25 November 2013

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ACROSS DUBLIN BAY FROM RED ROCK, COUNTY DUBLIN
ACROSS DUBLIN BAY FROM RED ROCK, COUNTY DUBLIN
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 25 November 2013 / 1

Reserve: €1000


GLEN HEAD, GLENCOLMKILE [SIC], COUNTY DONEGAL
GLEN HEAD, GLENCOLMKILE [SIC], COUNTY DONEGAL
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 25 November 2013 / 3

Reserve: €2000

  • Signature: signed lower left; titled on reverse
  • Medium: oil on canvas
  • Dimensions: 24 by 36in., 60 by 90cm.
  • Provenance: James Gallery, Dublin;

    Whence purchased by the present owner in 2005

  • Exhibited: 'An Exhibition of Fine Paintings by George Gillespie (1924-1995)', James Gallery, Dublin, from 7 May 2005, catalogue no. 18 (illustrated)
  • Original James Gallery exhibition catalogue included with this lot.

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IN THE RAY VALLEY, COUNTY DONEGAL
IN THE RAY VALLEY, COUNTY DONEGAL
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 25 November 2013 / 6

Reserve: €1500


THE IRONWORKS, CLONSKEAGH, COUNTY DUBLIN, 1945
THE IRONWORKS, CLONSKEAGH, COUNTY DUBLIN, 1945
Rosaleen Brigid Ganly HRHA (1909-2002)

Auction Date / Lot No.: 25 November 2013 / 9

Reserve: €800

  • Signature: signed with initials and dated lower left; titled on original label on reverse; also with Victor Waddington framing label preserved on reverse; inscribed by the artist in 1989 also on reverse
  • Medium: oil on board
  • Dimensions: 10.5 by 14in., 26.25 by 35cm.
  • The Gorry Gallery hosted a retrospective of the artist's work in 1987 and later there followed a retrospective in the Hugh Lane Municipal Gallery in 1998. Brigid Ganly (neé O'Brien) was the daughter of RHA past president Dermod O'Brien and sister-in-law Kitty Wilmer O'Brien. Born in Limerick but raised in Fitzwilliam Square, Dublin, Ganly entered the Metropolitan School of Art in 1925 where she studied painting under Seán Keating and Patrick Tuohy and sculpture under Oliver Sheppard. Her first exhibit with the RHA was in 1928 and she was elected Associate of the RHA the same year. Although she was an accomplished sculptor (she won the California Gold Medal for the Taylor Scholarship in 1929) it was in painting where she focused her talents. In 1930 she won the Taylor Scholarship and three years later travelled to Italy taking a studio in Florence for six months. In 1935 Ganly had her first solo show with the Dublin Painters Gallery, was elected a full member of the RHA and completed her first commission for All Saints Church, Blackrock. The following year she married Andrew Ganly, B.D.S. The period between the mid 1940s and early 1950s Ganly exhibited with Kitty Wilmer in Dublin, travelled to America to execute portrait commissions and represented Ireland in an Exhibition of Contemporary Irish Painting. Later she travelled to Paris to study briefly under André Lhote. On return to Ireland a solo show took place at the Dawson Gallery (1965) and by the late 1960s her conflicting attitudes with RHA on the matter of the modern school of painting and the 'Living Art' group of artists led to her resignation from the Academy (1969). She was made an Honorary member of RHA in 1972. Ganly continued to show work nationally during the 1970s and 1980s and a retrospective exhibition was held in the Gorry Gallery, Dublin in 1987 and later at the Hugh Lane Municipal Gallery in 1998. Her work can be found in the collection of the Hugh Lane, Crawford Gallery, Cork and the National Self Portrait Collection among others.""

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COTTAGE WITH CATTLE and WEST OF IRELAND LANDSCAPE NEAR CARRAROE (A PAIR)
COTTAGE WITH CATTLE and WEST OF IRELAND LANDSCAPE NEAR CARRAROE (A PAIR)
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 25 November 2013 / 11

Reserve: €3000


ON THE STONES - THE CATTLE MARKET, CALEDONIAN ROAD, SELLING CHEAP NAGS, c.1905
ON THE STONES - THE CATTLE MARKET, CALEDONIAN ROAD, SELLING CHEAP NAGS, c.1905
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 25 November 2013 / 19

Reserve: €15000

  • Signature: signed lower right; with artist's name and title on reverse; also with number [12] on reverse in pencil and number [10] on reverse in ink
  • Medium: Indian ink on card
  • Dimensions: 14 by 20.5in., 35 by 51.25cm.
  • Provenance: Waddington Galleries, London;

    Private collection

  • Exhibited: '25th Annual Exhibition', Art Society, Belfast, 1905; 'Sketches of Life in the West of Ireland', Leinster Hall, Dublin, 1-20 October, 1906, catalogue no. 40; 'Pictures of Life in the West of Ireland' , Walker Art Gallery, London, 3-29 February, 1908, no. 43; 'Early Drawings and Watercolours', Victor Waddington, London, 27 October - 18 November, 1967, no. 10 (reproduced); 'Jack B. Yeats Retrospective Exhibition', Waddington Fine Arts, Montreal, 12 March - 5 April, 1969, no. 40
  • LiteratureManchester Guardian, 28 January, 1905 (7); (reproduced);

    Pyle, Hilary, The Different Worlds of Jack B. Yeats. His Cartoons and Illustrations, Irish Academic Press, 1994, catalogue no. 651, p.117 (listed), p.119 (illustrated)

  • This dramatic black and white drawing is part of series of twenty-eight illustrations of life in the East End of London, called Pastimes of the Londoners. Intended as a book which was not in the end published, this illustration did appear in the Manchester Guardian in January 1905 when it was accompanied by an article by Jack Yeats. In this he recounts his visit to the famous Caledonian Market where cattle, sheep and pigs were bought and sold. London Corporation constructed it in the 1850s and 1860s with the market area arranged in a rectangle around a tall central clock tower. The latter dominates the composition, drawing attention to the wide expanse of open sky and space that surrounds the market and on which Yeats commented in his article.

