22 February 2005

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HOLY WELL, ARDMORE, COUNTY WATERFORD
HOLY WELL, ARDMORE, COUNTY WATERFORD
Norah McGuinness (1901-1980)

Auction Date / Lot No.: 22 February 2005 / 51

Published Estimate: €3,000-5,000

Price Realised: €3000


CHARLEVILLE, COUNTY WICKLOW
CHARLEVILLE, COUNTY WICKLOW
Norah McGuinness (1901-1980)

Auction Date / Lot No.: 22 February 2005 / 52

Published Estimate: €3,000-5,000

Price Realised: €4800

  • Signature: signed with initials lower right
  • Medium: watercolour and gouache on paper
  • Dimensions: 32 by 41cm., 12.7 by 16in.
  • Provenance: Gift from the artist to the previous owner
  • Charleville was built in 1797 in the Palladian style for the first Viscount Monck. The Moncks continued to live there until 1929 and in 1941 it was bought by Donald Davies, who converted the stable-yard into a clothing factory.

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FEEDING A BIRD
FEEDING A BIRD
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 22 February 2005 / 53

Published Estimate: €3,000-5,000

Price Realised: €4200

  • Signature: signed lower right; original exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 66 by 51cm., 26 by 20in.
  • Provenance: Archer Gallery, London; Private collection, Belfast
  • Painted circa 1948-1955, during which years Rákóczi held five solo exhibitions with the Archer Gallery in London.

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CHILDREN WITH BALLOONS
CHILDREN WITH BALLOONS
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 22 February 2005 / 54

Published Estimate: €3,000-5,000

Price Realised: €3400

  • Signature: signed lower right; inscribed with title and artist's reference no. 1994, signed again and dated [1954] on reverse
  • Medium: oil on canvas
  • Dimensions: 81 by 53cm., 32 by 21in.
  • Provenance: Private collection, Paris
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LA FLEUR
LA FLEUR
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 22 February 2005 / 55

Published Estimate: €2,000-3,000

Price Realised: €2100

  • Signature: signed lower right; inscribed with title and artist's reference no. 1708, signed again and dated [1952] on reverse
  • Medium: oil on board
  • Dimensions: 35 by 27cm., 13.7 by 10.5in.
  • Provenance: Private collection, Paris
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LA MAISON DU PARIS
LA MAISON DU PARIS
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 22 February 2005 / 56

Published Estimate: €1,500-2,000

Price Realised: 


SEVEN CUBES IN A CUBE
SEVEN CUBES IN A CUBE
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 22 February 2005 / 57

Published Estimate: €3,000-4,000

Price Realised: €3400

  • Signature: signed and dated [1965] lower right; inscribed label on reverse
  • Medium: oil crayon over pencil on card
  • Dimensions: 50 by 39cm., 19.5 by 15.5in.
  • Exhibited: RHA, Dublin, 1965, catalogue no. 7 (£85-0-0)
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BICYCLISTS
BICYCLISTS
Stella Steyn (1907-1987)

Auction Date / Lot No.: 22 February 2005 / 58

Published Estimate: €800-1,000

Price Realised: €1700

  • Signature: with studio stamp in lower margin of mount
  • Medium: gouache on paper
  • Dimensions: 11 by 8cm., 4.25 by 3in.
  • Thought to be a design for The Bystander magazine, circa 1930s.

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ABSTRACT COMPOSITION
ABSTRACT COMPOSITION
Kenneth Hall (1913-1946)

Auction Date / Lot No.: 22 February 2005 / 59

Published Estimate: €1,200-1,500

Price Realised: €1200

  • Medium: pastel, pen and ink on paper
  • Dimensions: 39 by 50cm., 15.5 by 19.5in.
  • Provenance: Riverstown House, Co. Cork; James Adam and Sons, Dublin; Private collection, Dublin
  • Born in Surrey, Kenneth Hall first studied furniture design and interior decoration in London during the early 1930s. Within a few years he met the Hungarian Irish emigré, Basil Rákóczi, who had much in common with Hall - not least of which was that both their mothers hailed from Co. Cork. Hall joined Rákóczi’s newly-formed Society for Creative Psychology and the two men began making paintings which drew upon psycho-analytic experiments. They exhibited these works under the name of the White Stag Group. After a period of travelling through Europe, Hall, Rákóczi and a number of their friends escaped the troubles of WWII and fled to Ireland, where their avant-garde theories invigorated the local arts scene. Hall left Dublin at the end of the war in 1945, only to die ten months later in London. His work is in the collections of the Ulster Museum, the OPW, and the National Self-Portrait Collection among others.

