28 November 2011

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HOUSES NEAR JEAN-JAURES, PARIS, c.1931
HOUSES NEAR JEAN-JAURES, PARIS, c.1931
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2011 / 9

Reserve: €2000

  • Signature: signed lower right; with title inscribed twice on reverse; with original price [£10-0-0] and number [4] alos inscribed on reverse
  • Medium: watercolour over pencil
  • Dimensions: 27 by 38cm., 10.7 5 by 15in.
  • Provenance: Provenance:Purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin
  • The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five decades. He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later published on article on his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among others. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.
    As with his Irish scenes, Kernoff methodically records the names of the now-forgotten establishments in the foreground including, Cafe Restaurant Louvre and Appareillage Electrique.

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SAINT BRENDAN, c.1903
SAINT BRENDAN, c.1903
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 28 November 2011 / 13

Reserve: €12000

  • Signature: signed in monogram lower left; with Ritchie Hendriks Gallery framing label on reverse
  • Medium: gouache on card
  • Dimensions: 81 by 51cm., 32 by 20in.
  • Provenance: Provenance:Miss Lily Yeats; Miss Hyland; Purchased by Thomas MacGreevy c.1958; The Collection of James White (former Director of the National Gallery of Ireland); Private collection
  • This gouache was intended as a design for an embroidered sodality banner for Loughrea Cathedral, Co. Galway. It was executed in 1903 as part of a commission awarded to the fledgling Dún Emer Guild, which was founded in 1902 by Evelyn Gleeson. Her two principal partners in the venture were Jack Yeats’ sisters, Susan and Elizabeth (or Lily and Lolly as they were known to family and friends). When the Guild received this prestigious commission, they invited Jack and his wife Mary (known as Cottie) to supply designs for the banners. Jack designed the Sacred Heart banner and the banners for all the male saints bar two (these were designed by Æ), whilst Cottie supplied designs for nearly all of the female saints. In all, twenty-nine banners were completed, with a further four designs being executed but ultimately not used. In the present work Yeats depicts St. Brendan, called "the Navigator", one of the early Irish monastic saints chiefly renowned for his legendary quest to the "Isle of the Blessed," also called St. Brendan's Island and interpreted by some to be America.
    In common with other Loughrea designs, the figure is drawn in heavy black outline. At the time of the commission, The Irish Homestead described the banners as displaying “freshness and quaint naturalness”, combined with “sympathy and native feeling” and hailed them as the start “of a new epoch in art work of this kind, wherein originality of design shall replace vulgarity and simple beauty replace tawdriness” (13 February 1904, p. 134).

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SAINT COLUMBANUS, c.1903
SAINT COLUMBANUS, c.1903
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 28 November 2011 / 14

Reserve: €10000

  • Signature: signed in monogram lower right; with title inscribed on card preserved on reverse; with David Hendriks Gallery framing label on reverse
  • Medium: gouache on card
  • Dimensions: 81 by 51cm., 32 by 20in.
  • Provenance: Provenance:Miss Lily Yeats; Miss Hyland; Purchased by Thomas MacGreevy c.1958; The Collection of James White (former Director of the National Gallery of Ireland); Private collection
  • This gouache was intended as a design for an embroidered sodality banner for Loughrea Cathedral, Co. Galway. It was executed in 1903 as part of a commission awarded to the fledgling Dún Emer Guild, which was founded in 1902 by Evelyn Gleeson. Her two principal partners in the venture were Jack Yeats’ sisters, Susan and Elizabeth (or Lily and Lolly as they were known to family and friends). When the Guild received this prestigious commission, they invited Jack and his wife Mary (known as Cottie) to supply designs for the banners. Jack designed the Sacred Heart banner and the banners for all the male saints bar two (these were designed by Æ), whilst Cottie supplied designs for nearly all of the female saints. In all, twenty-nine banners were completed, with a further four designs being executed but ultimately not used. In the present work Yeats depicts St. Columbanus, the Irish missionary notable for founding a number of monasteries on the Continent from around 590.
    In common with other Loughrea designs, the figure is drawn in heavy black outline. At the time of the commission, The Irish Homestead described the banners as displaying “freshness and quaint naturalness”, combined with “sympathy and native feeling” and hailed them as the start “of a new epoch in art work of this kind, wherein originality of design shall replace vulgarity and simple beauty replace tawdriness” (13 February 1904, p. 134).

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IRISH FREE STATE BACON, 1928
IRISH FREE STATE BACON, 1928
Sean Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 28 November 2011 / 15

