25 April 2006

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A WOMAN ON A MOUNTAIN PATH
A WOMAN ON A MOUNTAIN PATH
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 25 April 2006 / 101

Published Estimate: €2,500-3,500

Price Realised: 

  • Signature: watercolour with sgraffito
  • Medium: signed lower right
  • Dimensions: 36 by 51cm., 14 by 20in.
  • Provenance: James Adam Salesrooms, Dublin, 27 September 1990, lot 53; Private collection
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TRAVELLERS RESTING ON A COUNTRY ROAD
TRAVELLERS RESTING ON A COUNTRY ROAD
Francis Wheatley RA (1747-1801)

Auction Date / Lot No.: 25 April 2006 / 103

Published Estimate: €15,000-20,000

Price Realised: €35000

  • Signature: oil on canvas
  • Dimensions: 51 by 66cm., 20 by 26in.
  • Provenance: Miss E. B. C. Laidlaw, circa 1940s; By descent to the present owner
  • Born in London, the son of a tailor, Francis Wheatley first trained at William Shipley’s academy. He may also have received some instruction from Richard Wilson, to whom Strickland attributes his later excellence in the field of landscape painting.1 At the age of fifteen he was awarded a prize for drawing by the Society of Artists; further prizes followed in 1763, ‘67 and ‘69. During these years he travelled to expand his artistic education. He appears to have first visited Ireland in 1767, for in the records of the Society of Artists for that year it is recorded that a half-share in the premium for views from nature went to “Francis Wheatley in Ireland”.2 His career progressed rapidly. After only a year at the Royal Academy Schools he was elected a fellow of the Royal Society of Artists, and by 1772 was made Director of that body. At this time his work consisted mostly of small, full-length portraits and conversation pieces in the manner of Johan Zoffany. He also undertook commissions to paint the interiors of certain noblemen’s homes, including Brocket Hall for Lord Melbourne. During these years he developed what was to be his signature style of clear, pale colour handled in a free and sensitive manner. Success however, led to profligacy. He accrued debts and had, in the words of Edward Edwards, “the folly to engage in an intrigue” with the wife of a fellow artist, John Alexander Gresse.3 In 1779 Wheatley fled to Ireland with Mrs Gresse, whom he passed off as his wife. Prior to this deception becoming known, Wheatly received several important portrait commissions in Ireland including The Macartney family (Art Gallery, Ontario) and The Marquess and Marchioness of Antrim (NGI). He also executed some of the most important large-scale history paintings of his career whilst in Dublin. The best known of these are The Irish House of Commons in 1780 (the only contemporary painting of the interior of the House of Commons) and A View of College Green with the meeting of the Volunteers on the 4th November 1779 (NGI). This last named work was first exhibited at the Society of Artists in William Street, Dublin, in 1880, along with four others by Wheatley – two portraits and two landscapes of Clontarf and Kingstown (Dun Laoghaire) respectively. This was to be his only public exhibition in Ireland. In addition to official portraits and history paintings, Wheatley toured Ireland painting delicate watercolour landscapes and studies of the Irish peasantry. Crookshank and Glin note that ”Wheatley’s Irish work is especially interesting for a number of genre subjects in the Wouverman manner of Irish fairs, fisherfolk and gipsy encampments” and comment that they “capture the late eighteenth century Irish scene better than most artists because of their fluency, clarity and gaiety”.4 According to Mary Webster, Wheatley owned a number of drawings by the Dutch master Phillip Wouvermans and was a great admirer of his depictions of travellers and country fairs. 