2 October 2017

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RIVER LIFFEY FROM THE PHOENIX PARK, DUBLIN
RIVER LIFFEY FROM THE PHOENIX PARK, DUBLIN
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 2 October 2017 / 1

Published Estimate: €2,000-3,000

Price Realised: €2800


WOMAN WALKING A COW IN FOR MILKING, 1943
WOMAN WALKING A COW IN FOR MILKING, 1943
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 2 October 2017 / 2

Published Estimate: €2,000-3,000

Price Realised: €2700

  • Signature: signed and dated lower left
  • Medium: watercolour
  • Dimensions: 10¼ x 14¼in. (26.04 x 36.20cm)
  • Provenance: Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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BANDSTAND, PHOENIX PARK, DUBLIN
BANDSTAND, PHOENIX PARK, DUBLIN
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 2 October 2017 / 3

Published Estimate: €3,000-5,000

Price Realised: €4600


THE HUNT MEET
THE HUNT MEET
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 2 October 2017 / 4

Published Estimate: €2,500-3,500

Price Realised: €3200


MISTY DAY, PORTMARNOCK, COUNTY DUBLIN
MISTY DAY, PORTMARNOCK, COUNTY DUBLIN
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 2 October 2017 / 5

Published Estimate: €1,500-2,000

Price Realised: €1400

  • Signature: signed with initials lower right; titled on reverse
  • Medium: oil on board
  • Dimensions: 4¾ x 6½in. (12.07 x 16.51cm)
  • Provenance: Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • Presented in original frame. The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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LAKE ORTA, ITALY
LAKE ORTA, ITALY
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 2 October 2017 / 6

Published Estimate: €4,000-6,000

Price Realised: €5200

  • Signature: signed with initials lower right; inscribed "Lake Orta / Italy painted at 4.30am" and signed in full on reverse
  • Medium: oil on panel
  • Dimensions: 12 x 16in. (30.48 x 40.64cm)
  • Provenance
  • Exhibited
  • Literature
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FITZWILLIAM SQUARE, DUBLIN
FITZWILLIAM SQUARE, DUBLIN
Norah McGuinness HRHA (1901-1980)

Auction Date / Lot No.: 2 October 2017 / 7

Published Estimate: €2,000-3,000

Price Realised: €4800

  • Signature: signed with initials lower right; with artist's studio stamp lower left; also with Taylor Galleries label on reverse
  • Medium: gouache
  • Dimensions: 10 x 14¼in. (25.40 x 36.20cm)
  • Provenance: Taylor Galleries, Dublin; Private collection
  • Exhibited
  • Literature
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STILL LIFE
STILL LIFE
Norah McGuinness HRHA (1901-1980)

Auction Date / Lot No.: 2 October 2017 / 9

Published Estimate: €3,000-4,000

Price Realised: €4200

  • Signature: signed lower right; inscribed on Dawson Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 11¾ x 18¾in. (29.85 x 47.63cm)
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Exhibited
  • Literature
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BULLY BOYS
BULLY BOYS
Elizabeth Rivers (1903-1964)

Auction Date / Lot No.: 2 October 2017 / 10

Published Estimate: €1,000-1,500

Price Realised: €950

  • Signature: with artist's estate studio label on reverse
  • Medium: oil on board
  • Dimensions: 10½ x 19¼in. (26.67 x 48.90cm)
  • Provenance: Estate of the artist; Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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THE GARDENS, MAIDA VALE, LONDON
THE GARDENS, MAIDA VALE, LONDON
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 2 October 2017 / 11

Published Estimate: €15,000-20,000

Price Realised: €13000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 10¼ x 13½in. (26.04 x 34.29cm)
  • Provenance: Collection of Louis Kinlen; Thence by descent to Judge Dermot Kinlen; His sale, Adam's, 28 May 2008, lot 30; Private collection
  • Exhibited
  • Literature
  • William John Leech first met the Botterell family through his brother Cecil Leech after his return to London from Holland, at the end of the First World War, in February 1919. Percy Botterell, an eminent London lawyer had been a commercial attaché to The Hague and Cecil Leech, a major in the Royal Artillery, worked with the Botterells to repatriate soldiers back to Britain. Leech’s life changed irrevocably, as did the Botterell family, when Leech was commissioned, by Percy Botterell to paint his wife, May Botterell. This led to the break up of Leech’s marriage to Elizabeth and of May’s marriage to Percy. May moved out of the Botterell family home in Hampstead to a flat at 24, Hamilton Terrace, Maida Vale, in 1920, close to where Leech had rented a studio at Hamilton Mews from 1919 until 1928. The Gardens, Maida Vale depict the pervading low sunshine which highlights the blocks of apartments beyond and the peaceful gardens in front, with May reading, wrapped in a warm coat and hat, sitting on the garden bench. This is a similar scene, painted on the same size of canvas, as Paddington Gardens with the same garden and the large terraced houses behind with May reading, sitting on the same bench but painted from a different angle. Leech uses a palette of chrome yellow and acid greens to capture the greens of the garden in Spring, contrasting with the warm pinks of the red brick walls, paths and tiled roofs. Increasingly, the gardens of London replace the landscape and seascapes of France as in these two works, in which Leech brings all the power he has acquired as a colourist, to produce scenes of vivacity and light. The focus of May in the foreground, sitting, reading on the park bench, brings an air of domestic peace and from the 1920’s onwards, especially after both his parents’ death in 1921, May Botterell, became Leech's model and soul mate until her death in 1963. In 1923, Leech exhibited Kensington Gardens at the Goupil Salon and again exhibited the same work in Derby, in 1924, giving his address as The Studio, Hamilton Mews. Paddington Gardens and The Gardens, Maida Vale possibly belong to this period c. 1920-28 before Leech moved to his new Steele's Studio, off Haverstock Hill in 1928. Dr Denise Ferran September 2017

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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.: 2 October 2017 / 12

Published Estimate: €2,500-3,500

Price Realised: €2400

  • 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
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DONEGAL LANDSCAPE
DONEGAL LANDSCAPE
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 2 October 2017 / 13

Published Estimate: €3,000-4,000

Price Realised: €0

  • Signature: signed lower left; inscribed [Donegall] on reverse
  • Medium: crayon on paper
  • Dimensions: 18 x 23in. (45.72 x 58.42cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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THE ACCORDION PLAYER
THE ACCORDION PLAYER
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 2 October 2017 / 14

Published Estimate: €8,000-10,000

Price Realised: €7000


QUEEN'S BRIDGE, BELFAST
QUEEN'S BRIDGE, BELFAST
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 2 October 2017 / 15

Published Estimate: €1,500-2,000

Price Realised: €1400

  • Signature: signed lower right; titled erroneously ["The Binns Bridge"] on reverse; with Victor Waddington Galleries label preserved on reverse
  • Medium: watercolour
  • Dimensions: 10½ x 14¾in. (26.67 x 37.47cm)
  • Provenance: Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • Another work of the same subject was shown by the artist at the RHA in 1926 [no. 254, £12-12-0]. The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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COTTAGE AND TREES
COTTAGE AND TREES
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 2 October 2017 / 16