Reserve: €15000

  • Signature: signed lower right
  • Medium: gouache, pencil and coloured chalk
  • Dimensions: 99 by 150cm., 39 by 59in.
  • Provenance: Provenance:Paul Conran; From whom purchased by the previous owner in October 1982; Christie's, The Irish Sale, London, 10 May 2007, lot 74 (part); Whyte's, 24 November 2008, lot 81; Private collection
  • The Empire Marketing Board (EMB) was established in London in 1926 for the purpose of promoting the sale of produce from countries associated with the British Empire. The methods of advertising included posters for shop windows and outdoor billboards. Continued access to the British market was of vital economic necessity to the newly established Irish Free State, a point that was given recognition when in 1927 the EMB commissioned Seán Keating to undertake the design of three posters, Irish Free State Dairying, Irish Free State Bacon and Irish Free State Chicken, to advertise Irish produce to the English market. The three posters were used around England between June and July 1929 on specially designed outdoor billboards. Keating was familiar with the skills necessary for large-scale poster design owing to his training at the Metropolitan School of Art in Dublin. His brief was firmly controlled by the EMB, and at the same time, the artist knew that the designs had to be visually specific and immediately legible. The drawing illustrated is Keating's innovative design for Irish Free State Bacon, which is replete with the visual iconography that was expected of Ireland in the 1920s. However, this is a design by Keating, and therefore there is more to the image than immediately apparent. Keating's work for the EMB appears at first glance, to reflect an imagined view of Ireland as a rural ideal and idyll, as dictated by the advertising concerns of the EMB. But arguably, there is degree of artistic subterfuge in the image. There are no green rolling hills, shamrocks, shillelaghs or white thatched cottages. Instead, Keating posited an image of a peaceful and prosperous peasantry within a well maintained farmyard, which refutes the age-old vision of misery and deprivation in Ireland of the 1920s. The close range view and the stage-like setting combined with clear architectural and figurative detail serves to further engage the viewer with the atmosphere of a real and flourishing farm. The appeal in the work is therefore premised on Keating's ability to suitably advertise Irish Free State Bacon within the limits of the constraints set by the EMB, but without reducing the images to mere pastiche. The survival of Keating's original design for Irish Free State Bacon, which was intentionally ephemeral, is noteworthy, and an exceptionally rare surviving example of Keating's extensive career as an artist of ephemeral work.Dr Eimear O' Connor HRHA TRIARC - Irish Art Research Centre, TCD

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MELIN Y GOF AT TREARDDUR BAY, 1903
MELIN Y GOF AT TREARDDUR BAY, 1903
Harry Jones Thaddeus (1859-1929)

Auction Date / Lot No.: 28 November 2011 / 18

Reserve: €1200

  • Signature: signed and dated lower left; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 20 by 24cm., 7.75 by 9.5in.
  • Literature: Literature:Rooney, Brendan, The Life and Work of Harry Jones Thaddeus 1859-1912, Four Courts Press, Dublin, 2003, p.208 (illustrated)
  • Melin y Gof lies about a kilometre from Treaddur Bay, near Holyhead, Wales. In his text on the artist Rooney describes Thaddeus' "readiness to record, on location, scenes from his travels" and continues, "The precise spot from which the windmill is seen..[is from] a footpath between a point called Four Mile Bridge and a house called Penybont... Thaddeus is likely to have sketched the scene on one of his painting excursions from Maesmawr Hall, in mid-Wales, where he was living with his family in the early years of the century." (Rooney, p.208-209)

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THE DUN RIVER, CUSHENDUN, COUNTY ANTRIM
THE DUN RIVER, CUSHENDUN, COUNTY ANTRIM
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 28 November 2011 / 23

Reserve: €3000

  • Signature: signed lower left; with original inscribed John Magee [4 Donegall Square, Belfast] label on reverse detailing artist name, title and reference number [8514.29]
  • Medium: oil on board
  • Dimensions: 30 by 42cm., 11.7 5 by 16.5in.
  • Provenance: Provenance:John Magee, Belfast; Private collection
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WICKLOW SCENE
WICKLOW SCENE
Mabel Young (1889-1974)

Auction Date / Lot No.: 28 November 2011 / 26

Reserve: €1000

  • Signature: signed lower left; inscribed with title on reverse; with Dawson Gallery framing label on reverse
  • Medium: oil on board
  • Dimensions: 30 by 51cm., 12 by 20in.
  • Provenance: Provenance:Dawson Gallery, Dublin; Where purchased by the family of the present owner
  • Contained in original Dawson Gallery frame.

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TINKER CHILDREN AT A FAIR, 1946
TINKER CHILDREN AT A FAIR, 1946
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2011 / 29

Reserve: €20000

  • Signature: signed lower right; with Dawson Gallery framing label on reverse
  • Medium: watercolour with ink
  • Dimensions: 28 by 23cm., 11 by 9.25in.
  • Provenance: Provenance:Acquired by private treaty through James Adam's Saleroom, Dublin, 1978 by the present owner
  • The Tinker Period in le Brocquy's oeuvre represents a very important and distinct body of work within the artist's career to date spanning the years c.1945-1948. Tinker Children at a Fair is a striking early example of the artist's interpretation of the travelling community and captures aptly his enthusiasm and passion for their independent and inimitable way of life. It was the summer previous to the execution of this work when le Brocquy first encountered the tinkers near Tullamore, County Offaly and like John Millington Synge and artists on the Continent such as Picasso, le Brocquy's interest in this particular society was born out of a wider re-discovery and renewed interest in "primitive" cultures. However, for le Brocquy the tinkers came to symbolise more; the individual's struggle against ordered and settled culture and he drew parallels between their struggle and that of the artist. Tinker Children at a Fair typifies the artist's style from the period in colour and composition. The children, who dominate the work, all actively engage the viewer each with an inquisitive and lively gaze. The background comprises other figures; a horse and rider, and a stationary male figure and cow, but these presences are cropped by the artist's cut-off composition, rendering their presence in the work secondary to that of the children. The children carry sticks in their hands perhaps a reference to the ritual of sign making in tinker culture. Le Brocquy, in an interview with Yvonne Scott, 28 April, 2006, commented, "...People were always suspicious of them and they had to contend with that and they had various ways of contending with it. Amongst others they made signs for each other when they left the sites. They left 'twig' signs behind them and some of these were of a prosaic kind, such as: there are some good chickens up there in the bohereen - that kind of thing. But other signs were made to cast spells, so that local farmers hesitated to disturb them." Testament to the artist's continued advocacy for this isolated community is the recent use of images from his Tinker Period for the Pavee Point Travellers Centre, Dublin 2007 calendar which was published in association with Ireland Embracing Cultural Diversity. Paintings from this period can be found in the collection of the Tate, London and the National Gallery of Ireland among others.

