29/02/2016

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THE CAMPSITE
THE CAMPSITE
James S. Brohan (b.1952)

Auction Date / Lot No.: 29/02/2016 / 5

Reserve: €1500


MARBLE STRAND, BALLYMORE, COUNTY DONEGAL, 1917
MARBLE STRAND, BALLYMORE, COUNTY DONEGAL, 1917
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 29/02/2016 / 12

Reserve: €3000

  • Signature: signed and dated lower left; signed and titled on reverse; also with Bell Gallery [Belfast] label on reverse
  • Medium: oil on board
  • Dimensions: 11½ x 15½in. (29.21 x 39.37cm)
  • Provenance: Bell Gallery, Belfast;Private collection
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SAILING OFF THE IRISH COAST
SAILING OFF THE IRISH COAST
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 29/02/2016 / 15

Reserve: €1500


HARBOUR SCENE, c.1898
HARBOUR SCENE, c.1898
Walter Frederick Osborne RHA ROI (1859-1903)

Auction Date / Lot No.: 29/02/2016 / 19

Reserve: €20000

  • Signature: signed lower right; titled 'Greystones' on Dawson Gallery label on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 8 x 12in. (20.32 x 30.48cm)
  • Provenance: Purchased by the present owner's great-grandfather at the turn of the century
  • Literature: Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, p.144, catalogue no. 494
  • The present picture is a small and atmospheric study of a quayside with fishing boats, some with sails unfurled, moored in the harbour, and silhouetted against the sky, with cottages behind, and a few figures present. Here Osborne employs a restrained palette of pale greys and browns, lavenders, mauves and pinks, to evoke a sense of subdued light and atmosphere, lifted by the lightness of the sky, which is represented by long horizontal stripes of very pale pinks and blues. The suggestion of pale sunlight on the gable walls of the cottages on the left, and the silvery gleam of water with reflections, are masterly. The artist was often at his best in painting small, informal studies of nature such as this, working in a relaxed, fluid style, with some passages of lightly-brushed strokes and scrolls of paint, as if the picture was executed in one sitting.Throughout his life Osborne was attracted by village and harbour scenes, and there are echoes in the present work of pictures set in other locations: for example a harbour scene at Lincoln, View of a Town, c.1884, including fishing boats; a sloping quayside and bollard at Walberswick in 1884; fishing boats moored On the Quay at Rye, 1889; small pictures painted near the harbour in Galway and scenes of the village street at Rush, for instance The Village Street, Rush and Lusk, Co Dublin, c.1898. (1)In Jeanne Sheehy's text on Osborne she records the present work as catalogue no. 494 'Greystones' and suggests that the scene was painted by Osborne in or around 1898. (2) Osborne made a less well-documented visit to Greystones, Co. Wicklow, a small fishing village south of Bray Head, which is set with a backdrop of the Wicklow mountains behind it and the Irish Sea in front of it. In the year 1898 he was also working in much in north Co. Dublin, preparing his large composition Milking Time at St. Marnock's, and also small studies of villages, harbours and coastal landscapes at locations in Rush, Lusk, Portmarnock and Malahide, often with passing figures present in the village street or on the seashore.Dr Julian CampbellJanuary, 2016Footnotes.1. See, Whyte's, Important Irish Art, 25 November 2013, lot 29. For two other paintings of Rush, see 'Irish Sale', Sotheby's, 13 May 2005, lot 25; and 'Irish Sale', Sotheby's, 11 May 2006, lot 23.2. Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, page 144.

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THIRTY-SIX WOODCUTS, 1951
THIRTY-SIX WOODCUTS, 1951
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 29/02/2016 / 25

Reserve: €1500

  • Signature: signed and numbered in red ink on title page; signed in green ink below each of the 30 images
  • Medium: limited edition book; (no. 189 from an edition of 400)
  • Dimensions: 10 x 8½in. (25.40 x 21.59cm)
  • Provenance: Acquired directly from the artist
  • Originally Thirty-Six Woodcuts, edited in manuscript by the artist. Six woodcuts have been removed.