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O YE OF LITTLE FAITH
O YE OF LITTLE FAITH
Eugene Judge (fl.1938-1951)

Auction Date / Lot No.: 22 February 2005 / 60

Published Estimate: €1,000-1,500

Price Realised: €1000

  • Signature: signed lower left; inscribed on reverse and with original typed exhibition label also on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Ashley Gallery, London; Whence purchased for £31-10-0 in September 1950 by Eric Campion Esq. (original receipt included with lot)
  • Exhibited: Dublin Painters Society, 1948, catalogue no. 1 (£20-0-0); Ashley Gallery, London, 1950, catalogue no. 12
  • Eugene Judge was a Mayo-based painter who went to Paris in the 1930s to study under André Lhote. On returning to Ireland he began exhibiting with the WCSI. By 1940 he was showing regularly with the Contemporary Pictures Gallery in Leinster St., Dublin an

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STILL LIFE WITH FLOWERS AND TEAPOT
STILL LIFE WITH FLOWERS AND TEAPOT
Kenneth Hall (1913-1946)

Auction Date / Lot No.: 22 February 2005 / 61

Published Estimate: €2,000-3,000

Price Realised: €2200

  • Signature: signed lower right
  • Medium: watercolour, pen and ink on paper
  • Dimensions: 51 by 36cm., 20 by 14in.
  • Eugene Judge was a Mayo-based painter who went to Paris in the 1930s to study under André Lhote. On returning to Ireland he began exhibiting with the WCSI. By 1940 he was showing regularly with the Contemporary Pictures Gallery in Leinster Street Dublin and it was there in 1942 that he was included in the ‘Six Irish Artists from l’Adademie Lhote’ exhibition (the others were Mainie Jellett, Evie Hone, Jack Hanlon, Norah McGuinness and Harriet Kirkwood). He was associated with the Dublin avant-garde throughout the 1940s, exhibiting with the White Stag Group, the Dublin Painters Society and at the IELA. His last recorded address was at Kiltimagh, Co. Mayo.

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INTERIOR, 1955
INTERIOR, 1955
Thurloe Connolly (b.1918)

Auction Date / Lot No.: 22 February 2005 / 62

Published Estimate: €600-800

Price Realised: €550

  • Signature: with original labels on reverse
  • Medium: black crayon on paper
  • Dimensions: 37 by 47cm., 14.5 by 18.5in.
  • Provenance: Queen's University of Belfast Common Room Collection, catalogue no. 16
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TWO CATS
TWO CATS
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 22 February 2005 / 63

Published Estimate: €8,000-10,000

Price Realised: €7500

  • Signature: signed lower left; inscribed label on reverse
  • Medium: oil on board
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Provenance: Ritchie Hendriks Gallery, Dublin, whence purchased in May 1962 by J. A. Byers; Private collection, Dublin
  • Campbell's cats provided both company and - occasionally - inspiration for the artist; see for instance with his work entitled My Two Cats, El Palo, exhibited at the Tom Caldwell Gallery, Dublin, in 1975.

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SEAGREEN MOOD
SEAGREEN MOOD
Nano Reid (1900-1981)

Auction Date / Lot No.: 22 February 2005 / 64

Published Estimate: €10,000-12,000

Price Realised: €10000

  • Signature: signed lower left; original exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 51 by 91cm., 20 by 36in.
  • Provenance: Dawson Gallery, Dublin; Private collection; Peppercanister Gallery, Dublin; Private collection
  • Exhibited: IELA, Dublin, 1968, catalogue no. 31 (£105-0-0); 'Nano Reid', Dawson Gallery, Dublin, 11-26 April 1969, catalogue no. 5 (105gns)
  • Literature: 'Nano Reid: artist and lone wolf' Irish Times, 14 April 1969, artist photographed in front of present work.
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TWO STONES AND A BIRD
TWO STONES AND A BIRD
Norah McGuinness (1901-1980)

Auction Date / Lot No.: 22 February 2005 / 65

Published Estimate: €18,000-22,000

Price Realised: €21000

  • Signature: signed lower right; original inscribed label on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 76cm., 20 by 30in.
  • Provenance: Dawson Gallery, Dublin; Whence purchased by the late Anne Yeats; HOK, Dublin, 19 November 2002, lot x; Private collection, Belfast
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NEAR JAMESTOWN, COUNTY ROSCOMMON
NEAR JAMESTOWN, COUNTY ROSCOMMON
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 22 February 2005 / 66

Published Estimate: €1,200-1,500

Price Realised: €1200

  • Signature: signed lower right; inscribed and dated [Autumn 1985] lower left
  • Medium: watercolour, crayon and pencil on paper
  • Dimensions: 51 by 41cm., 20 by 16in.
  • Provenance: Caroll Gallery, Longford; Private collection, Dublin
  • The Jamestown canal was built in the eighteenth century to bypass the unavigable part of the Shannon between the village of Jamestown and the Albert Lock, near Drumsna.

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CAMELS
CAMELS
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 22 February 2005 / 67

Published Estimate: €800-1,200

Price Realised: €1300

  • Signature: signed lower right
  • Medium: pen and ink with wash on paper
  • Dimensions: 46 by 25cm., 18 by 10in.
  • In this rare early work by Charles Brady, dating to the late 1940s - early 1950s whilst Brady was a young student, the influence of his teacher John Groth (1902-1983) is evident. Groth had then but recently returned to New York after a period of work as a war correspondent and was renowned for his vigorous pen and ink drawings. With his encouragement, Brady took to drawing from life outside the classroom, sketching pigeons in the nearby Pallisades. This drawing, most probably done in the local zoological gardens, reveals Groth’s influence on the young student.

