27 November 2017

  Records 1 to 48 of 48    

BOATMEN OF THE ARAN ISLANDS
BOATMEN OF THE ARAN ISLANDS
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 27 November 2017 / 13

Reserve: €15000

  • Signature: signed lower right
  • Medium: charcoal
  • Dimensions: 20¾ x 29¼in. (52.71 x 74.30cm)
  • Provenance: Christie's, 17 May 2002, lot 207; Private collection; Sotheby's, 6 May 2010, lot 51; Private collection
  • Exhibited
  • Literature
  • The present work is likely to date to post 1960 and may have been composed by Keating using photographs as an aid memoir. It is a work typical of this period when he had many buyers looking for Aran Island scenes. It may have been exhibited in one of his several exhibitions at the Kenny Gallery in Galway. We are grateful to Dr Éimear O'Connor for her kind assistance in cataloguing this lot.

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MOUNTAINOUS LANDSCAPE, WEST OF IRELAND, 1913-1914
MOUNTAINOUS LANDSCAPE, WEST OF IRELAND, 1913-1914
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 27 November 2017 / 14

Reserve: €50000

  • Signature: signed lower right; with Bell Gallery label on reverse; with inscription in pencil on reverse of board indicating possibly original owner and framing instructions [Mrs Laurel (?) / 3 Glandore Park / Blk as last / No slip]
  • Medium: oil on panel
  • Dimensions: 13 x 16in. (33.02 x 40.64cm)
  • Provenance: Weschler's, Washington DC, USA, 2 December 2006, lot 540; Private collection
  • Exhibited
  • Literature
  • This picture is almost certainly the view, looking eastwards, from Rosroe in County Mayo where Henry was living, at Aasleagh, near Leenane, at the time. In its review of the exhibition in 1914 Belfast's Northern Whig commented that the landscape 'Between Giant Hills' was painted with the breadth and simplicity that marks Mr. Henry's work at its best. The picture is numbered 1332 in S. B. Kennedy's on-going cataloguing of Paul Henry's oeuvre. Dr SB Kennedy HRHA October 2017

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SKETCH OF DAN BREEN, 1958
SKETCH OF DAN BREEN, 1958
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 27 November 2017 / 25

Reserve: €1500

  • Signature: signed lower right
  • Medium: charcoal and pastel heightened with white chalk on tinted paper
  • Dimensions: 19¾ x 17in. (50.17 x 43.18cm)
  • Provenance: Collection of Justin Keating (the artist's son) and former Minister for Industry and Commerce (1973-1977); By whom donated to an RHA fundraising auction, Dublin c. late 1970s; Private collection; Whyte's, 27 May 2013, lot 36; Private collection
  • Exhibited
  • Literature
  • The commission to paint a portrait of Dan Breen was given to Seán Keating by Todd Andrews, Managing Director of Bord na Móna, and veteran of the War of Independence, in the spring of 1958. The two men got on extremely well, and Keating found Breen to be an excellent model, very talkative and very interesting. The artist tended to make many sketches before he began to work on canvas, as exemplified in this fine example. Keating completed the oil painting of Breen in the summer of 1958. It was exhibited in the RHA in 1959 and in the major retrospective of the artist's work at the Hugh Lane Municipal Gallery in 1963. Dr Éimear O'Connor HRHA

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SELF PORTRAIT, 1938
SELF PORTRAIT, 1938
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 27 November 2017 / 26

Reserve: €1000

  • Signature: signed and dated [26-10-38] in pencil lower right; with note verso [To Maureen / With hopes to come. / Harry]
  • Medium: conte and pastel
  • Dimensions: 16¼ x 13¼in. (41.28 x 33.66cm)
  • Provenance: A gift from the artist to the original owner; Thence by descent, and later, bequeathed to the present owner
  • Exhibited
  • Literature
  • The Maureen referred to in the dedication is a Maureen "Mo" Sheehy.

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NORTH STRAND, BRAY, COUNTY WICKLOW, 1932
NORTH STRAND, BRAY, COUNTY WICKLOW, 1932
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 27 November 2017 / 28

Reserve: €1500


PALM TREE, NICE
PALM TREE, NICE
Father Jack P. Hanlon (1913-1968)

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

Reserve: €1000

  • Signature: signed lower left; inscribed with title on Dawson Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 16 x 12in. (40.64 x 30.48cm)
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Exhibited
  • Literature
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BAPTISM OF CHRIST [STUDY FOR STAINED GLASS WINDOW, OUR LADY OF THE ROSARY CHURCH, ENNIS ROAD, LIMERICK] 1950
BAPTISM OF CHRIST [STUDY FOR STAINED GLASS WINDOW, OUR LADY OF THE ROSARY CHURCH, ENNIS ROAD, LIMERICK] 1950
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 27 November 2017 / 35

Reserve: €1000

  • Signature: titled and with provenance details on reverse
  • Medium: gouache and chalk on buff-coloured paper; (pentagonal)
  • Dimensions: 31½ x 7½in. (80.01 x 19.05cm)
  • Provenance: Formerly in the Collection of Leo Smith; Private collection
  • Exhibited
  • Literature
  • The present cartoon is for a triptych stained glass window by Hone of the Baptism of Christ - the centrepiece of the Baptistery - in Our Lady of the Rosary Church, Limerick. The baptismal font there includes a depiction of John the Evangelist by Oisín Kelly and artworks by Fr Jack Hanlon, among others, are included in the church's impressive collection.

