20 September 2005

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ERRISBEG, CONNEMARA
ERRISBEG, CONNEMARA
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 20 September 2005 / 51

Published Estimate: €2,000-3,000

Price Realised: €3000

  • Signature: signed and dated [1985] lower right; original exhibition label on reverse
  • Medium: watercolour
  • Dimensions: 38 by 55cm., 15 by 21.5in.
  • Provenance: Alexander Gallery, Bristol; Private collection, Northern Ireland
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CATTLE GRAZING BY A COTTAGE, CARRAROE, COUNTY GALWAY
CATTLE GRAZING BY A COTTAGE, CARRAROE, COUNTY GALWAY
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 20 September 2005 / 52

Published Estimate: €3,500-4,500

Price Realised: €3800


THATCHED COTTAGES WITH TREES AND FIELD
THATCHED COTTAGES WITH TREES AND FIELD
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 20 September 2005 / 53

Published Estimate: €3,500-4,500

Price Realised: €5000


WAITING FOR THE EXCURSION TRAIN
WAITING FOR THE EXCURSION TRAIN
William Conor RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 20 September 2005 / 54

Published Estimate: €40,000-50,000

Price Realised: €36000

  • Signature: signed upper left; inscribed in another hand on reverse
  • Medium: oil on canvas
  • Dimensions: 64 by 76cm., 25 by 30in.
  • Exhibited: Royal Academy, London, 1938, catalogue no. 506; Royal Glasgow Institute of Fine Art, Glasgow, 1939, catalogue no. 348 (£50); RHA, Dublin, 1939, catalogue no. 181 (£70-0-0); Ulster Academy of Arts, Belfast, 1944, catalogue no. 32 (£130-0-0); ‘An Exhibition of Recent Paintings by William Conor’, Council for the Encouragement of Music and Art (CEMA), Belfast, 1945, catalogue no. 3
  • Literature: Judith C. Wilson, William Conor 1881-1968 - The Life and Work of an Ulster Artist, Blackstaff Press, Belfast, 1981, pages 148-150
  • Conor’s Waiting for the Excursion Train was also exhibited in the United States during 1939-1940. In February 1939 Victor Waddington took this and other paintings to North America with the aim of establishing a foreign market for contemporary Irish art. Prior to sailing for the US, Waddington exhibited the works in his Dublin gallery, where they were reviewed by the press. One critic noted “there is human feeling and good composition in Mr Conor's Waiting for the Excursion Train” ('Irish Art For America’, The Irish Times, 13 February 1939, page 8).

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SEATED WOMAN WITH ST BRIGID'S CROSS
SEATED WOMAN WITH ST BRIGID'S CROSS
Thomas Ryan PPRHA (b.1929)

Auction Date / Lot No.: 20 September 2005 / 55

Published Estimate: €1,200-1,500

Price Realised: €2000


STUDY OF A MILL GIRL, circa 1932
STUDY OF A MILL GIRL, circa 1932
William Conor RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 20 September 2005 / 56

Published Estimate: €6,000-8,000

Price Realised: 

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 38 by 27cm., 15 by 10.5in.
  • Provenance: Bell Gallery, Belfast; Private collection, Belfast
  • Study for one of the mill girls depicted in Conor's mural, Ulster Past and Present, now in the Ulster Museum, Belfast. A copy of the 1981 centenary exhibition catalogue is included with lot.

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

Auction Date / Lot No.: 20 September 2005 / 57

Published Estimate: €12,000-15,000

Price Realised: €11000

  • Signature: signed and dated [1920] lower left; inscribed label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 36 by 25cm., 14 by 10in.
  • Provenance: William Rodman & Co., Belfast; Private collection
  • This work relates to an oil painting of 1921, Woman Feeding Hens, which sold through these rooms in 21 September 2004, lot 84.

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WOMEN AND HENS OUTSIDE THATCHED COTTAGES, MOUNTAINS BEYOND
WOMEN AND HENS OUTSIDE THATCHED COTTAGES, MOUNTAINS BEYOND
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 20 September 2005 / 58

Published Estimate: €9,000-12,000

Price Realised: €9000


AN IRISH FARMYARD
AN IRISH FARMYARD
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 20 September 2005 / 59

Published Estimate: €60,000-70,000

Price Realised: 

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Painted circa 1940s and in the original frame of F. G. Davis & Sons, Belfast. In his monograph on McKelvey, Dr S. B. Kennedy noted that in works from this period “the subject-matter is unchanged from earlier decades, but the scale of colours is brighter than before and the brushwork is more delicate with at times a feathery quality to it. … These compositions … represent a way of life on the eve of change, when farming began to assume its contemporary ‘industrial’ character. The farm buildings depicted are traditional in style and construction, the chickens run freely about the farmyard, all exist in perpetual summer. It is the recording of such scenes that, apart from the aesthetic qualities of his art, makes the work of Frank McKelvey so appealing to us nowadays” (S. B. Kennedy, Frank McKelvey RHA RUA: A Painter in His Time, Irish Academic Press, Dublin, 1993, page 70).