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ISOLATED CONCENTRATIONS - THREE MOVING FORMS
ISOLATED CONCENTRATIONS - THREE MOVING FORMS
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 22 February 2005 / 68

Published Estimate: €15,000-20,000

Price Realised: €16000


COCKERELS IN PINK
COCKERELS IN PINK
Anne Donnelly (b.1932)

Auction Date / Lot No.: 22 February 2005 / 69

Published Estimate: €1,800-2,200

Price Realised: €1900


TRIPTYCH: ROAD INTERVALS III
TRIPTYCH: ROAD INTERVALS III
Anne Madden (b.1932)

Auction Date / Lot No.: 22 February 2005 / 70

Published Estimate: €1,500-1,800

Price Realised: 

  • Signature: signed and dated [1967] lower left; titled on reverse
  • Medium: polymer acrylic and pencil on hardboard
  • Dimensions: 48 by 22cm., 19 by 8.5in.
  • Exhibited: 'Anne Madden: Exhibition of Paintings and Silver-Plated Bronzes', Dawson Gallery, Dublin, 7-28 February 1968, catalogue no. 17
  • This work was a study for a large triptych of the same title which was shown at the Irish Living Art Exhibition of 1968 (catalogue no. 45). It was part of a series based on the rugged landscapes of the Burren in Co. Clare, where Madden lived during her adolescent years, and reveals the influence of American abstract expressionism on her work of this period.

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WOUNDED PIGEON
WOUNDED PIGEON
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 22 February 2005 / 71

Published Estimate: €40,000-60,000

Price Realised: €50000

  • Signature: signed with initials and dated [1984] lower right; signed and dated again on reverse; also typed Taylor Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 38 by 46cm., 15 by 18in.
  • Provenance: Purchased directly from the artist by the original owner; De Vere's, Dublin, 21 November 2000, lot 305; Private collection, Dublin
  • No. 514 in the artist's oeuvre.

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THE TREE OF LIFE
THE TREE OF LIFE
Anita Shelbourne RHA (b.1938)

Auction Date / Lot No.: 22 February 2005 / 72

Published Estimate: €2,000-3,000

Price Realised: €3600

  • Signature: signed lower left; typed exhibition label on reverse
  • Medium: acrylic and gouache on board
  • Dimensions: 51 by 89cm., 20 by 35in.
  • Exhibited: RHA, Dublin, 2002, catalogue no. 394
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A REMOTE PLACE
A REMOTE PLACE
Veronica Bolay RHA (b.1941)

Auction Date / Lot No.: 22 February 2005 / 73

Published Estimate: €2,000-3,000

Price Realised: €2000

  • Signature: signed lower right; signed again and dated [2002] on reverse; also with exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 61 by 76cm., 24 by 30in.
  • Exhibited: RHA, Dublin, 2002, catalogue no. 25 (illustrated on p. 48 of catalogue)
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STUDIOS PORTHMEOR AND PHYSICIANTOWN WITH PORTRAITS OF SELF AND JANIE
STUDIOS PORTHMEOR AND PHYSICIANTOWN WITH PORTRAITS OF SELF AND JANIE
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 22 February 2005 / 74

Published Estimate: €25,000-35,000

Price Realised: €24000

  • Signature: signed with initials and dated [July 1988] lower left; inscribed and signed again on reverse
  • Medium: oil on board
  • Dimensions: 61 by 91cm., 24 by 36in.
  • No. 2307 in the artist's oeuvre.

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ON THE BEARA PENINSULA
ON THE BEARA PENINSULA
John Kingerlee (b.1936)

Auction Date / Lot No.: 22 February 2005 / 75

Published Estimate: €10,000-12,000

Price Realised: €36000

  • Signature: signed in monogram and dated [2004] lower left; dated [1999-2004] on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 76cm., 20 by 30in.
  • For the past twenty years John Kingerlee has lived and painted on the Beara Peninsula in West Cork. During this period he has evolved a technique of painting whereby layers of pigment are applied one over the other, forming thick strata of paint akin to the rocky landscape visible outside his studio window. Each layer requires considerable time to dry and in pictures such as the present work, which can have as many as fifty coats of paint, the entire process is lengthy and deliberative. As the paint accumulates, forms emerge, and Kingerlee responds in kind, coaxing figures out of the crust of paint. In a forthcoming monograph on the artist, Jonathan Benington has written of these figures: ”From the mid-1990s to the present day, the artist has consistently produced paintings of heads that are isolated against neutral backgrounds, staring straight out of the picture towards the viewer. Most of these heads are depicted in isolation, but occasionally they will be lined up with one or two others like in an identity parade, or combined with full-length figures… The densely built-up surfaces of these paintings ensure that the facial features are treated in a very generalised, non-specific manner. They are ageless, timeless, garment-less, of indeterminate creed and race, sometimes sexless, although their paucity of hair generally gives them away as male… Kingerlee recognises the significance of the head both as receiver and transmitter of information: “my heads have landscapes and figures in them… I see the whole journey of life within the surface of these works”. The reference to surface here is significant, for it implies a reverential attitude towards his subjects, a recognition that the paint he is pushing around is attempting to convey an ineffable reality, the sacred spark of life that unites us with our fellow creatures”.

