25 May 2015

  Records 1 to 34 of 34    

MOON OVER RUSH HARBOUR
MOON OVER RUSH HARBOUR
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 25 May 2015 / 3

Reserve: €2000

  • Signature: signed on reverse
  • Medium: oil on canvas
  • Dimensions: 16 x 18in. (40.64 x 45.72cm)
  • Provenance: Purchased from the artist by George McClelland; From whom acquired by the previous owner;Whyte's, 21 February 2006, lot 18;Whence purchased by the present owner
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EARLY MOON RISING, NORTH STRAND, RUSH
EARLY MOON RISING, NORTH STRAND, RUSH
Ciarán Clear (1920-2000)

Auction Date / Lot No.: 25 May 2015 / 4

Reserve: €600

  • Signature: signed lower left; signed again and with title and artist's address [The Studio, Rush, County Dublin] inscribed on reverse
  • Medium: oil on board
  • Dimensions: 14 x 20in. (35.56 x 50.80cm)
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RAIN STORM, COUNTY ANTRIM, c.1920
RAIN STORM, COUNTY ANTRIM, c.1920
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 25 May 2015 / 16

Reserve: €4000

  • Signature: signed lower right; with original label inscribed with title, exhibition number [6] and price [£12-12-0] on reverse; with remnants of exhibition label also on reverse
  • Medium: oil on canvas
  • Dimensions: 14½ x 19½in. (36.83 x 49.53cm)
  • Provenance: Cynthia O'Connor Gallery, Dublin;Private collection;Adam's, 26 March 2003, lot 68;Private collection
  • Exhibited: RHA, Dublin, 1920, catalogue no. 192
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IRISH FREE STATE BACON, 1928
IRISH FREE STATE BACON, 1928
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 25 May 2015 / 23

Reserve: €15000

  • Signature: signed lower right
  • Medium: gouache, pencil and coloured chalk
  • Dimensions: 39 x 59in. (99.06 x 149.86cm)
  • Provenance: Paul Conran; From whom purchased by the previous owner in October 1982; Christie's, The Irish Sale, London, 10 May 2007, lot 74 (part); Whyte's, 24 November 2008, lot 81;Private collection
  • The Empire Marketing Board (EMB) was established in London in 1926 for the purpose of promoting the sale of produce from countries associated with the British Empire. The methods of advertising included posters for shop windows and outdoor billboards. Continued access to the British market was of vital economic necessity to the newly established Irish Free State, a point that was given recognition when in 1927 the EMB commissioned Seán Keating to undertake the design of three posters, Irish Free State Dairying, Irish Free State Bacon and Irish Free State Chicken, to advertise Irish produce to the English market. The three posters were used around England between June and July 1929 on specially designed outdoor billboards. Keating was familiar with the skills necessary for large-scale poster design owing to his training at the Metropolitan School of Art in Dublin. His brief was firmly controlled by the EMB, and at the same time, the artist knew that the designs had to be visually specific and immediately legible. The drawing illustrated is Keating's innovative design for Irish Free State Bacon, which is replete with the visual iconography that was expected of Ireland in the 1920s. However, this is a design by Keating, and therefore there is more to the image than immediately apparent. Keating's work for the EMB appears at first glance, to reflect an imagined view of Ireland as a rural ideal and idyll, as dictated by the advertising concerns of the EMB. But arguably, there is degree of artistic subterfuge in the image. There are no green rolling hills, shamrocks, shillelaghs or white thatched cottages. Instead, Keating posited an image of a peaceful and prosperous peasantry within a well maintained farmyard, which refutes the age-old vision of misery and deprivation in Ireland of the 1920s. The close range view and the stage-like setting combined with clear architectural and figurative detail serves to further engage the viewer with the atmosphere of a real and flourishing farm. The appeal in the work is therefore premised on Keating's ability to suitably advertise Irish Free State Bacon within the limits of the constraints set by the EMB, but without reducing the images to mere pastiche. The survival of Keating's original design for Irish Free State Bacon, which was intentionally ephemeral, is noteworthy, and an exceptionally rare surviving example of Keating's extensive career as an artist of ephemeral work.Dr Éimear O'Connor HRHA, IAPHResearch AssociateTRIARC-Irish Art Research CentreTrinity College Dublin