Published Estimate: €1,000-1,500

Price Realised: €1500


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

Auction Date / Lot No.: 2 October 2017 / 17

Published Estimate: €5,000-7,000

Price Realised: €4800


INA CORMAC'S BRIDGE, CUSHENDUN, COUNTY ANTRIM, c.1925
INA CORMAC'S BRIDGE, CUSHENDUN, COUNTY ANTRIM, c.1925
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 2 October 2017 / 18

Published Estimate: €2,000-3,000

Price Realised: €0


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

Auction Date / Lot No.: 2 October 2017 / 19

Published Estimate: €2,000-3,000

Price Realised: €0


MEN OF THE WEST
MEN OF THE WEST
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 2 October 2017 / 20

Published Estimate: €5,000-7,000

Price Realised: €17000

  • Signature: signed lower left; titled on reverse
  • Medium: oil on canvas
  • Dimensions: 19½ x 25½in. (49.53 x 64.77cm)
  • Provenance: Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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WEST OF IRELAND BOG
WEST OF IRELAND BOG
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 2 October 2017 / 21

Published Estimate: €80,000-100,000

Price Realised: €100000

  • Signature: signed lower right
  • Medium: oil on canvas laid on board
  • Dimensions: 14 x 20in. (35.56 x 50.80cm)
  • Provenance: Collection of Dr Norah Hamilton, Sunderland, probably acquired from The Combridge Gallery, Dublin; Thence by bequest to a friend and colleague; Thence gifted to the present owners
  • Exhibited
  • Literature
  • It is impossible to know where this scene is, but it is no doubt in Connemara. There is fairly heavy impasto in many areas throughout, especially in the sky, distant mountains and landscape. This is also true of the foreground turf stacks, which stand out in their darkness. The immediate foreground, with its water-strewn landscape shows Paul Henry's consummate skill with such a scene. In the West of Ireland is numbered 1321 in S. B. Kennedy's ongoing cataloguing of Paul Henry's oeuvre. Dr. S.B. Kennedy August 2017 The previous owner was Dr Norah Hamilton (1896-1961), a consultant anaesthetist to Sunderland Area Hospital Group. She was born in Edinburgh of Irish-Scots parentage. The painting was bequeathed to a fellow anaesthetist and friend, who in turn gifted it to his children, the present owners.

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SEA FOG, 1909
SEA FOG, 1909
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 2 October 2017 / 22

Published Estimate: €8,000-10,000

Price Realised: €12200

  • Signature: signed lower right
  • Medium: watercolour
  • Dimensions: 14 x 10in. (35.56 x 25.40cm)
  • Provenance: Acquired directly from the artist by John Quinn (1870-1924) 1909; His sale, 'Paintings and Sculptures - The Renowned Collection of Modern and Ultra-Modern Art Formed by the Late John Quinn, Including Many Examples Purchased by Him Directly from Artists, Sold by Order of National Bank of Commerce in New York & Maurice Léon Surviving Executors of the Estate of John Quinn, Deceased, New York American Art Association Inc., 1927, catalogue no. 305; Whence purchased by J. Toner; Private collection
  • Exhibited
  • Literature: Pyle, Hilary, Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 666, p.159
  • An old mariner in a heavy coat, red scarf and dark brown cap strides away from the quayside. He has a distinctive gait, with hunched shoulders, hands deep in his pockets and nimble legs, suggesting his years moving about on-board ship. The distinctive combination of robust greens and purples found in many of Yeats' early watercolours is evident here. The shadow cast on the man's shoulders is a deep green while tones of pink suggest the foggy atmosphere of the waterside and the ethereal forms of the waterfront buildings. The painting is described in the catalogue of the posthumous sale of paintings and sculpture belonging to John Quinn, the Irish American lawyer and collector of Modernist art and literature. Lot 305 of the 1927 American Art Association catalogue states 'Figure of an old seafaring man, wearing a pea-jacket and muffler, sauntering from the quay, enveloped in a dull mist through which the masts of a brig faintly gleam in the background'. Quinn was the owner of several important works by Jack Yeats and was responsible for the artist's participation in the famous Armory Show of Modern art in New York in 1913. He was also a close friend and mentor of Jack's father, John Butler Yeats, who moved to the United States in 1908, and of his brother W.B. Yeats. Quinn bought Sea Fog in Dublin on a brief visit to the city in the summer of 1909 after it was included in a one-man show of Jack's work at the Leinster Hall. Quinn was a great admirer of the younger Yeats. In 1904, after Jack and his wife stayed in New York, Quinn wrote, 'He is one of the most simple and unaffected kind-hearted genuine and sincere men I have ever met and I like him more than I can tell'. [1] The exhibition of 1909 in which Sea Fog was included was a critical success. Constance Markievicz commented on the quality of the work shown in it in an article published in the Gaelic American that year. Jack's work, she wrote, 'with its intense originality and life-likeness, seems to appeal to us with almost a shock, and to demand its just due, … as something real and new….'.[2] Yeats and Cottie had travelled in the west of Ireland the previous year, staying mainly in Sligo, where the idea for Sea Fog is likely to have originated. The figure of the old sea dog striding up the town ultimately stems from the childhood fascination that Yeats had for the seafaring life. This began with his journeys along the Garavogue in the ships belonging to his grandparents and his uncles and his great regard for the wisdom of the pilot men, stevedores and gangers that worked on the Sligo quays. 1. B. L. Reid, The Man from New York. John Quinn and His Friends, Oxford University Press, 1968, p.21. 2. Quoted in Bruce Arnold, Jack Yeats, Yale University Press, 1998, pp.160-61. Dr Róisín Kennedy August 2017

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ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD, ACT 1, 'RISING UP IN THE RED DAWN...' 1922
ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD, ACT 1, 'RISING UP IN THE RED DAWN...' 1922
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 2 October 2017 / 23