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MAGUEZ
MAGUEZ
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 22 February 2005 / 76

Published Estimate: €20,000-30,000

Price Realised: 

  • Signature: signed with initials lower right; dated [1997] lower left; typed exhibition label on reverse
  • Medium: acrylic on paper
  • Dimensions: 76 by 56cm., 30 by 22in.
  • Provenance: Taylor Galleries, Dublin; Whyte's, 9 October 2001, lot 62; Private collection, Dublin
  • Exhibited: 'Tony O'Malley: Recent Work', Taylor Galleries, Dublin, 8-24 April 1999, catalogue no. 41
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WITH LOVE TO ASGER JORN
WITH LOVE TO ASGER JORN
John Kingerlee (b.1936)

Auction Date / Lot No.: 22 February 2005 / 77

Published Estimate: €3,000-5,000

Price Realised: €6500

  • Signature: signed in monogram lower right; inscribed with title and signed again on reverse; also with exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 36 by 51cm., 14 by 20in.
  • Provenance: 'Exhibition of Recent Paintings by John Kingerlee', Leinster Gallery, Dublin, November 2002 (illustrated on front cover of catalogue)
  • The painter to whom this work is dedicated, Asger Jorn (1914-1973), was a Danish artist who trained under Léger and was later associated with the CoBRA group.

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HEAD
HEAD
John Kingerlee (b.1936)

Auction Date / Lot No.: 22 February 2005 / 78

Published Estimate: €2,500-3,500

Price Realised: €5600


A BLUR OF DISTANT MUSIC, SUMMER
A BLUR OF DISTANT MUSIC, SUMMER
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 22 February 2005 / 79

Published Estimate: €12,000-15,000

Price Realised: 

  • Signature: signed, inscribed and dated [1991] on reverse
  • Medium: oil and collage on wood
  • Dimensions: 66 by 23cm., 26 by 9in.
  • Exhibited: 'Tony O'Malley: Recent Paintings, Collages and Stoneware Bowls', Taylor Galleries, Dublin, 24 October - 9 November 1991, catalogue no. 47
  • No. 1986 in the artist's oeuvre.

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THE LIFE AND OPINIONS OF TRISTRAM SHANDY, GENTLEMAN
THE LIFE AND OPINIONS OF TRISTRAM SHANDY, GENTLEMAN
Robert Ballagh (b.1943)

Auction Date / Lot No.: 22 February 2005 / 80

Published Estimate: €12,000-15,000

Price Realised: €20000

  • Signature: signed lower right in the last of nine canvas panels
  • Medium: oil and acrylic on canvas (a polyptych in nine parts)
  • Dimensions: 61 by 434cm., 24 by 171in.
  • Provenance: George and Maura McClelland, Dublin; Trinity Gallery, London; Bonham's, Chelsea, 23 April 1991, lot 101; Private collection, Dublin; Frederick Gallery, Dublin; Private collection, Co. Wicklow, since 1992
  • Exhibited: 'Robert Ballagh', Lunds Kunsthall, Sweden, 29 January - 6 March 1983, catalogue no. 26 (larger version)
  • Literature: Ciaran Carty, Robert Ballagh, Magill, Dublin, 1986, pp. 120-125, 200
  • In 1975 D.E. Williams Ltd, owners of the 5 Star Supermarket chain, commissioned Robert Ballagh to paint a large mural for their newly-built supermarket in Clonmel. The mural was to be on a theme of local interest, and after a friend mentioned that Clonmel was the birthplace of writer Laurence Sterne, Ballagh began reading Sterne’s eighteenth century classic The Life and Opinions of Tristram Shandy. He was captivated. Ballagh discovered he shared many similarities with Sterne in terms of artistic approach. According to Ciaran Carty, “Sterne had trained to draw before he ever wrote”, so he appreciated the importance of external detail as an index of his characters’ personalities. Readers formed an opinion of a character through the accumulation of descriptive details, rather than any attempt on the author’s part to get inside the mind of the character. In short, surface appearance was everything. Kieran Hickey, who had earlier written a film script on the life of Sterne, recognised the bond between the eighteenth century author and the twentieth century painter: “If ever a writer expressed the nature of writing and the consciousness of being a writer writing for an audience reading what one is writing, it was Sterne, [and] if ever there was a painter who paints pictures about the consciousness of a painter as he paints pictures for an audience who are looking at a painting he has painted, it is Ballagh”, he said (quoted in Carty op. cit, p.123). With Ballagh enthused about the writings of Sterne, his client agreed upon two works relating to the author and his Clonmel roots. The first work was a triptych portrait of Sterne and the second was a 5 foot by 36 foot mural based on Tristram Shandy. The present work is an identical but smaller version of the mural, which Carty has described in detail: “Sterne, spitting blood when he coughed [he was consumptive], had an obsession about time. All his writing was an attempt to depict its passing with ever increasing exactitude. To suggest this in The Life and Opinions of Tristram Shandy Ballagh resorted to a movie image: the Hollywood convention of illustrating an elapse of time by flipping the pages of a book. The painting took the format of a strip of pages from the novel which appear to be blowing away like leaves in the wind of time. Tristram is shown in surreal close-up, his head a drooping clockface, about to be guillotined by a window, a reference to his mother’s untimely remark (”Pray, my Dear, quoth my mother, have you not forgot to wind up the clock?") which condemned him to a life of misfortune. Ballagh also works in an allusion to an unfortunate incident when, as a child wanting to pee in a hurry, he had gone to an open window, forgetting his uncle had removed the sash weight to make a toy cannon. This same uncle Toby, on being asked once where he had been wounded during his war years, replied that there were two answers, “Outside the walls of Namur” or “in the groin”. Ballagh frames each of these images in a window, in keeping with Sterne’s speculation on the consequences of there being a window in every human breast through which could be seen his soul. The final ‘page’ in the sequence, entitled ‘Moral’, shows Ballagh bending down to sign the corner, a mocking reference to his gesture in the last of his pictures of people looking at paintings. Having signed off Modernism, he was now signing on as a figurative painter" (Carty, op. cit., p.215).

