30 May 2016

  Records 1 to 26 of 26    

THE MONASTERY, ROUNDSTONE
THE MONASTERY, ROUNDSTONE
Séamus Ó Colmáin (1925-1990)

Auction Date / Lot No.: 30 May 2016 / 7

Reserve: €1500

  • Signature: signed lower right; titled on reverse; with Oriel Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 16½ x 22½in. (41.91 x 57.15cm)
  • Provenance: Oriel Gallery, Dublin;Private collection
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JOE THE SWINEHERD, 1890
JOE THE SWINEHERD, 1890
Walter Frederick Osborne RHA ROI  (1859-1903)

Auction Date / Lot No.: 30 May 2016 / 25

Reserve: €60000

  • Signature: signed and dated lower left
  • Medium: oil on canvas
  • Dimensions: 20 x 27in. (50.80 x 68.58cm)
  • Provenance: Collection of the artist;Thence by descent;Private collection
  • Walter Osborne was fascinated by scenes of rural life and farming. This picture, Joe the Swineherd, is one of a series of atmospheric images of country people and farm hands at work, which he painted in the rural English landscape in the late 1880s and early 1890s. A boy in cap is shown in the foreground, watching over a group of pigs. The figures are vied in shadow, 'au contre jour', casting shadows upon the ground. The stubble fields stretch towards the gentle Downs in the distance, and the scene is lit by a warm golden light, evoking a sense of heat and atmosphere in a late summer or early autumn day. Small figures at work and some animals, a large haystack and a caravan, are visible in the distance and smoke rises from a fire.The scene may be set in Berkshire, in the Hampshire Downs, or close to Rye in Kent, where Osborne was working in these years. (1)Osborne's choice of subject, whether in Ireland, England, or on the Continent, was influenced not only by the village environment or landscape around him, but also by the availability of models, the boys and girls who agreed to pose for him; the girls in coiffes and aprons in villages in Brittany, for instance; the ragged crop-haired boys in Dublin streets, local children on English farms and in harbour towns; as well as the children of friends in Dublin gardens. In certain cases the particular name of the model has been recorded, giving a sense of intimacy to the subject. Thus, we have, for example, Marie, a Girl In Brittany; Bessie Osborne (no relation to the artist), who modelled for his painting Feeding Chickens, 1884 (2); Michael, a waiter in a hotel in Co. Kerry; Walter Armstrong in the Café de Madrid; and here, Joe, the Swineherd.Osborne painted a series of pictures of people at work in the flat English countryside. These include The Return of the Flock, 1885, A Shepherd and his Flock, 1887, Ploughing, c.1887, Potato Gathering, 1888, Harvest Time, 1890, (3) and Joe the Swineherd, 1890, one of the largest pictures in the series. Like the great French Peasant artists such as Millet and Charles Jacque, and the Dutchman Anton Mauve, who represented humble people and their flocks in an heroic manner, Osborne also observed shepherds and herders with their farm animals, such as horses, cattle, sheep, goats and here, pigs.During the medieval period belief in the Four Humours and the Four Elements associated the pig with the earth(4). Small groups of pigs grazing were depicted in some Books of Hours, and they appeared occasionally in Dutch and Flemish Genre paintings in the 17th Century.However, pigs appeared rarely in paintings by Barbizon and Realist artists of the 19th Century. The swineherd regarded as a lowly member of society. Yet pigs were featured in some farmyard scenes in Paul Serusier, of the Pont-Aven School, and later in a lively drawing by Picasso. (5)Osborne was thus most original in depicting this humble animal and its minder in their landscape in a Naturalistic and sympathetic manner. He may have been struck, as the present-day visitor to England is, by the large number of pig farms scattered across the