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SELF PORTRAIT, 1936
SELF PORTRAIT, 1936
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 29/02/2016 / 26

Reserve: €2500


THIRTY-SIX WOODCUTS, 1951
THIRTY-SIX WOODCUTS, 1951
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 29/02/2016 / 27

Reserve: €500

  • Signature: signed and numbered in red ink on title page
  • Medium: limited edition book; (no. 126 from an edition of 400)
  • Dimensions: 10¼ x 8¼in. (26.04 x 20.96cm)
  • Provenance: Acquired directly from the artist
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JOHNNIE FROM GORT
JOHNNIE FROM GORT
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 29/02/2016 / 28

Reserve: €1200

  • Signature: titled centre right
  • Medium: ink
  • Dimensions: 5 x 3½in. (12.70 x 8.89cm)
  • Provenance: Whyte's, 4 October 2010, lot 16;Private collection
  • This lot originates from a sketchbook by Jack Butler Yeats, dated, 1899, Gort, Co. Galway. The sketchbook was gifted by Yeats to his friend and patron Ernie O’Malley (1897-1957) and is listed in Hilary Pyle’s book 'Jack B. Yeats, His Watercolours, Drawings and Pastels', Irish Academic Press, Dublin, 1993, p.184, nos. 15-17 [Three sketchbooks in the Ernie O’Malley Collection].

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WEAVER AT LOOM
WEAVER AT LOOM
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 29/02/2016 / 29

Reserve: €1000

  • Medium: watercolour over pencil
  • Dimensions: 3½ x 2¾in. (8.89 x 6.99cm)
  • Provenance: Whyte's, 4 October 2010, lot 19;Private collection
  • This lot originates from a sketchbook by Jack Butler Yeats RHA, dated, 1899, Gort, Co.Galway. The sketchbook was gifted by Yeats to his friend and patron Ernie O’Malley (1897-1957) and is listed in Hilary Pyle’s Jack B. Yeats, His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, p.184, nos. 15-17 [Three sketchbooks in the Ernie O’Malley Collection].

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THE QUAY WORKER'S HOME, 1927
THE QUAY WORKER'S HOME, 1927
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 29/02/2016 / 33

Reserve: €60000

  • Signature: signed twice lower right; titled on reverse; with McAlpine Collection stamp on reverse; also with Waddington Galleries label on reverse
  • Medium: oil on slateboard
  • Dimensions: 8¾ x 14in. (22.23 x 35.56cm)
  • Provenance: Victor Waddington (1946);The Collection of A. McAlpine;with Victor Waddington, London;Private collection
  • Exhibited: 'Jack B. Yeats', Engineer's Hall, Dublin, 25 February to 5 March 1927, catalogue no. 2;'Jack B. Yeats', Ruskin Galleries, Birmingham, 23 May to 4 June 1971, no. 18;'Jack B. Yeats Retrospective Exhibition', Waddington Fine Arts, Montreal, 12 March to
  • Literature: Pyle, Hilary, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsh, London, 1992, Vol. I, page 312, catalogue no. 344; also Vol. III (full page colour illustration, p.283);Rosenthal, T. G., The Art of Jack B. Yeats, Andre Deutsch, Lon
  • In the 1920s Jack Yeats' style of oil painting underwent a radical transformation, moving from its early realism to its later more radical approach. His works of the mid 1920s including the present work, The Quay Worker's Home, belong to an interim period in this development. In these paintings Yeats uses a murky palette where the paint is thickly applied so that it leaves an opaque quality. The subject of many of these works relate to urban themes or to the world of work especially that connected to shipping and the sea. Yeats frequently painted the dock workers of Dublin port as well as the fishermen and pilot men of Sligo and Kinsale at this time. The Quay Worker's Home depicts a man standing in the dim interior of his modest home, an unusual subject for Yeats who normally presented the workers on the quayside or in the open air. The figure stands warming his hands by the fire, with his back to the mantelpiece. The light of the fire casts a warm glow on the crowded interior of the room. Its yellow, pink and orange embers are reflected across the floor and furniture. A brown painted dresser stacked with delph dominates the back wall. Beside the man stands a low bench with a basin filled with water, which he presumably used to wash himself after his return from work. The ashen faced quay worker in his open shirt stares dejectedly straight ahead. The greyish tones of his flesh are echoed in the oblong form to the left of the dresser that may represent an opening into another room. The cluttered arrangement of the contents of his home jar with the evident tension of the man who seems strangely alienated from his domestic surroundings. The fact that the figure is alone in his home further enforces this idea of isolation. The deep empathy that Yeats felt towards the plight of working men and women is evident in this painting. It is a remarkably poignant and rare depiction of urban life in 1920s Ireland. Dr. Roisin KennedyJanuary 2016This work is recorded twice in the artist's Log Book I, under 'Q', where Yeats dates it 1927 and mentions the two exhibitions from that year.

