29 May 2017

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BEMBRIDGE, ISLE OF WIGHT, 1902
BEMBRIDGE, ISLE OF WIGHT, 1902
William Percy French (1854-1920)

Auction Date / Lot No.: 29 May 2017 / 2

Reserve: €3000


NEAR CLONBUR, COUNTY MAYO
NEAR CLONBUR, COUNTY MAYO
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 29 May 2017 / 4

Reserve: €1000


CATTLE BY A MOUNTAIN STREAM
CATTLE BY A MOUNTAIN STREAM
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 29 May 2017 / 7

Reserve: €3000

  • Signature: signed lower left; with illegible title on label on reverse
  • Medium: oil on board
  • Dimensions: 11¾ x 13½in. (29.85 x 34.29cm)
  • Provenance
  • Exhibited
  • Literature
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SALMON RUN, DINGLE PENINSULA, COUNTY KERRY, 1974
SALMON RUN, DINGLE PENINSULA, COUNTY KERRY, 1974
Maurice MacGonigal PRHA HRA HRSA (1900-1979)

Auction Date / Lot No.: 29 May 2017 / 11

Reserve: €3500

  • Signature: signed lower left; signed, titled and dated on reverse
  • Medium: oil on board
  • Dimensions: 20 x 24in. (50.80 x 60.96cm)
  • Provenance: Mealy's, 6 October 1998, lot 1412; Private collection
  • Exhibited
  • Literature
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FRANCIS VALERIO
FRANCIS VALERIO
Lady Beatrice Glenavy RHA (1881-1970)

Auction Date / Lot No.: 29 May 2017 / 13

Reserve: €2000

  • Signature: inscribed [DAF88] and numbered on side
  • Medium: bronze relief; (numbered 5 from 12)
  • Dimensions: 13¾ x 11¼in. (34.93 x 28.58cm)
  • Provenance
  • Exhibited
  • Literature
  • Cast ordered from the Dublin Art Foundry in 1988 by Alan Denson. Alan Denson, poet, author, art historian and close friend of Leech, was the author of An Irish Artist. W.J. Leech (1881-1968) published in two volumes in 1968 and 1969. It is possible that the plaster cast was in Leech's effects as he and Beatrice Elvery (later Lady Glenavy) were good friends and studied together at the Metropolitan School of Art under William Orpen. Beatrice Moss Elvery was born in 1883, the second daughter of the Dublin businessman, William Elvery, whose family owned Elvery's sports store in Wicklow Street, Dublin. She attended the Dublin Metropolitan School of Art where William Orpen (1878–1931) taught painting and later used Beatrice as a model. When Sarah Purser founded her studio An Túr Gloine (The Tower of Glass) in 1903, she invited Beatrice Elvery to be one of the designers.Beatrice married Charles Campbell, 2nd Baron Glenavy in 1912 and they settled in London, returning to their home in Sandycove, Co. Dublin at the end of the war when she then concentrated on painting. She also produced numerous illustrations for children's books. Francis Valerio was born to Italian parents in Dublin in 1884. He was a regular model at the Metropolitan school for, among others, John Hughes and Wiliam Orpen.

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LANDSCAPE
LANDSCAPE
Estella Frances Solomons HRHA (1882-1968)

Auction Date / Lot No.: 29 May 2017 / 14

Reserve: €800

  • Signature: titled and numbered [240/69] on reverse; also with typed Frederick Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 15 x 19in. (38.10 x 48.26cm)
  • Provenance: Frederick Gallery, Dublin; Private collection
  • Exhibited
  • Literature
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PORTRAIT OF LEE HANKEY
PORTRAIT OF LEE HANKEY
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 29 May 2017 / 20