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FLOWER SELLER, ANN STREET, DUBLIN, CHRISTMAS EVE, 1944
FLOWER SELLER, ANN STREET, DUBLIN, CHRISTMAS EVE, 1944
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 November 2017 / 37

Reserve: €6000

  • Signature: signed, titled and dated upper right
  • Medium: charcoal and coloured chalk
  • Dimensions: 7¼ x 6½in. (18.42 x 16.51cm)
  • Provenance: Adam's, 28 March 2007, lot 97; Private collection
  • Exhibited
  • Literature
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THE HOLY ISLAND
THE HOLY ISLAND
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 27 November 2017 / 46

Reserve: €30000

  • Signature: with exhibition label on reverse
  • Medium: oil and sand on board
  • Dimensions: 36 x 48in. (91.44 x 121.92cm)
  • Provenance: Estate of the artist; Collection of Leo Smith, owner of Dawson Gallery; By whom bequeathed to his brother, Frank Smith; Private collection; Frederick Gallery, Dublin, 1996; Private collection; Whyte's, 28 November 2006, lot 60; Private collection
  • Exhibited
  • Literature
  • Holy Island brings together two of Gerard Dillon’s favourite themes – the landscape of the west of Ireland and Celtic relief sculpture – with the technical innovation of adding sand to oil paint that he developed during the late 1950s. First visiting the west of Ireland in 1939, Dillon made the landscape, people and traditions of the western seaboard reoccurring themes of his art. Like West of Ireland Landscape, circa 1945 (National Gallery of Ireland), and High Cross Panel, circa 1949, Holy Island draws on the Celtic relief sculpture that Dillon had sketched during his visits to Monasterboice and Mellifont Abbey with Nano Reid. Unlike West of Ireland Landscape, where ordinary people go about their business in a landscape populated by standing stones, ancient ruins and Celtic crosses, Holy Island is a fantastical scene where two men dressed in religious robes and a saintlike figure, complete with halo and crucifix, kneel in prayer as a blue goat leaps through the air above them. Reminiscent of Chagall’s dreamlike paintings that incorporate both Christian and Jewish religious imagery, Holy Island mixes Christian and pagan iconography that may relate directly to St Patrick’s Purgatory on Lough Derg, a place of pilgrimage that dates back to the early Irish Church. Although Dillon had become disillusioned with the Catholic Church in which he was raised, like Chagall who combined imagery drawn from Christianity, Judaism and folklore to explore his identity as a Russian Jew, Dillon’s use of iconography from Celtic Christianity can be interpreted as an effort to connect to a particularly Irish tradition. The island setting of Holy Island is also significant because Dillon considered islands as havens from the many social and religious constraints of life in 1950s Ireland. As James White has suggested Dillon’s love of the island of Inishlackan, where he spent the best part of a year in the 1950s, was due to the fact that it was a place where he could ‘cut himself off for a spell and live in a tiny cottage, with no social life to speak of and a boat journey away from barracks, church or pub – all this gave him the feeling of having found a land free of all the restrictions and suggestions of oppression which he had come to accept as being there to offend him’.1 While the imagery in Holy Island was drawn from historical sources, Dillon’s medium was experimental. In February 1958 Dillon wrote to James White: ”I’ve discovered a new way, an exciting way to use sand with my painting. Remember when you were a child – maybe you didn’t do it. You found an old glass pane, spat on it and drew with the finger, spreading the spittle, then you poured fine dust or sand over the glass and the dust stuck to the spit-drawing. Well I’ve done that with sand, different coloured sands … I did this with paint – put on with brush, knife, pour the sand over it all, until all is sand, then tilt and let the sand run off and Lo, you have a wonderful exciting picture. It’s the first time I have ever seen anything like it. I know Picasso and Braque used sand but not like this. It’s completely new”.2 Although Dillon’s experiments with sand coincided with his first forays into abstraction in 1957–58, Holy Island proves that he also used sand in figurative works and it is likely that the painting dates to this period of experimentation. 1 White, James, Gerard Dillon: An Illustrated Biography, Wolfhound Press, Dublin, 1994, page 10. 2 Gerard Dillon letter to James White, 20 February 1958, quoted by James White in Gerard Dillon: An Illustrated Biography, page 78. Dr Riann Coulter

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COASTAL VILLAGE, 1966
COASTAL VILLAGE, 1966
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 27 November 2017 / 47

Reserve: €2000

  • Signature: signed lower right; with partial Ritchie Hendriks Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 16 x 19½in. (40.64 x 49.53cm)
  • Provenance: Ritchie Hendriks Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • Presented in original Ritchie Hendriks frame.

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BLITZED TREES
BLITZED TREES
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 27 November 2017 / 52

Reserve: €1000

  • Signature: signed lower right; titled on reverse; also with Lincoln Gallery label on reverse
  • Medium: oil on panel
  • Dimensions: 12½ x 9in. (31¾ x 22.86cm)
  • Provenance: Lincoln Gallery, Dublin; Collection of Judge Desmond Windle
  • Exhibited
  • Literature
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PAINTING NO. XL, 1953
PAINTING NO. XL, 1953
Thurloe Conolly (b.1918)

Auction Date / Lot No.: 27 November 2017 / 53

Reserve: €2000

  • Signature: signed, titled and dated on reverse
  • Medium: oil and mixed media on board
  • Dimensions: 30 x 40in. (76.20 x 101.60cm)
  • Provenance: Victor Waddington Gallery, Dublin; Gimpel Fils, London; Private collection; Whyte's, 9 October 2001, lot 143; Private collection
  • Exhibited
  • Literature
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BRONZE ABSTRACT
BRONZE ABSTRACT
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 27 November 2017 / 54

Reserve: €1500

  • Signature: titled on reverse
  • Medium: oil and sand on canvas
  • Dimensions: 21 x 29in. (53.34 x 73.66cm)
  • Provenance: Collection of Jim O'Driscoll SC; Thence by descent
  • Exhibited
  • Literature
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STILL LIFE THEME, 1963
STILL LIFE THEME, 1963
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 27 November 2017 / 58

Reserve: €3000

  • Signature: signed lower left; titled on Ritchie Hendriks Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 25½ x 36in. (64.77 x 91.44cm)
  • Provenance: Ritchie Hendriks Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • Presented in original Ritchie Hendriks frame. For another work by Armstrong exhibited in the same Hendriks solo show in 1963 see lot 44, Ochre Vase, 1963.

