26 April 2005

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THE WEST WIND, circa 1907-08
THE WEST WIND, circa 1907-08
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 26 April 2005 / 51

Published Estimate: €10,000-12,000

Price Realised: €11500

  • Signature: signed lower right; original exhibition labels on reverse
  • Medium: charcoal on paper
  • Dimensions: 53 by 37cm., 21 by 14.5in.
  • Provenance: Christie's, Belfast, 30 May 1990, lot 233 as Windswept Trees; Bell Gallery, Belfast; Whence purchased by the present owners
  • Exhibited: Association of Allied Artists exhibition, Royal Albert Hall, London, first annual exhibition, July 1908, catalogue no. 2313; Belfast Art Society, 13 October - 13 November 1909, catalogue no. 222; RHA, Dublin, 1910, catalogue no. 359; ‘Exhibition of Pictures by Paul and Grace Henry’, Mills Hall, Dublin, 9-23 April 1918, catalogue no. 58; ‘Paul Henry’, National Gallery of Ireland, Dublin, 19 February - 18 May 2003, catalogue no. 12
  • Literature: Jimmy Good, The Freeman’s Journal, 9 April 1918; The Irish Times, 1 November 1921; S. B. Kennedy, Paul Henry, Yale University Press, New Haven and London, 2000, pages 38-40; S. B. Kennedy, Paul Henry, National Gallery of Ireland, Dublin, 2003, page 44 (illustrated)
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FOOD FOR THE FIELDS
FOOD FOR THE FIELDS
Lilian Lucy Davidson ARHA (1893-1954)

Auction Date / Lot No.: 26 April 2005 / 52

Published Estimate: €12,000-15,000

Price Realised: €11500

  • Signature: original inscribed label giving title, artist's address (4 Wilton Terrace Dublin) and price (£50) on reverse
  • Medium: oil on canvas
  • Dimensions: 42 by 53cm., 16.5 by 21in.
  • Exhibited: RHA, Dublin, 1951, catalogue no. 168 (£50-0-0)
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CARRYING THE CURRACH
CARRYING THE CURRACH
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 26 April 2005 / 53

Published Estimate: €30,000-40,000

Price Realised: €32000

  • Signature: signed lower left; Dawson Gallery framing label on reverse
  • Medium: oil on canvas
  • Dimensions: 64 by 76cm., 25 by 30in.
  • Provenance: The artist's family; Stone Art Gallery, Spiddal, Co. Galway; Whence purchased in 1981 by the present owner
  • Exhibited: (?) RHA, Dublin, 1958, catalogue no. 75 as Bringing in the Curragh (£80-0-0); (?) RHA, Dublin, 1965 ( memorial section), catalogue no. 56 as Carrying Up the Curragh (£250-0-0); 'Charles Lamb', Stone Art Gallery, Spiddal, Co. Galway, 27 Octob
  • The son of a housepainter, born in Portadown, Co. Armagh, Charles Lamb first attended evening classes at the Belfast College of Art whilst working for the family business by day. A scholarship enabled him to go to Dublin in 1917 to study at the College of Art, where Patrick Touhy, Margaret Clarke, James Sleator and Seán Keating were influential and encouraging teachers. Whilst a student he began showing at the RHA; A Lough Neagh Fisherman from 1920 (Ulster Museum, Belfast) was one of his earliest exhibits. In the early 1920s he first visited Connemara, touring the area on horseback, and it was by this means that he arrived in Carraroe. In the words of Marie Bourke, “it must have seemed like another world: clean, pure, simple, bright and primitive. From that moment something in the artist’s psyche became anchored in Carraroe, and it was only a matter of years before he returned to settle there for the rest of his life”1. In 1923 he held his first one-man show at the Dublin Painters Gallery on St Stephen’s Green, where his work was well received. Reviewing a second exhibition the following year, fellow-artist George Atkinson discerned “a fine feeling for the dramatic in nature” and noted that Lamb had “a control of design and arrangement that is unusual in landscape painters”2. This strong sense of design, perhaps inherited from his painter-decorator father, was to distinguish his work throughout his career and elevate him to the ranks of Ireland’s best landscape artists, including Paul Henry, who had a similarly keen eye for form and design. Connemara, in particular Carraroe continued to inspire him, as he sought to record a way of life that was rapidly disappearing. During the late 1940s and throughout the 1950s he painted a series of large paintings featuring fishermen and their light-weight currachs3: The Curragh Race (hung in the V&A museum in 1948 as part of an ‘Olympiad Sport in Art’ exhibition), Tarring the Curragh (RHA, 1950), Curraghs and an Old Hooker (RHA, 1958) and Bringing in the Curragh (RHA, 1958), the last of which is believed to be the present work. Despite constant financial difficulties, Lamb set high prices to each of these works, indicating the importance he attached to them personally. The painting remained in Lamb’s studio until after his death, and is almost certainly the work titled Carrying up the Curragh which was one of seven works exhibited in the artist’s memory at the RHA the year after his death (catalogue no. 56). It was not seen again until 1981, when it was included in an exhibition of Lamb’s work at the Stone Gallery in Spiddal, where it was purchased by the present owner. 1 Marie Bourke, introductory essay in the catalogue of ‘Charles Lamb RHA: Galway Paintings’, Galway Arts Centre, October 1998. 2 George Atkinson, Dublin Magazine, April 1924. 3 The spelling of currach was frequently Anglicized and misspelled as curragh; the original spelling, as used in the RHA exhibition catalogues, has been retained throughout.

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EXTENSIVE LAKE AND MOUNTAIN LANDSCAPE
EXTENSIVE LAKE AND MOUNTAIN LANDSCAPE
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 26 April 2005 / 54

Published Estimate: €3,500-4,500

Price Realised: €4000

  • Signature: signed lower left
  • Medium: watercolour over pencil
  • Dimensions: 24 by 33cm., 9.5 by 13in.
  • Provenance: James Adam & Bonham's, Dublin, 5 December 2001, lot 25; Private collection
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PARK SCENE WITH FIGURES
PARK SCENE WITH FIGURES
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 26 April 2005 / 55

Published Estimate: €4,000-5,000

Price Realised: €5000


AN IRISH COLLEEN
AN IRISH COLLEEN
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 26 April 2005 / 56

Published Estimate: €2,000-3,000

Price Realised: €2200


PORTRAIT OF MARY, THE ARTIST'S SISTER
PORTRAIT OF MARY, THE ARTIST'S SISTER
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 26 April 2005 / 57