    Horse drawn carts parade in the foreground with dealers looking on. Most of the vast crowd faces away from the viewer, towards the dealer's offices which were located around the base of the tower. The noise and excitement of the event is conveyed by the sprinting horse in the centre of the foreground whose handler shouts down to the driver of a passing dogcart. This tiny vessel is dangerously positioned between two taller carriages. Another man stands in his cart waving a whip at the vehicle. Behind him a camel makes an exotic addition to the line-up. Another hint at the cosmopolitan nature of the market is given in the sign shown by one of the traders in the lower left of the crowd. 'Ici en parle francais', while misspelt at least suggests an ability and a willingness to speak French with potential buyers.

    As in the other illustrations in the Pastimes, the work is made using dark black Indian ink on card. The image is created largely through cross-hatching, an effective way of shading and constructing form as well as adding simplicity and clarity to the depiction of a large congested crowd. A striking repoussoir figure in the lower left leans on a railing, his large hat casting his face in shadow. His function is to draw us, the viewers, into the spectacle of the market. He is positioned in a rare open area that permits a view of the vast, packed gathering from which he is slightly removed. Close to him stand an array of other characters, each distinguished by peculiarities of dress and appearance and all caught up in the business of the day.

    Dr Róisín Kennedy

    October 2013

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A GIRL CLINGS TO A YOUNG MAN ON A BEACH [ILLUSTRATION TO <i>THE COLLEGIANS</i>, 1904]
A GIRL CLINGS TO A YOUNG MAN ON A BEACH [ILLUSTRATION TO THE COLLEGIANS, 1904]
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 25 November 2013 / 21

Reserve: €5000

  • Signature: signed lower left
  • Medium: pencil
  • Dimensions: 9.5 by 6in., 23.75 by 15cm.
  • Provenance: Victor Waddington Galleries, London;

    Private collection

  • Exhibited: 'Watercolours and Drawings', Waddington Galleries III, London, 8-31 March 1973, (37: repro)
  • Literature: Griffin, G., The Collegians, 1904;

    Pyle, Hilary, The Different Worlds of Jack B. Yeats. His Cartoons and Illustrations, Irish Academic Press, 1994, catalogue no.1339, p.182

  • Griffin's 1829 novel The Collegians is based on one of the most notorious murder cases of the day, that of a young woman, Ellen Hanley, in Co. Limerick in 1819. Married in secret to a local landlord, her body

    was washed up from the lake into which it had been dumped weeks previously. Griffin's version of the tale which transfers the events to the scenic setting of Killarney formed the basis of Dion Boucicault's hugely successful melodrama, the Colleen Bawn, (1859). Yeats makes reference to this in his painting In Memory of Boucicault and Bianconi, (1937, National Gallery of Ireland) where a group of travelling players re-enact celebrated plays by the famous dramatist.

    This striking drawing which was published as an illustration to a 1904 edition of Griffin's book conveys the wildness and tragedy of the story in the windswept trees, blustering skies and steep mountains that form the dramatic backdrop to the scene. The central characters of the novel, the wealthy landlord, Hardress Cregan and Eily O'Connor his young and beautiful wife stand on a rocky beach while the villainous servant Danny Mann pulls the sailing boat to shore. The character of Hardress is central to The Collegians where he is sympathetically portrayed as a flawed individual. His clandestine marriage to an uneducated local beauty ends in tragedy when he decides to abandon her in order to maintain his social standing and respectability. Later in the novel he allows Danny Mann to get rid of his wife, not realising that he intends to murder her.

    The stances of Hardress and Eily suggest the incompatibility of their relationship. She looks wistfully up at her husband whose face is turned away, his fist clenched in anger. Behind them the sinister form of Danny Mann stares up at his master with an expression of abject loyalty in his face. The work reveals Yeats' appreciation of dramatic narrative and his versatility as an artist in his ability to evoke the romantic sensibility of an earlier era.

