

Published Estimate: €8,000-10,000

Price Realised: €0

  • Signature: signed lower right; inscribed on Dawson Gallery label on reverse
  • Medium: pen, ink and watercolour
  • Dimensions: 6¼ x 9¾in. (15.88 x 24.77cm)
  • Provenance: Dawson Gallery, Dublin; Private collection; Christie's, 4 November 1983, lot 56; Private collection
  • Exhibited
  • Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats, His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994, catalogue no. 704 (illustrated p.131)
  • From Pyle: 'In June 1905, J.M. Synge and Jack B. Yeats visited West Galway and Mayo to investigate the impoverished areas of Ireland in the care of the Congested Districts Board. Synge wrote twelve articles for the Manchester Guardian, and Yeats provided fifteen illustrations, one of which was 'Kelp-Burning'. The editor was impressed with the collaboration and invited Synge to do a further series on 'Irish Types', which Yeats might have illustrated, but the articles were never written.'

  • Have one to sell? Interested in Similar Items?


BY MEMORY INSPIRED, 1909
BY MEMORY INSPIRED, 1909
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 29 May 2017 / 25

Published Estimate: €5,000-7,000

Price Realised: €0

  • Signature: signed lower right; with typed Waddington Gallery label on reverse
  • Medium: Indian ink
  • Dimensions: 5¾ x 4¼in. (14.61 x 10.80cm)
  • Provenance: Waddington Gallery, Montreal; Private collection
  • Exhibited
  • Literature: T. Kearney, By Memory Inspired, A Broadside No. 6, Second year, November 1909; Hilary Pyle, The Different Worlds of Jack B. Yeats, His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994, catalogue no. 1794
  • Have one to sell? Interested in Similar Items?


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

Auction Date / Lot No.: 29 May 2017 / 26

Published Estimate: €20,000-30,000

Price Realised: €19000

  • Signature
  • Medium: oil on canvas
  • Dimensions: 30 x 25in. (76.20 x 63½cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Born in north Belfast in 1881, William Conor was one of seven children. He attended the Belfast Government School of Art. During the years 1904-1910 he served an apprenticeship as a lithographer and poster designer with David Allen & Sons. During both World Wars, Conor was engaged as a war artist. John Hewitt has succinctly observed; '…For the middle decades of the century William Conor was the representative artist…few can have realised how representative he has been, how broadly typical of our best moods and impulses…' (Art in Ulster I, 1977, p86). As an artist he became an antidote to what was often a bleak outlook for the people of that time. His work was inclusive of all people in the city of Belfast and it was not marred by the mark of condescension that his notice might be a privilege for those depicted. He has, singlehandedly, created a comprehensive social catalogue for the first half of the twentieth century featuring working class existence, street games, family life and pursuits. He was a prolific artist and constantly carried his sketchbook with him. In the Museums and Galleries of Northern Ireland (MAGNI) there are seventy-five of his works, Armagh County Museum have five, and the largest collection of his work - almost 1,200 pieces - is in the Ulster Folk and Transport Museum. Kenneth Jamison admired the absence of a moralising tone in Conor's work; in essence its' positive purity, 'He is, perhaps, a kind of Irish Daumier, but without the bitter satirical edge; certainly an impressionist of sorts whose affection for his subjects saved him from becoming doctrinaire'. ('Painting and Sculpture' in Causeway: The Arts in Ulster, 1971, p44). 'Three Singers' is a beautifully intimate group portrait of three unidentified figures. Their faces are full of characterisation; Conor has invested each with such a degree of personality that the viewer has a sense of acquaintance with them as a collective - there is an overall atmosphere of familiarity. This is perhaps due to their assertive presence on the canvas. Conor's handling of oils lends the figures a sculpted feel; they appear three-dimensional, almost modelled, as opposed to painted, on the canvas. The colour range, though not extensive, has a rich endearing vivacity that is a pleasure to behold. These figures are timeless, universal and characterised by a wholesome presence. All three sing expressively; mouths open, song books in hand. They are connected to one another through the direction of their gaze. The central protagonist sings with head tilted slightly to the right and eyes looking firmly in that direction. The figure to the right, head uplifted and turned to the left, engages the final figure whose head is uplifted in full singing expression. 'Three Singers' sees its precedent to some extent in 'Three Choir Girls'. In evidence again are the three singing figures, the books are apparent in two of the figures' hands and there are differing facial expressions but all are in full song. However, here the continuity of expression ends. 'Three Choir Girls' is more detailed and realist: it is clearly an earlier painting. The artist has included the background and one can see the detail of the sash window. Also the clothes of the girls have undergone increased differentiation and detail. Conor's approach loosened as he progressed yet this evolution added to the immediacy and exuberance of the surface. He was evidently immersed in depicting those people he encountered every day. As Máirín Allen documented in the Father Mathew Record, Conor was confident that the artist should record 'his own epoch and give expression to what was happening around him'. He was, therefore, one of the earliest socially-engaged practitioners in Northern Ireland, before the coining of such a term. Marianne O'Kane Boal May 2017

  • Have one to sell? Interested in Similar Items?


