21 September 2004

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BOAT AND TIDAL FLOTSAM ON STRAND
BOAT AND TIDAL FLOTSAM ON STRAND
Moila Powell (1895-1995)

Auction Date / Lot No.: 21 September 2004 / 51

Published Estimate: €1,800-2,200

Price Realised: 

  • Signature: signed with initials lower right; atelier stamp on reverse watercolour, pen and ink and coloured chalks on paper
  • Medium: watercolour, pen and ink and coloured chalks on paper
  • Dimensions: 37 by 48cm., 14.5 by 19in.
  • Provenance: Duncalfe Galleries, Harrogate; Whyte's, 8 May 2002, lot 132; Private collection, Co. Kildare
  • Moila Powell was the only professional pupil of Norah McGuinness. For a full biography, see Whyte’s Irish Art Auction catalogue, October 2001.

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HOWTH HARBOUR WITH VIEW OF LIGHTHOUSE and BOATS AT THE UPPER HARBOUR, HOWTH (A PAIR)
HOWTH HARBOUR WITH VIEW OF LIGHTHOUSE and BOATS AT THE UPPER HARBOUR, HOWTH (A PAIR)
Moila Powell (1895-1994)

Auction Date / Lot No.: 21 September 2004 / 52

Published Estimate: €2,500-3,000

Price Realised: €2500

  • Signature: each signed with initials lower right
  • Medium: watercolour
  • Dimensions: 33 by 47cm., 13 by 18.5in.
  • Provenance: Family of the artist
  • Both works were painted circa 1914-1915 when the artist was staying with her mother-in-law near Howth, while her husband was away at war.

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GREEK LANDSCAPE
GREEK LANDSCAPE
Norah McGuinness (1901-1980)

Auction Date / Lot No.: 21 September 2004 / 53

Published Estimate: €10,000-12,000

Price Realised: €9500


ST GILES, HOLBURN, FROM CHARING CROSS ROAD
ST GILES, HOLBURN, FROM CHARING CROSS ROAD
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 21 September 2004 / 54

Published Estimate: €20,000-30,000

Price Realised: 


SELF PORTRAIT AS A YOUNG MAN
SELF PORTRAIT AS A YOUNG MAN
Basil Blackshaw RHA RUA (b.1932)

Auction Date / Lot No.: 21 September 2004 / 55

Published Estimate: €12,000-15,000

Price Realised: €36000

  • Signature: with the framing label of the Ritchie Hendriks Gallery, Dublin, on reverse
  • Medium: oil on board
  • Dimensions: 46 by 36cm., 18 by 14in.
  • Provenance: Purchased directly from the artist by Mrs Irene Calvert MP; Thence by descent
  • The former owner of this work, Irene Calvert, an Independent MP at Stormont and President of the Belfast Chamber of Commerce, opened Blackshaw and Martin MacKeown’s first exhibition at the CEMA Gallery, Belfast, in September 1952. This work was painted circa 1951 in Blackshaw’s Belfast studio, which he shared with MacKeown. Two related self-portraits were included in the Blackshaw retrospective exhibition organised in 1974 by the Arts Council of Northern Ireland: a 1952 oil from the collection of James Warwick (catalogue no. 2) and a 1956 pencil self-portrait from the collection of Mercy Hunter, illustrated in the catalogue (catalogue no. 14).

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PORTRAIT OF A RED HAIRED GIRL WEARING A GREEN BLOUSE
PORTRAIT OF A RED HAIRED GIRL WEARING A GREEN BLOUSE
William Conor RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 21 September 2004 / 56

Published Estimate: €8,000-12,000

Price Realised: €9000

  • Medium: oil on canvas
  • Dimensions: 61 by 51cm., 24 by 20in.
  • Provenance: Collection of the artist, by whom bequeathed to the Linen Hall Library, Belfast; Sold on their behalf by the Bell Gallery, Belfast, to Mr. Courtenay Thompson, Belfast, prior to May 1978 (certificate of provenance from the Bell Gallery, dated 30 June 1989
  • Literature: Accompanied by a signed manuscript letter from the artist's biographer, Judith C. Wilson, who researched the history of the painting on behalf of Mr. Courtenay Thompson, in January 1991. Also with numerous photocopied newspaper clippings and photographs
  • The sitter in this portrait has been variously identified as ‘Red-Haired Kitty’, ‘Lily’, ‘Miss Y’, and ‘Mrs T. Walker’. It seems likely that she is actually all of the above. A photograph exists in Conor’s papers (now in the Ulster Folk and Transport Museum), that would appear to be the basis of the present portrait. It is squared up in preparation for transfer to a larger composition, and on the reverse is written: “To Billy with best love from Lily”. The same woman appears in a crayon drawing, in exact mirror image to the present work (see Young Woman in Yellow Dress, catalogue no. 78 in the Conor exhibition, Children of Ulster, held at the McClelland Galleries, Belfast, in 1969, illustrated on p. 9 of the catalogue). Judith Wilson traced two further portraits of the same sitter. The first known, simply titled Kitty, was exhibited at the Royal Society of Portrait Painters in London, 1930, and was illustrated on the front cover of Colour magazine (Vol. III, No. 2, December 1930). This work is now in the collection of the Ulster Folk and Transport Museum. A second portrait of the same woman, this time leaning against a table, was painted circa 1930, and reproduced in The Daily Express, 10 December 1930, where it titled as Mrs T. Walker. It was used to illustrate an article by R. Stephen Williams, for part of a series by him on “Beauty in Ulster”. Conor was asked to select the representative beauties and paint their portraits, after which Williams interviewed them. The portrait was later exhibited as Red-Haired Kitty at the Royal Academy in London, 1931, and was illustrated in the accompanying catalogue. The following year it appeared on the front of G.F.S. Magazine, along with a short ‘puff’ by journalist May Cunningham, eulogising the sitter’s “charming and racy” looks. Conor evidently liked the work too, for he showed it again, this time in Dublin at the 1936 RHA, where it was enigmatically titled “Miss Y” and illustrated in a review of the exhibition. The present work was presumably a favourite of the artist’s, as gallery owner Nelson Bell recollects that it formerly hung over the fireplace in Conor’s dining room in his home on Salisbury Avenue, Belfast.