Published Estimate: €5,000-7,000

Price Realised: €11000

  • Signature: inscribed "To Mary from Seán" lower right; label on reverse inscribed with the sitter's name and address, the Keating family home in Rathmines; also with a Waddington framing label on reverse
  • Medium: pastel on buff coloured paper
  • Dimensions: 51 by 38cm., 20 by 15in.
  • Provenance: Gift from the artist to his sister Mary Frances Newman, neé Keating; Private collection
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CURRAGHS, CONNEMARA
CURRAGHS, CONNEMARA
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 26 April 2005 / 58

Published Estimate: €40,000-60,000

Price Realised: €60000

  • Signature: signed lower right; inscribed on reverse with title, price (£100-0-0) and artist's address (13 Stamer Street)
  • Medium: oil on panel
  • Dimensions: 66 by 97cm., 26 by 38in.
  • Provenance: Pyms Gallery, London; Private collection
  • ”He was not painting in any of the traditions of these islands”, Thomas Ryan PPHRHA has noted of Harry Kernoff. 1 Although he admitted being influenced by Seán Keating 2, Kernoff had a more subversive vision of the Ireland, the Irish Free State, that was emerging from centuries of colonial domination and the convulsions of civil war. In 1930 Kernoff visited the Soviet Union as part of an Irish delegation from the friends of Soviet Russia led by Hannah Sheehy-Skeffington. In Moscow he met members of the influential AKhRR, the Association of Revolutionary Artists, who believed artists should be “the spokesmen of the people’s spiritual life”. Kernoff was impressed. “All the arts are in a flourishing and growing condition,” Kernoff wrote on his return. 3 While it is tempting to read Kernoff’s landscapes and genre paintings as part of a perceived nationalist school of painting that might include works by Seán Keating, Paul Henry, Maurice MacGonigal and others, it would be to ignore and important allegorical sub-text present in Currachs, Connemara. AKhRR believed that only working people could create cultural change. In portraying “the everyday life of workers, peasants and the heroes of the revolution and of labour”, Kernoff was in step with a AKhRR manifesto. 4 Currachs, and the men who worked them, appealed to Kernoff. Paintings of the subject were shown throughout the ‘30s and ‘40s. Currachs, Connemara would seem to have been painted in the early or mid-1930s. This is an ambitious and epic painting. Against a backdrop of a rugged skyline, figures on the beach strain in honest toil at day’s end as evening shadows lengthen. The apparent naivety of Kernoff’s depiction of the middle-distance is further highlighted by the dramatic narrative being played out in the foreground where the painter creates and underlying tension with his sophisticated treatment of perspective. Our point of view is higher than that of the iconic female figure on the quayside. Yet, we follow her gaze down into the painting while also being drawn to explore the patchwork of walled fields which seem to fall more directly in our line of vision. 1. In conversation with the author, June 1998. 2. Radio Éireann interview 1973. 3. Harry Kernoff papers NLI. 4. Artists After the Revolution, 1917-1930 – Stanislav Zadora (Moscow 1930 – Mallard, NewYork) Eamonn Carr, Dublin, March 2005

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MASQUERADE COSTUMES - SET OF TWELVE
MASQUERADE COSTUMES - SET OF TWELVE
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 26 April 2005 / 59

Published Estimate: €15,000-20,000

Price Realised: €33000

  • Signature: each signed and inscribed lower left or lower right; two dated [1927]; remaining ten dated [1928]
  • Medium: watercolour, pen and ink; twelve works individually framed
  • Dimensions: 23 by 18cm., 9.25 by 7in.
  • Provenance: Purchased from the artist circa 1970 by the present owner
  • Individual titles are Fancy Costume, Heavy Villain, Ballet, Fool, Sea-Dog, Patriarch, Cretan or Minoen, 18th Cen. Irish, The Belle, Mephystophyles the Buffoon, Prince and Jester. These designs were most likely the basis of a large oil composition, titled Mascarade [sic], which was shown at the RHA in the spring of 1929 as catalogue no. 221, £175-0-0; his highest priced exhibit at the time. Later that same year Kernoff again exhibited a work titled Masquerade in his show at the Civic Theatre in Dun Laoghaire’s town hall (catalogue no. 1, £100-0-0). Despite the reduction in price, the work or works were evidently considered important by the artist himself, and it is believed that Kernoff intended for the group of individual watercolours to hang in the foyer of the Abbey Theatre - an ambition ultimately never realised. A further two works from the series, both dated 1928, were donated by the artist’s sister to the National Gallery of Ireland in 1975 (NGI 3183 and 3184).

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CHRISTMAS IN HENRY STREET (1945)
CHRISTMAS IN HENRY STREET (1945)
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 April 2005 / 60

Published Estimate: €100,000-150,000

Price Realised: €130000

  • Signature: signed upper right; inscribed in another hand and with the original Waddington framing label on reverse
  • Medium: oil on panel
  • Dimensions: 24 by 37cm., 9.5 by 14.5in.
  • Provenance: Sold by the artist to Serge Philipson, a renowned Dublin collector, in 1945; F. L. Vickerman; Private collection
  • Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsch, London, 1992, Vol. II, p.606, catalogue no. 664
  • This powerful work, with its strong colours and striking contrasts, dates from a seminal year in the artist’s life. 1945 was the year of the great retrospective exhibition of his work, held in the National College of Art, then in Kildare Street. He was too much a revolutionary for the show to be housed in the National Gallery. He was too technically advanced for the rather dated environment of the Municipal Gallery, as it then was. No, Jack Yeats was rightly shown among students and in the same place as the newly launched annual Irish Exhibition of Living Art which he so appropriately espoused. He was approaching his 65th year. He was celebrating at the same time his golden wedding anniversary. He was the epitome of Modernism. Above all, he was in the floodtide of his late period, full of energy, rich in output and contemplating with calm courage the challenges of old age. He was just over halfway through his total output of paintings. During that energetic year he produced no less than eighty works in oil and roughly the same number in the following year. More than sixty followed in 1947 and a greater number than that in 1948, when another eighty works came from his studio. Many of these are great canvases. The last of 1948 We Left Our Name on the Road of Fame being a joyful masterpiece that summarised the high spirits in which he performed as a painter at this time. Christmas in Henry Street relates, as do so many of Yeats’s paintings, to children and their entertainment. He and Cottie never had children. Yet from the earliest years of their marriage, soon sadly in 1947 to be ended by Cottie’s death, love of children had been expressed in many works. Some are designed as entertainment of children, some, like The Little Sister of the Gang describe how children entertain themselves. Christmas in Henry Street is richly evocative of the simplicity and excitement of Christmas on a Dublin street. As Hilary Pyle has pointed out, the scene for the painting was sketched by the artist just two years earlier, in 1943, and is annotated with words that could have been drawn from the language of the Jazz Age. “OK Baby” and “Daddy me again, Bill Boy” are phrases from which he drew the colourful authority of the three figures in the canvas. Ownership of a work is part of the hall-marking of Yeats paintings. Yeats sold this canvas, in the year it was painted, to Serge Phillipson. He was one of the group of Jack Yeats’s friends known as “The Three Musketeers”. The others were Louis Jammet and his dealer, Victor Waddington. As everyone knows, there was a fourth figure of Dumas’ story, the dashing young d’Artagnan. He also existed among the friends in the person of Howard Robinson. It could be said that they bought the best of Yeats’s pictures. This one went on to become the property of F.L. Vickerman, another early and substantial collector of Yeats paintings. Though small, the work has a jewel-like integrity. Bruce Arnold, Author of Jack Yeats, Yale University Press, 1998 Dublin, March 2005

