30 May 2011

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HIS FIRST SUMMER, 1980
HIS FIRST SUMMER, 1980
Susan Mary Webb (b.1962)

Auction Date / Lot No.: 30 May 2011 / 3

Reserve: €1000

  • Signature: signed and dated lower right; inscribed with title and artist's studio address [The Blue Door Studio, Dublin] on reverse; also with Image Art Gallery, Dublin label and David Hendriks Gallery framing label on reverse
  • Medium: oil on canvas
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Provenance: Provenance:Image Art Gallery, Dublin; Private Collection
  • In original Hendriks Gallery frame.

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MAAM VALLEY, COUNTY GALWAY
MAAM VALLEY, COUNTY GALWAY
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 30 May 2011 / 11

Reserve: €2000

  • Signature: signed lower left; with title inscribed on original label on reverse
  • Medium: oil on board
  • Dimensions: 39 by 51cm., 15.5 by 20in.
  • Provenance: Provenance:Combridge Fine Arts, Dublin;

    Private collection;

    Whyte's, 8 May 2002, lot 165;

    Whence purchased by the present owner

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PORTRAIT OF DESMOND McCARTHY, 1936
PORTRAIT OF DESMOND McCARTHY, 1936
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 30 May 2011 / 24

Reserve: €1500

  • Signature: signed and dated upper right; with title and artist's address [13 Stamer Street, Dublin] on reverse
  • Medium: pastel with pencil on buff coloured paper
  • Dimensions: 38 by 27cm., 15 by 10.7 5in.
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DANCE OF DEATH
DANCE OF DEATH
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 30 May 2011 / 30

Reserve: €1000

  • Signature: signed right of centre; inscribed in a later hand Gore-Booth Family, Lissadell, Co. Sligo, Mealy's, Castlecomer, Co. Kilkenny, 2002 on reverse
  • Medium: watercolour (tondo)
  • Dimensions: 23 by 23cm., 9 by 9in.
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ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - HAIRY GALLANT FELLOWS
ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - HAIRY GALLANT FELLOWS
Sean Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 30 May 2011 / 34

Reserve: €30000

  • Signature: signed lower left; numbered [8] on reverse
  • Medium: oil on panel
  • Dimensions: 91 by 76cm., 36 by 30in.
  • Provenance: 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
  • Exhibited: Exhibited:RHA, Dublin, 1928, catalogue no. 52 as illustration for "The Playboy of The Western World", "Hairy Gallant Fellows"; Aonach Tailteann, Dublin, 1928, as Gallant Hairy Fellows
  • Literature: Literature:Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
  • Seán Keating has become synonymous with the west of Ireland in general, and with the Aran Islands in particular. His association with the western seaboard began as early as 1913 and was further emphasised through a series of self-portraits for which the artist dressed in Aran clothing. There is no evidence that Keating ever met John Millington Synge, but in 1917 the artist exhibited a painting in the RHA titled The Outlandish Lovers, which was inspired by The Playboy of the Western World. Synge’s nephew, known as ‘Hutchie’, approached Keating in 1922 with a commission to paint twelve illustrations for a proposed deluxe volume of The Playboy of the Western World. In the event, ten of the twelve images were published. Sir John Lavery was called upon to inspect the first four illustrations, three of which form part of this collection of five (lots 33, 36 and 37). Lavery was greatly impressed by the realism, colour and artistic invention in the work, and he considered them of great importance to the craft of book illustration in Ireland at that time. The full set of paintings was to have been ready in 1926, but a delay on Keating’s part meant that the book was finally published as a numbered series of one thousand copies in 1927. The publication has since become a collectors’ item. It was an important and prestigious commission, and Keating took his role as an illustrator of Synge’s work very seriously. As if to expand on Synge’s story, Keating chose scenes from the play that, for the most part, are not seen on stage. Perhaps most interesting of all is that Keating himself makes an appearance in the images as Christy Mahon’s father (lots 33, 36 and 37). Proving his commitment to the commission, the artist even posed entirely nude for the scene in which Christy’s father apparently awakes from the ‘dead.’ It is the only instance of a nude portrait of the artist in his entire career (lot 37). In order to plan the compositions in great detail Keating undertook a series of photographs using models from the school of art. He may also have taken sketches at the theatre because many of the actors of the day appear in the illustrations. Sara Allgood, sister of Molly for whom the role was originally written, appeared as Pegeen Mike in a production of The Playboy of the Western World staged in 1924. The features of the female model wrapping bandages around Christie’s head are very similar to Sara’s, but in this instance she is now the Widow Quin (lot 36). Barry Fitzgerald and F. J. McCormack, who took part in that same production in 1924, also make an appearance in Keating’s illustrations as ‘the hairy gallant fellows’ (lot 34). From 1926 until circa 1936 the role of Pegeen Mike was played by Eileen Crowe, who makes an appearance in Keating’s work in the guise of ‘Helen of Troy’, while a cast of likely-looking prophets, or Abbey actors, appear behind ‘the bars of paradise’ in order to get a look at her (lot 35). The artist makes another appearance as the figure to the left of the group of prophets. Once the publishers had reproduced the images to the required scale, the original paintings were returned to the artist who exhibited them in various venues in the late 1920s. They are an unusual, witty and yet contextually important series of works that signal the nature and extent of the interconnection between the visual arts and literature in the early years of the Irish Free State. Dr Éimear O’Connor HRHA Clare and Tony White post-doctoral research fellow TRIARC-Irish Art Research Centre, TCD.