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

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

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: signed lower right
  • Medium: crayon on paper mounted on board
  • Dimensions: 19¼ x 15¾in. (48.90 x 40.01cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


POTATO PICKERS
POTATO PICKERS
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 29 May 2017 / 28

Published Estimate: €1,200-1,500

Price Realised: €1800


WASH DAY
WASH DAY
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 29 May 2017 / 29

Published Estimate: €10,000-15,000

Price Realised: €9500


COLIEMORE HARBOUR, DALKEY, COUNTY DUBLIN
COLIEMORE HARBOUR, DALKEY, COUNTY DUBLIN
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 29 May 2017 / 30

Published Estimate: €1,500-2,000

Price Realised: €5600

  • Signature: signed lower right; titled on reverse
  • Medium: oil on card
  • Dimensions: 7¾ x 5¾in. (19.69 x 14.61cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


ACHILL FROM RENVYLE, CONNEMARA
ACHILL FROM RENVYLE, CONNEMARA
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 29 May 2017 / 31

Published Estimate: €3,000-5,000

Price Realised: €0

  • Signature: signed, titled and with artist's address [13 Stamer Street, Dublin] on reverse
  • Medium: watercolour
  • Dimensions: 9¾ x 13¾in. (24.77 x 34.93cm)
  • Provenance: A gift from the artist to the mother of the present owner
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


PINK FARM BY RAILWAY BRIDGE, KILLARNEY, COUNTY KERRY, 1943
PINK FARM BY RAILWAY BRIDGE, KILLARNEY, COUNTY KERRY, 1943
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 29 May 2017 / 32

Published Estimate: €5,000-7,000

Price Realised: €0

  • Signature: signed and dated lower left; with Godolphin Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 10 x 13½in. (25.40 x 34.29cm)
  • Provenance: Godolphin Gallery, Dublin; Private collection; Whyte's, 19 November 2001, lot 70; Private collection
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


FÉASTA ÓIL [A DRINKING FEAST] and AR A CHÚL A BHÍODH AN CEOL [THE MUSIC WAS ALWAYS BEHIND HIM] (A PAIR)
FÉASTA ÓIL [A DRINKING FEAST] and AR A CHÚL A BHÍODH AN CEOL [THE MUSIC WAS ALWAYS BEHIND HIM] (A PAIR)
Mícheál MacLíammóir (1899-1978)

Auction Date / Lot No.: 29 May 2017 / 33

Published Estimate: €2,000-3,000

Price Realised: €3600

  • Signature: second work signed lower left
  • Medium: watercolour on paper; (2)
  • Dimensions: 11¾ x 10¾in. (29.85 x 27.31cm)
  • Provenance
  • Exhibited
  • Literature
  • From a set of six watercolour drawings of scenes from early Irish hero-tales, drawn for the collection Scéalaíocht na Ríthe [Stories of the Kings] by Prionsias Mac Cana and Tomás Ó Floinn, 1956. See lots 34-36 from the same collection.

  • Have one to sell? Interested in Similar Items?


AILILL AGUS ÉADAOIN [AILILL AND EAODAOIN] and AN DÁ THÁIBHLE [THE TWO TABLETS] (A PAIR)
AILILL AGUS ÉADAOIN [AILILL AND EAODAOIN] and AN DÁ THÁIBHLE [THE TWO TABLETS] (A PAIR)
Mícheál MacLíammóir (1899-1978)

Auction Date / Lot No.: 29 May 2017 / 34

Published Estimate: €2,000-3,000

Price Realised: €2900

  • Signature: first work signed and dated [1955] lower right
  • Medium: watercolour on paper; (2)
  • Dimensions: 11¾ x 10¾in. (29.85 x 27.31cm)
  • Provenance
  • Exhibited
  • Literature
  • From a set of six watercolour drawings of scenes from early Irish hero-tales, drawn for the collection Scéalaíocht na Ríthe [Stories of the Kings] by Prionsias Mac Cana and Tomás Ó Floinn, 1956. See also lots 33, 35 and 36.

