27 April 2004

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THE GUARDIAN OF THE VILLAGE
THE GUARDIAN OF THE VILLAGE
George Russell Æ (1867-1935)

Auction Date / Lot No.: 27 April 2004 / 52

Published Estimate: €4,000-6,000

Price Realised: €3500


PORTRAIT OF GRACE WESTRAY
PORTRAIT OF GRACE WESTRAY
Sir William Orpen RA RHA (1878-1931)

Auction Date / Lot No.: 27 April 2004 / 53

Published Estimate: €5,000-7,000

Price Realised: €4000

  • Medium: sanguine Conté crayon on rag paper
  • Dimensions: 32 by 25cm., 12.5 by 9.75in.
  • With a study of another student thought to be Ursula Tyrwhitt (1878-1966), in a dress with mutton-leg sleeves, looking over her left shoulder, her face in profile, on reverse. Grace Mildred Westray (1878-?) was an art student from Staffordshire, who studied at the Slade at the same time as Orpen and Augustus John. She was the subject of at least three sketches by John, which are now in the Fitzwilliam Museum, Cambridge, and was painted on another occasion by Orpen. These drawings date from Orpen’s period of study at the Slade (1897-1900) and demonstrate his prodigious gifts as a draughtsman.

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CANY AT THE FIRST
CANY AT THE FIRST
Sir William Orpen RA RHA (1878-1931)

Auction Date / Lot No.: 27 April 2004 / 54

Published Estimate: €4,000-6,000

Price Realised: €8000

  • Signature: inscribed with title lower centre
  • Medium: pen and ink on paper
  • Dimensions: 25 by 20cm., 10 by 8in.
  • Provenance: Estate of Sir John Rothenstein; Mr & Mrs Herbert Schimmel; Whitford Fine Art, London; Private collection, Dublin
  • In this sketch of Orpen’s mistress, the Slade school model and aspirant architect Emily Scobel, Orpen reveals a demure, modest side to his model. Scobel, Orpen and Albert Rothenstein travelled to Cany, in Normandy, during the summer of 1900. Earlier in the year, Scobel had posed for two of Orpen’s most successful works, The Mirror and The English Nude. Whilst staying at Cany, Scobel became the subject of another major work, The Bedroom, and shortly after their return to London posed as the anxious wife in A Mere Fracture. In the present sketch her demure pose resembles that of Grace, Orpen’s soon-to-be wife, but her casually draped tasselled shawl hints at the rather more sensual side of Scobel’s character, as portrayed in other sketches such as The Fancy Dress Ball of Cany (sold through these rooms, 18 November 2003, lot 54).

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SWANS ON THE LAGAN
SWANS ON THE LAGAN
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 27 April 2004 / 55

Published Estimate: €70,000-90,000

Price Realised: €72000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 51 by 69cm., 20 by 27in.
  • Provenance: 'Irish Paintings', James Adam Salerooms in association with Bonhams, Dublin 1 June 1989, Lot 119 price realised: (IR£42,000 - stg£36,000); Private collection, Surrey
  • Exhibited: RHA, Dublin, 1945, catalogue no. 3 (£52-10-0)
  • Frank McKelvey was a pragmatic painter, reacting to things as they happened, not bothered by theory or dogma. For him painting represented a sense of discovery, similar to that of the children in this composition, superbly observed and depicted as they play with the swans. Writing in 1925 the English critic J. B. Meehan commented that McKelvey’s views and conversation were “as fresh and bright as his pictures” 1. In the artist’s own words, he said, “painting is all great fun”2. Both comments are applicable to McKelvey’s whole career and ably describe the mood in Swans on the Lagan. The picture is similar to a number of others on this theme which McKelvey painted at different times in his career, the setting often being the pond at Woodvale Park, near to where he grew up, the lake at Hillsborough, the pond in St. Stephen’s Green, Dublin, or, as here, the river Lagan and its environs. The handling of paint in this work and the slightly dramatic quality of the light, suggest a date of execution of around 1944-1945. It is almost certainly, therefore, the picture of this title that McKelvey exhibited at the RHA in 1945. 1 Quoted in J. B. Meehan, ‘Two Ulster Artists’, Colour, December 1925, p. 12 (Meehan’s other subject in this article was James Humbert Craig) 2 Ibid. Dr S. B. Kennedy, Belfast, 2004

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STABLE-YARD WITH TWO HORSES AND A FOAL, AND A RIVERINE LANDSCAPE BEYOND
STABLE-YARD WITH TWO HORSES AND A FOAL, AND A RIVERINE LANDSCAPE BEYOND
John Frederick Herring, Jnr. English, (1815-1907)

Auction Date / Lot No.: 27 April 2004 / 56

Published Estimate: €10,000-12,000

Price Realised: €15000

  • Signature: signed "J. F. Herring" and dated [1854] lower centre (partially obscured below inner-slip of frame)
  • Medium: oil on canvas
  • Dimensions: 38 by 51cm., 15 by 20in.
  • In a carved frame, with brass plaque attached mistakenly attributing the work to Herring Snr.

