4 March 2013

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SMITHFIELD, DUBLIN
SMITHFIELD, DUBLIN
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 4 March 2013 / 4

Reserve: €6000

  • Signature: signed lower right; with title on reverse
  • Medium: oil on canvas
  • Dimensions: 20 by 24in., 50 by 60cm.
  • Provenance: James Gallery, Dalkey;Where purchased by the present owner
  • Exhibited: 'Webb at the James', James Gallery, Dublin, June 2001
  • A copy of the original exhibition catalogue signed by the artist accompanies this lot.

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NOCTURNAL LANDSCAPE WITH WINDMILL
NOCTURNAL LANDSCAPE WITH WINDMILL
Markey Robinson (1918-1999)

Auction Date / Lot No.: 4 March 2013 / 8

Reserve: €6000

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 26 by 36in., 65 by 90cm.
  • Provenance: Fr. Ó Loideáin (Leyden) Mission Antiques, Clarendon St., Dublin;Private collection
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SHAWLIE AND SAILBOATS BY THE SHORE
SHAWLIE AND SAILBOATS BY THE SHORE
Markey Robinson (1918-1999)

Auction Date / Lot No.: 4 March 2013 / 10

Reserve: €3500

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 20 by 30in., 50 by 75cm.
  • Provenance: Fr. Ó Loideáin (Leyden) Mission Antiques, Clarendon St., Dublin;Private collection
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GEORGIAN HOUSES [HARCOURT ST.], DUBLIN, c.1926
GEORGIAN HOUSES [HARCOURT ST.], DUBLIN, c.1926
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 4 March 2013 / 16

Reserve: €5000

  • Signature: signed lower left; with partial inscribed artist's label preserved on reverse
  • Medium: oil on panel
  • Dimensions: 15 by 20in., 37.5 by 50cm.
  • Exhibited: 'The Impressions and Landscape Paintings by Harry A. Kernoff', 7 St. Stephen's Green, Dublin, 20 April to 4 May, 1926, catalogue no. 21 [£6-6-0]
  • The exhibition catalogue for the 1926 show presents this oil between two nocturnal views of Harcourt Street Station and Harcourt Street Corner. 51 Works were exhibited in the show which comprised views of Dublin City and County, Bray, Co. Wicklow and a number of portraits.

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CHAPELIZOD, DUBLIN
CHAPELIZOD, DUBLIN
Henry Healy RHA (1909-1982)

Auction Date / Lot No.: 4 March 2013 / 18

Reserve: €800


DESIGN FOR ANDREW JAMESON WINDOW, ST. MARY'S CHURCH OF IRELAND, HOWTH, COUNTY DUBLIN
DESIGN FOR ANDREW JAMESON WINDOW, ST. MARY'S CHURCH OF IRELAND, HOWTH, COUNTY DUBLIN
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 4 March 2013 / 20

Reserve: €800

  • Medium: gouache
  • Dimensions: 14 by 9.75in., 35 by 24.375cm.
  • Provenance: Studio of the artist; By descent to Margaret Clarke; Thence by descent to her son, David Clarke
  • The present design is for a stained-glass window in St. Mary's Church of Ireland, Howth. The finished window - which differs only slightly from the present design - is located beside the baptismal font in the church, it illustrates the miracle of Jesus and was executed in 1943 in memory of former Deputy Lieutenant, Rt. Hon Andrew Jameson of Sutton House, County Dublin.

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THE ANNUNCIATION
THE ANNUNCIATION
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 4 March 2013 / 21

Reserve: €800

  • Signature: with inscribed Dawson Gallery label on reverse
  • Medium: gouache over pencil with wash; (pentagonal)
  • Dimensions: 15.25 by 9in., 38.125 by 22.5cm.
  • Provenance: Dawson Gallery, Dublin;Private collection
  • Exhibited: 'Religious & Secular works by Evie Hone', Dawson Gallery, Dublin, until 4 June 1957, exhibition no. 23 [Studies for Stained Glass]
  • The exhibition comprised studies for the Eton College Window, Stations of the Cross Kiltulla, Co. Galway, cartoons for the window in St. Stanisllaus College, Tullabeg, Downe Window, Kent and St. John’s Church, Malone, Belfast. Presented in original Dawson Gallery frame.