    Dr Róisín Kennedy

    October 2013

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THE MAGIC POOL
THE MAGIC POOL
George Russell (Æ")" (1867-1935)

Auction Date / Lot No.: 25 November 2013 / 23

Reserve: €4000


THE RICK-YARD, 1908
THE RICK-YARD, 1908
Harry Scully RHA (c.1863-1935)

Auction Date / Lot No.: 25 November 2013 / 27

Reserve: €1500

  • Signature: signed and dated lower left; with original label on reverse detailing artist's name, address [11 Nelson's Place, Cork] and title
  • Medium: watercolour
  • Dimensions: 22 by 26in., 55 by 65cm.
  • Exhibited: RHA, Dublin, 1909, catalogue no. 224 [£50-0-0]
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TURNIP GATHERING, c.1889
TURNIP GATHERING, c.1889
Nathaniel Hill RHA (1860-1930)

Auction Date / Lot No.: 25 November 2013 / 28

Reserve: €1500

  • Signature: with partial original inscribed exhibition label on reverse; also with [Hill"] in pencil on reverse"
  • Medium: oil on board
  • Dimensions: 5.5 by 9in., 13.75 by 22.5cm.
  • Provenance: A wedding gift to present owner’s father in 1927 from the Collector General at the time
  • Exhibitedpossibly in Dublin Art Club, 1889, no. 14 [£2-2-0]
  • At this juncture in the artist's career he was living in Queensborough, Drogheda, Co. Louth in his family home.

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FISHING BOATS OFF A HARBOUR, c.1892-1900
FISHING BOATS OFF A HARBOUR, c.1892-1900
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 25 November 2013 / 32

Reserve: €12000

  • Signature: signed lower left; with partial inscribed labels on reverse, reads _____ Out to Sea by Edwin Hayes"; with artist's address [Olive Villas, Quex Road, W. Hampstead, London] identifiable on reverse"
  • Medium: oil on canvas
  • Dimensions: 29 by 48in., 72.5 by 120cm.
  • Olive Villas, Quex Road, W. Hampstead, London is listed as the artist's address in RHA Index of Exhibitors between 1892 - 1900, this time frame assists in dating the painting.

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PORTRAIT OF THE ARTIST'S MOTHER
PORTRAIT OF THE ARTIST'S MOTHER
Sir Gerald Festus Kelly PRA RHA HRSA (1879-1972)

Auction Date / Lot No.: 25 November 2013 / 34

Reserve: €1500

  • Medium: oil on board
  • Dimensions: 16 by 13in., 40 by 32.5cm.
  • With a page from an old untraced auction catalogue, including a listing of this painting, believed to be from The Flight Collection, on reverse.

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STELLA DI ROMA, c.1831-1834
STELLA DI ROMA, c.1831-1834
Richard Rothwell RHA (1800-1868)

Auction Date / Lot No.: 25 November 2013 / 35

Reserve: €4000

  • Signature: signed and titled lower centre
  • Medium: oil on canvas; (tondo)
  • Dimensions: 25 by 24.75in., 62.5 by 61.875cm.
  • Richard Rothwell is the only major Irish painter to have been born in Athlone. He studied at the Dublin Society's school between 1814-1820 where he won a silver medal for his painting. He showed with the RHA between 1826 and 1829 and was elected to the Academy at the age of 24. He later moved to London and was studio assistant to the leading portrait painter of the age, Thomas Lawrence. Following Lawrence's death in 1830 Rothwell was seen as a possible successor and finished many incomplete paintings by his master. He should have taken on Lawrence's practice since in style they were similar, but Rothwell took another course.

    The present work may date between 1933 and 1834 when Rothwell travelled to Italy. There he studied the language and 'history' paintings. This example is similar to two other versions, both reflecting the rich, strong colours of his palette at this time in the 1830s; his best period. One is in the collection of the Ulster Museum [BELUM.U152].

    His return to England saw a steep decline in patronage. He left for Italy again in 1868 and died in Rome of a fever that year. Among his most famous sitters were authors Gerald Griffin and Mary Shelly. The later was exhibited at the RA in 1840 (no. 459) as Mrs. Shelly, authoress of Frankenstein". The National Gallery of Ireland holds several works by Rothwell including a very fine self-portrait [NGI.265] and a female nude, the nymph, Calisto [NGI.506], which he considered his masterpiece."

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THE PRINCESSES MADELEINE AND OLGA VON DEMBINSKA
THE PRINCESSES MADELEINE AND OLGA VON DEMBINSKA
St. George Hare RI ROI (1857-1933)

Auction Date / Lot No.: 25 November 2013 / 36

Reserve: €1500

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 27 by 36in., 67.5 by 90cm.
  • The subjects of this double portrait were Polish sisters of the von Dembinski family who claimed direct lineage from King Canute and therefore a connection to the English Royal Family. Through the death of a co-lineal relative they purportedly inherited their titles and claim to the Polish throne (since beyond reclaim) and a large area of land in Poland which they believed was being denied to them by a French syndicate. They lived in Barrowgate Road, Westminster in London where they came into contact with a physicist John Fredrick Heard who rented accommodation from the family and recorded his time in their company in 1976. 1. In 2009 the Princesses' story became the subject of a television series, Heir Hunters, which endeavoured to seek out the rightful heirs to their unclaimed estate.

    Footnote:

    1 Journal of the Royal Astronomical Society of Canada, Vol. 73, Collected Reminiscences of John Frederick Heard, My Brush with Royalty, p.195-197

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BRETON WOMEN IN A KITCHEN, 1905
BRETON WOMEN IN A KITCHEN, 1905
Aloysius C. O’Kelly (1853-1936)

Auction Date / Lot No.: 25 November 2013 / 37

Reserve: €25000

  • Signature: signed and dated lower right; with Ludwig Katzenstein Fine Art label [Baltimore] on reverse
  • Medium: oil on canvas
  • Dimensions: 39 by 32.25in., 97.5 by 80.625cm.
  • Provenance: with Ludwig Katzenstein Fine Art Gallery, Baltimore, Maryland;

    Private collection

  • In the Pension Gloanec, where O'Kelly lived while in Pont-Aven, fellow artist, Corwin K. Linson noted the two great Breton beds 'flanking the fireside' where slept 'the mistress and her maids'. A number of O'Kelly paintings in the first decade of the twentieth century are set in the famous pension: Breton Woman Cleaning Pans (1909), Breton Women by the Fireside (probably exhibited as Devant le Feu at the Salon in 1908), By the Fireside (exhibited at the Art Institute of Chicago in the same year) and, it would seem, this earlier 1905 painting may also have been painted there.