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

Auction Date / Lot No.: 30 May 2011 / 35

Reserve: €30000

  • Signature: signed lower right; numbered [5] on reverse
  • Medium: oil on panel
  • Dimensions: 91 by 75cm., 36 by 29.5in.
  • Provenance: 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
  • Exhibited: Exhibited:Aonach Tailteann, Dublin, 1928 as Helen and the Holy Prophets
  • Literature: Literature:Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
  • Seán Keating has become synonymous with the west of Ireland in general, and with the Aran Islands in particular. His association with the western seaboard began as early as 1913 and was further emphasised through a series of self-portraits for which the artist dressed in Aran clothing. There is no evidence that Keating ever met John Millington Synge, but in 1917 the artist exhibited a painting in the RHA titled The Outlandish Lovers, which was inspired by The Playboy of the Western World. Synge’s nephew, known as ‘Hutchie’, approached Keating in 1922 with a commission to paint twelve illustrations for a proposed deluxe volume of The Playboy of the Western World. In the event, ten of the twelve images were published. Sir John Lavery was called upon to inspect the first four illustrations, three of which form part of this collection of five (lots 33, 36 and 37). Lavery was greatly impressed by the realism, colour and artistic invention in the work, and he considered them of great importance to the craft of book illustration in Ireland at that time. The full set of paintings was to have been ready in 1926, but a delay on Keating’s part meant that the book was finally published as a numbered series of one thousand copies in 1927. The publication has since become a collectors’ item. It was an important and prestigious commission, and Keating took his role as an illustrator of Synge’s work very seriously. As if to expand on Synge’s story, Keating chose scenes from the play that, for the most part, are not seen on stage. Perhaps most interesting of all is that Keating himself makes an appearance in the images as Christy Mahon’s father (lots 33, 36 and 37). Proving his commitment to the commission, the artist even posed entirely nude for the scene in which Christy’s father apparently awakes from the ‘dead.’ It is the only instance of a nude portrait of the artist in his entire career (lot 37). In order to plan the compositions in great detail Keating undertook a series of photographs using models from the school of art. He may also have taken sketches at the theatre because many of the actors of the day appear in the illustrations. Sara Allgood, sister of Molly for whom the role was originally written, appeared as Pegeen Mike in a production of The Playboy of the Western World staged in 1924. The features of the female model wrapping bandages around Christie’s head are very similar to Sara’s, but in this instance she is now the Widow Quin (lot 36). Barry Fitzgerald and F. J. McCormack, who took part in that same production in 1924, also make an appearance in Keating’s illustrations as ‘the hairy gallant fellows’ (lot 34). From 1926 until circa 1936 the role of Pegeen Mike was played by Eileen Crowe, who makes an appearance in Keating’s work in the guise of ‘Helen of Troy’, while a cast of likely-looking prophets, or Abbey actors, appear behind ‘the bars of paradise’ in order to get a look at her (lot 35). The artist makes another appearance as the figure to the left of the group of prophets. Once the publishers had reproduced the images to the required scale, the original paintings were returned to the artist who exhibited them in various venues in the late 1920s. They are an unusual, witty and yet contextually important series of works that signal the nature and extent of the interconnection between the visual arts and literature in the early years of the Irish Free State. Dr Éimear O’Connor HRHA Clare and Tony White post-doctoral research fellow TRIARC-Irish Art Research Centre, TCD.

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ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - "THAT WAS A GREAT BLOW"
Sean Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 30 May 2011 / 36

Reserve: €25000

  • Signature: signed lower right; numbered [4] on reverse
  • Medium: oil on panel
  • Dimensions: 91 by 77cm., 36 by 30.2 5in.
  • Provenance: 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
  • Exhibited: Exhibited:possibly exhibited at the RHA, Dublin, 1926, catalogue no. 42
  • Literature: Literature:Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
  • Seán Keating has become synonymous with the west of Ireland in general, and with the Aran Islands in particular. His association with the western seaboard began as early as 1913 and was further emphasised through a series of self-portraits for which the artist dressed in Aran clothing. There is no evidence that Keating ever met John Millington Synge, but in 1917 the artist exhibited a painting in the RHA titled The Outlandish Lovers, which was inspired by The Playboy of the Western World. Synge’s nephew, known as ‘Hutchie’, approached Keating in 1922 with a commission to paint twelve illustrations for a proposed deluxe volume of The Playboy of the Western World. In the event, ten of the twelve images were published. Sir John Lavery was called upon to inspect the first four illustrations, three of which form part of this collection of five (lots 33, 36 and 37). Lavery was greatly impressed by the realism, colour and artistic invention in the work, and he considered them of great importance to the craft of book illustration in Ireland at that time. The full set of paintings was to have been ready in 1926, but a delay on Keating’s part meant that the book was finally published as a numbered series of one thousand copies in 1927. The publication has since become a collectors’ item. It was an important and prestigious commission, and Keating took his role as an illustrator of Synge’s work very seriously. As if to expand on Synge’s story, Keating chose scenes from the play that, for the most part, are not seen on stage. Perhaps most interesting of all is that Keating himself makes an appearance in the images as Christy Mahon’s father (lots 33, 36 and 37). Proving his commitment to the commission, the artist even posed entirely nude for the scene in which Christy’s father apparently awakes from the ‘dead.’ It is the only instance of a nude portrait of the artist in his entire career (lot 37). In order to plan the compositions in great detail Keating undertook a series of photographs using models from the school of art. He may also have taken sketches at the theatre because many of the actors of the day appear in the illustrations. Sara Allgood, sister of Molly for whom the role was originally written, appeared as Pegeen Mike in a production of The Playboy of the Western World staged in 1924. The features of the female model wrapping bandages around Christie’s head are very similar to Sara’s, but in this instance she is now the Widow Quin (lot 36). Barry Fitzgerald and F. J. McCormack, who took part in that same production in 1924, also make an appearance in Keating’s illustrations as ‘the hairy gallant fellows’ (lot 34). From 1926 until circa 1936 the role of Pegeen Mike was played by Eileen Crowe, who makes an appearance in Keating’s work in the guise of ‘Helen of Troy’, while a cast of likely-looking prophets, or Abbey actors, appear behind ‘the bars of paradise’ in order to get a look at her (lot 35). The artist makes another appearance as the figure to the left of the group of prophets. Once the publishers had reproduced the images to the required scale, the original paintings were returned to the artist who exhibited them in various venues in the late 1920s. They are an unusual, witty and yet contextually important series of works that signal the nature and extent of the interconnection between the visual arts and literature in the early years of the Irish Free State. Dr Éimear O’Connor HRHA Clare and Tony White post-doctoral research fellow TRIARC-Irish Art Research Centre, TCD.

