26 September 2016

  Records 1 to 27 of 27    

SWIMMING GALA
SWIMMING GALA
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 September 2016 / 12

Reserve: €10000

  • Signature: signed lower right
  • Medium: crayon
  • Dimensions: 30 x 24in. (76.20 x 60.96cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [TRADITIONAL]

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WOMAN WITH CHILDREN AND LAMB IN A GARDEN
WOMAN WITH CHILDREN AND LAMB IN A GARDEN
Lady Beatrice Glenavy RHA (1881-1970)

Auction Date / Lot No.: 26 September 2016 / 16

Reserve: €4000

  • Signature: signed with monogram lower right
  • Medium: oil on canvas
  • Dimensions: 24 x 16in. (60.96 x 40.64cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • [TRADITIONAL]

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OLD WOMAN AND CLOCK
OLD WOMAN AND CLOCK
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 September 2016 / 31

Reserve: €5000

  • Signature: with artist's studio stamp on reverse
  • Medium: oil and ink on board
  • Dimensions: 8¾ x 8¾in. (22.23 x 22.23cm)
  • Provenance: 'The Colin Middleton Studio Sale', Christie's, 4 October 1985, lot 197; Private collection
  • Exhibited
  • Literature
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STUDIES FOR WOMEN OF BELFAST SERIES (SET OF FIVE) 1973
STUDIES FOR WOMEN OF BELFAST SERIES (SET OF FIVE) 1973
Frederick Edward McWilliam RA HRUA (1909-1992)

Auction Date / Lot No.: 26 September 2016 / 48

Reserve: €8000

  • Signature: each signed and dated lower right
  • Medium: ink and watercolour; (5); (two of three framed uniformly)
  • Dimensions: 11 x 15½in. (27.94 x 39.37cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature: The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.114 (similiar studies from this series)
  • Dimensions of framed examples given. Sizes of other works: 11.75 by 16.5in, 8.25 by 11in. and 7.75 by 11in. [ABSTRACTS]

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OCTOBER AND BLACK, 1983
OCTOBER AND BLACK, 1983
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 26 September 2016 / 60

Reserve: €5000

  • Signature: with artist's initials in the weave lower left; titled on reverse
  • Medium: Gobelin style woven tapestry
  • Dimensions: 57 x 35in. (144.78 x 88.90cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Around 1983 George McClelland approached Wexford weaver Terry Dunne to create five unique tapestries based on original artworks by Tony O'Malley from his collection. According to Dunne, these tapestries were originally intended for inclusion in the artist's Arts Council Retrospective in 1984 however this idea was never realised. Instead the artworks remained in the McClelland private collection unseen by the public until now. We are grateful to Terry Dunne for his kind assistance in cataloguing these works. Dunne continues his successful practice in County Wexford and has since produced commissioned pieces for O'Malley's wife Jane, Michael Smurfit & The K Club, Co. Kildare, Monaghan Cathedral, Dublin City University, Irish Life Beresford Place, Dublin and Green Isle Foods among others. For further reading see: www.terrytheweaver.ie Tony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now . In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past. The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval. The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below. Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality. Vera Ryan August 2016 1 The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 [ABSTRACTS]

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STUDIO AND PAPMAN HEAD, 1979
STUDIO AND PAPMAN HEAD, 1979
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 26 September 2016 / 62

Reserve: €6000

  • Signature: signed lower right; dated [11/79] right centre; titled lower left
  • Medium: gouache and pastel on card
  • Dimensions: 20¼ x 30½in. (51.44 x 77.47cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Tony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now . In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past. The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval. The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below. Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality. Vera Ryan August 2016 1 The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 [ABSTRACTS]

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

Auction Date / Lot No.: 26 September 2016 / 65

Reserve: €6000

  • Signature: initialled lower right; dated [3/80] lower left; signed, dated and titled upper right
  • Medium: gouache, pastel and watercolour on card
  • Dimensions: 20¼ x 30½in. (51.44 x 77.47cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Tony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now . In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past. The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval. The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below. Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality. Vera Ryan August 2016 1 The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 [ABSTRACTS]

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PORTRAIT OF AN ELDERLY LADY, c.1904-1905
PORTRAIT OF AN ELDERLY LADY, c.1904-1905
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 26 September 2016 / 80