    During the long summer breaks from the École, artists from all nationalities made their way to Brittany, in keeping with the cult of peasant Realism that swept through the salons of France. But the aesthetic of modernity engaged few Irish artists who tended to identify with the more naturalistic modes of representing rural experience. It was in Brittany that O'Kelly learned to reconcile a range of styles derived from both traditional and avant-garde art, in effect blending academic, Realist and plein-air elements into an innovative mode of rural Naturalism.

    These paintings demonstrate a marked stylistic cohesion and show O'Kelly's ability to handle figures in increasingly complex interior spaces. In these, O'Kelly's academic draughtsmanship and painting skills are evidence of his training with the illustrious Jean-Léon Gérôme, acquired while a student in the École des Beaux-Arts in Paris in the 1870s.

    O'Kelly's connections to Brittany lasted for over fifty years, from his first sojourn in the mid 1870s, while a student in Paris, to his final visits in the 1920s. Indeed O'Kelly was the first Irish artist to discover Brittany. Pont-Aven and Concarneau were his main haunts, but he travelled extensively around the various painting spots of the peninsula over five decades.

    Some late nineteenth-century painters, like O'Kelly, responded to the pressures of modernism by employing Impressionist techniques for outdoor subjects while retaining more academic methods for indoor genre scenes. This painting holds traditional high finish and modern informality in the balance. The strong architectonic qualities are countered by a looseness of handling. The tonation is achieved by the addition of vibrant touches of green, blue and red, enlivening what is otherwise a predominantly muted palette.

    The upright figure is strong, the two girls sitting on the floor utterly delightful. The still-life elements - furniture, pottery, brass and copper - are rugged and rustic but, paradoxically, subtle and charming.

    Prof. Emeritus Niamh O'Sullivan

    October, 2013

    For another Breton scene by the artist see lot 39 [25 November 2013].

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NUDE IN THE STUDIO
NUDE IN THE STUDIO
Roderic O'Conor (1860-1940)

Auction Date / Lot No.: 25 November 2013 / 40

Reserve: €25000

  • Signature: with O'Conor Atelier stamp on reverse; with typed Crane Kalman Gallery [London] label on reverse
  • Medium: oil on canvas
  • Dimensions: 21.75 by 18.25in., 54.375 by 45.625cm.
  • Provenance: with The Crane Kalman Gallery, London;

    Where purchased by Barnett Shine;

    Private collection

  • This quietly contemplative nude model was painted by Roderic O'Conor in his rue du Cherche-Midi studio in the Montparnasse quarter of Paris, where he lived and painted for thirty years after his return to Paris in 1904 following a thirteen year period of residence in Brittany at Pont-Aven and at Rochefort-en-Terre in Morbihan.

    The change in O'Conor's environment from rural France to the busy and artistically competitive arena of the Paris art world early in the 20th century marked the beginning of a period of detachment from landscape themes, and a greater engagement with traditional studio subjects, including still-lifes, portraits, figure studies and paintings of unclothed female models.

    In O'Conor's first-floor studio there was one entire wall comprised of small panes of glass admitting natural light into an interior described by Clive Bell in his memoir, Old Friends (1956), as being spacious but gloomy." For this painting O'Conor chose to pose his model deep in the studio interior taking up a viewing position with his back to the wall of windows. As a result the quality of light which illuminated his subject is soft and quite diffuse, unlike his more frequently used rich contrasts of colour which appear in other figure paintings and still-lifes where the subject was placed much closer to the light source. Behind the seated figure we see the solid mass of the large cast iron stove, which was the only source of heating in his studio and which appears in many of his studio paintings.

    O'Conor typically preferred to take a direct approach to his studio paintings, working initially in broad generalised tonal masses with little preliminary drawing as he had done in his landscape paintings from Brittany, and from Cassis in the Midi where he painted in 1913. For this portrait however, O'Conor began by making a series of preliminary sketches and drawings of his model, both clothed and unclothed (more than ten such drawings have been identified), with slight variations to the pose and the positioning of her right arm, which in the painting is bent at the elbow and rests on the arm of the chair to provide a support for her slightly inclined head.

    He also worked on a heavier grade of canvas than usual having a pronounced texture to which he applied a thin stain, deliberately leaving background areas untouched as the painting progressed. Selected passages in the model's upper body and head were similarly treated. Thicker paint was then applied to her upper body as he modelled the forms while keeping to the generally restrained technique and the mood of the painting. It is only in the green drapery on the armchair and in the white sheet or towel covering her left leg that we see O'Conor's typically vigorous and direct brush strokes and his mixing and blending of the oil paint directly on the canvas.

    This model is also the subject of a particularly strong and highly finished portrait known by the title Rouge et Vert which he exhibited at the Salon d'Automne of 1919, in which she wears a red dress and is seated against a background of patterned red and tan fabric which is generously draped in front of a green wall.