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TWO DESIGNS FOR STAINED GLASS WINDOWS
TWO DESIGNS FOR STAINED GLASS WINDOWS
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 4 March 2013 / 22

Reserve: €600

  • Medium: gouache; (pentagonal)
  • Dimensions: 13.5 by 13in., 33.75 by 32.5cm.
  • Provenance: Studio of the artist; By descent to Margaret Clarke; Thence by descent to her son David Clarke
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DRAKE RESTING, 1943
DRAKE RESTING, 1943
Kenneth Hall (1913-1946)

Auction Date / Lot No.: 4 March 2013 / 26

Reserve: €1500

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 13.25 by 18.25in., 33.125 by 45.625cm.
  • Exhibited: 'Kenneth Hall 1913-1946: A Retrospective Exhibition', European Modern Art, Dublin, March 1991, no. 35
  • Literature: Herbrand, Ingouville-Williams, Three Painters: Basil Rákóczi, Kenneth Hall, Patrick Scott, at the sign of The Three Candles, Dublin, 1945, catalogue no. 12 (illustrated)
  • Drake Resting was used by Hall as a symbol on his catalogues in Dublin in the 1940s and on the cover of his Dublin retrospective in 1991. In the text Three Painters the author draws on the construction of 'subjective artwork' noting the importance of materials - the paint and colour - as crucial components in the creation of form, citing the present example by Hall as a successful implementation of these elements. He continues, …The brush is rarely used. When it is, the strokes are applied with a view not only to luminosity, but so that each stroke aids in forming the surface-pattern and rhythm of the whole design. Often the outline of an area of colour is etched in with a sharp point to give definition and to emphasise pattern." (p.19-20)"

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LANDSCAPE WITH FIGURES
LANDSCAPE WITH FIGURES
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 4 March 2013 / 30

Reserve: €800

  • Signature: with Neptune Gallery label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 8.25 by 15in., 20.625 by 37.5cm.
  • Provenance: Neptune Gallery, Dublin;Private collection
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CONNEMARA, 1947
CONNEMARA, 1947
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 4 March 2013 / 33

Reserve: €1500


ON THE BEACH CONCARNEAU, FRANCE
ON THE BEACH CONCARNEAU, FRANCE
Aloysius C. O’Kelly (1853-1936)

Auction Date / Lot No.: 4 March 2013 / 47

Reserve: €2000

  • Signature: signed lower left; with title inscribed faintly in the artist's hand on reverse
  • Medium: oil on board
  • Dimensions: 9 by 13in., 22.5 by 32.5cm.
  • Provenance: The Collection of Mervyn & Pat Solomon
  • Aloysius O'Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O'. O'Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O'Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell's agreement for the New Departure. The most radical Irish artist of his era, O'Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O'Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O'Kelly returned to Ireland in the early 1880s, as 'Special Artist' to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman's Journal declared him 'the most important of modern artists', and of 'exceptionally high rank' (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O'Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O'Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O'Donovan as an Orientalist (lot 49), is thus an important political painting.O'Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O'SullivanFebruary 2013Aloysius O'Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.

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BOATS OUTSIDE CONCARNEAU, FRANCE
BOATS OUTSIDE CONCARNEAU, FRANCE
Aloysius C. O’Kelly (1853-1936)

Auction Date / Lot No.: 4 March 2013 / 51

Reserve: €2000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 9 by 12in., 22.5 by 30cm.
  • Provenance: The Collection of Mervyn & Pat Solomon
  • Aloysius O'Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O'. O'Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O'Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell's agreement for the New Departure. The most radical Irish artist of his era, O'Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O'Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O'Kelly returned to Ireland in the early 1880s, as 'Special Artist' to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman's Journal declared him 'the most important of modern artists', and of 'exceptionally high rank' (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O'Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O'Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O'Donovan as an Orientalist (lot 49), is thus an important political painting.O'Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O'SullivanFebruary 2013Aloysius O'Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.