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UNTITLED [ABSTRACT LANDSCAPE]
UNTITLED [ABSTRACT LANDSCAPE]
Kenneth Mahood (b.1930)

Auction Date / Lot No.: 27 November 2017 / 62

Reserve: €1000

  • Signature: signed lower left; with provenance details in a later hand on reverse
  • Medium: oil and mixed media on paper
  • Dimensions: 10½ x 18¾in. (26.67 x 47.63cm)
  • Provenance: C.E.M.A. Gallery, Belfast;Private collection
  • Exhibited
  • Literature
  • Kenneth Mahood was born in Belfast in 1930. From 1945 to 1949 he was an apprentice lithographer before becoming a professional painter. He exhibited in Belfast, London and Dublin and won a CEMA scholarship to study art in Paris. In 1955 Victor Waddington held a solo show of his work and in 1956 in London he exhibited in a two-man show with Jack B. Yeats. His first cartoon was accepted by Punch when he was eighteen, and he later became not only a regular contributor but also, from 1960 to 1965, the magazine's Assistant Art Editor under William Hewison. In 1966 Mahood became the first-ever political cartoonist on The Times, and in the same year was a founder member of the British Cartoonists' Association. He left The Times at the end of 1968, but at the start of 1969 began working as a cartoonist for the Evening Standard. In 1971 he went to the Financial Times. In 1978 he was elected to the Punch Table, and in 1982 he moved to the Daily Mail to draw its "Compact Cartoon". Mahood has also contributed drawings to the New Yorker, produced a number of books and worked in collage.

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HEAD OF CHILD, 1988
HEAD OF CHILD, 1988
Melanie le Brocquy HRHA (b.1919)

Auction Date / Lot No.: 27 November 2017 / 64

Reserve: €2000

  • Signature: signed with initials and numbered; with typed label beneath base
  • Medium: bronze; (no. 6 from an edition of 6)
  • Dimensions: 7½ x 6½in. (19.05 x 16.51cm)
  • Provenance: Family of the artist
  • Exhibited
  • Literature: 'Melanie le Brocquy', RHA, Dublin and The Arts Council, Dublin, 1999, p.16 (illustrated) and p.8 (illustrated); respectively
  • The artist's file in NIVAL, Dublin records a plaster of Paris example of Head of Child dated 1942 and includes a photograph of the artist with her brother, Louis le Brocquy, at their joint exhibition in Merrion Row, Dublin in December of that year.

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GREY HORSE IN A STABLE
GREY HORSE IN A STABLE
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 27 November 2017 / 69

Reserve: €40000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 34 x 40in. (86.36 x 101.60cm)
  • Provenance: Acquired directly from the artist by the present owner
  • Exhibited
  • Literature
  • Though the description 'an anecdotal painter of country life' could be applied to a goodly proportion of 19th and 20th century Irish painters, it emphatically does not pertain to Basil Blackshaw (1932-2016) even though Basil, never a man for city life, ensconced himself in deepest countryside for most of his life, and even though his depicted world was populated by dogs, horses, cocks, 'doggie men', and farmers, as well as the Northern Irish landscape. As John Hewitt acutely observed, right at the start of the artist's career, this was a man who, although a representative painter, only used as much description as he deemed necessary, being more concerned with developing 'a relationship of shapes, colours, and lines which should be complete and satisfying in itself'(1). This dialogue between representation and abstraction continued for the rest of his life. Often, and rightly, regarded as one of the major Irish painters (2), Blackshaw can easily be seen as being in that lineage which stretches from Paul Henry, William Conor, Keating and O'Neill through to himself, but this is a limited and limiting view of the man. Although he may seem the most 'Irish' of painters his subject matter has always been subject to a crucible of influences: the English school from Stubbs through to Alan Reynolds; the School of Paris, and in particular De Stael, Buffett and Giacometti; the early twentieth century expressionists from Die Brücke to Kokoschka; the European and especially the German Neo Expressionists such as Baselitz; and finally American colour-field painting in the shape of Maurice Louis, Frankenthaler and company. Basil's gift for assimilation, his ability to 'remain his own man' in the slipstream of such influences, marks him out as a painter of at least European stature. Blackshaw's English father who was a horse and dog trainer as well as being an amateur watercolourist, moved to Northern Ireland and brought up his large close-knit family in County Down amongst a circle which consisted of farmers, dealers, horsey people, local squires, and even artists. 'I was riding when I was three or four years old and was soon hunting' (4). By the age of ten he was earning pocket money painting the horses of neighbouring farmers and he even funded his art-college stint by doing such work. As an adult he bred both horses and dogs as well as training them. As any countryman will immediately recognise, Blackshaw's paintings of animals are not those of a townie but rather those of a man who has had an intimate, lifelong knowledge of the animal world. Yes, he learnt from Stubbs, and especially from the early Munnings, and yes, he learnt how to strip back a subject to its essence from Giacometti, but he was rarely interested in the detailed articulation of muscle and sinew: 'I want to be divorced a bit from the actual subject; not to make a replica but to make an equivalent' (5). Grey Horse in a Stable [lot 69], typical of the earlier work and essentially a 'portrait' of a horse, is on the cusp of the painter's shift towards the depiction of animals as icons or emblems. Here, there is a strong sculptural quality, suggesting that the artist had looked closely at Marino Marini and Elizabeth Frink for example. Because of the surrounding paint application, thickly applied in long, horizontal, bristly brushstrokes between the legs of the horse, (there's even a bristle sticking in the paint!), and above its sideways-on silhouette, the horse emerges in low relief. Long, lightly brushed diagonals to the mid left impart energy to the horse's neck while the head, mane and upper body are flecked with impasto to catch the light. As the overall tonality is grey, and although the horse is clearly situated in a none-too-perfect outbuilding which is only notionally indicated, the effect is rather like discovering an image in a prehistoric cave, or on a crumbling Roman fresco. This impression is reinforced by the treatment of the hind legs which shift the white blaze of the lower legs onto hoofs that have all but vanished, as if into a mist. What is common to Grey Horse in a Stable [lot 69], and also to Be My Native [lot 71], Hyperion [lot 70] and Horses Exercising [lot 68] is Blackshaw's ability to capture both arrested movement and contained energy. Any farmer would recognise immediately his capacity to capture the exact stance of a horse, and what the contemporary Irish sculptor Anthony Scott calls 'the line' by which he means the sinuous, overarching outline of the silhouette. (1) Written for the first issue of the magazine Threshold, Belfast 1957. (2) For example, in Brian Fallon's article 'Evergreen Basil', in Basil Blackshaw, Fenton Gallery, Cork 2005. (3) From Jack Pakenham's Introduction to the book Mourne, Belfast 2005. (4) From an unpublished part of an interview with Blackshaw by Brian McAvera, 2002. (5) Ibid. (6) Quotation from Mercy Hunter's Introduction to the Basil Blackshaw Retrospective, ACNI, Belfast 1974. Brian McAvera, October 2017

