26 November 2012

  Records 1 to 50 of 54     Next 20 results Last results

SPRING POOL, 2000
SPRING POOL, 2000
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 26 November 2012 / 2

Reserve: €2500


DOGFIGHT, 2002
DOGFIGHT, 2002
James Hanley RHA (b.1965)

Auction Date / Lot No.: 26 November 2012 / 4

Reserve: €1500

  • Signature: initialled and dated lower right; inscribed with title and signed again on reverse; with typed RHA label and Solomon Fine Art label on reverse
  • Medium: oil on gessoed paper
  • Dimensions: 21.5 by 12in., 54.61 by 30.48cm.
  • Provenance: RHA, Dublin; Private collection; deVere's, 29 November 2006, lot 121; Private collection
  • Exhibited: RHA Annual Exhibition, Dublin, 21 May - 29 June 2002, catalogue no. 180
  • Have one to sell? Interested in Similar Items?


FROM THE WORLD TRADE CENTRE
FROM THE WORLD TRADE CENTRE
James Hanley RHA (b.1965)

Auction Date / Lot No.: 26 November 2012 / 5

Reserve: €1500

  • Signature: signed with initials lower right; inscribed with title and dated [2004] on reverse; also with Solomon Fine Art label on reverse
  • Medium: oil on linen
  • Dimensions: 16 by 20in., 40.64 by 50.8cm.
  • Provenance: Solomon Fine Art, Dublin; Private collection
  • Exhibited: 'Souvenir', Solomon Gallery, Dublin, 2 - 19th November 2004
  • Have one to sell? Interested in Similar Items?


ENTRANCE TO THE STRAND
ENTRANCE TO THE STRAND
William Crozier HRHA (1930-2011)

Auction Date / Lot No.: 26 November 2012 / 13

Reserve: €18000

  • Signature: signed lower right; signed again and titled on reverse
  • Medium: oil on canvas
  • Dimensions: 51.5 by 46.5in., 130.81 by 118.11cm.
  • Provenance: Purchased directly from the artist by Jim O'Driscoll SC
  • In 1983 the Scottish born artist, William Crozier bought a cottage at Kilcoe, near Skibbereen, Co. Cork where the surrounding landscape had a profound effect on his work. A well-established artist with an international reputation, he felt that he was painting nature for the first time. There is a sense of a newly discovered terrain in the way in which Entrance to the Strand is constructed, making the countryside appear strange and exhilarating. Described as if 'lit from within', a painting like Entrance to the Strand evokes a strong sense of the exotic colours and dramatic vistas of West Cork. Crozier brought his vast experience and knowledge of modernist European traditions to bear on the work. In particular one can see the sensuous colour and intense forms of the Fauves and the Scottish Colourists in the painting. Entrance to the Strand is a striking example of Crozier's ability to extract the maximum vibrancy from nature. It uses a complex and highly expressive combination of flattened space and strong colour to convey the opulence of the landscape and of the process of painting. Painted near Kilcoe, with a view of Roaring Water Bay in the distance, the work builds up a powerful juxtaposition of the elements of the landscape - trees, fields, sea and distant islands. The pathway, river and expanse of green in the foreground and middle distance act as obstacles to the coastline at the top of the composition, drawing the viewer into an engagement with the work. Vibrant pinks and reds connect the sky to the trees and pathway, where these tones evoke the vividly coloured fuschia of the region. The combination of strong hues of green, blue and pink makes the view appear like that of an exotic oasis, into which the viewer, like an explorer, is brought into direct contemplation. In this painting nature has been re-invented and supplanted by the imagination of the artist and the process of painting. Dr. Róisín Kennedy October 2012 Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

  • Have one to sell? Interested in Similar Items?


RECLINING FIGURE, 1989
RECLINING FIGURE, 1989
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 26 November 2012 / 21

Reserve: €1500

  • Signature: signed, titled and dated lower right
  • Medium: mixed media with gouache on paper
  • Dimensions: 42 by 29in., 106.68 by 73.66cm.
  • Provenance: The Collection of Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

  • Have one to sell? Interested in Similar Items?


FAIRY THORN AT WELL, 1976
FAIRY THORN AT WELL, 1976
Nano Reid (1900-1981)

Auction Date / Lot No.: 26 November 2012 / 23

Reserve: €3000

  • Signature: signed lower right; titled and signed again on original label on reverse; also with inscribed Dawson Gallery exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 24 by 18in., 60.96 by 45.72cm.
  • Provenance: Dawson Gallery, Dublin; Where purchased by Jim O'Driscoll SC
  • Exhibited: 'Nano Reid', Dawson Gallery, Dublin, 20 October to 2 November, 1976, catalogue no. 1
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

  • Have one to sell? Interested in Similar Items?