Published Estimate: €10,000-15,000

Price Realised: €0

  • Signature: signed in Irish lower right; signed again and dated Aibrean [April] on reverse
  • Medium: oil on canvas
  • Dimensions: 30 x 25in. (76.20 x 63½cm)
  • Provenance: Acquired at the Dawson Gallery, Dublin, early 1950s; Thence by family descent to the previous owner; Whyte's, 30 April 2007, lot 90; Private collection; Whyte's, 30 May 2011, lot 37; Private collection
  • Exhibited
  • Literature: Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
  • In 1922 Keating was commissioned by Synge's nephew, Edward Hutchinson Synge, otherwise 'Hutchie', to undertake a series of colour illustrations for a forthcoming, large format publication of The Playboy of the Western World. He must have attended productions of the play in the early 1920s because several of the actors appear throughout the series of illustrations. So it is that Abbey Theatre actress, Eileen Crowe, makes an entrance as Pegeen in Helen and the Holy Prophets (lot 24). It is a moment in the play when the protagonist, Christy Mahon, who is practising his 'eloquence', compares Pegeen to the beautiful Helen of Troy 'pacing back and forward, with a nosegay on her shawl' while 'the holy prophets do be straining the bars of Paradise to lay eyes on her'. Crowe went on to play the role of Pegeen for about ten years between 1926 and 1936. While the troupe of 'mystics' 'straining through the bars of paradise' in Keating's Helen and the Holy Prophets includes a portrait of the artist on the left, he is also cast in a central role throughout the illustrations. Keating is Christy Mahon's unfortunate father, Old Mahon, seen for example, in Rising up in the Red Dawn (lot 23). The painting shows a moment during the first act of the play in which Christy suggests to Pegeen that his father was a violent man, who, full of rage after weeks of binge drinking, might strip off and fight anything, including the rising dawn. While the image shows Old Mahon naked and as much an animal as the huge pigs he is pictured with, in reality, nothing could have been further from the truth. The book for which these illustrations were made was published as a de lux collector's edition by George Allen and Unwin Ltd, London, in 1927. Keating, well-known for his paintings of the Aran Islands, then became associated with Synge's work, so much so that in the early 1940s, and again in the 1950s, the artist was commissioned to design costumes and stage settings for productions of The Well of the Saints and The Playboy of the Western World for the Abbey Theatre, and after the fire that destroyed the original building in July 1951, at the Queen's Theatre, Pearse Street, Dublin, which was to be home to the troupe until the new Abbey Theatre opened in 1966. Dr Éimear O'Connor HRHA August 2017 Author of Seán Keating: Art, Politics and Building the Irish Nation (Kildare: Irish Academic Press, 2013)

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ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - 'HELEN AND THE HOLY PROPHETS'
ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - 'HELEN AND THE HOLY PROPHETS'
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 2 October 2017 / 24

Published Estimate: €15,000-20,000

Price Realised: €0

  • Signature: signed lower right; numbered [5] on reverse
  • Medium: oil on panel
  • Dimensions: 36 x 29½in. (91.44 x 74.93cm)
  • Provenance: Acquired at the Dawson Gallery, Dublin, early 1950s; Thence by family descent to the previous owner; Whyte's, 30 April 2007, lot 90; Private collection; Whyte's, 30 May 2011, lot 35; Private collection
  • Exhibited
  • Literature: Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
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UNTITLED
UNTITLED
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 2 October 2017 / 25

Published Estimate: €3,000-4,000

Price Realised: €2400

  • Signature: with 'Swanzy Studio Sale' stamp on reverse
  • Medium: oil on board
  • Dimensions: 8¼ x 12in. (20.96 x 30.48cm)
  • Provenance: 'The Mary Swanzy Studio Sale', Christie's, 10 May 2007, ex lot 319; Private collection
  • Exhibited
  • Literature
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OLD TOMBSTONE, WEST CORK
OLD TOMBSTONE, WEST CORK
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 2 October 2017 / 26

Published Estimate: €1,500-2,000

Price Realised: €0

  • Signature: with labels detailing title and provenance on reverse
  • Medium: gouache
  • Dimensions: 14½ x 17in. (36.83 x 43.18cm)
  • Provenance: Collection of Miss Celia Shaw [5, Seaview Terrace]; From whom donated to Bishop Carroll; From whom bequeath to Parochial House, Donnybrook, October 1978; Adam's, 13 May 1992, lot 13; Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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COMPOSITION
COMPOSITION
Mainie Jellett (1897-1944)

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

Published Estimate: €3,000-5,000

Price Realised: €3200

  • Signature: inscribed on Dawson Gallery label on reverse
  • Medium: gouache
  • Dimensions: 7½ x 13¼in. (19.05 x 33.66cm)
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Exhibited
  • Literature
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WESTERN LANDSCAPE STUDY, 1940
WESTERN LANDSCAPE STUDY, 1940
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 2 October 2017 / 28

Published Estimate: €1,800-2,200

Price Realised: €3500

  • Signature: signed and dated lower right
  • Medium: watercolour
  • Dimensions: 11 x 16in. (27.94 x 40.64cm)
  • Provenance: From the Estate of Brian and Mary Boydell; Adam's, 28 September 2011, lot 29; Private collection
  • Exhibited
  • Literature
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AGAINST THE STREAM, 1945
AGAINST THE STREAM, 1945
Jack Butler Yeats RHA (1871-1957)

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

Published Estimate: €60,000-80,000

Price Realised: €92000

  • Signature: signed lower left; inscribed with title on reverse; also with inscribed Dawson Gallery label on reverse and typed Waddington Galleries, London label on reverse
  • Medium: oil on panel
  • Dimensions: 9 x 14in. (22.86 x 35.56cm)
  • Provenance: Sold by the artist to R.N. Flynn, 1945; Christie's, 17 June 1960; Where purchased by Waddington Galleries, London; Collection of Mr and Mrs F. Hess, London; Collection Mrs Y. Tucker; with Waddington Galleries, London; Where purchased by a Mr Daniel O'Keeffe; Private collection; Whyte's, 26 November 2012, lot 44; Private collection
  • Exhibited
  • Literature: Pyle, Hilary, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, André Deutsch, London, 1992, Vol.II, p.639, catalogue no. 708
  • A man walks briskly along a river bank pulling a small barge in the water along behind him. The dramatic contrast in scale between him and his passengers suggest that the latter is a toy or that some fantastic scene is before us. Yeats' intricate handling of the paint conveys a breezy day with the trees on the bank blowing in the gentle wind. The bright blues of the sea and river compliment the dark greens and yellow tones of the surrounding vegetation and suggest the warmth of a summer's day. The blue paint of the water has been scrapped back in parts to reveal the white of the canvas underneath. This denotes the reflected light of the sky on the surface of the river, while drawing our attention to the physical construction of the painting. The pink shirt and grey trousers of the ferryman while contrasting in hue with that of its environs are blended into the composition through the way in which the artist has sculpted the form out of paint. Rivers and ferrymen are a major theme in Yeats' work. The ferryman, like the pilot man who guided the ships in and out of port is symbolic of an innate wisdom and a keen understanding of the complexities of the sea and the tide. The title of this work, Against the Stream, indicates the skill of the man as he manoeuvres the boat upstream. The disconcerting discrepancy in scale between the giant male figure and the tiny doll-like forms of the passengers equally evokes a world of make-believe. One of Yeats' great pleasures as a young man was making paper boats and floating them on the River Gara close to his Devon home of that time. The poet John Masefield, a close friend of the artist, often joined in this pursuit. Several of Yeats' paintings of the mid 1940s such as The Launching (1945, Private Collection) and A Beach in Lilliput (1944, Private Collection) refer back to memories of this time. Another work, The Model Ship (1945, Private Collection) depicts a sailor looking at a model yacht sailing in the water below. [1] Rivers are moving forces and as such they represent the unending progress of life and nature. The sense of journeying is keenly expressed in this work through the movement of trees, the water and above all by the striding figure and the boat. The wide spread of the composition takes in the breadth of the river and its opposing bank and thus sets the expedition of the man and the boat within the much greater context of natural forces. In a playful manner Yeats uses the work to pose quite profound questions about the purpose of an individual life set against the bigger forces of the natural world. Dr. Róisín Kennedy August 2017 1. Hilary Pyle, Jack B. Yeats. A Catalogue Raisonné of the Oil Paintings, André Deutsch, 1992, no. 637, II, p.581