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PORTRAIT OF ÉAMON DE VALERA
PORTRAIT OF ÉAMON DE VALERA
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 29/02/2016 / 38

Reserve: €3500


A STUDY OF DUSTMAN REILLY FOR THE KEY MEN, c.1958-1960
A STUDY OF DUSTMAN REILLY FOR THE KEY MEN, c.1958-1960
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 29/02/2016 / 39

Reserve: €20000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 17¼ x 17½in. (43.82 x 44.45cm)
  • The painting for which Study of Dustman Reilly was made was originally entitled Dei Ex Machina, (The Miracle Workers), but is now better-known as The Key Men. It was commissioned as a gift for Felix Hackett, then Professor of Physics and Electrical Engineering at UCD, in 1958, and presented in 1960. The model in this study is known as Dustman Reilly because he worked as a bin man around Dublin city. However, Dustman Reilly was also the chairman of the George Bernard Shaw branch of the Irish Labour Party in Dublin. On the occasion of Shaw's ninetieth birthday that branch of the Labour Party sent him, via their chairman, a golden shamrock, which the writer duly attached to his belt. It was for this reason that Dustman Reilly also became known as the 'Golden Dustman'.Seán Keating was continually interested in the ability of the Irish people to run the country, whether as sports stars, civil servants, firefighters, or indeed, dustmen. When the commission came for The Key Men the artist used the recently-built dam at Poulaphouca as the backdrop to the painting, and then sought models for the work that might add to his intended meaning, evident in the title of the work. At that time the artist, as President of the RHA, was on the Board of Trustees of the National Gallery of Ireland. The gallery was, and is, in possession of a life-size bronze sculpture of George Bernard Shaw by Prince Troubetzkoy. There was some discussion between the Board of Trustees of the National Gallery of Ireland and the George Bernard Shaw branch of the Labour Party about the placement of the sculpture, and it was through these negotiations that Keating got to know Dustman Reilly. As an ordinary citizen, a dustman, and also chairman of a branch of the Labour Party, Dustman Reilly was an ideal model, indeed, role model, whose presence added a further level of allegorical meaning to The Key Men. A native of Richmond Place in Dublin, and something of a character, palpable in Keating's Study of Dustman Reilly, the well-known dustman and chairman found local fame after his appearance in The Key Men. Full of humour, he wrote to Keating to say that prior to his modelling debut he only had one or two relatives, and they wouldn't speak to him! But now, as a direct result of his celebrity, he had fifty or more, and not a penny among them! 'Intimidated I am', he wrote, 'and no one to blame only you, Seán Keating - yes you!' (1 )Dr Éimear O'Connor HRHAJanuary 2016Author of Seán Keating, Art, Politics, and Building the Irish Nation (Irish Academic Press: Kildare, 2013)FOOTNOTE:1 Undated letter from Reilly to Keating, private collection

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THE OLD ORCHARD, 1956
THE OLD ORCHARD, 1956
Basil Blackshaw HRHA RUA (b.1932)

Auction Date / Lot No.: 29/02/2016 / 43

Reserve: €15000

  • Signature: inscribed on Arts Council of Northern Ireland label on reverse
  • Medium: oil on canvas
  • Dimensions: 18½ x 28½in. (46.99 x 72.39cm)
  • Provenance: de Veres, 21 November 2000, lot 302;Private collection
  • Exhibited: 'Basil Blackshaw Retrospective', Arts Council of Northern Ireland, 1995
  • Literature: Ferran, Brian, Basil Blackshaw - Painter, Nicholson & Bass Ltd., Belfast, 1995, p. 44 (illustrated in colour)
  • The Orchard forms part of a series of intense landscapes, half way between neo-Romanticism and Expressionism, that Basil Blackshaw painted in the mid 1950s; this series could arguably be seen as his first mature body of work after leaving Belfast College of Art. It has a more lyrical mood than some of the darker landscapes of this time, yet remains slightly unsettling. Many of the works of this period appear to be drawn from a specific place and motif, sometimes noted in the title, but they create such a strong sense of mood and of powerful natural forces at work that they transcend their particular local identity and take on a more universal quality.It is intriguing to see in the present painting Blackshaw's apparent awareness of a British contemporary, Alan Reynolds, whose tensely evocative paintings of gardens and farmlands eventually moved into pure abstraction. The twisted, interwoven branches of the trees that dominate the foreground here establish an abstract rhythm and pattern that goes beyond description to create an almost flat, two-dimensional surface that could also be connected with post-war gestural painting in Europe and the USA.The buildings in the distance provide a geometric framework that is dominated by three triangles. This appears to be the same architectural arrangement that is included in a more clearly defined form in Blackshaw's 1957 painting November Cottage. Buildings are often integrated within the landscapes he painted in this period, providing an architectural structure that Blackshaw was to begin to find within the landscape itself in the long series of paintings of Colin Mountain that he embarked on around this time. Dickon HallJanuary 2016