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THE POOL OF LONDON
THE POOL OF LONDON
William John Leech RHA ROI (1891-1968)

Auction Date / Lot No.: 21 September 2004 / 57

Published Estimate: €10,000-12,000

Price Realised: €8500

  • Signature: signed lower right
  • Medium: watercolour and gouache
  • Dimensions: 39 by 57cm., 15.5 by 22.5in.
  • Provenance: Dawson Gallery, Dublin
  • Exhibited: RHA, Dublin, 1939, catalogue no. 89 (£15-15-0)
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DOCKLANDS SCENE
DOCKLANDS SCENE
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 21 September 2004 / 58

Published Estimate: €6,000-8,000

Price Realised: €5000

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 15 by 20cm., 6 by 8in.
  • Provenance: Acquired directly from the artist by the present owner
  • Thought to depict a whard in Nova Scotia, which Kernoff visited in 1957.

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FISH SELLERS, CLIFDEN, CONNEMARA
FISH SELLERS, CLIFDEN, CONNEMARA
Maurice MacGonigal PRHA (1900-1979)

Auction Date / Lot No.: 21 September 2004 / 59

Published Estimate: €5,000-7,000

Price Realised: 

  • Signature: signed lower right; labels on reverse
  • Medium: oil on board
  • Dimensions: 18 by 34cm., 7 by 13.5in.
  • Provenance: Dawson Gallery, Dublin; Gorry Gallery, Dublin; Private collection, Dublin
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CURRACHS, CONNEMARA
CURRACHS, CONNEMARA
Maurice MacGonigal PRHA (1900-1979)

Auction Date / Lot No.: 21 September 2004 / 60

Published Estimate: €4,000-6,000

Price Realised: 


AN ARAN MAN AND HIS WIFE
AN ARAN MAN AND HIS WIFE
Seán Keating PRHA (1889-1977)