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OLD CANON STREET, ST PATRICK'S CLOSE, DUBLIN
OLD CANON STREET, ST PATRICK'S CLOSE, DUBLIN
Alexander Williams RHA (1846-1930)

Auction Date / Lot No.: 25 May 2015 / 32

Reserve: €2000

  • Signature: signed lower right; titled lower left
  • Medium: watercolour over pencil
  • Dimensions: 10 x 13in. (25.40 x 33.02cm)
  • Provenance: de Veres, 23 February 2004, ex lot 41;Private collection
  • Literature: Ledbetter, Gordon T., Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010, p.91 (illustrated)
  • Alexander Williams RHA (1846-1930) is primarily remembered as a marine and landscape painter, and most especially for opening up Achill Island to a wider public at a time coincident with the extension of the railway from Westport to Achill Sound. But his copious sketchbooks, leather bound and inscribed in gold, indicate, as he travelled all over Ireland and across the water, he had more than a passing interest in recording buildings and streetscapes that took his fancy, usually old and quaint, and these found their way into his exhibitions.While Williams was born in the Square, Monaghan on 21 April, 1846, his formative years were spent in Drogheda until, when he was fifteen, the family moved to Dublin. His professional career as an artist may be said to have started in 1870 when he first exhibited at the Royal Hibernian Academy. He continued to do so for sixty-one consecutive years, a record that remains unequalled.The annual solo exhibitions he held from 1884 in Dublin, usually at the Leinster Hall in Molesworth Street, from 1884 became eagerly awaited social events, attended by a thousand and more and usually patronised by the Lord Lieutenant or his wife, and the Castle set". Unless issued with an invitation or you were a member of the likes of the Dublin Sketching Club, (of which Williams was a founder member and secretary for fifty years), you were expected to pay to gain entry! His catalogues were innovative in that they were often illustrated. Musical concerts by local worthies took place on Friday afternoons when afternoon teas were hosted by the artist's chic wife.In 1892 Williams devoted a special section of his exhibition at the Leinster Hall to 'Bits of Old Dublin.' It drew praise from all quarters. 'Most of these latter drawings,' noted the Irish Society, 'were sketched by the artist at four for five o'clock a.m. on summer mornings, when immunity from street traffic and idle watchers could be securely counted upon.' The Daily Express presciently recognised the significance of what he was doing: '"Bits of Old Dublin" are highly interesting little pictures, and as some of them relate to such localities as Hanover Lane, Nicolas Street, and Old Wood Street - unsavoury relics of bygone times, which have recently been effaced by the Public Health Department - they may serve a useful historic purpose hereafter.' Indeed the street scenes in this catalogue have all changed beyond recognition since Williams' day. The artist captured not only the quaintness of those old buildings, but their intimacy and scale, the small dwellings and artisans' shops, higgledy piggledy and cheek by jowl, evoking an age remote from our own. Williams caught the passing of the old city, often just in time. As the Irish Times recorded: 'This is a bit of Dublin now passed away, for old Canon Street, with its quaint curio shops, was part of the site taken in by St Patrick's Park. Mr Williams took this sketch on the very last day of the existence of Old Canon Street in the form here pictured.' The exception among these six water colours is St Audeon's Gate one of the few bits of Medieval Dublin to survive. It was to the work of Alexander Williams that Dublin Corporation turned for historic reference during restoration of this famous landmark some years ago. Gordon T. LedbetterApril 2015 Gordon T. Ledbetter is the author of Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010"

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NORTH PATRICK'S CLOSE, DUBLIN
NORTH PATRICK'S CLOSE, DUBLIN
Alexander Williams RHA (1846-1930)