    Seated Nude was purchased from the Crane Kalman Gallery in London in 1969 by the enthusiastic O'Conor admirer and collector, Barnett Shine. Over the years he and his wife made several donations from their collection including in 1977 what is perhaps O'Conor's best known painting, the quite remarkable Van Gogh influenced Yellow Landscape of 1892, now in the collection of Tate Britain.

    Dr. Roy Johnston

    October 2013"

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GIRL PLAYING AN ACCORDION
GIRL PLAYING AN ACCORDION
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 25 November 2013 / 41

Reserve: €15000

  • Medium: watercolour and wax crayon on paper
  • Dimensions: 19.25 by 14.75in., 48.125 by 36.875cm.
  • Provenance: Bell Gallery, Belfast;

    Private Collection;

    Eakin Gallery, Belfast;

    Private Collection;

    Whyte's, 28 November 2006, lot 82;

    Private collection

  • Exhibited: Almost certainly exhibited as Girl Playing an Accordion in 'William Conor', CEMA Exhibition, Museum and Art Gallery, Belfast, 1957, catalogue no. 138 (lent by W. McKee)


  • A photograph of William Conor working on the version in oil of the present lot can be seen on page 87 of Judith Wilson's book, Conor 1881-1968 The Life and Work of an Ulster Artist.

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SUNLIT WORKSHOP, 1925
SUNLIT WORKSHOP, 1925
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 25 November 2013 / 47

Reserve: €5000

  • Signature: signed lower left; inscribed with title and dated on reverse; also with artist's address [Stamer St., Dublin] on reverse
  • Medium: oil on board
  • Dimensions: 15 by 20in., 37.5 by 50cm.
  • This daytime scene depicts the artist's father in his workshop.

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WORKSHOP, NIGHT, 1925
WORKSHOP, NIGHT, 1925
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 25 November 2013 / 48

Reserve: €4000

  • Signature: signed lower right; signed again, titled and dated on reverse
  • Medium: oil on board
  • Dimensions: 15 by 20in., 37.5 by 50cm.
  • This night-time scene depicts the artist's father in his workshop.

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SPRING and SUMMER, c.1920 (A PAIR)
SPRING and SUMMER, c.1920 (A PAIR)
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 25 November 2013 / 51

Reserve: €5000

  • Medium: watercolour with gouache and charcoal over pencil; (2)
  • Dimensions: 57.5 by 20in., 143.75 by 50cm.
  • Provenance: with The Neptune Gallery, Dublin;

    Private collection


  • Mainie Jellett designed and painted folding screens widely used in the 'big houses' in Dublin and the country as draft excluders beside doors. They were three and four-fold and the scenes depicted on them included the seasons quite often. In the case of this pair spring and summer are the subjects. The influence in her work at this time, at the end of the First World War, came primarily from the naturalistic painter, Walter Sickert, with whom she studied in London before going to Paris to work with André Lhote and then Albert Gleizes.

    Works of equal size; framed uniformly.

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TENNIS COURTS IN MAY, KENILWORTH SQUARE, DUBLIN, 1944
TENNIS COURTS IN MAY, KENILWORTH SQUARE, DUBLIN, 1944
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 25 November 2013 / 55

Reserve: €5000

  • Signature: signed and dated lower right; with title on reverse; also with Oriel Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 8.5 by 5.25in., 21.25 by 13.125cm.
  • Provenance: with the Oriel Gallery, Dublin, c,1999;

    Private collection

  • Literature: Nulty, Oliver (ed.), 100 Years of Irish Art, Oriel Gallery, Silver Jubilee (1968-1993), Nicholson & Bass Ltd., Dublin, 1993, p.73 (illustrated)

  • The artist's parent's home was located at number 51, Kenilworth Sq., Rathgar.

    In the year this work was painted le Brocquy exhibited an oil on gesso-primed hardboard painting of the same location at the Irish Exhibition of Living Art, Dublin. It was titled Tennis Courts in April (1943) and was lent by D.J. Williams Esq., Tullamore.

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MEDITERRANEAN COVE
MEDITERRANEAN COVE
Kenneth Hall (1913-1946)

Auction Date / Lot No.: 25 November 2013 / 56

Reserve: €3000

  • Signature: K. Hall" inscribed on reverse; also with "Wertheim" on reverse"
  • Medium: oil on canvas
  • Dimensions: 20 by 24in., 50 by 60cm.
  • The location of this scene is possibly Glyfada , Greece or a nearby coastal village where the artist spent time in the late 1930s.

    It is likely that this work formed part of the Lucy Wertheim (1883-1971) collection and was exhibited at her gallery of the same name in Albany, London. Wertheim was an avid supporter of emerging artists in London, many of those who formed part of the 'Twenties Group', such as Hall, Rákóczi, Kitwood and Norah McGuinness, all of whom benefited enormously from her patronage and support. Kenneth Hall would later be a key member of the ‘White Stag’ group in Dublin 1939–1945.