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JACK B. YEATS CORRESPONDENCE 1949-1957
JACK B. YEATS CORRESPONDENCE 1949-1957
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 2 October 2017 / 30

Published Estimate: €1,000-1,500

Price Realised: €1900

  • Signature
  • Medium: signed autograph letters on 18 Fitzwilliam Square, Dublin headed paper; (20)
  • Dimensions
  • Provenance
  • Exhibited
  • Literature
  • Twenty signed autograph letters from Jack B. Yeats to Teresa O'Sullivan, the manager of Portobello Hospital. All on 18 Fitzwilliam Square, Dublin notepaper and with original postal envelopes. The letters, written in Yeats' final years, reveal his relationship with, and increasing reliance on, Portobello Hospital as he became increasingly infirm.

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THE ROYAL VISIT TO IRELAND, 1903
THE ROYAL VISIT TO IRELAND, 1903
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 2 October 2017 / 31

Published Estimate: €1,000-1,500

Price Realised: €2500

  • Signature: signed and dated on reverse
  • Medium: ink
  • Dimensions: 9 x 6in. (22.86 x 15.24cm)
  • Provenance
  • Exhibited
  • Literature
  • This caricature depicts Wexford born Irish Nationalist politician, barrister, and MP John Edward Redmond (1856-1918). Redmond was leader of the Irish Parliamentary Party from 1891 until his death in 1918.

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JAMES JOYCE
JAMES JOYCE
Berenice Abbott (1898-1991)

Auction Date / Lot No.: 2 October 2017 / 32

Published Estimate: €4,000-5,000

Price Realised: €0

  • Signature: signed and numbered in pencil in the margin; signed and editioned recto with artist's Abbott, Maine stamp verso
  • Medium: gelatin silver print; (no. 78 from an edition of 100)
  • Dimensions: 14 x 11in. (35.56 x 27.94cm)
  • Provenance: Purchased by present owner from Catherine Couturier Gallery, Houston, Texas (formerly John Cleary Gallery)
  • Exhibited
  • Literature
  • Abbott photographed James Joyce in Paris in the 1920s. During the first few years of the decade she worked as an assistant to Man Ray (1923-25) before opening her own studio on Rue du Bac in 1926. This version of the Joyce portrait dates to the final printing of the image in the 1980s in a limited edition of 100.

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NUDE BATHING [GIRL BATHING] c.1897-1898
NUDE BATHING [GIRL BATHING] c.1897-1898
Roderic O'Conor (1860-1940)

Auction Date / Lot No.: 2 October 2017 / 34

Published Estimate: €15,000-20,000

Price Realised: €12000

  • Signature: bearing O'Conor studio stamp on reverse; with Roland, Browse and Delbanco label partially obscured on reverse; with inscribed Grants Fine Art Gallery [Co. Down] label on reverse; with exhibition label of Barbican Art Gallery [London] on reverse; canvas s
  • Medium: oil on canvas
  • Dimensions: 25¾ x 21½in. (65.41 x 54.61cm)
  • Provenance: Vente O'Conor, Hôtel Drouot, Paris, 7 February 1956; Roland, Browse and Delbanco, London; with Grants Fine Art, Newcastle, 1982; Christie's, London, 8 June 1984, lot 99; Private collection
  • Exhibited
  • Literature: Johnston, Roy, Roderic O'Conor 1860-1940, Barbican Art Gallery, London and Ulster Museum, Belfast, 1985, catalogue no. 29 (illustrated p.76); Benington, Jonathan, Roderic O'Conor, Irish Academic Press, Dublin, 1992, catalogue no. 88 as 'Smiling Bather'
  • The pose in this expressive figurative work by Roderic O'Conor relates so closely to Edvard Munch's well known painting Madonna of 1893-94 (fig 1.) that his image clearly was the inspiration for O'Conor in realising this painting. In terms of technique he confirms his technical versatility as a painter through his extensive use of the palette knife to apply, or scumble a thin layer of paint over a textured ground. Munch had travelled to Paris from his native Norway in 1896, and was an exhibitor at the Salon des Indépendants in three consecutive years from 1896 through 1898. He also exhibited at Seigfried Bing's gallery in Paris in 1896 at a time when O'Conor had moved from Pont-Aven in Brittany to a much quieter location in the small village of Rochefort-en-Terre in Morbihan, which was Brittany's most southern department. O'Conor is known to have been on a visit to Paris in 1896 when Munch's solo exhibition was running at Bing's Art Nouveau gallery. Even if O'Conor did not see Munch's original painting he could scarcely have avoided seeing one of the several different lithographs of the Madonna image which Munch printed. O'Conor's interpretation is also reminiscent of Maillol's Femme Nue, a painting of a woman holding her left breast, with her head in profile. O'Conor's bather also appears to cup her breast in a symbolic gesture which stresses her sensuality rather more than her maternal instincts. The expression on her face and the stylised smile seem to be inviting us to share with her in this frankly sexual communication. Dr Roy Johnston August 2017 The present works relates closely to another painting, Baigneuse à la Mer, c.1898-1900 (fig. 2) from the same period. In the catalogue to the 1985 exhibition - in which both are illustrated (nos. 29 & 30) - it is suggested they "…may have developed from a studio nude which was then overpainted…". Similarities in terms of the effects of texture are also evident and it is likely both pictures were worked on and re-worked over an extended period of time. Baigneuse à la Mer appeared at auction in Christie's on 25 November 2015 and sold for €156,200 as lot 26.

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ON THE HILL OF HOWTH, COUNTY DUBLIN, c.1912-14
ON THE HILL OF HOWTH, COUNTY DUBLIN, c.1912-14
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 2 October 2017 / 35