Auction Date / Lot No.: 21 September 2004 / 62

Published Estimate: €15,000-20,000

Price Realised: €61000

  • Signature: signed lower right; exhibition label giving title and date [1921] on reverse
  • Medium: gouache and pastel over pencil on buff-coloured paper
  • Dimensions: 90 by 46cm., 35.5 by 18in.
  • Provenance: Dawson Gallery, Dublin; James Adam Salerooms, Dublin, 24 September 1997, lot 46 (illustrated on the front cover of the sale catalogue and on p. 113)
  • Exhibited: 'Seán Keating, PRHA 1889-1977', RHA, Dublin, 7 November - 17 December 1989, catalogue no. 75
  • By 1907 Keating was a student at the Municipal School in Limerick where his talent as an artist was formally recognised outside the confines of his family. While at school, Keating, as a prize winning student, came to the attention of the artist and art inspector, William Orpen, who had been teaching on a part-time basis at the Dublin Metropolitan School of Art (DMSA) since 1902. It was Orpen who persuaded Keating to move to the DMSA, and having received a small scholarship, the young artist moved to Dublin in 1911. While a student at the DMSA, Keating and the renowned stained glass artist Harry Clarke became lifelong friends. It was Clarke who introduced Keating to the Aran Islands in 1912, both travelling with little more than five pounds to Inisheer during their summer holidays from the DMSA. As an artist, Keating developed an intense relationship with the Islands, revelling in the strange Western light, dramatic cloud and sea movements and the inscrutable minds of the island people.1 Keating became well known and respected for his pictorial representations of the Aran Islanders, his best known painting being An Aran Fisherman and his Wife, 1916 (Hugh Lane Gallery, Dublin). The prevailing political and social situation in Ireland sought a new art for an emerging state, a vision with which Keating became closely associated. However, with regards to the Aran Islands, Keating is quoted as saying that he did not care whether it was “Ireland, Greenland or Timbuctoo”, only that Aran was interesting from a painter’s point of view due to the landscape, colour, costume and the monumentality of the Islanders themselves.2 An Aran Man and his Wife is dated 1921 on reverse and is worked in mixed media including chalk, pastel and watercolour. The format of the work is unusual and it may well be a cartoon for a larger oil painting.3 The figures appear to be placed onto a background that loosely depicts the Aran Islands and is also found in such images as The Kelp Burners (Limerick City Gallery of Art).4 However, the figures are not imbued with “the monumentality of the Islanders themselves”, rather, they are very small in a huge, nearly pantheistic landscape. The unidentified male figure seems rather uncomfortable in his pose and is much less animated than his female companion.5 Keating uses a similar figure in the right front of foreground of his religious mural Saint Therese in the eponymous church in Mount Merrion in Dublin, completed in 1955.6 By comparison with her male companion, the female in the painting is far more animated and indeed, somewhat flirtatious. She ‘throws’ a look at her admirer that is full of gesture and suggestions, while holding her shawl as armour against his hopeful gaze. Keating often used people he knew as models, and if comparison is made between his Stations of the Cross at Clongowes Wood College, Co. Kildare (1919-1921) or The Scapular Vision at Gort Muire Conference Centre in Ballinteer, Co. Dublin (1949), there can be little doubt that this colleen is a caricature of Keating’s wife, Mai.7 To specifically date Keating’s work can often be quite difficult, and in the case of this work it might be useful to consider that both he and many of his artist friends were involved in the design of sets and costumes for Dublin theatre productions during the 1920s.8 The theatricality of the image, particularly in the pose of the woman, suggests an acquaintance and familiarity with theatre. The figures appear to have been ‘dropped’ onto the Aran landscape, the male from a sketchbook and the woman from life. Therefore, while the painting is titled An Aran Man and his Wife, this may well be a later addition by either artist or gallery, as the work may have started out as something else entirely. However, there is a conflation of ideas in the title bearing in mind Keating’s work on Aran for Synge and the Irish theatre. Whether the date is entirely correct is difficult to ascertain, but there can be no doubt of the deliberate line and force of gesture of Keating. Certainly, a date range of 1919-1927 does not seem inappropriate.9 1 Keating continued to visit and work on the Aran Islands for over forty years. He often wore the crios or belt and báinín or cap, of the island people while in Dublin. He includes both in many of his self portraits over the course of his career. 2 Liam Martin, ‘A Fireside Chat with Mr John Keating RHA’, Social and Personal, December 1969, unpaginated. 3 It was Keating’s habit to make preliminary cartoons of many of his larger works. This involved making a drawing about two thirds of the envisaged finished painting and placing the most important figure and landscape elements. The cartoon would eventually be ‘worked up’ to full scale. 4 The Kelp Burners was donated to the gallery by Keating in 1948. It is undated but depicts a group of islanders burning seaweed on the shore. 5 The male figure could be a composite of Harry Clarke if comparison is made with Keating’s Thinking about Gobnait, 1917, a work that depicts Clarke contemplating his recently completed St Gobnait window in the St Honan chapel, Cork. 6 Keating made vast quantities of sketches throughout his career. He would often reuse them years later, hence, there can be some difficulty with dating. 7 Keating used his wife Mai as the model for the Virgin Mary in both Clongowes Wood College and Gort Muire. 8 Keating was involved in one of the productions of The Playboy of the Western World in the late 1920s. He illustrated a limited edition of Synge’s play in 1927. 9 This date range includes Keating’s Stations of the Cross at Clongowes Wood College, his design work for the Abbey Theatre and his illustration of Synge’s Playboy of the Western World in 1927. Keating rarely placed a date on a sketch or painting. It seems likely that the Dawson Gallery placed the date of 1921 on the label on reverse. It may also be that the gallery titled the painting, as Keating tended to use slightly more literary titles such as Simple Folk, which was donated to the Limerick City Gallery in 1948 and depicts both Keating and his wife in Aran costume. Eimear O’Connor, August 2004 Postgraduate researcher currently engaged in writing a thesis titled Seán Keating: A New Perspective, University College Dublin

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CONNEMARA LANDSCAPE, circa 1916-1919
CONNEMARA LANDSCAPE, circa 1916-1919
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 21 September 2004 / 63

Published Estimate: €60,000-80,000

Price Realised: €105000

  • Signature: signed lower left; inscribed by original owner on stretcher: "Bought from the studio of Paul Henry Dublin Sept. 1926 £36/15/-"
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Artist's studio until acquired by the original owner in September 1926; Sotheby's, London, 25 October 1972, lot 128, as Mountain in Ireland, Acquired H. Danker; Private collection, Dublin
  • Exhibited: 'Pictures of Beautiful Ireland by Paul and Grace Henry', The Studio, Merrion Row, Dublin, 21 July - 7 August 1926
  • Probably a scene near Achill Sound, the background mountain almost certainly being Slievemore. The subtle modelling of the mountain, with just a trace of light and shadow to delineate mass and form, the muted tones of the low hills in the middle distance

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AT THE WELL
AT THE WELL
George Russell "Æ" (1867-1935)

Auction Date / Lot No.: 21 September 2004 / 64

Published Estimate: €6,000-8,000

Price Realised: €11000

  • Signature: signed with monogram lower left
  • Medium: oil on canvas
  • Dimensions: 36 by 61cm., 14 by 24in.
  • Provenance: (?) John Quinn, New York; Sotheby's, Irish Sale, 16 May 2000, lot 243 (as At the Stream; Private collection, Dublin
  • Exhibited: (?) 'Pictures of Two Countries' (exhibition of works by Æ and the Count and Countess Markievicz), Leinster Lecture Hall, Dublin, August 1904
  • There is a strong possibility that this is the painting which Æ entitled The Well and exhibited at his very first public exhibition in 1904. Pencilled on the back of the picture is the title At the Well (although it was given a different title at a recent sale). A letter from Æ written during the exhibition in 1904 to his New York patron, John Quinn, tells Quinn that a picture, The Well, has been set aside for him to purchase. Later, in 1926, a catalogue of a Memorial Exhibition held in New York of part of John Quinn’s famous art collection lists a substantial number of Æ’s paintings. These included one entitled The Well with dimensions identical to those of this painting. Diana Beale (who is preparing a book on Æ’s paintings) Wales, July 2004

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NEAR BALLYCASTLE, circa 1909
NEAR BALLYCASTLE, circa 1909
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 21 September 2004 / 65