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TRAVELLER'S CAMP
TRAVELLER'S CAMP
Nano Reid (1900-1981)

Auction Date / Lot No.: 29/02/2016 / 45

Reserve: €1000


POMES PENYEACH, 1993
POMES PENYEACH, 1993
Sean Scully (b.1945)

Auction Date / Lot No.: 29/02/2016 / 58

Reserve: €6000

  • Signature: signed and dated
  • Medium: book of etchings with poems by James Joyce; (no. 48 from an edition of 66)
  • Dimensions: 14½ x 10½in. (36.83 x 26.67cm)
  • Provenance: Kerlin Gallery, Dublin;Private collection
  • This edition is 'as new' presented in sealed plastic covering.

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ANNE'S DAY
ANNE'S DAY
Colin Harrison (b.1939)

Auction Date / Lot No.: 29/02/2016 / 60

Reserve: €5000

  • Medium: oil on canvas laid on board
  • Dimensions: 36 x 36in. (91.44 x 91.44cm)
  • Colin Harrison is represented by the Taylor Galleries in Dublin and has shown there regularly since the 1980s. In 1964 he was awarded the silver medal at the Royal College of Art, London. He has exhibited consistently as part of the RHA Annual Exhibition as well as several IELA shows, where he was prize winner in 1969. He held the position of Senior lecturer in Fine Art at the College of Art, Belfast from 1964 to 1973. His work is included in the public collections of The The Arts Council, Arts Council of Northern Ireland, Ulster Museum, Dublin City Gallery The Hugh Lane, and Bank of Ireland, and in private collections across Ireland, Great Britain and America.

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ABSTRACT
ABSTRACT
Patrick Scott HRHA (1921-2014)

Auction Date / Lot No.: 29/02/2016 / 64

Reserve: €4000

  • Signature: inscribed with title on reverse; title concealed beneath the frame
  • Medium: tempera on unprimed canvas
  • Dimensions: 24 x 24in. (60.96 x 60.96cm)
  • Provenance: H.O.K., 29 November 2004, lot 199;Private collection
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THE TÁIN. FEDELM, 1969
THE TÁIN. FEDELM, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29/02/2016 / 67

Reserve: €1500

  • Signature: signed, numbered and dated lower right
  • Medium: lithographic brush drawing; (no. 53 from an edition of 70)
  • Dimensions: 21¼ x 14¾in. (53.98 x 37.47cm)
  • Provenance: Whyte's, 30 April 2007, ex lot 52;Private collection
  • Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof. The present example is no. 22 in the series.

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LUGGLASS, COUNTY WICKLOW
LUGGLASS, COUNTY WICKLOW
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 29/02/2016 / 71

Reserve: €1200

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 7½ x 10in. (19.05 x 25.40cm)
  • Provenance: Whyte's, 30 November 2004, lot 3;Private collection
  • Exhibited: 'Seán McSweeney: New Paintings', Dawson Gallery, Dublin, 3-19 July 1969, catalogue no. 4
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SELF PORTRAIT
SELF PORTRAIT
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29/02/2016 / 72

Reserve: €1000

  • Signature: signed lower right; titled lower left; inscribed on Tom Caldwell Gallery [Belfast] label on reverse
  • Medium: pastel
  • Dimensions: 9½ x 6½in. (24.13 x 16.51cm)
  • Provenance: Tom Caldwell Gallery, Belfast;Private collection
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BLACK FIELD, LA GERIA, LANZAROTE,1990
BLACK FIELD, LA GERIA, LANZAROTE,1990
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29/02/2016 / 73

Reserve: €5000

  • Signature: signed lower right; signed titled and dated on reverse; also with artist's archive number [8667] on reverse
  • Medium: oil on board
  • Dimensions: 22 x 8in. (55.88 x 20.32cm)
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CAUSEWAY NO. 19
CAUSEWAY NO. 19
Richard Kingston RHA (1922-2003)