  • Have one to sell? Interested in Similar Items?


FIONGHAL RÓNÁIN [RONAN'S BETRAYAL] and CAITHRÉIM CHEALLAIGH [CEALLACH'S TRIUMPH] (A PAIR)
FIONGHAL RÓNÁIN [RONAN'S BETRAYAL] and CAITHRÉIM CHEALLAIGH [CEALLACH'S TRIUMPH] (A PAIR)
Mícheál MacLíammóir (1899-1978)

Auction Date / Lot No.: 29 May 2017 / 35

Published Estimate: €2,000-3,000

Price Realised: €3600

  • Signature: first work signed and dated [1955] lower left
  • Medium: watercolour on paper; (2)
  • Dimensions: 11¾ x 10¾in. (29.85 x 27.31cm)
  • Provenance
  • Exhibited
  • Literature
  • From a set of six watercolour drawings of scenes from early Irish hero-tales, drawn for the collection Scéalaíocht na Ríthe [Stories of the Kings] by Prionsias Mac Cana and Tomás Ó Floinn, 1956. See also lots 33, 34 and 36.

  • Have one to sell? Interested in Similar Items?


SCÉALAÍOCHT NA RÍTHE [STORIES OF THE KINGS]
SCÉALAÍOCHT NA RÍTHE [STORIES OF THE KINGS]
Mícheál MacLíammóir (1899-1978)

Auction Date / Lot No.: 29 May 2017 / 36

Published Estimate: €400-600

Price Realised: €5200

  • Signature
  • Medium: Cover title, Indian ink on white paper
  • Dimensions: 15¾ x 12½in. (40.01 x 31¾cm)
  • Provenance
  • Exhibited
  • Literature
  • Cover design drawn for the collection Scéalaíocht na Ríthe [Stories of the Kings] by Prionsias Mac Cana and Tomás Ó Floinn, 1956. With a copy of the published book, 1956, from a limited edition of 29, bound in full leather and signed by both editors and the artist.

  • Have one to sell? Interested in Similar Items?


DESIGN FOR 'THE ROOF GARDEN', c.1938-1939
DESIGN FOR 'THE ROOF GARDEN', c.1938-1939
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 29 May 2017 / 37

Published Estimate: €3,000-5,000

Price Realised: €5000

  • Signature
  • Medium: gouache
  • Dimensions: 10½ x 16in. (26.67 x 40.64cm)
  • Provenance: The Lyndsay Gallery, Monkstown, 2011; Private collection
  • Exhibited
  • Literature
  • The Roof Garden was a play written by Andrew Ganly. It was produced by Olive March at the Actors Studio Theatre, Hammersmith, London, on 21 January 1938. This design by Mainie Jellett was subsequently made for the author to help him to get a Dublin production of the play in 1938/39.

  • Have one to sell? Interested in Similar Items?


ADAM AND EVE IN THE GARDEN, 1951-1952
ADAM AND EVE IN THE GARDEN, 1951-1952
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29 May 2017 / 38