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HYPERION
HYPERION
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 27 November 2017 / 70

Reserve: €10000

  • Signature: signed lower left; titled lower right
  • Medium: oil on board
  • Dimensions: 10 x 14in. (25.40 x 35.56cm)
  • Provenance: Acquired directly from the artist by the present owner
  • Exhibited
  • Literature
  • Hyperion (18 April 1930 – 9 December 1960) was a British-bred thoroughbred, a dual classic winner and an outstanding sire. Owned by Edward Stanley, 17th Earl of Derby, Hyperion won GBP £29,509 during his racing career—a considerable sum at the time. His victories included the Epsom Derby and St Leger Stakes. He was the most successful British-bred sire of the 20th century and was champion sire in Great Britain six times between 1940 and 1954. In Search of Basil Blackshaw By Brian McAvera Though the description 'an anecdotal painter of country life' could be applied to a goodly proportion of 19th and 20th century Irish painters, it emphatically does not pertain to Basil Blackshaw (1932-2016) even though Basil, never a man for city life, ensconced himself in deepest countryside for most of his life, and even though his depicted world was populated by dogs, horses, cocks, 'doggie men', and farmers, as well as the Northern Irish landscape. As John Hewitt acutely observed, right at the start of the artist's career, this was a man who, although a representative painter, only used as much description as he deemed necessary, being more concerned with developing 'a relationship of shapes, colours, and lines which should be complete and satisfying in itself'(1). This dialogue between representation and abstraction continued for the rest of his life. Often, and rightly, regarded as one of the major Irish painters (2), Blackshaw can easily be seen as being in that lineage which stretches from Paul Henry, William Conor, Keating and O'Neill through to himself, but this is a limited and limiting view of the man. Although he may seem the most 'Irish' of painters his subject matter has always been subject to a crucible of influences: the English school from Stubbs through to Alan Reynolds; the School of Paris, and in particular De Stael, Buffett and Giacometti; the early twentieth century expressionists from Die Brücke to Kokoschka; the European and especially the German Neo Expressionists such as Baselitz; and finally American colour-field painting in the shape of Maurice Louis, Frankenthaler and company. Basil's gift for assimilation, his ability to 'remain his own man' in the slipstream of such influences, marks him out as a painter of at least European stature. In the current auction, he is represented by two groups of work. One group, from the eighties, depicts horses (almost his trademark), the other, from the late nineties onwards, relate to the artist's collaborations with the poet Paul Yates. The first of these, the four Dunadry mixed-media paintings [lot 72], refer to a Poem-and-Prints limited edition for U.N.I.C.E.F. (See separate note). The others are in the spirit of the works produced for the second collaboration between the poet and the painter, the book Mourne, published by the Tom Caldwell Gallery in 2005. None of these works can be classed as illustration. In some cases, Basil responded to a specific poem, in others the poet responded to Basil's images, but as the painter Jack Pakenham trenchantly noted, they were all 'independent images sparked off in his imagination by the poems' (3). Grey Van [lot 75] for instance is a marvellous work. This is a painting to make you smile. It's the essence of a van, seen with the seemingly artless vision of a child but layered with neo-Expressionist elements from the Germans, from American colour-field painting, and even perhaps from the world of Paddy Graham. No child however could have managed the impeccably organised colour harmonies: those utterly non-representational swathes of orangey-yellow beneath the van; those wheels utterly out of alignment; and those transitions in the sky that magically shift from whitey-pinks on the left, to the deep pinky 'sunset' reds on the right. Or look at Jet [lot 74], the artist's dog, caught economically from a difficult foreshortened point of view, or the remarkable Nude Seated [lot 73] in which a hierarchic nude, squared off in a Francis Bacon-like cage or grid, emerges from a swirling miasma of paint as if about to materialise in Star Trek's teleporter. The figure itself, with its schematics of head, hands and feet, is substantially created out of short, sharp straight lines - a black line for eyebrows and eyes for instance. It's a construction, but a construction in tension with the swirling miasma around it. We are not looking at a portrait: we are looking at an icon. Blackshaw's English father who was a horse and dog trainer as well as being an amateur watercolourist, moved to Northern Ireland and brought up his large close-knit family in County Down amongst a circle which consisted of farmers, dealers, horsey people, local squires, and even artists. 'I was riding when I was three or four years old and was soon hunting' (4). By the age of ten he was earning pocket money painting the horses of neighbouring farmers and he even funded his art-college stint by doing such work. As an adult he bred both horses and dogs as well as training them. As any countryman will immediately recognise, Blackshaw's paintings of animals are not those of a townie but rather those of a man who has had an intimate, lifelong knowledge of the animal world. Yes, he learnt from Stubbs, and especially from the early Munnings, and yes, he learnt how to strip back a subject to its essence from Giacometti, but he was rarely interested in the detailed articulation of muscle and sinew: 'I want to be divorced a bit from the actual subject; not to make a replica but to make an equivalent' (5). Grey Horse in a Stable [lot 69], typical of the earlier work and essentially a 'portrait' of a horse, is on the cusp of the painter's shift towards the depiction of animals as icons or emblems. Here, there is a strong sculptural quality, suggesting that the artist had looked closely at Marino Marini and Elizabeth Frink for example. Because of the surrounding paint application, thickly applied in long, horizontal, bristly brushstrokes between the legs of the horse, (there's even a bristle sticking in the paint!), and above its sideways-on silhouette, the horse emerges in low relief. Long, lightly brushed diagonals to the mid left impart energy to the horse's neck while the head, mane and upper body are flecked with impasto to catch the light. As the overall tonality is grey, and although the horse is clearly situated in a none-too-perfect outbuilding which is only notionally indicated, the effect is rather like discovering an image in a prehistoric cave, or on a crumbling Roman fresco. This impression is reinforced by the treatment of the hind legs which shift the white blaze of the lower legs onto hoofs that have all but vanished, as if into a mist. What is common to Grey Horse in a Stable [lot 69], and also to Be My Native [lot 71], Hyperion [lot 70] and Horses Exercising [lot 68] is Blackshaw's ability to capture both arrested movement and contained energy. Any farmer would recognise immediately his capacity to capture the exact stance of a horse, and what the contemporary Irish sculptor Anthony Scott calls 'the line' by which he means the sinuous, overarching outline of the silhouette. Hyperion [lot 70], for example (smaller, reversed, but akin to the artist's Chaser in a Stable, sold by Sotheby's in May 2009) captures perfectly the seized moment: the enquiring but stilled stance of the horse. As with Be My Native [lot 71] the background, in a typical Post-Impressionist trope, can be 'read' either as all-over patterning, or as a recessive landscape. All the previous paintings depict the horse side-on and stilled: they are recognisably portraits of specific horses, but not depicted with a slavish devotion to naturalistic appearances. However, Horses Exercising [lot 68], reminiscent of Yeats perhaps, is a remarkably powerful depiction of movement and energy, seizing on the moment when two horses and their riders are both on the turn. There is a swirling energy to the composition, imparted by the powerful impastoed brushwork, and counterpointed by areas of the canvas which are left blank as in areas of both horses, and also at the bottom edge of the painting. Although seemingly low-keyed in terms of the preponderant greys of the sky, there are beautifully modulated passages of blue, Prussian blue, blue-into-white, rich browns, and also pale ochre-like yellows, the whole 'nailed' to the canvas by a roughly three-inches-by-two patch of reddish-brown at the bottom right. Only the essentials of horse and jockey are limned, and only a painter long familiar with horses could conceivably, and so successfully, take such liberties. As the artist himself once said: 'You must be able to feel if a shape is right or wrong and every shape must have its own identity (6)'. Or as Whistler was wont to remark if upbraided for a seeming simplicity, what you see is the product of a lifetime's experience. (1) Written for the first issue of the magazine Threshold, Belfast 1957. (2) For example, in Brian Fallon's article 'Evergreen Basil', in Basil Blackshaw, Fenton Gallery, Cork 2005. (3) From Jack Pakenham's Introduction to the book Mourne, Belfast 2005. (4) From an unpublished part of an interview with Blackshaw by Brian McAvera, 2002. (5) Ibid. (6) Quotation from Mercy Hunter's Introduction to the Basil Blackshaw Retrospective, ACNI, Belfast 1974.