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PORTRAIT OF ELIZABETH, circa 1910-1912
PORTRAIT OF ELIZABETH, circa 1910-1912
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 20 September 2005 / 60

Published Estimate: €25,000-35,000

Price Realised: €22000

  • Signature: signed twice lower left; original exhibition label and provenance details on reverse
  • Medium: watercolour over pencil
  • Dimensions: 53 by 37cm., 21 by 14.5in.
  • Provenance: Bequeathed by the artist to Leo Smith of the Dawson Gallery, Dublin, 1968; Sold by Leo Smith to Terence de Vere White as Saurin; Private collection, London; Oriel Gallery, Dublin; De Vere’s Art Auction, 24 September 2002, lot 35 (illustrated on front cover of catalogue); Private collection
  • Exhibited: (?) Goupil Gallery Salon, London, November - December 1911 as Portrait, watercolour, £21; ‘William John Leech: An Irish Painter Abroad’, National Gallery of Ireland, 23 October - 15 December 1996; Museé‚ des Beaux Arts, Quimper, 10 January - 10 March 1997 and the Ulster Museum, Belfast, 28 March - 22 June 1997, catalogue no. 39
  • Literature: Denise Ferran, William John Leech: An Irish Painter Abroad, National Gallery of Ireland, Dublin, 1996, pages 19, 64, 174, 175 (illustrated)
  • A portrait of the artist’s first wife, Saurin Elizabeth Leech (formerly Mrs Kerlin, neé Lane). Elizabeth was an American born artist who trained at the School of Fine Art in Boston. Leech met her in Concarneau circa 1909 and they were married in London in June 1912. She was the model for many of his best known works including The Cigarette and The Tinsel Scarf (L’Actrice) (both in the Hugh Lane Gallery, Dublin), and The Sunshade and A Convent Garden (both in the National Gallery of Ireland). Denise Ferran has written of the present work: “Leech displays a masterly control of the watercolour medium in the depiction of Elizabeth, in a work which is reputed to have been painted on their honeymoon in 1912. The gentle tones of soft greys, greens and white heighten the vulnerable beauty of his wife, captured with her hair loose and tumbling on to her white night-dress and against the white pillows. The freedom expressed in the flowing hair, the subtlety of skin tone, the capturing of white on white and the momentary turn of the head demonstrate Leech’s ability to paint in watercolour” (Ferran, op. cit., page 174).

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THE GARDEN THAT I LOVE
THE GARDEN THAT I LOVE
William Percy French (1854-1920)

Auction Date / Lot No.: 20 September 2005 / 61

Published Estimate: €4,000-6,000

Price Realised: €6000

  • Signature: signed twice and dated [10 September 1917] lower right; inscribed with title and price (£1-10) on reverse
  • Medium: watercolour on artist's board
  • Dimensions: 18 by 25cm., 7 by 10in.
  • The title is a quotation from Alfred, Lord Tennyson (1809-1892): “Not wholly in the busy world, nor quite / Beyond it, blooms the garden that I love”. An earlier, slightly larger work by the same title was sold through these rooms, 19 November 2002, lot 62 (€14,000).

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MILKING TIME
MILKING TIME
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 20 September 2005 / 62

Published Estimate: €12,000-15,000

Price Realised: €19000

  • Signature: signed lower left; original label inscribed with title and price (£10-10-0) and original exhibition labels on reverse
  • Medium: oil on panel
  • Dimensions: 24 by 34cm., 9.5 by 13.2in.
  • Provenance: F. N. Hepworth, Stanwix House, Carlisle; Christie's, Glasgow, 27 November 1996, lot 653; Christie's, London, 21 May 1997, lot 83; De Vere's, Dublin, 20 November 2001, lot 199
  • Exhibited: Fine Art Society, 1928, catalogue no. 14
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THE FLOCK, 1910
THE FLOCK, 1910
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 20 September 2005 / 63