Reserve: €2000

  • Signature: signed lower left; with typed Southgate Gallery label on reverse
  • Medium: pencil
  • Dimensions: 8 x 6in. (20.32 x 15.24cm)
  • Provenance: Southgate Gallery, Wolverhampton; Private collection
  • Exhibited
  • Literature
  • An impromptu sketch at a dinner party, drawn on the reverse of a dinner menu. William Lee Hankey (1869–1952) RWS RI ROI RE NS was a British painter and book illustrator. He specialised in landscapes, character studies and portraits of pastoral life, particularly in studies of mothers with young children. Hankey's black and white and coloured etchings of the people of Étaples, gained him a reputation as 'one of the most gifted of the figurative printmakers working in original drypoint during the first thirty years of the 20th century'

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"HARVEY"
John Butler Yeats RHA (1839-1922)

Auction Date / Lot No.: 29 May 2017 / 23

Reserve: €2000

  • Signature: inscribed lower right "Harvey"
  • Medium: pencil on card
  • Dimensions: 11¼ x 9in. (28.58 x 22.86cm)
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • Exhibited
  • Literature
  • Yeats was aquainted with two Havey brothers. The first was Arnold Harvey (1878-1966) who was a student of Divinity at Trinity College Dublin and who came to Coole Park as tutor to Robert Gregory (son of Lady Gregory). There he met various members of the Yeats family and became a particular friend of Jack and Cottie Yeats. He was an international rugby player and cricketer and later became Bishop of Cashel and Waterford from 1935 to 1958. Two descendants of Thomas Arnold Harvey do not think this portrait is of him. The other likely sitter is Sir Henry Paul Harvey (1869-1948) knighted in 1911, editor of the Oxford Companion to English Literature (1932), and the Oxford Companion to Classical Literature (1937). Henry Paul Harvey Durant (1869-1948) was the illegitimate child of the French sculptor Henri Triqueti and the English sculptor Susan Durant. After his mother died, he was brought up by Blanche Lee Childe, variously described as his aunt or his half-sister, and when Childe also died in 1886, he was sponsored by Augusta, Lady Gregory with help from Henry James. He spent some time at Coole where he would have met Yeats.

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KELP-BURNING, c.1905
KELP-BURNING, c.1905
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 29 May 2017 / 24

Reserve: €8000

  • Signature: signed lower right; inscribed on Dawson Gallery label on reverse
  • Medium: pen, ink and watercolour
  • Dimensions: 6¼ x 9¾in. (15.88 x 24.77cm)
  • Provenance: Dawson Gallery, Dublin; Private collection; Christie's, 4 November 1983, lot 56; Private collection
  • Exhibited
  • Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats, His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994, catalogue no. 704 (illustrated p.131)
  • From Pyle: 'In June 1905, J.M. Synge and Jack B. Yeats visited West Galway and Mayo to investigate the impoverished areas of Ireland in the care of the Congested Districts Board. Synge wrote twelve articles for the Manchester Guardian, and Yeats provided fifteen illustrations, one of which was 'Kelp-Burning'. The editor was impressed with the collaboration and invited Synge to do a further series on 'Irish Types', which Yeats might have illustrated, but the articles were never written.'

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BY MEMORY INSPIRED, 1909
BY MEMORY INSPIRED, 1909
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 29 May 2017 / 25

Reserve: €5000

  • Signature: signed lower right; with typed Waddington Gallery label on reverse
  • Medium: Indian ink
  • Dimensions: 5¾ x 4¼in. (14.61 x 10.80cm)
  • Provenance: Waddington Gallery, Montreal; Private collection
  • Exhibited
  • Literature: T. Kearney, By Memory Inspired, A Broadside No. 6, Second year, November 1909; Hilary Pyle, The Different Worlds of Jack B. Yeats, His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994, catalogue no. 1794
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ROWING THE BOAT
ROWING THE BOAT
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 29 May 2017 / 27

Reserve: €2000

  • Signature: signed lower right
  • Medium: crayon on paper mounted on board
  • Dimensions: 19¼ x 15¾in. (48.90 x 40.01cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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ACHILL FROM RENVYLE, CONNEMARA
ACHILL FROM RENVYLE, CONNEMARA
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 29 May 2017 / 31