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THE BIRDS
THE BIRDS
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 28 November 2011 / 32

Reserve: €800


BATHERS, c.1951
BATHERS, c.1951
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2011 / 33

Reserve: €4000

  • Signature: signed lower left
  • Medium: watercolour
  • Dimensions: 24 by 32cm., 9.5 by 12.5in.
  • In 1951 Gerard Dillon visited Spain with artist George Campbell and his wife Madge. For Campbell, the connection he made there was to have a lasting effect on his style and subject matter and he forged an instant bond with the south of the country returning annually to the small fishing village of El Palo, outside Málaga. For Dillon, the Mediterranean light made the greatest impression. Here the light coupled with the subjects, the athletic standing figures, the Moorish looking man seated on a canoe and a costumed female bather in the distance all point to a Continental scene, most likely on the Costa del Sol.

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COTTAGE AND COW
COTTAGE AND COW
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2011 / 34

Reserve: €2000

  • Signature: bearing signature in pencil lower right; with hand-written label on reverse detailing artist name and title
  • Medium: watercolour
  • Dimensions: 24 by 34cm., 9.5 by 13.2 5in.
  • Provenance: Provenance:Dawson Gallery, Dublin; Private collection;
  • The original frame and mount accompanies this lot.

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FLOWER TREE
FLOWER TREE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 28 November 2011 / 36

Reserve: €5000

  • Signature: signed lower right; with inscribed label detailing title and provenance on reverse
  • Medium: oil on board
  • Dimensions: 50 by 38cm., 19.7 5 by 15in.
  • Label on reverse reads: "Flower Tree; by Dan O'Neill: oil on board. This was painted sometime in the early 1950s and is one of a number of contemporary pictures on a similar theme. It was amongst an assortment of paintings, sketches and drawings given to and left with Sheilagh Deacon, the artist's friend and model. On her death in 1980 the painting came to Deacon's sister of Woolwich, the [then] present owner. It has not previously been shown or offered for sale." Inscription dated May 1996.

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THE BROTHERS
THE BROTHERS
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2011 / 37

Reserve: €1500

  • Signature: signed lower right inscribed ["To Dan /The Brothers" / Gerard Dillon"] on reverse
  • Medium: oil on board with coloured pencil
  • Dimensions: 10 by 32cm., 4 by 12.7 5in.
  • Provenance: Provenance:Family of Dan O'Neill; Private collection
  • This work shows the particular influence of Matisse with its bold use of colour and decoupage-style technique.

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THE SHEPHERD DRIVING HIS FLOCK TO THE EAST END OF TORY ISLAND, 1967
THE SHEPHERD DRIVING HIS FLOCK TO THE EAST END OF TORY ISLAND, 1967
James Dixon (1887-1970)

Auction Date / Lot No.: 28 November 2011 / 40

Reserve: €2000

  • Signature: signed, inscribed and dated in pencil lower right
  • Medium: oil on paper
  • Dimensions: 55 by 74cm., 21.5 by 29in.
  • James Dixon was the first of the Tory Islanders to begin painting, spurred on by the example of Derek Hill, who first visited the island 1959. After watching Hill at work on a view of West End village, Dixon commented, "I think I could do better". Hill immediately offered the fisherman paints, paper and brushes; although the latter were politely declined in favour of brushes that Dixon constructed himself using donkey hairs. The majority of Dixon's subjects are local scenes and events on Tory such as this one.

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RECONSTRUCTED HEAD OF A YOUNG WOMAN, 1968
RECONSTRUCTED HEAD OF A YOUNG WOMAN, 1968
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 28 November 2011 / 43.1

Reserve: €50000

  • Signature: signed, inscribed and dated on reverse; also with original exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 102 by 102cm., 40 by 40in.
  • Provenance: Provenance:Gimpel Fils Gallery, London; Taylor Galleries, Dublin; Whence purchased by the present owner in 1989
  • Exhibited: Exhibited:'Louis le Brocquy: Recent Paintings', Gimpel Fils Gallery, London, 1-26 October 1968; Gimpel and Hanover Galerie, Zurich, 10 January - 12 February, 1969, catalogue no. 29 (illustrated in catalogue)
  • Literature: Literature:'Louis le Brocquy: Recent Paintings', Gimpel Fils Gallery, London, 1-26 October 1968, and Gimpel and Hanover Galerie, Zurich, 10 January - 12 February, catalogue no. 29 (illustrated in catalogue)
  • Artist's archival no. 217. Louis le Brocquy has long been interested in the ancient Celtic conception of the human skull as a “magic box that holds the spirit prisoner”. This idea first stirred his imagination during a visit in 1964 to the Musée de l’Homme in Paris, where he was intrigued by a collection of Polynesian heads modelled in clay and decorated with vegetable paints and cowrie shells. Some months later he visited the archaeological site of Entremont, near Aix-en-Provence, where he sketched the remains of Celtic steles (or commemorative stones) carved with symbolic ancestral heads. As Dorothy Walker has observed, this encounter with the artist’s “own vestigial culture” – that of the Celtic people – “strengthened and brightened the personal revelation of the Oceanic heads”. Le Brocquy set to work on a series of ancestral heads, adding to the “double revelation” of the Oceanic and Celtic heads his own “vivid sense of the loneliness of Palaeolithic man” (Dorothy Walker, Louis le Brocquy, Ward River Press, 1981, p. 44).With Louis le Brocquy, and particularly the head series, the iconography of the Neolithic temple of Entremont in France and the cult of the severed head, is equally pertinent to Willem de Kooning’s interest in ancient fetishes of the female deity. Le Brocquy’s body of work with the head, which has been a source of exploration and engagement for him, has direct parallels to the head of de Kooning’s painting in Woman (MOMA, New York). The discovery in Paris of the decorated craniums from ancient cultures by le Brocquy in 1964 was a seminal moment in his practice as an artist. This paralleled the momentous epoch in New York, where the European avant-garde had been in exile through the IIWW, and out of which had developed Abstract Expressionism or the New York School.Like Bacon, de Kooning decided to continue the exploration of body in space and the iconographic aspects of its physical presence as a motif, and integrated the apparent extremes of paint and application into a more formally constructed but deliberately eviscerated surface quality. The paint has its own internal dynamic, as in abstraction, but the consideration of the motif has a challenging identity which responds to our historical relationship with classical western art and ancient symbolism.It is this parallel tradition to late modernist abstraction that places Louis le Brocquy’s work of this period succinctly within the tradition of Bacon and de Kooning. The brushstrokes emote a sense of deconstructed internal dialogue, yet succinctly articulate an image: the human head.Ciarán BennettPollock Krasner Research Fellow, New York