TINKERS AND PONY, 1969
TINKERS AND PONY, 1969
Nano Reid (1900-1981)

Auction Date / Lot No.: 26 November 2012 / 24

Reserve: €3000

  • Signature: signed lower left; with title and number [6] inscribed on label on reverse; with both Dawson Gallery exhibition and framing labels on reverse
  • Medium: oil on board
  • Dimensions: 29 by 15.25in., 73.66 by 38.735cm.
  • Provenance: Dawson Gallery, Dublin; Where purchased by Jim O'Driscoll SC
  • Exhibited: 'Nano Reid', Dawson Gallery, Dublin, 11-26 April, 1969, catalogue no. 10 [65gns]
  • In original frame of the Dawson Gallery, Dublin. Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

  • Have one to sell? Interested in Similar Items?


NIGHT SHAPES
NIGHT SHAPES
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 26 November 2012 / 35

Reserve: €5000

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 30 by 25in., 76.2 by 63.5cm.
  • Exhibited: 'Paintings 1959-1962 by George Campbell', Ritchie Hendriks Gallery, Dublin, no. 8 [70gns.]
  • Have one to sell? Interested in Similar Items?


UNTITLED, c.1950s
UNTITLED, c.1950s
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 26 November 2012 / 38

Reserve: €800

  • Signature: signed in pencil lower left
  • Medium: monoprint
  • Dimensions: 9.25 by 14.5in., 23.495 by 36.83cm.
  • Provenance: Acquired directly from the artist by the present owner's parents; Thence by descent
  • We are grateful to the artist's grandson, Chris Rákóczi, for his assistance with this lot.

  • Have one to sell? Interested in Similar Items?


SKETCH FOR THE DROWNED SAILOR, ACHILL
SKETCH FOR THE DROWNED SAILOR, ACHILL
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 26 November 2012 / 39

Reserve: €500

  • Signature: signed lower right; titled lower left; inscribed letter from the artist to the present owner's parents on reverse
  • Medium: ink on paper
  • Dimensions: 10 by 14in., 25.4 by 35.56cm.
  • Provenance: Acquired directly from the artist by the present owner's parents; Thence by descent
  • Note on reverse is directed to the present owner's father and thanks him for his support of the controversial Drowned Sailor (1948) painting which he showed in his house. The artist notes, "...No one else would have been brave enough to do so at that time I am sure." He continues, "It's now in the possession of Dr Herbrand Ingouville-Williams, 40 Fitzwilliam, Sq., Dublin." We are grateful to the artist's grandson, Chris Rákóczi, for his assistance with this lot.

  • Have one to sell? Interested in Similar Items?


BALLET GIRL or THE THEATRE ROYAL,1935
BALLET GIRL or THE THEATRE ROYAL,1935
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 26 November 2012 / 42

Reserve: €8000

  • Signature: signed lower right; signed, titled, dated and with artist's address [13 Stamer Street, Dublin] on reverse
  • Medium: oil on board
  • Dimensions: 15 by 20in., 38.1 by 50.8cm.
  • Provenance: Adams, 30 May, 2007 lot 159; Private collection
  • The Theatre Royal, Hawkins Street, Dublin opened on 23 September 1935. It was a large art deco building intended for use as both theatre and cinema. A very popular entertainment venue for many years, it closed in 1962.

  • Have one to sell? Interested in Similar Items?


THE COMFORTER, 1952
THE COMFORTER, 1952
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 November 2012 / 43

Reserve: €150000

  • Signature: signed lower right; with exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 14 by 18in., 35.56 by 45.72cm.
  • Provenance: Victor Waddington Galleries, Dublin; Mrs Jobling-Purser, Dublin; Thence by descent; Whyte's, 29 November 2005, lot 84; Private collection
  • Exhibited: 'Jack B. Yeats: Oil Paintings', Victor Waddington Galleries, Dublin, October 1953, catalogue no. 1; 'Jack B. Yeats, Loan Exhibition', New Gallery, Belfast, 14-26 June 1965, catalogue no. 9; 'Irelandskt - Exhibition of Irish Paintings: From Yeats to Ballag
  • Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsh, London, 1992, Vol. II, page 1026, catalogue no. 1125; also Vol. III (full page illustration, p.568)
  • Hilary Pyle has described this work as follows: "A girl with a sallow complexion, wearing a black hat, has a numb absorbed expression. The face of the man who leans towards her, speaking gently, is brightened by the light of the sky seen above the landscape which opens beyond the wall before which their upper parts are seen. There is a sketch for this in pencil in the final workbook. Yeats painted many pictures of personalities in conflict or in accord, and was always interested in the psychological relationship of one person with another. At this late stage, he may also have been considering the theological implications of the title". (Pyle, op. cit., Vol. II, page 1026). Bruce Arnold, author of Jack Yeats(Yale University Press 1998) writes: For a late work The Comforter has a powerful simplicity, rich colour and assured composition. The thought behind it, a narrative of kindness offered and comfort taken from it, binds the central figures together. Both of them, though particularly the woman, are given clear characterisation, not always so successfully done by Yeats, whose technique, so full of the flamboyant use of impasto, created at times a riot rather than a resolution of event. Here, the emphasis that he sought and has achieved is one of calmness and consideration. The full-face presentation of the woman is unequivocal, though whatever grief she is holding to her heart is under a measure of control that makes the comforter's role that much more difficult. Yeats had three years to go, and some fabulous works to paint; yet few in the last cycle of his output have the determination of thought and intent, as well as the control, achieved here. Bruce Arnold HRHA October, 2005

  • Have one to sell? Interested in Similar Items?