Auction Date / Lot No.: 29/02/2016 / 74

Reserve: €2500

  • Signature: signed lower right; titled on reverse; inscribed on Solomon Gallery [Dublin] label on reverse
  • Medium: oil on board
  • Dimensions: 17¼ x 25¼in. (43.82 x 64.14cm)
  • Provenance: Solomon Gallery, Dublin;Private collection
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BEWLEY'S COFFEE
BEWLEY'S COFFEE
Neil Shawcross RHA RUA (b.1940)

Auction Date / Lot No.: 29/02/2016 / 79

Reserve: €600


HUGO MACKLIN, 2000
HUGO MACKLIN, 2000
Neil Shawcross RHA RUA (b.1940)

Auction Date / Lot No.: 29/02/2016 / 80

Reserve: €3000

  • Signature: signed and dated lower right
  • Medium: oil on canvas
  • Dimensions: 71 x 35in. (180.34 x 88.90cm)
  • Provenance: Purchased directly from the artist
  • The late Hugh Macklin was a personal friend of Neil Shawcross and was heavily involved in cultural activities, particularly the areas of art, music and poetry. He was a former teacher at Dublin's prestigious secondary school, Blackrock College and a founder and long-time director of the charity Aidlink, aimed at improving the lives of those living in poverty in Africa.

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INTERSECT 2, 1982
INTERSECT 2, 1982
Roy Johnston (b. 1934)

Auction Date / Lot No.: 29/02/2016 / 87

Reserve: €1800

  • Signature: signed and dated on reverse; inscribed on Hillsboro Gallery [Dublin] label on reverse
  • Medium: acrylic on canvas
  • Dimensions: 39½ x 39½in. (100.33 x 100.33cm)
  • Provenance: Hillsboro Gallery, Dublin;Private collection
  • Exhibited: 'Summer Exhibition', Hillsboro Gallery, Dublin, July, 2006
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JOHN B. KEANE
JOHN B. KEANE
Graham Knuttel (b.1954)

Auction Date / Lot No.: 29/02/2016 / 100

Reserve: €1200

  • Signature: signed on lower left side
  • Medium: bronze; (from an edition of 3)
  • Dimensions: 15½ x 9½in. (39.37 x 24.13cm)
  • Provenance: Private collection
  • Although there is no edition number on this bronze, 3 editions of it were cast. The example presented by Jimmy Deenihan remains in the Keane family. The present example is another edition from a member of the extended family of the sitter. We are grateful to the immediate family of John B. Keane, Graham Knuttel and Leo Higgins of CAST for their assistance with this lot.

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JAMES PLUNKETT
JAMES PLUNKETT
Garry Trimble ARHA (1928-1979)

Auction Date / Lot No.: 29/02/2016 / 101

Reserve: €3000

  • Medium: bronze on black marble base
  • Dimensions: 12½ x 8 x 10in. (31¾ x 20.32 x 2
  • Dimensions of base, 5 by 4.5 by 4.5 in.Among his other sitters for portrait busts are Queen Elizabeth II, Éamon de Valera, Christy Brown (see lot 154) and Séan McBride. For further reading on the artist see Snoddy p.665-667.

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GENTLEMAN, HALF LENGTH, WEARING RED SLASHED VAN DYCK COSTUME
GENTLEMAN, HALF LENGTH, WEARING RED SLASHED VAN DYCK COSTUME
Tilly Kettle (British, 1735-1786)

Auction Date / Lot No.: 29/02/2016 / 104

Reserve: €6000

  • Signature: with label on reverse relating to previous owner
  • Medium: oil on canvas
  • Dimensions: 29¼ x 23¾in. (74.30 x 60.33cm)
  • Provenance: By descent in the Willes family;Sotheby's, 24 November 1999, lot 52;Private collection
  • Tilly Kettle - best-known for his Indian portraits - was a London born English artist who visited Ireland in the late 18th century. Kettle painted the face of architect James Gandon (1743-1823) c.1786-c.1796 in a large portrait in the collection of the National Gallery of Ireland (NGI.1783). The remainder of the picture was completed by William Cuming, an accomplished Irish artist, who depicted Gandon on the roof of the Parliament House (now the Bank of Ireland) in College Green, Dublin holding architectural plans, including those of the Four Courts. Kettle first entered the professional portrait arena in the 1750s following his studies with William Shipley in the Strand. He was the first prominent English portrait painter to operate in India. He first sailed there with the British East India Company in 1768 and painted several works in various parts of the country. In 1776 he returned to London and married, however imprudent financial decisions and a decline in clientele provoked a return to India in 1786. This journey was undertaken overland. His last recorded portrait was at Aleppo.

