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Records
61 to 80 of 194 found. |
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William Percy French (1854-1920)
THE GARDEN THAT I LOVE
Signature: signed twice and dated [10 September 1917] lower right; inscribed with title and price (£1-10) on reverse
Medium: watercolour on artist's board
Dimensions: 18 by 25cm., 7 by 10in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 61
Auction Date:
20 September 2005
Published Estimate:
€4,000-6,000
Result:
€6000 |
| The title is a quotation from Alfred, Lord Tennyson (1809-1892): “Not wholly in the busy world, nor quite / Beyond it, blooms the garden that I love”. An earlier, slightly larger work by the same title was sold through these rooms, 19 November 2002, lot 62 (€14,000). |
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James Humbert Craig RHA RUA (1877-1944)
MILKING TIME
Signature: signed lower left; original label inscribed with title and price (£10-10-0) and original exhibition labels on reverse
Medium: oil on panel
Dimensions: 24 by 34cm., 9.5 by 13.2in.
Provenance: F. N. Hepworth, Stanwix House, Carlisle; Christie's, Glasgow, 27 November 1996, lot 653; Christie's, London, 21 May 1997, lot 83; De Vere's, Dublin, 20 November 2001, lot 199
Exhibited: Fine Art Society, 1928, catalogue no. 14
Literature: |
Lot
No.: 62
Auction Date:
20 September 2005
Published Estimate:
€12,000-15,000
Result:
€19000 |
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Paul Henry RHA (1876-1958)
THE FLOCK, 1910
Signature: signed lower right; inscribed on reverse with the artist’s address “Beaufort Cottage, Knapp Hill, Surrey”
Medium: pencil and charcoal on paper
Dimensions: 22 by 28cm., 8.5 by 11in.
Provenance: Taylor de Vere's, Dublin, 12 October 1993, lot 25, as Driving Home the Sheep reproduced in the catalogue; Whence purchased by the father of the present owner
Exhibited: RHA, Dublin, Spring 1910, catalogue no. 367 (12 guineas)
Literature: Ann M. Stewart (ed.), Royal Hibernian Academy of Arts: Index of Exhibitors and their Works 1826-1979, 3 vols., Manton Publishing, Dublin, 1985, vol. 2, page 81;
S. B. Kennedy, Paul Henry, Yale University Press, New Haven and London, 2000, page 40 |
Lot
No.: 63
Auction Date:
20 September 2005
Published Estimate:
€10,000-15,000
Result:
€44000 |
| During his later years in London, from around 1906 till 1910, Henry had made and exhibited a number of drawings which had been much admired. These drawings, which were usually based on the landscape near to where he lived at Knapp Hill in Surrey, were in fact an extension of his more figurative work as an illustrator for newspapers and journals. As in all his work of the time, however, charcoal was his preferred medium. “No chalk or crayon has the same soft, velvety quality, no other material is so sensitive and tractable”, he later wrote (Henry, autobiography, An Irish Portrait, 1951, page 29). Henry had a consummate mastery over charcoal as a medium, as Frank Rutter of The Times once noted, saying that he used it “with rare discretion” and could coax from it “the tenderest effects of which it is capable” (The Times, undated review of the Goupil Gallery Salon, June 1906).
The Flock admirably illustrates all these qualities. Made in the early spring of 1910, before he visited Achill Island, it was almost certainly intended for that year’s Royal Hibernian Academy show. Priced at twelve guineas Henry clearly regarded it as a finished drawing and not merely a study for a later work. In his Further Reminiscences (published posthumously in 1973) he related how he had come to first exhibit at the RHA. In about 1908, he said, in London, he had met Hugh (later Sir) Lane who mentioned his name to Dermod O’Brien, a prominent member of the Academy. O’Brien subsequently wrote to him, saying that Lane had been greatly impressed by his work which he thought “would be appreciated in Dublin” (in Ireland Henry’s work had previously been seen only in Belfast). Lane had also suggested that he might even have a wall to himself at the RHA exhibition (Further Reminiscences, page 64). In the event he submitted just two drawings, The West Wind, 1908, and The Flock, 1910, the former being one of the drawings that had so impressed Hugh Lane.*
In The Flock we see Henry at the height of his powers. The scene is almost certainly in Surrey and while the shepherd and his flock of sheep are the ostensible subject of the picture, in fact the landscape holds our attention. The overall mood is determined by the closely woven ‘Whistlerish’ tones which bind everything together and in the treatment of the open ground, with little to interest us except the gentle rise of the track trodden by the sheep, which leads on to the distant hill, and the almost theatricality of the clouds which seem to peer over the horizon, we see Henry’s ability to dazzle us with the mastery of his technical prowess.