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WITH HOOKS OF STEEL
WITH HOOKS OF STEEL
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 April 2005 / 61

Published Estimate: €7,000-9,000

Price Realised: €7000

  • Signature: signed and dated [1900] lower left; inscribed lower right
  • Medium: pen and ink over pencil on card
  • Dimensions: 15 by 11cm., 6 by 4.5in.
  • Provenance: Sold by the artist to Oliver Sheean Esq, Portland, Maine, April 1939; Purchased from Mr Sheean's estate by F. M. O'Brien, Antiquarian Bookseller, Portland Maine, circa 1952; Private collection
  • Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats: His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994, catalogue no. 2099, page 296
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PIRATE READING or A BOOKPLATE FOR A PIRATE
PIRATE READING or A BOOKPLATE FOR A PIRATE
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 April 2005 / 62

Published Estimate: €5,000-7,000

Price Realised: €6000

  • Signature: signed lower left and inscribed "HIS BOOK" at base
  • Medium: pen and ink with watercolour
  • Dimensions: 14 by 8cm., 5.5 by 3.25in.
  • Provenance: Sold by the artist to Oliver Sheean Esq, Portland, Maine, April 1939; Purchased from Mr Sheean's estate by F. M. O'Brien, Antiquarian Bookseller, Portland Maine, circa 1952; Private collection
  • Exhibited: possibly as A Bookplate for a Pirate, 'Jack B. Yeats: Sketches of Life in the West of Ireland', Wells Central Hall, Dublin, 18-30 August 1902, catalogue no. 34
  • Literature: Hilary Pyle, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, catalogue no. 424; Hilary Pyle, The Different Worlds of Jack B. Yeats: His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994,
  • This is the original pen and ink drawing with watercolour wash, recorded in Yeats’ account book as having sold to the bibliophile and art collector Oliver Sheean Esq, April 1939. The drawing was the basis of a printed bookplate, most probably printed at the Cuala Press, an example of which is reproduced in The Different Worlds, op. cit, page 296. Pyle notes the influence of the theatre designer and etcher Gordon Craig on Yeats’ composition in this work, and observes it is a treatment later revisited in another bookplate, A Warning Against Borrowers.

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PORTRAIT OF W. B. YEATS
PORTRAIT OF W. B. YEATS
Sir William Rothenstein NEAC (1872-1945)

Auction Date / Lot No.: 26 April 2005 / 63

Published Estimate: €1,500-2,000

Price Realised: €5200

  • Signature: signed in pencil lower right; signed and dated [1898] in the stone lower left; inscribed lower right; also inscribed by the artist's son on reverse
  • Medium: lithograph
  • Dimensions: 44 by 27cm., 17.5 by 10.5in.
  • Provenance: Gift of the artist's son, John Rothenstein (former Director of the Tate Gallery, London) to Catherine Walston, 1946; Thence by descent
  • Catherine Walston was formerly muse and mistress to the author Graham Greene, The pair were introduced by John Rothenstein in 1946, the year in which he presented her with this "portrait of her most loved moder poet".

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LIFE IN THE WEST OF IRELAND, written and illustrated by Jack. B. Yeats
LIFE IN THE WEST OF IRELAND, written and illustrated by Jack. B. Yeats
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 April 2005 / 64

Published Estimate: €1,500-1,800

Price Realised: €3600

  • Dimensions: 0 by 0cm., by in.
  • Maunsel and Co., Dublin and London, 1912. First edition, first issue. Contains eight tipped-in colour plates, thirty-two block-printed line drawings and sixteen photogravure reproductions from paintings by Yeats. Quarto, in original blue cloth with gilt lettering and vignette by Yeats on upper cover; top edge gilt. With a SIGNED AUTOGRAPH LETTER from Jack B. Yeats to Michael and Jodie Freyer on Yeats’ letterhead, dated 12 April 1952, tipped-in at the front of the book. The Freyers were friends and neighbours of Yeats in Fitzwilliam Square. Michael Freyer was a grandson of the distinguished surgeon Sir Peter Freyer and at the time of this letter was proprietor of the Brown Jacket Bookshop in Baggot Street which the artist frequented..

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LA LA NOO, a play in two acts by Jack B. Yeats
LA LA NOO, a play in two acts by Jack B. Yeats
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 April 2005 / 65

Published Estimate: €500-700

Price Realised: €700

  • Dimensions: 0 by 0cm., by in.
  • Cuala Press, Dublin, 1943. First edition, limited to 250 copies, of which this is number 236. Octavo, yellow papered boards, half-linen with paper spine label. With a hand-coloured Cuala Press greetings card laid in, inscribed by Jack’s wife Cottie Yeats: “Kindest Christmas Greetings, from Mr and Mrs Jack Yeats”.

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PIRATE ISLAND, circa 1911
PIRATE ISLAND, circa 1911
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 April 2005 / 66

Published Estimate: €2,000-3,000

Price Realised: €6200

  • Signature: signed lower left
  • Medium: pen and ink with watercolour wash on paper
  • Dimensions: 9 by 10cm., 3.5 by 4in.
  • This drawing was originally offered for sale with Ernest Marriott’s small pamphlet, Jack B. Yeats: His Pictorial and Dramatic Art, which was published by Elkin Mathews, London, [1911]. The pamphlet originally retailed for one shilling a copy, but an unspecified number of copies were offered for sale at five shillings, each with “an original drawing in colours by the artist” inserted. The book itself, in printed blue wrappers sewn at spine and with Yeats’ fold-out ‘Chart of Pirate Island’, is included with this lot.