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INTERIOR OF AN IRISH COTTAGE, 1852
INTERIOR OF AN IRISH COTTAGE, 1852
Francis William Topham RA OWS (British, 1808-1877)

Auction Date / Lot No.: 29/02/2016 / 105

Reserve: €2500

  • Signature: signed in monogram on edge of door partially concealed by the mount; dated lower left; with Richard Hawthorn Gallery [Blackburn] label or reverse
  • Medium: watercolour
  • Dimensions: 17½ x 14½in. (44.45 x 36.83cm)
  • Provenance: Richard Hawthorn Gallery, Blackburn;Private collection
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THE STEPPING STONES, 1861
THE STEPPING STONES, 1861
Francis William Topham RA OWS (British, 1808-1877)

Auction Date / Lot No.: 29/02/2016 / 107

Reserve: €3000

  • Signature: signed and dated lower right; with Richard Hawthorn Gallery [Blackburn] label or reverse
  • Medium: watercolour
  • Dimensions: 18 x 16in. (45.72 x 40.64cm)
  • Provenance: Richard Hawthorn Gallery, Blackburn;Private collection
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THE HURDY GURDY BOY, 1836
THE HURDY GURDY BOY, 1836
Francis William Topham RA OWS (British, 1808-1877)

Auction Date / Lot No.: 29/02/2016 / 108

Reserve: €800


PORTRAIT OF A GENTLEMAN, 1920
PORTRAIT OF A GENTLEMAN, 1920
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 29/02/2016 / 109

Reserve: €800


THE JUDGEMENT and THE TEMTATION [SIC] (A PAIR)
THE JUDGEMENT and THE TEMTATION [SIC] (A PAIR)
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 29/02/2016 / 110

Reserve: €300

  • Signature: signed and titled; (2)
  • Medium: dyeline print; (2); ink sketch; (1)
  • Dimensions: 13 x 8in. (33.02 x 20.32cm)
  • Provenance: B. I. Tilly, Registrar at The Metropolitan School of Art, Dublin, 1900-1920;Thence by descent to the present owner
  • Lot includes anonymous sketch of dog.

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BOG LAKE WITH TURF STACK
BOG LAKE WITH TURF STACK
William Percy French (1854-1920)

Auction Date / Lot No.: 29/02/2016 / 113

Reserve: €1200


MISTY SUNSHINE, DUBLIN BAY, 1905
MISTY SUNSHINE, DUBLIN BAY, 1905
George Russell (Æ")" (1867-1935)

Auction Date / Lot No.: 29/02/2016 / 119

Reserve: €2500

  • Signature: signed in monogram lower left; titled on reverse; with typed label on reverse
  • Medium: oil on canvas
  • Dimensions: 9¼ x 13in. (23½ x 33.02cm)
  • This view is from Blackrock.

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HENRY STREET, DUBLIN, DURING THE 1916 RISING
HENRY STREET, DUBLIN, DURING THE 1916 RISING
Edmond Delrenne (Belgian, fl.1915-18)

Auction Date / Lot No.: 29/02/2016 / 120

Reserve: €8000

  • Signature: signed and dated [1917] lower left; remains of inscribed labels on reverse; with partial framing label of the Dawson Gallery [Dublin]; label of Millar and Beatty House Furnishers [Grafton Street, Dublin] beneath stretcher
  • Medium: oil on canvas
  • Dimensions: 24 x 20in. (60.96 x 50.80cm)
  • Provenance: Whyte's, 9 April 2006, lot 128;Private collection
  • Literature: Milligan, Kathryn, 'Edmond Delrenne Witness to 1916', Irish Arts Review, Winter, 2015, p.559 (illustrated)
  • Edmond Delrenne was a Belgian refugee who seems to have arrived in Dublin circa 1914 and remained here throughout the First World War. He exhibited four war scenes at the RHA in 1915 and 1916, giving his address as care of Dermod O'Brien, then newly elected President of the RHA. O'Brien evidently bought some of Delrenne's work, for a watercolour depicting The Ruins of O'Connell St., Dublin, in 1916 was amongst his estate and presented to the NGI by his son, Dr Brendan O'Brien, in 1982 (NGI 18,486). As with the present work, Nelson's Column on O'Connell Street is clearly visible amongst the rubble. This is an extremely rare contemporaneous painting of Dublin in the immediate aftermath of the Rising According to Dr Brendan O’Brien, son of Dermod O’Brien RHA, Delrenne was given hospitality by Dermod O’Brien at Cahirmoyle, Co. Limerick. He also stated that Delrenne was in Dublin at the time of the 1916 Easter Rising and, when standing in a doorway, a man beside him was killed by a stray bullet. (Adrian le Harivel & Michael Wynne (editors) National Gallery of Ireland Acquisitions 1982-1983, published NGI 1984). For further reading see Kathryn Milligan's article, 'Edmond Delrenne Witness to 1916', in the winter edition of the Irish Arts Review, 2015.