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BE MY NATIVE
BE MY NATIVE
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 27 November 2017 / 71

Reserve: €10000

  • Signature: signed lower right; titled lower left
  • Medium: oil on board
  • Dimensions: 10 x 14in. (25.40 x 35.56cm)
  • Provenance: Purchased directly from the artist
  • Exhibited
  • Literature
  • Be My Native (foaled 16 February 1979) was an American-bred, British-trained thoroughbred racehorse and sire. He recorded his biggest career win as a four-year-old when he won the Coronation Cup. Apart from the aforementioned races he was placed in the Sandown Classic Trial, Dante Stakes, La Coupe de Maisons-Laffitte and Hardwicke Stakes. After his retirement from racing he became a very successful sire of National Hunt horses. Though the description 'an anecdotal painter of country life' could be applied to a goodly proportion of 19th and 20th century Irish painters, it emphatically does not pertain to Basil Blackshaw (1932-2016) even though Basil, never a man for city life, ensconced himself in deepest countryside for most of his life, and even though his depicted world was populated by dogs, horses, cocks, 'doggie men', and farmers, as well as the Northern Irish landscape. As John Hewitt acutely observed, right at the start of the artist's career, this was a man who, although a representative painter, only used as much description as he deemed necessary, being more concerned with developing 'a relationship of shapes, colours, and lines which should be complete and satisfying in itself'(1). This dialogue between representation and abstraction continued for the rest of his life. Often, and rightly, regarded as one of the major Irish painters (2), Blackshaw can easily be seen as being in that lineage which stretches from Paul Henry, William Conor, Keating and O'Neill through to himself, but this is a limited and limiting view of the man. Although he may seem the most 'Irish' of painters his subject matter has always been subject to a crucible of influences: the English school from Stubbs through to Alan Reynolds; the School of Paris, and in particular De Stael, Buffett and Giacometti; the early twentieth century expressionists from Die Brücke to Kokoschka; the European and especially the German Neo Expressionists such as Baselitz; and finally American colour-field painting in the shape of Maurice Louis, Frankenthaler and company. Basil's gift for assimilation, his ability to 'remain his own man' in the slipstream of such influences, marks him out as a painter of at least European stature. Blackshaw's English father who was a horse and dog trainer as well as being an amateur watercolourist, moved to Northern Ireland and brought up his large close-knit family in County Down amongst a circle which consisted of farmers, dealers, horsey people, local squires, and even artists. 'I was riding when I was three or four years old and was soon hunting' (4). By the age of ten he was earning pocket money painting the horses of neighbouring farmers and he even funded his art-college stint by doing such work. As an adult he bred both horses and dogs as well as training them. As any countryman will immediately recognise, Blackshaw's paintings of animals are not those of a townie but rather those of a man who has had an intimate, lifelong knowledge of the animal world. Yes, he learnt from Stubbs, and especially from the early Munnings, and yes, he learnt how to strip back a subject to its essence from Giacometti, but he was rarely interested in the detailed articulation of muscle and sinew: 'I want to be divorced a bit from the actual subject; not to make a replica but to make an equivalent' (5). Grey Horse in a Stable [lot 69], typical of the earlier work and essentially a 'portrait' of a horse, is on the cusp of the painter's shift towards the depiction of animals as icons or emblems. Here, there is a strong sculptural quality, suggesting that the artist had looked closely at Marino Marini and Elizabeth Frink for example. Because of the surrounding paint application, thickly applied in long, horizontal, bristly brushstrokes between the legs of the horse, (there's even a bristle sticking in the paint!), and above its sideways-on silhouette, the horse emerges in low relief. Long, lightly brushed diagonals to the mid left impart energy to the horse's neck while the head, mane and upper body are flecked with impasto to catch the light. As the overall tonality is grey, and although the horse is clearly situated in a none-too-perfect outbuilding which is only notionally indicated, the effect is rather like discovering an image in a prehistoric cave, or on a crumbling Roman fresco. This impression is reinforced by the treatment of the hind legs which shift the white blaze of the lower legs onto hoofs that have all but vanished, as if into a mist. What is common to Grey Horse in a Stable [lot 69], and also to Be My Native [lot 71], Hyperion [lot 70] and Horses Exercising [lot 68] is Blackshaw's ability to capture both arrested movement and contained energy. Any farmer would recognise immediately his capacity to capture the exact stance of a horse, and what the contemporary Irish sculptor Anthony Scott calls 'the line' by which he means the sinuous, overarching outline of the silhouette. Hyperion [lot 70], for example (smaller, reversed, but akin to the artist's Chaser in a Stable, sold by Sotheby's in May 2009) captures perfectly the seized moment: the enquiring but stilled stance of the horse. As with Be My Native [lot 71] the background, in a typical Post-Impressionist trope, can be 'read' either as all-over patterning, or as a recessive landscape. All the previous paintings depict the horse side-on and stilled: they are recognisably portraits of specific horses, but not depicted with a slavish devotion to naturalistic appearances. (1) Written for the first issue of the magazine Threshold, Belfast 1957. (2) For example, in Brian Fallon's article 'Evergreen Basil', in Basil Blackshaw, Fenton Gallery, Cork 2005. (3) From Jack Pakenham's Introduction to the book Mourne, Belfast 2005. (4) From an unpublished part of an interview with Blackshaw by Brian McAvera, 2002. (5) Ibid. Brian McAvera, October 2017