Reserve: €10000

  • Signature: signed lower left
  • Medium: charcoal
  • Dimensions: 21½ x 15in. (54.61 x 38.10cm)
  • Provenance
  • Exhibited
  • Literature
  • Almost certainly drawn for the newspaper, To-day's 'Types' series which Henry worked on in 1904-5. In 1902 Ladbroke Black, a close friend of Henry's, left the Morning Leader and joined the weekly journal To-day as joint editor with Frank Rutter. Founded in 1893 by the novelist and playwright Jerome K. Jerome (1859-1927), To-day had a literary bias and therefore scope for original illustrations. Black gathered around him on the paper a number of friends, including Paul Henry, Robert Lynd and Walter Riddall, and so gradually the mantle of To-day was cast over them all. Paul Henry did illustrations, Lynd contributed essays, criticism and gossip, and Riddall wrote short sketches and book reviews. For his contributions Lynd was paid thirty shillings a week, so presumably Paul Henry earned a similar amount, an adequate wage by Edwardian standards. In the autumn of 1904 Henry began a series of illustrations called 'Types', for To-day. The Unfortunate, a drawing of an elderly pauper reading a paper by the Thames embankment at dusk first appeared on 5 October 1904, and was followed by The Grandmother (2 November), The Stick-Gatherer (9 November), The Ballad Singer (16 November), The Crank (23 November) and others. All of these drawings show Henry's debt to Whistler, his former teacher in Paris, and, indeed that he continued to admire Whistler is evident from his attendance at the latter's funeral on 23 July 1903. Henry's spell of full-time employment on To-day ended about 1905. This may have had something to do with Frank Rutter's leaving the paper to become art critic for the Sunday Times or, perhaps more likely, Paul simply grew tired of the repetitive routine, for throughout his life he disliked working to order. In any case he now began to work for a number of clients. Portrait of an Elderly Lady must date from about 1904-5, although its date of likely publication in To-day is not known. It is numbered 110A in S. B. Kennedy's ongoing cataloguing of Henry's oeuvre, and is similar in style to his Head of a Woman, also of c. 1904-5, reproduced in Kennedy, 2007, number 126, p. 125. Dr S.B. Kennedy August, 2016

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LADIES ON A BEACH
LADIES ON A BEACH
George Russell ("Æ") (1867-1935)

Auction Date / Lot No.: 26 September 2016 / 82

Reserve: €6000

  • Signature: signed in monogram lower left
  • Medium: oil on canvas
  • Dimensions: 14 x 20in. (35.56 x 50.80cm)
  • Provenance: Gorry Gallery, Dublin; Private collection
  • Exhibited
  • Literature
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CHILDREN AND WOMEN WITH PARASOLS
CHILDREN AND WOMEN WITH PARASOLS
George Russell ("Æ") (1867-1935)

Auction Date / Lot No.: 26 September 2016 / 83

Reserve: €5000

  • Signature: signed with monogram lower right; with Victor Waddington Galleries label on reverse
  • Medium: oil on canvas
  • Dimensions: 18 x 24in. (45.72 x 60.96cm)
  • Provenance: Victor Waddington Galleries, Dublin; Private collection
  • Exhibited
  • Literature
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AFTER THE BLITZ BELFAST
AFTER THE BLITZ BELFAST
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 September 2016 / 88

Reserve: €12000

  • Signature
  • Medium: oil on canvas laid board
  • Dimensions: 12 x 15in. (30.48 x 38.10cm)
  • Provenance: Family of the artist
  • Exhibited
  • Literature
  • Gerard Dillon's paintings of war-torn Belfast were among those exhibited at his first exhibition held in Dublin and opened by Mainie Jellett at the Country Shop in St. Stephen's Green on 23 February 1942. James White describes how Jellett, "… recognised his possibilities. She instantly responded to his sincerity and intensity and his uncompromising manner of expressing his distaste for photographic representation."(1) In her opening address Jellett pointed out, "… what courage a young man required 'to launch out on a painting career at a time like this, with the forces of destruction rampant, whilst the forces of construction were struggling for life'. Among the works on this theme shown in Dublin were: Result of a Raid, Bombed Street and Blitzed Landscape. White continues, 'All of his pictures produced at this time reflect his gift of reportage, combined with his eye for significant shapes, both of people and places...'. (2) The Belfast Blitz comprised four attacks by the German Luftwaffe on strategic targets in the city in April and May 1941 during World War II. In the present example Dillon paints his emotional response to the destruction of the city seen in the crumbling red bricked walls, rubble and toppling electricity wire. The dark figures of the shawled women and the bleakness of the almost post-apocalyptic scene are highlighted by the inclusion of a small boy dressed in a red cap and coat holding his mother's hand. The green, white and orange (tricolour) painted against the exposed end wall in the top right of the composition provides the only other source of colour and is perhaps a nod to Dillon's Catholic Nationalist upbringing and the area of Belfast depicted. 1. White, James, Gerard Dillon, An Illustrated Biography, Wolfhound Press, Dublin, 1994, p.41 2. Ibid., p.41