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DOUGLAS HYDE, 1940
DOUGLAS HYDE, 1940
Sean O’Sullivan RHA (1906-1964)

Auction Date / Lot No.: 29/02/2016 / 121

Reserve: €1000

  • Signature: signed and dated lower right by artist and sitter
  • Medium: pencil
  • Dimensions: 16 x 12½in. (40.64 x 31¾cm)
  • Autographed and dated in Irish by Douglas Hyde lower right above artist's signature; Douglas Hyde, President of Ireland, 1940.

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ARTHUR GRIFFITH, 1921
ARTHUR GRIFFITH, 1921
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 29/02/2016 / 122

Reserve: €800

  • Signature: signed in the plate; signed in the lower margin in pencil by artist and sitter; also with publisher's details and blind stamp in the margin
  • Medium: lithograph
  • Dimensions: 17½ x 14¼in. (44.45 x 36.20cm)
  • Sheet size: 19.75 by 16ins.Sir John Lavery painted portraits of Griffith and Collins in 1921 whilst they were in London negotiating the terms of the Irish Treaty. Within months of their portraits being painted, both men were dead - Griffith of a heart attack, Collins killed in August 1922. The prints were based on oil portraits, one of which is now in the collection of the Hugh Lane Municipal Gallery of Modern Art, Dublin. Printed by Wilson Hartnell & Co. Publishers, Dublin.

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1916 RISING LEADERS (SET OF 7)
1916 RISING LEADERS (SET OF 7)
Thomas Ryan PPRHA (b.1929)

Auction Date / Lot No.: 29/02/2016 / 123

Reserve: €8000

  • Signature: each signed and titled lower right
  • Medium: conté on paper; (7)
  • Dimensions: 15¾ x 12in. (40.01 x 30.48cm)
  • History paintings form part of a lesser known area of Ryan's practice. The subjects are often of important Irish interest, folklore or mythology. Of these paintings the artist notes, The impulse to do [them] is of a different kind to that of wanting to paint, say, a landscape. That particular urge is almost always motivated by a reaction to a new view... Painting history is a slower process. It derives from a shared awareness of a historical event or a remembered story from an ancient saga that triggers the impulse. A potent legend and one of consequence to the country, North and South is the still strongly felt effect of 'The Flight of the Earls' and the more recent 'Easter Rising, G.P.O., 1916' shown at 'Cuimhneachán 1916', Taispeántas Ealaíne i gComóradh Éirí Amach na Cásca, 1916', Municipal Gallery of Art, Dublin, 12 Aibreán - 24 Bealtaine 1966, no. 50. The artist's poignant scene on canvas showing the rebels defending the G.P.O. is illustrated in Thomas Ryan Oil Paintings, Nicholson & Bass, 2009, p.82-83.For an example of another work shown at 'Cuimhneachán 1916', the 1966 Golden Jubilee exhibition see lot 126 by Brett McEntagart."

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PORTRAIT OF ÉAMON DE VALERA
PORTRAIT OF ÉAMON DE VALERA
Howard Bowen (USA,1916-1984)

Auction Date / Lot No.: 29/02/2016 / 125

Reserve: €1000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 19½ x 15½in. (49.53 x 39.37cm)
  • Howard Bowen was born in 1916 in St Louis, Missouri, USA. He studied at Washington University School of Fine Arts in St Louis and was awarded the Weyman Crow Medal in 1936. He was conscripted to the army during WWII and spent time painting his surroundings in Europe, instilling in him a love of travel despite the conditions he found himself in. He held an exhibition at the Cooling Galleries, London, in 1959. In 1967 he moved to Ireland with his wife Mary and focused on painting portraits and landscapes. He died on 21 January 1984 in Limerck. In 1986, a studio sale of fifty-one works was held at Gorry Gallery, Dublin.

