28 November 2006

First 20 results Previous 20 results   Records 51 to 100 of 183     Next 20 results Last results

WOMAN IN HEADDRESS
WOMAN IN HEADDRESS
Markey Robinson (1918-1999)

Auction Date / Lot No.: 28 November 2006 / 53

Published Estimate: €10,000-15,000

Price Realised: 

  • Medium: oil on canvas laid on board
  • Dimensions: 64 by 53cm., 25 by 21in.
  • Provenance: The artist's family
  • Literature: Michael Mulreany, Markey Robinson: Maverick Spirit, Ben Madigan Publications, Belfast, 2003, illustrated page 61
  • Have one to sell? Interested in Similar Items?


DON QUIXOTE
DON QUIXOTE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 28 November 2006 / 54

Published Estimate: €10,000-15,000

Price Realised: 

  • Signature: signed lower left; inscribed with title upper right and again on reverse
  • Medium: oil on board
  • Dimensions: 65 by 54cm., 25.5 by 21.2 5in.
  • Provenance: The late Gerald Goldberg, Lord Mayor of Cork; His sale, 'Ben Truda', Douglas, Cork, conducted by Mealy's of Castlecomer, 5 October 2004, lot 425
  • Have one to sell? Interested in Similar Items?


AN INTERESTING PLACE
AN INTERESTING PLACE
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 28 November 2006 / 55

Published Estimate: €8,000-10,000

Price Realised: €7500


ENCOUNTER, circa 1968
ENCOUNTER, circa 1968
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2006 / 56

Published Estimate: €40,000-60,000

Price Realised: €39000

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 69cm., 20 by 27in.
  • Provenance: Dawson Gallery, Dublin; Whence purchased by the present owners
  • Exhibited: ’Gerard Dillon’, Dawson Gallery, Dublin, 12 June – 2 July 1968, catalogue no. 20
  • In the original frame of the Dawson Gallery, Dublin. Encounter belongs to a series of works that Gerard Dillon painted from the mid 1960s that features the figure of Pierrot. First appearing in paintings such as The Brothers, circa 1965, Dillon’s Pierrot acted as an alter ego for the artist. James White has suggested that the introduction of the Pierrot figure into Dillon’s work was partly in reaction to the untimely death of his brother Joe from a heart defect in 1962. Having recently suffered an illness related to his own weak heart, and fearing that he would soon follow his brother, Dillon began to paint tableaux of melancholy Pierrots contemplating death in imaginary landscapes. Although Pierrot was a manifestation of Dillon’s preoccupation with death, he could also express the artist’s other hopes and fears. In Encounter Pierrot reels from the sight of a figure – perhaps another Pierrot – who appears to be trapped in stone. While the cause of this fate is left ambiguous, the presence of two nuns who have emerged from a fortified convent implies that religion has had a role to play. Although Dillon had been raised by a devoutly Catholic mother, he soon became disillusioned with the Catholic Church and came to see organised religion as a threat to his personal liberty. Dillon’s decision to adopt Pierrot as his alter ego was not only a reference to the historical appearance of the figures of Harlequin and Pierrot in the work of seminal Modernist artists including Picasso, Braque and Miró, but also references his concealment of his ambiguous sexuality in the conservative Ireland of the time. Dr Riann Coulter Paul Mellon Centre for British Art, October 2006

  • Have one to sell? Interested in Similar Items?


WOOD CARRIER
WOOD CARRIER
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2006 / 57

Published Estimate: €4,000-6,000

Price Realised: €4000

  • Signature: signed lower left; exhibition label on reverse
  • Medium: mixed media on paper
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Provenance: Dawson Gallery, Dublin; Collection of Mr and Mrs Eric Baird, Co. Wicklow; Private collection, Dublin
  • Exhibited: 'Gerard Dillon: Drawings and Collages', Dawson Gallery, Dublin, 1 - 16 April 1966, catalogue no. 11
  • Have one to sell? Interested in Similar Items?