Reserve: €3000

  • Signature: signed, titled and with artist's address [13 Stamer Street, Dublin] on reverse
  • Medium: watercolour
  • Dimensions: 9¾ x 13¾in. (24.77 x 34.93cm)
  • Provenance: A gift from the artist to the mother of the present owner
  • Exhibited
  • Literature
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PINK FARM BY RAILWAY BRIDGE, KILLARNEY, COUNTY KERRY, 1943
PINK FARM BY RAILWAY BRIDGE, KILLARNEY, COUNTY KERRY, 1943
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 29 May 2017 / 32

Reserve: €5000

  • Signature: signed and dated lower left; with Godolphin Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 10 x 13½in. (25.40 x 34.29cm)
  • Provenance: Godolphin Gallery, Dublin; Private collection; Whyte's, 19 November 2001, lot 70; Private collection
  • Exhibited
  • Literature
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RIVER LAGAN AT SHAW'S BRIDGE
RIVER LAGAN AT SHAW'S BRIDGE
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 29 May 2017 / 44

Reserve: €4000

  • Signature: signed lower right; inscribed [Lagan] on reverse
  • Medium: oil on canvas
  • Dimensions: 16 x 12in. (40.64 x 30.48cm)
  • Provenance: H.O.K., 30 May 2005, lot 90; Private collection
  • Exhibited
  • Literature
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EVENING SUN, 1953
EVENING SUN, 1953
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 29 May 2017 / 46

Reserve: €10000

  • Signature: signed lower centre; signed with monogram, titled, dated and numbered [166] on reverse
  • Medium: oil on canvas
  • Dimensions: 9¾ x 13¾in. (24.77 x 34.93cm)
  • Provenance: Adam's, 13 October 2010, lot 20; Private collection
  • Exhibited
  • Literature
  • In January 1953 Colin Middleton moved with his family from Ardglass to Bangor and Evening Sun was painted that autumn. Despite being described at the beginning of that year by G.S. Whittet in The Studio as "without doubt one of the few Irish painters who can claim more than a local significance", Middleton was struggling at this time with various practical and financial problems, although this is certainly not apparent in many of the landscapes of the period, which are painted with a dynamic intensity and vibrancy and a glowing palette. Evening Sun is one of a number of paintings from the early 1950s of harvested fields, taking the repeated shapes of corn stooks across the landscape to create a rhythmic abstract pattern. These euphoric landscapes are, however, more than a record of the lush farmland of County Down; Middleton himself discussed using wheat, oats and barley within his painting as spiritually significant metaphors relating to the Old Testament. Dickon Hall May 2017

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RECLINING NUDE
RECLINING NUDE
Henry Moore OM CH FBA (British, 1898-1986)

Auction Date / Lot No.: 29 May 2017 / 47

Reserve: €1000

  • Signature: signed lower right; numbered lower left
  • Medium: etching; (no. 42 from an edition of 50)
  • Dimensions: 14½ x 18½in. (36.83 x 46.99cm)
  • Provenance
  • Exhibited
  • Literature
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CRUCIFIXION: DROMORE, 1958
CRUCIFIXION: DROMORE, 1958
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 50