Published Estimate: €30,000-50,000

Price Realised: €30000

  • Signature: signed lower right
  • Medium: pencil and watercolour
  • Dimensions: 19¾ x 28¾in. (50.17 x 73.03cm)
  • Provenance: Thought to have been acquired from the Waddington Gallery, Dublin by Mary "Molly" Matthews; Thence gifted to her nephew, Desmond Windle on the occasion of his marriage; Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • The rediscovery of the present drawing adds significantly to Orpen's 'Howth' canon, a group of works which record family holidays on the famous promontory to the north of Dublin Bay. Each year between 1909 and 1913, having completed his teaching term at the Metropolitan School of Art, Orpen, with his wife, Grace, and daughters, Mary and Christine, rented the Bellinghams' house, known as The Cliffs, on Howth Head. For all his philandering and bouts of hard drinking, these summers were to be the best times of his life. Here he could be joined by Dublin friends and students and a sense of joie de vivre prevailed. Orpen of course, never stopped working. His brother Richard, a regular visitor, recalled these 'never-to-be-forgotten summer days' of swimming and sun-bathing, but he felt compelled to add that, Bill was always at work and painted many pictures here. It was at 'The Cliffs' that I realised what the 'urge' of the painter is. Orpen's 'urge' was to represent figures on the headland glorying in the freedom of the vast open sky with, in some instances, the magnificent backdrop of the Irish Sea. It was nevertheless a precipitous place. An amusing pen drawing in a letter to his friend, George Charles Beresford, shows him painting with makeshift easel and heels dug into the grass on a steep slope falling into the sea (fig 1). On breezy days, his actors would erect a bell-tent on the hilltop, crawl to the cliff-edge to watch a yacht race, fly kites, or descend for a swim in the little inlet known as Bellingham's harbour. In these simple things, the possibilities for drawings and paintings were endless, and the results, stunning. Fig 1 William Orpen, The Artist at Howth Head, 26 x 20 approx., date and current location unknown Although there were frequent visitors, and some set-piece ensembles, such as On the Irish Shore (Leeds City Art Galleries), Sheep and Goats, and Life Class on the Beach (both Private Collections), Grace, Mary (known as 'Bunnie') and Christine (known as 'Kit') were favourite subjects. Kit famously remembered that her father '… paid half-a-crown an hour for sitting for those portraits - a fortune in those days … only an hour at a time and then a dash along the cliffs for a bathe - golden days'. Should we assume that the girl in the present drawing lies there awaiting her 'dash' down to the sea - and is this Kit? At the time of its acquisition by Miss Mary Mathews in the 1950s the model for the present work was thus identified. For several generations the picture has always been known as Kit on the Hill of Howth, County Dublin. But is it possible that Orpen, having painted Kit (fig 2) just before her seventh birthday in 1913, would then re-present his daughter as more mature than her years would suggest? The girl in the present work must surely be several years older. Orpen's exquisite draughtsmanship persuades us of this. Fig 2 William Orpen, Kit, c. 1913, 94 x 89, Private Collection Orpen's drawing is of course, unsurpassed. At the time, when Chenil Gallery followed its limited edition facsimilies of his drawings with a pamphlet quoting press coverage, it seemed as though a consensus on quality had been reached. Orpen's humanity, his sympathetic line, placed him above the revered Jean-Auguste-Dominique Ingres, and in works such as The Yacht Race (fig 3), which features Kit in the left corner, the drawing was 'masterly'. The writer could sense the warmth of the sun, and the breeze from the sea, and concluded that 'when an artist can conjure up such emotion his success is complete'. Form, mass and contour are so finely observed that all who appreciated his emerging Irish national school of artists must celebrate Orpen's achievement. While The Yacht Race drawing, one of two to pass through Pyms Gallery, London, at different times, helps us to confirm the look of Orpen's younger daughter, a closer match is found in On the Cliff, (fig 4). Here a barefoot older girl wearing a calf-length skirt and slouch hat is also looking over the headland. Her hair appears to be bobbed and cut to a similar length as that in the present drawing. On this basis, it can tentatively be suggested that the girl in both drawings is likely to be Bunnie Orpen, Kit's older sister. Fig 3 William Orpen, The Yacht Race, 1913, 52 x 75, Private Collection, photo courtesy Pyms Gallery, London Fig 4 William Orpen, In the Cliff, 1913, 53.3 x 74.3, Private Collection, photo courtesy Pyms Gallery, London The same sensitivity of line also persists in both drawings and the washes of watercolour are delicately laid. Detail, the blue piping on the cardigan, for instance, is noted where it needs to be. In essence Orpen wishes to express a sense of bohemian youth and abandon. Other artists, Augustus John, Derwent Lees, Laura Knight and others were taking up his theme. Yet his essentially Irish version of Baudelairean luxe, calme et volupté was unmatched. On Howth Hill the mind was no longer in chains and the petty politics of the Board of Agriculture and Technical Instruction, now dictating the art school curriculum, could be put aside. The girl lies prone before us. In her hand she holds a knot of tiny flowers - Alpines perhaps - that survive the fierce winds that lick this exposed headland in winter. She stretches her right arm skywards as Sheerwater gulls soar over the headland - birds that came to symbolize these idyllic summers, as Orpen would nostalgically recall. Of an evening, as the sun dips, the water in the bay becomes brilliant gold, or if there is any mist, the siren at the Bull starts its weird octave … And the Sheerwater gulls start their laughter, like a bunch of young girls at the side of the road laughing at the passer-by. Ireland! Romance, laughter and tears. 1. Bruce Arnold, Orpen, Mirror to an Age, 1981 (Jonathan Cape), p. 273. 2. Quoted in James White ed., William Orpen, A Centenary Exhibition, 1978 (exhibition catalogue, National Gallery of Ireland), p. 42; quoted in Arnold, 1981, pp. 268-9. 3. From 1910 to the outbreak of war the British Isles experienced a series of unprecedentedly hot summers; see for instance Virginia Nicholson, The Perfect Summer, Dancing into Shadow in 1911, 2007 (Penguin pbk ed). 4. Ibid, p. 49. Half-a-crown in 1913 would be worth £13.24 or 14.46 EUR today. 5. Information supplied to Whyte's by the current owner. 6. Christine Orpen ('Kit') was born in September 1906. 7. Like her father, Kit was small in stature. Serious consideration must therefore be given to the possibility that the model in the present instance, is an older girl. At the same time we acknowledge that Kit's hair, formerly in ringlets was straight and bobbed by 1913, the date that concurs with the stylistic and technical aspects of the work. 8. The Art News quoted in The Chenil Gallery, A Portfolio of Ten Drawings by William Orpen ARA, 1914, (Charles Chenil & Co), p. 6. 9. ES Grew, 'The Severe Art of Drawing', The Graphic, 17 January 1914, p. 104. Since Hugh Lane's epoch-making exhibition of Irish Art at the Guildhall Art Gallery, London in 1904, the question of Irish cultural identity in the visual arts was firmly on the agenda. 10. The Yacht Race passed through Pyms Gallery and was included in The Art of A Nation, Three Centurie of Irish Painting, in 2002 (no 31), and On the Cliff featured in its Orpen and the Edwardian Era exhibition in 1986 (no. 37). 11. It would seem logical that Grace Orpen would have her daughters' hair cut to the same style at the same time. 12. William Orpen, Stories of Old Ireland and Myself, 1924 (Williams and Northgate), pp. 4-5. The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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THE VILLAGE STREET, RUSH & LUSK, COUNTY DUBLIN, c.1898
THE VILLAGE STREET, RUSH & LUSK, COUNTY DUBLIN, c.1898
Walter Frederick Osborne RHA ROI (1859-1903)