BRINGING HOME THE TURF
BRINGING HOME THE TURF
Lilian Lucy Davidson ARHA (1893-1954)

Auction Date / Lot No.: 26 November 2012 / 49

Reserve: €18000

  • Signature: signed with initials lower left partially hidden by the slip; also inscribed [AA 239] on reverse
  • Medium: oil on canvas
  • Dimensions: 22.5 by 29in., 57.15 by 73.66cm.
  • Provenance: Purchased from an exhibition (date unknown) of Davidson's work by the present owner's parents; Thence by descent
  • Lilian Davidson came from humble beginnings in Bray, Co. Wicklow where she was educated privately before attending the Dublin Metropolitan School of Art. She was closely associated with the Watercolour Society of Ireland with whom she exhibited from 1912 until 1953 and with the RHA which exhibited 135 works by the artist over a forty year period from 1914. From an address in Rathmines Dublin, Davidson exhibited widely with the Dublin Painters' exhibitions, the Oireachtas and in 1920 in a joint show with Mainie Jellett. She is also recorded as exhibiting abroad in the 1930s in London, Amsterdam, Chicago and at the Salon de la Société Nationale in Paris (1924 and 1930). A solo show in Dublin was held in 1936 which comprised 36 works in oil and watercolour, among them a portrait of George Russell (Æ). In 1940 she was made an Associate to the RHA. Davidson set up a studio and taught in Earlsfort Terrace, Dublin where she counted among her protégés; Bea Orpen, Kitty Wilmer O'Brien and Lillias Mitchell. She was closely associated with theatre in Dublin and she counted among her friends Hilton Edwards and Mícheál MacLíammóir. She designed sets, wrote plays and painted scenery for the Torch Theatre which she helped found in the 1930s. The present work depicting rural life in Ireland and is comparable with the artist's deeply empathetic works from the 1930s such as Cottages, Keel, Achill, 1938 (Private collection) shown at the RHA that year. The composition has a theatrical feel with its dynamic figures in the foreground and steep mountain range in the distance. The palette of mauve and earthy brown tones evoke the West in a deeply personal manner that is romantic and at the same time sympathetic. The influence of Jack B. Yeats can be seen in her choice of subject and although more sombre in palette , her use of mass and space are strongly influenced by him.1 Their relationship is recorded in canvas in her portrait of Yeats from 1938 which she bequeathed to the National Gallery in 1955 [NGI.1289] Although Davidson would have been exposed to more avant-garde trends during her lifetime her approach faithful to Naturalism and the influence of French Impressionism which she was exposed to while in France in the 1920s. In 2003 the National Gallery of Ireland acquired Fashions at the Fair, c.1940s [NGI.4719] underpinning her importance in the context of Irish art. Footnotes: 1. Cahill, Katherine, 'In the Mainstream of Irish Naturalism, The Art of Lilian Lucy Davidson, 1879-1954', Irish Arts Review Yearbook, Vol. 15, 1999, p.36 2. Ibid., p.44

  • Have one to sell? Interested in Similar Items?


LOADING AND UNLOADING TURF BOATS, CONNEMARA, c.1940s
LOADING AND UNLOADING TURF BOATS, CONNEMARA, c.1940s
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 26 November 2012 / 51