The Flock is numbered 159 in S. B. Kennedy’s forthcoming catalogue raisonné of Paul Henry’s oeuvre.
* The West Wind was sold at Whyte’s, Dublin, ‘Important Irish Art’, 26 April 2005, lot 51, reproduced in the catalogue.
Dr S. B. Kennedy,
Belfast, August 2005 |
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Mildred Anne Butler RWS (1858-1941)
PASTURELAND
Signature: signed lower right; original label on reverse inscribed with title, price (£8-0-0) and exhibition details
Medium: watercolour heightened with white
Dimensions: 18 by 25cm., 7 by 10in.
Provenance:
Exhibited: WCSI, Dublin, 1932, catalogue no. 32 (£8-0-0)
Literature: |
Lot
No.: 64
Auction Date:
20 September 2005
Published Estimate:
€5,000-7,000
Result:
€5200 |
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William Bingham McGuinness RHA (1849-1928)
COASTAL SCENE WITH ROW-BOAT ON STRAND and AN INLET WITH SEAWEED AND ROCKS AT LOW TIDE (A PAIR)
Signature: each signed lower left
Medium: watercolour over pencil heightened with white
Dimensions: 26 by 36cm., 10.2 by 14in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 65
Auction Date:
20 September 2005
Published Estimate:
€2,500-3,500
Result:
€0 |
| The second work is of same dimensions as the first. |
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William Percy French (1854-1920)
WHERE EVER I GO MY HEART TURNS BACK TO THE COUNTY MAYO
Signature: signed and dated [1902] lower left; original label on reverse inscribed with title, price (£10-10-0) and the artist’s address (21 Clifton Hill, N. W. London)
Medium: watercolour
Dimensions: 30 by 50cm., 12 by 19.5in.
Provenance: Rupert Guinness, Second Earl of Iveagh;
His sale, Iveagh House, 80 St Stephen’s Green, Dublin, auction conducted by Battersby’s, 28 September 1939, lot 386, where catalogued as Mountain, Bog and River (in Celtic design frame);
Private collection, Co. Waterford
Exhibited:
Literature: |
Lot
No.: 66
Auction Date:
20 September 2005
Published Estimate:
€20,000-25,000
Result:
€44000 |
| In the original pokerwork frame with Celtic interlaced knot design. |
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William Percy French (1854-1920)
A BOGLAND RIVER WITH HEATHER IN FLOWER
Signature: signed and indistinctly dated [1910?] lower right
Medium: watercolour
Dimensions: 21 by 28cm., 8.25 by 11in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 67
Auction Date:
20 September 2005
Published Estimate:
€4,000-6,000
Result:
€6700 |
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Maurice Canning Wilks RUA ARHA (1910-1984)
AUGUST EVENING, CUSHENDUN, COUNTY ANTRIM
Signature: signed lower left; inscribed and dated [1944] on reverse
Medium: oil on canvas board
Dimensions: 30 by 41cm., 12 by 16in.