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FLOWERS
FLOWERS
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 25 November 2013 / 59

Reserve: €1000

  • Signature: with inscribed Dawson Gallery label affixed on reverse
  • Medium: oil on board
  • Dimensions: 14 by 11in., 35 by 27.5cm.
  • Provenance: Dawson Gallery, Dublin;

    The Collection of Dr James Cruickshank

  • Exhibited: 'Grace Henry HRHA 1868-1953, Retrospective Exhibition', Jorgensen Fine Art, Dublin, 7-27 January 2010
  • Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, p.44 (illustrated)
  • A copy of Dr Cruickshank's text Grace Henry, The Person and Artist, accompanies this lot.

    Dr. James G. Cruickshank, formerly of the Queen's University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank's first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the 'Paul and Grace Henry exhibition' at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision.

    Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L'hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen's Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949.

    For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist.

    "

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VERANDA WITH TABLES AND PLANTS
VERANDA WITH TABLES AND PLANTS
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 25 November 2013 / 62

Reserve: €500


CARNLOUGH, COUNTY ANTRIM
CARNLOUGH, COUNTY ANTRIM
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 25 November 2013 / 64

Reserve: €1500


LETTERMULLEN and CALADH CHÚLAIN, LETTERMULLEN, COUNTY GALWAY (A PAIR)
LETTERMULLEN and CALADH CHÚLAIN, LETTERMULLEN, COUNTY GALWAY (A PAIR)
Barbara Warren RHA (b.1925)

Auction Date / Lot No.: 25 November 2013 / 65

Reserve: €1000

  • Signature: signed lower right and lower left respectively; the first titled on Taylor Galleries label; the second inscribed and title on RHA label
  • Medium: gouache over pencil on paper; (2)
  • Dimensions: 15 by 19in., 37.5 by 47.5cm.
  • ProvenanceLettermullem:

    Taylor Galleries, Dublin;

    Private collection;

    Morgan O'Driscoll, 24 September 2012, lot 157;

    Private collection

    Caladh Chúlain

    RHA, Dublin;

    Private collection;

    Adam's, 26 September 2012, lot 192


  • Dimensions of Caladh Chúlain 11 by 19.25in.

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VIEW ALONG THE SEINE TOWARDS THE EIFFEL TOWER, PARIS, c.1956
VIEW ALONG THE SEINE TOWARDS THE EIFFEL TOWER, PARIS, c.1956
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 25 November 2013 / 68

Reserve: €3000

  • Signature: signed lower left; inscribed [City Scene"] and with provenance on reverse"
  • Medium: oil on board
  • Dimensions: 14 by 15.5in., 35 by 38.75cm.
  • Provenance: Victor Waddington Gallery, Dublin;

    Where purchased by the previous owner, June 1956

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GIRL DANCING
GIRL DANCING
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 25 November 2013 / 73

Reserve: €4000

  • Signature: signed lower right; titled and with number [9] on reverse
  • Medium: oil on board
  • Dimensions: 21.25 by 18in., 53.125 by 45cm.
  • Provenance: Purchased at a Patrick Collins exhibition c.1967;

    Thence by descent to the present owner

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MORNING, WICKLOW HILLSIDE, 1988
MORNING, WICKLOW HILLSIDE, 1988
Patrick Hickey HRHA (1927-1998)

Auction Date / Lot No.: 25 November 2013 / 74

Reserve: €5000

  • Signature: signed, titled and dated on stretcher on reverse; with Jorgensen Fine Art label on reverse
  • Medium: oil on canvas
  • Dimensions: 42 by 60in., 105 by 150cm.
  • Provenance: Jorgensen Fine Art, Dublin;

    Private collection

  • Born in India, Hickey lived in Ireland from 1948 onwards. He studied architecture at UCD (graduating in 1954), and later etching and lithography at Scuola del Libro, Urbino, Italy. He exhibited at the IELA in the 1950s, '60s, and '70s, and held numerous solo exhibitions at the Dawson Gallery. A master printmaker, he founded the Graphic Studio Dublin in 1961, and his painting technique developed out of his printmaking methods.

    In his painting, he has achieved the phenomenon of the true painter in imposing his style on the landscape. There are quite definite types of countryside, forestry plantations, sheer sides of mountains, which are identifiable as 'Patrick Hickey'"

    (Tony Hickey, The Irish Imagination 1959-1971, Municipal Gallery of Modern Art, Dublin, 1971, p.7)."

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UNTITLED 4, 1981
UNTITLED 4, 1981
Charles Tyrrell (b.1950)

Auction Date / Lot No.: 25 November 2013 / 77

Reserve: €3000

  • Signature: signed, inscribed and dated on reverse; with Taylor Galleries exhibition label on reverse
  • Medium: oil over acrylic and mixed media on wood
  • Dimensions: 47.5 by 47.5in., 118.75 by 118.75cm.
  • Provenance: Taylor Galleries, Dublin;

    Private collection

  • Exhibited: 'Charles Tyrrell', Taylor Galleries, Dublin, 22 June - 8 July, 1981, catalogue no. 5
  • This painting was reworked in oil by the artist in 2003.