countryside (6). He depicts a number of black domestic pigs, one of the common breeds, and a couple of brindled ones (7), conveying well their sociability and curiosity.Osborne places the figure of the boy in the lower right-hand corner of the picture. He wears a cap over fair hair, and is clad in plain, workday clothes; jacket, breeches and boots. He is viewed from behind, and looks at the pigs and into the landscape. Light falls on the side of his cap, trousers and boots, and shines on the backs of the pigs. The figures are set against the light, and cast mauve shadows upon the stubble field, which is rendered with bold, textured strokes. Osborne employs a rich variety of hues in the landscape: golds, pinks, yellows and lime greens, blues, violets and reds, the Downs in the background are green and pink, conveyed in long brushstrokes, while pale clouds rise above the horizon, gleaming with sunlight, giving a serene mood.The line of the stick held by the boy, leading into the picture, is counterpointed by a diagonal line on the Downs. From the foreground faint lines lead through the stubble into the distance, giving a sense of perspective to the picture. This perspective, the cropping of the composition, and the kind of glow around the figures, could suggest that Osborne made use of photography in composing his pictures, but this has not been confirmed.The model for the boy in Joe the Swineherd may appear in other contemporary pictures by Osborne, for example the fair-haired child with cap who rests against the haystacks in Harvest Time, c.1890, (although the latter appears younger), and in The Cornfield, 1890, (Dublin City Gallery The Hugh Lane). Osborne also painted a small study of Joe the Swineherd, which he exhibited at the Dublin Art Club in 1891. The forms of the pigs are echoed in a delightful pencil study of pigs sketched in Roundstone, Co. Galway in 1897 (8).The present picture of Joe the Swineherd was exhibited at several venues shortly after its completion: at the Royal Academy, London and at the Autumn Exhibition, Liverpool, in 1891 and at the Royal Hibernian Academy, Dublin the following year. It appears to have remained unsold at these venues, and Stephen Gwynn suggests that it remained in the artist's collection during his lifetime (8) (and perhaps reminding him (Osborne) of his happy youthful days painting in the countryside in sunshine). In 1983 the painting was included in the large Walter Osborne exhibition curated by Jeanne Sheehy, and held at the National Gallery of Ireland, Dublin.Dr Julian CampbellApril 2016 FOOTNOTES:1. Jeanne Sheehy Walter Osborne, Ballycotton, 1974, p.282. J. Sheehy, 1974, p.28; and Donal Maguire, 'A Letter from Walter Osborne', Irish Arts Review, Spring 2016, p.1443. J. Sheehy, 1974, cat. nos. 128, 152, 154, 180, 236 and 234; respectively, Irish Sale, Christie's, 15 May 2003, lot 37; J. Sheehy, Walter Osborne, 1983, cat. no. 26Important Irish Art, Adam's, 5 Dec. 2001, lot 41;Important Irish Art, Adam's, 4 Dec. 2015, lot 69;Important Irish Art, Adam's/Bonham's, 29 May 2002, lot 41;4. James Hall, Dictionary of Subjects and Symbols in Art, 1979 edition, p.130.5. eg. Paul Serusier, Breton Woman Feeding Pigs. (Musée departmen de Prieure, Saint-Germain-en-Laye; Picasso, Pigs, c.1906 (Succession Picasso).6. However, some native breeds of pig are in decline in Britain, Country Life, 18 Feb. 2015, p.26.7. Stephen Gwynn described the animals in Osborne's pictures as 'black Berkshire yearlings'. Gwynn, Garden Wisdom, 1921, p.30.8. W. Osborne, Pig Studies, Roundstone, 1897, Important Irish Art, Adam's, 4 Dec. 2012 lot 67. Compare to Picasso's drawing Pigs, (see note 5, above).(I am grateful to George Mealy, Snr, and Cait Madigan, Mealy's Castlecomer, for assistance in my research).

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RABBITING
RABBITING
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2016 / 26