5 Both artists evidently empathised with their subjects; in the words of Gandon and Mulvany, Wheatley “succeeded in delineating the characters of the peasantry, in perfect accordance with the humours he met with on these subjects”. 6 It was this empathy that led James Kelly to rate Wheatley’s Irish genre scenes as “one of the most rewarding and appealing vistas on to the daily life of the common people of late eighteenth century Ireland”. 7 Among Wheatley’s Irish genre scenes are a number of watercolours in the National Gallery of Donnybrook Fair, which were the basis of a large oil of that subject exhibited at the RA in 1784 (no. 91). These share many attributes in common with the present oil, including the artfully arranged groupings of people and animals, the play of light and shade with some groups seen in silhouette from behind, and the use of a narrow device such as a staff or in this case a horse-whip to lead the eye from figure to figure. In Scene at a Fair (reproduced in Webster, op. cit., page 51), a small figure in a travelling cloak is seated in the foreground, echoing the placing of the man with his roughly pinned cloak in the Travellers Resting on a Country Road. In both the watercolours and the present oil Wheatley displays his command of animal painting by depicting horses and donkeys from every conceivable view-point, invariably placing them in such a way as to again direct the eye into the main focal point of the composition. Horses feature in another oil painting, A Gypsy Encampment in Ireland, integrated into the main grouping of figures (Colonel Grant collection, see Webster, page 133). The somewhat malevolent stare of a mongrel dog accosts the viewer, a device that reoccurs in Riot in Broad Street (engraved 1790, fig. 61 in Webster). Wheatley returned to London early in 1784. In that year’s RA exhibition he showed four Irish works. His depictions of Irish fair scenes and country folk proved popular in England, and he continued to produce them long after he returned from Ireland. These Irish peasants also gradually evolved into general rustic ‘types’, which likewise found a ready market among English audiences. Wheatley went on to specialise in this genre, with his Cries of London becoming one of best-selling series of eighteenth century prints. In 1791 he was elected a Royal Academician, but his final years were plagued by gout and debts. 1 Walter Strickland, A Dictionary of Irish Artists, Vol. II, Maunsel & Co., Dublin, 1913, page 519. The most comprehensive source of information on Wheatley is the monograph on him by Mary Webster, Francis Wheatley, Paul Mellon Centre for British Art, 1970. 2 Ibid. 3 Edward Edwards, Anecdotes of Painters, who have resided or been born in England with critical remarks on their productions, Leigh and Sotheby, London, 1808, quoted by Anne Crookshank and the Knight of Glin, Ireland’s Painters 1600-1940, Yale, New Haven and London, 2002, page 164. 4 Ibid., page 166. 5 Webster, op. cit., page 48. 6 James Gandon and T. J. Mulvany, The Life of James Gandon, Esq, quoted in Webster, op. cit., page 48. 7 James Kelly, ‘Francis Wheatley: His Irish Paintings, 1779—83’, in Adele M. Dalsimer (ed.), Visualizing Ireland: National Identity and the Pictorial Tradition, Faber & Faber, Boston and London, 1993, page 160.