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SHORELINE, SLIGO, 1992
SHORELINE, SLIGO, 1992
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 28 November 2011 / 46

Reserve: €600

  • Signature: signed and dated in pencil lower right; with typed Frederick Gallery label on reverse
  • Medium: oil over watercolour with pencil on paper
  • Dimensions: 13 by 19cm., 5 by 7.5in.
  • Provenance: Provenance:Frederick Gallery, Dublin; Private collection
  • Exhibited: Exhibited:Frederick Gallery, Dublin; October, 1995, catalogue no. 8
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HOLY WELL ON THE ISLAND OF INISHMURRAY, COUNTY GALWAY, c.1981
HOLY WELL ON THE ISLAND OF INISHMURRAY, COUNTY GALWAY, c.1981
Terence P. Flanagan RHA PPRUA (1929-2011)

Auction Date / Lot No.: 28 November 2011 / 53

Reserve: €2000

  • Signature: signed lower right; with label on reverse
  • Medium: watercolour
  • Dimensions: 74 by 53cm., 29 by 20.7 5in.
  • From a series of works on the Holy Well.
    The location of this scene has been identified as an island off the coast of County Sligo with a possible view of Ben Bulben in the distance.

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INSIDE NO. 3 AFTER MODERNISATION, 1982
INSIDE NO. 3 AFTER MODERNISATION, 1982
Robert Ballagh (b.1943)

Auction Date / Lot No.: 28 November 2011 / 58

Reserve: €50000

  • Signature: signed right of centre [in notebook on table]; with Arts Exchange, Madison, Wisconsin exhibition label on reverse [inscribed “Lent by the artist”]; also with inscribed label detailing title on reverse
  • Medium: acrylic and oil on canvas
  • Dimensions: 213 by 152cm., 84 by 60in.
  • Exhibited: Exhibited:‘No. 3: A Series of Paintings by Robert Ballagh’, David Hendriks Gallery, Dublin, 11 March - 2 April, 1983; ‘Divisions, Crossroads, Turns of Mind: Some New Irish Art’, curated by Lucy Lippard, toured US 1985-87;‘Robert Ballagh: The Complete Works’, Arnotts, Dublin, February 1992; RHA Retrospective, 15 September - 20 October, 2006 Turns of Mind: Some New Irish Art’, curated by Lucy Lippard, toured US 1985-87;‘Robert Ballagh: The Complete Works’, Arnotts, Dublin, February 1992; RHA Retrospective, 15 September - 20 October, 2006
  • Literature: Literature:Carty, Ciarán, Robert Ballagh, Magill, Dublin, 1986, p.222 (listed), (full-page illustration) (republished, 2010 in limited edition box-set with Robert Ballagh: Citizen Artist); Carty, Ciarán and Kiberd, Declan, Robert Ballagh - Artist and Designer, A Retrospective, Zeus, Dublin, 2006, p.97 (listed), p.74 (full-page illustration); Robert Ballagh, Works from the Studio 1959-2006, Gorry Gallery & Damien Matthews, Dublin, 2006, catalogue no. 63, p.80 (giclée print, illustrated); Carty, Ciarán, Robert Ballagh: Citizen Artist, Zeus, Dublin, 2010, p.173 (full-page illustration)
  • One afternoon in May 1982, I climbed several flights of stairs to Robert Ballagh’s attic studio overlooking Dublin’s City Hall. I expected to find him working on Upstairs No. 3 which was to be the final picture in a series of four paintings featuring his home at 3 Temple Cottages, an artisan’s dwelling near the Four Courts where he lived with Betty Carabini. The series, an articulation of the process by which art happens, was suggested by earlier attempts in My Studio, 1969 and Studio with a Modigliani Print to deal directly with his own personal environment.
    The initial No. 3 painting in 1977, depicting his family outside their home in a conventional manner structured within the traditional framework of Renaissance perspective, was a radical change in style. The very ordinariness of the setting was a statement on the role of art and the artist in late 20th century society. Art was not for art’s sake as Modernism had decreed. Like everything else it was a social product. Its integrity depended on its ability to respond honestly and accurately to the artist’s experience. Ballagh was reconnecting with a tradition that never died and that continued through the modernist era with painters like Balthasar Klossowski (Balthus), David Hockney, Edward Hopper and Lucien Freud.
    Two years later Inside No. 3 brought us inside his home showing Betty on their spiral stairway, a recurring theme in Western painting inspired by Marcel Duchamp’s Nude Descending a Staircase. It defied the conventional architectural perspective of his previous paintings by using several vanishing points to achieve the effect of pulling the eye around in a circular motion, as with a fisheye lens, symbolising the turning round of his own approach to painting.
    Upstairs No. 3, reluctantly put to one side for a portrait of Charles Haughey, was to complete the No. 3 series: this time reversing roles with a nude Ballagh coming up the stairway into a bedroom where a reclining Betty reads a pillow book of Japanese erotic art. His intention was to overturn the tradition in Western art of the female nude, frontally exposed to the viewer as an object, something to be admired and owned.
    But this was not the work in progress on his easel confronting me that day. The redecoration of the interior of their house prompted a visual pun he couldn’t resist on the situation of contemporary art after Modernism. Taking shape amid scaled preparatory drawings and stacks of black and white photographs strewn on his work bench was a self-portrait showing him seated at a table in his changed room with a book titled After Modernisation, and a copy of Das Kapital nearby providing a reminder of the social responsibility of the artist. The figure was painted in a realist manner, but the room around it was a plethora of styles. A Jackson Pollock pastiche provided a splurge of abstract expressionism. Leopard-skin covers echo the punk imagery of his kitsch show in the 1971. The number 3 in the top corner was pure Art Deco. The furniture was delineated with the formalist black line he once shared with Patrick Caulfield. The whole composition had a Cubist tilt, relating the idea of modernising a home to the whole concept of post-Modernism. The plurality of styles reflected and perhaps satirised the reality artists were then experiencing: no longer under the pressure to fit in with any particular ‘ism’ they could draw on all sorts of different influences to make images they considered relevant.
    On a purely practical level, Inside No. 3 After Modernisation was a break from the minutely detailed work of his celebrated portraits: here he could again use acrylics and work in bold shapes and colour. Within months, he also painted the much-delayed Upstairs No. 3 and in 1989 Upstairs No. 4: The Studio – after he acquired the cottage next door as a studio - to complete a series that would confirm his ground-breaking position in Irish art.
    Ciarán Carty
    Dublin, November 2011