SHAMROCK MOON
SHAMROCK MOON
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2006 / 58

Published Estimate: €8,000-10,000

Price Realised: 


AFTER RAIN, BALLYCONNEELY
AFTER RAIN, BALLYCONNEELY
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 28 November 2006 / 59

Published Estimate: €15,000-20,000

Price Realised: 

  • Signature: signed lower right; inscribed with title and price (95gns) on reverse
  • Medium: oil on board
  • Dimensions: 76 by 51cm., 30 by 20in.
  • Provenance: Ritchie Hendriks Gallery, Dublin; Whence purchased by the present owner.
  • Have one to sell? Interested in Similar Items?


THE HOLY ISLAND
THE HOLY ISLAND
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 28 November 2006 / 60

Published Estimate: €30,000-40,000

Price Realised: €36000

  • Signature: exhibition label on reverse
  • Medium: oil and sand on board
  • Dimensions: 91 by 122cm., 36 by 48in.
  • Provenance: Estate of the artist; Collection of Leo Smith, owner of Dawson Gallery; By whom bequeathed to his brother, Frank Smith; Private collection; Frederick Gallery, Dublin, 1996; Private collection
  • Exhibited: Frederick Gallery, Dublin, 10-28 June 1996, catalogue no. 1 (illustrated on front cover of catalogue)
  • Holy Island brings together two of Gerard Dillon’s favourite themes – the landscape of the west of Ireland and Celtic relief sculpture – with the technical innovation of adding sand to oil paint that he developed during the late 1950s. First visiting the west of Ireland in 1939, Dillon made the landscape, people and traditions of the western seaboard reoccurring themes of his art. Like West of Ireland Landscape, circa 1945 (National Gallery of Ireland), and High Cross Panel, circa 1949, Holy Island draws on the Celtic relief sculpture that Dillon had sketched during his visits to Monasterboice and Mellifont Abbey with Nano Reid. Unlike West of Ireland Landscape, where ordinary people go about their business in a landscape populated by standing stones, ancient ruins and Celtic crosses, Holy Island is a fantastical scene where two men dressed in religious robes and a saint like figure, complete with halo and crucifix, kneel in prayer as a blue goat leaps through the air above them. Reminiscent of Chagall’s dreamlike paintings that incorporate both Christian and Jewish religious imagery, Holy Island mixes Christian and pagan iconography that may relate directly to St Patrick’s Purgatory on Lough Derg, a place of pilgrimage that dates back to the early Irish Church. Although Dillon had become disillusioned with the Catholic Church in which he was raised, like Chagall who combined imagery drawn from Christianity, Judaism and folklore to explore his identity as a Russian Jew, Dillon’s use of iconography from Celtic Christianity can be interpreted as an effort to connect to a particularly Irish tradition. The island setting of Holy Island is also significant because Dillon considered islands as havens from the many social and religious constraints of life in 1950s Ireland. As James White has suggested Dillon’s love of the island of Inishlackan, where he spent the best part of a year in the 1950s, was due to the fact that it was a place where he could ‘cut himself off for a spell and live in a tiny cottage, with no social life to speak of and a boat journey away from barracks, church or pub – all this gave him the feeling of having found a land free of all the restrictions and suggestions of oppression which he had come to accept as being there to offend him’.1 While the imagery in Holy Island was drawn from historical sources, Dillon’s medium was experimental. In February 1958 Dillon wrote to James White: ”I’ve discovered a new way, an exciting way to use sand with my painting. Remember when you were a child – maybe you didn’t do it. You found an old glass pane, spat on it and drew with the finger, spreading the spittle, then you poured fine dust or sand over the glass and the dust stuck to the spit-drawing. Well I’ve done that with sand, different coloured sands … I did this with paint – put on with brush, knife, pour the sand over it all, until all is sand, then tilt and let the sand run off and Lo, you have a wonderful exciting picture. It’s the first time I have ever seen anything like it. I know Picasso and Braque used sand but not like this. It’s completely new”.2 Although Dillon’s experiments with sand coincided with his first forays into abstraction in 1957–58, Holy Island proves that he also used sand in figurative works and it is likely that the painting dates to this period of experimentation. 1 White, James, Gerard Dillon: An Illustrated Biography, Wolfhound Press, Dublin, 1994, page 10. 2 Gerard Dillon letter to James White, 20 February 1958, quoted by James White in Gerard Dillon: An Illustrated Biography, page 78. Dr Riann Coulter Paul Mellon Centre for British Art, October 2006

  • Have one to sell? Interested in Similar Items?