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PEAGASUS AND CHRISTMAS GREETINGS
PEAGASUS AND CHRISTMAS GREETINGS
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 April 2005 / 67

Published Estimate: €1,500-2,000

Price Realised: €4400

  • Signature: signed and inscribed lower right
  • Medium: pen and ink on paper
  • Dimensions: 17 by 22cm., 6.5 by 8.5in.
  • Provenance: Christmas greetings from the artist to Michael and Jodie Freyer, circa 1950s; Private collection
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FORGIVE HIM, 1953
FORGIVE HIM, 1953
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 April 2005 / 68

Published Estimate: €200,000-250,000

Price Realised: €205000

  • Signature: signed lower right; with original exhibition labels on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 69cm., 20 by 27in.
  • Provenance: Victor Waddington, London; Private collection; James Adam Salesrooms, Dublin, 11 December 1986, lot 70; Phillips, London, 13 September 1990, lot 86; Waddington Galleries, London; Jefferson Smurfit Group Collection; Sotheby’s, London, 17 November 2004, lot 154; Private collection, Dublin
  • Exhibited: ‘Jack B. Yeats: Oil Paintings’, Waddington Galleries, Dublin, February 1955, catalogue no. 17; Munster Fine Art Club, Cork, 1956; ‘Jack B. Yeats: Oil Paintings’, Willard Gallery, New York, 6-31 March 1962, catalogue no. 19; ‘Jack B. Yeats: Oil Paintings’, Victor Waddington Gallery, London, 8-31 March 1973, catalogue no. 23 (reproduced in colour in catalogue); ‘Jack B. Yeats’: A Celtic Visionary’, Manchester City Art Gallery, 9 March – 21 April 1996; Leeds City Art Gallery, 27 April – 2 June 1996; Ormeau Baths Gallery, Belfast, 7 June – 6 September 1996, catalogue no. 27 (reproduced in colour in catalogue)
  • Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsche, London, 1992, catalogue no. 1156, Vol. II, page 1056, illustrated also in Vol. III, page 580
  • Colour sustained Jack Yeats in his final years. Though there is some unevenness, it is least evident when colour dominates. The output itself remains prodigious. It is extraordinary that from the beginning of the 1950s until he finally laid down his brushes and stopped working, in 1955, he painted almost 200 canvases. Among these, and dating from the same year, was My Beautiful, My Beautiful!, the second or third largest canvas the artist ever painted. The two pictures were first exhibited in the same show in Dublin in 1955, numbered 17 and 10. The sense of drama and action is to the forefront in both works. In My Beautiful, My Beautiful! Yeats returns to his first love as an artist, which was horses, on this occasion not racing but the more sentimental feelings of the owner of an Arab steed forced to part with it, and deciding to free it instead of letting it fall into another owner’s hands. In Forgive Him the other love of Yeats’s life, for theatre, performance and entertainment, comes to the fore. Once again, the radiance of the artist’s palette, his brilliant use of blues and yellows, his technique of coming in close on his subject, work dramatically. The scene is of a highly dramatic figure, that of a highwayman, striding onto a stage in a crowded theatre. He is shown against the audience in the foreground, and the effect is to create tension and interest. It would be wrong to see this as triumphant in terms of Yeats himself. His inner soul was satisfied with what he did in these final years, but he did it in isolation, in the spirit of his mind. He was largely neglected as an artist at the end. He relied on his friends. His wife had died in 1947 and he was preparing to go himself. Not surprising at 82. What surprises is the vigour and command of his work. It was initially owned by his dealer, Victor Waddington, passing through other collections later. Bruce Arnold, Author of Jack Yeats, Yale University Press, 1998 Dublin, March 2005

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HORSEMAN PASS BY
HORSEMAN PASS BY
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 26 April 2005 / 69

Published Estimate: €40,000-50,000

Price Realised: €50000

  • Signature: signed lower right; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 51 by 69cm., 20 by 27in.
  • Provenance: Purchased from the artist in 1971 by George and Maura McClelland; Sold privately circa 1980; 'The Iriah Sale', Sotheby's, 21 May 1999, lot 365; Private collection
  • Exhibited: 'Daniel O'Neill': Recent Paintings', Dawson Gallery, Dublin, 12-31 May 1971
  • Literature: Gena Lyna,, 'Daniel O'Neill (1920-1974): Landscape and Figure Painter', Irish Arts Review, Volume 15, 1999, page 141
  • Daniel O’Neill began to paint in the early 1940s when World War II and the 1941 Blitz of Belfast were taking place. He had followed his father’s trade as an electrician and worked night shifts with Belfast Corporation and, later, at the Belfast shipyard, which allowed him to paint at home by day. He maintained this gruelling schedule until 1945 when, at the age of 25, he received a gallery contract from Victor Waddington, which allowed him to paint full-time. The variety, quantity and quality of the work produced during this period suggests a painter restlessly pursuing his ideas with the intensity of one relieved from the need to earn a living by more mundane means. O’Neill was now free to give everything to his passion for painting. He first exhibited in Dublin in a joint exhibition with Gerard Dillon, at the Contemporary Painters Gallery, Lower Baggot Street, in 1943, and from then on, annually, at the Irish Exhibition of Living Art and at the RHA. His first one man show was held at the Waddington Galleries in 1946 and, later that year, he participated in an exhibition entitled Four Northern Painters, also at Waddington’s, with Dillon, George Campbell and Nevill Johnson. These artists formed the nucleus of a group of painters who represented Ireland abroad in group shows held in Los Angeles, New York and Boston, as well as London and Amsterdam, over the next decade. O’Neill’s 1952 retrospective, sponsored by CEMA (the Arts Council of the day), which was held at the Belfast Museum and Art Gallery, attracted record attendances and helped establish his reputation as an important painter. This was a remarkable achievement for one largely self-taught, and who had been painting professionally for barely ten years. When asked, “What do you paint?” O’Neill would reply that he painted people in landscapes and landscapes with people in them. However, as can be seen from any survey of his work, he also dealt with the eternal themes of birth and death and what it feels like to be a human being in a hostile environment. Liam Kelly refers to the duality of the comic/tragic Pierrot figures in the work of Dillon and O’Neill, and to “the imaginative, often haunting, melancholic, interaction between figure and environment, mood and circumstance”1. Of course O’Neill was not primarily interested in the landscape in itself, but rather used the environment as a symbolic backdrop to the concerns and dreams of the figures that inhabit it. O’Neill moved to London in 1958 and although he continued to visit Belfast regularly, his work was rarely seen in Ireland during the following years as most of his output was channelled through the Waddington Galleries in Montreal. However, there were two very successful exhibitions of his work at the Dawson Gallery in 1960 and again in1963. Encouraged by George McClelland, O’Neill returned permanently to Belfast in 1970. McClelland in turn organized O’Neill’s first exhibition in Belfast for eighteen years, which was held at the McClelland Gallery. This was followed by an exhibition at the Dawson Gallery, which opened on 12th May 1971. Horseman Pass By was one of thirty-two works exhibited. Desmond MacAvock, art critic with The Irish Times, reviewed the show and noted that O’Neill had always shown the greatest consistency of manner, style and subject matter of the “Belfast School of Contemporary painting”2. He found the exhibition to be a “maturing of his vision and its treatment” and concluded that while O’Neill had been “content to cultivate a small, perhaps claustrophobic garden … he has made it yield very considerable fruits, luscious and soft, full of pleasure and delight” 3. The exhibition was also reviewed by The Irish Press where the fairy tale quality of Horseman Pass By was noted, among other works, for “atmosphere and mystery” 4. The title Horseman Pass By is taken from W.B. Yeats’ poem Under Ben Bulben, of which the following lines in turn constituted the poet’s own epitaph: ”No marble, no conventional phrase; On limestone quarried near the spot By his command these words are cut: Cast a cold eye On life, on death Horseman, pass by!” Like Yeats, O’Neill may also have had his own mortality in mind when he painted the work, inspired by concerns about his health. Another work painted about this time, The Sisters – A Dream (recently shown at the 2004/2005 IMMA Hunter Gatherer exhibition) was inspired by a premonition of his own death, which he claimed had come to him in a dream. The painting Horseman Pass By may also, of course, reflect a concern for the wellbeing of his native city, which was, at that time riven by communal strife. When O’Neill returned there in 1970 he was distressed by the devastation as can be seen in his works Belfast After the Riot and Belfast Expo 70, where bombed out vehicles are set against a frieze of ruined dwellings. The iconography of the white charger of King William III is one of the most potent Ulster symbols. The mounted rider is clearly O’Neill, being led away from the city by the muse: retreating, perhaps, to the more enchanted kingdom of his imagination. Anne Marie Keaveney, Artist, Lecturer, National College of Art and Design, Dublin The author would like to acknowledge the assistance of the following people who granted her interviews: T. P. Flanagan (8 December1998), Eileen O’Neill Triber (13 February 1999) and Maureen O’Neill (19 July 1999). 1 Liam Kelly, Thinking Long - Contemporary art in Northern Ireland, Gandon Editions, Kinsale, 1996. 2 The Irish Times, 17 May 1971. 3 Ibid. 4 The Irish Press, 14 May 1971.