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PORTRAIT OF A YOUNG MAN, PROBABLY THE ARTIST
PORTRAIT OF A YOUNG MAN, PROBABLY THE ARTIST
Edward Hayes RHA (1797-1864)

Auction Date / Lot No.: 25 April 2006 / 105

Published Estimate: €1,000-1,200

Price Realised: €900


A YOUNG WOMAN IN A PINK GOWN, 1778
A YOUNG WOMAN IN A PINK GOWN, 1778
Hugh Douglas Hamilton RHA (1739-1808)

Auction Date / Lot No.: 25 April 2006 / 106

Published Estimate: €1,800-2,200

Price Realised: €3300

  • Signature: pastel over pencil (oval)
  • Medium: signed and dated lower left
  • Dimensions: 23 by 18cm., 9 by 7.25in.
  • Based upon similarities with another portrait by Hamilton, at Kilkenny Castle, the sitter has been tentatively identified as one of the daughters of the Third Viscount Molesworth, most likely Henrietta (1745-1813), later the Hon. Lady Ponsonby. With thanks to William Molesworth, Trinity College Dublin for this information.

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IN ARCADIA (ITALIANATE LANDSCAPE WITH FIGURES BY A RIVER AND RUINED ACROPOLIS IN DISTANCE)
IN ARCADIA (ITALIANATE LANDSCAPE WITH FIGURES BY A RIVER AND RUINED ACROPOLIS IN DISTANCE)
Attributed to Solomon Delane (1727-1812)

Auction Date / Lot No.: 25 April 2006 / 107

Published Estimate: €20,000-30,000

Price Realised: €37000

  • Signature: oil on canvas
  • Dimensions: 90 by 105cm., 35.5 by 41.5in.
  • Raised in Dublin, the son of Richard Delane, a clergyman, Solomon Delane became a pupil of Robert West in the school in George’s Lane. He later studied at the Dublin Society School where his teacher, James Mannin, encouraged his interest in landscape painting. In 1750 he was awarded a premium of two pounds by the Dublin Society showing that his work was well regarded at the time. From 1755 and 1780 Delane travelled widely throughout the continent spending time in London, France, Germany and Italy, before finally settling in Rome for a number of years. There Delane was noted for painting landscapes in the style of Claude, many of his works often being mistaken as a Claude original. In Rome he remained in contact with British and Irish art institutions becoming a Fellow of the Society of Artists in London in 1763. He also sent a picture to the Society of Artists, Dublin in 1776 and sent two large landscapes to the Royal Academy in 1771. He was well regarded in Italy receiving numerous private commissions and was elected a member of the Accademia del Disegno, Florence in 1777. He spent two years in London in 1783 and 1784 before returning to Dublin where he married and settled, continuing to paint, although rarely exhibiting, until his death in 1812. Among the few known surviving works by Delane are the Italian Landscape (NGI) and Lake Albano (private collection, illustrated in Crookshank and Glin, page 140), both of which share the golden light and Claudean calm of the present work.

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GLEN BOG, COUNTY DONEGAL, 1927
GLEN BOG, COUNTY DONEGAL, 1927
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 25 April 2006 / 108

Published Estimate: €6,000-8,000

Price Realised: €11000

  • Signature: watercolour over pencil
  • Medium: signed lower left
  • Dimensions: 38 by 53cm., 15 by 21in.
  • Exhibited: Belfast Art Society, 1927, catalogue no. 28 (£10-0-0)
  • In the original gilt frame of William Mol, 54 Upper Queen Street, Belfast.

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EVENING IN THE ROSSES, COUNTY DONEGAL
EVENING IN THE ROSSES, COUNTY DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 25 April 2006 / 109

Published Estimate: €8,000-10,000

Price Realised: €16000

  • Signature: oil on panel
  • Medium: signed lower left; inscribed and signed again on reverse
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Taylor de Vere's, Dublin, 9 March 1993, lot 55 (illustrated on front cover of catalogue); Whence purchased by the father of the present owner
  • Exhibited: Possibly as Evening Sunlight in the Rosses, Co. Donegal, Ulster Academy of Arts, Belfast, 1936, catalouge no. 96 (£52-10-0)
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THE MAAM VALLEY, CONNEMARA, circa 1962
THE MAAM VALLEY, CONNEMARA, circa 1962
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 25 April 2006 / 110

Published Estimate: €4,000-6,000

Price Realised: €6200

  • Signature: watercolour over pencil
  • Medium: signed lower left; original exhibition label on reverse
  • Dimensions: 53 by 76cm., 21 by 30in.
  • Exhibited: Fine Art Society, London, January 1963
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ARDS STRAND, COUNTY DONEGAL, circa 1962
ARDS STRAND, COUNTY DONEGAL, circa 1962
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 25 April 2006 / 112

Published Estimate: €4,000-6,000

Price Realised: €4700

  • Signature: watercolour
  • Medium: signed lower right; label on reverse inscribed with title, original price (£45-0-0) and artist's address (Dunfanaghy, Letterkenny, Co. Donegal)
  • Dimensions: 53 by 76cm., 21 by 30in.
  • Exhibited: Royal Cambrian Academy of Art, Conway, 1962, catalogue no. 41
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WINTER, NEAR CREESLOUGH, COUNTY DONEGAL, 1972
WINTER, NEAR CREESLOUGH, COUNTY DONEGAL, 1972
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 25 April 2006 / 113