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

Auction Date / Lot No.: 30 May 2011 / 37

Reserve: €15000

  • Signature: signed in Irish lower right; signed again and dated Aibrean [April] 1922 on reverse
  • Medium: oil on canvas
  • Dimensions: 76 by 64cm., 30 by 25in.
  • Provenance: 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
  • Exhibited: Exhibited:RHA, Dublin, 1923, catalogue no. 169 as illustration for "The Playboy of The Western World", Act 1, "Rising up in the red dawn..."
  • Literature: Literature:Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
  • Seán Keating has become synonymous with the west of Ireland in general, and with the Aran Islands in particular. His association with the western seaboard began as early as 1913 and was further emphasised through a series of self-portraits for which the artist dressed in Aran clothing. There is no evidence that Keating ever met John Millington Synge, but in 1917 the artist exhibited a painting in the RHA titled The Outlandish Lovers, which was inspired by The Playboy of the Western World. Synge’s nephew, known as ‘Hutchie’, approached Keating in 1922 with a commission to paint twelve illustrations for a proposed deluxe volume of The Playboy of the Western World. In the event, ten of the twelve images were published. Sir John Lavery was called upon to inspect the first four illustrations, three of which form part of this collection of five (lots 33, 36 and 37). Lavery was greatly impressed by the realism, colour and artistic invention in the work, and he considered them of great importance to the craft of book illustration in Ireland at that time. The full set of paintings was to have been ready in 1926, but a delay on Keating’s part meant that the book was finally published as a numbered series of one thousand copies in 1927. The publication has since become a collectors’ item. It was an important and prestigious commission, and Keating took his role as an illustrator of Synge’s work very seriously. As if to expand on Synge’s story, Keating chose scenes from the play that, for the most part, are not seen on stage. Perhaps most interesting of all is that Keating himself makes an appearance in the images as Christy Mahon’s father (lots 33, 36 and 37). Proving his commitment to the commission, the artist even posed entirely nude for the scene in which Christy’s father apparently awakes from the ‘dead.’ It is the only instance of a nude portrait of the artist in his entire career (lot 37). In order to plan the compositions in great detail Keating undertook a series of photographs using models from the school of art. He may also have taken sketches at the theatre because many of the actors of the day appear in the illustrations. Sara Allgood, sister of Molly for whom the role was originally written, appeared as Pegeen Mike in a production of The Playboy of the Western World staged in 1924. The features of the female model wrapping bandages around Christie’s head are very similar to Sara’s, but in this instance she is now the Widow Quin (lot 36). Barry Fitzgerald and F. J. McCormack, who took part in that same production in 1924, also make an appearance in Keating’s illustrations as ‘the hairy gallant fellows’ (lot 34). From 1926 until circa 1936 the role of Pegeen Mike was played by Eileen Crowe, who makes an appearance in Keating’s work in the guise of ‘Helen of Troy’, while a cast of likely-looking prophets, or Abbey actors, appear behind ‘the bars of paradise’ in order to get a look at her (lot 35). The artist makes another appearance as the figure to the left of the group of prophets. Once the publishers had reproduced the images to the required scale, the original paintings were returned to the artist who exhibited them in various venues in the late 1920s. They are an unusual, witty and yet contextually important series of works that signal the nature and extent of the interconnection between the visual arts and literature in the early years of the Irish Free State. Dr Éimear O’Connor HRHA Clare and Tony White post-doctoral research fellow TRIARC-Irish Art Research Centre, TCD.

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JACK BUTLER YEATS' PAINTING CABINET
JACK BUTLER YEATS' PAINTING CABINET
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2011 / 49.1

Reserve: €10000

  • Medium: oak cabinet, three drawers, surmounted by a metal painting box, hinged lid
  • Provenance: Provenance:The Estate of Jack Butler Yeats; Bequeathed to his niece Anne Yeats (1919-2001); Her Estate; Edward Butler Antiques; Private collection
  • Exhibited: Exhibited: Hunt Museum, Limerick, `Jack B Yeats Master of Ceremonies', 16 June - 26 September 2004, courtesy of the present owner
  • Depth of cabinet 17ins.