OLIVE TREES AND THISTLES
OLIVE TREES AND THISTLES
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 28 November 2006 / 61

Published Estimate: €5,000-7,000

Price Realised: €9000

  • Signature: signed with initials lower left; original exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 22 by 27cm., 8.5 by 10.5in.
  • Exhibited: 'Paintings of Ireland and Majorca', Dawson Gallery, Dublin, 1958
  • Have one to sell? Interested in Similar Items?


THREE WHITE HORSES ON THE LIFFEY
THREE WHITE HORSES ON THE LIFFEY
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 28 November 2006 / 62

Published Estimate: €6,000-8,000

Price Realised: €10500

  • Signature: signed with initials lower right; original inscribed label on reverse
  • Medium: watercolour over pencil on paper
  • Dimensions: 48 by 54cm., 19 by 21.2 5in.
  • Exhibited: Possibly exhibited at the WCSI, 1961, catalouge no. 41 as White Horses on the Liffey
  • Have one to sell? Interested in Similar Items?


NEAR GLENGARRIFF
NEAR GLENGARRIFF
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 28 November 2006 / 63

Published Estimate: €10,000-15,000

Price Realised: €16000


WINETAVERN STREET, DUBLIN
WINETAVERN STREET, DUBLIN
Stephen Bone NEAC (1904-1958)

Auction Date / Lot No.: 28 November 2006 / 65

Published Estimate: €3,000-4,000

Price Realised: €4000

  • Signature: signed lower left; inscribed on reverse with title, artist's name and address (140 Haverstock Hill, London NW3)
  • Medium: oil on canvas board
  • Dimensions: 30 by 41cm., 12 by 16in.
  • Have one to sell? Interested in Similar Items?


TREES, 1948
TREES, 1948
Laurence Campbell RHA (1911-1964)

Auction Date / Lot No.: 28 November 2006 / 66

Published Estimate: €3,000-4,000

Price Realised: 

  • Signature: signed and dated lower right
  • Medium: oil on canvas
  • Dimensions: 37 by 46cm., 14.5 by 18in.
  • Exhibited: RHA, 1949, no. 55
  • In the original frame of Combridges Fine Art, Dublin.

  • Have one to sell? Interested in Similar Items?


TURN-OVER
TURN-OVER
Desmond Stephenson ARHA (1922-1963)

Auction Date / Lot No.: 28 November 2006 / 67

Published Estimate: €4,000-6,000

Price Realised: €3800

  • Signature: signed lower left; inscribed with title and original price (£48-0-0) on reverse
  • Medium: oil on canvas board
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Exhibited: 'Desmond Stephenson ARHA 1922-1963', The New Gallery, Brown Thomas, Dublin, 10-19 June 1964, catalogue no. 4
  • Have one to sell? Interested in Similar Items?


STILL LIFE WITH POPPIES
STILL LIFE WITH POPPIES
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 28 November 2006 / 68

Published Estimate: €6,000-8,000

Price Realised: 


AT SPIDER'S BAY, LOUGH MASK, COUNTY MAYO
AT SPIDER'S BAY, LOUGH MASK, COUNTY MAYO
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 28 November 2006 / 69

Published Estimate: €3,000-4,000

Price Realised: €3000

  • Signature: inscribed "Spider's Bay, Lough Mask" on reverse
  • Medium: gouache on paper
  • Dimensions: 44 by 33cm., 17.5 by 13in.
  • Provenance: Gift from the artist to the aunt of the previous owner; Whyte's, 17 September 2002, lot 69; Whence purchased by the present owner
  • Spider’s Bay was the name of the cottage owned by the artist’s sister, Mrs Dorothy Teacher, by the shore of Lough Mask in Co. Mayo. Dorothy was a keen botanist, an interest evident here in Hone’s depiction of the garden. With thanks to Muriel Hone for her help in cataloguing this work.