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FÊTES DE JEANNE D'ARC, RELIGIOUS PROCESSION ORLÉANS, FRANCE
FÊTES DE JEANNE D'ARC, RELIGIOUS PROCESSION ORLÉANS, FRANCE
Aloysius C. O’Kelly (1853-1936)

Auction Date / Lot No.: 4 March 2013 / 54

Reserve: €2500

  • Signature: signed lower right
  • Medium: pastel on buff-coloured paper
  • Dimensions: 19 by 25in., 47.5 by 62.5cm.
  • The Fêtes de Jeanne d'Arc in early May celebrates the 'Maid of Orléans' with a parade, religious procession, medieval fair and re-enactment of the siege.Aloysius O'Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O'. O'Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O'Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell's agreement for the New Departure. The most radical Irish artist of his era, O'Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O'Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O'Kelly returned to Ireland in the early 1880s, as 'Special Artist' to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman's Journal declared him 'the most important of modern artists', and of 'exceptionally high rank' (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O'Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O'Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O'Donovan as an Orientalist (lot 49), is thus an important political painting.O'Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O'SullivanFebruary 2013Aloysius O'Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.

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YORK MINSTER CATHEDRAL
YORK MINSTER CATHEDRAL
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 4 March 2013 / 60

Reserve: €3000

  • Signature: signed with initials lower left
  • Medium: oil on board
  • Dimensions: 13 by 15.5in., 32.5 by 38.75cm.
  • Provenance: Whyte's, 12 June 2001, lot 101;Whence purchased by the present owner
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THE PLAYBILL, 1900
THE PLAYBILL, 1900
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 4 March 2013 / 64

Reserve: €12000

  • Signature: signed lower left; titled on reverse; also with artist's instructions for framing inscribed on reverse
  • Medium: pencil, watercolour and pastel on paper
  • Dimensions: 13.75 by 6.25in., 34.375 by 15.625cm.
  • Provenance: Purchased at Egan's Gallery, Dublin, c.1920 and presented to P.F. O'Brien, Long Hall Bar, Dublin;Purchased by Mr & Mrs Gerald Murphy, Dublin at the auction of the Long Hall Bar, March, 1972;James Adam, 29 May 1991, lot 89;Whence purchased by the present o
  • Exhibited: 'Sketches of Life in the West of Ireland and elsewhere', Leinster Hall, Dublin, March 1900, catalogue no. 4; 'Sketches of Life in the West of Ireland', Clarendon Hotel, Oxford, 24-29 October, 1900; 'Sketches of Life in the West of Ireland and elsewhere',
  • Literature: Pyle, Hilary, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, p.98, catalogue no. 297
  • Pyle describes the present work thus:A boy wearing a cap looks into a shop window, which along with posters advertising shipping lines, has a play bill announcing the production of The Corsican Brothers." The proprietor of the shop reads, "C Nulty" or "Mc Nulty" Grocer with advertisements for sailings to New York along with the poster for the aforementioned play. A grocer and spirit merchant by the name McNulty is recorded on the 1911 census with an address at 32 Knox Street (Ballina Urban, Mayo)."

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GYPSY GIRLS AND DOG
GYPSY GIRLS AND DOG
Francis William Topham RA OWS (1808-1877)

Auction Date / Lot No.: 4 March 2013 / 71

Reserve: €1000


FEEDING THE CHICKENS
FEEDING THE CHICKENS
Ernest Charles Walbourn (1872-1927)

Auction Date / Lot No.: 4 March 2013 / 72

Reserve: €2000


THE GOSSIPS, 1846
THE GOSSIPS, 1846
David Cox Snr. (1783-1859)

Auction Date / Lot No.: 4 March 2013 / 73

Reserve: €1500

  • Signature: signed and dated lower left; with title and artist's dates printed in the mount
  • Medium: watercolour on wove paper heightened with bodycolour
  • Dimensions: 10 by 13.5in., 25 by 33.75cm.
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MUSIDORA BATHING HER FEET
MUSIDORA BATHING HER FEET
Attributed to John Glover (1767-1849)