Published Estimate: €80,000-120,000

Price Realised: €140000

  • Signature: signed with initials and dated in the weave lower left; signed on weaver's label on reverse
  • Medium: Aubusson Tapestry, Atelier Tabard Frères et Soeurs, France; (from an edition of 9)
  • Dimensions: 55 x 108¼in. (139.70 x 274.96cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature: Taylor Galleries, Dublin, Louis le Brocquy, Tapestries, exhibition catalogue, 2000 (illustrated); The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.90 (illustrated)
  • Few artists anywhere have had as much experience in tapestry design. Along with his well-known predecessor Jean Lurçat, Louis le Brocquy has proved to be a master of the medium and a landmark figure in the revitalisation of this art form. His experience began in 1948, when Edinburgh Tapestry Weavers invited a number of painters working in London to design a first tapestry. His association with the medium further developed in the 1950s, in his collaboration with the great firm Tabard Frères & Soeurs, founded in the 17th century in Aubusson, France. Later the artist's tapestries were woven in the same historic region by the Atelier René Duché, Meilleur Ouvrier de France. The early tapestry designs include Travellers (1948), Garlanded Goat (1949-50), Allegory (1950), and the Eden Series (1951-52); the latter series, includes Adam And Eve In The Garden. Later there was the Inverted Series (1948-99), the Tain Series (1969-00), the Cúchulainn Series (1973-1999) and the Garden Series (2000). Large-scale tapestry commissions include Brendan the Navigator (1963-64, UCD, Michael Smurfit School of Business, Dublin), The Hosting of the Táin (1969; Irish Museum of Modern Art), the Massing of the Armies (RTÉ, Dublin) and the monumental Triumph of Cúchulainn (National Gallery of Ireland, Millennium Wing). In 1951, Mrs. S.H. Stead-Ellis, whose art collection already included le Brocquy tapestries, commissioned three related tapestries, adaptable as screen, rug and firescreen, on the theme of the Garden of Eden - Adam and Eve in the Garden, Eden and Cherub. He treated the theme with archetypal imagery in a Classical, even traditional manner, the sun and the moon appearing respectively in the male and female spheres. The Tree of Knowledge of Good and Evil appears as in traditional French Medieval tapestry with the birds and butterflies among its leaves, but he adds a Surrealist aspect with eyes as well as leaves (as befits a tree of knowledge) and fish swimming in its branches. Eden remains one of le Brocquy's most interesting works; the vibrant colourful design is based on a series of subdivisions of the classical Golden Section, yet the design bleeds off the tapestry in a most unclassical manner. The leaves of the Tree mingle with the tears of Adam and Eve while the fatal apple is discarded, bitten and segmented. The artist, in an interview with Harriet Cooke published in The Irish Times on May 1973, describes his involvement with tapestry as something he had "rather stumbled into by accident". But after that first commission from Edinburgh Weavers, the medium took on its own distinct fascination: "I always found it a kind of recreation, involving completely different problems, it is refreshing in the sense that one is exhausted in a different way. There is also another aspect of it which is very exciting to the painter, who has this struggle with the angle, and that is the same aspect which is so exciting, say, to the Japanese Satsuma potter, when he puts his jar in the oven and waits on tenterhooks for it to come out. It always comes out a little different from what he had imagined and sometimes he has wonderful surprises. The method I use is a system of notation, a linear design which is numbered in the colours of a range of wools. Although one can visualise what one is doing, to a certain extent, when the tapestry is palpably there this causes an independent birth of something, and that is so contrary to the whole involved process of painting that it is rather refreshing." Dorothy Walker (1929-2002) Published on www.anne-madden.com

  • Have one to sell? Interested in Similar Items?


SAINT JOSEPH, c.1950
SAINT JOSEPH, c.1950
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 29 May 2017 / 39

Published Estimate: €2,000-3,000

Price Realised: €2600

  • Signature
  • Medium: oil on board
  • Dimensions: 12 x 5in. (30.48 x 12.70cm)
  • Provenance
  • Exhibited
  • Literature
  • Possibly exhibited at The Ashley Gallery, London in the 1950s, which, under the curatorship of Iris Conlay, showed religious works by contemporary artists.

  • Have one to sell? Interested in Similar Items?


INITIATION, 1949
INITIATION, 1949
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 29 May 2017 / 40

Published Estimate: €2,500-3,500

Price Realised: €3000


MEN AND BOATS, CONNEMARA
MEN AND BOATS, CONNEMARA
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 29 May 2017 / 41

Published Estimate: €15,000-20,000

Price Realised: €36000

  • Signature: oil on board
  • Medium: signed lower left, with Dawson Gallery, Arts Council of Northern Ireland and Municipal Gallery Dublin labels on reverse
  • Dimensions: 12½ x 15in. (31¾ x 38.10cm)
  • Provenance: Dawson Gallery, Dublin; P J Carroll Collection; Gifted by Carroll's to Tadgh Crowley; Thence to the family of the present owner.
  • Exhibited
  • Literature
  • Tadgh Crowley was Box Office Manager and Tour Manager with The Abbey Theatre in the 1960s and 1970s.

  • Have one to sell? Interested in Similar Items?


