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Records
101 to 120 of 194 found. |
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Patrick Collins HRHA (1911-1984)
MENHIRS
Signature: signed lower right; original exhibition label on reverse
Medium: oil on board
Dimensions: 30 by 46cm., 12 by 18in.
Provenance: Ritchie Hendriks Gallery, Dublin; Whence purchased by Sam Edgar, August 1961; James Adam Salesrooms, Dublin, March 1986, lot 87; Whence purchased by the present owner
Exhibited:
Literature: |
Lot
No.: 103
Auction Date:
20 September 2005
Published Estimate:
€12,000-15,000
Result:
€12000 |
| Collins went through an Expressionist phase in the early 1960s, painting in thick impasto with great vigour and bravura. During this period he painted a small series of works depicting menhirs, the prehistoric standing stones found both in Brittany and Ireland. In his 1961 exhibition at the Hendriks Gallery he showed two such works: Landscape with Menhirs (catalogue no. 11, 250 gns, purchased by the Arts Council) and Menhirs on the Plain, Brittany (catalogue no. 15, 45 gns). A third work, Three Menhirs (oil on board, 17 by 25 inches), painted around the same time, was purchased by the Jury’s Hotel Group. |
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Pádraig MacMíadhacháin RWA (b.1929)
STRONG WIND IN THE HARBOUR and MOORING LINES IN HARBOUR, ST IVES (A PAIR)
Signature: former signed lower centre and inscribed and dated [1999] on reverse; the latter signed and inscribed on reverse
Medium: oil and charcoal on canvas
Dimensions: 25 by 30cm., 10 by 12in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 104
Auction Date:
20 September 2005
Published Estimate:
€2,000-3,000
Result:
€1900 |
| The second work measures 20 by 25cm, 8 by 10in. |
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Tony O'Malley HRHA (1913-2003)
MORNING LIGHT, BAHAMAS, SERIES NO. 7
Signature: signed with initials lower left; dated [January 1982] lower right; inscribed on reverse
Medium: gouache on paper laid on board
Dimensions: 36 by 55cm., 14 by 21.5in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 105
Auction Date:
20 September 2005
Published Estimate:
€5,000-7,000
Result:
€6400 |
| No. 550 in the artist's oeuvre. |
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Tony O'Malley HRHA (1913-2003)
WINTER LIGHT
Signature: signed with initials upper left; inscribed with title mid left; inscribed and signed in full on reverse
Medium: oil on board
Dimensions: 61 by 122cm., 24 by 48in.
Provenance: Private collection, Manchester
Exhibited:
Literature: |
Lot
No.: 106
Auction Date:
20 September 2005
Published Estimate:
€25,000-35,000
Result:
€0 |
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Seán McSweeney HRHA (b.1935)
WHITE POOLS
Signature: signed and dated [2002] lower right; inscribed and signed again on reverse
Medium: oil on canvas
Dimensions: 46 by 61cm., 18 by 24in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 107
Auction Date:
20 September 2005
Published Estimate:
€6,000-8,000
Result:
€0 |
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Barrie Cooke HRHA (b.1931)
YELLOW KNOT IV
Signature: signed, inscribed and dated [1983] lower centre
Medium: watercolour
Dimensions: 37 by 48cm., 14.5 by 19in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 108
Auction Date:
20 September 2005
Published Estimate:
€2,500-3,500
Result:
€2400 |
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Neil Shawcross RHA RUA (b.1940)
FLOWER STUDY
Signature: signed and dated [1990] lower right; original exhibition label on reverse
Medium: watercolour
Dimensions: 76 by 58cm., 30 by 23in.