Auction Date / Lot No.: 4 March 2013 / 83

Reserve: €6000

  • Signature: with inscription on label affixed on reverse, which reads 'This cool retreat his Musidora sought; Warm in her cheek the sultry season glowed, And, robed in loose array, she came to bathe, Her fervent limbs in the refreshing stream'. bide Thomson's Seasons
  • Medium: oil on canvas
  • Dimensions: 34 by 34in., 85 by 85cm.
  • Provenance: Purchased by the previous owner at the Contents Sale, Staleen House, Donore, Co. Meath, c/o Alain, Chawner Ltd., 29 July 1986, lot 243 (illustrated p.14);Private collection
  • This subject was also painted by Thomas Gainsborough among others.Staleen House was owned by Thomas Gerard Du Buisson (b. 1892, Betchworth, Surrey). He served with the Royal Horse Artillery on the Western Front during WWI from August 1914. He was Secretary of the Grafton Hunt and lived between England and Ireland with his wife, Sylvia Grace (née Portman). He died aged 97 in Suffolk.

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LES DÉLICES DES YEUX ET DE L'ESPIRIT, OU COLLECTION GENERALE DES DIFFERENTES ESPÈCES DE COQUILLAGES (1764-73) (SET OF 7)
LES DÉLICES DES YEUX ET DE L'ESPIRIT, OU COLLECTION GENERALE DES DIFFERENTES ESPÈCES DE COQUILLAGES (1764-73) (SET OF 7)
After Georg Wolfgang Knorr (1705-1761)

Auction Date / Lot No.: 4 March 2013 / 87

Reserve: €3000

  • Signature: each numbered in the upper corners; with engraver's name lower right and Museum details, centre
  • Medium: hand-coloured engraving; (7)
  • Dimensions: 7.5 by 6in., 18.75 by 15cm.
  • Provenance: with Bernard Quaritch, London in 1981;Private collection
  • All framed and mounted uniformly. Engravings of shells by A. Hoffer, J.A. Eisenmann, G.P. Trautner and, others after drawings by G. W. Knorr. (7 Works total).

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PORTRAIT OF ELIZABETH ROSE AND HER DAUGHTER MURIEL LISA BROWN OF DUBLIN, 1899
PORTRAIT OF ELIZABETH ROSE AND HER DAUGHTER MURIEL LISA BROWN OF DUBLIN, 1899
Joseph Poole Addey (1852-1922)

Auction Date / Lot No.: 4 March 2013 / 91

Reserve: €2000

  • Signature: signed and dated lower left; with ornate label of J.D. Spence [Print Seller & Fine Art Dealer, 38 Westmoreland Street, Dublin] on reverse
  • Medium: watercolour with gouache
  • Dimensions: 29.25 by 21.25in., 73.125 by 53.125cm.
  • Provenance: Family of the sitters;Thence by descent
  • Exhibited: RHA, Dublin, catalogue no. 195 [NFS] as Mrs. H. Brown and her daughter Muriel
  • The present work was one of four shown by the artist in the RHA in 1900. The Index of Exhibitors records Poole Addey's address at this juncture as 10 Dunville Avenue, Rathmines, Dublin. The sitters are Muriel Lisa Sandes Brown aged 5 years and Elizabeth Rose Brown aged 35, married to William Herbert (barrister) of Burlington Road (Pembroke West, Dublin).