Published Estimate: €10,000-15,000

Price Realised: €44000

  • Signature: signed lower right; inscribed on reverse with the artist’s address “Beaufort Cottage, Knapp Hill, Surrey”
  • Medium: pencil and charcoal on paper
  • Dimensions: 22 by 28cm., 8.5 by 11in.
  • Provenance: Taylor de Vere's, Dublin, 12 October 1993, lot 25, as Driving Home the Sheep reproduced in the catalogue; Whence purchased by the father of the present owner
  • Exhibited: RHA, Dublin, Spring 1910, catalogue no. 367 (12 guineas)
  • Literature: Ann M. Stewart (ed.), Royal Hibernian Academy of Arts: Index of Exhibitors and their Works 1826-1979, 3 vols., Manton Publishing, Dublin, 1985, vol. 2, page 81; S. B. Kennedy, Paul Henry, Yale University Press, New Haven and London, 2000, page 40
  • During his later years in London, from around 1906 till 1910, Henry had made and exhibited a number of drawings which had been much admired. These drawings, which were usually based on the landscape near to where he lived at Knapp Hill in Surrey, were in fact an extension of his more figurative work as an illustrator for newspapers and journals. As in all his work of the time, however, charcoal was his preferred medium. “No chalk or crayon has the same soft, velvety quality, no other material is so sensitive and tractable”, he later wrote (Henry, autobiography, An Irish Portrait, 1951, page 29). Henry had a consummate mastery over charcoal as a medium, as Frank Rutter of The Times once noted, saying that he used it “with rare discretion” and could coax from it “the tenderest effects of which it is capable” (The Times, undated review of the Goupil Gallery Salon, June 1906). The Flock admirably illustrates all these qualities. Made in the early spring of 1910, before he visited Achill Island, it was almost certainly intended for that year’s Royal Hibernian Academy show. Priced at twelve guineas Henry clearly regarded it as a finished drawing and not merely a study for a later work. In his Further Reminiscences (published posthumously in 1973) he related how he had come to first exhibit at the RHA. In about 1908, he said, in London, he had met Hugh (later Sir) Lane who mentioned his name to Dermod O’Brien, a prominent member of the Academy. O’Brien subsequently wrote to him, saying that Lane had been greatly impressed by his work which he thought “would be appreciated in Dublin” (in Ireland Henry’s work had previously been seen only in Belfast). Lane had also suggested that he might even have a wall to himself at the RHA exhibition (Further Reminiscences, page 64). In the event he submitted just two drawings, The West Wind, 1908, and The Flock, 1910, the former being one of the drawings that had so impressed Hugh Lane.* In The Flock we see Henry at the height of his powers. The scene is almost certainly in Surrey and while the shepherd and his flock of sheep are the ostensible subject of the picture, in fact the landscape holds our attention. The overall mood is determined by the closely woven ‘Whistlerish’ tones which bind everything together and in the treatment of the open ground, with little to interest us except the gentle rise of the track trodden by the sheep, which leads on to the distant hill, and the almost theatricality of the clouds which seem to peer over the horizon, we see Henry’s ability to dazzle us with the mastery of his technical prowess. The Flock is numbered 159 in S. B. Kennedy’s forthcoming catalogue raisonné of Paul Henry’s oeuvre. * The West Wind was sold at Whyte’s, Dublin, ‘Important Irish Art’, 26 April 2005, lot 51, reproduced in the catalogue. Dr S. B. Kennedy, Belfast, August 2005

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PASTURELAND
PASTURELAND
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 20 September 2005 / 64

Published Estimate: €5,000-7,000

Price Realised: €5200

  • Signature: signed lower right; original label on reverse inscribed with title, price (£8-0-0) and exhibition details
  • Medium: watercolour heightened with white
  • Dimensions: 18 by 25cm., 7 by 10in.
  • Exhibited: WCSI, Dublin, 1932, catalogue no. 32 (£8-0-0)
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COASTAL SCENE WITH ROW-BOAT ON STRAND and AN INLET WITH SEAWEED AND ROCKS AT LOW TIDE (A PAIR)
COASTAL SCENE WITH ROW-BOAT ON STRAND and AN INLET WITH SEAWEED AND ROCKS AT LOW TIDE (A PAIR)
William Bingham McGuinness RHA (1849-1928)

Auction Date / Lot No.: 20 September 2005 / 65

Published Estimate: €2,500-3,500

Price Realised: 

  • Signature: each signed lower left
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 26 by 36cm., 10.2 by 14in.
  • The second work is of same dimensions as the first.

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WHERE EVER I GO MY HEART TURNS BACK TO THE COUNTY MAYO
WHERE EVER I GO MY HEART TURNS BACK TO THE COUNTY MAYO
William Percy French (1854-1920)

Auction Date / Lot No.: 20 September 2005 / 66

Published Estimate: €20,000-25,000

Price Realised: €44000

  • Signature: signed and dated [1902] lower left; original label on reverse inscribed with title, price (£10-10-0) and the artist’s address (21 Clifton Hill, N. W. London)
  • Medium: watercolour
  • Dimensions: 30 by 50cm., 12 by 19.5in.
  • Provenance: Rupert Guinness, Second Earl of Iveagh; His sale, Iveagh House, 80 St Stephen’s Green, Dublin, auction conducted by Battersby’s, 28 September 1939, lot 386, where catalogued as Mountain, Bog and River (in Celtic design frame); Private collection, Co. Waterford
  • In the original pokerwork frame with Celtic interlaced knot design.

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A BOGLAND RIVER WITH HEATHER IN FLOWER
A BOGLAND RIVER WITH HEATHER IN FLOWER
William Percy French (1854-1920)

Auction Date / Lot No.: 20 September 2005 / 67

Published Estimate: €4,000-6,000

Price Realised: €6700


AUGUST EVENING, CUSHENDUN, COUNTY ANTRIM
AUGUST EVENING, CUSHENDUN, COUNTY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 20 September 2005 / 68

Published Estimate: €3,000-5,000

Price Realised: €5200

  • Signature: signed lower left; inscribed and dated [1944] on reverse
  • Medium: oil on canvas board
  • Dimensions: 30 by 41cm., 12 by 16in.
  • Provenance: John Magee, Belfast; Mr R. Hamilton; Private collection
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A WOMAN SEWING BY A WINDOW
A WOMAN SEWING BY A WINDOW
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 20 September 2005 / 69

Published Estimate: €6,000-8,000

Price Realised: 

  • Signature: signed lower right; inscribed "No. 2" lower left
  • Medium: watercolour over black chalk on paper mounted on card
  • Dimensions: 39 by 28cm., 15.2 by 11in.
  • With the framing label of S. T. Townsend, Norwich, on reverse; also with the remains of an exhibition label, numbered 569, on reverse.