Auction Date / Lot No.: 25 May 2015 / 35

Reserve: €2000

  • Signature: signed lower right; titled lower left
  • Medium: watercolour
  • Dimensions: 14½ x 10in. (36.83 x 25.40cm)
  • Provenance: de Veres, 23 February 2004, ex lot 41;Private collection
  • Alexander Williams RHA (1846-1930) is primarily remembered as a marine and landscape painter, and most especially for opening up Achill Island to a wider public at a time coincident with the extension of the railway from Westport to Achill Sound. But his copious sketchbooks, leather bound and inscribed in gold, indicate, as he travelled all over Ireland and across the water, he had more than a passing interest in recording buildings and streetscapes that took his fancy, usually old and quaint, and these found their way into his exhibitions.While Williams was born in the Square, Monaghan on 21 April, 1846, his formative years were spent in Drogheda until, when he was fifteen, the family moved to Dublin. His professional career as an artist may be said to have started in 1870 when he first exhibited at the Royal Hibernian Academy. He continued to do so for sixty-one consecutive years, a record that remains unequalled.The annual solo exhibitions he held from 1884 in Dublin, usually at the Leinster Hall in Molesworth Street, from 1884 became eagerly awaited social events, attended by a thousand and more and usually patronised by the Lord Lieutenant or his wife, and the Castle set". Unless issued with an invitation or you were a member of the likes of the Dublin Sketching Club, (of which Williams was a founder member and secretary for fifty years), you were expected to pay to gain entry! His catalogues were innovative in that they were often illustrated. Musical concerts by local worthies took place on Friday afternoons when afternoon teas were hosted by the artist's chic wife.In 1892 Williams devoted a special section of his exhibition at the Leinster Hall to 'Bits of Old Dublin.' It drew praise from all quarters. 'Most of these latter drawings,' noted the Irish Society, 'were sketched by the artist at four for five o'clock a.m. on summer mornings, when immunity from street traffic and idle watchers could be securely counted upon.' The Daily Express presciently recognised the significance of what he was doing: '"Bits of Old Dublin" are highly interesting little pictures, and as some of them relate to such localities as Hanover Lane, Nicolas Street, and Old Wood Street - unsavoury relics of bygone times, which have recently been effaced by the Public Health Department - they may serve a useful historic purpose hereafter.' Indeed the street scenes in this catalogue have all changed beyond recognition since Williams' day. The artist captured not only the quaintness of those old buildings, but their intimacy and scale, the small dwellings and artisans' shops, higgledy piggledy and cheek by jowl, evoking an age remote from our own. Williams caught the passing of the old city, often just in time. As the Irish Times recorded: 'This is a bit of Dublin now passed away, for old Canon Street, with its quaint curio shops, was part of the site taken in by St Patrick's Park. Mr Williams took this sketch on the very last day of the existence of Old Canon Street in the form here pictured.' The exception among these six water colours is St Audeon's Gate one of the few bits of Medieval Dublin to survive. It was to the work of Alexander Williams that Dublin Corporation turned for historic reference during restoration of this famous landmark some years ago. Gordon T. LedbetterApril 2015 Gordon T. Ledbetter is the author of Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010"

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PORTRAIT OF LAURA REDDEN SEARING IN THE STUDIO, 1867
PORTRAIT OF LAURA REDDEN SEARING IN THE STUDIO, 1867
Michael George Brennan (1839-1871)