Published Estimate: €2,000-3,000

Price Realised: €2600

  • Signature: watercolour over pencil
  • Medium: signed and dated [1972] lower right; inscribed with title and artist's reference no (82/1084) on reverse
  • Dimensions: 38 by 53cm., 15 by 21in.
  • Provenance: John Magee Gallery, Belfast; Private collection
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EVENING, ROCKFORT BAY, CUSHENDUN, COUNTY ANTRIM
EVENING, ROCKFORT BAY, CUSHENDUN, COUNTY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 25 April 2006 / 114

Published Estimate: €4,000-6,000

Price Realised: €8200

  • Signature: oil on canvas laid on board
  • Medium: signed lower right
  • Dimensions: 41 by 50cm., 16 by 19.5in.
  • Provenance: Purchased from the artist by the father of the present owner in 1946
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EVENING, GLENDUN RIVER
EVENING, GLENDUN RIVER
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 25 April 2006 / 115

Published Estimate: €3,000-4,000

Price Realised: €3200


COCKLE STRAND, COUNTY DONEGAL
COCKLE STRAND, COUNTY DONEGAL
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 25 April 2006 / 116

Published Estimate: €12,000-15,000

Price Realised: €17000

  • Signature: oil on canvas
  • Medium: signed lower left; remains of inscribed label on reverse
  • Dimensions: 51 by 69cm., 20 by 27in.
  • Exhibited: Possibly exhibited as Cloud Shadows - Cockle Strand, Co. Donegal, at the RHA, 1933, catalogue no. 84 (£15-0-0)
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IN THE MOURNES, COUNTY DOWN
IN THE MOURNES, COUNTY DOWN
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 25 April 2006 / 117

Published Estimate: €4,000-5,000

Price Realised: €4000

  • Signature: oil on canvas
  • Medium: signed lower right; inscribed with title and original price (£14-14-0) on reverse
  • Dimensions: 41 by 51cm., 16 by 20in.
  • In the original frame of the John Magee Gallery, Belfast.

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RIVER AND FIELDS, LATE SUMMER
RIVER AND FIELDS, LATE SUMMER
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 25 April 2006 / 118

Published Estimate: €3,500-4,500

Price Realised: €4000

  • Signature: oil on board
  • Medium: signed lower left
  • Dimensions: 30 by 41cm., 12 by 16in.
  • A view of the River Bann, near Portadown, the artist's birthplace. A similar view was sold in these rooms on 16 September 2003 - Evening on the Old Bann, Portadown, lot 114

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MOURNE MOUNTAINS, COUNTY DOWN
MOURNE MOUNTAINS, COUNTY DOWN
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 25 April 2006 / 119

Published Estimate: €8,000-10,000

Price Realised: €13000


TURF CUTTING, DONEGAL (A PAIR)
TURF CUTTING, DONEGAL (A PAIR)
Charles McAuley RUA ARSA (1910-1999)

Auction Date / Lot No.: 25 April 2006 / 120

Published Estimate: €10,000-12,000

Price Realised: €13500


THE RED SHAWL
THE RED SHAWL
Robert Taylor Carson HRUA (b.1919)

Auction Date / Lot No.: 25 April 2006 / 121

Published Estimate: €2,500-3,500

Price Realised: €3200

  • Signature: oil on canvas
  • Medium: signed lower left; inscribed and signed again on reverse
  • Dimensions: 51 by 41cm., 20 by 16in.
  • Provenance: Purchased directly from the artist and thence by descent.
  • Exhibited: Possibly exhibited at the RUA, Belfast, 1959, catalogue no. 23 as 'Girl in Red Shawl'
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SEáN
SEáN
Robert Taylor Carson HRUA (b.1919)

Auction Date / Lot No.: 25 April 2006 / 122

Published Estimate: €2,500-3,500

Price Realised: €2400


A COUNTRY HOUSE WITH FIGURES IN GARDEN, 1957
A COUNTRY HOUSE WITH FIGURES IN GARDEN, 1957
William Mason (1906-2002)