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DRUIDS GLEN (FIVE GOLFING SCENES)
DRUIDS GLEN (FIVE GOLFING SCENES)
Robert Ballagh (b.1943) and Joseph E. Kelly (b.1936) 

Auction Date / Lot No.: 28 November 2011 / 63

Reserve: €12000

  • Medium: watercolour and oil on paper
  • Dimensions: 39 by 108cm., 15.5 by 42.5in.
  • Provenance: Provenance:Collection of the Druids Glen Resort, Newtownmountkennedy, Co. Wicklow
  • All framed and mounted uniformly. We are grateful to the artist, Robert Ballagh, for his assistance in cataloguing these scenes which were comissioned by Druids Glen former owner, Hugo Flinn and later reproduced as limited edition prints which have been gifted to celebrated members of the golfing world over the years. Druids Glen owner Hugo Flinn presented his designers Pat Ruddy and Tom Craddoch with the brief: "Build me the finest parkland course in Ireland, whatever the cost". The course is certainly in a league with heavyweights such as the K Club, Mount Juliet or Fota Island. Only opened in 1995, it had been chosen as the venue for the Murphy's Irish Open in 1999. In 2000 Druids Glen won the European Golf Course of the Year award. Nestling between the Irish Sea and the Wicklow Mountains, the course enjoys an abundance of wildlife as it takes centre stage in the Garden County of Ireland. It is a magnificent, undulating and well-wooded parkland course and well deserving of its label as Europe's answer to Augusta. The liberally distributed water hazards, bunkers and the length of the course make this a challenging test for golfers. Druids Heath is a spectacular new addition to the already impressive Druids Glen and opened in September 2003, with the front nine overlooking the Irish Sea and the back nine nestling in the Wicklow Mountains. Rolling fairways, natural rock quarries, lakes, trees, streams, gorse, pot bunkers and gently undulating greens are just some of the characteristics of this links style heathland course. With an incredible 275 yards, it boasts one of the world longest Par 3s.

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GARDEN, 1997
GARDEN, 1997
William Crozier HRHA (1930-2011)

Auction Date / Lot No.: 28 November 2011 / 67

Reserve: €1000

  • Signature: signed and dated in pencil lower left; with typed label detailing title and catalogue [13] affixed on reverse
  • Medium: gouache on paper
  • Dimensions: 37 by 37cm., 14.5 by 14.5in.
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AURORA BOREALIS, I, II & III, 2005
AURORA BOREALIS, I, II & III, 2005
Anne Madden (b.1932)

Auction Date / Lot No.: 28 November 2011 / 71

Reserve: €1500

  • Signature: each signed in pencil in the margin lower right; inscribed [A/P] lower left; with typed Taylor Galleries label on reverse
  • Medium: carborundum print; (all artist's proofs)
  • Dimensions: 67 by 47cm., 26.5 by 18.5in.
  • Provenance: Provenance:Taylor Galleries, Dublin; Private collection
  • Sheet size, 35.5 by 26ins. Each mounted and framed uniformly.