Auction Date / Lot No.: 25 May 2015 / 42

Reserve: €10000

  • Signature: faintly inscribed and dated on the stretcher
  • Medium: oil on canvas
  • Dimensions: 25 x 18in. (63½ x 45.72cm)
  • Michael George Brennan, subject and landscape painter, was born and educated in Castlebar Co. Mayo where his talents were noted by Charles O'Donal, afterwards a police magistrate in Dublin (Strickland, p.83). Aged fifteen he was sent to the Dublin Society's School and later the Royal Hibernian Academy where his skills where honed. He later travelled to London, working on several publications there, including Fun, a rival to Punch. Ill health in the form of typhoid fever led Brennan back to Ireland and later prompted a further relocation to the warmer climes of Italy. Settling first in Rome, Brennan continued to send back paintings for exhibition in the Royal Academy between the years 1865-1878. Strickland describes how his works were warmly praised as admirably painted, harmonious in colour, and full of character and feeling." Brennan's deteriorating condition provoked later trips to Capri and it was here that he came in contact with the subject of this work, Miss Laura Catherine Redden, a celebrated deaf American poet, journalist and author. The pair were engaged within ten days of meeting and while they discussed their future wedding plans the engagement was ultimately broken off, the reasons for which are unknown. One rumoured explanation was that Redden was not willing to forego her flourishing career. Brennan died from a fall in 1871. Laura Catherine Redden (1839-1923) was born in Maryland in the United States. Having lost her hearing at the age eleven she enrolled in the Missouri School for the Deaf (MSD) and later developed the skill of sign language and the American Manual Alphabet. Upon graduation in 1859 Redden was unable to enrol in college because of her disability; thus to supplement her education she travelled to Europe between 1865-1896 where she studied several languages. When she met Brennan she was already a published writer with articles in Harper's Magazine and American Annals of the Deaf where she championed the struggles of the deaf community. Earlier in 1860, she became the editorialist for the St. Louis Republican and officially adopted the pseudonym Howard Glyndon. In 1861, she was sent by the St. Louis Republican to Washington D.C. report on the American Civil War. She was a pro-Union loyalist and wrote poems about the experiences and human interests of the battlefield. Redden also wrote to Abraham Lincoln and Ulysses S. Grant during the war period and it was with this wealth of experience that she later travelled to Europe between 1865-1869 to become a correspondent for The New York Times. After the engagement to Brennan was called off, Redden returned to America and in 1876 married Edward Whelan Searing, a lawyer, with whom she had one child. By 1870, she returned to New York and Boston and was a staff writer for the New York Evening Mail and contributed to Galaxy, Harper's Magazine, and the Tribune. The marriage did not last and they divorced in 1894. Laura Redden Searing died in 1923 and was buried in Colma, California. She is remembered as a pioneer within the deaf community and is pictured here as a sensual muse of a former lover in the prime of her life."

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

Auction Date / Lot No.: 25 May 2015 / 43

Reserve: €30000

  • Signature: with O'Conor Atelier stamp on reverse; with typed Crane Kalman Gallery [London] label on reverse
  • Medium: oil on canvas
  • Dimensions: 21¾ x 18¼in. (55¼ x 46.36cm)
  • 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"

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ABSTRACT FORMS
ABSTRACT FORMS
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 25 May 2015 / 45

Reserve: €3000

  • Signature: titled on reverse
  • Medium: gouache
  • Dimensions: 21¾ x 11½in. (55¼ x 29.21cm)
  • Provenance: The McClelland Collection;Adam's 13 October 2010, lot 123;Private collection
  • Loaned to the Irish Museum of Modern Art (from McClelland) 1999 to 2004.

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ABSTRACT COMPOSITION
ABSTRACT COMPOSITION
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 25 May 2015 / 49

Reserve: €1500

  • Signature: signed lower left; with Jorgensen Gallery exhibition label on reverse; with Dawson Gallery framing label also on reverse
  • Medium: gouache
  • Dimensions: 6½ x 5.20in. (16.51 x 13.21cm)
  • Provenance: Jorgensen Gallery, Dublin;Private collection
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STILL LIFE
STILL LIFE
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 25 May 2015 / 52

Reserve: €1000


INDECISION, c.1950
INDECISION, c.1950
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 25 May 2015 / 59