Reserve: €10000

  • Signature: signed upper right; original Dawson Gallery label on reverse
  • Medium: ink drawing
  • Dimensions: 13½ x 12in. (34.29 x 30.48cm)
  • Provenance: Dawson Gallery, Dublin;Private collection;Whyte's, 18 May 2009, lot 73;Private collection
  • Both pencil and ink drawings (lots 26 27) were originally acquired from the Dawson Gallery. Each is inscribed on the back 'Jack B. Yeats, Strete, N. Dartmouth, South Devon', in the artist's hand.Yeats lived in Strete between 1897 and 1910, after which he settled in Ireland permanently. During these 13 years Yeats was a prolific illustrator, producing images for the Dun Emer and Cuala Industries in Dublin as well as work for London based publishers. The medium and the technique of cross-hatching seen in the two drawings are typical of his working method at this time. The drawings were probably made as designs for printed illustrations but they do not appear to have been published. The subjects are of rural life, possibly of Devon rather than Ireland. After settling in the West Country of England Yeats became fascinated by local farming communities and his sketchbooks and watercolour paintings of the late 1890s are dominated by scenes of English rural life. From 1898 onwards Ireland becomes a more significant theme. The subject matter of both works refers to distinctive aspects of rural life, and possibly to the idea of different seasons. Rabbiting is a rather humorous image of a determined hunter looking for his prey while his dog stands guard. The latter appears to be modelled on Yeats' own dog, 'Hooley' who features in many of the artist's sketches of domestic life in Devon in these years. The subject recalls another untraced work which was exhibited in London in 1897 entitled 'When ferrets lie up and when rabbits are plentiful', which was subsequently reproduced but has not been traced (1). A print of the latter was sold through Whyte's as lot 26, 29 November 2005. The dominant trunk of the tree which forms the background to the scene is very stylised and indebted to the current vogue for Art Nouveau which Yeats experimented with in his graphic work of the 1890s. Thatching in the Sun also focuses on a single individual. A thatcher at work on a rooftop is depicted in acute foreshortening which has the effect of flattening the thatch and the various tools strewn across it. The exaggerated awkwardness of the figure and the extreme perspective accentuate the primitive notions of the subject which could be either English or Irish in its origins. These drawings appear to date to an early period in the artist's development as a black and white illustrator before he had fully developed a distinctive style and approach. Both show his knowledge of post-impressionist art and design and his skill at creating vibrant and complex images from very simple subject matter. Footnote: H. Pyle, Jack B. Yeats. His Watercolours, Drawings and Pastels , Irish Academic Press, 1993, nos. 46-7, p. 63 Dr. Róisín Kennedy

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THATCHING IN THE SUN
THATCHING IN THE SUN
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2016 / 27

Reserve: €10000

  • Signature: signed lower right; original Dawson Gallery label on reverse
  • Medium: ink over pencil
  • Dimensions: 13½ x 12in. (34.29 x 30.48cm)
  • Provenance: Dawson Gallery, Dublin;Private collection;Whyte's, 18 May 2009, lot 74;Private collection
  • Both pencil and ink drawings (lots 26 27) were originally acquired from the Dawson Gallery. Each is inscribed on the back 'Jack B. Yeats, Strete, N. Dartmouth, South Devon', in the artist's hand. Yeats lived in Strete between 1897 and 1910, after which he settled in Ireland permanently. During these 13 years Yeats was a prolific illustrator, producing images for the Dun Emer and Cuala Industries in Dublin as well as work for London based publishers. The medium and the technique of cross-hatching seen in the two drawings are typical of his working method at this time. The drawings were probably made as designs for printed illustrations but they do not appear to have been published. The subjects are of rural life, possibly of Devon rather than Ireland. After settling in the West Country of England Yeats became fascinated by local farming communities and his sketchbooks and watercolour paintings of the late 1890s are dominated by scenes of English rural life. From 1898 onwards Ireland becomes a more significant theme. The subject matter of both works refers to distinctive aspects of rural life, and possibly to the idea of different seasons. Rabbiting is a rather humorous image of a determined hunter looking for his prey while his dog stands guard. The latter appears to be modelled on Yeats' own dog, 'Hooley' who features in many of the artist's sketches of domestic life in Devon in these years. The subject recalls another untraced work which was exhibited in London in 1897 entitled 'When ferrets lie up and when rabbits are plentiful', which was subsequently reproduced but has not been traced (1). A print of the latter was sold through Whyte's as lot 26, 29 November 2005. The dominant trunk of the tree which forms the background to the scene is very stylised and indebted to the current vogue for Art Nouveau which Yeats experimented with in his graphic work of the 1890s. Thatching in the Sun also focuses on a single individual. A thatcher at work on a rooftop is depicted in acute foreshortening which has the effect of flattening the thatch and the various tools strewn across it. The exaggerated awkwardness of the figure and the extreme perspective accentuate the primitive notions of the subject which could be either English or Irish in its origins. These drawings appear to date to an early period in the artist's development as a black and white illustrator before he had fully developed a distinctive style and approach. Both show his knowledge of post-impressionist art and design and his skill at creating vibrant and complex images from very simple subject matter. Footnote: H. Pyle, Jack B. Yeats. His Watercolours, Drawings and Pastels , Irish Academic Press, 1993, nos. 46-7, p. 63 Dr. Róisín Kennedy