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PREPARATORY SKETCHES FOR THE VOLUME ECHO (SET OF TWO)
PREPARATORY SKETCHES FOR THE VOLUME ECHO (SET OF TWO)
Attributed to George Russell ('AE') (1867-1935)

Auction Date / Lot No.: 30 May 2011 / 50

Reserve: €1000

  • Signature: one inscribed [Volume Echo] lower left; one with label of Bainbridge Pen and Ink Sketch Block on reverse
  • Medium: pen and ink over pencil on paper (1); on card (1); (both unframed)
  • Dimensions: 26 by 38cm., 10.2 5 by 15in.
  • Provenance: Provenance:The collection of Anne Yeats; Private collection
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BOG SCENE, 1874
BOG SCENE, 1874
Albert Henry Hartland RWS (1840-1893)

Auction Date / Lot No.: 30 May 2011 / 54

Reserve: €600


BRETON VILLAGE, 1947
BRETON VILLAGE, 1947
Lancelot Bayly (1869-1952)

Auction Date / Lot No.: 30 May 2011 / 55

Reserve: €300

  • Signature: signed and dated lower left
  • Medium: watercolour over pencil
  • Dimensions: 28 by 37cm., 11 by 14.5in.
  • Born at Bayly Farm, Nenagh, Co. Tipperary, he was educated in England and Germany. Bayly began exhibiting in 1910 with the WCSI, showing over a hundred works there over the next decades. (See Snoddy, pages 30-31).

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A COLLECTION OF EIGHTY-SEVEN ORIGINAL DRAWINGS FOR THE HIGHWAYS AND BYWAYS OF GLOUCESTERSHIRE
A COLLECTION OF EIGHTY-SEVEN ORIGINAL DRAWINGS FOR THE HIGHWAYS AND BYWAYS OF GLOUCESTERSHIRE
Hugh Thomson RI (1860-1920)

Auction Date / Lot No.: 30 May 2011 / 57

Reserve: €10000

  • Signature: each work initialled; each with location/image identified; variously annotated with page instructions, dates and additional information
  • Medium: pencil on paper; (all unframed)
  • Literature: Literature:Hutton, Edward, Highways and Byways in Gloucestershire, MacMillian and Co. Ltd, London, 1932
  • The collection comprises eighty-seven original drawings in pencil which were used to illustrate Highways and Byways of Gloucestershire, published in 1932. The drawings were executed 1919 as indicated on the variously inscribed works. The dimensions of each vary between 11 by 8 and 8 by 5ins. approximately. Thomson was born in Kingsgate Street, Coleraine in 1860, to John, a draper, and Catherine. His mother died at a young age and his father remarried. Thomson studied at the Model School staying with his aunt Jayne Hunter who lived on the Castlerock Road, Coleraine and who nurtured his interests in the arts. From here Thomson went to work as an apprentice for HA Gribbon & Sons, who owned a large linen factory on the Strand Road, Coleraine and he later trained at the prestigious printing and publishing company, Marcus Ward & Sons, in Belfast. In 1876, the 16-year-old left Coleraine for Belfast with his brother Richard, to work in the design department of the company. Thomson worked alongside artist William Morris under award-winning designer John Vinycomb. In 1883, Thomson travelled to London with fellow Coleraine artist AD McCormick. He worked for Macmillan & Co and Hyndman publishers and produced illustrations for late 19 century and early 20 century editions of works by leading literary figures, including Jane Austen, Charles Dickens, and a number of new Shakespeare editions. Following the First World War, commissions for illustrations started to wane and in 1920, following an illness, Thomson died in Wandsworth, London. His legacy is maintained through the various titles he illustrated, and, more recently, his illustrations for JM Barrie’s play Quality Street, which are still reproduced on boxes of chocolates of the same name. Thomson’s close connections with Coleraine and Kilrea have been dutifully maintained and celebrated. In 2007 the Coleraine Borough Council purchased a major collection of Hugh Thomson items comprising drawings, watercolours, early edition books and photographs for £150,000 to add to their collection. In 2010 The Coleraine Borough Council launched a major exhibition of the artist’s work, while the Coleraine Town Hall opened a Hugh Thomson Study Room within its walls.

    (For further reading see Snoddy pp.652-654)

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PORTRAIT OF MRS SUSANNA ROSE, 1863
PORTRAIT OF MRS SUSANNA ROSE, 1863
Frederick Sandys (British, 1829-1904)

Auction Date / Lot No.: 30 May 2011 / 59

Reserve: €400

  • Signature: signed in monogram and dated lower left
  • Medium: pencil (mounted but unframed)
  • Dimensions: 17 by 13cm., 6.5 by 5in.
  • Provenance: Sir Roy Strong, former Director of the Victoria and Albert Museum, London; Jeremy Maas, London; Patrick Boyd-Carpenter, Herts; Private collection, Oxfordshire
  • A pencil drawing study for an oil painting, now in The Cleveland Museum of Art, exhibited at the RA in 1863, [no. 53].