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DONKEY IN A WESTERN LANDSCAPE
DONKEY IN A WESTERN LANDSCAPE
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 April 2005 / 70

Published Estimate: €12,000-15,000

Price Realised: €14000

  • Signature: dated [13 May 1944] on canvas overlap on reverse; also typed exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Provenance: Collection of Gladys Maccabe; By whom given to artist Cecil King; Frederick Gallery, Dublin; Private collection
  • Exhibited: Frederick Gallery, Dublin, Christmas 1996, catalogue no. 35
  • With the exception of birds, which are the most constant symbol in Colin Middleton’s work, he rarely included animals in paintings, so that while the landscape in this painting has a loosely treated rhythmic quality typical of the rather romantic symbolist work of that time, the presence of the donkey is unusual. It endows the landscape with a mythological quality in keeping with the ‘western’ theme in the painting’s title, while the craggy mountain and threatening sky introduce a darker element. Dickon Hall, Killinchy, Co. Down, March 2005 With the exception of birds, which are the most constant symbol in Colin Middleton’s work, he rarely included animals in paintings, so that while the landscape in this painting has a loosely treated rhythmic quality typical of the rather romantic symbolist work of that time, the presence of the donkey is unusual. It endows the landscape with a mythological quality in keeping with the ‘western’ theme in the painting’s title, while the craggy mountain and threatening sky introduce a darker element. Dickon Hall, Killinchy, Co. Down, March 2005

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COMPOSITION
COMPOSITION
Nevill Johnson (1911-1999)

Auction Date / Lot No.: 26 April 2005 / 71

Published Estimate: €18,000-22,000

Price Realised: 

  • Signature: signed in monogram lower right
  • Medium: oil on canvas
  • Dimensions: 61 by 91cm., 24 by 36in.
  • Provenance: Gorry Gallery, Dublin; 'The Irish Sale', Sotheby's, 21 May 1999, lot 364; Private collection
  • Exhibited: Gorry Gallery, Dublin, 28 April - 11 May 1989, catalogue no. 14
  • Literature: Dr S. B. Kennedy, catalogue entry in the Gorry Gallery catalogue, 1989, page 3
  • In the mid-1950s, as he became more distanced from Victor Waddington, Nevill Johnson received a commission from the English industrialist Cyril Lord for a painting to record his recently constructed carpet factory in Donaghadee. Johnson had painted a highly stylised work merging coastal landscape and machinery, Linenscape, for Laurence Bryson in 1943, and in both commissions he managed to produce a work that still remained deeply personal for him. From around 1946, Nevill Johnson had begun to work on a series of barren, post-apocalyptic landscapes that have suggestions of surrealism in terms of their imagery or mood. The present painting has elements of these landscapes and their tragic seriousness, but also displays the humour that is in much of Johnson’s work. It has been interpreted as a complex allegory of the new factory and its effect on the locality, but according to the artist the picture’s symbolism was not intended to be read in such a didactic manner. Certainly there are clear visual references to the Copeland Islands off the coast by Donaghadee and to the location and nature of the factory and its machinery. Also, one can read the long line of peaks as representing the unemployed seeking work, which is consistent with the social comment of much of Johnson’s painting and photography in its anger at inequality and the inaction of the state. Most importantly in the present work, Nevill Johnson saw magic as a redemptive spiritual force in a modern world in which he considered the church had become increasingly irrelevant, and this painting sets out to create an atmosphere of magic through the shapes and objects employed, and in particular through the magical symbols inscribed on the red cone. The treatment of the sky is reminiscent of the organisation of pictorial space we see in early analytic cubist compositions (the sky in Braque’s 1910 Rio Tinto Factories is unusually close to this), but Johnson’s ambitions are very different. Deeply interested in science, he sought to establish a visual convention that clarified the molecular structure that underlies our understanding of physical form and likeness. In paintings such as these, Johnson unites the two opposing aspects of his art, the serious thinker and angry commentator and the unsettling wit of the homo ludens. Dickon Hall, Killinchy, Co. Down, March 2005

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FARM BUILDINGS, NEWTOWNARDS
FARM BUILDINGS, NEWTOWNARDS
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 26 April 2005 / 72

Published Estimate: €4,000-6,000

Price Realised: €8500


CHURCHILL
CHURCHILL
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 April 2005 / 73

Published Estimate: €15,000-20,000

Price Realised: 