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CLARE ISLAND GREYS, 1984
CLARE ISLAND GREYS, 1984
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 25 November 2013 / 81

Reserve: €15000

  • Signature: signed with initials lower left and dated [11/84]; signed again and titled in English and Irish on reverse; also with artist's archival number [No. 1430] on reverse; with exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 36 by 47in., 90 by 117.5cm.
  • Provenance: The Collection of Jim O'Driscoll SC
  • Exhibited: 'O'Malley', West Cork Arts Centre, 27 July to 16 August 1991, catalogue no. 34;

    'An Irish Vision, Works by Tony O'Malley', The Phillips Collection, Washington DC, 8 April to 9 July, 2000 and Crawford Municipal Gallery, Cork, August - September 2000 (loaned from the O'Driscoll Collection), p. 31 of exhibition catalogue (full page illustration)

  • 'An Irish Vision' was presented by Phillips Collection Washington DC as part of the Kennedy Centre festival 'Island: Arts from Ireland', May 13-28, 2000. It was co-curated by Stephen Bennett Phillips of the Phillips Collection and Peter Murray of the Crawford Gallery, Cork. The preface of the exhibition catalogue was written by Jean Kennedy Smith. The exhibition catalogue acknowledged the assistance of James O'Driscoll SC (along side, Jane O'Malley, Michael Lieb, The Arts Council and The Taylor Gallery, Dublin) for his assistance with the exhibition.

    The year the present work was painted the Arts Council hosted a retrospective of the artist's work ['Tony O'Malley: Painter in Exile'] in Dublin, Belfast and Cork. The exhibition catalogue for 'An Irish Vision' notes: Clare Island Greys, dating from this year [1984], shows a further maturing of O'Malley's style. The painting is a sophisticated harmony of blues and greys, suffused with tinges of red ochres. The mood of the painting is gentle and elegiac, but it still conveys a sense of the rapidly changing weather on Clare Island, where sunshine and storm can follow in quick succession." (p.44)"

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BROTHER/SISTER, 1988 (A PAIR)
BROTHER/SISTER, 1988 (A PAIR)
Martin Gale RHA (b.1949)

Auction Date / Lot No.: 25 November 2013 / 91

Reserve: €15000

  • Signature: each signed lower right and right of centre; each signed again and dated on reverse; (Sister) with Taylor Galleries exhibition label on reverse
  • Medium: oil on canvas; (2)
  • Dimensions: 60 by 30in., 150 by 75cm.
  • Provenance: Taylor Galleries, Dublin;

    Private collection

  • Exhibited: 'Martin Gale', Taylor Galleries, Dublin, 12 - 28 October 1989, catalogue no. 2
  • This diptych by Martin Gale, painted in the 1980s, contains portraits of his son and daughter and is one of the most imposing works he ever produced. The indoor representation of the young pair, thoughtful and solemn lying on a patterned carpet in sunlight, has affinities with the other natural work in his painting generally. He often includes miniature portraiture in his landscapes and there are figures presented in a faintly mysterious, wondering way that gives force to them as modest spectators. Here they dominate in a work of great skill and intensity.

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GOLDPAINTING 65
GOLDPAINTING 65
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 25 November 2013 / 97

Reserve: €6000

  • Signature: signed and titled; with inscribed Dawson Gallery label on reverse; also with An Chomhairle Ealaíon label on reverse; with number [37] on reverse
  • Medium: gold leaf and tempera on canvas
  • Dimensions: 70 by 32in., 175 by 80cm.
  • Provenance: Dawson Gallery, Dublin;

    Private collection

  • Exhibited: 'Patrick Scott', Dawson Gallery, Dublin, 5-22 November 1969, catalogue no. 13


  • A major retrospective of Patrick Scott's oeuvre will take place in spring 2014 at the Visual Centre for contemporary Art, Carlow and at IMMA in Dublin.

    For later examples by Scott see lot 88 [25 November 2013].

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CATHEDRAL SHADOW, OCTOBER
CATHEDRAL SHADOW, OCTOBER
John Shinnors (b.1950)

Auction Date / Lot No.: 25 November 2013 / 100

Reserve: €10000

  • Signature: signed lower right; titled on artist's label on reverse
  • Medium: oil on canvas
  • Dimensions: 25 by 28in., 62.5 by 70cm.
  • Provenance: The Collection of Jim O'Driscoll SC
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LINE AND SNOW, 2004
LINE AND SNOW, 2004
John Shinnors (b.1950)

Auction Date / Lot No.: 25 November 2013 / 104

Reserve: €5000

  • Signature: signed lower right; with Taylor Galleries exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 16 by 16in., 40 by 40cm.
  • Provenance: Taylor Galleries, Dublin;

    Private collection

  • Exhibited: 'John Shinnors', Taylor Galleries, Dublin, 18 November - December 2004, catalogue no. 18
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RHINOCEROS
RHINOCEROS
John Behan RHA (b.1938)

Auction Date / Lot No.: 25 November 2013 / 110

Reserve: €2000

  • Medium: bronze on polished granite base
  • Dimensions: 9 by 5 by 14in., 22.5 by 12.5 by 35cm.
  • Provenance: Whyte's, 17 September 2007, lot 248;

    Whence purchased by the present owner

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STANDING NUDE
STANDING NUDE
Markey Robinson (1918-1999)

Auction Date / Lot No.: 25 November 2013 / 111

Reserve: €1000


PORTRAIT OF PAUL, c.1970-1975
PORTRAIT OF PAUL, c.1970-1975
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 25 November 2013 / 122

Reserve: €1800

  • Signature: signed lower right
  • Medium: charcoal
  • Dimensions: 12.75 by 12in., 31.875 by 30cm.
  • Provenance: Whyte's, 4 October 2010, lot 212;

    Whence purchased by the present owner

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FIGURES IN A BOG LANDSCAPE
FIGURES IN A BOG LANDSCAPE
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 25 November 2013 / 124