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HAPAX IX, 1999
HAPAX IX, 1999
Ciarán Lennon (b.1947)

Auction Date / Lot No.: 28 November 2011 / 74

Reserve: €1000

  • Signature: signed, titled and dated on reverse; also with inscribed Hillsboro Fine Art label on reverse
  • Medium: acrylic on canvas
  • Dimensions: 33 by 30cm., 13 by 12in.
  • Provenance: Provenance:Hillsboro Fine Art, Dublin; Private collection; Morgan O'Driscoll, 8 February 2010, lot 41; Private collection
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CAMEL c.1980
CAMEL c.1980
John Behan RHA (b.1932)

Auction Date / Lot No.: 28 November 2011 / 79

Reserve: €2000


HEAD OF MOLLY, THE ARTIST'S SISTER
HEAD OF MOLLY, THE ARTIST'S SISTER
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2011 / 81

Reserve: €3000

  • Signature: signed at base
  • Medium: bronze on a black marble plinth
  • Dimensions: 32 by 15cm., 12.5 by 6in.
  • Dimensions of base 3 by 4ins. Dillon is thought to have cast three examples in bronze of Molly from the original in terracotta. Nine years older than her brother, Molly Dillon worked as a young girl in a cloth mill in Belfast. In the 1930s she moved to London, where she and Gerard shared a flat in Alexander Road, St John's Wood. There she worked as a dressmaker and eventually bought a house in Abbey Road, London, the basement of which she rented to her brother. The Abbey Road house was a regular haunt of many artists and writers, not to mention Molly's menagerie of stray cats and dogs, until London Borough Council ordered it demolished in 1963.

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DEATH MASK OF PATRICK KAVANAGH (1904-1967), 1967
DEATH MASK OF PATRICK KAVANAGH (1904-1967), 1967
Seamus Murphy RHA (1907-1975)

Auction Date / Lot No.: 28 November 2011 / 86

Reserve: €5000

  • Signature: with engraved brass plaque affixed to support with subject's name and dates
  • Medium: plaster; (mounted on oval wooden support)
  • Dimensions: 25 by 17cm., 10 by 6.5in.
  • Provenance: Provenance:Collection of artist, Liam Proud (1920-1995); Thence by descent
  • Exhibited: Exhibited:'The Work of Seamus Murphy, Sculptor (1907-1975)', Douglas Hyde Gallery, Trinity College, Dublin, 2 December - 5 January 1983, catalogue no. 70 (an edition)
  • Literature: Literature:Seamus Murphy 1907-1975 - A Complete Catalogue of Works, Cahill Printers Ltd, 1988; catalogue no. 380 (listed with two other death masks, those of Arnold Bax, 1953 and Sean O Riada, 1971
  • Depth 6.5ins., dimesions of support, 24 by 18.5ins. Two other plaster examples of this death mask have been recorded in the following public collections: The Writer's Museum, Dublin and The Patrick Kavanagh Centre, Monaghan with a third in private hands. The latter was in the collection of singer song writer Roger Whitaker and sold at Sheppard’s Dunow in September this year for €8,500.

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HENRY GUINNESS, 1972
HENRY GUINNESS, 1972
Marjorie Fitzgibbon HRHA (b.1930)

Auction Date / Lot No.: 28 November 2011 / 88

Reserve: €2000

  • Signature: signed with initials [MF] and dated lower right at edge of collar
  • Medium: bronze
  • Dimensions: 44 by 44cm., 17.5 by 17.5in.
  • Provenance: Provenance:Guinness Mahon Bank, Trinity Street, Dublin; Private collection, Dublin
  • Henry Samuel Howard Guinness (1935-1988) was a Director and later Chairman of Guinness Mahon. The banking firm was founded in Dublin in 1836 by brewer Robert Rundell Guinness, cousin of the brewer Arthur Guinness, and John Ross Mahon, an estate agent. A London office opened in 1873, closed in 1916 during World War I and then re-opened again in 1923. This became Guinness Mahon Holdings, which merged with Lewis & Peat Ltd in 1974 The bank became embroiled in several investigations including those into Charles J Haughey's affairs. The group ran into difficulties in the late 1980s, was demerged and incorporated into various international entities including Investec.

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FIESOLE, FLORENCE
FIESOLE, FLORENCE
Attributed to Eva Henrietta Hamilton (1876-1960)

Auction Date / Lot No.: 28 November 2011 / 97

Reserve: €600

  • Signature: signed with artist's name and title on reverse; with Daniel Egan [38 St. Stephen's Green, Dublin] label on reverse
  • Medium: oil on panel
  • Dimensions: 18 by 23cm., 7 by 9in.
  • In original Daniel Egan frame. This same view was painted by the artist's sister Letitia. The picturesque town of Fiesole on the outskirts of Florence was celebrated for its beautiful landscape and panoramic views and became a popular location and subject for visiting artists.

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PORTLAND BILL, WEYMOUTH, 1880
PORTLAND BILL, WEYMOUTH, 1880
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 28 November 2011 / 105

Reserve: €4000

  • Signature: signed lower right; with title, date and artist's name on gilt plaque affixed to frame lower centre; signed, titled and dated again on reverse; with partial J.G. May Carver & Gilder label on reverse
  • Medium: oil on canvas
  • Dimensions: 25 by 40cm., 10 by 15.7 5in.
  • Provenance: Provenance:Phillips, Bath, Avon, UK, 27 March 2000, lot 163; Private collection
  • Contained in what appears to be its original gilt frame.