Reserve: €20000

  • Signature: signed and dated upper right
  • Medium: oil on canvas
  • Dimensions: 23½ x 17½in. (59.69 x 44.45cm)
  • Provenance: Collection of James Warwick, former Headmaster of Belfast College of Art; with the Ava Gallery, Belfast; Bonham's, 17 November 2014, lot 14; Private collection
  • Exhibited
  • Literature
  • Religious iconography or references within Irish art were not unusual in the post-war era; an exhibition organised around this time for the Liturgical Congress Committee in Limerick included work by Louis le Brocquy, Nano Reid, Evie Hone, Patrick Collins, Daniel O'Neill and Colin Middleton, amongst others, while the latter two were also among the artists included in an exhibition of religious art in the Ashley Gallery in London in 1950. Although Basil Blackshaw's Crucifixion, Dromore might recall le Brocquy's 1954 painting Lazarus, one could also relate it to a British tradition of mysticism, continued by artists such as Stanley Spencer into the twentieth century, with Blackshaw locating the Crucifixion within the specific landscape in which he worked at the time and noting the significance of the place within the title. In the present work the Crucifixion itself is almost separated from the landscape, which it bisects, placed in a shallow foreground space on the same plane as the canvas, with a fertile valley spreading away past a cluster of buildings towards distant hills. The treatment of the landscape, with its pale tonality and occasional passages of impasto, is typical of Blackshaw at this period. The subject of the Crucifixion was addressed by a number of artists in the post-war era, finding in it a universal image of suffering but also of hope, redemption and regeneration. While Blackshaw's intentions seem to remain unclear to the viewer, the painting takes on an emotional weight and a sense of mystery and it can be seen very much as a work of its time. Dickon Hall May 2017

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UNTITLED, 1958
UNTITLED, 1958
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 29 May 2017 / 53

Reserve: €6000

  • Signature: signed and dated upper right
  • Medium: oil on brown Kraft paper
  • Dimensions: 19¼ x 29¾in. (48.90 x 75.57cm)
  • Provenance
  • Exhibited
  • Literature
  • In 1958, Camille Souter was awarded an Italian Government travel scholarship of 240.000 lire. It was not a fantastically large sum but she also sold a large number of works through the office of Dr. Michael Scott of Scott Tallon Walker Architects that helped to finance a trip to Italy. Souter would spend most of her time in the Veneto region, arriving in the fishing port of Chioggia on 25 September. After a couple of weeks living on the Calle Olivotti, she moved to a family owned farm in nearby Sottomarina. Even with the benefit of a scholarship, times were tough. It is telling that the owners of the farm referred to her as “povera Camille” or “poor Camille”. This work was almost certainly painted during, or shortly after, Souter’s Italian sojourn. Like many of her early works, it makes use of relatively cheap non-traditional materials. It has been painted on brown Kraft paper and employs relatively simplified pared down graphic elements - black lines over a lightly textured ochre background. As is often the case with Souter’s early paintings, the subject matter is not immediately obvious. This does not mean that it is a non-representational “abstract” painting as artists such as Wassily Kandinsky understood the term. All of Souter’s paintings are representational. Some, such as this work, use more symbolic forms. They operate in a manner similar to signs and are intended to signify something experienced personally. It is difficult to be certain what is signified in this instance; however there is a deliberate structure to the lines in the painting that is suggestive of a boat in a channel of water. The diagonal and vertical lines almost appear to mimic the movement of a pole propelling a gondola. It is pushed vertically downward. The point of contact on the canal bed moves away from the back of gondola as the vessel is driven forward. The pole is then lifted upward out of the water before the process repeated. It moves from close to vertical to diagonal with each stroke. The two horizontals, to my mind, may delineate the edge of a canal. This is a very modern approach to painting. The geometry or perspective is psychological and non-Euclidean. We are not being presented with a single instant isolated in space and time but a sequence of movements. Souter would adopt a similar approach in several of her paintings during the fifties. One need only look to The Chess Game, Cycling to Chioggia and Buon Divertimento for examples. The latter two paintings were also produced in 1958 during Souter’s stay in Italy. Garrett Cormican

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JAPANESE COMPOSITION II, 1956
JAPANESE COMPOSITION II, 1956
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 29 May 2017 / 54

Reserve: €6000

  • Signature: signed and dated lower centre
  • Medium: watercolour and gouache on Japanese tissue
  • Dimensions: 14½ x 19¼in. (36.83 x 48.90cm)
  • Provenance: Collection of Sir Basil Goulding; His Estate sale, Taylor Galleries, 1982; Private collection
  • Exhibited
  • Literature: Camille Souter, The Mirror And The Sea by Garret Cormican, published by Whyte's Dublin, 2006, catalogue no. 28, p. 216 (illustrated p. 218)
  • According to the artist the composition was actually based on Chinese script and the title 'Japanese Composition' was not given by her to the two works by that name.