Published Estimate: €12,000-15,000

Price Realised: €15000

  • Signature: signed in monogram lower right; typed exhibition label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 24 by 32cm., 9.5 by 12.7in.
  • Provenance: Waddington and Tooth Galleries Ltd., London; William Doyle, New York, auction 26 May 1999, lot 14; James Adam Salerooms, 30 May 2001, lot 102; Private collection, Dublin
  • Literature: Hilary Pyle notes that Yeats stayed at Ballycastle in County Mayo in the summer of 1909, during which time he made numerous sketches, watercolours and oils. In particular he was impressed by the distinctive shape of Downpatrick Head and the formation of the rocky coastline.
  • Hilary Pyle notes that Yeats stayed at Ballycastle in County Mayo in the summer of 1909, during which time he made numerous sketches, watercolours and oils. In particular he was impressed by the distinctive shape of Downpatrick Head and the formation of

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LAGAN RIVER AT MAZE, COUNTY DOWN
LAGAN RIVER AT MAZE, COUNTY DOWN
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 21 September 2004 / 66

Published Estimate: €15,000-20,000

Price Realised: 

  • Signature: signed lower left; original inscribed label on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 69cm., 20 by 27in.
  • Exhibited: RHA, Dublin, 1966, catalogue no. 26 (£75-0-0)
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MOUNTAIN LANDSCAPE WITH THORN TREES AND GORSE AND A YOUNG WOMAN CARRYING A BASKET
MOUNTAIN LANDSCAPE WITH THORN TREES AND GORSE AND A YOUNG WOMAN CARRYING A BASKET
Lilian Lucy Davidson ARHA (1893-1954)

Auction Date / Lot No.: 21 September 2004 / 67

Published Estimate: €6,000-8,000

Price Realised: €6200


GARDEN PATH
GARDEN PATH
William John Hennessy NA ROI (1839-1917)

Auction Date / Lot No.: 21 September 2004 / 68

Published Estimate: €6,000-8,000

Price Realised: 

  • Medium: oil on board
  • Dimensions: 61 by 48cm., 24 by 19in.
  • Provenance: Paul Ayshford, 4th Lord Metheun, of Corsham Court, Wiltshire (the artist's son-in-law); Sotheby's, London, 8 November 1984, lot 50 (illustrated); Private collection
  • Born in Kilkenny in 1839, William John Hennessy left Ireland for New York with his family in 1849. His early education was by private tutors and having begun life drawing from the age of 15, he soon entered the National Academy of Design, New York. By 1857 he was exhibiting successfully at the National Academy eventually becoming an Academician in 1863. From his city studio he also worked successfully in the art of book illustration, illustrating the work of Longfellow, Tennyson, Whittier and other poets. Hennessy was a regular exhibitor at the National Academy and after moving to London in 1870, he became a member of the Royal Institute of Oil Painters and also exhibited at the Grosvenor Gallery, the New Gallery and the Royal Academy. He showed eight works at the RHA between 1879 and 1907. While based in London he spent his summers in Normandy and was so taken with the area and its artistic influences that he moved there in 1875. He later toured Italy and returned to England to settle in Sussex in 1893 until the year of his death. See Snoddy, pp. 243-244.

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BOGLAND RIVER
BOGLAND RIVER
Percy French (1854-1920)

Auction Date / Lot No.: 21 September 2004 / 69

Published Estimate: €8,000-10,000

Price Realised: €8400

  • Signature: signed with initials and dated [1915] lower left
  • Medium: watercolour
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Provenance: Oriel Gallery, Dublin, whence purchased in 1985 by the family of the present owner
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STILL LIFE WITH TERRACOTTA JUG, MEERSCHAUM PIPE AND A DUTCH LANDSCAPE
STILL LIFE WITH TERRACOTTA JUG, MEERSCHAUM PIPE AND A DUTCH LANDSCAPE
Harry Epworth Allen RBA (1894-1955)

Auction Date / Lot No.: 21 September 2004 / 70

Published Estimate: €2,500-3,500

Price Realised: €2100


YOUNG WOMAN IN A FUR-COLLARED WRAP
YOUNG WOMAN IN A FUR-COLLARED WRAP
James Sinton Sleator PRHA (1885-1950)

Auction Date / Lot No.: 21 September 2004 / 71

Published Estimate: €3,000-4,000

Price Realised: 

  • Signature: signed and inscribed "[Sl]eator / [5]4 Upper Sackville St" on reverse
  • Medium: oil on board
  • Dimensions: 42 by 30cm., 16.5 by 12in.
  • Painted circa 1914-1916. Sleator was one of Orpen’s most successful students at the Dublin Metropolitan School of Art, and worked for a period in 1914 as Orpen’s assistant in his London studio. However, the pull of Ireland was too strong for Sleator to resist, and by 1915 he had returned to Dublin and established his own studio at 54 Upper Sackville Street (present-day O’Connell Street). It was a short-lived venture, as the studio was soon destroyed by fire in the 1916 Easter Week Rising. Orpen’s influence is in full evidence here, with the careful modelling of the girl’s head and the precise yet still visible brush-strokes. Sleator maintained this technique for the rest of his highly successful portrait and still-life painting career, which culminated in his Presidency of the RHA, from 1945 until his death.