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PORTRAIT OF A GIRL
PORTRAIT OF A GIRL
Lily Williams ARHA (1874-1940)

Auction Date / Lot No.: 4 March 2013 / 95

Reserve: €800

  • Signature: with original inscribed ROSC exhibition label preserved verso
  • Medium: pastel on paper
  • Dimensions: 17.25 by 13.25in., 43.125 by 33.125cm.
  • A contemporary of Beatrice Elvery and Estella Solomons, Lily Williams was a Dublin born portrait and figure painter of Unionist and Protestant stock. She exhibited regularly at the RHA from 1904, the Dublin Sketching Club and she was one of the Young Irish Artists who showed in Dublin in 1903. Among her best-known sitters was Arthur Griffith who inspired Williams and other Protestant Sinn Féiners" to learn Irish. Williams designed a Sinn Féin "postage stamp" and Ireland's struggle featured in several forms in her oeuvre; An Irish Volunteer was among her exhibits at the 1916 RHA academy exhibition. From prison in England, 1916-18, Griffith wrote to the artist. In 1921 she presented an oil portrait of him to the Municipal Gallery of Modern Art, Dublin (now housed in Áras An Uachtaráin). Williams designed the Irish Free State Cross of Cong stamp in 1922, a design still in use up to 1968. She was appointed ARHA in 1929. Her work can be found in important public collections including the Abbey Theatre, Civic Museum, Liberty Hall, UCD and the Hugh Lane among others. For further reading see: Snoddy, p.713-715."

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THREE SHAWLIES, SMITHFIELD, 1908
THREE SHAWLIES, SMITHFIELD, 1908
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 4 March 2013 / 100

Reserve: €2000

  • Signature: signed lower left; inscribed with price [6gns] and dated lower right; with provenance inscribed in a later hand on reverse
  • Medium: crayon on paper
  • Dimensions: 11.25 by 9.25in., 28.125 by 23.125cm.
  • Provenance: Purchased from the Bell Gallery, 1968, for 3gns; Later sold back to the Bell Gallery, £300; Whyte's, 29 April 2003, lot 80; Whence re-purchased by the original owner
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IRISH HISTORICAL WATERCOLOURS, DRAWINGS AND UNPUBLISHED BIOGRAPHICAL HISTORY ARTICLES
IRISH HISTORICAL WATERCOLOURS, DRAWINGS AND UNPUBLISHED BIOGRAPHICAL HISTORY ARTICLES
Dan Rainey (fl.1930s)

Auction Date / Lot No.: 4 March 2013 / 102

Reserve: €1000

  • Dimensions:  by in., 0 by 0cm.
  • A collection of 10 albums. The first 7 containing historical recollections and research by Dan Rainey, 35 watercolours and various photographs and documents. Articles include East Belfast characters, Holidays in Dublin and Portrush, a collected history of Holywood, childhood memories of Ballymacarret in the 1920s, the Connswater Flute Band etc. The final three albums containing a total of 129 watercolours and pen and ink drawings of historical buildings and locations throughout Ireland and also ornithological drawings from the 1930s. A fine collection.Works by Dan Rainey can be found in the National Museums Collection of Northern Ireland.

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HISTORICAL BELFAST MARITIME AND SHIPPING WATERCOLOURS AND PEN AND INK DRAWINGS
HISTORICAL BELFAST MARITIME AND SHIPPING WATERCOLOURS AND PEN AND INK DRAWINGS
Dan Rainey (fl.1930s)

Auction Date / Lot No.: 4 March 2013 / 103

Reserve: €4000

  • Dimensions:  by in., 0 by 0cm.
  • A large collection of artworks by Dan Rainey comprising of 204 large watercolours and pen and ink drawings, 8 small watercolours and 1 oil painting of ships that passed through Belfast, all contained loosely in albums. Also an album comprising of 19 pages with watercolours of ships ensigns, flags and colours. An extremely impressive collection of great quality and historical interest. Ships include Carrickmore, Ballyhenry, Stramore, Roslea, Cushendal, Balmarino, Millisle, Annagher, Susannah Kelly, Melissa, W.M. Barkley, Theory, Craigavad, Moyallon, Clewbay, Clarecastle, Cavehill, Zulu, Lagan, Claremorris, Woodburn, Oranmore, May, Tory Island etc. Many were Irish registered vessels. (232 items)

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DUBLIN DOORWAY, c.1965
DUBLIN DOORWAY, c.1965
Séamus O Colmáin (1925-1990)