Provenance: Tom Caldwell Galleries, Dublin and Belfast; Private collection
Exhibited:
Literature: |
Lot
No.: 109
Auction Date:
20 September 2005
Published Estimate:
€5,000-7,000
Result:
€5200 |
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Louis le Brocquy HRHA (b.1916)
JOHN MILINGTON SYNGE
Signature: signed and inscribed lower right
Medium: collotype lithograph on Rives paper (no. 1 from an edition o
Dimensions: 33 by 28cm., 13 by 11in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 110
Auction Date:
20 September 2005
Published Estimate:
€3,000-4,000
Result:
€5000 |
| Printed in 1981 at the Imprimerie Arte, Paris, as part of a series titled Eight Irish Writers. The series was published in a boxed set of eight loose-leaf prints with a preface by Seamus Heaney, in a limited edition of 100 with an extra 25 hors-commerce copies. This is no. 1 from the 25 hors-commerce sets, inscribed “H. C.”. |
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Tony O'Malley HRHA (1913-2003)
YELLOW POND or LOCHAN BUIDHE
Signature: signed with initials lower right; inscribed, dated [1995] and signed again on reverse
Medium: oil on canvas
Dimensions: 183 by 122cm., 72 by 48in.
Provenance:
Exhibited: 'Tony O'Malley: Recent Canvases and Good Friday Paintings 1951-1996', Arts Council / An Chomhairle Ealaíon, RHA Gallagher Gallery, Dublin, catalogue no. 11 (£IR12,000)
Literature: |
Lot
No.: 111
Auction Date:
20 September 2005
Published Estimate:
€40,000-60,000
Result:
€0 |
| No. 3324 in the artist's oeuvre. |
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John Kingerlee (b.1936)
GRID COMPOSITION
Signature: signed in monogram and and dated [2003] lower right
Medium: oil on board
Dimensions: 32 by 43cm., 12.5 by 17in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 112
Auction Date:
20 September 2005
Published Estimate:
€20,000-30,000
Result:
€60000 |
| Kingerlee began making grids in December 1998 while on a visit to the hill of Tara in County Meath, seat of the high kings of Ireland. The presence underground of so much buried history and power must have impressed him, not least because it provided him with an archaeological equivalent for the accumulated strata of his oil paintings. By adapting this unusual technique to suit the format of a grid, Kingerlee made the evolution of the painting more apparent and allowed the passage of time itself to be an integral part of the picture. When one looks at a grid painting one is not experiencing a picture in the singular, but rather the evidence of as many as fifty or more, piled one on top of the other.
The grids are made by shaping the pigment into rectangles which are set out in rows, standing proud against neutral backgrounds. The linear matrix, which is imposed at the beginning of the painting process, has its origins in the early Cubist work of Picasso and Braque. Kingerlee particularly likes Braque’s description of his close collaboration with Picasso as being “like two mountaineers roped together”. To create a grid the artist lays his colours on with brushes initially, working from strong bright tints through to more muted shades: “the canvases become more and more subtle as they progress. A lot of white has gone into them and the very bright colours become no more than delicate traces. I really like the subtlety of reduced colour”. In the later stages the method of application switches to a combination of palette knife work and stippling with a decorator’s brush held vertically above the painting, which is laid flat on a workbench: “I am trying to build up a plaque, a raised textured surface. As each coat is added each plaque is more enriched, more and more figurative – landscapes, animals, buildings; sometimes the obvious image isn’t there – sometimes abstract – never a pure accident. The minute it seems a pure accident it’s no longer that but has become a conscious choice”.
In Grid Composition the thirty plaques are endowed with great textural, tonal and chromatic variation. The treatment of the pigment ranges from encrusted, dry and granular (where sand has been added for extra texture) through to creamy, viscous and smooth, where one layer has been allowed to blend with another of a different colour. The plaques with more definite outlines stand proud of the surface, whilst the paler, more subtle ones start to dissolve into each other and into the background. A near musical rhythm is set up across the picture, as we explore the look and feel of each miniature landscape or ‘window’ and the part it plays in the whole. By frustrating our expectations of shape-repetition, the artist slows down our ‘reading’ of the image, making us move visually through this terrain as if it were a real landscape of rocks, turf, sea and sky.
The artist regards the grid cells as miniature pictures, teetering on the brink between nature and abstraction, but always with a sense of being placed in three-dimensional space. It is as if the myriad components of the windswept Beara Peninsula (Kingerlee’s home) were distilled into a series of epiphanies or essences, and then reassembled in pictorial form. In these remarkable grids of Kingerlee’s both the means and the end seem to be without parallel in contemporary painting.