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LADY WITH A PARROT
LADY WITH A PARROT
Sir William Orpen RA RHA (1878-1931)

Auction Date / Lot No.: 21 September 2004 / 72

Published Estimate: €6,000-8,000

Price Realised: €6600


WOMAN IN A JAPANESE GOWN
WOMAN IN A JAPANESE GOWN
Sir John Lavery RA RHA RSA (1856-1941)

Auction Date / Lot No.: 21 September 2004 / 73

Published Estimate: €80,000-100,000

Price Realised: €60000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 51 by 65cm., 20 by 25.5in.
  • Provenance: Private collection, London
  • The present work is an example of the unique collaboration between Sir John and Lady Hazel Lavery. Women seated at upright pianos, from the start of Lavery’s career, were a favourite motif. The present example, in terms of palette and furnishings bears comparison with others works in this range. On one occasion in 1883, for instance, he produced a study of a woman with black hair in a pale blue kimono, seated in front of an upright piano. Other examples show similar furniture to that in the present work. Hazel’s artistic ambitions are well-attested, and indeed celebrated in Mrs Lavery Sketching, 1910, (Hugh Lane Gallery, Dublin). Although her work was exhibited alongside that of John Lavery at the Alpine Club in 1921, little of it has survived. Nevertheless there is clear evidence that she worked on pictures alongside the painter and that they exhibited canvases which were catalogued ‘John and Hazel Lavery’. Close analysis of the present canvas indicated that this is such an example. As such it is rare, if not unique. Dr Kenneth McConkey University of Northumbria

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PORTRAIT OF CARLO MANCINI
PORTRAIT OF CARLO MANCINI
Estella Frances Solomons HRHA (1882-1968)

Auction Date / Lot No.: 21 September 2004 / 74

Published Estimate: €3,000-4,000

Price Realised: €6000

  • Signature: signed with initials and dated [1907] lower right; inscribed on reverse: "Carlo Mancini / by Estella F Solomons / 26 Waterloo Road Dublin 1907"; also signed on reverse of canvas
  • Medium: oil on canvas, with the stamp of the Chenil Gallery, Chelsea
  • Dimensions: 61 by 51cm., 24 by 20in.
  • Provenance: Private collection, England
  • This lightly handled and highly competent work was painted when Solomons was just 25 years of age and a student at the Chelsea Art School in London. Solomon’s former teacher and mentor, William Orpen, had established the school in late 1903, along with Augustus John and Orpen’s brother-in-law, Jack Knewstub. John had quickly lost interest in the venture and Orpen and Knewstub kept it afloat for barely two years, before selling the school in late 1905 to a Mrs Flowers. In May the following year however, Orpen wrote to Solomons about the prospect of further study at the Chelsea School, and a receipt exists among Solomon’s papers for fees paid for the first term (January - March) in 1907 (see Snoddy, p. 620). Knewstub meanwhile went on to found the Chenil Galleries on the King’s Road, Chelsea, dealing in pictures and operating as a framer and artists’ colour-man. Orpen began purchasing all of his canvasses there and it was most likely on his advice that Solomons did likewise. The exact identity of the sitter in this work is uncertain. Solomons clearly names him as ”Carlo Mancini", though whether it is the then 78 year old Italian painter of that name, a former teacher at the School of Art in Milan who died in 1910, is unknown. It is possible that the Italian artist may have visited the Chelsea School and sympathetically agreed to sit as a model to the young students. Regardless, the work clearly reveals the rapidity with which Solomons had learnt her art, particularly through the study of the Old Masters such as Rembrandt, whose influence can be discerned here.

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ORANGE DOUBLE TULIPS
ORANGE DOUBLE TULIPS
Paul Nietsche (1885-1950)

Auction Date / Lot No.: 21 September 2004 / 75

Published Estimate: €3,000-5,000

Price Realised: €4200


STILL LIFE WITH BOTTLES AND BASKET
STILL LIFE WITH BOTTLES AND BASKET
Ronald Ossory Dunlop RA RBA NEAC (1894-1973)

Auction Date / Lot No.: 21 September 2004 / 76

Published Estimate: €2,000-3,000

Price Realised: €3400


A RARE COLLECTION OF NINE WATERCOLOURS MOUNTED IN AN EDWARDIAN SCRAPBOOK
A RARE COLLECTION OF NINE WATERCOLOURS MOUNTED IN AN EDWARDIAN SCRAPBOOK
Nathaniel Hill (1861-1934)