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MIXED FLOCK
MIXED FLOCK
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 27 April 2004 / 57

Published Estimate: €40,000-50,000

Price Realised: €38000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 38 by 51cm., 15 by 20in.
  • Provenance: 'The Irish Sale', Christie's, London, 9 May 1996, lot 26; Private collection, Surrey
  • A label formerly attached to the reverse of the canvas bore the title and McKelvey’s address as Rae’s Building, Belfast. It was on the third floor at this address, 142 Royal Avenue, Belfast, that McKelvey established his first studio, in 1919 or 1920, in the heart of the city’s business community. In fact he ran his studio like a business, arriving smartly dressed in the mornings, painting during set hours, and returning home in the evening, his day’s work finished. In 1931, however, he moved his studio to another address in the city. A Mixed Flock, a youthful work, with its overall feeling of lightness, fresh air and the spontaneity of the moment, is typical of McKelvey’s subject matter in these years. The even film of paint and emphasis on naturalism express with ease his superb technical facility. In 1924 McKelvey married Elizabeth Murphy, and they settled at the Maze, near Hillsborough, in County Down. That is almost certainly the setting for this composition and the figure feeding the chickens is probably the young Mrs. McKelvey. Dr S. B. Kennedy, Belfast, 2004

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COTTAGES AND HAY STACKS, WEST OF IRELAND COAST
COTTAGES AND HAY STACKS, WEST OF IRELAND COAST
Desmond Turner RUA (b.1923)

Auction Date / Lot No.: 27 April 2004 / 58

Published Estimate: €1,500-1,800

Price Realised: €1200


IN GLENDUN, COUNTY ANTRIM
IN GLENDUN, COUNTY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 27 April 2004 / 59

Published Estimate: €3,000-4,000

Price Realised: 


SHEEP IN A YARD
SHEEP IN A YARD
Mark O'Neill (b.1963)

Auction Date / Lot No.: 27 April 2004 / 60

Published Estimate: €3,500-4,500

Price Realised: €4200


FISHERMEN ON STRANGFORD LOUGH, COUNTY DOWN
FISHERMEN ON STRANGFORD LOUGH, COUNTY DOWN
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 27 April 2004 / 61

Published Estimate: €30,000-40,000

Price Realised: €34000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 51 by 66cm., 20 by 26in.
  • Provenance: Possibly exhibited RHA, 1963, catalogue no. 90 as Shores of Strangford (£50-0-0)
  • Painted on the outskirts of the Mount Stewart estate, with the Scrabo monument visible in the distance.

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WEEKEND
WEEKEND
Martin Gale RHA (b.1949)

Auction Date / Lot No.: 27 April 2004 / 62

Published Estimate: €3,000-4,000

Price Realised: €6200


BELLEWSTOWN, COUNTY MEATH
BELLEWSTOWN, COUNTY MEATH
John Skelton (b.1923)

Auction Date / Lot No.: 27 April 2004 / 63

Published Estimate: €2,000-3,000

Price Realised: €2200


KERRY LANDSCAPES (A PAIR)
KERRY LANDSCAPES (A PAIR)
Noel Sheridan (b.1936)

Auction Date / Lot No.: 27 April 2004 / 64

Published Estimate: €1,500-2,000

Price Realised: €1800

  • Signature: each signed lower right and inscribed on reverse; original exhibition label on reverse of one
  • Medium: oil on board
  • Dimensions: 20 by 30cm., 8 by 12in.
  • Provenance: Dawson Gallery, Dublin
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MOUNTAIN LANDSCAPE
MOUNTAIN LANDSCAPE
Basil Blackshaw RHA RUA (b.1932)

Auction Date / Lot No.: 27 April 2004 / 65

Published Estimate: €10,000-12,000

Price Realised: 


EVENING LIGHT, GORTEEN BEACH, ROUNDSTONE
EVENING LIGHT, GORTEEN BEACH, ROUNDSTONE
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 27 April 2004 / 66