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ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD, ACT 1, 'RISING UP IN THE RED DAWN...'
ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD, ACT 1, 'RISING UP IN THE RED DAWN...'
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 26 September 2016 / 93

Reserve: €14000

  • Signature: signed in Irish lower right; signed again and dated Aibrean [April] 1922 on reverse
  • Medium: oil on canvas
  • Dimensions: 30 x 25in. (76.20 x 63½cm)
  • Provenance: Acquired at the Dawson Gallery, Dublin, early 1950s; Thence by family descent to the previous owner; Whyte's, 30 April 2007, lot 90; Private collection; Whyte's, 30 May 2011, lot 37; Private collection
  • Exhibited
  • Literature: Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
  • Seán Keating has become synonymous with the west of Ireland in general, and with the Aran Islands in particular. His association with the western seaboard began as early as 1913 and was further emphasised through a series of self-portraits for which the artist dressed in Aran clothing. There is no evidence that Keating ever met John Millington Synge, but in 1917 the artist exhibited a painting in the RHA titled The Outlandish Lovers, which was inspired by The Playboy of the Western World. Synge's nephew, known as 'Hutchie', approached Keating in 1922 with a commission to paint twelve illustrations for a proposed deluxe volume of The Playboy of the Western World. In the event, ten of the twelve images were published. Sir John Lavery was called upon to inspect the first four illustrations. Lavery was greatly impressed by the realism, colour and artistic invention in the work, and he considered them of great importance to the craft of book illustration in Ireland at that time. The full set of paintings was to have been ready in 1926, but a delay on Keating's part meant that the book was finally published as a numbered series of one thousand copies in 1927. The publication has since become a collectors' item. It was an important and prestigious commission, and Keating took his role as an illustrator of Synge's work very seriously. As if to expand on Synge's story, Keating chose scenes from the play that, for the most part, are not seen on stage. Perhaps most interesting of all is that Keating himself makes an appearance in the images as Christy Mahon's father. Proving his commitment to the commission, the artist even posed entirely nude for the scene in which Christy's father apparently awakes from the 'dead' (lot 93). It is the only instance of a nude portrait of the artist in his entire career. In order to plan the compositions in great detail Keating undertook a series of photographs using models from the school of art. He may also have taken sketches at the theatre because many of the actors of the day appear in the illustrations. Sara Allgood, sister of Molly for whom the role was originally written, appeared as Pegeen Mike in a production of The Playboy of the Western World staged in 1924. The features of the female model wrapping bandages around Christie's head are very similar to Sara's, but in this instance she is now the Widow Quin. Barry Fitzgerald and F. J. McCormack, who took part in that same production in 1924, also make an appearance in Keating's illustrations as 'the hairy gallant fellows'. From 1926 until circa 1936 the role of Pegeen Mike was played by Eileen Crowe, who makes an appearance in Keating's work in the guise of 'Helen of Troy', while a cast of likely-looking prophets, or Abbey actors, appear behind 'the bars of paradise' in order to get a look at her. The artist makes another appearance as the figure to the left of the group of prophets. Once the publishers had reproduced the images to the required scale, the original paintings were returned to the artist who exhibited them in various venues in the late 1920s. They are an unusual, witty and yet contextually important series of works that signal the nature and extent of the interconnection between the visual arts and literature in the early years of the Irish Free State. Dr Éimear O'Connor HRHA Author of Seán Keating: Art, Politics and Building the Irish Nation (Kildare: Irish Academic Press, 2013)

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ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - 'HELEN AND THE HOLY PROPHETS'
ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - 'HELEN AND THE HOLY PROPHETS'
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 26 September 2016 / 94