  • Have one to sell? Interested in Similar Items?


MOTHER AND CHILD ON THE CLIFFS AT RUSH, 1949
MOTHER AND CHILD ON THE CLIFFS AT RUSH, 1949
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 28 November 2006 / 70

Published Estimate: €6,000-8,000

Price Realised: 

  • Signature: signed, dated and inscribed "Rush" lower left
  • Medium: pastel on buff coloured paper
  • Dimensions: 51 by 69cm., 20 by 27in.
  • Provenance: Bought directly from the artist by the present owner
  • Leonard later painted this same subject as an oil, which sold through these rooms in November 2002 (lot 111).

  • Have one to sell? Interested in Similar Items?


EVE, 1936
EVE, 1936
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 28 November 2006 / 71

Published Estimate: €800-1,000

Price Realised: €2600

  • Signature: signed lower right; inscribed lower left
  • Medium: woodcut print
  • Dimensions: 18 by 14cm., 7 by 5.5in.
  • Literature: Harry Kernoff, Twelve Woodcuts, Dublin, Three Candle Press, 1944, reproduced
  • With the publisher's prospectus for Twelve Woodcuts mounted on reverse.

  • Have one to sell? Interested in Similar Items?


STILL LIFE WITH MANDOLIN
STILL LIFE WITH MANDOLIN
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 28 November 2006 / 72

Published Estimate: €3,000-4,000

Price Realised: €4600


WOMAN IN BLUE HOLDING A BOWL OF FLOWERS, 1953
WOMAN IN BLUE HOLDING A BOWL OF FLOWERS, 1953
Stella Steyn (1907-1987)

Auction Date / Lot No.: 28 November 2006 / 73

Published Estimate: €5,000-6,000

Price Realised: €5000


CHURCH INTERIOR
CHURCH INTERIOR
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 28 November 2006 / 74

Published Estimate: €3,000-5,000

Price Realised: 


COMPOSITION
COMPOSITION
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 28 November 2006 / 75

Published Estimate: €1,000-1,200

Price Realised: €1000

  • Medium: pencil on paper
  • Dimensions: 20 by 10cm., 8 by 3.75in.
  • Provenance: Estate of Eileen MacCarvill; Frederick Gallery, Dublin, whence purchased by the present owner
  • Exhibited: 'Spring Exhibition of Irish Art', Frederick Gallery, Dublin, March 1996, catalogue no. 34
  • Have one to sell? Interested in Similar Items?


TWO ELEMENTS, 1924
TWO ELEMENTS, 1924
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 28 November 2006 / 76

Published Estimate: €30,000-40,000

Price Realised: €40000

  • Signature: signed and dated lower right; inscribed "J m 2 (2 oeuvres)" and signed again on reverse
  • Medium: oil on canvas
  • Dimensions: 85 by 66cm., 33.5 by 26in.
  • Provenance: Hecate Fine Art, Dublin; Private collection
  • Have one to sell? Interested in Similar Items?


CUBIST LANDSCAPE WITH RED PAGODA AND BRIDGE, circa 1926-28
CUBIST LANDSCAPE WITH RED PAGODA AND BRIDGE, circa 1926-28
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 28 November 2006 / 77