Published Estimate: €6,000-8,000

Price Realised: €6000


TOWN, TENERIFE
TOWN, TENERIFE
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 27 April 2004 / 67

Published Estimate: €10,000-15,000

Price Realised: €10500


FISHING VILLAGE
FISHING VILLAGE
Markey Robinson (1918-1999)

Auction Date / Lot No.: 27 April 2004 / 68

Published Estimate: €12,000-15,000

Price Realised: €20000

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 47 by 57cm., 18.5 by 22.5in.
  • Provenance: The McCaffrey Collection; Emer Gallery, Belfast; Private collection, Belfast
  • Literature: Susan Stairs, The Irish Figurists and Figurative Painting in Art, George Gallery Montague Ltd, Dublin, 1990, pp.173, 200-201 (illustrated p.201)
  • This very early example of Markey’s art displays his early interest in anecdotal detail and his enduring love of the sea and marine subjects. Formerly owned by the McCaffrey family, well known Dublin publicans who exhibited their extensive collection of Markey’s works in their pubs - the Hole in the Wall, Blackhorse Avenue, and Nancy Hand’s, in Parkgate Street.

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CHILDREN WITH A DONKEY OUTSIDE FARM BUILDINGS IN A VALLEY
CHILDREN WITH A DONKEY OUTSIDE FARM BUILDINGS IN A VALLEY
Síne MacKinnon (1901-1996)

Auction Date / Lot No.: 27 April 2004 / 69

Published Estimate: €3,000-4,000

Price Realised: €3800

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 65 by 81cm., 25.5 by 32in.
  • A view most probably based on the artist’s travels in Spain. An alternate setting may be Greece, but an art critic for The Studio in 1940 noted the absence of human figures in her French, Grecian and Portugese works (see Snoddy, p. 395). MacKinnon was born in Newcastle, Co. Down, and often painted in Galway as a young girl. She went to school in England and studied at the Slade. In 1929 the Fine Arts Society held a joint exhibition of Connemara paintings by MacKinnon and Stephen Bone. She later showed at the Reid, Redfern, Leicester, Lefèvre and Arthur Tooth Galleries, London, exhibiting mostly landscapes, still life studies, and occasionally surrealist pictures.

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THE ISLAND, ST. IVES
THE ISLAND, ST. IVES
Medora Heather Bent (1901-1992)

Auction Date / Lot No.: 27 April 2004 / 70

Published Estimate: €1,500-2,000

Price Realised: €2300

  • Signature: signed and dated [1942] lower left
  • Medium: watercolour and gouache
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Medora Heather was born in Ireland and spent much of her childhood on the family estate at Errislannan, situated on a remote peninsula in Connemara. Her parents bred race horses and reputedly christened her Medora by randomly choosing a name out of a stud-book (it was either that or ‘Cob-web’), but her aunts demanded an Irish name: thus she was known always as Alannah Alannah Heather, Errislannan: Scenes from a Painter’s Life, Lilliput Press, Dublin, 1993, p.29.

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CHRISTMAS CARD WITH PINK MOON
CHRISTMAS CARD WITH PINK MOON
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 27 April 2004 / 71

Published Estimate: €2,000-2,500

Price Realised: 

  • Signature: signed lower right; inscribed on reverse to "Nell & Johnny" (Rice)
  • Medium: watercolour, crayon and collage on board
  • Dimensions: 15 by 22cm., 5.75 by 8.75in.
  • Provenance: Collection of Noreen Rice (friend of Dillon's and fellow artist)
  • Also with this lot are two works by Noreen Rice: LOVERS IN A LANDSCAPE, signed lower centre, pastel on artists’ board, 28 x 21 inches, formerly with the David Hendriks Gallery, Dublin, and COUPLES EMBRACING, signed lower right, pencil, pen and ink and collage on board, 9 x 17.5 inches. (3)

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THE LAKE
THE LAKE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 27 April 2004 / 72

Published Estimate: €25,000-35,000

Price Realised: €38000

  • Signature: signed lower right; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 46 by 61cm., 18 by 24in.
  • Stylistically, The Lake can be dated to around the 1950s or early ‘60s. O’Neill made great use of the palette knife on works of this period (indeed The Lake appears to have been painted almost exclusively with the knife, as did Jack Yeats in his mature works. Likewise, the colours hark back to Yeats – jewel-like and harmonious. They are also of a higher key than those used in the 1940s, without resorting to the intense brighteness and stark contrast seen in his late work. It is a period of mature consolidation. In 1952 the Council for the Encouragement of Music and Art (CEMA) organinsed a highly successful retrospective of his work at the Belfast Museum and Art Gallery, attracting much praise from critics and public alike. This led to two exhibitions at Tooth’s in London (1952 and 1954, the latter exhibition shared with Colin Middleton). In 1958 O’Neill left his native Belfast for London. At the same time he began exhibiting regularly with the Galerie Waddington, in Montreal, whilst also sending works back to Dublin where they were shown at the Dawson Gallery in 1960 and 1963.