Auction Date / Lot No.: 25 April 2006 / 123

Published Estimate: €1,500-2,000

Price Realised: €1500


AUTUMN, BRABLAGH WOOD, CUSHENDUN, COUNTY ANTRIM
AUTUMN, BRABLAGH WOOD, CUSHENDUN, COUNTY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 25 April 2006 / 124

Published Estimate: €5,000-7,000

Price Realised: €5000


INTERIOR OF IRISH COTTAGE
INTERIOR OF IRISH COTTAGE
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 25 April 2006 / 125

Published Estimate: €12,000-15,000

Price Realised: €12000

  • Signature: oil on canvas
  • Medium: signed lower right; inscribed with title and original price (35gns) on reverse
  • Dimensions: 46 by 56cm., 18 by 22in.
  • In the original John Magee Gallery frame.

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AT THE MARKETS, 1907
AT THE MARKETS, 1907
William Conor RHA RUA ROI OBE (1881-1968)

Auction Date / Lot No.: 25 April 2006 / 126

Published Estimate: €3,000-4,000

Price Realised: €6100

  • Signature: crayon, pen and ink on paper
  • Medium: signed upper right; inscribed and dated upper left
  • Dimensions: 23 by 18cm., 9.25 by 7.25in.
  • Provenance: Ulster Arts Club, Belfast; Whence purchased by the present owner in the late 1950s - early 1960s
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HARBOUR IN BRITTANY, circa 1935
HARBOUR IN BRITTANY, circa 1935
Charles W. Harvey (1895-1970)

Auction Date / Lot No.: 25 April 2006 / 127

Published Estimate: €2,000-3,000

Price Realised: €2200


THE EAGLE'S NEST, KILLARNEY, circa 1938-39
THE EAGLE'S NEST, KILLARNEY, circa 1938-39
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 25 April 2006 / 128

Published Estimate: €3,500-4,500

Price Realised: 

  • Signature: watercolour
  • Medium: signed lower right; original exhibition label on reverse
  • Dimensions: 38 by 53cm., 15 by 21in.
  • Exhibited: Fine Art Society, London, March 1939, catalogue no. 14
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AUTUMN COLOURS
AUTUMN COLOURS
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 25 April 2006 / 129

Published Estimate: €2,000-3,000

Price Realised: €2800


THE TEA TRAY
THE TEA TRAY
William John Leech RHA (1881-1968)