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PUNCHESTOWN RACE. CONYNGHAM CUP. THE START. DEDICATED TO THE MOST NOBEL THE MARQUIS OF DROGHEDA (1), THE STONEWALL (2), THE DOUBLE (3) AND THE FINISH (4) , 1872 (SET OF FOUR)
PUNCHESTOWN RACE. CONYNGHAM CUP. THE START. DEDICATED TO THE MOST NOBEL THE MARQUIS OF DROGHEDA (1), THE STONEWALL (2), THE DOUBLE (3) AND THE FINISH (4) , 1872 (SET OF FOUR)
After John Sturgess (fl.1864-1903)

Auction Date / Lot No.: 30 May 2011 / 60

Reserve: €800

  • Dimensions: 55 by 79cm., 21.5 by 31in.
  • Provenance: Provenance:32.5 44.5
  • Engraved by Edward Gilbert Hester, each republished by Louis Wolff & Co., London. Originally published, Dublin, June 1st 1872, by Thomas Cranfield, 115 Grafton Street [and] Arthur Ackermann 101 Regent St., London, 1872. Each plate shows the names of the horses and riders. The race was won by Heraut d'Armes, ridden by Captain Smith; 2nd, Curragh Ranger, Mr. G. Moore; 3rd, Bashfull, Mr Whyte; 4th Waterford, Captain MacFarlane. Sturgess was known as a hunting and racing artist and lithographer. He worked largely for the Illustrated London News between 1875 and 1885, and exhibited extensively in the London, at the Royal Society of British Artists and in the Royal Hibernian Society in Dublin.

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THE STACK, PORTMOON, GIANT'S CAUSEWAY
THE STACK, PORTMOON, GIANT'S CAUSEWAY
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 30 May 2011 / 65

Reserve: €1500

  • Signature: signed lower right; with title printed in the mount lower left; with artist's name, dates and suffix in the mount lower right; with William Rodman & C., Belfast label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 34 by 51cm., 13.2 5 by 20in.
  • Provenance: Provenance:William Rodman & Co., Belfast; Private collection
  • Contained in what appears to be the original William Rodman gilt frame.

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BOG ROAD WITH MOUNTAINS BEYOND
BOG ROAD WITH MOUNTAINS BEYOND
William Percy French (1854-1920)

Auction Date / Lot No.: 30 May 2011 / 66.2

Reserve: €2000


TOWN IN A LANDSCAPE
TOWN IN A LANDSCAPE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 30 May 2011 / 72

Reserve: €6000

  • Signature: with artist's name and title inscribed on label on reverse; with title inscribed again faintly on reverse
  • Medium: oil on board
  • Dimensions: 41 by 61cm., 16 by 24in.
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NUDE
NUDE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 30 May 2011 / 73

Reserve: €25000

  • Signature: signed upper right; with typed Solomon Gallery label on reverse; with partial stamp on reverse
  • Medium: oil on board
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Provenance:The Solomon Gallery, Dublin; Adam's & Bonhams, 12 April 2007, lot 122; Private collection
  • Nude recalls immediately the French modernist tradition in art and to some extent the pose of Manet's provocative masterpiece Olympia (1863). Early in his career O'Neill had worked for a short time in the studio of Sidney Smith, who, together with Gerard Dillon, introduced him to French art, inter alia Rouault, Cézanne and Picasso. He also visited Paris for the first time c. 1948/49. O'Neill's reclining nude nonchalantly and with a tear in her eye is 'unwrapped' as it were to confront the viewer. Everything conspires towards an erotic, if somewhat sentimental charge - the sensuous drapes; the revealed nudity; the rich colours and impasto. John Hewitt, who regarded O'Neill highly, described him as “...a brooding painter”, he suggests rather than states his passionate strength in a severely limited range of colours'. O'Neill often relied on dark yellows, blues and greens to support a visionary quality in his work. The 1940s was something of a decas mirabilis for the artist culminating in 1952 in a very successful exhibition at the CEMA Gallery, Belfast and which Ken Jamison would claim had significant influence on a younger generation of artists - the influence more of 'attitude than of style'. During this productive period O'Neill painted a series of nude works such as Susanna and the Elders (1949); Artist's Model (c.1948/49) and The Blue Skirt (1949). Nude could well belong to this period. It has the more characteristic and sombre colour range of this earlier phase before his later brighter paintings which could verge on sweetness at times. All these paintings incorporate the female archetype in differing reclining and seated positions. Artist's Model shows the artist at his easel painting a reclining nude with curiously another women (muse?) looking on, while a seated nude is the subject of the male gaze in Susanna and the Elders. Although it more languid and less Picasso-like, Nude also recalls The Blue Skirt (Ulster Museum) which Ken Jamison would describe as 'A kind of Northern odalisque, this half-nude reclining figure seemed to belong to the great European tradition and yet something excitingly new'.

    Professor Liam Kelly

    Belfast, May 2011

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GIRL IN CAFE
GIRL IN CAFE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 30 May 2011 / 80

Reserve: €8000

  • Signature: signed lower right; with typed label of Associated American Artists [711 Fifth Avenue New York 22, N.Y.]; with title carved in block capitals on reverse
  • Medium: oil on panel
  • Dimensions: 50 by 40cm., 19.7 5 by 15.7 5in.
  • Exhibited: Exhibited:Associated American Artists, New York, circa 1947
  • Snoddy notes how O'Neill's work began to appear abroad in New York in 1947 and Beverly Hills, California in 1948.

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LONDON STREET
LONDON STREET
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 30 May 2011 / 81

Reserve: €5000

  • Signature: signed lower right; original label with title on reverse
  • Medium: oil on board
  • Dimensions: 41 by 37cm., 16 by 14.5in.
  • Provenance: Provenance:Whyte's, 30 April 2007, lot 61; Private collection
  • The artist's London home is depicted in this streetscape.