Reserve: €20000

  • Signature: signed lower right; with Victor Waddington Galleries label on reverse
  • Medium: oil on board
  • Dimensions: 19 by 20.25in., 48.26 by 51.435cm.
  • Provenance: Private collection since early 1940s
  • This example of Seán Keating's work, which is known as Loading and Unloading the Turf Boats, Connemara (c.1939-46) is one of a series of studies and paintings of the western seaboard of Ireland and the Aran Islands that the artist began in c.1939 and concluded in the late 1940s. There was no indigenous turf on the Aran Islands, so it was necessary to have the fuel brought over from the mainland on boats that looked like currachs, but were larger versions called bád iomartha. Keating's image shows the boats being loaded with turf in Connemara. There are three bád iomartha in the little harbour; two masts are visible and one is anchored in view in the shallow waters. In the background, another bád iomartha is at full sail and headed west across the North Atlantic sea towards one of the Aran Islands. Two older men sit and watch as the others work hard to load the rest of the turf onto the boats before night falls, or the brooding storm, evident in the dark clouds beyond, intensifies enough to put a halt to the day's work. In the background, the sun has parted the skies to illuminate the tiny whitewashed and thatched cottages that dotted the coastline between Spiddal and Carraroe. The arrangement of the pictorial elements in this study is demonstrative of the artist's concern with the use of photography and cine-film footage as a means to construct his compositions. Indeed, as a result of his interest in such technology Loading and Unloading the Turf Boats, Connemara has a lot in common in terms of composition with another example by the artist, Loading the Turf Cart, The Quay, Kilmurvey (c. 1940), which was sold in Dublin in 2006. The two men in the red cart drawn by a white horse in the background, and the bád iomartha anchored in the shallow harbour, make an appearance in both images. Such repetition was not unusual for Keating at that time. His paintings of the western seaboard and the Aran Islands were enduringly popular. The re-use of certain vignettes and compositional elements helped to create a readily recognisable body of work on the topic, while at the same time, his artistic familiarity with the material allowed the artist time to complete several studies and commissioned paintings featuring the traditional ways of life which were then still evident. Furthermore, Keating's use of a camera and cine-camera to capture the habitual routines of the west of Ireland people, which he then transferred to canvas or paper, gave a sense of validity and authenticity to his work. As a result, images such as Loading and Unloading the Turf Boats, Connemara, although composed from individual vignettes, are studies of contemporary history, and as such, they are important visual documentary evidence of a traditional way of life now lost to modernity. Keating exhibited with the Victor Waddington Gallery in Dublin, and he also had his work framed there throughout the 1940s. It is of significance to note that Loading and Unloading the Turf Boats, Connemara is still in its original Victor Waddington frame. An uncommon find, the original frame and Waddington label are important and integral components of the work. Significantly, the frame is a little more decorative than the artist could have afforded to use. Hence, it seems reasonable to assume that the artist either sold or, as seems more likely, gifted the work to the owner, who then brought it, on Keating's advice, to Waddington to be suitably framed. The painting has remained in the same private collection since, a fact that explains the survival of the frame. The subject of Loading and Unloading the Turf Boats, Connemara seems to be related to a painting by the artist titled Turf Boats, Connemara (1946) which entered a private collection at that time and has not been seen in public since. Dr Éimear O'Connor HRHA Author and Research Associate-TRIARC Irish Art Research Centre, TCD October 2012

  • Have one to sell? Interested in Similar Items?


BELFAST DOCKS
BELFAST DOCKS
Hans Iten RHA (1874-1930)

Auction Date / Lot No.: 26 November 2012 / 53

Reserve: €800


DOCKLAND SCENE WITH CRANES AND FIGURES
DOCKLAND SCENE WITH CRANES AND FIGURES
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 November 2012 / 54

Reserve: €800


THE MILL OF THE PLAINS
THE MILL OF THE PLAINS
John Faulkner RHA (1835-1894)

Auction Date / Lot No.: 26 November 2012 / 66

Reserve: €1000

  • Signature: signed and inscribed lower right
  • Medium: watercolour heightened with white
  • Dimensions: 17.25 by 29in., 43.815 by 73.66cm.
  • Provenance: Whyte's, 17 September 2002, lot 124; Whence purchased by the present owner
  • Have one to sell? Interested in Similar Items?


SINKING SHIP IN ROUGH WATERS
SINKING SHIP IN ROUGH WATERS
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 26 November 2012 / 67

Reserve: €1200


TASTING THE POITÍN IN IRELAND
TASTING THE POITÍN IN IRELAND
Attributed to Daniel MacDonald (or McDaniel) (1821-1853)