Published Estimate: €90,000-120,000

Price Realised: €180000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 76 by 64cm., 30 by 25in.
  • Provenance: The artist’s family; Pyms Gallery, London; Whence purchased by the present owner
  • Exhibited: 'Mary Swanzy HRHA (1882-1978), Pyms Gallery, London, 30 September - 25 October 1986, catalogue no. 4
  • Literature: Julian Campbell, Mary Swanzy HRHA (1882-1978), Pyms Gallery, London, 1986, reproduced page 39; David Lee, Arts Review, 10 October 1986, review of Pyms Gallery exhibition
  • Mary Swanzy was one of the earliest Irish artists to absorb a thorough knowledge of Modernism. In David Lee’s words (Arts Review, October 1986), “she was one of the last surviving artists with first-hand experience of Paris in the first thrilling decades of the [twentieth] century when new and almost immediately discarded styles lay thick under foot”. But unlike, say, Roderic O’Conor, who was in thrall to Gauguin, she never embraced any one influence to the exclusion of others — she is “delightfully unconventional”, the Irish Times commented of her in 1922 — choosing rather to draw upon whatever sources she felt most comfortable with. The qualities that shine consistently through her oeuvre are an ability to draw fluently and at times a playful and decorative sense of colour. Cubist Landscape with Red Pagoda and Bridge well illustrates these characteristics and, too, the joie de vivre that permeates a good deal of her work at its best. Swanzy’s pictures have a strong sense of structure, which owes much to her draughtsmanship and her admiration for Cézanne. Early on she developed a Fauvist-inspired technique which, despite later influences, she retained throughout her life, although during the 1920s and early 1930s for a time she adopted a Cubist manner that was greatly influenced by the work of Robert Delaunay, André Lhote and Albert Gleizes. By the late thirties, however, with the approach of war, her mood darkened and she ceased to be a Modernist in any real sense. Although Swanzy’s work is difficult to date with precision, Cubist Landscape with Red Pagoda and Bridge almost certainly belongs to the late 1920s, that is, her more formal, semi-cubist period. Yet even now she eschews the stricter theoretical aspects of analytical cubism in favour of a freer, more personal manner modelled on the so-called synthetic cubism, or Orphism, of Delaunay, whom she greatly admired. Typical of her pictures at this time are an emphasis on patterning, fluid brushwork, an even film of paint with little or no impasto and a stress on colour and light. But the upward thrusting movement and dynamic energy which rule over Cubist Landscape with Red Pagoda and Bridge, and which arguably are the real subject matter of the picture, can be compared to other Swanzy compositions of the time such as White Tower, circa 1925-7, and bring to mind the Italian Futurists — notably the architect Antonio Sant’Elia and the painter Umberto Boccioni — rather than the more confining strictures of Cubism per se. The manner in which the tree in the foreground, the pagoda and the bridge reach out through “lines of force” (Boccioni’s phrase) to affect one’s sense of the space around them — the forms to the right, for example, have been abstracted beyond the bounds of representation to become part of the overall dynamic of the scene — must surely owe a debt to Boccioni’s celebrated Development of a Bottle in Space, 1912, and Unique Forms of Continuity in Space, 1913, two of the most radical (sculptural) images of the Futurist period, 1909-19. But in the hands of Swanzy, these lines of force, rather than heralding a mechanistic “brave new world”, swirl decoratively to become self-contained. Thus the composition is without angst or unease, the mood being one of playfulness and representation — note, for example, besides the pagoda, the tree-lined avenue that leads the eye to it and the woman seated at the lower left casually observing the scene. The picture well illustrates Swanzy’s credo that she painted “for no ulterior motive than for the joy of painting. It is the thing itself”, she said, “one paints as a bird sings because it is in it” (Litti Paulding, Santa Barbara Daily News, 18 November 1924, and quoted in Julian Campbell, Mary Swanzy, exhibition catalogue, Pyms Gallery, London, 1986, page 33). It has been suggested that Mary Swanzy was the first Irish Cubist painter. That may be, but her absence abroad for much of the 1920s meant that her Cubist pictures were first seen in Dublin only in 1932, when Sarah Purser invited her to exhibit at Mespil House. The exhibition was well received by the press who admired her solid draughtsmanship and sense of colour, which, it was noted, she combined with rhythm to form “applied cubist designs” in which natural forms were “sacrificed to metrical effect” (Irish Times, 9 March 1932), points that can be seen to advantage in Cubist Landscape with Red Pagoda and Bridge. Dr S. B. Kennedy Seaforde, October 2006

  • Have one to sell? Interested in Similar Items?