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WOMAN STANDING [ELONGATED FIGURE], 1955
WOMAN STANDING [ELONGATED FIGURE], 1955
Frederick Edward McWilliam RA HRUA (1909-1992)

Auction Date / Lot No.: 29 May 2017 / 57

Reserve: €25000

  • Signature: signed with initials on base
  • Medium: bronze; (unique)
  • Dimensions: 23¾ x 6 x 4in. (60.33 x 15.24 x 10.16cm)
  • Provenance: Collection of Peter Barker Mill; Grosvenor Gallery, London; Private collection
  • Exhibited
  • Literature: Denise Ferran, F.E. McWilliam at Banbridge, F.E. McWilliam Gallery, Banbridge, 2008, p.50 (illustrated)
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FRUIT ON A WINDOWSILL, 1965
FRUIT ON A WINDOWSILL, 1965
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 60

Reserve: €1000

  • Signature: signed with initials lower right; titled and dated [Nov 21] lower left; with Taylor Galleries label on reverse
  • Medium: conté
  • Dimensions: 9¼ x 12½in. (23½ x 31¾cm)
  • Provenance: Taylor Galleries, Dublin; Private collection
  • Exhibited
  • Literature
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BAHAMAS SERIES: OUTDOOR STUDIO NO.1 [NASSAU], 1979
BAHAMAS SERIES: OUTDOOR STUDIO NO.1 [NASSAU], 1979
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 68

Reserve: €12000

  • Signature: signed with initials lower right; signed, titled, dated and numbered on reverse
  • Medium: oil on board
  • Dimensions: 48 x 34½in. (121.92 x 87.63cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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OLD FIELD, CARBINE BRIDGE, CALLAN, COUNTY KILKENNY, 1979
OLD FIELD, CARBINE BRIDGE, CALLAN, COUNTY KILKENNY, 1979
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 May 2017 / 71

Reserve: €12000

  • Signature: signed, titled, dated and numbered on reverse
  • Medium: oil on board
  • Dimensions: 36¼ x 47½in. (92.08 x 120.65cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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STUDY TOWARDS AN IMAGE OF W.B. YEATS, 1977
STUDY TOWARDS AN IMAGE OF W.B. YEATS, 1977
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29 May 2017 / 77

Reserve: €5000

  • Signature: signed and dated lower left; signed, titled, dated and numbered [243] on reverse
  • Medium: charcoal
  • Dimensions: 8½ x 7in. (21.59 x 17.78cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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STUDY TOWARDS AN IMAGE OF W.B. YEATS, 1975
STUDY TOWARDS AN IMAGE OF W.B. YEATS, 1975
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29 May 2017 / 78

Reserve: €5000

  • Signature: signed and dated lower left; inscribed on Dawson Gallery label on reverse
  • Medium: charcoal
  • Dimensions: 8½ x 6¾in. (21.59 x 17.15cm)
  • Provenance: Dawson Gallery, Dublin; Collection of Dr & Mrs J.B. Kearney; Adam's, 4 December 2007, lot 2; Private collection
  • Exhibited
  • Literature
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EIGHT IRISH WRITERS [1981]
EIGHT IRISH WRITERS [1981]
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 29 May 2017 / 80

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 Stuart (1902-2000), whose portrait is included and to whom the artist personally 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.