Auction Date / Lot No.: 26 November 2012 / 68

Reserve: €5000

  • Medium: oil on canvas
  • Dimensions: 14 by 18in., 35.56 by 45.72cm.
  • Daniel MacDonald showed promise as an artist from a very young age. His father James, whose real name was MacDaniel, was an accomplished artist and musician. Daniel was born in Cork where, like his father, he began to be noticed for sketches and caricatures of local people, which they both published in the same volume of prose. He was only 13 when he produced these illustrative etchings. From his father's Patrick street address in 1842 he sent his first four pictures to Dublin's Royal Hibernian Academy, and subsequently just one to London's Royal Academy. As his life and promising career was cut short by fever (he died in 1853), only a few of this talented artist's pictures survive. His surviving work demonstrates his fascination and concern with local people's lives. His socio-realist and narrative paintings are valuable windows onto Irish material culture. Like contemporary artists such as Topham and Fripp, who pleased the critics with 'truthful' representations, he entices sympathy with the hardships of rural life. His An Irish Peasant Family Discovering the Blight of their Store (fig.1) (Collection of the National folklore Collection, UCD) is one of the only pictures graphically delineating the horror of discovery of the potato blight. Other titles further suggest his concern for the National tragedy of the Great Famine, on a personal level, for example Figures Gathered Round a Coffin (National Gallery of Ireland collection). The covert distillation of whiskey known as "poitín", using potatoes and barley, was widespread in rural Ireland, but highly illegal. MacDonald's depiction of this was perhaps influenced by that of the famous Scottish genre painter Sir David Wilkie who toured Ireland in 1835. Wilkie's huge painting The Irish Whiskey Still (1840) resulted, and was well known. Both artists' paintings include three generations assembled with their typical small pot distilling equipment; a barrel surmounted by a funnel, a worm, earthenware vessel and jug, at the crucial point of tasting. Like Wilkie, MacDonald places his taster standing on the right, facing his ragged children on the left, complete with their Irish wolfhound. Classical training encouraged artists like Wilkie to depict bare limbed figures in specific poses, perhaps more appropriate to the Mediterranean than Ireland. From what is known about Irish stills, MacDonald's version, with his cave-like shelter seems the more realistic, as his still is outside on a mountainside, where smoke was inconspicuous, rather than indoors. The inconspicuous makeshift thatch over MacDonald's hearth, propped between the hillside and a tree, gives just enough shelter to the fire that was essential to the distillation process. MacDonald's style is characterised by his depiction of attenuated, slim family figures, highlighted with areas of red, the women and ragged children usually barefoot (often with a dog), ranged against a background of mountains and troubled skies. Their aspects of despair, invite viewers to sympathise with the families' predicaments. The arrangement with the taster on the right, facing the family to the left, that leads the viewer's eye around in a studied oval composition, is very similar to that in MacDonald's painting of fig. 1. Details such as the father's single brogue, are fascinating, because shoes were indeed a very precious commodity, yet essential for digging turf (the brown fuel heaped in the openwork basket or creel beside the tree). To clarify this, the artist shows him with his foot resting on his turf slean (spade). It's exactly the same type of spade is also painted in fig.1., and the man's leg rests in the same singular pose as that of the father in that painting. Both paintings show a child on the far left with very similar profiles, both include despairing figures (on the right side) with their heads on their arms. So many common characteristics of detail, subject and composition, make it highly likely that this is newly discovered painting can be attributed to Daniel MacDonald. Dr Claudia Kinmonth MA(RCA) November 2012 Further examples: Claudia Kinmonth, Irish Rural Interiors in Art, Yale University Press, 2006, fig.201 Peter Murray ed., Whipping the Herring, Gandon, Cork, 2006, pp.2, 18, 29, 46, 65, 78-9, 98-9, 101-3, 122-3, 134-5, 150-151

  • Have one to sell? Interested in Similar Items?


SAILING SHIP IN DUBLIN BAY WITH HOWTH HEAD IN THE BACKGROUND, 1850
SAILING SHIP IN DUBLIN BAY WITH HOWTH HEAD IN THE BACKGROUND, 1850
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 26 November 2012 / 69

Reserve: €10000


FISHING BOAT APPROACHING A PIER IN HEAVY SEAS, 1860
FISHING BOAT APPROACHING A PIER IN HEAVY SEAS, 1860
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 26 November 2012 / 70

Reserve: €15000


SIDE FACE PORTRAIT OF A WOMAN
SIDE FACE PORTRAIT OF A WOMAN
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 26 November 2012 / 72

Reserve: €1500


MY AUNT, 1907
MY AUNT, 1907
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 November 2012 / 73

Reserve: €2000

  • Signature: signed lower left, with inscribed Leinster Gallery label on reverse
  • Medium: wax crayon and watercolour on paper
  • Dimensions: 9 by 7.5in., 22.86 by 19.05cm.
  • Provenance: Leinster Gallery, Dublin; Private collection
  • Have one to sell? Interested in Similar Items?


STUDIES OF A WOMAN WRITING A LETTER and PLAYING A PIANO (A PAIR)
STUDIES OF A WOMAN WRITING A LETTER and PLAYING A PIANO (A PAIR)
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 26 November 2012 / 74

Reserve: €1000


H.M. HOME FLEET AT ANCHOR OFF SEACOURT, 10 JULY 1904
H.M. HOME FLEET AT ANCHOR OFF SEACOURT, 10 JULY 1904
Joseph William Carey RUA (1859-1937)

Auction Date / Lot No.: 26 November 2012 / 76

Reserve: €800

  • Signature: signed lower left; with typed label on reverse detailing title and ships names; also with William Rodman & Co., Belfast label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 7.25 by 14.75in., 18.415 by 37.465cm.
  • Names of ships reading from left to right are: Juno, Hood, Revenge, Russel, Essex, Royal Sovereign, Exmouth, Ad. Wilson's Flagship and Empress of India.

  • Have one to sell? Interested in Similar Items?