YOUNG WOMAN IN A FUR-COLLARED WRAP, circa 1914-16
YOUNG WOMAN IN A FUR-COLLARED WRAP, circa 1914-16
James Sinton Sleator PRHA (1885-1950)

Auction Date / Lot No.: 28 November 2006 / 78

Published Estimate: €3,000-4,000

Price Realised: €3000

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

  • Have one to sell? Interested in Similar Items?


THE BOUQUET
THE BOUQUET
Patrick Hennessy RHA (1915-1980)

Auction Date / Lot No.: 28 November 2006 / 79

Published Estimate: €10,000-12,000

Price Realised: €8500

  • Signature: signed lower left; inscribed in another hand on reverse with title and price (25 guineas); also with newspaper clippings on reverse
  • Medium: oil on panel
  • Dimensions: 31 by 23cm., 12.2 5 by 9.25in.
  • Provenance: Adam's, Dublin, 18 July 1985, lot 21; Private collection; Adam's, Dublin, 24 September 2003, lot 74; Private Collection
  • Painted circa 1940s.

  • Have one to sell? Interested in Similar Items?


IN THE HEART OF CONNEMARA, 1939
IN THE HEART OF CONNEMARA, 1939
William Conor RHA RUA ROI OBE (1881-1968)

Auction Date / Lot No.: 28 November 2006 / 81

Published Estimate: €3,000-4,000

Price Realised: €4200

  • Signature: signed lower right; original receipt of sale, dated 2 February 1939, on reverse
  • Medium: watercolour over black chalk
  • Dimensions: 29 by 40cm., 11.5 by 15.7 5in.
  • Provenance: Sold by the artist to Miss M. Weir for £5-13-6, in 1939; Thence by descent to the previous owner
  • Have one to sell? Interested in Similar Items?


GIRL PLAYING AN ACCORDION
GIRL PLAYING AN ACCORDION
William Conor RHA RUA ROI OBE (1881-1968)

Auction Date / Lot No.: 28 November 2006 / 82

Published Estimate: €15,000-20,000

Price Realised: €15000

  • Medium: watercolour and wax crayon on paper
  • Dimensions: 48 by 37cm., 19 by 14.5in.
  • Provenance: Bell Gallery, Belfast; private collection
  • Exhibited: Almost certainly exhibited as Girl Playing an Accordion in 'William Conor' CEMA Exhibition, Museum and Art Gallery, Belfast, 1957, catalogue no. 138 (lent by W. McKee)
  • Have one to sell? Interested in Similar Items?


LOBSTER FISHERMEN OFF ACHILL, circa 1916-17
LOBSTER FISHERMEN OFF ACHILL, circa 1916-17
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 28 November 2006 / 83