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SUMMER BIRD, 1963
SUMMER BIRD, 1963
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 30 May 2011 / 85

Reserve: €8000

  • Signature: signed, titled and dated lower right; with artist's archival number on reverse; also with typed Taylor Galleries label on reverse
  • Medium: gouache with oil and ink
  • Dimensions: 50 by 74cm., 19.5 by 29.2 5in.
  • Provenance: Provenance:Taylor Galleries, Dublin; Private collection
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BAHAMAS RED - GREEN, 1982
BAHAMAS RED - GREEN, 1982
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 30 May 2011 / 88

Reserve: €15000

  • Signature: signed [Antoine OMaille] titled and dated [30/11/82] on reverse; also with artist's archival number [No. 6332] on reverse
  • Medium: oil on board
  • Dimensions: 60 by 91cm., 23.7 5 by 35.7 5in.
  • Provenance: Provenance:The Jonathan Swift Gallery, Carrickfergus, Co. Antrim; Private collection
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DIDYMO, 2007
DIDYMO, 2007
Barrie Cooke HRHA (b.1931)

Auction Date / Lot No.: 30 May 2011 / 93

Reserve: €3000

  • Signature: signed, titled and dated on reverse; also with typed Kerlin Gallery exhibition label affixed on reverse
  • Medium: oil on canvas
  • Dimensions: 50 by 55cm., 19.7 5 by 21.5in.
  • Provenance: Provenance:Kerlin Gallery, Dublin; Private collection
  • Exhibited: Exhibited:'Barrie Cooke', Kerlin gallery, Dublin, 23 November - 22 December 2007
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INTERIOR RUINS I, 1990
INTERIOR RUINS I, 1990
Martin Mooney (b.1960)

Auction Date / Lot No.: 30 May 2011 / 102

Reserve: €800

  • Signature: signed and dated lower right; signed, titled and dated again on reverse with inscribed Solomon Gallery label on reverse
  • Medium: pencil and wash
  • Dimensions: 47 by 31cm., 18.5 by 12.2 5in.
  • Provenance: Provenance:Solomon Gallery, Dublin; Private Collection
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HEAD STUDY (SET OF THREE)
HEAD STUDY (SET OF THREE)
John Kingerlee (b.1936)

Auction Date / Lot No.: 30 May 2011 / 103

Reserve: €3000

  • Signature: each signed in monogram, the first lower right; the remaining two lower left; each numbered with typed gallery label on reverse
  • Medium: each oil on card
  • Dimensions: 28 by 20cm., 11 by 8in.
  • Provenance: Provenance:Anthony Hepworth Fine Art; Private collection
  • Head Studies comprise numbers 5, 6 and 7. Dimensions of no. 5 given, no.s 6 and 7 both 16.75 by 7.5ins. All framed uniformly.

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PILGRIM, 2009
PILGRIM, 2009
John Philip Murray (b.1952)

Auction Date / Lot No.: 30 May 2011 / 104

Reserve: €500

  • Signature: signed and dated lower right; signed, titled and dated on reverse; also with artist's label on reverse
  • Medium: oil on cotton
  • Dimensions: 61 by 46cm., 24 by 18in.
  • John Phillip Murray studied art at NCAD, and has exhibited since then. He has had numerous solo shows, most noticeably at the Vangard and Lavitt Galleries, Cork, and the Wyvern Gallery and Stone Gallery, Dublin. He also exhibits occasionally at the RHA annual exhibitions, including an invited exhibit in 2009, and at the Oireachtas exhibition, where he won the Award for Painting in 2009. In recent years he has carried out commissions for AIB Bank, the Great Southern Hotel at Cork Airport, and the Conrad Hilton Hotel, Dublin.

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BLUE HARBOUR, 2009
BLUE HARBOUR, 2009
Michael Gemmell (b.1950)

Auction Date / Lot No.: 30 May 2011 / 111

Reserve: €1200

  • Signature: signed and dated lower right; with inscribed Taylor Gallery [Belfast] label on reverse
  • Medium: oil on canvas
  • Dimensions: 38 by 38cm., 15 by 15in.
  • Provenance: Provenance:The Taylor Gallery, Belfast; Private collection
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UNTITLED [WITH REDS, BLUES AND GREENS]
UNTITLED [WITH REDS, BLUES AND GREENS]
Brian Kennedy (b.1958)

Auction Date / Lot No.: 30 May 2011 / 120

Reserve: €1000

  • Medium: monoprint
  • Dimensions: 121 by 79cm., 47.7 5 by 31.2 5in.
  • Provenance: Provenance:The Original Print gallery; Dublin; Private collection
  • Exhibited: Exhibited:possibly exhibited at, 'Group Show', The Original Print Gallery, Dublin, 1997
  • Known for his large scale etchings, monoprints and carborundum prints, Kennedy has been a part-time lecturer in Fine Art Printmaking at Crawford College of Art and Design, Cork since 1985. He has exhibited extensively in Ireland, with the Green on Red Gallery, the Oliver Dowling Gallery, and the Original Print Gallery among others in Dublin as well as the Fenton and Crawford Municipal in Cork. His work is included in the public collections of Arts Council of Ireland, Crawford Municipal Gallery, IMMA, the OPW, UCC, Modern Art Collection and UCD, among others. In 1981 he was the recipient of the Guinness Peat Aviation (GPA) Award.