HULKS IN PORTSMOUTH HARBOUR
HULKS IN PORTSMOUTH HARBOUR
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 26 November 2012 / 77

Reserve: €1500

  • Signature: with typed Fine Art Society, London label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 10 by 13.75in., 25.4 by 34.925cm.
  • Exhibited: Fine Art Society, London, March 1973 [reference no. 9792]
  • Have one to sell? Interested in Similar Items?


FORESHORE, NEAR CUSHENDUN, COUNTY ANTRIM
FORESHORE, NEAR CUSHENDUN, COUNTY ANTRIM
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 26 November 2012 / 81

Reserve: €2000

  • Signature: signed lower left; with Pearson & Westergaard Fine Art [Glasgow] label on reverse
  • Medium: oil on board
  • Dimensions: 12 by 16in., 30.48 by 40.64cm.
  • Provenance: Pearson & Westergaard Fine Art, Glasgow; Private collection
  • Have one to sell? Interested in Similar Items?


CUSHENDUN VILLAGE, COUNTY ANTRIM
CUSHENDUN VILLAGE, COUNTY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 26 November 2012 / 82

Reserve: €1800


MEDITATIONS, 2007
MEDITATIONS, 2007
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 26 November 2012 / 101

Reserve: €3000

  • Signature: each print signed, numbered, and dated in the lower margin; with Stoney Road Press blind stamp lower right
  • Medium: box set of seven prints; (no. 35 from an edition of 50)
  • Dimensions: 30 by 29in., 76.2 by 73.66cm.
  • Provenance: The Collection of Liam O'Keeffe-Ayudhkij
  • Whyte's are pleased to offer a further selection from the collection of distinguished businessman and arts patron, Liam O'Keeffe-Ayudhkij. Liam O'Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O'Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott's oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O'Keeffe-Ayudhkij's love of art manifested itself in his support of Asian artists, the setting up of 'Liam's Gallery' in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After travelling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O'Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick's Society among other accolades. Outside of the business arena O'Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, "He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."

  • Have one to sell? Interested in Similar Items?


THE GARDEN OF LOVE, 2002 (TRIPTYCH)
THE GARDEN OF LOVE, 2002 (TRIPTYCH)
Anne Madden (b.1932)

Auction Date / Lot No.: 26 November 2012 / 121

Reserve: €3000

  • Signature: signed, titled and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 72 by 72in., 182.88 by 182.88cm.
  • Provenance: Taylor Galleries, Dublin; Whence purchased by the present owner
  • Exhibited: 'The Garden of Love' New Work, Taylor Galleries, Dublin, 14 May to 2 June 2002
  • Have one to sell? Interested in Similar Items?


LEGS STANDING, 1978
LEGS STANDING, 1978
Frederick Edward McWilliam RA HRUA (1909-1992)

Auction Date / Lot No.: 26 November 2012 / 122

Reserve: €6000

  • Signature: signed and numbered at base
  • Medium: bronze; (no. 2 from an edition of 5)
  • Dimensions: 11.25 by 4.25in., 28.575 by 10.795cm.
  • Provenance: New Art Centre, Wiltshire (The British agents for the McWilliam Estate); Private collection
  • Posthumously cast [1978.03]

  • Have one to sell? Interested in Similar Items?


MAQUETTE FOR "ASPIRATION" [TREASURY BUILDING, DUBLIN], 1995
Rowan Gillespie (b.1953)

Auction Date / Lot No.: 26 November 2012 / 123

Reserve: €10000

  • Signature: signed, numbered and dated at the base
  • Medium: bronze on polished granite; (no. 3 from an edition of 9)
  • Dimensions: 83.5 by 13in., 212.09 by 33.02cm.
  • What is interesting about this rare maquette is that it shows the original figure for the Treasury Building was intended to be a man. This single polished granite slab shows a female figure scaling the wall on one side and a male on the reverse. The site specific commission is located on the historic site of Boland's Mills. The image of the naked girl climbing a vertical wall was inspired by W.B. Yeats' literary personification of Ireland, Cathleen Ní Houlihan. For Gillespie the piece also carries a more contemporary message about a rapidly developing Ireland at that time (1995). The figure's pose and sexuality have prompted the modern audiences to draw links with Frank Miller's Batman or Bram Stoker's Dracula. The 12 foot structure was erected by the artist in 1995 where it remains today. For further reading see: Kohn, Roger, Rowan Gillespie, Looking for Orion, O'Brien Press, Dublin, 2007, p.79 (illustrated) We are grateful to the artist for his kind assistance in cataloguing this lot.

  • Have one to sell? Interested in Similar Items?