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EARLY STUDIES TOWARDS JAIRUS' DAUGHTER, WASHINGTON CATHEDRAL
EARLY STUDIES TOWARDS JAIRUS' DAUGHTER, WASHINGTON CATHEDRAL
Evie Hone (1894-1955)

Auction Date / Lot No.: 27 April 2004 / 73

Published Estimate: €2,000-3,000

Price Realised: 

  • Signature: signed lower right
  • Medium: gouache over pencil
  • Dimensions: 33 by 10cm., 13 by 4in.
  • Provenance: Taylor de Vere White auction, Dublin, 1992, lot 4
  • Two preparatory sketches, each measuring 13 by 4 inches (framed as one), designs for a window in the Washington Cathedral (Mount St. Alban, Washington DC, USA), which was built in 1953.

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FLOWERS IN A VASE
FLOWERS IN A VASE
Peter Collis RHA (b.1929)

Auction Date / Lot No.: 27 April 2004 / 74

Published Estimate: €3,000-4,000

Price Realised: €3600

  • Signature: signed lower right; inscribed studio label and typed exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 41 by 36cm., 16 by 14in.
  • Provenance: Trinity Gallery, London; Private collection, Surrey
  • Exhibited: 'Peter Collis ARHA Recent Work 1989-1991', Trinity Gallery, 47 Albemarle Street London, 5-19 March 1991, catalogue no. 21
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STILL LIFE WITH BRONZE HEAD
STILL LIFE WITH BRONZE HEAD
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 27 April 2004 / 75

Published Estimate: €3,000-4,000

Price Realised: €3400


NIGHT SKY
NIGHT SKY
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 27 April 2004 / 76

Published Estimate: €15,000-20,000

Price Realised: €14000

  • Signature: signed upper right; inscribed with title on reverse
  • Medium: oil on canvas
  • Dimensions: 46 by 36cm., 18 by 14in.
  • Provenance: Victor Waddington Galleries, Dublin; Whence purchased by Alfred Ernest Goodwin, founder of the Goodwin Gallery, Limerick; Thence by descent
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THE IRISH GIRL
THE IRISH GIRL
Ronald Ossory Dunlop RA RBA NEAC (1894-1973)

Auction Date / Lot No.: 27 April 2004 / 77

Published Estimate: €2,000-3,000

Price Realised: 

  • Signature: signed lower left; typed exhibition label on reverse giving title and artist's address (18 The Ridgeway, London SW19)
  • Medium: oil on canvas laid on board
  • Dimensions: 41 by 33cm., 16 by 13in.
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PIERROT WITH PAINTING OF KING WILLIAM III
PIERROT WITH PAINTING OF KING WILLIAM III
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 27 April 2004 / 78

Published Estimate: €30,000-40,000

Price Realised: 