  • Signature: signed lower right; inscribed with title and date [October 1943] on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Purchased directly from the artist by a previous owner; Tom Caldwell Gallery, Belfast; Private collection, Belfast
  • This drawing can be dated to a highly finished preparatory drawing Middleton made, which is dated 13 August 1943 and inscribed ‘Church Hill’. The location of this particular Church Hill is not noted, but it seems likely that it might be Co. Armagh, rather than Donegal or Fermanagh. The latter two counties only became favourite painting haunts in the 1970s, and during the war Nevill Johnson and John Luke both lived and painted in Killylea near Armagh. Pure landscapes are unusual in Middleton’s work at this time. The landscape is treated with great confidence, and a sense of rhythm and drama that looks forward to the expressionist landscape of the late 1940s and 1950s. The dark rich palette is typical of Middleton’s early work, evoking a slightly unsettling and otherworldly atmosphere. The war seems to have led Middleton back from the avant-garde experiments of the previous decade to a more nostalgic interest in the people and places of Belfast and the Ulster countryside. Dickon Hall, Killinchy, Co. Down, March 2005

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HORSE AND CART
HORSE AND CART
Basil Blackshaw RHA RUA (b.1932)

Auction Date / Lot No.: 26 April 2005 / 74

Published Estimate: €30,000-40,000

Price Realised: €30000

  • Signature: signed upper right
  • Medium: oil on canvas
  • Dimensions: 46 by 61cm., 18 by 24in.
  • As a painter Blackshaw has always found abundant inspiration in the immediate world around him. He has spent his life in a rural setting, growing up on a farm in Boardmills, near Ballynahinch, Co. Down, where his father kept stables, and now lives by the shores of Lough Neagh. It is therefore not surprising that his subject matter has been dominated by the countryside and its lifestyle. Horses were an important part of life for the young Blackshaw and his early experience with them can be seen in his exceptional capacity for painting equine subjects. Indeed he met his fees at the Belfast College of Art from his earnings as a horse portraitist. His artistic talent was recognised very early in his career. In 1955 he became one of the youngest artists ever to be invited by the Belfast Museum and Art Gallery to present a one-man exhibition. His success has continued, with each subsequent exhibition acclaimed by critics and collectors alike, and he is now regarded by many to be the leading Irish artist of his generation. Whilst Blackshaw’s subject matter fits perfectly with the idea of a traditional Irish painter, his work shows the influence of a diverse range of international artists including Turner, Giacometti, Munch and Rothko. The influence of Cezanne is apparent in many of his works including the present work. In an interview with Brian McAvera, Blackshaw stated “Cezanne is the biggest influence … Nearly all my paintings are put on a stage. Like Cezanne you are not invited into them”. Horse and Cart dates to the early 1990s. It illustrates Blackshaw’s distinctive sensitivity in the handling of colour and the painterly bravura of an experienced artist.

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MAN GRUBBING UP A TREE ROOT
MAN GRUBBING UP A TREE ROOT
Patrick Collins HRHA (1911-1984)

Auction Date / Lot No.: 26 April 2005 / 75

Published Estimate: €30,000-40,000

Price Realised: 

  • Signature: signed lower right; original exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 71 by 84cm., 28 by 33in.
  • Provenance: Leicester Galleries, London; Whence purchased by Miss Jane Browne; James Adam & Bonham's, Dublin, 28 May 1997, lot 65; Private collection, Co. Cork
  • Exhibited: Irish Exhibition of Living Art, Dublin, 1959, catalogue no. 63 (£85-0-0); 'Artists of Fame and Promise', Leicester Galleries, London, July - August 1960, catalogue no. 135
  • Patrick Collins’ paintings of the 1950s were frequently figurative and often contained an element of narrative in them. Man Grubbing Up a Tree Root belongs to this period of his career, before the lonely bog landscape became such a prominent subject. The picture is a self contained vignette with the elongated figure of the man stooping to fit into the capsule-like composition. The tiny half-moon gives the impression of distance as it casts a wash of white light over its subject. Even the darkest shadows of the scene contain flecks of colour that bring the story to life.

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THE HAPPY PRIEST
THE HAPPY PRIEST
Patrick Collins HRHA (1911-1984)

Auction Date / Lot No.: 26 April 2005 / 76

Published Estimate: €15,000-20,000

Price Realised: €15000

  • Signature: signed and dated [1965] lower right; original exhibition labels on reverse
  • Medium: oil on board
  • Dimensions: 117 by 91cm., 46 by 36in.
  • Provenance: Private collection, Co. Cork
  • Exhibited: Ritchie Hendriks Gallery, Dublin, June 1965, catalogue no. 3 (£300); Tom Caldwell Gallery, Belfast, April 1974, catalogue no. 3 as The Country Parson; ‘Patrick Collins: Retrospective Exhibition’, Arts Council / An Chomhairle Ealaíon and the Arts Council of Northern Ireland, touring exhibition of Cork, Dublin and Belfast, 1982, catalogue no. 28
  • Literature: Frances Ruane, Patrick Collins, An Chomhairle Ealaíon / The Arts Council, Dublin with the Arts Council of Northern Ireland, Belfast, [1982], pages 40 (illustrated) and 106; The Irish Times, 3 September 1982, page 8 (illustrated)
  • Throughout his career Collins periodically turned to religious themes. In the 1950s he used biblical stories as the subject for several pictures, whilst in the 1960s he exhibited such works as Crucifixion, God’s Candles, First Communion and the present work, The Happy Priest. The awkward, naïve figure of the priest recaptures some of the unselfconsciousness of a child’s drawing. The artist’s device of painting a frame-within-a-frame captures the burly figure of the priest as if standing in a doorway or entering a room.

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STUDY FOR THIRD OF MAY, AFTER GOYA
STUDY FOR THIRD OF MAY, AFTER GOYA
Robert Ballagh (b.1943)

Auction Date / Lot No.: 26 April 2005 / 77

Published Estimate: €4,000-5,000

Price Realised: €8500

  • Signature: original exhibition label with title and date [1970] on reverse
  • Medium: gouache over pencil
  • Dimensions: 48 by 60cm., 19 by 23.5in.
  • Provenance: David Hendriks Gallery, Dublin; Whence purchased in October 1971 by Dr Hagner; Whyte's, 13 March 2001, lot 101; Private collection, Dublin
  • Exhibited: 'Robert Ballagh: Paintings and Graphics 1967-1971', Cork Arts Society Gallery, Lavitts Quay, Cork, exhibition arranged by David Hendriks, November 1971, catalogue no. 10 (£45)
  • This is a study for the large oil of the same title, which is now in the collection of the Hugh Lane Gallery, Dublin.