Reserve: €20000

  • Signature: signed upper left; titled on reverse; with IELA exhibition label also on reverse
  • Medium: oil on board
  • Dimensions: 34 x 29½in. (86.36 x 74.93cm)
  • Provenance: Adam's, 31 March 1999, lot 86;Private collection
  • Exhibited: Irish Exhibition of Living Art, The National College of Art, Kildare Street, Dublin, 16 August to 10 September 1950, catalogue no. 74 (£55-0-0)
  • Indecision is an extremely ambiguous and emotionally charged painting and reveals both O'Neill's ambition and also his awareness of his contemporaries. Painted not long after O'Neill had travelled to Paris, where he had painted Place du Tertre (NMNI) and possibly also The Blue Skirt, which he exhibited the previous year at the Irish Exhibition of Living Art, Indecision appears to show a Belfast street scene.While birds often appeared in Colin Middleton's paintings, often alongside female figures, and cats occurred in those of Gerard Dillon, animals are seen less regularly in O'Neill's work. Indecision is a painting which fits more closely alongside those of his contemporaries than is usual, recalling the Belfast street scenes Middleton and Dillon had painted in the early 1940s; but the heightened emotional mood of the work is typical of O'Neill at this period. In part this mood is expressed through swirling passages of impasto and tenebrist lighting that set a dramatic tone and give an almost hallucinatory mood to the stark setting. This setting is highly theatrical; light pours from a streetlight and two illuminated windows in a building behind the girl (although she appears to be facing a light source as well). Her simplified, mask-like features prefigure similarly treated figures in a slightly later painting such as Birth (1952), as well as recalling O'Neill's interest in painting puppets. This anonymity allows him to use the girl's posture to express emotions of doubt and uncertainty, with her shoulders weighed down and her feet poised on the edge of the pavement and half in shadow, appearing to being about to carry her cat away from the brightly lit buildings behind her.The cat seems to capture something of the girl's personality as well as her vulnerability and social isolation. Her pink-ish coat or cardigan recalls the red waistcoats that are so often worn by men in O'Neill's early work, and along with her red beret the use of colour isolates her from the street scene behind. The exact nature of the situation appears elusive but it is interesting to note that in the 1940s O'Neill had exhibited paintings with titles such as Trapped, Reverberation and Meditation by the Sea, suggesting that he found these almost Victorian themes extremely stimulating in the subjects they suggested.Dickon HallApril 2015

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PORTRAIT OF EAMON MARTIN, 1969
PORTRAIT OF EAMON MARTIN, 1969
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 25 May 2015 / 61

Reserve: €800


IMAGE OF PICASSO, 1989
IMAGE OF PICASSO, 1989
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 25 May 2015 / 72

Reserve: €3000

  • Signature: signed, dated and numbered in pencil lower right
  • Medium: lithograph on Japanese paper; (no. 15 from an edition of 29)
  • Dimensions: 27 x 20in. (68.58 x 50.80cm)
  • A number of lithographs of Picasso were produced by le Brocquy on the occasion of the exhibition Louis le Brocquy, Images, 1975-1988, Musée Picasso, Antibes (July 1989). These were printed on handmade Japanese paper by Pierre Chave.

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THE TÁIN - PORTFOLIO No. 2, 1969 (SET OF TWELVE)
THE TÁIN - PORTFOLIO No. 2, 1969 (SET OF TWELVE)
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 25 May 2015 / 81

Reserve: €12000

  • Signature: each signed, inscribed, dated and numbered in pencil in the margin lower right
  • Medium: lithographic brush drawings (12); each no. 24 from an edition of 70
  • Dimensions: 21¼ x 14¾in. (53.98 x 37.47cm)
  • Printed in Dublin in 1969 by Frank O'Reilly in an edition of seventy plus one artist's proof, these lithographic brush drawings illustrate the epic Ulster cycle of heroic tales. The complete set of this seminal series comprises three portfolios, of which this is the second in the series. Included in this portfolio: Noisiu, Naked Woman, Cúchulainn Displayed, The Boy Cúchulainn Armed, Swordsman, The Boy Cúchulainn, Horseman, Medb Relieving Herself, Macha Pleading, Fedelm, Chariots and Army Massing. Presented in its original black clamshell case with title pages, preliminaries and black interleaves. A rare and highly desirable set.