Provenance: John Magee, Belfast; Mr R. Hamilton; Private collection
Exhibited:
Literature: |
Lot
No.: 68
Auction Date:
20 September 2005
Published Estimate:
€3,000-5,000
Result:
€5200 |
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Mildred Anne Butler RWS (1858-1941)
A WOMAN SEWING BY A WINDOW
Signature: signed lower right; inscribed "No. 2" lower left
Medium: watercolour over black chalk on paper mounted on card
Dimensions: 39 by 28cm., 15.2 by 11in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 69
Auction Date:
20 September 2005
Published Estimate:
€6,000-8,000
Result:
€0 |
| With the framing label of S. T. Townsend, Norwich, on reverse; also with the remains of an exhibition label, numbered 569, on reverse. |
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Sir William Orpen RA RI HRHA (1878-1931)
STUDY FOR SWINTON FAMILY PORTRAIT, circa 1901
Signature:
Medium: pen and ink
Dimensions: 17 by 19cm., 6.5 by 7.5in.
Provenance: Sketchbook given by the artist to fellow Slade School student, Michael Salaman;
Pyms Gallery, London;
Frederick Gallery, Dublin;
Whyte’s, 29 April 2003, lot 83;
Private collection, Dublin
Exhibited: 'William Orpen: Early Work', Pyms Gallery, London, 20 May - 12 June 1981, catalogue no. 79 (illustrated); 'Drawings, Etchings and Engravings', Frederick Gallery, Dublin, November 1998, catalogue no. 11
Literature: Bruce Arnold, Orpen: Mirror to an Age, Jonathan Cape, London, 1981, pagees 91, 97 |
Lot
No.: 70
Auction Date:
20 September 2005
Published Estimate:
€1,800-2,200
Result:
€0 |
| This work is a preliminary sketch for one of Orpen’s earliest commissions, a portrait of Sir George Swinton (a member of the London Corporation) with his wife (an actress) and their two children, illustrated on page 97 of Orpen: Mirror to an Age. One of six known studies for the painting, it reveals, according to Bruce Arnold, “the development of relationships in an ambitious type of work, of a kind of which Orpen painted regularly from 1900 until the First World War”. |
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Sir William Orpen RA RHA (1978-1931)
FIGURES HARVESTING, NORMANDY, circa 1899-1904
Signature: inscribed by the artist's daughter, Diana Orpen, on reverse; also with exhibition label on reverse
Medium: pencil on paper
Dimensions: 19 by 37cm., 7.5 by 14.5in.
Provenance: The artist's family; Sold on their behalf by Cassian de Vere Cole Fine Art, London, July 2002; Private collection, Northern Ireland
Exhibited:
Literature: |
Lot
No.: 71
Auction Date:
20 September 2005
Published Estimate:
€3,000-4,000
Result:
€0 |
| Recently rediscovered by the artist’s daughter, Diana Orpen, in an envelope that also contained a cartoon by Orpen titled the New English Art Club Outing (circa 1904). The latter work has since been purchased by the National Portrait Gallery, London, whilst the present drawing has been authenticated on reverse by Diana Orpen. |
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William John Leech RHA ROI (1881-1968)
THREE CHILDREN IN A SUMMER LANDSCAPE
Signature:
Medium: oil on canvas
Dimensions: 52 by 47cm., 20.5 by 18.5in.
Provenance: 'Cuilim', Alleys River Road, Old Connor, Bray, house auction conducted by HOK, 19 June 1991, lot 424; Whence purchased by the parents of the current owner
Exhibited:
Literature: |
Lot
No.: 72
Auction Date:
20 September 2005
Published Estimate:
€12,000-15,000
Result:
€14500 |
| Leech first included children in a landscape in Twas Brillig, (1910) . This work and his subsequent beach scenes at Concarneau, Brittany, show his debt to Walter Osborne and Wilson Steer in their Walberswick paintings. In Beach Parasols on the Beach and Paper Parasols circa (1920-30), he captures children in movement with quick brushstrokes indicating legs and arms and a few fluid strokes for clothing. In particular in Beach Scene (18 x 22in.) painted circa 1922, a young girl bends protectively over a younger boy and Leech captures her in white hat and dress against dark legs similar to the figure of the girl in Three Children in a Summer Landscape.