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STUDY FOR SWINTON FAMILY PORTRAIT, circa 1901
STUDY FOR SWINTON FAMILY PORTRAIT, circa 1901
Sir William Orpen RA RI HRHA (1878-1931)

Auction Date / Lot No.: 20 September 2005 / 70

Published Estimate: €1,800-2,200

Price Realised: 

  • Medium: pen and ink
  • Dimensions: 17 by 19cm., 6.5 by 7.5in.
  • Provenance: Sketchbook given by the artist to fellow Slade School student, Michael Salaman; Pyms Gallery, London; Frederick Gallery, Dublin; Whyte’s, 29 April 2003, lot 83; Private collection, Dublin
  • Exhibited: 'William Orpen: Early Work', Pyms Gallery, London, 20 May - 12 June 1981, catalogue no. 79 (illustrated); 'Drawings, Etchings and Engravings', Frederick Gallery, Dublin, November 1998, catalogue no. 11
  • Literature: Bruce Arnold, Orpen: Mirror to an Age, Jonathan Cape, London, 1981, pagees 91, 97
  • This work is a preliminary sketch for one of Orpen’s earliest commissions, a portrait of Sir George Swinton (a member of the London Corporation) with his wife (an actress) and their two children, illustrated on page 97 of Orpen: Mirror to an Age. One of six known studies for the painting, it reveals, according to Bruce Arnold, “the development of relationships in an ambitious type of work, of a kind of which Orpen painted regularly from 1900 until the First World War”.

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FIGURES HARVESTING, NORMANDY, circa 1899-1904
FIGURES HARVESTING, NORMANDY, circa 1899-1904
Sir William Orpen RA RHA (1978-1931)

Auction Date / Lot No.: 20 September 2005 / 71

Published Estimate: €3,000-4,000

Price Realised: 

  • Signature: inscribed by the artist's daughter, Diana Orpen, on reverse; also with exhibition label on reverse
  • Medium: pencil on paper
  • Dimensions: 19 by 37cm., 7.5 by 14.5in.
  • Provenance: The artist's family; Sold on their behalf by Cassian de Vere Cole Fine Art, London, July 2002; Private collection, Northern Ireland
  • Recently rediscovered by the artist’s daughter, Diana Orpen, in an envelope that also contained a cartoon by Orpen titled the New English Art Club Outing (circa 1904). The latter work has since been purchased by the National Portrait Gallery, London, whilst the present drawing has been authenticated on reverse by Diana Orpen.

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THREE CHILDREN IN A SUMMER LANDSCAPE
THREE CHILDREN IN A SUMMER LANDSCAPE
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 20 September 2005 / 72

Published Estimate: €12,000-15,000

Price Realised: €14500

  • Medium: oil on canvas
  • Dimensions: 52 by 47cm., 20.5 by 18.5in.
  • Provenance: 'Cuilim', Alleys River Road, Old Connor, Bray, house auction conducted by HOK, 19 June 1991, lot 424; Whence purchased by the parents of the current owner
  • Leech first included children in a landscape in Twas Brillig, (1910) . This work and his subsequent beach scenes at Concarneau, Brittany, show his debt to Walter Osborne and Wilson Steer in their Walberswick paintings. In Beach Parasols on the Beach and Paper Parasols circa (1920-30), he captures children in movement with quick brushstrokes indicating legs and arms and a few fluid strokes for clothing. In particular in Beach Scene (18 x 22in.) painted circa 1922, a young girl bends protectively over a younger boy and Leech captures her in white hat and dress against dark legs similar to the figure of the girl in Three Children in a Summer Landscape. Leech didn’t have children but in England he sympathetically painted his nieces and nephews and May Botterell’s three children. In France he painted the three children of the New Zealand artist Sydney Lough Thompson who he had first met at the Academie Julian in 1901 and remained a lifelong friend. After Thompson married Ethel Coe in New Zealand in 1911 the couple came to Concarneau where their first daughter Annette was born in 1915, followed by Mary in 1920 and Jan their son in 1922 (1). Annette Thompson fondly remembered Leech being part of her childhood, frequently painting them at play on the beach in Concarneau or in their garden near Grasse (2) where the Thompson family rented a house for the Winter/Spring period from 1926 – 1933 (3). Leech and Thompson painted the landscape together and they nicknamed it “La Vallée de la joie.” The warm red ochre of the soil and the strong sunlight filtering through the trees and bushes in the present work suggests it was painted in “Happy Valley” and judging from the age of the children to circa 1929, (1) Ethel Thompson’s unpublished records. Copy, collection of the author. (2) Conversations and correspondence with Annette Thompson and author, Concarneau, France 1989–2001 (3) E. Thompson’s records. Dr Denise Ferran August 2005

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MOONRISE TANGIER BAY
MOONRISE TANGIER BAY
Sir John Lavery RA RHA RSA (1856-1941)