WOMEN MENDING NETS, TARRAGONA, SPAIN
WOMEN MENDING NETS, TARRAGONA, SPAIN
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 29 May 2017 / 42

Published Estimate: €800-1,200

Price Realised: €1500


CLIFDEN, COUNTY GALWAY
CLIFDEN, COUNTY GALWAY
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 29 May 2017 / 43

Published Estimate: €800-1,200

Price Realised: €900


RIVER LAGAN AT SHAW'S BRIDGE
RIVER LAGAN AT SHAW'S BRIDGE
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 29 May 2017 / 44

Published Estimate: €4,000-6,000

Price Realised: €0

  • Signature: signed lower right; inscribed [Lagan] on reverse
  • Medium: oil on canvas
  • Dimensions: 16 x 12in. (40.64 x 30.48cm)
  • Provenance: H.O.K., 30 May 2005, lot 90; Private collection
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


THE SUGAR LOAF, COUNTY WICKLOW, 1956
THE SUGAR LOAF, COUNTY WICKLOW, 1956
Norah McGuinness HRHA (1901-1980)

Auction Date / Lot No.: 29 May 2017 / 45

Published Estimate: €6,000-8,000

Price Realised: €5600


EVENING SUN, 1953
EVENING SUN, 1953
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 29 May 2017 / 46

Published Estimate: €10,000-15,000

Price Realised: €0

  • Signature: signed lower centre; signed with monogram, titled, dated and numbered [166] on reverse
  • Medium: oil on canvas
  • Dimensions: 9¾ x 13¾in. (24.77 x 34.93cm)
  • Provenance: Adam's, 13 October 2010, lot 20; Private collection
  • Exhibited
  • Literature
  • In January 1953 Colin Middleton moved with his family from Ardglass to Bangor and Evening Sun was painted that autumn. Despite being described at the beginning of that year by G.S. Whittet in The Studio as "without doubt one of the few Irish painters who can claim more than a local significance", Middleton was struggling at this time with various practical and financial problems, although this is certainly not apparent in many of the landscapes of the period, which are painted with a dynamic intensity and vibrancy and a glowing palette. Evening Sun is one of a number of paintings from the early 1950s of harvested fields, taking the repeated shapes of corn stooks across the landscape to create a rhythmic abstract pattern. These euphoric landscapes are, however, more than a record of the lush farmland of County Down; Middleton himself discussed using wheat, oats and barley within his painting as spiritually significant metaphors relating to the Old Testament. Dickon Hall May 2017

  • Have one to sell? Interested in Similar Items?


RECLINING NUDE
RECLINING NUDE
Henry Moore OM CH FBA (British, 1898-1986)

Auction Date / Lot No.: 29 May 2017 / 47

Published Estimate: €1,000-1,500

Price Realised: €0

  • Signature: signed lower right; numbered lower left
  • Medium: etching; (no. 42 from an edition of 50)
  • Dimensions: 14½ x 18½in. (36.83 x 46.99cm)
  • Provenance
  • Exhibited
  • Literature
  • Have one to sell? Interested in Similar Items?


PORTRAIT OF MAURICE COLLIS
PORTRAIT OF MAURICE COLLIS
Gérard Laenen (Belgian, 1899-1980)

Auction Date / Lot No.: 29 May 2017 / 48

Published Estimate: €1,500-2,000

Price Realised: €1900

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 27½ x 31½in. (69.85 x 80.01cm)
  • Provenance
  • Exhibited
  • Literature
  • Maurice Collis was born in Dublin, the son of an Irish solicitor, and went to Rugby School in 1903 and then in 1907 to the University of Oxford, where he studied history. He entered the Indian Civil Service in 1911 and was posted to Burma in 1912. He had postings at Sagaing and elsewhere. In 1917, the British army raised a Burmese brigade with which Collis went to Palestine, but he saw no action. In 1919, he went on leave and travelled in Europe. In the 1920s he was district commissioner in Arakan. In 1929-1930, a period when relations between Burmese, Indians and British became particularly difficult, he was district magistrate in Rangoon. This period is narrated in his memoir Trials in Burma. He gives special attention to the political trial of J. M. Sen Gupta, mayor of Calcutta, for sedition in impromptu speeches made during a brief visit to Rangoon in 1930; also to two criminal trials which became politically charged because they brought to light underlying attitudes of British merchants and army officers to Burmese people. Collis's judgments were (according to his own analysis) too independent to be pleasing to the then British Government of Burma, arousing the particular disapproval of his superior, Booth Gravely, Commissioner of the Pegu Division. After giving judgment in the last of these trials Collis was hastily moved to the post of Excise Commissioner. Many Burmese regarded him as a god as those judgements fulfilled a prophecy that a man who was not a Burmese would dispense justice, and his appearance would presage Burmese independence. After returning to England in 1934, he wrote many books, including Siamese White and Foreign Mud, as well as art and literary criticism. At the age of 65 he turned his hand to painting. His younger brothers were the writer John Stewart Collis and Robert Collis, a notable doctor and author; John and Robert were twins.