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 76 by 99cm., 30 by 39in.
  • Provenance: Artist's family
  • Painted circa 1968-1969. Gerard Dillon was born and raised in Belfast. After working in London as a painter and decorator, in 1930 he began to paint pictures, a sphere in which he was largely self-taught. Caught in Ireland by the outbreak of the Second World War and, due to travel restrictions, unable to return to England, he decided to move to Dublin. There he held his first one-man exhibition in February 1942. Immediately his talent was recognised, the Irish Times (24 February 1942) commenting of his exhibition that he could “put the breath of life” into his pictures. Thereafter, mainly through the annual ‘Living Art’ exhibitions, Dillon made a reputation for himself and shortly came to be regarded, along with a number of his Northern confreres - George Campbell, Nevill Johnson, Dan O’Neill - as one of the most interesting Irish painters of his generation, his subject matter increasingly drawn from the West, from the Aran Islands and Connemara in particular. His early return to London after the war, however, meant that the west of Ireland did not quite monopolise his work as it might otherwise have done. But besides Dublin and the West, Dillon spent a good deal of time during the war years in Belfast. There, in the wake of the Blitz of 1941, in pictures such as Result of a Raid and Blitzed Landscape he set down with a strong sense of pathos the uneasy life he found around him, notably for those “little shuffling people”, as the poet and critic John Hewitt once called them1, whose homes had been destroyed by the Luftwaffe. Dillon was clearly moved by these events and his memories of the hardships of civilian life during the war remained with him. It is in the context of his war-time experiences that Pierrot with Painting of King William III should be judged. Here, on what was to be the eve of another period of thirty years’ ‘war’ in Northern Ireland - although Dillon, of course did not know that at the time - the pathos of his previous experiences returns, although in a more sophisticated manner. The picture is essentially autobiographical, Dillon in his paintings having often presented himself as a pierrot, as James White commented, a figure that enabled him “to enter a dream world of escape from the present”2. In many of his pierrot pictures, White says, Dillon “came nearest to a truly poetic expression … far removed from the realities and pains of daily life”, something which, in the late 1960s, was an escape for him from the Northern conflict, “which was never far from his mind”3. As in many of Dillon’s pictures, there is a degree of humour in Pierrot with Painting of King William III. The imagery is deeply ironic, the pierrot being cast as an Orangeman wearing a traditional bowler hat and orange sash, symbols of all that the artist abhorred about Ulster life, as is the portrait of King William of Orange, triumphantly astride his traditional white horse, an image that harks back to a distant past that Dillon felt no part of. The expression on the pierrot’s face appears to be of benign amusement, but in fact represents incredulity at what is happening in his native land. The brisk handling of paint throughout - notably in the figure of King William and the head of the pierrot - indicates the spontaneity of the picture’s execution and, sadly in this instance, recalls James White’s observation that Dillon knew that the way to make a work of art was “to pluck the image hot out of experience”4. As in this picture, the juxtaposition of different images, which appear to have little direct connection, is a device frequently employed by Dillon. It was an influence he took from Irish High Crosses of the Early Christian period and, later, absorbed from Chagall, whom he much admired5. 1 John Hewitt, ‘Under Forty: some Ulster Artists’, Now in Ulster, 1944, p.34 2 James White, Gerard Dillon: An Illustrated Biography, 1994 3 Ibid, p.103 4 Ibid, p.104 5 Gerard Dillon, ‘The Artist Speaks’, Envoy, February 1951, p.9 Dr S. B. Kennedy Belfast, March 2004

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SHAWLIES ON A ROAD
SHAWLIES ON A ROAD
Markey Robinson (1918-1999)

Auction Date / Lot No.: 27 April 2004 / 79

Published Estimate: €4,000-6,000

Price Realised: €6000


THE GROTTO
THE GROTTO
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 27 April 2004 / 80

Published Estimate: €5,000-7,000

Price Realised: €5000

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Victor Waddington Galleries, Dublin; Whence purchased by Alfred Ernest Goodwin of the Goodwin Gallery, Limerick; Thence by descent
  • The Grotto is the name of a well-known cave in Co. Fermanagh, in which the formation of the stalagmites is such that they resemble the group of mourners present at Christ's crucifixion.

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SHAWLIES, SAILBOATS AND SEAGULLS
SHAWLIES, SAILBOATS AND SEAGULLS
Markey Robinson (1918-1999)

Auction Date / Lot No.: 27 April 2004 / 81

Published Estimate: €2,500-3,500

Price Realised: €3600


ALAN AND VALERIE'S WINDOW, ROSEWALL
ALAN AND VALERIE'S WINDOW, ROSEWALL
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 April 2004 / 82

Published Estimate: €4,000-5,000

Price Realised: €4200

  • Signature: signed, inscribed and dated [November 1968] lower left; typed exhibition label on reverse
  • Medium: gouache on board
  • Dimensions: 23 by 28cm., 9 by 11in.
  • Exhibited: 'Tony O'Malley: Painter in Exile', Arts Council/An Chomhairle Ealaíon, Dublin, 1984, catalogue no. 71b (lent by the artist)
  • Depicts the view from Alan and Valerie Lowndes' cottage window at St. Ives, Cornwall. Alan Lowndes (1921-1978) was an artist whom O'Malley befriended during his period in St. Ives.