Reserve: €800


VIEW OF LETTERKENNY, COUNTY DONEGAL, 1931
VIEW OF LETTERKENNY, COUNTY DONEGAL, 1931
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 25 November 2013 / 125

Reserve: €500


FLYFISHING AT CUSHENDUN, COUNTY ANTRIM
FLYFISHING AT CUSHENDUN, COUNTY ANTRIM
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 25 November 2013 / 127

Reserve: €3000


DONKEY AND CART AND FIGURES GATHERING TURF
DONKEY AND CART AND FIGURES GATHERING TURF
Mary Georgina Barton SWA (1861-1949)

Auction Date / Lot No.: 25 November 2013 / 131

Reserve: €500


RUE HORLOGE, ROUEN and LAUDEBEC EN SEINE, 1878
RUE HORLOGE, ROUEN and LAUDEBEC EN SEINE, 1878
William Bingham McGuinness RHA (1849-1928)

Auction Date / Lot No.: 25 November 2013 / 132

Reserve: €2000

  • Signature: each signed and dated lower left; titled lower right
  • Medium: watercolour over pencil heightened with white; (2)
  • Dimensions: 14 by 10in., 35 by 25cm.
  • Provenance: Adam's, 5 December 2006, lot 87;

    Private collection

  • Framed and mounted uniformly.

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PORTRAIT OF MRS PATRICK LEONARD, 1913
PORTRAIT OF MRS PATRICK LEONARD, 1913
Leo Whelan RHA (1892-1956)

Auction Date / Lot No.: 25 November 2013 / 136

Reserve: €1500

  • Signature: signed and dated lower right
  • Medium: oil on canvas
  • Dimensions: 20 by 16in., 50 by 40cm.
  • The sitter was the stepmother of a famous Vincentian Priest, Father Joseph Leonard of All Hallows College, Dublin. He was an army chaplain in WWI. He was stationed in England after the war and went to All Hallows in 1930. He will be remembered in the community for his work in translation on Vincentian matters, including a single handed translation of all St Vincent's conferences, and the entire eight volumes of his letters.

    The sitter was the second wife of Patrick Leonard, Joseph's father. Joseph was born on 29 January, 1877 in the Parish of Wine Street, Sligo. His mother was Mary Fetherstone.

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STILL LIFE
STILL LIFE
May Guinness (1863-1955)

Auction Date / Lot No.: 25 November 2013 / 144

Reserve: €1500

  • Signature: with farming scene in oil exposed on reverse
  • Medium: pastel
  • Dimensions: 18.5 by 12.5in., 46.25 by 31.25cm.
  • Provenance: Adam's, Blackrock, c.2008;

    Whence purchased by the present owner

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NIGHT TIME COLLAGE, 1973 and MAN RESTING EL PALO (A PAIR)
NIGHT TIME COLLAGE, 1973 and MAN RESTING EL PALO (A PAIR)
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 25 November 2013 / 145

Reserve: €600

  • Signature: the first signed and dated lower right; the second with inscribed Tom Caldwell Gallery label on reverse
  • Medium: oil pastel and collage on black paper; (1); oil pastel and mixed media on paper; (1)
  • Dimensions: 11.75 by 18.5in., 29.375 by 46.25cm.
  • ProvenanceMan Resting el Palo:

    Tom Caldwell Gallery, Belfast;

    Private collection

  • Exhibited: 'George Campbell Friends & Acquaintances 1944-74', Tom Caldwell Gallery, Belfast, until 18 October 1975, no. 55 asMan Resting el Palo

    Night Time Collage:,

    'George Campbell', Galeria C.A.A., Malage, Spain, March 1973, as Noche [Night no. 15] or Noche Extraña [Strange Night no. 16], illustrated on front over of exhibition catalogue

  • Dimensions, Man Resting el Palo, 12.25 by 8.25in.

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THE CROSS IN THE WOODS, KILMURVEY, ARAN
THE CROSS IN THE WOODS, KILMURVEY, ARAN
Maurice MacGonigal PRHA HRA HRSA (1900-1979)

Auction Date / Lot No.: 25 November 2013 / 146

Reserve: €1800

  • Signature: signed lower left; titled on reverse; with inscribed Taylor Galleries label on reverse
  • Medium: oil on board
  • Dimensions: 16 by 20in., 40 by 50cm.
  • Provenance: Taylor Galleries, Dublin;

    Private collection;

    Adam's, 13 October 2010, lot 98;

    Ptivate collection

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BELFAST LOUGH, c.1940s
BELFAST LOUGH, c.1940s
Robert Taylor Carson HRUA (1919-2008)

Auction Date / Lot No.: 25 November 2013 / 147

Reserve: €800


CORN FIELDS
CORN FIELDS
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 25 November 2013 / 149

Reserve: €800


ABOVE DUBLIN FROM THE PINE FOREST, NOVEMBER 1968
ABOVE DUBLIN FROM THE PINE FOREST, NOVEMBER 1968
Thomas Ryan PPRHA (b.1929)

Auction Date / Lot No.: 25 November 2013 / 151

Reserve: €2000

  • Signature: signed, dated and partially titled lower right; signed, dated and inscribed with full title on reverse
  • Medium: oil on canvas
  • Dimensions: 20 by 25in., 50 by 62.5cm.
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