Auction Date / Lot No.: 2 October 2017 / 36

Published Estimate: €25,000-35,000

Price Realised: €0

  • Signature: signed lower left
  • Medium: oil on canvas laid on board
  • Dimensions: 7¼ x 10¾in. (18.42 x 27.31cm)
  • Provenance: Collection of Sir George F. Brooke, Bart; Thence by descent to Lady Brooke; with Mealy's, Castlecomer, May 1991, lot 1028; Private collection; Whyte's, 25 November 2013, lot 29; Private collection
  • Exhibited
  • Literature: Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, p.144, catalogue no. 498 (listed)
  • Walter Osborne's passion for painting en plein air is thought to have been the cause of his premature death in an unusually cold April in 1903. He was forty-three and at the height of his artistic powers. The present work, which dates to the most prolific period in his oeuvre, is testament to this passion and captures the rustic charm of a village street in half-light in North County Dublin. The scene is an intimate view of an ordinary street where the everyday humdrum of village life is taking place. Fowl peck at the dirt in the centre of the road by a water pump while a figure with a cart stops and engages with another in a doorway on the left. This scene appears to repeat itself further down the street on the opposite side of the road where hints of figures and animals are suggested. Osborne elevates the routine happenings of village life to the level of the extraordinary by seeing beauty in its simplicity and communicating this to the viewer in an honest vocabulary that draws on the Realist's in subject, tone and palette and the Impressionist's in execution and responsiveness to light. Osborne's brushstrokes are deceptively simple. The fowl in the centre are delivered to the viewer by a mere dab of the paint-brush; a single, fluid and bold movement that is unassumingly brilliant. They lift out of the canvas in delicate impasto that invite the eye into the composition. The flatter façades of the buildings lining the street draw the viewer towards the brightest corner of the street, treating us to insights into village life on route. The glow that radiates from this point touches road and wall until resting back in the foreground in the fowl's plumage. A charged, powerful and unpretentious painting, The Village Street, Rush & Lusk formed part of a large memorial exhibition held at the RHA, Dublin after Osborne's death. It was one of 270 paintings and drawings loaned mostly from private collections. The present example was owned at that time by a wine merchant based on Gardiner's Row, Dublin. 1 Footnote: 1. Brooke, George F., 1 Gardiner's Row (wine merchant) [ex Dublin City Directory 1850]

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THE WINDING LANE
THE WINDING LANE
William Percy French (1854-1920)

Auction Date / Lot No.: 2 October 2017 / 37

Published Estimate: €2,000-3,000

Price Realised: €3200

  • Signature
  • Medium: watercolour
  • Dimensions: 6½ x 9½in. (16.51 x 24.13cm)
  • Provenance: Private collection, U.K.; Adam's, 2 June 2010, lot 153; Private collection
  • Exhibited
  • Literature
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A STORMY SKY
A STORMY SKY
William Percy French (1854-1920)

Auction Date / Lot No.: 2 October 2017 / 38

Published Estimate: €2,000-3,000

Price Realised: €3600

  • Signature: signed lower right
  • Medium: watercolour
  • Dimensions: 6½ x 9½in. (16.51 x 24.13cm)
  • Provenance: Private collection, U.K.; Adam's, 2 June 2010, lot 151; Private collection
  • Exhibited
  • Literature
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BOG LAKE
BOG LAKE
William Percy French (1854-1920)

Auction Date / Lot No.: 2 October 2017 / 39

Published Estimate: €800-1,200

Price Realised: €2600


LISMORE CASTLE, 1911
LISMORE CASTLE, 1911
Helen O'Hara (1846-1920)

Auction Date / Lot No.: 2 October 2017 / 40

Published Estimate: €1,000-1,500

Price Realised: €1700

  • Signature: signed with monogram and dated lower left
  • Medium: watercolour
  • Dimensions: 12½ x 21in. (31¾ x 53.34cm)
  • Provenance
  • Exhibited
  • Literature
  • Derry born Helen Sophia O'Hara was the daughter of the Reverend James D. O'Hara and her brother, H.S. O'Hara, was the Bishop of Cashel and Emly, and Lismore, Co. Waterford. O'Hara lived at The Mall House, Lismore from 1898 until 1919 with fellow artist and friend Fanny Currey (1848-1917). Currey was born at Lismore Castle, her father - Francis Edmund Currey - was employed as a land agent to the dukes of Devonshire O'Hara exhibited with the Royal Hibernian Academy in Dublin from 1881 to 1894 and was a member of the Belfast Art Society to which she was elected vice-president in 1896. Whilst living in Lismore, O'Hara illustrated a number of Currey's children's books. Her work was widely exhibited during her lifetime with over 100 examples shown with the Water Colour Society of Ireland (Currey was a founding member of the WCSI) alone from 1892 to 1913. In 1912 - the year after the present work was painted - O'Hara showed 'Summer Afternoon, Lismore Castle' with the WCSI, no. 322 [£31-0-0]; one of the more expensive examples by the artist shown with the WCSI during her lifetime.

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PORTRAIT OF MARY BARRON TOTTIE, 1905
PORTRAIT OF MARY BARRON TOTTIE, 1905
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 2 October 2017 / 41

Published Estimate: €30,000-40,000

Price Realised: €24000

  • Signature: signed upper right; bearing Art Museum of the America's exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 44 x 34in. (111.76 x 86.36cm)
  • Provenance: Private collection in England until 1977; Christie's London, 17 November 1978, lot 147; with The Belgrave Gallery, Ltd., London; Kate Moffatt, London, 1983; Private Collection (location not specified), 1984; Christie's South Kensington, 30 April 1984, lot 11; With St. Luke's Gallery Washington, D.C.; Nizar and Ellen Jaudat; Private collection
  • Exhibited
  • Literature: Walter Shaw-Sparrow, John Lavery and his Work, 1912, Kegan Paul, Trench, Trübner & Co., p.186; Ferdin and Proztman, ‘Portraits as Windows to the Psyche’, Washington Post, 14 October 1995
  • Orchestrating blacks – symphoniser les noirs – was, according to Selwyn Brinton, one of the chief ‘notes’ of John Lavery’s art. Writing in 1908, he was aware of the fact that the national galleries of Germany and Belgium already possessed classic Lavery depictions of ‘ladies in black’, and as he studied the portrait of Mrs Trevor (Ulster Museum, Belfast), he realised that this subtlest of aesthetic games, ‘derived perhaps in its inception from Whistler’, remained a formidable challenge.1 From his earliest encounters with the American artist, Lavery had seen suave studies in black. He was in the French capital as a student when The Artist’s Mother (Musée d’Orsay, Paris) was shown at the Salon, and subsequent visits to Whistler’s studio would have introduced him to a cavalcade of ‘arrangements’ and ‘harmonies’ in which black inevitably played a part. But this fascination did not derive exclusively from the American: it was there in the wonderful Prado portraits by Velazquez that Lavery copied in 1892. There was thus a powerful aesthetic impetus driving the Irish artist’s orchestration of blacks in Mrs Tottie’s portrait in 1905 (lot 41). Mary Barron Tottie (née Blake) was the daughter of Captain Francis Barron Blake of the US Navy and grand-daughter of Commodore George S Blake, Superintendent of the US Naval Academy at the time of the American Civil War. She grew up in Boston. Her husband, William Harald Tottie, son of a Swedish Consul had, after studying at Cambridge University, become a merchant banker in Shanghai. It is not known how they met. Their sons, Oscar William and Eric Harald Tottie were killed in the Great War on the same day in 1914, and thereafter Mary and her husband threw themselves into supporting the war effort. The Winkfield District Magazine tells of her organising local women in the production of bandages and mosquito nets. Ten years earlier, when Lavery’s portrait practice was booming and he was painting European aristocrats and American actresses, he was occasionally criticised for not seeing beyond the surface, the ‘exquisite screen’ of a ‘sweet face’. Mrs Tottie’s portrait contradicts this assumption. She addresses the spectator directly. She is not coy, nor is there a false allure in the way she returns our gaze. She is every inch a character from Henry James – serious, forceful, honest, determined, and while not devoid of charm, a woman who is not play-acting. Prof. Kenneth McConkey August 2017 1 Selwyn Brinton, ‘Recent Paintings by John Lavery RSA, RHA’, The Studio, vol XLV, December 1908, p. 178.