Leech didn’t have children but in England he sympathetically painted his nieces and nephews and May Botterell’s three children. In France he painted the three children of the New Zealand artist Sydney Lough Thompson who he had first met at the Academie Julian in 1901 and remained a lifelong friend. After Thompson married Ethel Coe in New Zealand in 1911 the couple came to Concarneau where their first daughter Annette was born in 1915, followed by Mary in 1920 and Jan their son in 1922 (1). Annette Thompson fondly remembered Leech being part of her childhood, frequently painting them at play on the beach in Concarneau or in their garden near Grasse (2) where the Thompson family rented a house for the Winter/Spring period from 1926 – 1933 (3). Leech and Thompson painted the landscape together and they nicknamed it “La Vallée de la joie.” The warm red ochre of the soil and the strong sunlight filtering through the trees and bushes in the present work suggests it was painted in “Happy Valley” and judging from the age of the children to circa 1929,
(1) Ethel Thompson’s unpublished records. Copy, collection of the author.
(2) Conversations and correspondence with Annette Thompson and author, Concarneau, France 1989–2001
(3) E. Thompson’s records.
Dr Denise Ferran
August 2005 |
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Sir John Lavery RA RHA RSA (1856-1941)
MOONRISE TANGIER BAY
Signature: signed and inscribed lower left; signed again, inscribed and dated [1910] on reverse
Medium: oil on canvas board
Dimensions: 25 by 36cm., 10 by 14in.
Provenance: Gift from the artist to his best man, Robert Cunninghame Graham MP (1852-1936); By descent to his niece; Private collection
Exhibited:
Literature: |
Lot
No.: 73
Auction Date:
20 September 2005
Published Estimate:
€30,000-40,000
Result:
€24000 |
| After 1903, when he resumed his regular annual visits to Tangier and acquired the winter retreat of Dar-el-Midfah, Lavery was keenly attracted to panoramic vistas of the Straits of Gibraltar to the west of the city and the Mediterranean, overlooking Tangier Bay to the east. The low-lying land around the bay, which accommodated the city’s expansion in the twentieth century, provided splendid views of sea and sky looking towards Cape Matabalah, and close to the Villa Harris, home to Walter Harris, the acclaimed Times correspondent. Here Lavery painted a large number of beach scenes, looking back towards the walled city at sunset and over the sea at moonrise. Numerous travel writers comment upon the quality of light at such moments on this stretch of the North African coast. None of the many artists who visited the city, from Eugène Delacroix in the early nineteenth century, to Henri Matisse in the early twentieth, responded to its extraordinary effects with the enthusiasm of Lavery. In small oil sketches such as Moonrise and Dawn (lot xx) he delighted in the subtle blues of morning and the creamy pinks and mauves of twilight.
Cunninghame Graham (1852-1936), to whom the present work is inscribed, was a renowned Scots adventurer and laird of Gartmore. He met Lavery in the early nineties in Tangier, when he reined in the painter’s runaway horse. A larger-than-life character, he had travelled extensively in the Americas, at one time earning money as a fencing instructor in Mexico City. A political radical, he took the seat for North West Lanarkshire in 1886 and the following year was imprisoned for his part in the Free Speech Riots in Trafalgar Square. By the time he met Lavery, he was becoming disaffected with politics and relinquished his seat in the general election of 1892. Around this time Cunninghame Graham became more interested in the art world, cutting a flamboyant figure at private views. Although his portrait was painted by Percy Jacomb Hood, William Rothenstein and Ignazio Zuloaga, Lavery’s full-length, Harmony in Brown, 1893 (Glasgow City Art Gallery) is the definitive representation. Of this George Bernard Shaw famously remarked – ‘He is a Spanish hidalgo, hence the superbity of his portrait by Lavery (Velazquez no longer being available)’ (Kenneth McConkey, Sir John Lavery, 1993, p. 70). A head and shoulders study of c. 1893 is in the collection of the sitters’ descendents (McConkey, fig 73) and a large equestrian portrait, RB Cunnighame Graham on ‘Pampa’, (President’s Palace, Buenos Aires) was painted in 1898. Cunninghame Graham remained a regular visitor to Lavery’s studio up until the Great War and during these years he wrote a ‘prefatory note’ to the catalogue of Lavery’s solo exhibition at the Leicester Galleries in 1904 and the preface to Walter Shaw Sparrow’s John Lavery and his Work, (1911). His memoir of Tangier in the pre-First World War years, Writ in Sand, was published in 1932. It may well be the case that the present work was given to Cunninghame Graham in gratitude for his services either in relation to Lavery’s wedding or for his support in the Shaw Sparrow publication.