Jonathan Benington,
Bath, August 2005 |
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Alice Maher (b.1956)
THE CITY and RUNNING GIRL, 1994
Signature: signed and inscribed on reverse of canvas
Medium: oil and acrylic on canvas with a cast bronze sculpture
Dimensions: 249 by 130cm., 98 by 51in.
Provenance:
Exhibited: 'Alice Maher: Familiar', Douglas Hyde Gallery, Dublin, 11 January - 18 February 1995 and the Orchard Gallery, Derry, 25 February - 25 March 1995
Literature: Cecile Bourne, ‘Interview with Alice Maher’, pages 22-27 in Familiar, Douglas Hyde, Dublin, 1995, page 25 and illustrated page 20;
Aidan Dunne, ‘Ambiguous Images of Familiarity’, The Tribune Magazine, 8 January 1995;
Aidan Dunne, ‘Visual Art’, The Tribune Magazine, 24 March 1996, page 15, illustrated;
Medb Ruane, ‘Too close to call’ (review of the Glen Dimplex Award nominees at IMMA), The Sunday Times, 31 March 1996, illustrated;
Alice Maher, Necklace of Tongues, limited edition artist’s book, Coracle Publishing, Clonmel, 2001 |
Lot
No.: 113
Auction Date:
20 September 2005
Published Estimate:
€8,000-10,000
Result:
€0 |
| Aidan Dunne described Maher’s ‘Familiar’ exhibition as consisting of a “series of tall, large paintings ... each accompanied by its ‘familiar’, a sculptural object, anything from a couple of inches to a couple of yards in size”. He went on to describe the houses depicted in The City as “simplified representations of all the buildings - and in one case, a tent - that she [Maher] has lived in. They make up a freeform village of indeterminate scale. It could be made of building blocks, or it might be life sized. It’s accompanied by a bronze of a running girl, running, apparently, straight out of the wall”. Maher’s sketches for this work were later reproduced in a limited edition artist’s book, Necklace of Tongues, in which she labels each of the buildings represented with their location: Frankfurt, Dublin, Limerick, Cork, Belfast, Harlem and so on. Speaking about the work in an interview, Maher commented: “I wanted the viewer to feel either tiny and able to get inside and run around in that space, or to feel gigantic and able to pick up and change around the shapes at will. The fact that the pictures [The City and Familiar] are so tall and thin encourages this feeling of vertigo and invites the kind of engagement you refer to, like playing on video-game where you experience ‘getting into’ the space on a flat screen in front of you” (in interview with Cecile Bourne, 1994).
Born in Tipperary, Alice Maher studied at the University of Limerick before attending the Crawford College of Art, Cork, where she studied Fine Art. In 1986 she obtained a Masters in Fine Art from the University of Ulster and later studied painting, at the San Francisco Art Institute. She has held numerous solo exhibitions throughout Ireland and abroad and is represented in most major public collections including the Hugh Lane Gallery, IMMA, OPW and the Arts Council of Ireland. |
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William Crozier HRHA (b.1930)
LANDSCAPE, circa 1960s
Signature: signed lower right
Medium: oil on canvas
Dimensions: 60 by 69cm., 23.5 by 27in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 114
Auction Date:
20 September 2005
Published Estimate:
€3,000-4,000
Result:
€3400 |
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Felim Egan (b.1952)
PAINTING WITH DAVID
Signature: signed and dated [1984] on reverse; original exhibition label on reverse
Medium: acrylic on canvas
Dimensions: 51 by 51cm., 20 by 20in.