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POPPIES IN A LANDSCAPE
POPPIES IN A LANDSCAPE
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 27 April 2004 / 83

Published Estimate: €4,000-6,000

Price Realised: €4600


THE SEA, GALWAY BAY
THE SEA, GALWAY BAY
Peter Collis RHA (b.1929)

Auction Date / Lot No.: 27 April 2004 / 84

Published Estimate: €2,500-3,500

Price Realised: €3400

  • Signature: signed lower left; inscribed studio label and typed exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 27 by 38cm., 10.5 by 15in.
  • Provenance: Trinity Gallery, London; Private collection, Surrey
  • Exhibited: 'Peter Collis ARHA Recent Work 1989-1991', Trinity Gallery, 47 Albemarle Street London, 5-19 March 1991, catalogue no. 15 (illustrated in catalogue)
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FIGURE AND WAVES
FIGURE AND WAVES
Nano Reid (1900-1981)

Auction Date / Lot No.: 27 April 2004 / 85

Published Estimate: €10,000-12,000

Price Realised: €10000

  • Signature: signed lower left; original exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 61 by 76cm., 24 by 30in.
  • Provenance: Dawson Gallery, Dublin; James Morrison Esq; Private collection, Belfast
  • Exhibited: 'Nano Reid', Dawson Gallery, Dublin, 11-26 April 1969, catalogue no. 8 (85gns)
  • Seascapes and nautical subjects featured in many of Nano Reid’s mature works. In her solo show at the Dawson Gallery in 1962 she showed Waves on Stones and four years later at the same venue she exhibited Sailors Ashore. Her 1976 exhibition at the Dawson included Waves Breaking on the Shore, Figure by the Sea, Seated Figure by the Sea, and Waves and Boat. The perpetual movement of waves evidently attracted her and spurred her to create some of her most abstract works.

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PYRE II
PYRE II
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 27 April 2004 / 86

Published Estimate: €10,000-12,000

Price Realised: €16000

  • Signature: signed and inscribed on reverse
  • Medium: tempera on unprimed canvas
  • Dimensions: 61 by 61cm., 24 by 24in.
  • Provenance: Collection of the Hon. Mrs Bernard Bruce
  • Exhibited: Irish Exhibition of Living Art, 1971, catalogue no. 15 (£175), where it won an Honourable Mention in the Open Section; ’Patrick Scott’, Douglas Hyde Gallery, TCD, Dublin; Ulster Museum, Belfast; Crawford Gallery, Cork, 1981, catalogue no. 58; ’Patrick Scott’, the Stirling Gallery, Scotland, 21 August – 22 September 1982, catalogue no. 1 (illustrated on the front cover of catalogue); ’Patrick Scott: A Retrospective’, Hugh Lane Gallery, Dublin, 6 February – 28 April 2002, catalogue no. 35 (illustrated)
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LEAVES, WELLINGTON ROAD
LEAVES, WELLINGTON ROAD
Richard Kingston RHA (1922-2003)

Auction Date / Lot No.: 27 April 2004 / 87

Published Estimate: €1,800-2,200

Price Realised: €2600

  • Signature: signed lower right
  • Medium: watercolour and pastel
  • Dimensions: 30 by 20cm., 12 by 8in.
  • Richard Kingston lived on Wellington Road in Ballsbridge, Dublin, and from the 1970s onwards ran his own art gallery from the premises.

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DRAWING SERIES E
DRAWING SERIES E
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 27 April 2004 / 88

Published Estimate: €1,200-1,500

Price Realised: €1400


THRUST - A GROUP OF THREE ABSTRACT WORKS
THRUST - A GROUP OF THREE ABSTRACT WORKS
Cecil King (1921-1985)

Auction Date / Lot No.: 27 April 2004 / 89

Published Estimate: €2,000-2,500

Price Realised: €3400

  • Signature: each signed lower right; the first two inscribed with title on reverse, and the third work, which is a print, is inscribed A/P (artist's proof) lower left
  • Medium: oil on paper (1), watercolour on paper (1) and a silkscreen
  • Dimensions: 38 by 52cm., 15 by 20.5in.
  • Provenance: Ritchie Hendriks Gallery, Dublin; Gift from the artist to family of the present owner
  • The second two measure 12 x 12 inches and 17.5 x 12 inches.