Auction Date / Lot No.: 20 September 2005 / 73

Published Estimate: €30,000-40,000

Price Realised: €24000

  • Signature: signed and inscribed lower left; signed again, inscribed and dated [1910] on reverse
  • Medium: oil on canvas board
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Provenance: Gift from the artist to his best man, Robert Cunninghame Graham MP (1852-1936); By descent to his niece; Private collection
  • After 1903, when he resumed his regular annual visits to Tangier and acquired the winter retreat of Dar-el-Midfah, Lavery was keenly attracted to panoramic vistas of the Straits of Gibraltar to the west of the city and the Mediterranean, overlooking Tangier Bay to the east. The low-lying land around the bay, which accommodated the city’s expansion in the twentieth century, provided splendid views of sea and sky looking towards Cape Matabalah, and close to the Villa Harris, home to Walter Harris, the acclaimed Times correspondent. Here Lavery painted a large number of beach scenes, looking back towards the walled city at sunset and over the sea at moonrise. Numerous travel writers comment upon the quality of light at such moments on this stretch of the North African coast. None of the many artists who visited the city, from Eugène Delacroix in the early nineteenth century, to Henri Matisse in the early twentieth, responded to its extraordinary effects with the enthusiasm of Lavery. In small oil sketches such as Moonrise and Dawn (lot xx) he delighted in the subtle blues of morning and the creamy pinks and mauves of twilight. Cunninghame Graham (1852-1936), to whom the present work is inscribed, was a renowned Scots adventurer and laird of Gartmore. He met Lavery in the early nineties in Tangier, when he reined in the painter’s runaway horse. A larger-than-life character, he had travelled extensively in the Americas, at one time earning money as a fencing instructor in Mexico City. A political radical, he took the seat for North West Lanarkshire in 1886 and the following year was imprisoned for his part in the Free Speech Riots in Trafalgar Square. By the time he met Lavery, he was becoming disaffected with politics and relinquished his seat in the general election of 1892. Around this time Cunninghame Graham became more interested in the art world, cutting a flamboyant figure at private views. Although his portrait was painted by Percy Jacomb Hood, William Rothenstein and Ignazio Zuloaga, Lavery’s full-length, Harmony in Brown, 1893 (Glasgow City Art Gallery) is the definitive representation. Of this George Bernard Shaw famously remarked – ‘He is a Spanish hidalgo, hence the superbity of his portrait by Lavery (Velazquez no longer being available)’ (Kenneth McConkey, Sir John Lavery, 1993, p. 70). A head and shoulders study of c. 1893 is in the collection of the sitters’ descendents (McConkey, fig 73) and a large equestrian portrait, RB Cunnighame Graham on ‘Pampa’, (President’s Palace, Buenos Aires) was painted in 1898. Cunninghame Graham remained a regular visitor to Lavery’s studio up until the Great War and during these years he wrote a ‘prefatory note’ to the catalogue of Lavery’s solo exhibition at the Leicester Galleries in 1904 and the preface to Walter Shaw Sparrow’s John Lavery and his Work, (1911). His memoir of Tangier in the pre-First World War years, Writ in Sand, was published in 1932. It may well be the case that the present work was given to Cunninghame Graham in gratitude for his services either in relation to Lavery’s wedding or for his support in the Shaw Sparrow publication. Kenneth McConkey

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DAWN, WHERE "THE JEWS RIVER" JOINS THE SEA
Sir John Lavery RA RHA RSA (1856-1941)

Auction Date / Lot No.: 20 September 2005 / 74

Published Estimate: €30,000-40,000

Price Realised: €23000

  • Signature: signed and inscribed lower right; signed again, inscribed and dated [1910] on reverse
  • Medium: oil on canvas board
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Provenance: Gift from the artist to his best man, Robert Cunninghame Graham MP (1852-1936); By descent to his niece; Private collection
  • Dawn is one of the simplest and most evocative of Lavery’s small seascapes painted at Tangier. While he sometimes declared that his winter sojourns on the North African coast helped him to wash the dull London studio light from his eyes, the experience also endlessly challenged him to compose what, in the present example, is an almost abstract composition – a taste which he derived from Whistler. As Vice-President during Whistler’s presidency of the International Society of Sculptors, Painters and Gravers, Lavery would have been familiar with seascapes such as Grey and Silver, Trouville, (Freer Gallery of Art, Washington) and Green and Silver, The Great Sea, (Hunterian Art Gallery, University of Glasgow), which Whistler showed at the International Society shows of 1899 and 1901 respectively. He would have seen Monet’s La Plage des Petites Dalles (destroyed), shown at the second of these exhibitions and would have also been aware of the enormous influence of such works in the years up to 1910, on artists as diverse as William Nicholson and William John Leech. It is worth pointing out however, that by this stage Lavery had already produced notable Tangier beach scenes – particularly Tangier - The White City, 1893 (Private Collection). The present picture is likely to have been painted at the eastern end of Tangier Bay, where the Oued Souami breaks into tributaries, flowing across the sands and into the sea. Crosscurrents at this location exposed rocks in the sea which were often painted by the artist, as in Tangier Bay, Rain, 1910 Ulster Museum, Belfast). Although its course runs not far from the Jewish Cemetery, the source of the reference to this as ‘the Jews River’ remains obscure. Arabs occasionally fished on the beach, in the eddies of Oued Souami and on one occasion Lavery apparently posed his wife Hazel as The Angler, at this location (sold Sotheby’s 16 May 2002). Other examples of works produced at this viewpoint include The End of the Day, Tangier Bay (sold Christie’s 19 May 2000), showing two children on the beach. The present work omits such human interest, allowing the painter to concentrate exclusively on the simple, yet subtle gradations of shape and colour expressing that moment of calm before the heat and hubbub of the day begins. Kenneth McConkey