Auction Date / Lot No.: 21 September 2004 / 78

Published Estimate: €4,000-6,000

Price Realised: €6500

  • Signature: four signed (one in full, three in initials; five unsigned; mounted and inscribed by the owner of the scrapbook
  • Medium: watercolour heightened with bodycolour
  • Dimensions: 0 by 0cm., 0 by 0in.
  • Provenance: Miss Muriel L. Ellis, Aberdeen, Scotland; Private collection, Kent
  • Irish impressionist painter, Nathaniel Hill, was born in Drogheda to a wealthy milling family. He studied at the Metropolitan School of Art and the RHA schools in Dublin (sharing lodgings with Roderic O’Conor), and later joined Walter Osborne and Joseph Malachy Kavanagh at the Académie Royale in Antwerp. After travelling with Osborne and Kavanagh to Brittany in 1883, he moved to England, where he is recorded as having lived variously in Worcestershire, Suffolk, Sussex and possibly Hertfordshire. Most accounts of his life record that he ceased painting around 1895 and his movements from then until his death in Betws-y-coed in North Wales are uncertain. This newly discovered scrapbook therefore sheds some light on his later years, and reveals that he continued painting, at least for his personal pleasure and amusement if not in a professional capacity. Two of the works are dated by the artist: December 1903 and 22 December 1904 respectively. Another two are dated by the recipient of Hill’s small sketches as having been drawn in October 1910. At least two of the sketches were sent as Christmas cards; the 1904 card (3.5 by 5.5 inches) is inscribed by Hill: “View near Clogher Head / With Best Wishes to you / for a Happy Xmas NH 22/12/04", and depicts the small fishing village Clogher (known locally as Clogher Head), seven miles from his hometown Drogheda. Another Christmas card, signed in full and inscribed ”When shall we three meet again", depicts three black-faced sheep in a summer field (3.5 by 4.5 inches). Two other works, signed in initials, depict a man walking along a high-walled road by the sea (4.5 by 3.5 inches) and cows on a road at autumn (2.75 by 3.25 inches), this latter also being dated December 1903. Three unsigned watercolours (each 3.5 by 5.5 inches) attributable to Hill and inscribed by Miss Ellis all depict scenes in Co. Cork: “Patrick’s Bridge, Cork / October: 1910", ”Ummera River Timoleague Co. Cork / Oct: 1910” and “Queenstown Cathedral (R.C.) / from a pencil sketch”, this latter showing the neo-Gothic cathedral designed by Pugin and Ashlin for Queenstown (now Cobh), prior to the building of the bell tower. On the page opposite the Queenstown view are two others, also unsigned, inscribed again by Ellis, “Scene in France” (2.75 by 4 inches) and “Reduction from a large picture” (1.5 by 4 inches) this latter being a vigorous little sketch of breaking waves. The scrapbook was compiled by Miss Muriel L. Ellis, daughter of Bishop Ellis, originally of Edinburgh and later of Aberdeen. It contains many dozens of other sketches, watercolours, limericks and verse, all collected from the friends and acquaintance of Miss Ellis, among whom was Nathaniel Hill. Interestingly there are written contributions from a Kathleen L. M. Hill and a William Brydon Hill (both September 1902), and an Emmeline Hill; possibly relations of the artist. The whole collection is bound in watered green silk with the owner’s initials gilt stamped on the upper board.

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CATTLE GRAZING
CATTLE GRAZING
Nathaniel Hone RHA (1831-1917)

Auction Date / Lot No.: 21 September 2004 / 79

Published Estimate: €12,000-15,000

Price Realised: 

  • Signature: signed with initials lower left
  • Medium: oil on canvas
  • Dimensions: 43 by 64cm., 17 by 25in.
  • Provenance: Formerly with the Dawson Gallery, Dublin; James Adam Salerooms, Important Irish Art, 15 March 1990, lot 88; Private collecton, Glendalough, Co. Wicklow; Private collection, Dublin
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OLD DUBLIN - MARROWBONE LANE
OLD DUBLIN - MARROWBONE LANE
Joseph Malachy Kavanagh RHA (1836-1918)

Auction Date / Lot No.: 21 September 2004 / 80

Published Estimate: €20,000-30,000

Price Realised: €22000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 70 by 93cm., 27.5 by 36.5in.
  • Provenance: Mrs M. O'Hanlon, Dublin; Private collection, Dublin
  • Exhibited: RHA, Dublin, 1918, catalogue no. 20
  • Literature: Ethna Waldron, 'Joseph Malachy Kavanagh', The Capuchin Annual, 1968, p. 324, illustrated p. 322
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PIG FAIR
PIG FAIR
 Ulster School (early 20th century) 

Auction Date / Lot No.: 21 September 2004 / 81

Published Estimate: €1,000-1,500

Price Realised: €1100


PENSIONERS IN THE ROYAL HOSPITAL, KILMAINHAM
PENSIONERS IN THE ROYAL HOSPITAL, KILMAINHAM
Darius Joseph MacEgan (1856-1939)

Auction Date / Lot No.: 21 September 2004 / 82

Published Estimate: €1,200-1,500

Price Realised: €2400

  • Signature: signed and dated [1918] lower right
  • Medium: watercolour and pencil
  • Dimensions: 30 by 41cm., 12 by 16in.
  • Exhibited: Possibly exhibited as Pensioners in Hall, Royal Hospital, Kilmainham, at the ‘Souvenir Exhibition of Drawings and Paintings by The MacEgan’, Gorry Galleries, Dublin, 25 November - 10 December 1940, catalogue no. 8 in the special loan section, lent by Mr. M. F. Barry, Middle Abbey Street, Dublin
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STREET SCENE WITH NEWSPAPER VENDORS AND BOYS PLAYING A GAME OF SPINNER
STREET SCENE WITH NEWSPAPER VENDORS AND BOYS PLAYING A GAME OF SPINNER
William Gibbes MacKenzie ARHA (1857-1924)

Auction Date / Lot No.: 21 September 2004 / 83

Published Estimate: €5,000-7,000

Price Realised: €8200

  • Signature: signed and dated [1885] lower left
  • Medium: oil on canvas, relined
  • Dimensions: 44 by 61cm., 17.5 by 24in.
  • Born in Belfast, MacKenzie studied at the Government School of Design. After four years he won a National Scholarship, which allowed him to travel to London where he studied under Sir Edward Poynter RA, and later to Paris where he enrolled at the Académie Julian. Upon returning to Ireland he became involved with the Belfast Ramblers’ Sketching Club. Throughout his career he showed with the RA, the RHA and the Belfast Art Society. His works are included in the collections of the Ulster Museum and the City Hall, Belfast.