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HOUSE
HOUSE
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 82

Reserve: €2000

  • Signature: signed lower left
  • Medium: oil and pencil on canvas
  • Dimensions: 8¾ x 11½in. (22.23 x 29.21cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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NAPKIN, 1972
NAPKIN, 1972
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 29 May 2017 / 84

Reserve: €2500

  • Signature: signed and dated lower right
  • Medium: oil on paper laid on board
  • Dimensions: 16 x 12in. (40.64 x 30.48cm)
  • Provenance: A gift from the artist to the mother of the present owner
  • Exhibited
  • Literature
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TWO TREES
TWO TREES
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 86

Reserve: €3000

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 11½ x 11½in. (29.21 x 29.21cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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PINK HOUSE
PINK HOUSE
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 87

Reserve: €10000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 19½ x 15½in. (49.53 x 39.37cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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THE BOXER
THE BOXER
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 89

Reserve: €10000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 24 x 24in. (60.96 x 60.96cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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GREY VAN
GREY VAN
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 90

Reserve: €5000

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 11 x 15¼in. (27.94 x 38.74cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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NUDE
NUDE
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 29 May 2017 / 92

Reserve: €6000

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 18¾ x 13¼in. (47.63 x 33.66cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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WOMEN GIVING BIRTH TO MEN, 2001-2003 (SET OF FORTY)
WOMEN GIVING BIRTH TO MEN, 2001-2003 (SET OF FORTY)
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 29 May 2017 / 93

Reserve: €20000

  • Signature
  • Medium: pastel; (40)
  • Dimensions: 37½ x 24½in. (95¼ x 62.23cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature: Brian Bourke, Five Decades, 1960s-2000s, The Lilliput Press, Dublin, 2010, pps.79-83 (illustrated)
  • Bourke has repeatedly turned to women as subjects for his paintings and something about the female body certainly lends itself to the sinuous and expressively seductive shapes that we associate with this artist's work. However, while most of his portraits are based on specific women, the important series of paintings called Women Giving Birth to Men depicts women in a more generic way. Because of the ease that comes from Bourke's natural technical virtuosity, he tries to avoid complacency. His brings the female figure into a territory devoid of sentimentality, comfort and prettiness. In this series of paintings he deliberately challenges the viewer to make sense of the subject. The women are in pairs or in larger groups and are interacting so casually that, rather than giving birth, they seem more like women out on a shopping spree. There certainly is a very 'clubby' feel to their interaction. As for giving birth, there is certainly no evidence of any pain on the part of these women, but rather on the howling and terrified faces of the men. It is obvious from the way Bourke handles the subject (nothing literal about the way he paints it) that birth really isn't the subject at all. More likely, he's dealing with the relationship between men and women or, more particularly, between himself and women. If this is the case, he seems to feel more than a little isolated and hard done by. In this series the theme of self-mockery and dislocation which threads itself in and out of Bourke's work over the years has emerged full-blown. These pastels have tremendous visual presence, full of the energy and flamboyance that makes Bourke's work so appealing and immediately recognisable. He pushes colour to its limits with wild pulsating backgrounds and exaggerated intensity; his subjects are reshaped to the rhythms of his sinuous line. Anyone looking at these paintings cannot fail to recognise the unique and identifiable imprint of the artist. Dr. Frances Ruane HRHA April 2017

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SORRENTO TERRACE, DALKEY, COUNTY DUBLIN
SORRENTO TERRACE, DALKEY, COUNTY DUBLIN
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 29 May 2017 / 94

Reserve: €1500


MIR BALL  I, 2007
MIR BALL I, 2007
Ulrich Vogl (b.1973)

Auction Date / Lot No.: 29 May 2017 / 105

Reserve: €5000

  • Signature
  • Medium: Scratched out drawing in enamel on glass with diffraction curtain
  • Dimensions: 63 x 55in. (160.02 x 139.70cm)
  • Provenance: Kevin Kavanagh Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • Behind the pane of glass is a glittering curtain that moves with the air stream. Ulrich Vogl lives and works in Berlin. He has studied his craft widely: 1996-1999, Akademie der Bildenden KünsteIn, Munich; 1999-2002, Universität der Künste, Berlin, Meisterschüler Dieter Appelt (MA); 2003-2004, School of Visual Arts New York. He was artist in residence at the Irish Museum of Modern Art in 2008, where he exhibited in the Process Room. He also had residencies at Artport, Tel Aviv and Fondazione Viafarini, Milan. Vogl has had many solo exhibitions from 2005 to date in Berlin, Bremen, Milan, Dublin (Kevin Kavanagh Gallery), Stavanger and Tel Aviv. He has also secured commissions to produce public installations in Germany, Italy and Norway.