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STUDY FOR A MOORISH DANCE, 1892
STUDY FOR A MOORISH DANCE, 1892
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 2 October 2017 / 42

Published Estimate: €8,000-12,000

Price Realised: €8500

  • Signature: signed, dated and inscribed with title lower right; with James Connell & Sons [Glasgow] label on reverse; with Belfast Art Gallery and Museum label on reverse inscribed with title, and owner's details [Saml. E. Thompson, Edenderry House, Woodvale Road, B
  • Medium: oil on canvas
  • Dimensions: 9½ x 7½in. (24.13 x 19.05cm)
  • Provenance: with James Connell and Sons, Glasgow; to Samuel E Thompson, Edenderry House, Woodvale Road, Belfast, by 1921 (£75); Thence by descent; Kennedy Wolfenden & Co. Ltd., Dunadry Inn, Co. Antrim, 15 May 1984, lot 64; Private collection
  • Exhibited
  • Literature: Kenneth McConkey, John Lavery: A Painter and his World, Atelier Books, 2010, p.220 (note 63)
  • S.E. Thompson was a House, Land, and Estate Agent, Property Broker, and Valuer of 63 Donegall Street with a home address at Edenderry House, Woodvale Road. For several years in the late 1880s, John Lavery had been hearing from his close friends, Joseph Crawhall and Arthur Melville, about the attractions of Tangier. Work commitments, namely the large commemorative oil painting of Queen Victoria’s visit to the Glasgow International Exhibition in 1888, intervened before he was able to escape in January 1891. From the moment he arrived in the city known to habitués as ‘La Blanca’, those previous two years of confinement to the studio, were set aside and an immediate sense of liberation prevailed as he walked up to the Kasbah. Tangier, glistening in the sunlight, was a melting pot for different racial types – Berbers, Tauregs and Nubians as well as European émigrés of every stripe.1 In its narrow streets at dusk when lanterns were lit after the final call to prayer, one would often hear the strains of Arab music drifting across the flat rooftops. Such was the spell cast by this exotic city that a single visit was not enough and Lavery resolved to return the following winter. On this second occasion his major project was the depiction of a Moorish dance – a subject favoured by French Orientalists such as Delacroix, Gérôme and Benjamin-Constant. His working methods were simple. Where they constructed their harem scenes from models and bric-a-brac in Paris studios, his preparatory works would be painted on-the-spot. A series of small studies in oil and watercolour would inform the final composition destined for the Royal Academy the following year (fig 1), and the present instance is one of these. These swift oil sketches of Berber and Nubian heads, individual musicians, the foreground dancer, and various attempts at the overall arrangement of figures made an interesting repository. They passed into small exhibitions in Glasgow or in some cases were given to friends.2 The final exhibition-piece fared less well, and was returned to the artist unsold. After approximately ten years, when he was returning regularly to La Blanca, Lavery reduced its size and repainted it almost entirely.3 We therefore rely on pictures like the present one to give us a fuller sense of Lavery’s experience and thinking during the 1892 visit. At this point, vivid colour and remarkable spontaneity alone carry the germ of the idea that emanates from crouching figures who in turn produce the unique sound of an extraordinary city. Prof. Kenneth McConkey August 2017 1 For a fuller account of Lavery’s long relationship with Tangier, see Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Atelier Books). 2 Two for instance, were given to fellow painter, Alfred East, whose London studio Lavery borrowed during his absence in 1896. 3 McConkey, 2010, pp. 60-2, 220 (note 63).

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GIRL FEEDING CALVES
GIRL FEEDING CALVES
Walter Frederick Osborne RHA ROI (1859-1903)

Auction Date / Lot No.: 2 October 2017 / 43

Published Estimate: €18,000-22,000

Price Realised: €0

  • Signature
  • Medium: oil on canvas laid on board
  • Dimensions: 9½ x 13¾in. (24.13 x 34.93cm)
  • Provenance: Collection of Mr & Mrs Oísín Kelly RHA (1916-1971); James Adam Salesroom, Dublin, December 1989, lot 111; Collection of Ian Stuart, sculptor (1926-2013); Whyte's, 26 April 2005, lot 105; Private collection; Whyte's, 26 September 2016, lot 81; Private collection
  • Exhibited
  • Literature
  • Walter Osborne's small painting of a girl feeding calves by hand has a simplicity and intimacy to it. Being the son of an animal painter, William Osborne, Walter had an affection for animals, both domestic and farm animals, and pets, and these, often in the company of children, featured in many paintings throughout his career, for example, in Grey Morning in a Breton Farmyard, 1883, where there is a calf with children, and Milking Time and its attendant pictures, set at Portmarnock. In Girl Feeding Calves, the figure and animals are shown in a small field or paddock, surrounded by stone walls and trees, indicated in blurred brushstrokes, to give a protective feel. The girl holds out a pan from which the calves feed. It is as if Osborne has come across this gentle scene, or glimpsed it from a window, and captured it swiftly in paint. He employs off-whites, warm browns and siennas, olives and yellow greens, in some places working over the colours or blurring the brushstrokes to capture the scene quickly. Dr. Julian Campbell

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ADAM CROPPING, 2011
ADAM CROPPING, 2011
Cody Swanson (American, b.1985)

Auction Date / Lot No.: 2 October 2017 / 44

Published Estimate: €5,000-7,000

Price Realised: €4800

  • Signature
  • Medium: bronze; (unique)
  • Dimensions: 20 x 17½ x 12½in. (50.80 x 44.45 x 31¾cm)
  • Provenance: Jorgensen Fine Art, Dublin; Private collection
  • Exhibited
  • Literature
  • Cody Swanson was born in Minneapolis, MN and currently resides in Florence, Italy. Cody holds an M.A. in Liturgy, Sacred Art and Architecture from the European University in Rome, and spent five consecutive years teaching sculpture with the Florence Academy of Art where he also studied sculpture. As a sculptor Cody works primarily in clay, plaster, bronze and marble. In 2011, he was given the honor from the Cardinal of Florence, His Eminence Guiseppe Betori, to produce a 4-meter sculpture depicting St. Emygdius for the Cathedral of Foligno and a silver processional cross for the Cathedral of Florence. In Ireland, he has exhibited at Jorgensen Fine Art and Solomon Gallery.