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THREE MUSICIANS
THREE MUSICIANS
John B. Vallely (b.1941)

Auction Date / Lot No.: 27 November 2017 / 76

Reserve: €6000

  • Signature: signed lower right; titled on Tom Caldwell Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 30 x 40in. (76.20 x 101.60cm)
  • Provenance: Tom Caldwell Gallery, Belfast; Private collection
  • Exhibited
  • Literature
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THE ISLAND, 1967
THE ISLAND, 1967
Barrie Cooke HRHA (1931-2014)

Auction Date / Lot No.: 27 November 2017 / 77

Reserve: €3000

  • Signature: signed, titled, dated and with dedication on reverse
  • Medium: oil on panel
  • Dimensions: 27½ x 18¾in. (69.85 x 47.63cm)
  • Provenance: Acquired directly from the artist by present owner's father; Thence by family descent
  • Exhibited
  • Literature
  • This work depicts hop plants and was painted by Barrie Cooke for the vendor's father who was a hop farmer.

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LOUGH ROSS (CABBAGES), 1982
LOUGH ROSS (CABBAGES), 1982
Barrie Cooke HRHA (1931-2014)

Auction Date / Lot No.: 27 November 2017 / 78

Reserve: €4000

  • Signature: signed and dated lower right; inscribed on David Hendriks label on reverse
  • Medium: oil on canvas
  • Dimensions: 28 x 28in. (71.12 x 71.12cm)
  • Provenance: David Hendriks Gallery, Dublin; Where purchased by the present owner's father; Thence by family descent
  • 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.: 27 November 2017 / 83

Reserve: €8000

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

Auction Date / Lot No.: 27 November 2017 / 85

Reserve: €3000

  • 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. We are grateful to Terry Dunne for his kind assistance in cataloguing this work. 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

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NUNS MISS THE MOON
NUNS MISS THE MOON
Barry Castle (1935-2006)

Auction Date / Lot No.: 27 November 2017 / 89

Reserve: €1200

  • Signature: with title inscribed on label on reverse
  • Medium: oil on canvas
  • Dimensions: 30 x 18in. (76.20 x 45.72cm)
  • Provenance: Family of the artist
  • Exhibited
  • Literature
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URBAN IV
URBAN IV
Gwen O'Dowd (b.1957)

Auction Date / Lot No.: 27 November 2017 / 96

Reserve: €2000

  • Signature: inscribed on reverse
  • Medium: gouache on paper
  • Dimensions: 42½ x 40in. (107.95 x 101.60cm)
  • Provenance: Collection of Judge Desmond Windle
  • Exhibited
  • Literature
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MYCENEAN GOLD MASK, 1974
MYCENEAN GOLD MASK, 1974
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 November 2017 / 100

Reserve: €1200

  • Signature: dedicated and signed in pencil in the margin lower left
  • Medium: Intaglio print on paper; (from an edition of 75)
  • Dimensions: 15½ x 15½in. (39.37 x 39.37cm)
  • Provenance
  • Exhibited
  • Literature
  • The present lot pertains to the artist's first collaboration with the Maeght workshops in France: Seven Aquatints, published by Maeght Editeur, Paris, including Image in Darkness, Mycenean Gold Mask, Image Forming on a Red Background, Lemon, on Arches paper, 66 by 50.5 cm, printed in an edition of 75 by Atelier Maeght, St. Paul, France. For another example of work from this series see lots 101 and 104.

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LEMON, 1974
LEMON, 1974
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 November 2017 / 101

Reserve: €1200

  • Signature: signed, dated [20.2.1974] and dedicated ["with gratitude and admiration"] in pencil in the margin lower left
  • Medium: Intaglio print on paper; (from an edition of 75)
  • Dimensions: 15½ x 15½in. (39.37 x 39.37cm)
  • Provenance
  • Exhibited
  • Literature
  • The present lot pertains to the artist's first collaboration with the Maeght workshops in France: Seven Aquatints, published by Maeght Editeur, Paris, including Image in Darkness, Mycenean Gold Mask, Image Forming on a Red Background, Lemon, on Arches paper, 66 by 50.5 cm, printed in an edition of 75 by Atelier Maeght, St. Paul, France. For another example of work from this series see lots 100 and 104.

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ENCLOSED FIELD, BEARA, 1988
ENCLOSED FIELD, BEARA, 1988
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 November 2017 / 106

Reserve: €2000

  • Signature: signed, titled, dated and numbered lower left
  • Medium: lithograph; (no. 13 from an edition of 25)
  • Dimensions: 17½ x 22¾in. (44.45 x 57.79cm)
  • Provenance: Whyte's, 20 September 2005, lot 175; Private collection
  • Exhibited
  • Literature
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WEST OF IRELAND LANDSCAPE
WEST OF IRELAND LANDSCAPE
Terence P. Flanagan RHA PPRUA (1929-2011)

Auction Date / Lot No.: 27 November 2017 / 107

Reserve: €1500


GROUP OF MEN ROAD BOWLING
GROUP OF MEN ROAD BOWLING
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 27 November 2017 / 123.1

Reserve: €1000


TWO FIGURES ROAD BOWLING
TWO FIGURES ROAD BOWLING
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 27 November 2017 / 124

Reserve: €800


VIEW OF CHURCH TOWER
VIEW OF CHURCH TOWER
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 27 November 2017 / 128

Reserve: €1500


CRAMPTON COURT, DUBLIN, 1966
CRAMPTON COURT, DUBLIN, 1966
Seámus O Colmáin (1925-1990)

Auction Date / Lot No.: 27 November 2017 / 132

Reserve: €1200

  • Signature: signed lower left; titled on Ritchie Hendriks Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 18 x 24in. (45.72 x 60.96cm)
  • Provenance: Ritchie Hendriks Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • Presented in original Ritchie Hendriks frame.