Reserve: €18500

  • Signature: signed lower right; numbered [5] on reverse
  • Medium: oil on panel
  • Dimensions: 36 x 29½in. (91.44 x 74.93cm)
  • Provenance: Acquired at the Dawson Gallery, Dublin, early 1950s; Thence by family descent to the previous owner; Whyte's, 30 April 2007, lot 90; Private collection; Whyte's, 30 May 2011, lot 35; Private collection
  • Exhibited
  • Literature: Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
  • Seán Keating has become synonymous with the west of Ireland in general, and with the Aran Islands in particular. His association with the western seaboard began as early as 1913 and was further emphasised through a series of self-portraits for which the artist dressed in Aran clothing. There is no evidence that Keating ever met John Millington Synge, but in 1917 the artist exhibited a painting in the RHA titled The Outlandish Lovers, which was inspired by The Playboy of the Western World. Synge's nephew, known as 'Hutchie', approached Keating in 1922 with a commission to paint twelve illustrations for a proposed deluxe volume of The Playboy of the Western World. In the event, ten of the twelve images were published. Sir John Lavery was called upon to inspect the first four illustrations. Lavery was greatly impressed by the realism, colour and artistic invention in the work, and he considered them of great importance to the craft of book illustration in Ireland at that time. The full set of paintings was to have been ready in 1926, but a delay on Keating's part meant that the book was finally published as a numbered series of one thousand copies in 1927. The publication has since become a collectors' item. It was an important and prestigious commission, and Keating took his role as an illustrator of Synge's work very seriously. As if to expand on Synge's story, Keating chose scenes from the play that, for the most part, are not seen on stage. Perhaps most interesting of all is that Keating himself makes an appearance in the images as Christy Mahon's father. Proving his commitment to the commission, the artist even posed entirely nude for the scene in which Christy's father apparently awakes from the 'dead.' It is the only instance of a nude portrait of the artist in his entire career. In order to plan the compositions in great detail Keating undertook a series of photographs using models from the school of art. He may also have taken sketches at the theatre because many of the actors of the day appear in the illustrations. Sara Allgood, sister of Molly for whom the role was originally written, appeared as Pegeen Mike in a production of The Playboy of the Western World staged in 1924. The features of the female model wrapping bandages around Christie's head are very similar to Sara's, but in this instance she is now the Widow Quin. Barry Fitzgerald and F. J. McCormack, who took part in that same production in 1924, also make an appearance in Keating's illustrations as 'the hairy gallant fellows'. From 1926 until circa 1936 the role of Pegeen Mike was played by Eileen Crowe, who makes an appearance in Keating's work in the guise of 'Helen of Troy', while a cast of likely-looking prophets, or Abbey actors, appear behind 'the bars of paradise' in order to get a look at her (lot 94). The artist makes another appearance as the figure to the left of the group of prophets. Once the publishers had reproduced the images to the required scale, the original paintings were returned to the artist who exhibited them in various venues in the late 1920s. They are an unusual, witty and yet contextually important series of works that signal the nature and extent of the interconnection between the visual arts and literature in the early years of the Irish Free State. Dr Éimear O'Connor HRHA Author of Seán Keating: Art, Politics and Building the Irish Nation (Kildare: Irish Academic Press, 2013)

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COCO THE CLOWN
COCO THE CLOWN
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 26 September 2016 / 103

Reserve: €3000

  • Signature: signed with dedication [to Martin] lower right; with Bell Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 22½ x 12¾in. (57.15 x 32.39cm)
  • Provenance: Bell Gallery, Belfast; Private collection; Christie's, 9 May 1996, lot 137; Private collection
  • Exhibited
  • Literature
  • Nicolai Poliakoff (1900-1974) was the creator of Coco the Clown, the most famous circus clown in Britain and Ireland in the mid 20th century , touring mainly with the Bertram Mills Circus. [ABSTRACTS]

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ABSTRACT
ABSTRACT
Patrick Scott HRHA (1921-2014)

Auction Date / Lot No.: 26 September 2016 / 106

Reserve: €3000

  • 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: Hamilton Osborne King, 29 November 2004, lot 199; Private collection
  • Exhibited
  • Literature
  • [ABSTRACTS]

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FOOT
FOOT
Barrie Cooke HRHA (1931-2014)

Auction Date / Lot No.: 26 September 2016 / 107

Reserve: €8000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 72 x 98in. (182.88 x 248.92cm)
  • Provenance: A commission from the previous owner; From whom privately purchased the present owner
  • Exhibited
  • Literature
  • The present work was inspired by the skeleton of ahuman foot. The model skeleton was supplied by the patron for this special commission. [ABSTRACTS]

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EIGHT IRISH WRITERS [1981]
EIGHT IRISH WRITERS [1981]
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 26 September 2016 / 114