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SILVER PAINTING 1/84
SILVER PAINTING 1/84
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 27 April 2004 / 90

Published Estimate: €10,000-12,000

Price Realised: 

  • Signature: original exhibition label on reverse
  • Medium: silver leaf and acrylic on canvas
  • Dimensions: 61 by 61cm., 24 by 24in.
  • Provenance: Taylor Galleries, Dublin; Private collection, Dublin
  • Exhibited: 'Patrick Scott: New Tapestries, Paintings & A Screen', Taylor Galleries, 30 May - 25 June 1984, catalogue no. 11
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DARK LANDSCAPE
DARK LANDSCAPE
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 27 April 2004 / 91

Published Estimate: €4,000-5,000

Price Realised: 

  • Signature: signed and dated [1961] lower right; original exhibition label on reverse
  • Medium: tempera on hardboard
  • Dimensions: 36 by 30cm., 14 by 12in.
  • Provenance: Dawson Gallery, Dublin
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RECONSTRUCTED HEAD
RECONSTRUCTED HEAD
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 27 April 2004 / 92

Published Estimate: €100,000-150,000

Price Realised: €130000

  • Signature: signed and dated [1967] lower left; typed exhibition label and a Bourlet & Sons label on reverse
  • Medium: oil on canvas
  • Dimensions: 150 by 150cm., 59 by 59in.
  • Provenance: Gimpel Fils, London; Taylor Galleries, Dublin; Private collection, Dublin; Private collection, France
  • Exhibited: 'Louis le Brocquy: Recent Paintings', Gimpel Fils Gallery, London, 1-26 Ocotober 1968, and Gimpel & Hanover Galerie, Zurich, catalogue no.1 as Head of a Man
  • Reconstructed Head (1967) [Opus no.183] is a particularly haunting example of the extensive series of images of the human head that preoccupied Louis le Brocquy more or less exclusively from the mid-1960s to the mid-1990s, and which has remained a characteristic subject to this day. It is large by le Brocquy’s standards and square in format1. Isolated and centrally positioned within a textured light grey ground, this veiled, inchoate head is rendered in delicate flicks and smears of red, blue, white and dark grey. Ghostly and unknowable, it is caught in that double movement of emergence from and recession into a bright, unfathomable ground that has characterised le Brocquy’s depiction of the isolated human being ever since the mid-1950s. Le Brocquy’s head images were originally inspired by the chance discovery in 1964 in the Musée de l’Homme in Paris of a display of ornamental Polynesian skulls. This followed a period of profound dissatisfaction with his work that had led him to destroy around forty paintings of human torsos, his preferred subject matter for much of the previous decade. That a number of the paintings produced in the wake of this discovery are called ‘ancestral heads’ also reflects his subsequent realisation of the importance of head imagery in the art of the Celts throughout the ages. Anne Crookshank has noted of the earliest of these paintings from 1964-1965 that “the heads are nearly abstract, more skull than head, beings which lack the emotive quality of recognition”. The anonymous Reconstructed Head of 1967 retains something of this generalised, totemic nature. It might also be compared with Reconstructed Head of Wolfe Tone from 1964, the original title of which, Head of a Martyr, suggests a concern with human types rather than recognisable individuals. As early as 1965, however, le Brocquy embarked on studies of specific individuals, mostly celebrated cultural heroes such as James Joyce and Samuel Beckett. Seamus Heaney has remarked of le Brocquy’s heads in general that they are “quotations from bodies, from lives even. We have no sense of them orphaned from their supporting frames or times. They take hold of the air, they probe it with a deep pure stare”. Reconstructed Head was first exhibited in Gimpel Fils Gallery in London in October 1968 (it was titled Head of a Man in the accompanying catalogue) in a solo exhibition that also included a number of smaller ‘reconstructed heads’ of some of le Brocquy’s friends and contemporary creative artists, including Patrick Heron, John Montague, Thomas Kinsella, Michael Scott and Antonio Saura. It was subsequently sold through the Taylor Galleries to a private collector in Dublin. Dr Caoimhín Mac Giolla Léith Berlin, March 2004 1 Auctioneer’s note: A second similar work of the same dimensions (59 by 59 inches) exists and is in a private collection in Dublin. Only one known work exceeds these dimensions, and that is le Brocquy’s early masterpiece, The Family, 1950-51 (58 by 73 inches, sold through Agnew’s for €2.75 million to Lochlann Quinn and donated to the National Gallery of Ireland). Other works painted on a scale approaching this include Lazarus, 1959 (69 by 47 inches, Smurfit collection, sold through Sotheby’s, 18 May 2000, £234,000 sterling), Reconstructed Head of James Joyce, 1967 (58.5 by 58.5 inches, Hirshhorn Museum, Washington), and Northern Image, 1971 (57.5 by 57.5 inches, collection Per Gimpel, London).