  • Have one to sell? Interested in Similar Items?


PORTRAIT OF LINDY GUINNESS, c.1965
PORTRAIT OF LINDY GUINNESS, c.1965
Duncan Grant (1885-1978)

Auction Date / Lot No.: 29 May 2017 / 49

Published Estimate: €4,000-6,000

Price Realised: €3800

  • Signature
  • Medium: oil on board
  • Dimensions: 24 x 20in. (60.96 x 50.80cm)
  • Provenance: Purchased from Christie's by Jonathan Riley, Emscote Lawn; Private collection, Dublin; Dickon Hall Fine Art, Belfast; Collection of Dr Henry McKee, 1988; Whyte's, 29 September 2008, lot 6; Private collection
  • Exhibited
  • Literature: Francis Spalding, Duncan Grant: A Biography, Chatto and Windus, London, 1997, p.434
  • Lindy Guinness, also known as Lady Dufferin, was born in 1941, the daughter of Loel Guinness and his second wife, Lady Isabel Manners. She first met Duncan Grant when she was seventeen and was encouraged by him to paint, subsequently studying at Chelsea School of Art and the Slade, and with Oskar Kokoschka in Salzburg. Lindy continued to visit Charleston regularly to paint with Grant until his death in 1978. She and Grant painted each other regularly and she was instrumental in encouraging the important 1964 retrospective exhibition of his work at Wildenstein, London. Lindy Guinness continues to exhibit regularly at the Ava Gallery on the grounds of her home at Clandeboye, Bangor. Duncan Grant was a central figure in the Bloomsbury Group and along with his partner, Vanessa Bell, her sister Virginia Woolf and his brief loves Maynard Keynes and Lytton Strachey, defined the British arts world of the pre-war period. This mantel was taken up by a younger generation of post-war Pop artists, including David Hockney, who was given early support and encouragement from Sheridan Hamilton-Temple-Blackwood, 5th Marquess of Dufferin and Ava, and husband of Lindy Guinness. Lord Dufferin was co-owner of the Kasmin Gallery, which opened in 1963 and showed the works of Hockney and Lucian Freud, who was married briefly to Lord Dufferin’s sister, Caroline Blackwood. After their own marriage in 1964, Lord and Lady Dufferin became central figures of the London art scene in the 1960s.

  • Have one to sell? Interested in Similar Items?


CRUCIFIXION: DROMORE, 1958
CRUCIFIXION: DROMORE, 1958
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 50

Published Estimate: €20,000-30,000

Price Realised: €0

  • Signature: signed and dated upper right
  • Medium: oil on canvas
  • Dimensions: 23½ x 17½in. (59.69 x 44.45cm)
  • Provenance: Collection of James Warwick, former Headmaster of Belfast College of Art; with the Ava Gallery, Belfast; Bonham's, 17 November 2014, lot 14; Private collection
  • Exhibited
  • Literature
  • Religious iconography or references within Irish art were not unusual in the post-war era; an exhibition organised around this time for the Liturgical Congress Committee in Limerick included work by Louis le Brocquy, Nano Reid, Evie Hone, Patrick Collins, Daniel O'Neill and Colin Middleton, amongst others, while the latter two were also among the artists included in an exhibition of religious art in the Ashley Gallery in London in 1950. Although Basil Blackshaw's Crucifixion, Dromore might recall le Brocquy's 1954 painting Lazarus, one could also relate it to a British tradition of mysticism, continued by artists such as Stanley Spencer into the twentieth century, with Blackshaw locating the Crucifixion within the specific landscape in which he worked at the time and noting the significance of the place within the title. In the present work the Crucifixion itself is almost separated from the landscape, which it bisects, placed in a shallow foreground space on the same plane as the canvas, with a fertile valley spreading away past a cluster of buildings towards distant hills. The treatment of the landscape, with its pale tonality and occasional passages of impasto, is typical of Blackshaw at this period. The subject of the Crucifixion was addressed by a number of artists in the post-war era, finding in it a universal image of suffering but also of hope, redemption and regeneration. While Blackshaw's intentions seem to remain unclear to the viewer, the painting takes on an emotional weight and a sense of mystery and it can be seen very much as a work of its time. Dickon Hall May 2017

  • Have one to sell? Interested in Similar Items?


  Records 1 to 50 of 182     Next 20 results Last results