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THE NEW PIER, ROUNDSTONE
THE NEW PIER, ROUNDSTONE
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 22 February 2005 / 81

Published Estimate: €8,000-10,000

Price Realised: €8500


DEEP SEA SAILORS, circa 1955
DEEP SEA SAILORS, circa 1955
Markey Robinson (1918-1999)

Auction Date / Lot No.: 22 February 2005 / 82

Published Estimate: €20,000-30,000

Price Realised: €21000

  • Signature: signed lower right; inscribed on reverse
  • Medium: gouache on board
  • Dimensions: 37 by 80cm., 14.5 by 31.5in.
  • Provenance: Sold by the artist to Dr Joe Dundee, 1960; Collection James Mullen, Co. Antrim; Sold through the Eakin Gallery, Belfast, c.1998; Private collection, Belfast
  • Exhibited: 'Markey: Major Exhibition of Early and Recent Paintings', Eakin Gallery, Belfast, 1998; image selected for use in newspaper advertising of this event
  • Literature: Michael Mulreany, Markey Robinson: Maverick Spirit, Ben Madigan Publications, Belfast, 2003, illustrated page 184
  • In style and subject matter this is at first glance classic Markey, typical and instantly recognisable. There is the maritime subject, a favourite for a Belfast-born painter who spent much of his life working in ships and shipyards, or cycling to local ports and fishing villages. Then there is the black-outline style, a trademark that became more frequent and distinct during this period, i.e., the mid 1950s. This look had wide variants ranging form expressionistic wildness to stained-glass precision. On the looser extreme were, for example, Fisherfolk on the Shor’ (Whyte’s, November 2004, lot 240) or Anticipation (illustrated in Markey - 30 Years at the Oriel Gallery, page 79). In Fisherfolk the outlining is brownish and blends into other colour areas. In Anticipation, similarly, line and shape are loosely intermingled. Deep Sea Sailors, by contrast, takes an almost graphic-art approach. Dark, firm outlines enclose brightly-coloured figures, garments and sails. Balance and composition are, as usual, impeccable. Markey’s mastery of pictorial design was all the more remarkable in a painter who did not dither, attacking cardboard or timber scraps with confident alla prima brushstrokes. Outlines are overpainted in one or two places (apparently to keep them uniformly thin) but otherwise the first vision is the last. Reports from such Markey confidantes as Mark Nulty and Michael Mulreany confirm that a brief sketch in thin paint, or a few brush strokes in pencil (if that) were all he needed before plunging confidently in. This is impressive enough when Markey tackled a familiar still-life or “shawlie” subject, but remarkable when, as here, he broke new ground. Markey sometimes painted religious subjects, and the stained-glass effect makes it tempting to imagine a “fishers-of-men” or similar biblical image lurking here. Equally tempting, if more ambitious, is a reading of the individual ethnic types as those artistic influences - French, Spanish, southern Mediterranean, primitive - which pulled together in the ferment of early modernism. Certainly Markey was familiar with both the ingredients and the stew. In Markey Robinson: Maverick Spirit Michael Mulreany proves that, thanks chiefly to his seaman’s card, Markey’s contact with (for example) expressionism and post-Cubist French art was early, frequent and first-hand. In his canny absorption of modernist influences Markey was way ahead of his circle, not to mention the usual suspects of Irish modernism, Mainie Jellett and Evie Hone. Mainstream art scholarship may not have noticed this fact, but Mulreany’s research confirms that is was quietly acknowledged in local newspapers as early as the 1940s. Mulreany, quoting the writer James McIntyre, reveals that both Campbell and Dillon dismissed Markey’s claims of European influence and contact as insignificant, even invented. Was there wishful (not to say envious) thinking at work when Dillon responded to a Markey comment on the Parisian scene with “Bollocks! You’ve never been further than Donaghdee Harbour in your life!”? Markey belongs in the first ranks of Irish and possibly international modernism, giving back to his forbears - Vlaminck, Utrillo and Léger - at least as much as he borrowed. He was unique in grafting northern European expressionism onto a post-Cubist paring down of shape and form. In works like Deep Sea Sailors, he added specifically Irish touches: a feel for landscape and seascape; an understanding of the sacredness of the elemental and the everyday. Paul O’Kelly, Dublin, January 2005

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THREE SET DESIGNS FOR THE STAR TURNS RED BY Seán O'CASEY, PLUS ONE OTHER (4)
THREE SET DESIGNS FOR THE STAR TURNS RED BY Seán O'CASEY, PLUS ONE OTHER (4)
Anne Yeats (1919-2001)