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RAG TREE SERIES, 2003 (A PAIR);
RAG TREE SERIES, 2003 (A PAIR);
Abigail O'Brien RHA (b.1957)

Auction Date / Lot No.: 29 May 2017 / 106

Reserve: €5000

  • Signature
  • Medium: Lambdachrome colour prints; (2); (from an edition of 3)
  • Dimensions: 39½ x 39½in. (100.33 x 100.33cm)
  • Provenance
  • Exhibited
  • Literature
  • These examples are nos.8 and 9 from a series of 13. Abigail O’Brien’s work employs many media including photography, sculpture, Video, sound and hand-made embroidered objects. Her work explores themes such as ritual, rites of passage and the domestic realm. O’Brien’s work is in private and public collections including, The Irish Museum of Modern Art, Dublin, The Caldic Collection, Rotterdam, The Museum of Modern Art, Vienna, The Gemeentemuseum, Holland and Centro National de las Artes, Mexico. Born in 1957, she received her MA Fine Art Painting from The National College of Art and Design, Dublin in 1998. O’Brien is a member of The Royal Hibernian Academy in Dublin and the current Secretary.

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UNTITLED, 1825
UNTITLED, 1825
William Grattan (fl.1809-1821)

Auction Date / Lot No.: 29 May 2017 / 116

Reserve: €800

  • Signature: signed, dated and inscribed [London] on reverse
  • Medium: watercolour
  • Dimensions: 3¼ x 4in. (8.26 x 10.16cm)
  • Provenance
  • Exhibited
  • Literature
  • William Grattan was born circa 1792, the younger brother of George Grattan. Strickland notes the "careful and laboured" nature of Grattan's work, which earned the artist a medal at the RDS Drawing School for four consecutive years, 1801-1804. He exhibited landscapes and figure subjects at the Artists' Exhibitions in Dublin in 1809, 1810, 1811, 1812 and 1815. In 1818 he wrote and published a pamphlet, "Patronage Analysed," addressed to the "Royal Irish Institution for the Encouragement of the Fine Arts in Ireland." In this he concludes by saying: "The painters of this country, owing to the great want of patronage, are obliged to desert the higher walks of the profession for whatever employment in the arts the fleeting taste of the moment may proffer." This is hislatest recorded work, but the date of his death is not known.

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THE COUNT (PROPERTY OF S.A. ROBERTS ESQ., BURLINGTON ROAD)
THE COUNT (PROPERTY OF S.A. ROBERTS ESQ., BURLINGTON ROAD)
William Osborne RHA (1823-1901)

Auction Date / Lot No.: 29 May 2017 / 120

Reserve: €4000

  • Signature: signed with monogram lower right; inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 20 x 27in. (50.80 x 68.58cm)
  • Provenance: Whyte's, 26 April 2005, lot 123; Private collection
  • Exhibited
  • Literature
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MOUNTAIN LANDSCAPE, COUNTY DONEGAL
MOUNTAIN LANDSCAPE, COUNTY DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 29 May 2017 / 126

Reserve: €2000


QUIET POOL, NEAR CLIFDEN, CONNEMARA
QUIET POOL, NEAR CLIFDEN, CONNEMARA
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 29 May 2017 / 128

Reserve: €3000


NEAR MULROY BAY, COUNTY DONEGAL
NEAR MULROY BAY, COUNTY DONEGAL
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 29 May 2017 / 132

Reserve: €2000


THE LAKE AT BLESSINGTON, COUNTY WICKLOW
THE LAKE AT BLESSINGTON, COUNTY WICKLOW
Fergus O'Ryan RHA ANCA (1911-1989)

Auction Date / Lot No.: 29 May 2017 / 134

Reserve: €800


NORFOLK BROADS
NORFOLK BROADS
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 29 May 2017 / 139

Reserve: €4000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 19 x 29in. (48.26 x 73.66cm)
  • Provenance
  • Exhibited
  • Literature
  • We are grateful to the artist for his assistance in cataloguing this painting. An exhibition celebrating Kenneth Webb's 90th birthday will be held at Gladwell & Patterson's gallery, London from 12 May to 12 June 2017. An exhibition of works by Kenneth and Susan Webb will take place at the Kenny Gallery, Galway from 21 July 2017.