Auction Date / Lot No.: 4 March 2013 / 105

Reserve: €600

  • Signature: signed lower right; inscribed with title and with original Bell Gallery exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 12 by 14in., 30 by 35cm.
  • Provenance: Bell Gallery, Belfast;Private collection;Arches Art Gallery, Belfast;Private collection, Belfast;Whyte's, 22 Februray 2005, lot 14;Private collection
  • Exhibited: 'Séamus O Colmáin: First Belfast Exhibition', Bell Gallery, Belfast, November 1965, catalogue no. 1
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JUGGERNAUT, 1988
JUGGERNAUT, 1988
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 4 March 2013 / 107

Reserve: €2500

  • Signature: signed and dated lower left
  • Medium: oil on canvas; irregular
  • Dimensions: 26 by 32in., 65 by 80cm.
  • Provenance: Caldwell Galleries, Dublin;The Collection of Vincent Ferguson;Thence by descent to the present owner
  • Exhibited: 'Patrick Collins', Caldwell Galleries, Dublin, until 30 November 1989;'Patrick Collins HRHA, Last Daylight, the late cut-out paintings of Patrick Collins', RHA, Dublin, 14 January – 27 March 2011
  • Someone once asked me why didn't I teach - pass on my experience to somebody else? In reply, I said I would have to start by saying, I can teach you nothing because I know nothing and that's after a lifetime of working for artistic completion, reading, writing, researching, discussing and observing. I broke all the rules in an effort to get at the truth of something and landed back on my own two feet with the conclusion that nobody else knows anything either. So there are no teachers, no pundits, only yourself. I started by trying to wed the thing and some hidden meaning of it and instinctively demanding a shape that overall accommodated both. Now I've arrived at a logical development of this idea with the blanks substituting or suggesting what I didn't know." Patrick Collins, from the exhibition catalogue to his solo show at the Caldwell Galleries, Dublin, November, 1989The recent RHA exhibition of Collins' 'cut outs' in 2011 brought into focus this controversial series from the mid-eighties. While these works show the artist employing a new technique, the brutal cutting of canvas with a scissors, they tie in with his earlier preoccupation of relating the painted image to the edge of the picture plane."

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BEYOND THE BOG, 1966
BEYOND THE BOG, 1966
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 4 March 2013 / 108

Reserve: €12000

  • Signature: signed lower right; inscribed with title on reverse; with inscribed Caldwell Galleries label on reverse
  • Medium: oil on board
  • Dimensions: 47.5 by 35.5in., 118.75 by 88.75cm.
  • Provenance: Caldwell Galleries, Dublin;Where purchased by Vincent Ferguson;Thence by descent to the present owner
  • Exhibited: 'Patrick Collins', Tom Caldwell Galleries, Dublin & Belfast, July, 1979
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STUDY AFTER REMBRANDT, 1985
STUDY AFTER REMBRANDT, 1985
Charles Cullen (b.1939)

Auction Date / Lot No.: 4 March 2013 / 113

Reserve: €400


LANDING, 2003
LANDING, 2003
John Devlin (b.1950)

Auction Date / Lot No.: 4 March 2013 / 114

Reserve: €1000


RECLINING NUDE, 1981
RECLINING NUDE, 1981
Katherine Doyle (American, b.1952)

Auction Date / Lot No.: 4 March 2013 / 115

Reserve: €1000

  • Signature: signed and dated lower right; with inscribed Solomon label on reverse
  • Medium: oil on canvas
  • Dimensions: 24 by 40in., 60 by 100cm.
  • Provenance: Solomon Gallery, Dublin;The Collection of Vincent Ferguson;Thence by descent to the present owner
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VIEW OF LOUGH GLENMURIEN [SIC]
VIEW OF LOUGH GLENMURIEN [SIC]
Richard Ward (b.1944)

Auction Date / Lot No.: 4 March 2013 / 116

Reserve: €500


OVID, 2007
OVID, 2007
Michael Canning (b.1971)