Auction Date / Lot No.: 22 February 2005 / 83

Published Estimate: €1,000-1,200

Price Realised: €1400

  • Signature: two signed lower left; two signed lower right; all four inscribed and dated [December 1942] on reverse
  • Medium: watercolour, pen and ink on paper (4) - unframed
  • Dimensions: 18 by 28cm., 7.25 by 11in.
  • O’Casey’s The Star Turns Red was a play dedicated to those who “fought through the great Dublin lockout of 1913”. Ordered but interesting spaces reflect its needs, which deal with the opposing doctrines of Communism and Fascism and the united aspects of Christianity and Marxism. This lot contains two versions of ‘Act One: The Office’, plus ‘The Mayor’s House’ from O’Casey’s The Star Turns Red as well as a rejected design for Emlyn Williams’ Night Must Fall.

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THREE SET DESIGNS FOR DONAGH McDONAGH'S HAPPY AS LARRY
THREE SET DESIGNS FOR DONAGH McDONAGH'S HAPPY AS LARRY
Anne Yeats (1919-2001)

Auction Date / Lot No.: 22 February 2005 / 84

Published Estimate: €400-600

Price Realised: €600

  • Signature: each signed with initials lower right and inscribed on reverse
  • Medium: watercolour, pen and ink on paper (3) - unframed
  • Dimensions: 18 by 25cm., 7 by 10in.
  • Happily, most of Anne Yeats’ design work for this verse play has survived. Austin Clarke’s Lyric Theatre Company presented Happy as Larry at the Abbey in May 1947. One reviewer proclaimed the production a “triumph” and commended Anne Yeats for her clever settings. The scenes depicted are ‘Larry’s House - Inside’, ‘Larry’s House - Outside’, and ‘The Tailor’s Cloth - First scene for Tailor interludes’.

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TWO SETS DESIGNS FOR GERARD MALONE'S THE WILD CAT
TWO SETS DESIGNS FOR GERARD MALONE'S THE WILD CAT
Anne Yeats (1919-2001)

Auction Date / Lot No.: 22 February 2005 / 85

Published Estimate: €500-700

Price Realised: €1200

  • Signature: each signed lower right and inscribed lower left; one dated [December 1939] and the other [18 February 1940] lower right
  • Medium: watercolour, pen and ink on paper (2) - unframed
  • Dimensions: 20 by 30cm., 8 by 12in.
  • The Wild Cat was first performed by the Abbey Experimental Theatre group at the Peacock Theatre in February 1940. Desmond Leslie painted the sets following Anne Yeats' designs.

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THREE SET DESIGNS FOR OSCAR WILDE'S THE IMPORTANCE OF BEING ERNEST and ONE OTHER
THREE SET DESIGNS FOR OSCAR WILDE'S THE IMPORTANCE OF BEING ERNEST and ONE OTHER
Anne Yeats (1919-2001)

Auction Date / Lot No.: 22 February 2005 / 86

Published Estimate: €500-700

Price Realised: €900

  • Signature: the first three inscribed upper right and signed on reverse; the fourth signed and inscribed lower right
  • Medium: watercolour, gouache, pen and ink on paper (4) - unframed
  • Dimensions: 11 by 18cm., 4.5 by 7in.
  • Designs for the Abbey Theatre 1942-43 production of The Importance of Being Ernest and their 1940-41 production of Strange Guest. With an unidentified interior on reverse of The Importance of Being Ernest designs.

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TWO SET DESIGNS FOR ST JOHN IRVINE'S PLAY WILLIAM JOHN McWHINNEY
TWO SET DESIGNS FOR ST JOHN IRVINE'S PLAY WILLIAM JOHN McWHINNEY
Anne Yeats (1919-2001)

Auction Date / Lot No.: 22 February 2005 / 87

Published Estimate: €500-700

Price Realised: €500

  • Signature: each signed lower right; inscribed and dated [11 march 1940] lower left
  • Medium: watercolour, gouache, pen and ink on paper (2) - unframed
  • Dimensions: 24 by 34cm., 9.5 by 13.2in.
  • Yeats’ designs for William John McWhinney, a comedy by St John Irvine, reflect the thorough research necessary in order to translate the needs of the text to the stage picture. The details of the shop interior are all meticulously observed and a disregard for perspective with its resultant quirky detail is an aspect that engages attention. Lot contains living room scene and a grocery shop interior, the former with a sample of red velvet fabric to be used for the window seat upholstery.

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FOUR SET DESIGNS FOR VARIOUS ABBEY PLAYS INCLUDING LENNOX ROBINSON'S THE WHITE HEADED BOY
FOUR SET DESIGNS FOR VARIOUS ABBEY PLAYS INCLUDING LENNOX ROBINSON'S THE WHITE HEADED BOY
Anne Yeats (1919-2001)

Auction Date / Lot No.: 22 February 2005 / 88

Published Estimate: €600-800

Price Realised: €1300

  • Signature: three signed lower left, one signed lower right; inscribed variously
  • Medium: watercolour, crayon, pen and ink on paper (4) - unframed
  • Dimensions: 28 by 36cm., 11 by 14in.
  • Includes 'Kitchen Set - Act III' for George Sheils' Give Him a House, and interior of the Dolis family cabin for Act III of Shiels' The Rugged Path.