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LOCAL AND TRAVELLING CHAMPIONS, DEVONSHIRE, 1897
LOCAL AND TRAVELLING CHAMPIONS, DEVONSHIRE, 1897
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2016 / 28

Reserve: €15000

  • Signature: signed lower left; with Waddington Galleries labels on reverse
  • Medium: watercolour, black chalk and pencil on paper
  • Dimensions: 14 x 10in. (35.56 x 25.40cm)
  • Provenance: Waddington Galleries, London;From where acquired by Mr & Mrs F. Hess, London;Sotheby's, 18 May 2000, lot 140;Private collection
  • Yeats was living in Devon when he painted this work, having moved there from London with his wife Cottie in 1895. It is one of several scenes of local fairs and markets that he produced before moving his focus to the West of Ireland in 1898. A tall thin man in a blue jacket approaches a man at a boxing booth. The title of the work, Local and Travelling Champions suggest that the stall's main attraction was pitching its champions against local contenders. The pair of boxing gloves hanging from the roof also indicates that visitors were welcome to try their luck in the ring. Paintings of boxing fights are prominently displayed above the entrance. One boxer, Sullivan, is named. The large rattle in the proprietor's hand was used to attract the crowds to the booth. Beyond to the right a competing attraction, 'the petrified man' is advertised. Yeats sketched boxing matches and travelling fairs endlessly in the early decades of his career. They provided opportunities to observe the performers and the crowds. His keen sense of the types of character that frequented such events is evident in the stance and expression of the stall holder. With his flat cap pulled down over his eyes, his patterned necktie, and his hand thrust in his pocket he appears both shrewd and shifty. The painting was included in one of Yeats's first one-man shows, at the Clifford Gallery in London in 1897. Dr Róisín KennedyApril 2016

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A PROFESSIONAL MAN, c.1905
A PROFESSIONAL MAN, c.1905
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2016 / 29

Reserve: €30000

  • Signature: signed lower left; with Waddington Galleries label on reverse
  • Medium: watercolour on card laid on board
  • Dimensions: 23 x 19¼in. (58.42 x 48.90cm)
  • Provenance: James Adam, 5 April 1979, lot 85;Private collection;Taylor de Vere, 1989;with Trinity Gallery, London;Private collection
  • Yeats was always fascinated by the social fabric of rural Ireland. His awareness of social class was sharpened by his travels with John Millington Synge through the Congested Districts Board in 1905, the year this work was painted. The two men noted the encounters between shopkeepers and wealthy farmers and the ordinary labourers in the illustrated articles that they produced for the Manchester Guardian. This splendidly coloured watercolour of a professional man in his frock coat is one of several paintings of different male occupations or types that Yeats produced at this time. The figure strides purposefully across the landscape in his urban attire with his incongruous umbrella and a red book, probably a ledger, in his gloved hand. The low-viewpoint and opaque application of paint enables Yeats to create a kaleidoscope of forms and colours in the sky and the rolling fields behind him.Dr Róisín KennedyApril 2016

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ROMANTIC TINKER
ROMANTIC TINKER
Gerard  Dillon (1916-1971)