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STEAMER OFF THE ANTRIM COAST WITH DUNLUCE CASTLE BEYOND
STEAMER OFF THE ANTRIM COAST WITH DUNLUCE CASTLE BEYOND
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 28 November 2011 / 109

Reserve: €2000

  • Signature: signed lower right; with framing label of William Mol & Son, Belfast on reverse watercolour heightened with white
  • Medium: watercolour heightened with white
  • Dimensions: 41 by 56cm., 16 by 22in.
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SCHOONERS IN A SEASCAPE
SCHOONERS IN A SEASCAPE
John Faulkner RHA (1835-1894)

Auction Date / Lot No.: 28 November 2011 / 110

Reserve: €600


A VIEW OF THE SCALP, COUNTY WICKLOW, c.1920
A VIEW OF THE SCALP, COUNTY WICKLOW, c.1920
John Henry Campbell (1757-1828)

Auction Date / Lot No.: 28 November 2011 / 112

Reserve: €600

  • Signature: with inscribed Bell Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 15 by 20cm., 6 by 7.75in.
  • Provenance: Provenance:Bell Gallery, Belfast; The Estate of John Green, Belfast
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COTTAGE BY A RIVER and FIGURE CARRYING STRAW, 1875 (A PAIR)
COTTAGE BY A RIVER and FIGURE CARRYING STRAW, 1875 (A PAIR)
William Bingham McGuinness RHA (1849-1928)

Auction Date / Lot No.: 28 November 2011 / 113

Reserve: €1500

  • Signature: the first signed and dated lower centre
  • Medium: watercolour heightened with white
  • Dimensions: 25 by 34cm., 9.75 by 13.5in.
  • Provenance: Provenance:The Estate of John Green, Belfast
  • Framed and mounted uniformly.

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PORTRAIT OF A DIPLOMAT 1864
PORTRAIT OF A DIPLOMAT 1864
James Butler Brenan RHA (1825-1889)

Auction Date / Lot No.: 28 November 2011 / 114

Reserve: €2000

  • Signature: signed and dated lower right; with label of A. Reed Carver, Gilder & Picture Frame Maker [5 Upper Arcade, The Barton, Bristol] on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 39cm., 20.2 5 by 15.2 5in.
  • The sitter is wearing the uniform of a French diplomat. Contained in what appears to be the original ornate gilt frame.

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CASTLE OF KIVITER, SLIEVE COMMEDAGH, COUNTY DOWN, 1924
CASTLE OF KIVITER, SLIEVE COMMEDAGH, COUNTY DOWN, 1924
Joseph William Carey RUA (1859-1937)

Auction Date / Lot No.: 28 November 2011 / 125

Reserve: €400

  • Signature: signed and dated lower left; titled lower right; with inscribed Emer Gallery label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 18 by 25cm., 7 by 9.75in.
  • Provenance: Provenance:Emer Gallery, Belfast; Private collection
  • Exhibited: Exhibited:'The Watercolours and J.W. Carey' Emer Gallery, Belfast, 2 April - 11 March 2009
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AUTUMN LANDSCAPE, c.1981
AUTUMN LANDSCAPE, c.1981
Basil Blackshaw HRHA RUA (b.1932)

Auction Date / Lot No.: 28 November 2011 / 131

Reserve: €1500

  • Signature: with inscribed Bell Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 11 by 22cm., 4.25 by 8.75in.
  • Provenance: Provenance:Bell Gallery, Belfast; The Estate of John Green, Belfast
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PINETREES, LA CASCADE, 1998
PINETREES, LA CASCADE, 1998
Martin Mooney (b.1960)

Auction Date / Lot No.: 28 November 2011 / 132

Reserve: €600

  • Signature: signed and dated lower right; signed, dated and inscribed on reverse; with typed Solomon Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 18 by 25cm., 7 by 10in.
  • Provenance: Provenance:The Estate of John Green, Belfast
  • Further inscription reads, Pinetrees 'Les Cascades' near Agadir.

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ROWING BOAT ON A RIVER
ROWING BOAT ON A RIVER
Norman Teeling (b. 1944)

Auction Date / Lot No.: 28 November 2011 / 135

Reserve: €800


TEAPOT, 2000
TEAPOT, 2000
Comhghall Casey (b.1976)

Auction Date / Lot No.: 28 November 2011 / 136

Reserve: €2500

  • Signature: signed and dated lower right; inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 43 by 48cm., 17 by 18.7 5in.
  • Provenance: Provenance:Emer Gallery, Belfast; Private collection; Whyte's, 29 September 2008 lot 38; Whence purchased by the present owner
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BROWN FIELD DEFINED, 1972
BROWN FIELD DEFINED, 1972
William Scott CBE RA (1913-1989)

Auction Date / Lot No.: 28 November 2011 / 138

Reserve: €1500

  • Signature: signed and dated lower left; numbered lower right
  • Medium: screenprint (no. 56 from an edition of 72)
  • Dimensions: 58 by 79cm., 23 by 31in.
  • Literature: Literature:Brian Balfour-Oatts, William Scott: A Survey of His Original Prints, Archeus Fine Art, London, 2005, listed as no. 34, illustrated p. 27
  • Printed at the Kelpra Studio and published by Leslie Waddington Prints Ltd for the portfolio A Poem for Alexander.

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ADELHEIDSTR 10: R, A, B; CHILD AND FIELD; MAYO SEA; FIELD; PARTY; WEDDING DANCE, 1995
ADELHEIDSTR 10: R, A, B; CHILD AND FIELD; MAYO SEA; FIELD; PARTY; WEDDING DANCE, 1995
Peter FitzGerald (b.1956)

Auction Date / Lot No.: 28 November 2011 / 147

Reserve: €900

  • Signature: signed and dated lower right; inscribed on reverse; also with original exhibition poster on reverse
  • Medium: oil on canvas; (six panels framed as one)
  • Dimensions: 69 by 64cm., 27.2 5 by 25in.
  • Exhibited: Exhibited:'Eight Ducks & Other Paintings: A new exhibition by Peter Fitzgerald', Kenny's, Galway, 15 September to 6 October 1995, catalogue no. 31
  • Each panel measures 7.75 by 11.5in. and is based on a snapshot donated to the artist by various art students of his.