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THREE SET DESIGNS FOR ABBEY AND OLYPMIA THEATRE PRODUCTIONS
THREE SET DESIGNS FOR ABBEY AND OLYPMIA THEATRE PRODUCTIONS
Anne Yeats (1919-2001)

Auction Date / Lot No.: 22 February 2005 / 89

Published Estimate: €600-800

Price Realised: €800

  • Signature: two signed lower right; one signed lower left; inscribed and dated [1940-1943] variously
  • Medium: watercolour on paper (2); crayon, pen and ink on paper (1)
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Includes a drawing room interior for George Bernard Shaw's Candida, another for Today and Tomorrow (June 1940) and a back-cloth design for a variety show sketch at the Olympia in 1943.

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TWO VARIANT SET DESIGNS FOR ELIZABETH O'CONNER'S MOUNT PROSPECT
TWO VARIANT SET DESIGNS FOR ELIZABETH O'CONNER'S MOUNT PROSPECT
Anne Yeats (1919-2001)

Auction Date / Lot No.: 22 February 2005 / 90

Published Estimate: €500-700

Price Realised: €450

  • Signature: one signed lower right and inscribed lower left; the other inscribed on reverse
  • Medium: watercolour over pencil on paper (2) - unframed
  • Dimensions: 27 by 37cm., 10.7 by 14.7in.
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RENOIR'S GARDEN, CAGNES
RENOIR'S GARDEN, CAGNES
Bea Orpen HRHA (1913-1980)

Auction Date / Lot No.: 22 February 2005 / 91

Published Estimate: €800-1,200

Price Realised: €850

  • Signature: signed lower left; inscribed with title and price (14gns) on reverse; also with a bill of payment on reverse
  • Medium: gouache on tinted paper
  • Dimensions: 23 by 29cm., 9 by 11.5in.
  • Provenance: Collection of artist Gary Trimble; Private collection, Co. Kildare
  • Exhibited: RHA, Dublin, 1970, catalogue no. 150 (£14-4-0)
  • Literature: Theo Snoddy, Dictionary of Irish Artists 20th Century, Merlin Publishing, 2002, listed on page 495
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FIGURES ON A PATH BEFORE THE ROCK OF CASHEL
FIGURES ON A PATH BEFORE THE ROCK OF CASHEL
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 22 February 2005 / 92

Published Estimate: €5,000-7,000

Price Realised: €5800


ST ALPHONSUS
ST ALPHONSUS
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 22 February 2005 / 93

Published Estimate: €12,000-15,000

Price Realised: €12000

  • Signature: signed in monogram lower right
  • Medium: watercolour and gouache over pencil
  • Dimensions: 77 by 47cm., 30.5 by 18.5in.
  • Provenance: Miss Lily Yeats; Miss Hyland; Purchased by Thomas MacGreevy c.1958; James Adam Salerooms, Dublin, April 1968; Private collection
  • Literature: F.L. Cross (ed.), The Oxford Dictionary of the Christian Church, Oxford University Press, Oxford, 1974, page 39; Hilary Pyle, Jack B Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, catalogue no. 459, page 12
  • This watercolour was intended as a design for an embroidered sodality banner for Loughrea Cathedral, Co. Galway. It was executed in 1903 as part of a commission awarded to the fledgling Dun Emer Guild, which was founded in 1902 by Evelyn Gleeson. Her two principal partners in the venture were Jack Yeats’ sisters, Susan and Elizabeth (or Lily and Lolly as they were known to family and friends). When the Guild received this prestigious commission, they invited Jack and his wife Mary (known as Cottie) to supply designs for the banners. Jack designed the Sacred Heart banner and the banners for all the male saints bar two (these were designed by Æ), whilst Cottie supplied designs for nearly all of the female saints. In all, twenty-nine banners were completed, with a further four designs including the present work of St Alphonsus being executed but ultimately not used. In the present work Yeats depicts St Alphonsus Liguori (1696-1787), Founder of the Redemptionist Fathers. In common with other Loughrea designs, the figure is drawn in heavy black outline, with a richly coloured cassock and his cloak decorated in what Paul Larmour has described as “an almost cloisonné-like manner” of Celtic ornamentation. (‘The Dun Emer Guild’, Irish Arts Review, Vol. 1 No. 4, Winter 1984, p.25). At the time of the commission, The Irish Homestead described the banners as displaying “freshness and quaint naturalness”, combined with “sympathy and native feeling” and hailed them as the start “of a new epoch in art work of this kind, wherein originality of design shall replace vulgarity and simple beauty replace tawdriness” (13 February 1904, p. 134).

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BUNDORAN, COUNTY DONEGAL
BUNDORAN, COUNTY DONEGAL
William Crampton Gore RHA (1871-1946)

Auction Date / Lot No.: 22 February 2005 / 94

Published Estimate: €4,000-6,000

Price Realised: 

  • Signature: signed and dated [1930] lower left; inscribed lower right
  • Medium: oil on panel
  • Dimensions: 23 by 41cm., 9 by 16in.
  • Provenance: Artist's family; Private collection, Co. Down
  • By the late 1920s Crampton Gore had taken up residence in the south of France, but continued to visit friends and family in Ireland. He painted a number of works in Donegal in the early 1930s, some which he exhibited at the RHA.