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WOMAN FEEDING HENS
WOMAN FEEDING HENS
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 21 September 2004 / 84

Published Estimate: €80,000-100,000

Price Realised: €88000

  • Signature: signed and dated [1921] lower left
  • Medium: oil on canvas
  • Dimensions: 71 by 53cm., 28 by 21in.
  • Provenance: Acquired by the present owner's mother in 1923
  • Exhibited: (?) RHA, Dublin, 1923, catalogue no. 211, as A Poultry Yard
  • This is one of Frank McKelvey’s earliest farmyard scenes, a genre for which he became highly regarded and greatly sought after. The loose Impressionist manner of its execution - indeed the composition, with the light falling dappled through the foliage, has a distinct French feeling - is characteristic of his early period and is an influence from A. R. Baker (1865-1939) under whom he studied at the Belfast College of Art. In about 1920, at the outset of his career, McKelvey rented a cottage at the Maze, near Hillsborough in County Down, and henceforth until 1926, when he and his wife (he married in 1924) moved back to Belfast, the surrounding landscape in the valley of the river Lagan was to be his main source of inspiration. At the Maze McKelvey had an orchard and about half an acre of land on which he kept a flock of some sixty hens of various breeds. Besides their domestic use, these hens were important as a source of subject matter for his pictures. “It was through this opportunity” he wrote later in life, “that I was able to study poultry in all effects of sunlight - a subject in which I have always been deeply interested” (unpublished biographical note, artist’s papers). Woman Feeding Hens was almost certainly painted at the Maze. The sense of spontaneity for the moment, of fresh air, tranquillity, of life operating on a human scale, are all typical characteristics of McKelvey’s oeuvre. And the human element is important in these pictures, for they represent a tradition that has virtually disappeared with the growth of the semi-industrial complexes of modern day farms. The handling of the paint in Woman Feeding Hens is also typical of McKelvey’s early period. The moderately heavy impasto employed on the chickens is perhaps unexpected, but serves to emphasise what is the main subject of the composition. The size of the picture, and its obvious importance amongst McKelvey’s early works, suggests that it may be the composition titled A Poultry Yard that he exhibited at the RHA in 1923, priced at £25-0-0, a considerable sum at that time. A watercolour study for this work, signed and dated 1920, shows that McKelvey had been developing his ideas for the composition, which must have been completed early in 1921, for some time. Dr. S. B. Kennedy, Belfast, August 2004

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PICNIC IN THE WOODS
PICNIC IN THE WOODS
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 21 September 2004 / 85

Published Estimate: €6,000-8,000

Price Realised: 


COUPLE CONVERSING BY A ROADSIDE, WITH COTTAGES BEYOND
COUPLE CONVERSING BY A ROADSIDE, WITH COTTAGES BEYOND
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 21 September 2004 / 86

Published Estimate: €5,000-7,000

Price Realised: €8400

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 36 by 51cm., 14 by 20in.
  • Provenance: Miss Cox, 52 Elmwood Avenue [Belfast], according to inscription on reverse
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THE ROAD TO THE SEA, COAST OF DONEGAL
THE ROAD TO THE SEA, COAST OF DONEGAL
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 21 September 2004 / 87

Published Estimate: €15,000-20,000

Price Realised: €19000

  • Signature: signed lower left; original inscribed label on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 66cm., 20 by 26in.
  • Provenance: With the framing label of the Victor Waddington Galleries, Dublin, on reverse
  • Exhibited: RHA, Dublin, 1952, catalogue no. 140 (£150-0-0)
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TURF BOATS, CONNEMARA
TURF BOATS, CONNEMARA
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 21 September 2004 / 88

Published Estimate: €8,000-10,000

Price Realised: €16000


RIVER IN THE MOURNES - HILLTOWN TO KILKEEL
RIVER IN THE MOURNES - HILLTOWN TO KILKEEL
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 21 September 2004 / 89

Published Estimate: €10,000-12,000

Price Realised: €9200


SETTING OUT TO FISH, COUNTY DONEGAL
SETTING OUT TO FISH, COUNTY DONEGAL
Rowland Hill ARUA (1915-1979)

Auction Date / Lot No.: 21 September 2004 / 90

Published Estimate: €2,000-3,000

Price Realised: €1900

  • Signature: signed and dated [1941] lower right
  • Medium: oil on canvas
  • Dimensions: 38 by 51cm., 15 by 20in.
  • Provenance: Collection of the late Mr B.C. Beresford Shaw, Belfast
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SUMMER DAY, CUSHENDUN, COUNTY ANTRIM
SUMMER DAY, CUSHENDUN, COUNTY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 21 September 2004 / 91

Published Estimate: €15,000-20,000

Price Realised: €16000


IN COUNTY SLIGO, 1944
IN COUNTY SLIGO, 1944
Rose Brigid Ganly HRHA (1902-2002)

Auction Date / Lot No.: 21 September 2004 / 92

Published Estimate: €1,200-1,500

Price Realised: €1900

  • Signature: signed with initials lower right; signed and inscribed on reverse
  • Medium: oil on panel
  • Dimensions: 27 by 36cm., 10.5 by 14in.
  • Provenance: Collection of the novelist Sheila Pim; Private collection, Dublin
  • Depicts Ben Bulben in the distance, far left.