THE HERALD and LIMERICK LADY, 1994 (A PAIR)
THE HERALD and LIMERICK LADY, 1994 (A PAIR)
Rowan Gillespie (b.1953)

Auction Date / Lot No.: 26 November 2012 / 124

Reserve: €10000

  • Signature: the first, signed, titled, numbered and dated at the base; the second, signed, numbered and dated at the base
  • Medium: bronze on slate base; (the first, no. 8 from an edition of 9, the second, no. 9 from an edition of 9)
  • Dimensions: 19 by 6.5in., 48.26 by 16.51cm.
  • The Herald and Lady of Limerick were always intended as a pair. The artist created two casts on a large scale which were separated, with Lady of Limerick located on Cruises Street, Limerick, now called The Singer from Quimper and Herald in the grounds of St. Vincent's Centre on the Navan Road. However, an example of the large scale pair can be found sited together in Cheesman Park, Denver, Colorado. We are grateful to the artist for his kind assistance in cataloguing this lot.

  • Have one to sell? Interested in Similar Items?


UNTITLED (NUDE PREGNANT WOMAN SEATED), 1970
UNTITLED (NUDE PREGNANT WOMAN SEATED), 1970
John Behan RHA (b.1938)

Auction Date / Lot No.: 26 November 2012 / 132

Reserve: €2000

  • Signature: signed and dated twice at base of seat
  • Medium: bronze on black marble base; (unique)
  • Dimensions: 13.25 by 8.5in., 33.655 by 21.59cm.
  • Provenance: The Collection of Dr. Gerald Goldberg, Cork; His sale, Mealy's, October 2004; Private collection
  • Dimensions of base: 10 by 9 by 1.5ins

  • Have one to sell? Interested in Similar Items?


APHRODITE ON THE CREST OF A WAVE
APHRODITE ON THE CREST OF A WAVE
Joseph Sloan (b.1940)

Auction Date / Lot No.: 26 November 2012 / 134

Reserve: €1000


PREGNANT IN THE SKY, 2003
PREGNANT IN THE SKY, 2003
Pauline Bewick RHA (b.1935)

Auction Date / Lot No.: 26 November 2012 / 142

Reserve: €6000

  • Signature: signed and dated lower right; titled lower left; with title on artist's label on reverse; with Taylor Galleries exhibition label also on reverse
  • Medium: acrylic, eggshell and gold leaf on paper laid on board
  • Dimensions: 36.5 by 48in., 92.71 by 121.92cm.
  • Provenance: Taylor Galleries, Dublin; Private collection
  • Exhibited: 'Pauline Bewick, New Works', Taylor Galleries, Dublin, 5-20 September, 2003, catalogue no. 19 (illustrated on first page of exhibition catalogue)
  • The exhibition catalogue for the present work outlines the artist's attraction to eggshells as a medium explored in the 2003 Taylor Gallery show. A tactile, fragile creation, Pregnant in the Sky led the catalogue for this new departure in Bewick's oeuvre. For the artist they represent the female and, against "…the blue evening sky look wonderfully like stars". Pauline Bewick was reared on a farm in Co. Kerry and later in England where she lived on a houseboat among other alternative dwellings. Although Bewick lacked a formal education, her mother's belief in her abilities instilled a confidence in the artist which she carries to this day. Bewick has been living and working in Kerry since 1974. She has been the subject of major retrospective exhibitions, 'Two to Fifty' (1,500 works) at the Guinness Hop Store in 1985 and 'The Yellow Man' exhibition in 1996 at the RHA Gallagher Gallery. She has published several illustrated books, Dr James White, former Director of the National Gallery of Ireland, was author of her biography in 1985 and she has been recorded on film in a 1993 documentary on her life by David Shaw-Smith. In September 1998 she was chosen for a portrait of 100 people who have changed the face of Ireland. The Taylor Galleries, Dublin have shown Pauline Bewick's work for most of her career and recently hosted a hugely successful exhibition, 'Pauline Bewick at 75' in 2011.

  • Have one to sell? Interested in Similar Items?


GERARD & ROSE - A MAEVE BINCHY ILLUSTRATION FOR A SHORT STORY
GERARD & ROSE - A MAEVE BINCHY ILLUSTRATION FOR A SHORT STORY
Pauline Bewick RHA (b.1935)

Auction Date / Lot No.: 26 November 2012 / 147

Reserve: €1000


JOHN BEHAN RHA, GALWAY STUDIO, 2007
JOHN BEHAN RHA, GALWAY STUDIO, 2007
Amelia Stein RHA (b.1958)

Auction Date / Lot No.: 26 November 2012 / 156

Reserve: €400

  • Medium: archival pigment print; artist's proof
  • Dimensions: 11 by 10.75in., 27.94 by 27.305cm.
  • Provenance: Solomon Fine Art; Private collection
  • Literature: Stein, Amelia, Portraits of Royal Hibernian Academy Members in their Studios, RHA, Dublin, 2009
  • This work pertains to Stein's series of photographs of RHA Members. It was used as the cover image for the catalogue of John Behan's solo exhibition with Solomon Fine Art, September 2010.

  • Have one to sell? Interested in Similar Items?