Kenneth McConkey |
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Sir John Lavery RA RHA RSA (1856-1941)
DAWN, WHERE "THE JEWS RIVER" JOINS THE SEA
Signature: signed and inscribed lower right; signed again, inscribed and dated [1910] on reverse
Medium: oil on canvas board
Dimensions: 25 by 36cm., 10 by 14in.
Provenance: Gift from the artist to his best man, Robert Cunninghame Graham MP (1852-1936); By descent to his niece; Private collection
Exhibited:
Literature: |
Lot
No.: 74
Auction Date:
20 September 2005
Published Estimate:
€30,000-40,000
Result:
€23000 |
| Dawn is one of the simplest and most evocative of Lavery’s small seascapes painted at Tangier. While he sometimes declared that his winter sojourns on the North African coast helped him to wash the dull London studio light from his eyes, the experience also endlessly challenged him to compose what, in the present example, is an almost abstract composition – a taste which he derived from Whistler. As Vice-President during Whistler’s presidency of the International Society of Sculptors, Painters and Gravers, Lavery would have been familiar with seascapes such as Grey and Silver, Trouville, (Freer Gallery of Art, Washington) and Green and Silver, The Great Sea, (Hunterian Art Gallery, University of Glasgow), which Whistler showed at the International Society shows of 1899 and 1901 respectively. He would have seen Monet’s La Plage des Petites Dalles (destroyed), shown at the second of these exhibitions and would have also been aware of the enormous influence of such works in the years up to 1910, on artists as diverse as William Nicholson and William John Leech. It is worth pointing out however, that by this stage Lavery had already produced notable Tangier beach scenes – particularly Tangier - The White City, 1893 (Private Collection).
The present picture is likely to have been painted at the eastern end of Tangier Bay, where the Oued Souami breaks into tributaries, flowing across the sands and into the sea. Crosscurrents at this location exposed rocks in the sea which were often painted by the artist, as in Tangier Bay, Rain, 1910 Ulster Museum, Belfast). Although its course runs not far from the Jewish Cemetery, the source of the reference to this as ‘the Jews River’ remains obscure. Arabs occasionally fished on the beach, in the eddies of Oued Souami and on one occasion Lavery apparently posed his wife Hazel as The Angler, at this location (sold Sotheby’s 16 May 2002). Other examples of works produced at this viewpoint include The End of the Day, Tangier Bay (sold Christie’s 19 May 2000), showing two children on the beach. The present work omits such human interest, allowing the painter to concentrate exclusively on the simple, yet subtle gradations of shape and colour expressing that moment of calm before the heat and hubbub of the day begins.
Kenneth McConkey |
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Lilian Lucy Davidson ARHA (1893-1954)
THE COURTYARD, FRIAR'S HILL
Signature: signed in monogram lower left; original exhibition label on reverse inscribed with title and price (£7-10-0)
Medium: gouache on buff-coloured card
Dimensions: 37 by 25cm., 14.5 by 10in.
Provenance: Dermod O'Brien PRHA; By descent to Dr Brendan O'Brien; Private collection
Exhibited: WCSI, 1940, catalogue no 131 (£7-10-0); WCSI, 1954, catalogue no. 38, lent by Dr Brendan O'Brien in memory of the artist
Literature: |
Lot
No.: 75
Auction Date:
20 September 2005
Published Estimate:
€2,000-3,000
Result:
€2300 |
| After her father’s death, Lilian Lucy Davidson moved to Dublin, but would occasionally return to her home town Wicklow and to Arklow to paint. When doing so she would stay at “Major Grimshaw's house, Friar’s Hill, where he kept paying guests” (Irish Arts Review, 1999). The present work depicts the courtyard of Major Grimshaw’s house. |
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Estella Frances Solomons HRHA (1882-1968)
RATHFARNHAM WOODS
Signature: signed lower left; with the framing label of the Dawson Gallery, Dublin, on reverse
Medium: oil on canvas
Dimensions: 56 by 30cm., 22 by 12in.