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IRISH HOMESTEADS ON ROAD TO KERRYKEEL, DONEGAL
IRISH HOMESTEADS ON ROAD TO KERRYKEEL, DONEGAL
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 21 September 2004 / 93

Published Estimate: €4,000-6,000

Price Realised: €5200


FISHING BOATS MOORED AT CARRAROE PIER, COUNTY GALWAY
FISHING BOATS MOORED AT CARRAROE PIER, COUNTY GALWAY
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 21 September 2004 / 94

Published Estimate: €5,000-7,000

Price Realised: €7000


ST EDMUNDSBURY ON THE LIFFEY AT LUCAN, COUNTY DUBLIN
ST EDMUNDSBURY ON THE LIFFEY AT LUCAN, COUNTY DUBLIN
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 21 September 2004 / 95

Published Estimate: €6,000-8,000

Price Realised: €5800

  • Medium: oil on Windsor and Newton "Rathbone" canvas board
  • Dimensions: 30 by 41cm., 12 by 16in.
  • Provenance: Gift from the artist to Mrs Fitzherbert; Thence by descent to a private collector in Navan, Co. Meath; HOK Fine Art, Dublin; Private collection, Belfast (with a letter of provenance from HOK on reverse)
  • Built early in the 19th century as the seat of Thomas Needham, St Edmundsbury was later sold to one William Moran, who added the balustraded roof parapet and double storey Oriental style wings. At the end of the 19th century it was purchased by Dean Swift’s St Patrick’s Hospital and was converted by them into a convalescent home.

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FIELDS AND SEA, CONNEMARA
FIELDS AND SEA, CONNEMARA
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 21 September 2004 / 96

Published Estimate: €2,000-3,000

Price Realised: €2200


LIGHT AND SHADE
LIGHT AND SHADE
Francis J. O'Donohoe ARHA (1878-1911)

Auction Date / Lot No.: 21 September 2004 / 97

Published Estimate: €800-1,200

Price Realised: €750

  • Signature: original inscribed label on reverse
  • Medium: oil on canvas board
  • Dimensions: 23 by 28cm., 9 by 11in.
  • Provenance: The artist's sister, Mrs T. J. Fenning, from whom purchased in 1939 by a private collector (inscription on reverse)
  • During his short career O’Donohue achieved considerable success as a church decorator in Ireland, although his chief interest was in landscape painting. According to titles of his works, he painted in and around Crumlin, Phoenix Park, Malahide and along the Liffey. See Snoddy pp. 477-478.

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A WOODED BAY
A WOODED BAY
Paul Nietsche (1885-1950)

Auction Date / Lot No.: 21 September 2004 / 98

Published Estimate: €3,000-4,000

Price Realised: €2200

  • Signature: signed and dated [1923] lower right
  • Medium: oil on canvas
  • Dimensions: 50 by 50cm., 19.5 by 19.5in.
  • Provenance: Private collection, Germany
  • Painted three years before Nietsche came to live in Ireland, when the artist worked primarily from a studio in his mother’s apartment in Berlin. The coastal inlet depicted is most likely in the region of the former Yugoslav Republic, where Nietsche in known to have painted in 1928. See Snoddy, pp. 454-455.

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EARLY SUMMER, GLENDUN
EARLY SUMMER, GLENDUN
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 21 September 2004 / 99

Published Estimate: €10,000-12,000

Price Realised: €10500

  • Signature: signed lower right; with original inscribed label on reverse giving title and price (£105-0-0)
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: John Magee, Belfast; Private collection, Londonderry
  • Exhibited: RHA, Dublin, 1943, catalogue no. 196 (£105-0-0) which was the highest price Craig ever attached to his exhibited work at the Academy)
  • In this very late work, painted little more than twelve months before he died, Craig shows a carefree abandon, mixing colours directly on the canvas and drawing in detail with the wooden tip of his brush. The Glendun River was a favourite painting and fishing spot for Craig. He was working not far away, at Cushendun (where the Glendun meets the sea) when he died in June 1944.

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PORT ORIEL HARBOUR, CLOGHER HEAD, COUNTY LOUTH
PORT ORIEL HARBOUR, CLOGHER HEAD, COUNTY LOUTH
Muriel Brandt RHA (1909-1981)

Auction Date / Lot No.: 21 September 2004 / 100

Published Estimate: €1,500-2,000

Price Realised: €1400

  • Signature: signed lower left; exhibition label on reverse
  • Medium: pen and ink with watercolour heightened with white
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Provenance: Dawson Gallery, Dublin; Dr Brendan Senior; Private collection, Co. Louth
  • Exhibited: 'Muriel Brandt RHA', Dawson Gallery, Dublin, 20-30 November 1968, catalogue no. 25
  • Clogher Head is a fishing village seven miles northeast from Drogheda. This view was possibly made in 1943 when the artist showed In Drogheda and Clogher at the Watercolour Society of Ireland annual exhibition.

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A STUDY OF TREES
A STUDY OF TREES
Mabel Young RHA (1889-1974)

Auction Date / Lot No.: 21 September 2004 / 101

Published Estimate: €1,500-2,000

Price Realised: 


THE MILLSTREAM (RIVER DODDER)
THE MILLSTREAM (RIVER DODDER)
Fergus O' Ryan RHA ANCA (1911-1989)

Auction Date / Lot No.: 21 September 2004 / 102

Published Estimate: €2,000-3,000

Price Realised: €1900

  • Signature: signed lower right; inscribed on the artist's studio label on reverse
  • Medium: oil on board
  • Dimensions: 30 by 41cm., 12 by 16in.
  • Provenance: With the framing label of the Dawson Gallery, Dublin, on reverse
  • Exhibited: RHA, Dublin, 1979, catalogue no. 139 (£165-00)
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