Reserve: €6000

  • Signature: inscribed [To Francis Stuart, 'with deep admiration and best wishes', Louis le Brocquy, XI 1981] on title page; numbered in red on editions page; each signed and numbered in pencil in the lower margin
  • Medium: collotype lithographs; (8); (no. 12 from the 'Hors de Commerce' edition of 25); unframed, in the original linen folio case
  • Dimensions: 13¾ x 11in. (34.93 x 27.94cm)
  • Provenance
  • Exhibited
  • Literature
  • A series of eight portraits depicting Yeats, Synge, Joyce, Beckett, Kinsella, Montague, Heaney and Stuart, accompanied by a poem by each respective author, a biographical note by Andrew Carpenter, and a preface by the late Seamus Heaney. The eight charcoal drawings were printed by collotype lithography at the Imprimerie Arte, Adrien Maeght, Paris, where the text was also printed. Presented in the original linen cased portfolio box made in Dublin by John F. Newman and Sons Ltd. Francis Stewart (1902-2000), whose portrait is included and to whom the artist pesonally inscribed this lot, was an Irish writer who spent much of the war years, 1939-1945, in Germany. His first wife was Iseult Gonne, Maud Gonne MacBride's daughter. He was elected a Saoi of Aosdána in 1996. He published over 30 works between 1923 and 1996. One hundred and twenty-five copies of this portfolio were produced. Those numbered H. C. (hors de commerce) 1-25 were for museum, library and private circulation. [ABSTRACTS]

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SUMMER AT THE COAST, 1988
SUMMER AT THE COAST, 1988
Mike Fitzharris (b.1952)

Auction Date / Lot No.: 26 September 2016 / 119

Reserve: €1000

  • Signature: signed and dated lower right; with artist's studio label on reverse
  • Medium: oil and graphite on board
  • Dimensions: 19¾ x 24½in. (50.17 x 62.23cm)
  • Provenance
  • Exhibited
  • Literature
  • [ABSTRACTS]

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VIEW OF THE SACRÉ-COEUR BASILICA, PARIS
VIEW OF THE SACRÉ-COEUR BASILICA, PARIS
Gladys Maccabe HRUA ROI FRSA (b.1918)

Auction Date / Lot No.: 26 September 2016 / 130

Reserve: €3000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 20 x 24in. (50.80 x 60.96cm)
  • Provenance: Taylor Gallery, Belfast; Private collection; Whyte's, 26 November 2012, lot 195; Whence purchased by the present owner
  • Exhibited
  • Literature
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STILL LIFE WITH FLOWERS AND BUST, 1989
STILL LIFE WITH FLOWERS AND BUST, 1989
Brian Ballard RUA (b.1943)

Auction Date / Lot No.: 26 September 2016 / 138

Reserve: €2000


CAMPING SCENE
CAMPING SCENE
Fergus O’Ryan RHA (1911-1989)

Auction Date / Lot No.: 26 September 2016 / 140

Reserve: €1000


WHEN THE WHINS ARE IN BLOOM, LOUGH ERNE, COUNTY FERMANAGH
WHEN THE WHINS ARE IN BLOOM, LOUGH ERNE, COUNTY FERMANAGH
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 26 September 2016 / 149

Reserve: €2500


COTTAGE AND TREES
COTTAGE AND TREES
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 September 2016 / 159

Reserve: €2500


OFF DUBLIN, 1858
OFF DUBLIN, 1858
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 26 September 2016 / 161

Reserve: €3000

  • Signature: signed and dated lower left; with ROSC '71 label on reverse
  • Medium: oil on canvas
  • Dimensions: 15¾ x 26¾in. (40.01 x 67.95cm)
  • Provenance
  • Exhibited
  • Literature
  • [ANTIQUE]

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DUTCH SAILING VESSELS (A PAIR)
DUTCH SAILING VESSELS (A PAIR)
George Mounsey Wheatley Atkinson (1806-1884)

Auction Date / Lot No.: 26 September 2016 / 163

Reserve: €8000


RIVER LANDSCAPE WITH A MOUNTED SOLDIER AND A RUSTIC WITH A COW
RIVER LANDSCAPE WITH A MOUNTED SOLDIER AND A RUSTIC WITH A COW
  18th / 19th Century English School

Auction Date / Lot No.: 26 September 2016 / 173

Reserve: €1800

  • Signature
  • Medium: oil on panel
  • Dimensions: 9¾ x 13½in. (24.77 x 34.29cm)
  • Provenance: Christie's, 18 May 2001, lot 131 (as the work of WIlliam Sadlier II); Private collection
  • Exhibited
  • Literature
  • [ANTIQUE]

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IRISH NOBLES (A PAIR)
IRISH NOBLES (A PAIR)
Anon.  

Auction Date / Lot No.: 26 September 2016 / 177

Reserve: €1000

  • Signature
  • Medium: watercolour on ivory; in oval green leather case; (pair)
  • Dimensions: 1¾ x 1½in. (4.45 x 3.81cm)
  • Provenance: Gorry Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • Believed to be from the County Clare or County Limerick area. [ANTIQUE]

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