Auction Date / Lot No.: 30 May 2016 / 41

Reserve: €15000

  • Signature: signed lower left; with labels of Associated American Artists Galleries on reverse
  • Medium: oil on canvas
  • Dimensions: 14 x 18in. (35.56 x 45.72cm)
  • Provenance: Associated American Artists Galleries, New York, 1947;Private collection, USA;Thence by family descent
  • This painting which was first sold during an exhibition of Irish art held at the Associated American Artists Galleries, New York, in 1947 is also set in a west of Ireland landscape. In this case, a man kneels down to a woman and child who are sitting at the side of the road. The bright red cart in the background is familiar from a number of Dillon's paintings of Connemara from this period. The term Tinker which Dillon uses in the title, is now considered derogatory but was in common usage during the 1940s. In the 1930s and 1940s, Irish artists including Jack B. Yeats and Louis le Brocquy painted travellers and romanticised their way of life for similar reasons as British and European artists, such as Augustus John, had done a few years before. Traveller culture and their specific way of life, was considered to be more authentic and less tainted by materialism and British rule. In this image, it is unclear whether the man and woman are related or whether this is a chance meeting. There are two more figures on the cart who appear to be waiting for the man to come back. The man is dressed in a traditional waistcoat and kerchief and the barefoot woman wraps herself and her child in a large shawl not unlike the one featured in Shawl (lot 39). Dillon's observation of this scene verges on the ethnographic. Not only was he only a visitor in Connemara but he was also a boy 'from the red brick city' for whom the west and its inhabitants were exotic and worthy subjects for art. Dr Riann CoulterApril 2016

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CHELSEA FROM BATTERSEA BRIDGE
CHELSEA FROM BATTERSEA BRIDGE
George  Campbell RHA (1917-1979)

Auction Date / Lot No.: 30 May 2016 / 50

Reserve: €2000

  • Signature: signed lower left; with title inscribed on Goodwin Galleries label on reverse
  • Medium: oil on board
  • Dimensions: 12 x 15in. (30.48 x 38.10cm)
  • Provenance: Goodwin Galleries, Limerick;Private collection
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PARADISE ISLAND, 1982
PARADISE ISLAND, 1982
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 30 May 2016 / 60

Reserve: €4000

  • Signature: signed with initials lower left; dated [1/82] lower right
  • Medium: acrylic and collage on paper
  • Dimensions: 13½ x 11in. (34.29 x 27.94cm)
  • Provenance: Coram Gallery, London;Private collection;Taylor Gallery, Belfast, 2006;Private collection
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TREES AT COGRY, COUNTY ANTRIM
TREES AT COGRY, COUNTY ANTRIM
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 30 May 2016 / 73

Reserve: €10000

  • Signature: signed lower right; signed and titled on reverse
  • Medium: oil on canvas
  • Dimensions: 19½ x 23½in. (49.53 x 59.69cm)
  • Basil Blackshaw is renowned as a painter who immerses himself visually and physically in the landscapes he paints so as to distil an effective and truthful pictorial reaction. While the paintings that emerged from his long study of Colin Mountain were arguably more preoccupied with space, light and structure, the landscapes on either side of this series often evoke a very expressive and instinctive recollection of the experience of being in a specific and often familiar place.Blackshaw's palette is also truthful to the place, not necessarily naturalistic but strongly connected to the mood of a landscape, as we see in Trees at Cogry. The intensity of the painting is the result of this limited and heavy palette as much as it is of the energetic, broadly-worked passages of paint. A pathway seems to lead between the strong forms of tree trunks in the foreground but the painting is dominated by these verticals and the lack of a sense of space gives them even more power within the composition and creates a slightly claustrophobic mood. While it is perhaps unlikely to have been influential within the subject or manner of working, it is still interesting to note that the name Cogry, in this case a townland close to Blackshaw's County Antrim home, apparently comes from the Irish word for border-land or frontier; certainly Blackshaw often gives the sense of exploring uncertain or uneasy territories within some of his landscape paintings. Dickon Hall,April 2016

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OCEAN FREQUENCY DIPTYCH, 2012
OCEAN FREQUENCY DIPTYCH, 2012
Donald Teskey RHA (b.1956)