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COLLIN'S FIELD (WEST CORK)
COLLIN'S FIELD (WEST CORK)
William Crozier HRHA (b.1930)

Auction Date / Lot No.: 27 April 2004 / 93

Published Estimate: €4,000-6,000

Price Realised: €4200


WARRIOR'S SONG 28
WARRIOR'S SONG 28
Michael Mulcahy (b.1952)

Auction Date / Lot No.: 27 April 2004 / 94

Published Estimate: €1,000-1,500

Price Realised: €1000

  • Signature: signed and dated [1989] on reverse; also with exhibition label on reverse
  • Medium: mixed media on paper
  • Dimensions: 41 by 30cm., 16 by 12in.
  • Provenance: Taylor Galleries, Dublin
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LANDSCAPE WITH YELLOW SKY
LANDSCAPE WITH YELLOW SKY
William Crozier (b.1930)

Auction Date / Lot No.: 27 April 2004 / 95

Published Estimate: €1,800-2,200

Price Realised: €1700

  • Signature: signed and dated [1960] lower right
  • Medium: oil on paper
  • Dimensions: 56 by 38cm., 22 by 15in.
  • Accompanied by a catalogue of Crozier's paintings, Arthur Tooth & Sons, London, 8-26 September 1964.

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NIGHT PATIO
NIGHT PATIO
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 April 2004 / 96

Published Estimate: €8,000-10,000

Price Realised: €8000

  • Signature: signed, inscribed, dated [1975] and numbered [6355] on reverse
  • Medium: oil on canvas
  • Dimensions: 46 by 36cm., 18 by 14in.
  • Alternatively titled Bahamas Morning in another hand on reverse.

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UNTITLED
UNTITLED
James O'Connor (b.1945)

Auction Date / Lot No.: 27 April 2004 / 97

Published Estimate: €1,000-1,500

Price Realised: €1700


ENAMEL DRAWING VI
ENAMEL DRAWING VI
Barrie Cooke HRHA (b.1931)

Auction Date / Lot No.: 27 April 2004 / 98

Published Estimate: €6,000-8,000

Price Realised: 


HEADS V
HEADS V
Charles Harper RHA (b.1943)

Auction Date / Lot No.: 27 April 2004 / 99

Published Estimate: €2,000-3,000

Price Realised: €2600


FORELAND
FORELAND
Felim Egan (b.1952)

Auction Date / Lot No.: 27 April 2004 / 100

Published Estimate: €12,000-15,000

Price Realised: 

  • Signature: signed, inscribed and dated [1998] on reverse
  • Medium: oil and acrylic on canvas
  • Dimensions: 210 by 210cm., 82.5 by 82.5in.
  • Exhibited: 'Felim Egan', Stedelijk Museum, Amsterdam, 27 March - 16 May 1998, catalogue no. 5 (illustrated p.21 of catalogue to the exhibition)
  • Felim Egan is known primarily as an abstract painter and sculptor. However, Foreland is one of a series of works from the late 1990s which balance on the boundary between abstraction and landscape. This painting was shown at the artist’s one-man exhibition at the Stedelijk Museum, Amsterdam (1999). It comprises small, flat geometric shapes in bright colours – unlike any objects in the visible world – floating on a textured ground. This ground, with its resonances of cloudy sky or water, or of damp sand marked by retreating tides, infers the physicality of the natural environment. The equilibrium of the forms in Egan’s work relate to his interest in music, but speak also of isolation in vast space, described by Seamus Heaney in the catalogue to the exhibition as “the solitude of a self standing wide open”. The suggestion of landscape is supported by the titles of the works, most of which carry a reference to place – in this case Bloody Foreland in Donegal. The square format of this large painting is a Modernist device, originally associated with Minimalist abstraction which was first introduced to Ireland in the 1960s. However, Egan breaks with the pure, restrained ethic of Minimalism, troubling the surface of the canvas and introducing an emotive dimension. He infringes, also, the self-containment of the painting with unfinished forms at the margin, suggesting their continuity beyond the picture plane. The artist’s brinksmanship between the abstract and the tangible, strict geometric order and unruly turbulence, rationality and passion, is aptly reflected in the title of the work. A foreland is a region between land and sea that is subject both the predictable order of tides, as well as the more random nature of weather; it is the junction of the solidity of land, and the fluidity of water. Dr Yvonne Scott Dublin, March 2004

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SUNDAY MORNING MASS, ROUNDSTONE
SUNDAY MORNING MASS, ROUNDSTONE
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 27 April 2004 / 101

Published Estimate: €7,000-9,000

Price Realised: €17000


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