Auction Date / Lot No.: 4 March 2013 / 122

Reserve: €2000

  • Signature: signed, titled and dated on reverse
  • Medium: oil and wax on canvas laid on board
  • Dimensions: 27.5 by 20in., 68.75 by 50cm.
  • Provenance: Waterhouse & Dodd Gallery, London;Private collection
  • Exhibited: Waterhouse Dodd Gallery, London, 2007
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UNTITLED [BLUE], 2007
UNTITLED [BLUE], 2007
Ciarán Lennon (b.1947)

Auction Date / Lot No.: 4 March 2013 / 123

Reserve: €2500

  • Signature: signed, dated and with medium inscribed in pencil lower right
  • Medium: acrylic paint on acrylic sheet on copper mesh on paint on Fabriano paper
  • Dimensions: 30 by 46in., 75 by 115cm.
  • Dimensions of entire artwork given.

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RED CELTA, 1980
RED CELTA, 1980
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 4 March 2013 / 125

Reserve: €2000

  • Signature: signed lower left; titled and dated [July] lower right; with Grants Fine Art label on reverse
  • Medium: gouache on paper
  • Dimensions: 10 by 14in., 25 by 35cm.
  • Provenance: Grants Fine Art, Newcastle, Co. Down;Where purchased by the present owner
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ISLANDS, c.2000
ISLANDS, c.2000
Michael Mulcahy (b.1952)

Auction Date / Lot No.: 4 March 2013 / 127

Reserve: €800


VIVA NICARAGUA, 1987
VIVA NICARAGUA, 1987
Robert Ballagh (b.1943)

Auction Date / Lot No.: 4 March 2013 / 131

Reserve: €500


LINEN PRESENTATION BOX (FROM MEDITATIONS), 2007
LINEN PRESENTATION BOX (FROM MEDITATIONS), 2007
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 4 March 2013 / 143

Reserve: €80

  • Dimensions: 24 by 24 by 2in., 60 by 60 by 5cm.
  • The resentation case originally housed the compilation of seven hand-made carborundum prints which re-examine the artist's introspective approach to creation as seen in his earlier works on canvas. Published in collaboration with Stoney Road Press in May 2007.

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SELF PORTRAIT, 1962
SELF PORTRAIT, 1962
William Crozier HRHA (1930-2011)

Auction Date / Lot No.: 4 March 2013 / 144

Reserve: €800

  • Signature: signed and dated lower right; with typed exhibition label on reverse
  • Medium: oil on paper; monoprint
  • Dimensions: 21 by 14.75in., 52.5 by 36.875cm.
  • Provenance: Arthur Tooth and Sons Ltd, London; Private collection;Whyte's, 29 September 2008, lot 67;Whence purchased by the present owner
  • Exhibited: Arthur Tooth and Sons Ltd, London, 1962
  • In 1961 William Crozier's interests moved from the landscape to the depiction of skeletal, existential figures. These haunting images were invariably more concerned with depicting the human condition than with the portrayal of any one individual and they owe more to Art Brut ,which interested Crozier in the 1960s, than to any traditional idea of the self-portrait. Crozier created a number of self-portraits in 1961-62, a good example of which may be seen in the survey collection of artists' self-portraits acquired by Ruth Borchard. Almost fifty years after these self-portraits were painted, in 2010 the artist discussed them in a film made by Tangent Films, UK which throws further light on the present work. Prof. Katharine CrouanSeptember 20131. See Philip Vann, Face to Face: British Self-Portraits in the Twentieth Century, Sansom and Co., Bristol, 2004, pp. 136-72. See: www.ruthborchardcollection.co.uk/pages/videos.html

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GESTURAL DRAWING
GESTURAL DRAWING
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 4 March 2013 / 145

Reserve: €600


BOOK PRINT (from Meditations), 2008 and LIMITED EDITION BOOK
BOOK PRINT (from Meditations), 2008 and LIMITED EDITION BOOK
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 4 March 2013 / 150