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TANGIER
TANGIER
Alexander Mann NEAC ROI (Scottish,1853-1908)

Auction Date / Lot No.: 22 February 2005 / 95

Published Estimate: €8,000-12,000

Price Realised: €11000

  • Signature: inscribed and dated [1891] on reverse
  • Medium: oil on canvas
  • Dimensions: 36 by 53cm., 14 by 21in.
  • Exhibited: ? RBA, 1891, catalogue no. 21 (as On the Beach Tangier, £15) or RBA, 1892, catalogue no. 206 (as Along the Shore: Tangiers, £20)
  • Born in Glasgow and trained under Carolus Duran (1838-1917), Alexander Mann specialised in genre and Orientalist subjects, exhibiting principally with the Glasgow Institute of Fine Art, the Fine Art Society the ROI and the RA in London. He arrived in the famous ‘White City’ of Tangier in 1890-91, at the same time of his fellow countryman Sir John Lavery’s first visit, and showed Moroccan scenes at various exhibitions from 1890-95, including one at the RHA (Fisherman, Tangier), which was most probably submitted on Lavery’s suggestion. The two men travelled to Seville together in the early months of 1892 en route to England (ref. Kenneth McConkey, Sir John Lavery, Canongate Press, 1993, p. 86). Great similarities exist between their work, as can be seen by comparing the present example with Lavery’s Tangier - the White City (ill. McConkey fig. 102), and in particular the small study for this work (McConkey fig. 103) which is executed in almost identical proportions to Mann’s painting. Both men’s works are painted from the same vantage point, looking along the bay to the small peninsular, with Arab figures and tents scattered about the shore. Interestingly Mann’s work predates that of Lavery’s by two years. Further examples of Mann’s work can be seen in the Walker Art Gallery, Liverpool, and the Kelvingrove Art Gallery and Museum in Glasgow.

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ON THE BEACH
ON THE BEACH
George Russell "Æ" (1867-1935)

Auction Date / Lot No.: 22 February 2005 / 96

Published Estimate: €12,000-15,000

Price Realised: 


RETURNING HOME
RETURNING HOME
William H. Bartlett RBA (1858-1932)

Auction Date / Lot No.: 22 February 2005 / 97

Published Estimate: €1,500-2,000

Price Realised: €4800

  • Signature: signed and dated [1909] lower left
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 26 by 37cm., 10.2 by 14.5in.
  • Provenance: William Rodman & Co., Belfast; Private collection
  • Bartlett studied at the École des Beaux Arts in Paris under Gérôme, Bouguereau and Fleury. He was elected RBA in 1879, around which time he also visited Ireland for the first time. Works exhibited in the early 1880s include Going to Market at Roundstone from Deer Island, West Coast of Ireland, An Evicted Tenant, Connemara and Waiting for the Turf Boats, Roundstone. He returned to Ireland frequently showing three works at the RHA (in 1897 and 1905) and in 1911 was recorded with an address in Donegal. From 1880 onwards he exhibited more than forty works at the RA. Other exhibiting venues included the Fine Art Society in London and the ROI. He is represented in the Brighton and Hove Museum and in the Ulster Museum, Belfast.

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AN EAGLE FLYING OVER A MOUNTAIN RIVER
AN EAGLE FLYING OVER A MOUNTAIN RIVER
Joseph William Carey RUA (1859-1937)

Auction Date / Lot No.: 22 February 2005 / 98

Published Estimate: €1,000-1,200

Price Realised: €950

  • Signature: signed and dated [1918] lower left
  • Medium: watercolour over pencil
  • Dimensions: 22 by 39cm., 8.5 by 15.5in.
  • Exhibited: ? WCSI, 1918, catalogue no. 115 (£5-0-0)
  • This is quite probably a work which Carey exhibited at the WCSI titled The Haunt of the Golden Eagle, Skye. By the year in which Carey painted this, golden eagles were classified as extinct in Ireland, but were still a relatively common sight on the Isle of Skye.

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WOMEN SEWING, BRITTANY
WOMEN SEWING, BRITTANY
Fanny Wilmot Currey WCSI (1848-1917)

Auction Date / Lot No.: 22 February 2005 / 99

Published Estimate: €2,500-3,500

Price Realised: €2300

  • Signature: signed and dated [1880] lower left
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 27 by 18cm., 10.5 by 7in.
  • Exhibited: 'The French Influence', Gorry Gallery, Dublin, 5-15 May 2004, catalogue no. 50 (illustrated)
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A DUCK POND
A DUCK POND
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 22 February 2005 / 100

Published Estimate: €3,000-4,000

Price Realised: €4800

  • Signature: signed with initials lower right
  • Medium: watercolour on paper
  • Dimensions: 18 by 13cm., 7 by 5.25in.
  • Provenance: Gorry Gallery, Dublin; Private collection, Dublin
  • Exhibited: (?) WCSI Dublin, 1906, catalogue no. 210 (£6-6-0); 'The French Influence', Gorry Gallery, Dublin, 5-15 May 2004, catalogue no. 32 (illustrated)
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