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BIRTH NO. 2, 1962
BIRTH NO. 2, 1962
Brian King (b.1942)

Auction Date / Lot No.: 25 May 2015 / 94

Reserve: €700

  • Signature: signed, titled and dated beneath wooden base
  • Medium: lead; (unique); on painted wooden base
  • Dimensions: 3½ x 12¾ x 3½in. (8.89 x 32.39 x
  • Provenance: Acquired directly from the artist by the present owner, 1962
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POLL DUBH, 2004
POLL DUBH, 2004
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 25 May 2015 / 109

Reserve: €400

  • Signature: signed, titled on reverse and with artist's archival number [04.41] on reverse; with Taylor Gallery label also on reverse
  • Medium: acrylic on paper
  • Dimensions: 14 x 17in. (35.56 x 43.18cm)
  • Provenance: Taylor Gallery;Private collection
  • Exhibited: Taylor Gallery, October to November 2004, catalogue no. 21
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CORNER OF THE COOMBE, 2010
CORNER OF THE COOMBE, 2010
Aidan Bradley (b.1961)

Auction Date / Lot No.: 25 May 2015 / 111

Reserve: €1200


LANDSCAPE
LANDSCAPE
Peter Collis RHA (1929-2012)

Auction Date / Lot No.: 25 May 2015 / 119

Reserve: €2500


STILL LIFE WITH FOUR SHELLS AFTER ADRIAEN COORTE
STILL LIFE WITH FOUR SHELLS AFTER ADRIAEN COORTE
Stuart Morle (b.1960)

Auction Date / Lot No.: 25 May 2015 / 123

Reserve: €1000


HOMESTEAD ON A BYGONE EVENING, COUNTY DONEGAL
HOMESTEAD ON A BYGONE EVENING, COUNTY DONEGAL
Anne Primrose Jury RUA (1907-1995)

Auction Date / Lot No.: 25 May 2015 / 128

Reserve: €600

  • Signature: signed lower right; with Eakin Gallery label on reverse
  • Medium: oil on canvas board
  • Dimensions: 13 x 20in. (33.02 x 50.80cm)
  • Provenance: Ross's, The Studio Works of A.P. Jury, October 1995, lot 198;Private collection;Bonhams, 1 October 2010, lot 351;with Eakin Gallery, Belfast;Private collection
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CARLISLE COURT, GIRL AND TREE and HOEY'S COURT (SET OF 3)
CARLISLE COURT, GIRL AND TREE and HOEY'S COURT (SET OF 3)
Estella Frances Solomons HRHA (1882-1968)

Auction Date / Lot No.: 25 May 2015 / 131

Reserve: €300

  • Signature: each titled and numbered in the lower margin; each with exhibition label on reverse
  • Medium: etchings; (3)
  • Dimensions: 9½ x 6in. (24.13 x 15.24cm)
  • Provenance: Frederick Gallery, Dublin;Private collection
  • Exhibited: 'Estella Solomons Exhibition of Etchings and Paintings', Frederick Gallery, Dublin,14-20 October 2000, catalogue no. 13, 35 and 8 (illustrated)
  • Dimensions of second work 6.8 by 5in. Third work 8.7 by 6in.

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NEAR RICKMANSWORTH, GRAND JUNCTION
NEAR RICKMANSWORTH, GRAND JUNCTION
John Faulkner RHA (1835-1894)

Auction Date / Lot No.: 25 May 2015 / 133

Reserve: €1200


VIEW OF BELFAST LOUGH
VIEW OF BELFAST LOUGH
John Luke RUA (1906-1975)

Auction Date / Lot No.: 25 May 2015 / 137

Reserve: €800

  • Signature: signed lower left
  • Medium: watercolour
  • Dimensions: 9 x 12½in. (22.86 x 31¾cm)
  • Provenance: Gift from the artist to Professor John Earls;Thence to Irene Calvert MP;Thence by descent to the present owner
  • Also with this lot, Bridge at Balldrain by William R. Gordon (1882-1955) oil on board (15 by 20in.) which was shown at the artist's retrospective in Belfast in 1954 and was originally purchased by Professor H.O. Meredith from whom it was presented to Mrs Irene Calvert; thence by descent.