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YELLOW PRESSÉ
YELLOW PRESSÉ
Michael Farrell (1940-2000)

Auction Date / Lot No.: 26 April 2005 / 78

Published Estimate: €5,000-7,000

Price Realised: 

  • Signature: signed, inscribed and dated [July 1970] on reverse; also original exhibition label on reverse
  • Medium: acrylic polymer emulsion on canvas
  • Dimensions: 173 by 213cm., 68 by 84in.
  • Provenance: Dawson Gallery, Dublin, whence purchased in 1970 by the late Alan Tate Esq; On loan to the National Concert Hall, Earlsfort Terrace; Latterly on loan to UCD, Belfield, Dublin
  • Exhibited: 'The Irish Imagination 1959-1971' in association with ROSC 1971, Municipal Gallery of Modern Art, Dublin, 23 October - 31 December 1971, catalogue no. 31 (lent by Alan Tate)
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THE HOTEL METROPOLE
THE HOTEL METROPOLE
Pauline Bewick RHA (b.1935)

Auction Date / Lot No.: 26 April 2005 / 79

Published Estimate: €6,000-8,000

Price Realised: €8000

  • Signature: signed and dated [1969-79] lower right; inscribed with title and on reverse
  • Medium: watercolour, gouache, pen and ink on paper
  • Dimensions: 80 by 112cm., 31.5 by 44in.
  • Exhibited: 'Paintings by Pauline Bewick from 2 to 50 Years', Crawford Municipal Gallery of Art, Cork, Guinness Hop Store, Dublin, and the Ulster Museum, Belfast, touring exhibition June 1986 - February 1987, catalogue no. 33.11
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WOMAN AND HER DOG
WOMAN AND HER DOG
Pauline Bewick RHA (b.1935)

Auction Date / Lot No.: 26 April 2005 / 80

Published Estimate: €5,000-7,000

Price Realised: €7000

  • Signature: signed and dated [July 1980] lower right, exhibition label on reverse
  • Medium: watercolour, pen and ink on handmade paper
  • Dimensions: 77 by 56cm., 30.5 by 22in.
  • Exhibited: 'Pauline Bewick', Taylor Galleries, Dublin, 28 November - 13 December 1980, catalogue no. 54
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THE FIELD HISTORY, CALLAN
THE FIELD HISTORY, CALLAN
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 26 April 2005 / 81

Published Estimate: €35,000-45,000

Price Realised: €43000

  • Signature: signed and dated [June 1979] lower right; inscribed lower left
  • Medium: oil on board
  • Dimensions: 91 by 122cm., 36 by 48in.
  • Provenance: Trinity Gallery, London; John Harbottle, Suffolk; Private collection
  • With a second complete work on reverse

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THE JAPANESE STONE
THE JAPANESE STONE
Patrick Hickey HRHA (1927-1998)

Auction Date / Lot No.: 26 April 2005 / 82

Published Estimate: €2,500-3,500

Price Realised: €4400

  • Signature: signed and dated [1996] lower right
  • Medium: oil on panel
  • Dimensions: 81 by 41cm., 32 by 16in.
  • Exhibited: 'Patrick Hickey', Taylor Galleries, Dublin, 22 April - 10 May 1997, catalogue no. 12
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FORELAND
FORELAND
Felim Egan (b.1952)

Auction Date / Lot No.: 26 April 2005 / 83

Published Estimate: €10,000-15,000

Price Realised: €13000

  • 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 page 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 Séamus 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, Director of the Irish Art Research Centre, Trinity College Dublin

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TOM HARPER, UVF, LONG KESH PRISON
TOM HARPER, UVF, LONG KESH PRISON
Brian Maguire ANCAD (b.1951)

Auction Date / Lot No.: 26 April 2005 / 84

Published Estimate: €1,500-2,000

Price Realised: €2800

  • Signature: signed, inscribed and dated [1999] on reverse
  • Medium: oil and acrylic on paper
  • Dimensions: 70 by 56cm., 27.5 by 22in.
  • Provenance: Family of the sitter
  • Literature: Patrick T. Murphy, 'Slow Burn', essay in Brian Maguire: Inside / Out, Hugh Lane Gallery of Modern Art, Dublin, 2000, pages 16-18
  • Painted in 1999 as part of a project working with political prisoners in Northern Ireland’s Long Kesh / Maze Prison. The project was a particularly sensitive one, bringing together as it did Republican and Loyalist prisoners. This portrait of Tom Harper, a member of the Ulster Volunteer Force, was later incorporated into a poster which was displayed on bill-boards and walls along the Shankill Road in Belfast (see photograph).

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HEADS IN A LANDSCAPE
HEADS IN A LANDSCAPE
John Kingerlee (b.1936)

Auction Date / Lot No.: 26 April 2005 / 85

Published Estimate: €8,000-10,000

Price Realised: €15000

  • Signature: signed in monogram lower right
  • Medium: oil on canvas
  • Dimensions: 30 by 51cm., 12 by 20in.
  • Since Kingerlee’s move to the Beara Peninsula in West Cork in 1987, his art has seen a rediscovery of the use of oil paint and the development of a new and lengthy technique whereby his paintings evolve over months and years, slowly building up layers of pigment. The result is that forms emerge and recede in the thickly textured paint surface. From the mid 1990s Kingerlee has continually experimented with paintings of heads that emerge from neutral backgrounds to stare out at the viewer. In a forthcoming monograph on the artist Jonathan Benington has written: “Most of these heads are depicted in isolation, but occasionally they will be lined up with one or two others like an identity parade.” The present work is a recent work that was painted over a six year period from 1997 to 2003. Benington describes these recent works, writing: “The sense of an inner radiance is notably present in some of the recent heads where the face, instead of being defined in darker tones, is conjured largely from smears and scumbles of white paint against a grey background. The very insubstantiality of the resultant forms is a rebuttal of the importance our culture places on outer appearances, on physical and cosmetic beauty, challenging us instead to look beyond the shell and cultivate the inner self”

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WHITE ENAMEL FUNNEL AND JUG
WHITE ENAMEL FUNNEL AND JUG
Liam Belton RHA (b.1947)

Auction Date / Lot No.: 26 April 2005 / 86

Published Estimate: €4,000-6,000

Price Realised: €6800


SEATED NUDE
SEATED NUDE
Barrie Cooke HRHA (b.1931)

Auction Date / Lot No.: 26 April 2005 / 87

Published Estimate: €6,000-8,000

Price Realised: €13000


COMING STORM
COMING STORM
Martin Gale RHA (b.1949)