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DONEGAL HORSE SALES, 2002
DONEGAL HORSE SALES, 2002
Robert Taylor Carson HRUA (1919-2008)

Auction Date / Lot No.: 27 November 2017 / 145

Reserve: €1500

  • Signature: signed lower left; signed, dated and inscribed with title on reverse
  • Medium: oil on panel
  • Dimensions: 16 x 20in. (40.64 x 50.80cm)
  • Provenance: Estate of the artist
  • Exhibited
  • Literature
  • Robert Taylor Carson documented a well-travelled life in paint, from his early years in the Belfast College of Art - where he studied under scholarship from the age of fourteen - to his time in travelling Ireland with his young family and abroad to the United States and Europe. His subject matter is wide-ranging but an interest in people and their way of life is a common thread throughout his oeuvre. In the mid 1940s Taylor Carson became an unofficial war artist capturing the daily life of American troops based in Northern Ireland. This endeavour led to significant portrait commissions in the US. Numerous exhibitions of Taylor Carson's work have taken place throughout Ireland and the UK as well as New York and Chicago. He was also a regular contributor to the Royal Hibernian Academy, Dublin and the Royal Ulster Academy. Among his contemporaries and friends were Maurice Canning Wilks and Rowel Friers with whom he travelled and painted from counties Donegal to Kerry. Whyte's are delighted to present a selection of lots from the artist's estate in this Important Irish Art sale. Further examples from the collection will appear in our December 2017 sale.

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TWO HORSES
TWO HORSES
Robert Taylor Carson HRUA (1919-2008)

Auction Date / Lot No.: 27 November 2017 / 146

Reserve: €1500

  • Signature: signed lower left; signed and inscribed with title on reverse
  • Medium: oil on panel
  • Dimensions: 16 x 20in. (40.64 x 50.80cm)
  • Provenance: Estate of the artist
  • Exhibited
  • Literature
  • Robert Taylor Carson documented a well-travelled life in paint, from his early years in the Belfast College of Art - where he studied under scholarship from the age of fourteen - to his time in travelling Ireland with his young family and abroad to the United States and Europe. His subject matter is wide-ranging but an interest in people and their way of life is a common thread throughout his oeuvre. In the mid 1940s Taylor Carson became an unofficial war artist capturing the daily life of American troops based in Northern Ireland. This endeavour led to significant portrait commissions in the US. Numerous exhibitions of Taylor Carson's work have taken place throughout Ireland and the UK as well as New York and Chicago. He was also a regular contributor to the Royal Hibernian Academy, Dublin and the Royal Ulster Academy. Among his contemporaries and friends were Maurice Canning Wilks and Rowel Friers with whom he travelled and painted from counties Donegal to Kerry. Whyte's are delighted to present a selection of lots from the artist's estate in this Important Irish Art sale. Further examples from the collection will appear in our December 2017 sale.

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TAKING STOCK, 1998
TAKING STOCK, 1998
Robert Taylor Carson HRUA (1919-2008)

Auction Date / Lot No.: 27 November 2017 / 147

Reserve: €3000

  • Signature: signed lower left; signed, dated and inscribed with title on reverse
  • Medium: oil on canvas board
  • Dimensions: 24 x 30in. (60.96 x 76.20cm)
  • Provenance: Estate of the artist
  • Exhibited
  • Literature
  • Robert Taylor Carson documented a well-travelled life in paint, from his early years in the Belfast College of Art - where he studied under scholarship from the age of fourteen - to his time in travelling Ireland with his young family and abroad to the United States and Europe. His subject matter is wide-ranging but an interest in people and their way of life is a common thread throughout his oeuvre. In the mid 1940s Taylor Carson became an unofficial war artist capturing the daily life of American troops based in Northern Ireland. This endeavour led to significant portrait commissions in the US. Numerous exhibitions of Taylor Carson's work have taken place throughout Ireland and the UK as well as New York and Chicago. He was also a regular contributor to the Royal Hibernian Academy, Dublin and the Royal Ulster Academy. Among his contemporaries and friends were Maurice Canning Wilks and Rowel Friers with whom he travelled and painted from counties Donegal to Kerry. Whyte's are delighted to present a selection of lots from the artist's estate in this Important Irish Art sale. Further examples from the collection will appear in our December 2017 sale.

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COFFEE BREAK
COFFEE BREAK
Robert Taylor Carson HRUA (1919-2008)

Auction Date / Lot No.: 27 November 2017 / 149

Reserve: €1000

  • Signature: signed lower left; signed and inscribed with title on reverse
  • Medium: oil on canvas panel
  • Dimensions: 23½ x 16¼in. (59.69 x 41.28cm)
  • Provenance: Estate of the artist
  • Exhibited
  • Literature
  • Robert Taylor Carson documented a well-travelled life in paint, from his early years in the Belfast College of Art - where he studied under scholarship from the age of fourteen - to his time in travelling Ireland with his young family and abroad to the United States and Europe. His subject matter is wide-ranging but an interest in people and their way of life is a common thread throughout his oeuvre. In the mid 1940s Taylor Carson became an unofficial war artist capturing the daily life of American troops based in Northern Ireland. This endeavour led to significant portrait commissions in the US. Numerous exhibitions of Taylor Carson's work have taken place throughout Ireland and the UK as well as New York and Chicago. He was also a regular contributor to the Royal Hibernian Academy, Dublin and the Royal Ulster Academy. Among his contemporaries and friends were Maurice Canning Wilks and Rowel Friers with whom he travelled and painted from counties Donegal to Kerry. Whyte's are delighted to present a selection of lots from the artist's estate in this Important Irish Art sale. Further examples from the collection will appear in our December 2017 sale.