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PHOTOGRAPHER
PHOTOGRAPHER
Peter Fitzgerald (b.1956)

Auction Date / Lot No.: 28 November 2011 / 148

Reserve: €500

  • Signature: inscribed on reverse; also with original exhibition catalogue on reverse
  • Medium: oil on canvas
  • Dimensions: 21 by 30cm., 8.25 by 12in.
  • Exhibited: Exhibited:'Eight Ducks & Other Paintings: A new exhibition by Peter Fitzgerald', Kenny's, Galway, 15 September to 6 October 1995, catalogue no. 14
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INTRUSIONS, 1973
INTRUSIONS, 1973
Cecil King (1921-1986)

Auction Date / Lot No.: 28 November 2011 / 150

Reserve: €1500

  • Signature: signed lower right; with typed Hendriks exhibition label on reverse
  • Medium: oil on paper laid on board
  • Dimensions: 46 by 69cm., 18 by 27in.
  • Provenance: Provenance:David Hendriks Gallery, Dublin; Whence purchased by the present owner
  • Exhibited: Exhibited:Hendriks Gallery, Dublin, 22 February - 16 March 1974, catalogue no. 1; 'Kilkenny Arts Week '75' (in association with David Hendriks Gallery), Kilkenny College, 17-31 August 1975, catalogue no. 25
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THE NIGHTGALE (No. 25) 2002
THE NIGHTGALE (No. 25) 2002
John Cronin (b.1966)

Auction Date / Lot No.: 28 November 2011 / 152

Reserve: €3500

  • Signature: signed, dated with and title etched and in marker on reverse; with inscribed exhibition label on reverse
  • Medium: oil on aluminium
  • Dimensions: 91 by 122cm., 36 by 48in.
  • Provenance: Provenance:Green on Red Gallery, Dublin; Private collection
  • Exhibited: Exhibited:'Nightingale, John Cronin', Green on Red Gallery, Dublin, 13 March - 13 April 2003, catalogue no. 25
  • 'The Nightingale' was Cronin's seventh solo show at Green On Red Gallery and charts the artist's continuing preoccupation with paint as a means of expression in an increasingly modern world. Cronin's distinctive style of dragging and scoring the paint is accentuated by his vibrant and varied use of colour.

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UNTITLED, 2006
UNTITLED, 2006
Paul Doran (b.1972)

Auction Date / Lot No.: 28 November 2011 / 153

Reserve: €2500

  • Signature: signed, titled and dated on reverse
  • Medium: oil on board
  • Dimensions: 41 by 71cm., 16 by 28in.
  • In 2005 Paul Doran was awarded the AIB Award for Visual Artists. This substantial prize was fundamental to the artist's development and in facilitating the creation of his subsequent body of work for his solo exhibition, 'Man in A Shed', at the Sligo Art Gallery, 28 March - 29 April, 2006. Although Doran's visibly sensual application of paint was what first attracted attention, it is his use of colour which continues to incite and excite. Enrique Juncosa, Director of the Irish Museum of Modern Art, sees colour in Doran's works as, "...an integral part of the material and the brushstroke. Thus, Doran's canvases have the sense of being living organisms... More than evoking the memory of an emotion in a particular situation they show a kind of physical manifestation of emotion." (2004).

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SEA AND ISLANDS, INNISFREE, 2008
SEA AND ISLANDS, INNISFREE, 2008
Brian Ballard RUA (b.1943)

Auction Date / Lot No.: 28 November 2011 / 154

Reserve: €1500


CLEGGEN BAY, CONNEMARA
CLEGGEN BAY, CONNEMARA
Peter Collis RHA (b.1929)

Auction Date / Lot No.: 28 November 2011 / 159

Reserve: €800


FIGURE BY A LAKE WITH MOUNTAIN BEYOND
FIGURE BY A LAKE WITH MOUNTAIN BEYOND
Micheal de Burca RHA (1913-1985)

Auction Date / Lot No.: 28 November 2011 / 161

Reserve: €1000


DASSIA, CORFU, 1990
DASSIA, CORFU, 1990
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 28 November 2011 / 172

Reserve: €1200

  • Signature: signed lower left; signed again, titled and dated [22 June] on reverse
  • Medium: oil on canvasboard
  • Dimensions: 34 by 44cm., 13.5 by 17.5in.
  • Provenance: Provenance:Family of the artist
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McGEE'S BOAT, RUSH, 1942 and STORMY SKIES, NORTH BEACH, RUSH, 1939 (A PAIR)
McGEE'S BOAT, RUSH, 1942 and STORMY SKIES, NORTH BEACH, RUSH, 1939 (A PAIR)
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 28 November 2011 / 173

Reserve: €1000

  • Signature: each signed, titled and dated in the lower margin
  • Medium: pastel on tinted paper
  • Dimensions: 36 by 55cm., 14 by 21.5in.
  • Provenance: Provenance:Family of the artist
  • Dimensions of second title; 13.75 by 21.5ins. Framed and mounted uniformly.

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SCOUT'S TENT, NORTH BEACH RUSH, 1941 and NORTH BEACH RUSH, 1939 (A PAIR)
SCOUT'S TENT, NORTH BEACH RUSH, 1941 and NORTH BEACH RUSH, 1939 (A PAIR)
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 28 November 2011 / 174

Reserve: €800

  • Signature: each signed, titled and dated in the lower margin
  • Medium: pastel on tinted paper
  • Dimensions: 36 by 51cm., 14.2 5 by 20in.
  • Provenance: Provenance:Family of the artist
  • Dimensions of second title: 13.75 by 21.5ins. Both mounted and framed uniformly

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