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CONNEMARA PONIES
CONNEMARA PONIES
Susan Mary Webb (b.1962)

Auction Date / Lot No.: 29 May 2017 / 140

Reserve: €800

  • Signature: signed lower left; titled on Blue Door Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 24 x 36in. (60.96 x 91.44cm)
  • Provenance
  • Exhibited
  • Literature
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ARTIST'S STUDIO
ARTIST'S STUDIO
Thomas Ryan PPRHA (b.1929)

Auction Date / Lot No.: 29 May 2017 / 145

Reserve: €1500

  • Signature: signed lower right and on reverse
  • Medium: oil on canvas
  • Dimensions: 19½ x 23½in. (49.53 x 59.69cm)
  • Provenance
  • Exhibited
  • Literature
  • This scene was staged in the loft of St. Mary's Pro-Cathedral, Dublin.

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POWER'S BROWN BOTTLE, 2007
POWER'S BROWN BOTTLE, 2007
Mark O'Neill (b.1963)

Auction Date / Lot No.: 29 May 2017 / 154

Reserve: €2000

  • Signature: signed and dated lower right; titled on reverse
  • Medium: oil on board
  • Dimensions: 20¼ x 15in. (51.44 x 38.10cm)
  • Provenance: K Gallery, Cork; Private collection
  • Exhibited
  • Literature
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TWO FISH and THE DROWNED YACHT (A PAIR)
TWO FISH and THE DROWNED YACHT (A PAIR)
John Ryan RHA (1925-1992)

Auction Date / Lot No.: 29 May 2017 / 157

Reserve: €1500

  • Signature: both signed lower left; one titled on reverse
  • Medium: oil on board; (2)
  • Dimensions: 10½ x 14½in. (26.67 x 36.83cm)
  • Provenance
  • Exhibited
  • Literature
  • Dimensions of second work: 11.5 by 8.5in.

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FAILING HANDS, FAILING HOPE, 1994
FAILING HANDS, FAILING HOPE, 1994
Noel Murphy (b.1970)

Auction Date / Lot No.: 29 May 2017 / 163

Reserve: €3500

  • Signature: signed and dated lower right; titled on reverse
  • Medium: oil on canvas
  • Dimensions: 29¾ x 29¾in. (75.57 x 75.57cm)
  • Provenance
  • Exhibited
  • Literature
  • Noel Murphy was born in London in 1970, studying first at NCAD in Dublin and then at the University of Ulster in Belfast where he received an honours degree in Fine Art. He is best known for his commission to paint the Northern Ireland Assembly in Session. Another important commission was a portrait of Michael Collins for The Glasnevin Cemetery Museum. Murphy was presented with the Bass Ireland Prize (1994) and the Ireland Fund of Great Britain Annual Arts Award (1997). He has held several solo exhibitions with the Gorry Gallery, Dublin, and the Emer Gallery, Belfast, and is represented in the collections of the Ulster Museum and the Arts Council of Northern Ireland, as well as several important corporate and private collections.

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ROMULUS AND REMUS, 1974
ROMULUS AND REMUS, 1974
Barry Castle (1935-2006)

Auction Date / Lot No.: 29 May 2017 / 168

Reserve: €1500

  • Signature: signed with initials lower left; dated lower right; with typed Portal Gallery [London] label on reverse
  • Medium: oil on board
  • Dimensions: 19 x 17in. (48.26 x 43.18cm)
  • Provenance
  • Exhibited
  • Literature
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