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COUNTERPOINT, 1997
COUNTERPOINT, 1997
Frederick Elliott Hart (American, 1943-1999)

Auction Date / Lot No.: 2 October 2017 / 45

Published Estimate: €1,000-1,500

Price Realised: €4400

  • Signature: signed, dated and numbered on side
  • Medium: acrylic sculpture; (no. 79 from an edition of 350)
  • Dimensions: 15 x 22 x 9in. (38.10 x 55.88 x 22.86cm)
  • Provenance
  • Exhibited
  • Literature
  • Frederick Elliott Hart pioneered the use of clear acrylic resin to create cast figurative sculptures and patented a process in which one clear acrylic sculpture was embedded within another. In 1997 Hart presented a unique casting entitled The Cross of the Millennium to Pope John Paul II in a private ceremony at the Vatican. He was a member of the U.S. Commission of Fine Arts from 1985 to 1989 and was awarded an honorary degree from the University of South Carolina and received the Henry Hering Award of the National Sculpture Society in 1987 and Presidential Design Excellence Award in 1988. In 2004, he was awarded the National Medal of Arts, the highest award given to artists and arts patrons by the U.S. government. His important body of work includes the Washington National Cathedral's Creation Sculptures and the Vietnam Veterans Memorial's Three Soldiers.

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FEMALE FIGURE HOLDING AN HOURGLASS
FEMALE FIGURE HOLDING AN HOURGLASS
Michael Powolny (Austrian, 1871-1954)

Auction Date / Lot No.: 2 October 2017 / 46

Published Estimate: €5,000-10,000

Price Realised: €13000

  • Signature: signed on base
  • Medium: glazed ceramic
  • Dimensions: 33½ x 11in. (85.09 x 27.94cm)
  • Provenance: Collection of Donal O'Sullivan (1893-1973) Irish scholar and politician; Thence by family descent to the present owner
  • Exhibited
  • Literature
  • Michael Powolny was a sculptor, ceramist, designer, and teacher born in Judenburg, Austria. In 1906 along with Bertold Löffler he founded the Wiener Keramik workshop, which later became part of the Wiener Werkstätte. He died in Vienna and is remembered for his various individual sculptures and municipal monuments such as fountains and war memorials as well as designs for household objects. Four examples of his work can be found in the collection of The Metropolitan Museum of Art, New York. Donal O'Sullivan was clerk to the first Seanad (Irish parliament, 1922-1936) and a member of Seanad Éireann from 1943 to 1944 having been elected to the 4th Seanad in 1943 by the Cultural and Educational Panel. He was director of Studies in Irish Folk Music and Song in University College Dublin and a member of the International Folk Music Council. He wrote the book O'Carolan: Life, Times and Music of an Irish Harper (London, 1958) reissued in 2001. O'Sullivan was part of the Irish delegation to the League of Nations (c.1922-1930) and it is thought the present work is likely to have been acquired during one of his travels in this capacity.

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CHERUB, 1952
CHERUB, 1952
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 2 October 2017 / 47

Published Estimate: €15,000-20,000

Price Realised: €21000

  • Signature: signed and numbered on weaver's label on reverse; also with weaver's monogram upper left
  • Medium: Aubusson tapestry, Atelier Tabard Frères et Souers, France; (no. 8 from an edition of 10)
  • Dimensions: 43½ x 52in. (110.49 x 132.08cm)
  • Provenance: Taylor Galleries, Dublin; Where purchased by the mother of the present owner; Thence by descent
  • Exhibited
  • Literature: Dorothy Walker, Louis le Brocquy, Dublin, 1981, p.29; Taylor Galleries, Dublin, Louis le Brocquy, Tapestries, exh. cat., 2000, illustrated (another version); The Hunt Museum, Limerick Louis le Brocquy, exh. cat., 2006, illustrated. p.75 (another version)
  • In 1948, Edinburgh Tapestry Weavers, an ancient industry under the patronage of the then Marquis of Bute, invited a number of painters, working in London, to design tapestries. The artists included Stanley Spencer, Jankel Adler, Graham Sutherland and Louis le Brocquy, who later continued his work in this medium in collaboration with the Tabard workshop at Aubusson in France. In 1951, Mrs. S.H. Stead-Ellis, whose art collection already included le Brocquy tapestries, commissioned three related tapestries, adaptable as screen, rug and fire screen, 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 angel of the Cherubim is the smallest work and an ambiguous figure suggesting apocalyptic disaster rather than heavenly glory, carrying in its palms a prophetic stigmata. But the beautiful rose-pink colour of the angelic figure does suggest some heavenly background. The artist, in an interview with Harriet Cooke published in The Irish Times in 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." Extracts from www.anne-madden.com

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PORTRAIT OF A MAN
PORTRAIT OF A MAN
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 2 October 2017 / 48

Published Estimate: €1,000-1,500

Price Realised: €1200

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 11½ x 9in. (29.21 x 22.86cm)
  • Provenance
  • Exhibited
  • Literature
  • The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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

Auction Date / Lot No.: 2 October 2017 / 49

Published Estimate: €3,000-5,000

Price Realised: €4200

  • 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; Collection of George and Maura McClelland
  • Exhibited
  • Literature
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BROWN, BLUE AND SILVER
BROWN, BLUE AND SILVER
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 2 October 2017 / 50

Published Estimate: €1,500-2,000

Price Realised: €2400

  • Signature: signed lower left; titled on Dawson Gallery exhibition label on reverse
  • Medium: gouache and silver paint with collage on board
  • Dimensions: 15½ x 9in. (39.37 x 22.86cm)
  • Provenance: Dawson Gallery, Dublin; Collection of Mrs Mervyn Wall; Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • Mervyn Wall (1908-1997) was an Irish writer and Secretary of the Arts Council from 1957-1975. His wife, Frances Feehan, was a theatre and music critic. Presented in original Dawson Gallery frame. The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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CHILD IN A FOREST, 1953
CHILD IN A FOREST, 1953
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 2 October 2017 / 51

Published Estimate: €3,500-4,500

Price Realised: €3400

  • Signature: signed, dated, inscribed [very warmest good wishes Sheila and Nigel, to you all] and with artist's address [3 Albert Studios, Albert Bridge Road, London SW11. Bat 794] on reverse
  • Medium: ink and watercolour
  • Dimensions: 4 x 3in. (10.16 x 7.62cm)
  • Provenance
  • Exhibited
  • Literature
  • The Battersea Studio was established in spring 1952.

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ABSTRACT LANDSCAPE
ABSTRACT LANDSCAPE
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 2 October 2017 / 52

Published Estimate: €2,000-3,000

Price Realised: €1800


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