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THE RESURGENT SPIRIT, c.1966
THE RESURGENT SPIRIT, c.1966
Brett McEntagart RHA (b.1939)

Auction Date / Lot No.: 29/02/2016 / 126

Reserve: €3000

  • Signature: signed [Brett] lower right
  • Medium: oil on canvas
  • Dimensions: 41 x 55in. (104.14 x 139.70cm)
  • Exhibited: 'Cuimhneachán 1916', Taispeántas Ealaíne i gComóradh Éirí Amach na Cásca, 1916', Municipal Gallery of Art, Dublin, 12 Aibreán - 24 Bealtaine 1966, no. 36
  • This lot includes a framed pencil sketch of the present work, two sketchbooks (including sketches for the present work, among other landscapes and portrait sketches) and a copy of the exhibition catalogue for 'Cuimhneachán 1916' the 1966 Golden Jubilee celebrations of Easter Week Rising 1916 presented by Taispeántas Ealaíne, Dublin Corporation and the Municipal Gallery of Art Dublin. The present work was shown in 'Cuimhneachán 1916' and entered into its 'Art Competition no. 15' for A Picture or Decoration not smaller than 36 by 28in to commemorate the Rising of 1916". The foreword to the 1966 catalogue notes, "Competitors were at Liberty to select any subject which would commemorate the Rising. Many of these competitors are too young to have recollections of the stirring events of 1916 and for this reason the exhibition offers an interesting display of the modern Irish artists' interpretation of that historic occasion. The exhibition is, we feel, a worthy tribute to the men and women, living and dead, who sacrificed so much in the cause of Irish freedom and who helped establish the Ireland of today.""

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NUDE
NUDE
Barbara Warren RHA (b.1925)

Auction Date / Lot No.: 29/02/2016 / 130

Reserve: €1000


AUGUST WINDOW, 1990
AUGUST WINDOW, 1990
Barbara Warren RHA (b.1925)

Auction Date / Lot No.: 29/02/2016 / 132

Reserve: €1500

  • Signature: signed lower left; with ehibition details affixed verso
  • Medium: oil on canvas
  • Dimensions: 27 x 22¼in. (68.58 x 56.52cm)
  • Exhibited: 'Biennale Internazionale Dell'arte Contemporanea', Seconda Edizione, Florence, 1999 (illustrated p. 565 of exhibition catalogue)'Barbara Warren: A Retrospective', Royal Hibernian Academy, Dublin, 6 December 2002 to 2 February 2003 (illustrated p. 34 of
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NUDE
NUDE
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 29/02/2016 / 134

Reserve: €400


ANNIE (SKETCH)
ANNIE (SKETCH)
Norah McGuinness HRHA (1901-1980)

Auction Date / Lot No.: 29/02/2016 / 136

Reserve: €400

  • Signature: titled lower right; with artist's studio stamp lower left
  • Medium: pencil
  • Dimensions: 12½ x 9¾in. (31¾ x 24.77cm)
  • Provenance: Frederick Gallery, Dublin;Private collection
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TAFRAOUTE, STUDY VII, 2007
TAFRAOUTE, STUDY VII, 2007
Martin Mooney (b.1960)

Auction Date / Lot No.: 29/02/2016 / 139

Reserve: €800

  • Signature: initialled lower right, signed, titled and dated on reverse; inscribed on Ava Gallery [Bangor] label on reverse
  • Medium: oil on board
  • Dimensions: 5½ x 9¾in. (13.97 x 24.77cm)
  • Provenance: Ava Gallery, Bangor, Co. Down;Private collection
  • Tarfraoute is a town in Tiznit Province, Morocco, in the central part of the Anti-Atlas mountains.

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UNNOTICED EPIC, 1990
UNNOTICED EPIC, 1990
Charles Harper RHA (b.1943)

Auction Date / Lot No.: 29/02/2016 / 140

Reserve: €800

  • Signature: signed and dated lower right; titled lower left
  • Medium: watercolour and ink
  • Dimensions: 22 x 30in. (55.88 x 76.20cm)
  • Provenance: Adam's, 20 April 2004, lot 191;Private collection
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GOD HUMMED THAT MONDAY
GOD HUMMED THAT MONDAY
Eamon Colman (b.1957)

Auction Date / Lot No.: 29/02/2016 / 142

Reserve: €1000


STUDY OF GRASS AND HERBACEOUS FLOWERS
STUDY OF GRASS AND HERBACEOUS FLOWERS
Terence P. Flanagan RHA PPRUA (1929-2011)

Auction Date / Lot No.: 29/02/2016 / 146

Reserve: €800


BELVOIR PARK, BELFAST
BELVOIR PARK, BELFAST
Hans Iten RHA (1874-1930)

Auction Date / Lot No.: 29/02/2016 / 150

Reserve: €1000


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