Auction Date / Lot No.: 26 April 2005 / 88

Published Estimate: €12,000-15,000

Price Realised: €12000

  • Signature: signed lower left; signed again and dated [2003] on reverse
  • Medium: oil on canvas
  • Dimensions: 122 by 122cm., 48 by 48in.
  • Provenance: Taylor Gallery, Dublin; Private collection
  • Exhibited: 'Martin Gale: Paintings', RHA, Dublin, 27 September - 24 October 2004, and Ulster Museum, Belfast, 2 December 2004 - 27 March 2005
  • Literature: Dennis O'Driscoll, 'View to Vision', in Martin Gale: Paintings, RHA, Dublin, 2004, page 45, also illustrated page 87
  • In a recent essay on Gale’s work poet Dennis O’Driscoll wrote: “In one of his finest recent paintings, Coming Storm, the black clouds above the scene are at breaking point; their killjoy shadows - already smearing the screen of trees and the tangle of summer grass below - are hell-bent on eliminating everything radiant in their path. Pitched in the centre of the field, a storm-taunted marquee tent (the gaiety of its stripes at odds with the sour mood of the weather) is like a girl in a summer dress about to be trapped in a downpour. Any second now, the rain will be heard tapping its hollow fingers on the tent and the jeep parked alongside it. What was installed with high hopes (for use as the tea-tent at a country show perhaps) is clinging to the ground for all its worth, its fabric billowing, its ropes tense, its dress ruined. The poignancy and vulnerability of the tent epitomises the timeless human drama we are witnessing: it suggests how easily our dreams can be threatened, our hopes thwarted, our expectations dampened. Yet the strain in Coming Storm (might there be a playful personal significance in the fact that the elements of this masterwork include canvas and gale?) is offset by a counterbalancing defiance. As with any crisis, personal or artistic, the storm must be weathered. Calm will be restored eventually; the tent will be pegged optimistically back in place next summer when the time for the event comes round again. The show - like life, like art - goes on".

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THE MART
THE MART
Mark O'Neill (b.1963)

Auction Date / Lot No.: 26 April 2005 / 89

Published Estimate: €8,000-10,000

Price Realised: €28000

  • Signature: signed and dated [1999] lower left; exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 79 by 99cm., 31 by 39in.
  • Exhibited: 'Mark O'Neill', Frederick Gallery, Dublin, April 1999, catalogue no. 14
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CLOONACOOL VILLAGE, COUNTY SLIGO
CLOONACOOL VILLAGE, COUNTY SLIGO
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 26 April 2005 / 90

Published Estimate: €10,000-15,000

Price Realised: 

  • Signature: signed lower right; signed again and dated [1977] on reverse
  • Medium: oil on board
  • Dimensions: 43 by 60cm., 17 by 23.5in.
  • Provenance: Commissioned from Keating by James Gunning Esq.; Thence by descent to current owner
  • The original owner of this work, James Gunning, was an Irish sales representative for the art supply firm, Windsor and Newton. He commissioned this view of his hometown Clonacool, Co. Sligo, from Keating, who painted it largely from photographs. It was completed in the final year of the Keating’s life and is believed to be his last commissioned work. Accompanied by a signed autograph letter (illustrated) from Keating to Gunning and three of Gunning’s own photographs of Clonacool village.

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THE JETTY
THE JETTY
Tom Carr HRHA HRUA ARWS (1909-1999)

Auction Date / Lot No.: 26 April 2005 / 91

Published Estimate: €10,000-12,000

Price Realised: €8500


THE HILLS OF CONNEMARA
THE HILLS OF CONNEMARA
James Humbert Craig RHA RUS (1877-1944)

Auction Date / Lot No.: 26 April 2005 / 93

Published Estimate: €10,000-12,000

Price Realised: 


MAGHERGALLON, COUNTY DONEGAL
MAGHERGALLON, COUNTY DONEGAL
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 26 April 2005 / 94

Published Estimate: €10,000-12,000

Price Realised: €16000


HILLSIDE WITH TREES OVERLOOKING A RIVER
HILLSIDE WITH TREES OVERLOOKING A RIVER
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 26 April 2005 / 95

Published Estimate: €3,000-4,000

Price Realised: €3000


NEW FORGE ON THE LAGAN and VIEW OF BELFAST WITH HAYSTACKS IN THE FOREGROUND (A PAIR)
NEW FORGE ON THE LAGAN and VIEW OF BELFAST WITH HAYSTACKS IN THE FOREGROUND (A PAIR)
Thomas Bond Walker (1861-1933)

Auction Date / Lot No.: 26 April 2005 / 96

Published Estimate: €1,800-2,200

Price Realised: €3000

  • Signature: the former signed lower right and with original inscribed label on reverse; the latter signed lower left
  • Medium: oil on canvas laid on board (1) and oil on panel (1)
  • Dimensions: 28 by 38cm., 11 by 15in.
  • Label on reverse of first work reads: “New Forge on the Lagan / by T. B. Walker / 5 Donegall Sq. South”. The second work has a landscape by the same hand on reverse depicting a woman on a path. Tom Bond Walker studied at the Royal College of Art, London, before marrying an Irish woman and moving to Belfast. There he was an active member of the Belfast Art Society, showing over two dozen works during the years 1892-96; he also exhibited once with the RHA in 1926. He was teacher and mentor to the young Paul Henry RHA, as well as father to painter David Bond Walker (of whom see Snoddy, pages 684-685).

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BY THE WATER PUMP
BY THE WATER PUMP
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 26 April 2005 / 97

Published Estimate: €60,000-80,000

Price Realised: €60000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 51 by 69cm., 20 by 27in.
  • Provenance: Purchased directly from the artist circa 1960s; Bequeathed to the present owners, 1995
  • With a Christmas card sent to the original owners from Frank and Elizabeth McKelvey St Clair, My Lady's Mile, Holywood, Co. Down.

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CASTLEGOLAND, NARIN, COUNTY DONEGAL
CASTLEGOLAND, NARIN, COUNTY DONEGAL
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 26 April 2005 / 98

Published Estimate: €3,000-4,000

Price Realised: €2800

  • Signature: signed lower left; original exhibition label on reverse
  • Medium: watercolour
  • Dimensions: 37 by 561cm., 14.5 by 221in.
  • Provenance: Vincent Price Collection, Sears Roebuck and Co., USA; Private collection
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THE WHITE HORSE
THE WHITE HORSE
Norman Garstin (1847-1926)

Auction Date / Lot No.: 26 April 2005 / 99

Published Estimate: €3,000-4,000

Price Realised: 

  • Signature: signed lower left
  • Medium: watercolour over pencil
  • Dimensions: 25 by 30cm., 9.75 by 12in.
  • Exhibited: Walker's Gallery, London, 1909 (7gns)
  • Literature: Richard Pryke, Norman Garstin: Irishman and Newlyn Artist, Spire Books, Reading, 2005, listed on page 208
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PICNIC BY THE LAGAN
PICNIC BY THE LAGAN
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 26 April 2005 / 100

Published Estimate: €15,000-20,000

Price Realised: €24000


THE HOUSE OF MOIRA O'NEILL, ROCKPORT, CUSHENDUN, COUNTY ANTRIM
THE HOUSE OF MOIRA O'NEILL, ROCKPORT, CUSHENDUN, COUNTY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 26 April 2005 / 101

Published Estimate: €4,000-5,000

Price Realised: €4000


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