Auction Date / Lot No.: 30 May 2016 / 75

Reserve: €40000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 72 x 128in. (182.88 x 325.12cm)
  • Provenance: Oliver Sears Gallery, Dublin;Private collection
  • A copy of the Ocean Frequency exhibition catalogue accompanies this lot.The present work is inspired by the coastline of the West of Ireland at the junction where the sea meets the land. In his introduction to the Oliver Sears exhibition catalogue Theo Dorgan aptly describes the subject thus, 'It is true that the artist is revisiting a terrain with which he is familiar, a topography he has painted before, and the resulting works may strike many as familiar. The sea falls on the land with a great weight, and obdurate rock holds out against the incoming sea with a great endurance. There is drama in this primary confrontation, a strong and sometimes exhilirating sense of contention, of irrresistable force rolling in a long thunder against immovable object. There is the shock of the impact, that collision of forces, safely frozen before our eyes.'Born in Limerick, Donald Teskey studied at the Limerick College of Art and Design, before moving to Dublin where he has lived for over twenty years, painting and teaching at NCAD. Teskey's canvases are carefully mapped out in terms of tone and chiaroscuro, creating a pervasive sense of mystery to his compositions using vigorously applied impasto, which the artist applies with plasterers' trowels, scraping back, repainting, and sculpting his paint in a rich, thick layer, covering all. The present work, Ocean Frequency Diptych, was the largest and most important work shown at the Oliver Sears 2012 exhibition.

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VOID 11
VOID 11
Corban Walker (b.1967)

Auction Date / Lot No.: 30 May 2016 / 77

Reserve: €1000

  • Signature: typed Fenton Gallery [Cork] label on reverse
  • Medium: auto CAD drawing
  • Dimensions: 30 x 36in. (76.20 x 91.44cm)
  • Provenance: PaceWildenstein, New York;Private collection;Fenton Gallery, Cork;Collection of Jim O'Driscoll SC
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LANDSCAPE, 2001
LANDSCAPE, 2001
Nick Miller (b.1962)

Auction Date / Lot No.: 30 May 2016 / 80

Reserve: €2000


HOMEWARD BOUND, 2005
HOMEWARD BOUND, 2005
Martin Finnin (b.1968)

Auction Date / Lot No.: 30 May 2016 / 84

Reserve: €3000


TWO FIGURES, 2000
TWO FIGURES, 2000
Joseph Sloan (b.1940)

Auction Date / Lot No.: 30 May 2016 / 91

Reserve: €1000


MARIONETTE, 2006
MARIONETTE, 2006
Patrick O'Reilly (b.1957)

Auction Date / Lot No.: 30 May 2016 / 92

Reserve: €4000


PORTRAIT OF A LADY WITH FEATHERED COLLAR
PORTRAIT OF A LADY WITH FEATHERED COLLAR
Sarah Henrietta  Purser HRHA   (1848-1943)

Auction Date / Lot No.: 30 May 2016 / 101

Reserve: €1500

  • Signature: signed 'S.H. Purser' lower right
  • Medium: pastel
  • Dimensions: 19½ x 14in. (49.53 x 35.56cm)
  • We are grateful to John O'Grady for his kind assistance in cataloguing this lot.

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FISHING BOATS ON A LAKE
FISHING BOATS ON A LAKE
Estella Frances Solomons HRHA (1882-1968)

Auction Date / Lot No.: 30 May 2016 / 102

Reserve: €2000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 20 x 30 x 20in. (50.80 x 76.20 x
  • Provenance: Whyte's, 30 May 2011, lot 67;Private collection
  • Thought to be a view of Devil's Island in Lough Leane, County Kerry.

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PORTRAIT OF COMMANDANT ROBERT BONFIELD, 4th BATTALION, DUBLIN BRIGADE, I.R.A. (1903-1923)
PORTRAIT OF COMMANDANT ROBERT BONFIELD, 4th BATTALION, DUBLIN BRIGADE, I.R.A. (1903-1923)
George Collie RHA (1904-1975)