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THE HUMAN IMAGE XI, 2005
THE HUMAN IMAGE XI, 2005
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 30 May 2011 / 124

Reserve: €3000


THE HUMAN IMAGE II, 2005
THE HUMAN IMAGE II, 2005
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 30 May 2011 / 125

Reserve: €3000


ANGLES EQUAL, 1972
ANGLES EQUAL, 1972
William Scott CBE RA (1913-1989)

Auction Date / Lot No.: 30 May 2011 / 126

Reserve: €2000

  • Signature: signed and dated lower right; numbered lower left
  • Medium: screenprint (no. 3 from an edition of 72)
  • Dimensions: 57 by 77cm., 22.5 by 30.2 5in.
  • From the series 'The Alexander Suite'. An edition from this series can be found in the collection of The Tate [Reference no. PO5108].

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PALE 2007
PALE 2007
David Quinn (b.1971)

Auction Date / Lot No.: 30 May 2011 / 128

Reserve: €500

  • Signature: with inscribed exhibition label of the RHA [2007] Annual Exhibition
  • Medium: gouache with oil and pencil on MDF
  • Dimensions: 15 by 42cm., 5.75 by 16.5in.
  • Provenance: Provenance:RHA, Annual Exhibition, Dublin; Where purchased by the present owner
  • Exhibited: Exhibited:RHA Annual Exhibition, Dublin, 22 May - 30 June, 2007, exhibition no. 214, (listed p. 101 of exhibition catalogue)
  • Born in Dublin, David Quinn has been exhibiting regularly both nationally and internationally since 1995 after graduating from a Fine Art Degree in Visual Communications in DIT Mountjoy Square, Dublin. Quinn has also garnered several artists' residencies of merit within Ireland and is a regular exhibitor at Éigse Carlow Arts Festival, the RHA Annual Exhibition and Boyle Arts Festival. Successful solo shows at the Taylor Galleries, Dublin (2010 & 2006), the Blue Leaf Gallery, Daintree and Jute, Dublin, among others have bolstered his reputation on the gallery circuit and his work is in prominent public collections including Bank of Ireland, ESB, the OPW, PJ Carroll and Co. and AIB Corporate Banking, amongst others.

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UNTITLED [WITH RED AND PURPLE]
UNTITLED [WITH RED AND PURPLE]
Brian Kennedy (b.1958)

Auction Date / Lot No.: 30 May 2011 / 129

Reserve: €500

  • Medium: monoprint
  • Dimensions: 40 by 105cm., 15.7 5 by 41.2 5in.
  • Known for his large scale etchings, monoprints and carborundum prints, Kennedy has been a part-time lecturer in Fine Art Printmaking at Crawford College of Art and Design, Cork since 1985. He has exhibited extensively in Ireland, with the Green on Red Gallery, the Oliver Dowling Gallery, and the Original Print Gallery among others in Dublin as well as the Fenton and Crawford Municipal in Cork. His work is included in the public collections of Arts Council of Ireland, Crawford Municipal Gallery, IMMA, the OPW, UCC, Modern Art Collection and UCD, among others. In 1981 he was the recipient of the Guinness Peat Aviation (GPA) Award.

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JIMI HENDRIX [HEADSHOT] AT THE ISLE OF WIGHT, 1969
JIMI HENDRIX [HEADSHOT] AT THE ISLE OF WIGHT, 1969
John Minihan (b.1946)

Auction Date / Lot No.: 30 May 2011 / 130

Reserve: €500

  • Signature: signed and inscribed ["Jimi Hendrix photographed at the Isle of Wight Festival in the Summer of 1969"] in the lower margin; with artist's copyright stamps on reverse
  • Medium: original hand-printed silver gelatin print (artist's proof)
  • Dimensions: 25 by 38cm., 10 by 15in.
  • Provenance: Provenance:Lots 130-133 are from the collection of the artist
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JIMI HENDRIX AT THE ISLE OF WIGHT, 1969
JIMI HENDRIX AT THE ISLE OF WIGHT, 1969
John Minihan (b.1946)

Auction Date / Lot No.: 30 May 2011 / 131

Reserve: €500

  • Signature: signed and inscribed ["The legend that is Jimi Hendrix photographed at the Isle of Wight 1969"] in the lower margin; with artist's copyright stamps on reverse
  • Medium: original hand-printed silver gelatin print (artist's proof)
  • Dimensions: 38 by 25cm., 15 by 10in.
  • Provenance: Provenance:Collection of the artist
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RAY CHARLES IN CONCERT WATERFORD, 1993
RAY CHARLES IN CONCERT WATERFORD, 1993
John Minihan (b.1946)

Auction Date / Lot No.: 30 May 2011 / 132

Reserve: €500

  • Signature: signed and inscribed ["Ray Charles pictured at a concert in Waterford Ireland 1993"] in the lower margin; with artist's copyright stamps on reverse
  • Medium: original hand-printed silver gelatin print (artist's proof)
  • Dimensions: 23 by 34cm., 9 by 13.5in.
  • Provenance: Provenance:Collection of the artist
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CHUCK BERRY, LONDON, 1988
CHUCK BERRY, LONDON, 1988
John Minihan (b.1946)

Auction Date / Lot No.: 30 May 2011 / 133

Reserve: €500

  • Signature: signed and inscribed ["Chuck Berry, Rock and Roll legend, photographed in London 1988"] in the lower margin; with artist's copyright stamps on reverse
  • Medium: original hand-printed silver gelatin print (artist's proof)
  • Dimensions: 44 by 31cm., 17.2 5 by 12.2 5in.
  • Provenance: Provenance:Collection of the artist
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BULL, c.1970
BULL, c.1970
John Behan RHA (1938)

Auction Date / Lot No.: 30 May 2011 / 140

Reserve: €4000

  • Signature: signed and dated on lower back left leg
  • Medium: bronze (unique); on wooden plinth
  • Dimensions: 27 by 32cm., 10.7 5 by 12.5in.
  • Dimensions of Base 12 by 5 by 2.75ins. This Bull is one of the artist's first such examples dating to c.1970. It was cast in London at the Bronze Art Foundry, Kings Road, Fulham. It is thought to have been included in the artist’s retrospective exhibitions at the RHA and at the Galway Arts Centre, 1996.