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PULLOVER, GIFT FROM AMERICA, 2003
PULLOVER, GIFT FROM AMERICA, 2003
Robert Taylor Carson HRUA (1919-2008)

Auction Date / Lot No.: 27 November 2017 / 150

Reserve: €1500

  • Signature: signed lower left; signed, dated and inscribed with title on reverse
  • Medium: oil on panel
  • Dimensions: 19½ x 23¼in. (49.53 x 59.06cm)
  • Provenance: Estate of the artist
  • Exhibited
  • Literature
  • Robert Taylor Carson documented a well-travelled life in paint, from his early years in the Belfast College of Art - where he studied under scholarship from the age of fourteen - to his time in travelling Ireland with his young family and abroad to the United States and Europe. His subject matter is wide-ranging but an interest in people and their way of life is a common thread throughout his oeuvre. In the mid 1940s Taylor Carson became an unofficial war artist capturing the daily life of American troops based in Northern Ireland. This endeavour led to significant portrait commissions in the US. Numerous exhibitions of Taylor Carson's work have taken place throughout Ireland and the UK as well as New York and Chicago. He was also a regular contributor to the Royal Hibernian Academy, Dublin and the Royal Ulster Academy. Among his contemporaries and friends were Maurice Canning Wilks and Rowel Friers with whom he travelled and painted from counties Donegal to Kerry. Whyte's are delighted to present a selection of lots from the artist's estate in this Important Irish Art sale. Further examples from the collection will appear in our December 2017 sale.

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RIVER, SAN ANTONIO, TEXAS
RIVER, SAN ANTONIO, TEXAS
Robert Taylor Carson HRUA (1919-2008)

Auction Date / Lot No.: 27 November 2017 / 153

Reserve: €1500

  • Signature: signed lower left; inscribed with title on reverse
  • Medium: oil on canvas panel
  • Dimensions: 17.45 x 24in. (44.32 x 60.96cm)
  • Provenance: Estate of the artist
  • Exhibited
  • Literature
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DOWNINGS BEACH, COUNTY DONEGAL, 2002
DOWNINGS BEACH, COUNTY DONEGAL, 2002
Robert Taylor Carson HRUA (1919-2008)

Auction Date / Lot No.: 27 November 2017 / 155

Reserve: €1500

  • Signature: signed lower left; signed, dated and inscribed with title on reverse
  • Medium: oil on panel
  • Dimensions: 20 x 24in. (50.80 x 60.96cm)
  • Provenance: Estate of the artist
  • Exhibited
  • Literature
  • Robert Taylor Carson documented a well-travelled life in paint, from his early years in the Belfast College of Art - where he studied under scholarship from the age of fourteen - to his time in travelling Ireland with his young family and abroad to the United States and Europe. His subject matter is wide-ranging but an interest in people and their way of life is a common thread throughout his oeuvre. In the mid 1940s Taylor Carson became an unofficial war artist capturing the daily life of American troops based in Northern Ireland. This endeavour led to significant portrait commissions in the US. Numerous exhibitions of Taylor Carson's work have taken place throughout Ireland and the UK as well as New York and Chicago. He was also a regular contributor to the Royal Hibernian Academy, Dublin and the Royal Ulster Academy. Among his contemporaries and friends were Maurice Canning Wilks and Rowel Friers with whom he travelled and painted from counties Donegal to Kerry. Whyte's are delighted to present a selection of lots from the artist's estate in this Important Irish Art sale. Further examples from the collection will appear in our December 2017 sale.

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SITTING ROOM, 2002
SITTING ROOM, 2002
Mark O'Neill (b.1963)

Auction Date / Lot No.: 27 November 2017 / 167

Reserve: €3000


STILL LIFE WITH BULL ORNAMENTS
STILL LIFE WITH BULL ORNAMENTS
Elizabeth Cope (b.1952)

Auction Date / Lot No.: 27 November 2017 / 173

Reserve: €1200

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 19¼ x 23¼in. (48.90 x 59.06cm)
  • Provenance
  • Exhibited
  • Literature
  • This month, November 2017, The Oriel Gallery, Dublin will present an exhibition of Cope's work entitled 'Elizabeth Cope - Seduced by the Smell of Paint' to include paintings and etches as well as the launch of the monograph on the artist by Gandon Editions.

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STILL LIFE WITH PLANT POT, 1980/81
STILL LIFE WITH PLANT POT, 1980/81
Elizabeth Cope (b.1952)

Auction Date / Lot No.: 27 November 2017 / 174

Reserve: €1000

  • Signature: signed and dated on reverse
  • Medium: oil on canvas; (diptych)
  • Dimensions: 24 x 24in. (60.96 x 60.96cm)
  • Provenance
  • Exhibited
  • Literature
  • This month, November 2017, The Oriel Gallery, Dublin will present an exhibition of Cope's work entitled 'Elizabeth Cope - Seduced by the Smell of Paint' to include paintings and etches as well as the launch of the monograph on the artist by Gandon Editions.

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CURRACHMEN, ACHILL ISLAND, COUNTY MAYO
CURRACHMEN, ACHILL ISLAND, COUNTY MAYO
Ivan Sutton (b.1944)

Auction Date / Lot No.: 27 November 2017 / 175

Reserve: €1500

  • Signature: signed lower left; signed, titled and with artist's studio label on reverse
  • Medium: oil on board
  • Dimensions: 20 x 30in. (50.80 x 76.20cm)
  • Provenance
  • Exhibited
  • Literature
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HOWTH HARBOUR, COUNTY DUBLIN
HOWTH HARBOUR, COUNTY DUBLIN
John Kirwan (b.1956)

Auction Date / Lot No.: 27 November 2017 / 177

Reserve: €2000


APPLES AND SUNFLOWER, 2004
APPLES AND SUNFLOWER, 2004
Brian Ballard RUA (b.1943)

Auction Date / Lot No.: 27 November 2017 / 181

Reserve: €1500


GOLD
GOLD
Brian McCarthy (b.1960)

Auction Date / Lot No.: 27 November 2017 / 182

Reserve: €2000


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