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THE COURTYARD, FRIAR'S HILL
THE COURTYARD, FRIAR'S HILL
Lilian Lucy Davidson ARHA (1893-1954)

Auction Date / Lot No.: 20 September 2005 / 75

Published Estimate: €2,000-3,000

Price Realised: €2300

  • Signature: signed in monogram lower left; original exhibition label on reverse inscribed with title and price (£7-10-0)
  • Medium: gouache on buff-coloured card
  • Dimensions: 37 by 25cm., 14.5 by 10in.
  • Provenance: Dermod O'Brien PRHA; By descent to Dr Brendan O'Brien; Private collection
  • Exhibited: WCSI, 1940, catalogue no 131 (£7-10-0); WCSI, 1954, catalogue no. 38, lent by Dr Brendan O'Brien in memory of the artist
  • After her father’s death, Lilian Lucy Davidson moved to Dublin, but would occasionally return to her home town Wicklow and to Arklow to paint. When doing so she would stay at “Major Grimshaw's house, Friar’s Hill, where he kept paying guests” (Irish Arts Review, 1999). The present work depicts the courtyard of Major Grimshaw’s house.

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RATHFARNHAM WOODS
RATHFARNHAM WOODS
Estella Frances Solomons HRHA (1882-1968)

Auction Date / Lot No.: 20 September 2005 / 76

Published Estimate: €3,000-5,000

Price Realised: €3300

  • Signature: signed lower left; with the framing label of the Dawson Gallery, Dublin, on reverse
  • Medium: oil on canvas
  • Dimensions: 56 by 30cm., 22 by 12in.
  • Provenance: Dr Michael Solomons, the artist's nephew; From whom puchased circa 1960s by the father of the present owner
  • Exhibited: 'Estella Solomons', Fitzwilliam Square, Dublin, private exhibition in aid of CORA (Committee of Refugee Aid), circa 1960s
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SENTIER À TRAVERS LES ARBES / PATH THROUGH THE TREES, circa 1893
SENTIER À TRAVERS LES ARBES / PATH THROUGH THE TREES, circa 1893
Roderic O'Conor (1860-1940)

Auction Date / Lot No.: 20 September 2005 / 77

Published Estimate: €3,000-5,000

Price Realised: €2800

  • Medium: restrike etching on cream wove paper (unframed)
  • Dimensions: 33 by 30cm., 13 by 12in.
  • Provenance: Paul Prouté, Gravures et Dessins, Rue de Seine and Rue Clément, Paris; Private collection
  • Literature: Richard Field, Cynthia L. Strauss and Samuel J. Wagstaff, The Prints of Armand Seguin, 1869-1903, Wesleyan University, Connecticut, 1980, page 13; Roy Johnston, Roderic O’Conor 1860-1940, Musée du Pont-Aven, 1984, page 80; Roy Johnston, ‘Les gravures de Roderic O’Conor’, in Pont-Aven et ses peintures à propos d’un centenaire, Presses University de Rennes, 1986, pages 147-8; Jonathan Benington, Roderic O’Conor, Irish Academic Press, Dublin, 1992, page 237, catalogue no. 447; Roy Johnston, Roderic O’Conor 1860-1940: Catalogue de l’oeuvre gravé / The prints of Roderic O’Conor, Musée du Pont-Aven, 1999, pages 44-45 (illustrated)
  • Formerly misattributed to Armand Seguin. The original plate for this print was sold at Hotel Drouot on 17 November 1975 (lot 172 no. 1) as Chemin sous bois. Later printed as a restrike by Paul Prout‚ S.A. in 1981, in an edition of 100 with the title Sentier à travers les arbres.

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STILL LIFE WITH APPLES AND ANEMONIES
STILL LIFE WITH APPLES AND ANEMONIES
Renée O'Conor (neé Honta) (1894-1955)

Auction Date / Lot No.: 20 September 2005 / 80

Published Estimate: €5,000-7,000

Price Realised: 


MODEL IN A RED VEST, SEATED WITH A BOOK ON HER LAP
MODEL IN A RED VEST, SEATED WITH A BOOK ON HER LAP
Renée O'Conor (neé Honta) (1894-1955)

Auction Date / Lot No.: 20 September 2005 / 81

Published Estimate: €5,000-7,000

Price Realised: 