Provenance: Dr Michael Solomons, the artist's nephew; From whom puchased circa 1960s by the father of the present owner
Exhibited: 'Estella Solomons', Fitzwilliam Square, Dublin, private exhibition in aid of CORA (Committee of Refugee Aid), circa 1960s
Literature: |
Lot
No.: 76
Auction Date:
20 September 2005
Published Estimate:
€3,000-5,000
Result:
€3300 |
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Roderic O'Conor (1860-1940)
SENTIER À TRAVERS LES ARBES / PATH THROUGH THE TREES, circa 1893
Signature:
Medium: restrike etching on cream wove paper (unframed)
Dimensions: 33 by 30cm., 13 by 12in.
Provenance: Paul Prouté, Gravures et Dessins, Rue de Seine and Rue Clément, Paris; Private collection
Exhibited:
Literature: Richard Field, Cynthia L. Strauss and Samuel J. Wagstaff, The Prints of Armand Seguin, 1869-1903, Wesleyan University, Connecticut, 1980, page 13;
Roy Johnston, Roderic O’Conor 1860-1940, Musée du Pont-Aven, 1984, page 80;
Roy Johnston, ‘Les gravures de Roderic O’Conor’, in Pont-Aven et ses peintures à propos d’un centenaire, Presses University de Rennes, 1986, pages 147-8;
Jonathan Benington, Roderic O’Conor, Irish Academic Press, Dublin, 1992, page 237, catalogue no. 447;
Roy Johnston, Roderic O’Conor 1860-1940: Catalogue de l’oeuvre gravé / The prints of Roderic O’Conor, Musée du Pont-Aven, 1999, pages 44-45 (illustrated) |
Lot
No.: 77
Auction Date:
20 September 2005
Published Estimate:
€3,000-5,000
Result:
€2800 |
| Formerly misattributed to Armand Seguin. The original plate for this print was sold at Hotel Drouot on 17 November 1975 (lot 172 no. 1) as Chemin sous bois. Later printed as a restrike by Paul Prout‚ S.A. in 1981, in an edition of 100 with the title Sentier à travers les arbres. |
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Renée O'Conor (neé Honta) (1894-1955)
STILL LIFE WITH APPLES AND ANEMONIES
Signature: signed lower left
Medium: oil on canvas
Dimensions: 61 by 71cm., 24 by 28in.
Provenance:
Exhibited:
Literature: |
Lot
No.: 80
Auction Date:
20 September 2005
Published Estimate:
€5,000-7,000
Result:
€0 |
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Renée O'Conor (neé Honta) (1894-1955)
MODEL IN A RED VEST, SEATED WITH A BOOK ON HER LAP
Signature: signed upper right; original exhibition label on reverse
Medium: oil on canvas
Dimensions: 66 by 55cm., 26 by 21.5in.
Provenance:
Exhibited: First exhibition of the Salon du Montparnasse, 1923, catalogue no. 322
Literature: |
Lot
No.: 81
Auction Date:
20 September 2005
Published Estimate:
€5,000-7,000
Result:
€0 |
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Father Jack P. Hanlon (1913-1968)
MIXED FLOWERS ON A BALCONY OVERLOOKING BOATS ON WATER
Signature: signed and inscribed "Summer 1936" on reverse
Medium: oil on canvas
Dimensions: 44 by 41cm., 17.5 by 16in.
Provenance: Eimear Gallery, Belfast; Private collection
Exhibited:
Literature: |
Lot
No.: 82
Auction Date:
20 September 2005
Published Estimate:
€8,000-10,000
Result:
€0 |
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