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STUDY OF FEMALE NUDE
STUDY OF FEMALE NUDE
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 25 May 2015 / 138

Reserve: €500

  • Signature: signed lower right
  • Medium: conté
  • Dimensions: 19 x 14in. (48.26 x 35.56cm)
  • Provenance: Purchased from the estate of Alan Denson by the present owner
  • Alan Denson, poet, author, art historian and close friend of Leech, was the author of An Irish Artist. W.J. Leech (1881-1968) published in two volumes in 1968 and 1969.

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AT THE SPINNING WHEEL and BRINGING HOME THE TURF (A PAIR)
AT THE SPINNING WHEEL and BRINGING HOME THE TURF (A PAIR)
John Carey (1861-1943)

Auction Date / Lot No.: 25 May 2015 / 141

Reserve: €600


AGED ITALIAN PEASANT WOMAN and BEARDED ITALIAN PEASANT MAN (A PAIR)
AGED ITALIAN PEASANT WOMAN and BEARDED ITALIAN PEASANT MAN (A PAIR)
Sarah Henrietta Purser HRHA (1848-1943)

Auction Date / Lot No.: 25 May 2015 / 145

Reserve: €1000

  • Signature: inscribed on reverse
  • Medium: black and white chalk on paper
  • Dimensions: 19 x 15in. (48.26 x 38.10cm)
  • Provenance: Collection of Sarah Henrietta Purser; Her sale, Mespil House 1943, whence purchased by the present owner's sister-in-law;Whyte's, 2 March 2009, lot 117;Private collection
  • Literature: O'Grady, John , The Life and Work of Sarah Purser, Four Courts Press, Dublin, 1996, catalogue numbers 18 and 19 respectively, illustrated p.169
  • With regards to the aged woman Dr. O'Grady notes, A character study typical of Parisian art schools." The bearded man follows a similar style and he suggests that this study was "...perhaps intended as a pendent.""

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CLOSING THE DEAL
CLOSING THE DEAL
Robert Taylor Carson HRUA (1919-2008)

Auction Date / Lot No.: 25 May 2015 / 150

Reserve: €800


SMITHFIELD MARKET, BELFAST
SMITHFIELD MARKET, BELFAST
Gladys Maccabe HRUA ROI FRSA (b.1918)

Auction Date / Lot No.: 25 May 2015 / 159

Reserve: €2000


GIRL WITH FLOWERS
GIRL WITH FLOWERS
Markey Robinson (1918-1999)

Auction Date / Lot No.: 25 May 2015 / 171

Reserve: €3000


VILLAGE IN AUTUMN
VILLAGE IN AUTUMN
Markey Robinson (1918-1999)

Auction Date / Lot No.: 25 May 2015 / 172

Reserve: €1000


GIRL IN A BIKINI
GIRL IN A BIKINI
Graham Knuttel (b.1954)

Auction Date / Lot No.: 25 May 2015 / 177

Reserve: €1000


THERE IS NOTHING BUT QUICKSAND IN THIS TOWN, 1999
THERE IS NOTHING BUT QUICKSAND IN THIS TOWN, 1999
Mark (“Rasher”) Kavanagh (b.1977)

Auction Date / Lot No.: 25 May 2015 / 178

Reserve: €1000


WOMAN AND FRUIT, 1996
WOMAN AND FRUIT, 1996
Graham Knuttel (b.1954)

Auction Date / Lot No.: 25 May 2015 / 180

Reserve: €2500

  • Signature: signed lower right; with Irving Galleries label and stamp of New Apollo Gallery on reverse
  • Medium: oil on canvas
  • Dimensions: 48 x 36in. (121.92 x 91.44cm)
  • Provenance: New Apollo Gallery, Dublin;with Irving Galleries, Florida USA;Private collection
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