Auction Date / Lot No.: 30 May 2016 / 109

Reserve: €3000

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 24 x 16in. (60.96 x 40.64cm)
  • This posthumous portrait of Robert 'Bobby' Bonfield is based on a photograph taken by Keogh's Bros. Ltd., Dublin. Based on the artist's suffix, the portrait must date to post-1942 when Collie was elected a full member of the RHA. The portrait shows Bonfield, a native of Ranelagh, dressed in the colours of St Kevin's hurling club. St. Kevin's was established by Irish language enthusiasts and would have sourced its early members from Synge Street Christian Brothers School and the surrounding areas of the South Circular Road, Rathmines and Portobello.Robert 'Bobby' Bonfield was a dental student studying in his third year at UCD when he was killed. He was the Quarter Master and Acting O/C of the 4th Battalion, 1st Dublin Brigade of the IRA and has been described as an 'Anti-Treaty guerrilla'. On Wednesday 20 December 1922 Bonfield went to James Dwyer's spirit grocery at 5 Rathmines Terrace and shot him dead. James (Seamus) Dwyer was a Sinn Fein and IRA activist and pro-Treaty politician. Three months later on 30 March 1923 Bobby Bonfield was killed by undercover Free State forces in revenge for the shooting of Dwyer. Bonfield's body was discovered near the Red Cow, Clondalkin. He is commemorated by a small memorial on the Naas Road. For further reading see: www.theirishstory.com

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NELSON'S PILLAR, 1966
NELSON'S PILLAR, 1966
Séamus Ó Colmáin  (1925-1990)

Auction Date / Lot No.: 30 May 2016 / 111

Reserve: €1500

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 24 x 18in. (60.96 x 45.72cm)
  • Provenance: Acquired directly from the artist by the present owner
  • Reputedly painted the night before Nelson's Pillar was destroyed on 8 March 1966.

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FIGURES BEFORE A VILLAGE
FIGURES BEFORE A VILLAGE
Markey Robinson (1918-1999)

Auction Date / Lot No.: 30 May 2016 / 118

Reserve: €6000

  • Signature: signed lower right: with Oriel Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 22½ x 46½in. (57.15 x 118.11cm)
  • Provenance: Oriel Gallery, Dublin;Private collection
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HAYCOCK
HAYCOCK
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 30 May 2016 / 143

Reserve: €1200

  • Signature: signed lower left; with typed Taylor Galleries label on reverse
  • Medium: oil on paper
  • Dimensions: 10¾ x 8¼in. (27.31 x 20.96cm)
  • Provenance: Taylor Galleries, Dublin;Private collection
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CH'UKSOAM I
CH'UKSOAM I
Michael Mulcahy (b.1952)

Auction Date / Lot No.: 30 May 2016 / 148

Reserve: €1000

  • Signature: signed lower right; signed and titled on reverse; with typed Taylor Galleries label on reverse
  • Medium: oil and acrylic on canvas
  • Dimensions: 30 x 36in. (76.20 x 91.44cm)
  • Provenance: Taylor Galleries, Dublin;Collection of Jim O'Driscoll SC
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HORSE AND RIDER, 1979
HORSE AND RIDER, 1979
Peter Curling (b.1955)

Auction Date / Lot No.: 30 May 2016 / 151

Reserve: €1500

  • Signature: signed and dated lower left; with Oriel Gallery label on reverse
  • Medium: charcoal
  • Dimensions: 13 x 18½in. (33.02 x 46.99cm)
  • Provenance: Oriel Gallery, Dublin;Private collection
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RIVER SCENE
RIVER SCENE
Terence P. Flanagan RHA PPRUA (1929-2011)

Auction Date / Lot No.: 30 May 2016 / 165

Reserve: €800


THE SCOURGE OF THE GULPH, JAMES FLAUNTY, 1903 and DESIGNED BOOKPLATE
THE SCOURGE OF THE GULPH, JAMES FLAUNTY, 1903 and DESIGNED BOOKPLATE
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2016 / 166

Reserve: €800

  • Signature: signed in plate
  • Medium: first edition hand-coloured printed booklets; (2); monochrome book plate; (1)
  • Dimensions: 9¼ x 6¼in. (23½ x 15.88cm)
  • Sizes: booklets 7 by 4.25 inches, plate 5 by 3.5 inches.Housed in a quarter morocco clamshell box.The Scourge of the Gulph, First edition, Elkin Matthews 1903; James Flaunty, or Terror On The Western Seas, first edition, Elkin Matthews, London 1901, uncut; book plate shows a pirate on ship named Madeline Jones.

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