CABBAGE PATCH
CABBAGE PATCH
Jack Cudworth (1930-2010)

Auction Date / Lot No.: 26 November 2012 / 158

Reserve: €800


LANDSCAPE WITH SHEEP AND COTTAGES
LANDSCAPE WITH SHEEP AND COTTAGES
Carey Clarke PPRHA (b.1936)

Auction Date / Lot No.: 26 November 2012 / 160

Reserve: €800


VIADUCT, CUSHENDUN, COUNTY ANTRIM
VIADUCT, CUSHENDUN, COUNTY ANTRIM
Charles J. McAuley (1910-1999)

Auction Date / Lot No.: 26 November 2012 / 163

Reserve: €1000


THE VILLAGE OF DOOAGH, ACHILL ISLAND, COUNTY MAYO
THE VILLAGE OF DOOAGH, ACHILL ISLAND, COUNTY MAYO
James le Jeune RHA (1910-1983)

Auction Date / Lot No.: 26 November 2012 / 165

Reserve: €2500


THE BEACH COMMITTEE, INIS MÓR, ARAN ISLANDS COUNTY GALWAY
THE BEACH COMMITTEE, INIS MÓR, ARAN ISLANDS COUNTY GALWAY
Ivan Sutton (b.1944)

Auction Date / Lot No.: 26 November 2012 / 176

Reserve: €1800


GALWAY HOOKERS BERTHED AT ROUNDSTONE HARBOUR
GALWAY HOOKERS BERTHED AT ROUNDSTONE HARBOUR
Ivan Sutton (b.1944)

Auction Date / Lot No.: 26 November 2012 / 177

Reserve: €1800


PUNCH AND JUDY SHOW
PUNCH AND JUDY SHOW
Gladys Maccabe HRUA ROI FRSA (b.1918)

Auction Date / Lot No.: 26 November 2012 / 197

Reserve: €1200


THE PALACE GUARD I
THE PALACE GUARD I
Michael Mulcahy (b.1952)

Auction Date / Lot No.: 26 November 2012 / 201

Reserve: €1800

  • Signature: signed lower right; titled on reverse; with Fenton Gallery label also on reverse
  • Medium: oil with mixed media on canvas
  • Dimensions: 39.5 by 31.5in., 100.33 by 80.01cm.
  • Provenance: Fenton Gallery, Cork; Private collection
  • Have one to sell? Interested in Similar Items?


SELF PORTRAIT
SELF PORTRAIT
Marian Jeffares (1916-1986)

Auction Date / Lot No.: 26 November 2012 / 204

Reserve: €1000

  • Signature: signed in monogram lower left
  • Medium: oil on board
  • Dimensions: 36 by 24in., 91.44 by 60.96cm.
  • The figure in the background is thought to be photographer and painter, Humphrey Spender (1910-2005), who taught at the Royal College of Art, London.

  • Have one to sell? Interested in Similar Items?


THE COUPLE
THE COUPLE
Marian Jeffares (1916-1986)

Auction Date / Lot No.: 26 November 2012 / 205

Reserve: €1000


PARROTS, 1984
PARROTS, 1984
Michael Cullen RHA (b.1946)

Auction Date / Lot No.: 26 November 2012 / 210

Reserve: €1500

  • Signature: signed and dated lower right; titled lower left; with Lincoln Gallery label on reverse
  • Medium: oil on paper
  • Dimensions: 30 by 22.5in., 76.2 by 57.15cm.
  • Provenance: Lincoln Gallery, Dublin; Private collection
  • Have one to sell? Interested in Similar Items?


A FISHERMAN, 1983
A FISHERMAN, 1983
Michael Mulcahy (b.1952)

Auction Date / Lot No.: 26 November 2012 / 211

Reserve: €500

  • Signature: signed and dated lower right; also with note by artist on reverse
  • Medium: gouache over pencil with mixed media on paper
  • Dimensions: 22 by 29.5in., 55.88 by 74.93cm.
  • Provenance: The Collection of Jim O'Driscoll SC
  • Jim O'Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond. He was an early supporter and friend of Tony O'Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation.

  • Have one to sell? Interested in Similar Items?


  Records 1 to 50 of 54     Next 20 results Last results

FREE VALUATIONS: DUBLIN: Informal and confidential advice and valuations for prospective sellers given by appointment at our galleries, 38 Molesworth Street, Dublin 2; Monday to Friday,10am to 5pm. .
ELSEWHERE: send images and details to info@whytes.ie for a free appraisal and advice on selling. We also travel throughout Ireland and Great Britain, and occasionally to the US and elsewhere, to appraise large collections or valuable single items. 
CLICK HERE FOR GUIDE TO SELLING AT WHYTE'S, or watch our video here.

Whyte & Sons Auctioneers Ltd., 38 Molesworth Street, Dublin D02 KF80, Ireland. Tel: +353 (0)1 676 2888 Email: info@whytes.ie
Licensed to conduct auctions by The Property Services Regulatory Authority of Ireland. Licence No. 001759.