Provenance:
Exhibited: 'Seven Artists: New Work', Oliver Dowling Gallery, Dublin, 25 May - 9 June 1984, catalogue no. 4
Literature: |
Lot
No.: 115
Auction Date:
20 September 2005
Published Estimate:
€3,000-4,000
Result:
€0 |
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Patrick Scott HRHA (b.1921)
RAINBOW DESIGN I, circa 1979
Signature: signed and inscribed on label on reverse
Medium: woven rug by V’Soske Joyce for Kilkenny Design Workshops (no. 9 from an edition of 20)
Dimensions: 183 by 122cm., 72 by 48in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 116
Auction Date:
20 September 2005
Published Estimate:
€4,000-6,000
Result:
€4000 |
| No. 9 from an edition of 20. |
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Francis Tansey (b.1959)
MONOLITH I
Signature: signed, inscribed and dated [1993] on reverse
Medium: acrylic on canvas
Dimensions: 61 by 30cm., 24 by 12in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 117
Auction Date:
20 September 2005
Published Estimate:
€2,000-3,000
Result:
€2900 |
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Martin Gale RHA (b.1949)
CRIME STORY
Signature: signed lower right
Medium: oil on canvas
Dimensions: 89 by 89cm., 35.2 by 35.2in.
Provenance:
Exhibited: 'The John Shinnors Selected Exhibition', Lavit Gallery, Cork, 12-25 October 1998; 'Martin Gale: Paintings', RHA, Dublin, 27 September - 24 October 2004 and Ulster Museum, Belfast, 2 December 2004 - 27 March 2005 (listed page 88 of the accompanying catalo
Literature: |
Lot
No.: 118
Auction Date:
20 September 2005
Published Estimate:
€8,000-10,000
Result:
€0 |
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Trevor Geoghegan (b.1946)
FROST - A TRYPTYCH
Signature: each signed and dated [1986] lower left or lower right and inscribed variously (“8a.m”, “9a.m.” and “10a.m.”) on reverse
Medium: oil on canvas
Dimensions: 76 by 76cm., 30 by 30in.
Provenance:
Exhibited: 'An Exhibition of Paintings, From Light to Light, by Trevor Geoghegan', Solomon Gallery, Dublin, 25 February - 12 March 1986, catalogue numbers 7, 8 and 9
Literature: Irish Times, 4 March 1986, first panel illustrated |
Lot
No.: 119
Auction Date:
20 September 2005
Published Estimate:
€6,000-8,000
Result:
€0 |
| Each of the three works measure 30 by 30 inches and are framed separately. |
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Patrick Hennessy RHA (1915-1980)
DIALOGUE OF THE ANGELS or A DIALOGUE OF ANGELS
Signature: signed lower left; original exhibition label with title and artist's reference no. PH139 on reverse
Medium: oil on canvas
Dimensions: 122 by 85cm., 48 by 33.5in.
Provenance:
Exhibited: 'Patrick Hennessy R.H.A.', Ritchie Hendriks Gallery, Dublin, [1962], catalogue no. 18 as A Dialogue of Angels (250 gns); Guildhall Galleries, Chicago, circa 1960s
Literature: |
Lot
No.: 120
Auction Date:
20 September 2005
Published Estimate:
€8,000-10,000
Result:
€10000 |
| Relates to a series of large scale surrealist compositions Hennessy painted, which featured classical statuary. The series included The Guardians of Notre Dame (RHA, 1957), The Angel of the Annunciation (RHA, 1953 and 1958), and The Dance of the Blessed Spirits (RHA, 1959). |
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Patrick Hennessy RHA (1915-1980)
EBBTIDE
Signature: signed lower left; original exhibition label on reverse
Medium: oil on canvas
Dimensions: 41 by 64cm., 16 by 25in.
Provenance:
Exhibited: 'Patrick Hennessy', David Hendriks Gallery, Dublin, 9 November - 2 December 1972, catalogue no. 11
Literature: |
Lot
No.: 121
Auction Date:
20 September 2005
Published Estimate:
€8,000-10,000
Result:
€14000 |
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James le Jeune RHA (1910-1983)
CHILDREN PLAYING ON A BEACH
Signature: signed lower left
Medium: oil on canvas board
Dimensions: 41 by 51cm., 16 by 20in.
Provenance: James Adam Salesrooms, Dublin, September 1985, lot 64; Whence purchased by the present owner
Exhibited:
Literature: |
Lot
No.: 122
Auction Date:
20 September 2005
Published Estimate:
€6,000-8,000
Result:
€6200 |
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