Auction Date / Lot No.: 25 April 2006 / 130

Published Estimate: €20,000-30,000

Price Realised: €20000

  • Signature: oil on canvas
  • Medium: exhibition label on reverse
  • Dimensions: 84 by 84cm., 33 by 33in.
  • Provenance: Taylor Galleries, Dublin; Private collection
  • Literature: Alan Denson, W. J. Leech RHA (1881-1968), Volume 2: His Life Work, A Catalogue, private publication, kendal, 1969, illustrated plate no. 24
  • The Tea Tray most likely belongs to the last ten years of Leech’s life, 1958–1968, when he and his wife May moved out of London and bought a house in West Clandon, Surrey. They lived quietly in retirement, listening to the radio, enjoying the countryside and their garden. When Leech wrote to his life-long friend the New Zealander, Sydney Lough Thompson, he told him of the subjects he was presently painting at Candy Cottage and of his lifelong striving to capture light on his canvases: “I am painting very simple things – Still lifes, mostly without flowers, so that I only have the changing light to compete with, quite enough and I learn what I can”. 1 He bemoaned the lack of water, “Landscape does not exist here – I like painting water but there is none about: so there we are! Paint in the garden and be thankful that one need not take long walks in search of subjects”.2 Leech was then in his seventies and his paintings reflected his immediate surroundings. He worked in the garden and the garden became an essential element in his work, as in the paintings, In the Artist’s Garden, The Painter with his Picture and Studio Garden.3 May and Bill enjoyed having tea out of doors in the summer in their garden. The genteel world of tea on the lawn is captured in both this and another work The Tea Trolley. The latter is set under the dappled shadows of the trees, depicting a trolley set with china cup and saucer, and patterned tea-cosy on the tea-pot; the quintessence of an English summer day in the garden. Colour dominates in the purple-backed book, the clear blue of a tray-cloth, and the orange, yellow, blue and green stripes of the deck chair. The Tea Tray, on the other hand, is a broadly mapped-in study of a tray, set simply with a bottle, brownish black tea-pot, mug, plate and knife. The simplified forms of these objects, painted in large areas of unbroken colour, indicate Leech’s working method, before he added detail and the ’finish’ of The Tea Trolley. Leech’s technique is visible in the pencil lines defining the bottle shape, the edge of the tray and the handle of the knife. After quickly blocking in the main shapes of this still-life in pencil, he continues to draw in paint using close tones of siennas and ochres, greens in tones of viridian and Prussian blue. Painted freely, he allows edges of white canvas to appear. Interesting too, is his use of black which accentuates the shadows, highlighting the upright of the background trees, the curved form of the brown teapot and the edge of the tray. Leech has completed the middle tones and deep shadows and has carefully planned the composition in his usual style with strong diagonals balanced by uprights. This work was in Leech’s studio when he died, the contents of which were bequeathed to Leo Smith of the Dawson Gallery. Dr Denise Ferran March 2006 1 William John Leech, letter from Candy Cottage to S. L. Thompson, Christchurch, New Zealand, offering consolation on learning of the death of his wife Maud Ethel Thompson and narrating the subject matter he was painting, 9 September 1961. 2 Ibid. 3 See Denise Ferran, William John Leech: An Irish Painter Abroad, Merrell Holberton, London, 1996, illustrated in colour, pages 290, 291 and 278 respectively.

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THE SHEPHERD
THE SHEPHERD
Markey Robinson (1918-1999)

Auction Date / Lot No.: 25 April 2006 / 131

Published Estimate: €4,000-6,000

Price Realised: 


ICON - HOLY APPARITION ABOVE FISHING BOATS
ICON - HOLY APPARITION ABOVE FISHING BOATS
Markey Robinson (1918-1999)

Auction Date / Lot No.: 25 April 2006 / 132

Published Estimate: €2,000-3,000

Price Realised: €2400

  • Signature: Russian icon over painted in oil
  • Medium: exhibition label on reverse
  • Dimensions: 18 by 11cm., 7.25 by 4.5in.
  • Provenance: Tom Caldwell Gallery, Belfast; Private collection
  • Markey's fondness for recycling materials has resulted here in the transformation of a mass-produced Russian icon into a distinctly Irish blessing of the boats.

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ABBEY RUINS, 1958
ABBEY RUINS, 1958
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 25 April 2006 / 133

Published Estimate: €6,000-8,000

Price Realised: €7000


HANDS ACROSS THE BORDER
HANDS ACROSS THE BORDER
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 25 April 2006 / 134

Published Estimate: €20,000-30,000

Price Realised: 

  • Signature: woollen tapestry mounted on raw linen
  • Medium: with a letter of provenance from the artist's nephew on reverse
  • Dimensions: 157 by 112cm., 62 by 44in.
  • Provenance: The artist's family by descent; De Vere's, Dublin, 30 March 2004, lot 168; Whence purchased by the present owner
  • Framed in pitch pine recycled from the pews of Burnfoot Presbyterian Church, Co. Donegal. The earliest documented tapestry of Dillon’s is the large work titled Gentle Breeze, now in the collection of Bord Fáilte. Gentle Breeze was begun in 1950 and exhibited three years later at the Irish Exhibition of Living Art (no. 61), where it was widely recognised as the outstanding entry in that year’s show. James White discusses the piece at some length in his monograph on Dillon, drawing attention in particular to the element of painstaking manual labour involved in such a project: “Most modern painters and tapestry designers send their cartoons to the great tapestry factories to be woven there, but Gerard started his own in Roundstone, at a time when he ran out of painting materials and perhaps adequate cash; obtaining a large canvas base and able to acquire wool ends in different colours locally, he set out to master the handcraft practised in cottages around the world for many hundreds of years” (James White, Gerard Dillon: An Illustrated Biography, Wolfhound Press, 1994, page 61). Dillon evidently enjoyed the work, for he is known to have executed at least two other tapestries: Island Tapestry (IELA, 1953, no. 9) and the present work, Hands Across the Border. In subject and composition Hands Across the Border is typical of Dillon’s consummate creativity; the flattened shapes of the two figures at once intertwine and flare outwards in a decorative design redolent of folk art. White considered the work to “represent Dillon’s feeling for his country, a man born and brought up in Ulster yet totally at home in the West of Ireland”.