  • Signature: signed upper right; original exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 66 by 55cm., 26 by 21.5in.
  • Exhibited: First exhibition of the Salon du Montparnasse, 1923, catalogue no. 322
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MIXED FLOWERS ON A BALCONY OVERLOOKING BOATS ON WATER
MIXED FLOWERS ON A BALCONY OVERLOOKING BOATS ON WATER
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 20 September 2005 / 82

Published Estimate: €8,000-10,000

Price Realised: 

  • Signature: signed and inscribed "Summer 1936" on reverse
  • Medium: oil on canvas
  • Dimensions: 44 by 41cm., 17.5 by 16in.
  • Provenance: Eimear Gallery, Belfast; Private collection
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TULIPS
TULIPS
Mary Duncan (1885-1964)

Auction Date / Lot No.: 20 September 2005 / 83

Published Estimate: €1,000-1,500

Price Realised: €1800

  • Signature: signed lower centre; original label on reverse inscribed with title, price and artist's address in Penzance
  • Medium: oil on panel
  • Dimensions: 51 by 41cm., 20 by 16in.
  • Born in Englandm Duncan stusied at the Bromley School of Art, the Slade and in Paris. In 1907 she began exhibiting with the RSA, giving an address in Glasgow, and three years later had arrived in Dublin, taking studios firstly in North Great George’s Street, then in Brunswick Street (now Pearse Street). In Dublin she renewed her friendship with Estella Solomons, whom she had known at the Slade; a portrait of Solomons by Duncan is in Trinity College. She remained in Dublin for over a decade, before moving to London and later Cornwall. During the 1920s she showed regularly at the RHA, the RSA and the RA. She also had a show at the Arlington Gallery in London, alongside Estella Solomons and Louise Jacobs. Duncan’s work is in the collections of the Hugh Lane Gallery, Dublin, the Model and Niland Centre in Sligo, and the National Portrai t Gallery in London among others.

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VENCE FROM THE HILL, 1933
VENCE FROM THE HILL, 1933
Rose Brigid Ganly HRHA (1902-2002)

Auction Date / Lot No.: 20 September 2005 / 84

Published Estimate: €1,800-2,200

Price Realised: €4200

  • Signature: signed with initials lower left; inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Painted whilst the artist was on her honeymoon on the Cote D'Azur in 1933.

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FARM BUILDINGS WITH HENS BY A POND
FARM BUILDINGS WITH HENS BY A POND
Mary Duncan (1885-1964)

Auction Date / Lot No.: 20 September 2005 / 85

Published Estimate: €2,000-3,000

Price Realised: 

  • Signature: signed lower centre; with the framing label of Chelmold's, Calcutta, on reverse
  • Medium: oil on canvas
  • Dimensions: 46 by 56cm., 18 by 22in.
  • See lot 83 for a biography of this artist.

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THE HARBOUR VOLENDAM, circa 1926-27
THE HARBOUR VOLENDAM, circa 1926-27
Georgina Moutray Kyle RUA (1865-1950)

Auction Date / Lot No.: 20 September 2005 / 86

Published Estimate: €2,000-3,000

Price Realised: €3400

  • Signature: signed lower left
  • Medium: oil on canvas laid on board
  • Dimensions: 38 by 30cm., 15 by 12in.
  • Born at Craigavad, Co. Down, Georgina Moutray Kyle studied at Colarossi’s in Paris during the 1880s, returning afterwards to Ireland with a distinctly modern palette and Post-Impressionist style. She became an active committee member of the Belfast Art Society (later called the Ulster Academy of Arts) and was a dominant persona in Belfast exhibitions in the 1920s and ‘30s (see Snoddy, page 328). At a retrospective organised last year by Queen’s University, Belfast, four other examples of Kyle’s Volendam landscapes were included, on loan from the Ulster Museum, the Armagh County Museum and private collections.

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THE RIVER DUN, DONEGAL
THE RIVER DUN, DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 20 September 2005 / 87

Published Estimate: €6,000-8,000

Price Realised: €5800

  • Signature: signed lower left; with Victor Waddington Gallery framing label on reverse
  • Medium: oil on panel
  • Dimensions: 30 by 42cm., 12 by 16.5in.
  • Exhibited: (?) 'Recent Paintings by J. Humbert Craig, RHA', Victor Waddington Galleries, Dublin, 12-22 November 1940, catalogue no. 2 (£15-15-0)
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A BEND OF THE RIVER LAGAN
A BEND OF THE RIVER LAGAN
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 20 September 2005 / 88

Published Estimate: €4,000-6,000

Price Realised: €5200


MUCKISH MOUNTAIN FROM ARDS, CREESLOUGH, COUNTY DONEGAL
MUCKISH MOUNTAIN FROM ARDS, CREESLOUGH, COUNTY DONEGAL
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 20 September 2005 / 89

Published Estimate: €5,000-7,000

Price Realised: €5400

  • Signature: signed lower right; inscribed on reverse; also with original gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 66cm., 20 by 26in.
  • Provenance: Watson Art Galleries, Montreal; Private collection
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LANDSCAPE WITH FIGURE AND DONKEY
LANDSCAPE WITH FIGURE AND DONKEY
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 20 September 2005 / 90

Published Estimate: €20,000-30,000

Price Realised: 