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RUTH, 2006
RUTH, 2006
Ciaran Carty (b.1937)

Auction Date / Lot No.: 30 May 2011 / 144

Reserve: €600

  • Signature: signed lower right; signed again, titled and dated on reverse; inscribed [A tribute to Ruth Bernhard, photographer, June '06] also on reverse
  • Medium: charcoal
  • Dimensions: 38 by 29cm., 15 by 11.5in.
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FÁDO, 2006
FÁDO, 2006
Maura Taylor-Buckley 

Auction Date / Lot No.: 30 May 2011 / 148

Reserve: €1000

  • Signature: signed lower right; with inscribed RHA exhibition label on reverse; also with typed display label on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 46 by 61cm., 18 by 24in.
  • Provenance: Provenance:RHA, Dublin; Where purchased by the present owner
  • Exhibited: Exhibited:RHA Annual Exhibition, Dublin, 30 May - 8 July 2006, no. 495 (listed in exhibition catalogue p.103)
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THE INHERITANCE
THE INHERITANCE
Maura Taylor-Buckley 

Auction Date / Lot No.: 30 May 2011 / 150

Reserve: €800


COPPER TANKARD AND SADDLE, 2004
COPPER TANKARD AND SADDLE, 2004
James English RHA (b.1946)

Auction Date / Lot No.: 30 May 2011 / 154

Reserve: €1000

  • Signature: signed lower left; signed again, titled and dated on reverse; with inscribed artist's studio [Ballykea Cross, Loughshinny] label on reverse; also with typed Jorgensen Fine Art label on reverse
  • Medium: oil on canvas board
  • Dimensions: 30 by 41cm., 12 by 16in.
  • Provenance: Provenance:Jorgensen Fine Art, Dublin; Private collection
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DECOMMISSIONED - LOUGHSHINNY
DECOMMISSIONED - LOUGHSHINNY
James English RHA (b.1946)

Auction Date / Lot No.: 30 May 2011 / 160

Reserve: €600


THE VILLAGE OF SLANE, 1991
THE VILLAGE OF SLANE, 1991
Padraig Lynch (b.1936)

Auction Date / Lot No.: 30 May 2011 / 166

Reserve: €1000


LENNOX VASE
LENNOX VASE
Rose Stapleton WSCI (b.1951)

Auction Date / Lot No.: 30 May 2011 / 175

Reserve: €600

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 39 by 29cm., 15.2 5 by 11.5in.
  • Stapleton's oeuvre is dominated by her love of traditional subject matter. Landscapes, interiors and still lifes comprise the majority of her output, which is coloured by her innate sense of harmony and a sensual use of colour. Featured in Robert O'Byrne's Dictionary of Living Irish Artists, Plurabelle Publishing, Dublin, 2010, Stapleton has been earmarked as a contemporary of particular note. For further reading see said text, p.360-361.

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FUSHCIA
FUSHCIA
Desmond Hickey (1937-2007)

Auction Date / Lot No.: 30 May 2011 / 176

Reserve: €600


ROSES AND RECLINING LADY, 1968-9
ROSES AND RECLINING LADY, 1968-9
Thomas Ryan PPRHA (b.1929)

Auction Date / Lot No.: 30 May 2011 / 180

Reserve: €2500


KHYBER LODGE, NERANO ROAD, DALKEY
KHYBER LODGE, NERANO ROAD, DALKEY
Gerard Byrne (b.1958)

Auction Date / Lot No.: 30 May 2011 / 183

Reserve: €1000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 62 by 75cm., 24.5 by 29.5in.
  • Dublin born Byrne is a self-taught painter. During his formative years, Byrne rigorously applied himself to the arts and subsequently travelled around the world painting while supplementing his income working as an electrician. In 1989, upon his return to Dublin, Byrne embarked on a career as a full-time painter, working predominantly in oil and taking inspiration from a wide variety of subject matter. Light is of central importance to the artist, whose canvases radiate with colour and movement. Byrne is also renowned for his interpretation of the picturesque south Dublin suburbs of Sandymount, Dalkey and Killiney.

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AFTERNOON LIGHT, 2006
AFTERNOON LIGHT, 2006
Mark Pepper (b.1957)

Auction Date / Lot No.: 30 May 2011 / 186

Reserve: €600

  • Signature: signed and dated lower right; inscribed with title on reverse
  • Medium: oil on paper
  • Dimensions: 33 by 48cm., 13 by 19in.
  • Belfast born Mark Pepper studied Fine Art at the University of Ulster before leaving Northern Ireland for Dublin in the mid 1990s. His work has been widely celebrated since the early eighties and he has exhibited extensively throughout the country. He has served on the Arts Council of Northern Ireland awards selection panel and has lectured in Painting and Drawing at Dun Laoghaire College of Art and Design and at the Institute of Technology Sligo. A self-portrait can be found in the National Self Portrait Collection, Limerick while other examples from his oeuvre, which centres on landscape and still life observations, can be found in several public and private collections nationwide.

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