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THREE BOTTLES, MARCH 1974
THREE BOTTLES, MARCH 1974
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 25 April 2006 / 135

Published Estimate: €4,000-5,000

Price Realised: 

  • Signature: gouache on paper
  • Medium: signed with initials and inscribed lower left; dated lower right
  • Dimensions: 18 by 25cm., 7 by 10in.
  • Provenance: Caldwell Galleries, Dublin and Belfast; Private collection
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THE LAKE, c.1969
THE LAKE, c.1969
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 25 April 2006 / 136

Published Estimate: €1,200-1,500

Price Realised: €2000

  • Signature: oil on board
  • Medium: signed lower left; inscribed and signed again on reverse
  • Dimensions: 13 by 25cm., 5 by 10in.
  • Provenance: Dawson Gallery, Dublin; Gerald Davis, Dublin; Private collection
  • Exhibited: 'Seán McSweeney: New Paintings', Dawson Gallery, Dublin, 3-19 July 1969, catalogue no. 7
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TWO SIDES
TWO SIDES
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 25 April 2006 / 137

Published Estimate: €10,000-12,000

Price Realised: 


THE TAIN - A COMPLETE SET, 1969
THE TAIN - A COMPLETE SET, 1969
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 25 April 2006 / 138

Published Estimate: €50,000-70,000

Price Realised: €120000

  • Signature: three boxed sets of twelve lithographs (36 total), no. 13 fr
  • Medium: each print signed, inscribed, dated and numbered with edition
  • Dimensions: 54 by 38cm., 21.2 by 15in.
  • The complete set of this seminal series, consisting of portfolios 1, 2 and 3. Each portfolio contains twelve different prints, or “lithographic brush drawings”, illustrating the epic Ulster cycle of heroic tales. Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof. The three folios of twelve prints each are presented in their original black clamshell cases with title pages, preliminaries and black interleaves. A rare and highly desirable set, with each print individually framed.

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FEMALE FORM II
FEMALE FORM II
Edward Delaney RHA (b.1930)

Auction Date / Lot No.: 25 April 2006 / 139

Published Estimate: €2,500-3,500

Price Realised: €3200


FEMALE FORM I
FEMALE FORM I
Edward Delaney RHA (b.1930)

Auction Date / Lot No.: 25 April 2006 / 140

Published Estimate: €2,500-3,500

Price Realised: €2900

  • Signature: bronze on limestone base; unique
  • Medium: signed and inscribed on base
  • Dimensions: 28 by 0cm., 11 by in.
  • Provenance: Collection of Gerald Davis; Private collection
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BIRDS IN FLIGHT
BIRDS IN FLIGHT
John Behan RHA (b.1932)

Auction Date / Lot No.: 25 April 2006 / 141

Published Estimate: €3,500-4,500

Price Realised: 


A WICKLOW HILL ON A WET DAY, 1971
A WICKLOW HILL ON A WET DAY, 1971
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 25 April 2006 / 142

Published Estimate: €4,000-5,000

Price Realised: €4200

  • Signature: oil on canvas
  • Medium: signed lower left; inscribed and dated on reverse
  • Dimensions: 30 by 38cm., 12 by 15in.
  • Provenance: Gerald Davis, Dublin; Private collection
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OUT WEST, 2001
OUT WEST, 2001
Noel Sheridan (b.1936)