Reserve: €1000

  • Signature: print signed and dated in the margin lower right; numbered lower left; with blind stamp of Stoney Road Press lower right; book, signed and numbered on title page
  • Medium: carborundum with gold leaf; (1); limited edition book; (1); (both no. 63 from an edition of 100)
  • Dimensions: 14.5 by 14.5in., 36.25 by 36.25cm.
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ABSTRACT
ABSTRACT
Michael Kane (b.1935)

Auction Date / Lot No.: 4 March 2013 / 155

Reserve: €500


TITANIC
TITANIC
John Behan RHA (b.1938)

Auction Date / Lot No.: 4 March 2013 / 158

Reserve: €2000

  • Signature: signed and dated [2000] on reverse
  • Medium: bronze on Kilkenny marble base
  • Dimensions: 20 by 10.5in., 50 by 26.25cm.
  • Provenance: Whyte's, 17 February 2004, lot 216; Private collection
  • Dimensions of base: 1 by 10 ins. (diameter)

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CAMEL
CAMEL
John Behan RHA (b.1938)

Auction Date / Lot No.: 4 March 2013 / 165

Reserve: €1200

  • Medium: bronze on black marble base
  • Dimensions: 9 by 14 by 5in., 22.5 by 35 by 12.5cm.
  • Provenance: Collection of Gerald Yael Goldberg, former Lord Mayor of Cork; de Vere's, 30 November 2005, lot 173; Private collection
  • Dimensions of base: 1.5 by 10.5 by 4.5 ins.

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HEAD OF A GIRL, 1932
HEAD OF A GIRL, 1932
Laurence Campbell RHA (1911-1964)

Auction Date / Lot No.: 4 March 2013 / 169

Reserve: €1000

  • Signature: signed and dated at left shoulder
  • Medium: bronze; (from an edition of 6)
  • Dimensions: 18 by 18in., 45 by 45cm.
  • One of a limited edition of six foundry bronzes, cast from a plaster bust that was sold through the Gorry Gallery, May 1988 (catalogue no. 44) and which is now in a private collection. Of the edition of six bronzes, only three (nos. 2, 3 and 4) were available for sale, two of which have sold previously through these rooms.

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BOY AT A STREAM, 1846
BOY AT A STREAM, 1846
John Henry Foley RA RHA (1818-1874)

Auction Date / Lot No.: 4 March 2013 / 170

Reserve: €3000

  • Signature: stamped [J. H. Foley, Sculp. / Executed for the Art-Union of London, 1846] at base
  • Medium: bronze
  • Dimensions: 20.5 by 7 by 8in., 51.25 by 17.5 by 20cm.
  • Provenance: The Collection of Mervyn & Pat Solomon
  • Youth at a Stream was especially commissioned in 1844 in the competition for the decoration of the new houses of Parliament at Westminster.Foley was one of the most eminent sculptors of the Victorian era. Strickland considered him at his best, superior to any of his contemporaries" (Dictionary of Irish Artists, Vol. I, p.359). Born in Dublin, Foley entered the RDS Drawing Schools at an early age, winning numerous prizes and medals in modelling, before going to London to further his career at the RA School. From the 1840s onwards he won numerous prestigious commissions, not least of which was the central figure of the Prince Consort for the Albert Memorial in Kensington Gardens, and the O'Connell Monument in Sackville Street (now O'Connell Street), Dublin."

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FOUR BALLET SHOES
FOUR BALLET SHOES
Stuart Morle (b.1960)

Auction Date / Lot No.: 4 March 2013 / 173

Reserve: €1000


NEAR MANNIN BAY, COUNTY GALWAY
NEAR MANNIN BAY, COUNTY GALWAY
Henry Healy RHA (1909-1982)

Auction Date / Lot No.: 4 March 2013 / 175

Reserve: €1500


ARALOUGH [SIC], ROUNDSTONE, CONNEMARA, 1968
ARALOUGH [SIC], ROUNDSTONE, CONNEMARA, 1968
Thomas Ryan PPRHA (b.1929)

Auction Date / Lot No.: 4 March 2013 / 178

Reserve: €2000


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