FAIR HEAD, COUNTY ANTRIM
FAIR HEAD, COUNTY ANTRIM
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 20 September 2005 / 91

Published Estimate: €4,000-6,000

Price Realised: €4800

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Provenance: Mrs Johnston, Craigavad Hospital; Private collection
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FIGURE WITH DONKEY ON STRAND and RIVER LANDSCAPE WITH SAILBOAT AND WINDMILL (A PAIR)
FIGURE WITH DONKEY ON STRAND and RIVER LANDSCAPE WITH SAILBOAT AND WINDMILL (A PAIR)
William Bingham McGuinness RHA (1849-1928)

Auction Date / Lot No.: 20 September 2005 / 92

Published Estimate: €2,000-3,000

Price Realised: €3000

  • Signature: former signed lower right; latter signed lower left
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 24 by 34cm., 9.5 by 13.5in.
  • The second work measures 13.5 by 9.5 inches.

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TURF GATHERERS
TURF GATHERERS
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 20 September 2005 / 93

Published Estimate: €15,000-20,000

Price Realised: 


TURF CART ON A ROAD WITH COUPLE CONVERSING
TURF CART ON A ROAD WITH COUPLE CONVERSING
Charles J. McAuley RUA ARSA (1910-1999)

Auction Date / Lot No.: 20 September 2005 / 94

Published Estimate: €3,000-4,000

Price Realised: €4400


AFTER THE STORM, ATALNTIC DRIVE, COUNTY DONEGAL
AFTER THE STORM, ATALNTIC DRIVE, COUNTY DONEGAL
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 20 September 2005 / 95

Published Estimate: €4,000-5,000

Price Realised: €5200


FAIR DAY
FAIR DAY
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 20 September 2005 / 96

Published Estimate: €50,000-70,000

Price Realised: 

  • Signature: signed lower left; typed exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 36 by 48cm., 14 by 19in.
  • Provenance: Bell Gallery, Belfast; Taylor Gallery, Belfast; Private collection
  • Exhibited: (?) RHA, Dublin, 1965, catalogue no. 17, as Fair Day, Creeslough, Co. Donegal (£75-0-0); ‘St Patrick’s Weekend Exhibition of Fine Irish Paintings’, Taylor Gallery, Belfast, 15-29 March 2003, catalogue no. 1 (illustrated on front cover of catalogue)
  • McKelvey painted a series of market or fair day scenes in the latter part of his career. During the 1930s he had painted the subject on rare occasions (for an example of such see plate 19, Market Scene circa 1935-36, in S. B. Kennedy, Frank McKelvey, RHA, RUA: A Painter in His Time, Irish Academic Press, Dublin, 1993), but in the last fifteen years of his life exhibited seven market scenes at the RHA. Two of these depicted the fair day in Roundstone, Co. Galway; another was painted in Creeslough, Co. Donegal, and is quite possibly the present work.

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VIEW ACROSS CARLINGFORD LOUGH TOWARDS THE COOLEY MOUNTAINS, COUNTY DOWN
VIEW ACROSS CARLINGFORD LOUGH TOWARDS THE COOLEY MOUNTAINS, COUNTY DOWN
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 20 September 2005 / 97

Published Estimate: €2,500-3,500

Price Realised: €2400

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 33 by 41cm., 13 by 16in.
  • Provenance: Acquired by the present owner from the late Arthur Lamb, brother of the artist, Portadown
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BALLYMOSS, COUNTY DONEGAL
BALLYMOSS, COUNTY DONEGAL
Estella Frances Solomons HRHA (1882-1968)

Auction Date / Lot No.: 20 September 2005 / 98

Published Estimate: €1,800-2,200

Price Realised: €1900

  • Signature: signed lower right; remains of inscribed label on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 32 by 39cm., 12.5 by 15.5in.
  • Provenance: The artist's studio (reference no. 39/69); Private collection
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HORN HEAD, COUNTY DONEGAL
HORN HEAD, COUNTY DONEGAL
Anne Primrose Jury RUA (1907-1995)

Auction Date / Lot No.: 20 September 2005 / 99

Published Estimate: €1,500-2,000

Price Realised: €1400


TURF CUTTING IN A VALLEY
TURF CUTTING IN A VALLEY
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 20 September 2005 / 100

Published Estimate: €12,000-15,000

Price Realised: €15500


STRAND, BALLYRUBIC, CONNEMARA
STRAND, BALLYRUBIC, CONNEMARA
Seamus ó Colmáin (1925-1990)

Auction Date / Lot No.: 20 September 2005 / 101

Published Estimate: €2,000-3,000

Price Realised: 

  • Signature: signed lower left; inscribed on reverse with title and price (65 gns); also with original exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 61 by 74cm., 24 by 29in.
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WET DAY, NEAR ROUNDSTONE
WET DAY, NEAR ROUNDSTONE
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 20 September 2005 / 102

Published Estimate: €4,000-5,000

Price Realised: €4200

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Exhibited: 'Aspects of Landscape: Exhibition of Paintings by Arthur Armstrong RHA', The Gallery 22, 22 St Stephen's Green, Dublin, 6-29 September 1978, catalogue no. 21 (£210)
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