Auction Date / Lot No.: 25 April 2006 / 143

Published Estimate: €5,000-7,000

Price Realised: €4000


TEAPOT AND FORGOTTEN APPLES, c.1976
TEAPOT AND FORGOTTEN APPLES, c.1976
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 25 April 2006 / 144

Published Estimate: €12,000-15,000

Price Realised: €17000

  • Signature: oil on canvas
  • Medium: signed lower right
  • Dimensions: 38 by 51cm., 15 by 20in.
  • Exhibited: 'Patrick Collins', Tom Caldwell Galleries, Dublin, November 1976, catalogue no. 6
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TABLE AND FLOWERS, 1966
TABLE AND FLOWERS, 1966
Noel Sheridan (b.1936)

Auction Date / Lot No.: 25 April 2006 / 145

Published Estimate: €3,000-4,000

Price Realised: €5500


MALAGA NIGHT MARINER, 1961
MALAGA NIGHT MARINER, 1961
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 25 April 2006 / 146

Published Estimate: €3,000-4,000

Price Realised: €3000

  • Signature: oil on canvas
  • Medium: signed and dated on reverse; inscribed with title on stretcher
  • Dimensions: 66 by 51cm., 26 by 20in.
  • Provenance: Collection of Noel Sheridan
  • Exhibited: Independent Artists, Dublin, 1961, catalogue no. 15 (£40-0-0)
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PAINTING, 1966
PAINTING, 1966
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 25 April 2006 / 147

Published Estimate: €10,000-12,000

Price Realised: 

  • Signature: oil on paper
  • Medium: signed with initials and dated lower left; gallery label on reverse
  • Dimensions: 52 by 64cm., 20.5 by 25in.
  • Provenance: Porthmeor Gallery, St Ives, catalogue no. 1749; Private collection
  • Relates to another work of 1966 titled Bird Legend, exhibited at the 1995 RHA annual exhibition and illustrated in the catalogue.

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BLUE SQUARE, 2000
BLUE SQUARE, 2000
Felim Egan (b.1952)

Auction Date / Lot No.: 25 April 2006 / 148

Published Estimate: €4,000-6,000

Price Realised: 


STUDY, CLUTHA RIVERBEND, 1989
STUDY, CLUTHA RIVERBEND, 1989
Barrie Cooke HRHA (b.1931)

Auction Date / Lot No.: 25 April 2006 / 149

Published Estimate: €3,000-4,000

Price Realised: €4000

  • Signature: oil on canvas board
  • Medium: exhibition labels on reverse
  • Dimensions: 25 by 30cm., 9.75 by 11.7in.
  • Provenance: Kerlin Gallery, Dublin; Private collection
  • Exhibited: 'Barrie Cooke: New Paintings - New Zealand', Kerlin Gallery, 12-30 May 1989
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COT FARM
COT FARM
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 25 April 2006 / 150

Published Estimate: €6,000-8,000

Price Realised: €8000

  • Signature: oil on canvas
  • Medium: signed lower right; inscribed with title and price (35gns) on reverse
  • Dimensions: 76 by 51cm., 30 by 20in.
  • Provenance: John Magee Gallery, Belfast; Private collection
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THREE PEGUIN BOOKS, 1989
THREE PEGUIN BOOKS, 1989
Neil Shawcross RHA RUA (b.1940)

Auction Date / Lot No.: 25 April 2006 / 151

Published Estimate: €2,000-3,000

Price Realised: €2000


PENGUIN BOOKS - EVELYN WAUGH'S PUT OUT MORE FLAGS, AND A HANDFUL OF DUST, 1989
PENGUIN BOOKS - EVELYN WAUGH'S PUT OUT MORE FLAGS, AND A HANDFUL OF DUST, 1989
Neil Shawcross RHA RUA (b.1940)

Auction Date / Lot No.: 25 April 2006 / 152

Published Estimate: €1,800-2,200

Price Realised: €1800


AT FULL GALLOP
AT FULL GALLOP
John B. Vallely (b.1941)

Auction Date / Lot No.: 25 April 2006 / 153

Published Estimate: €15,000-20,000

Price Realised: €26000


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