Published Estimate: €90,000-120,000

Price Realised: €170000

  • Signature: signed lower right
  • Medium: oil on canvas laid on board
  • Dimensions: 30 by 42cm., 11.7 5 by 16.5in.
  • Provenance: Acquired circa 1930 by Thomas Fforde, Bruckless House, Co. Donegal, and in his possession until 1949; Thence by descent to present owner
  • Exhibited: Possibly included in ‘Pictures by Mr and Mrs Paul Henry’, Magee Gallery, Belfast, March 1917
  • When he first settled on Achill Island, in 1910, Paul Henry was struck by the harsh life of the people he found there, and in particular by the often difficult conditions in which they had to work. Yet despite these conditions, he said, they clung with a “dumb ferocity and affection” to their island. The omnipresent mountains, too, forced themselves upon his attention, for before going to Achill, he tells us, he had been a plain-dweller and the abruptness of the mountain contours now “disturbed” him (Henry, unpublished and undated story of life on Achill). On Achill, too, the sea was constantly encountered, its sudden changes of mood and temper often affecting life and fortune. The fragility of man’s survival in the face of the powers of nature, which made such an impact on Henry’s perceptions of the island, are clear to be seen in this striking picture, Lobster Fishermen off Achill. The simplicity of the composition, which comprises no more than four separate elements — the sky, the mass of the mountain which dominates all, the narrow strip of sea in the foreground and the tiny currach which provides a livelihood for the two fishermen — illustrates the Post-Impressionist force of Henry’s compositional technique at its best. The Whistlerian tones and the almost monochromatic palette also recall his student years in fin de siècle Paris. The closeness of the mountain — which must be Slievemore, the setting almost certainly being Dugort Bay.— is at once romantic and menacing in its immutability. It is a similar composition to another Henry picture, Lobster Fishermen, West of Ireland, sold at de Vere’s, Dublin, 30 March 2004. Reviewing Henry’s 1917 Belfast exhibition the News-Letter (15 March 1917) commented, in a plausible reference to this picture, that the “warm tones of the sea and the sky” were “beautifully merged”. Dated 1916-17 on stylistic grounds and on the evidence of the signature, with a dot after the word Paul. The use of a coarsely woven canvas also compares with other Henry pictures of these years. Lobster Fishermen off Achill is provisionally numbered 441A in S. B. Kennedy’s catalogue raisonné of Paul Henry’s oeuvre to be published in Spring 2007. Dr S. B. Kennedy Seaforde, September 2006

  • Have one to sell? Interested in Similar Items?


A LAKE IN KERRY, circa 1934-5
A LAKE IN KERRY, circa 1934-5
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 28 November 2006 / 84

Published Estimate: €90,000-120,000

Price Realised: €145000

  • Signature: signed lower left
  • Medium: oil on canvas board
  • Dimensions: 36 by 41cm., 14 by 16in.
  • Provenance: Sir Basil Goulding, Bt.; By whom given to the present owner's parents, circa 1945
  • This may be the Lake in Kerry composition that Paul Henry included in his 1935 Dublin exhibition. Reviewing that show the Irish Times (undated review, May 1935) thought the picture “a gem of blue tones in clouds and reflecting water”, a description that clearly applies to this composition. Judged stylistically, too, the picture must date from that period. The band of blue mountains which run across the background to halt the eye’s recession is a characteristic ‘Henry’ compositional device, but the division of the composition into two distinct areas of narrative — the upper with cottages and mountains, the lower dominated by the turf cuttings, both areas separated by a strip of water — is, in compositional terms, unusual for Henry. However, the relative darkening of the foreground and the upward thrust of the turf stacks contrast with the lighter tones beyond to lend a subtle theatricality to the scene. The fluid handling of paint, most notably in the foreground, may be compared to a number of other pictures by Henry dating from this time, such as Turf Stacks and Cottages by a Coastal Inlet, 1935-40, and The Maam Valley, 1942 (both private collections). Dated 1934-5 on stylistic grounds. A Lake in Kerry is numbered 860 in S. B. Kennedy’s forthcoming catalogue of Paul Henry’s oeuvre. S. B. Kennedy Seaforde, October 2006

  • Have one to sell? Interested in Similar Items?


OLD WOMAN DRIVING COW, c.1939
OLD WOMAN DRIVING COW, c.1939
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 28 November 2006 / 86

Published Estimate: €10,000-15,000

Price Realised: €19000

  • Signature: signed lower right
  • Medium: oil on canvas laid on board
  • Dimensions: 41 by 51cm., 16.2 5 by 20in.
  • Provenance: Wedding gift from a friend of the artist to the presnet owner in 1942
  • Exhibited: 'Charles Lamb Memorial Exhibition', Municipal Gallery of Modern Art, Dublin, 1969, catalogue no. 46 (lent by the present owner)
  • Have one to sell? Interested in Similar Items?


HEAD OF A WOMAN
HEAD OF A WOMAN
John Butler Yeats RHA (1839-1922)

Auction Date / Lot No.: 28 November 2006 / 87

Published Estimate: €6,000-8,000

Price Realised: €9500

  • Medium: pencil on paper
  • Dimensions: 48 by 39cm., 19 by 15.2 5in.
  • Provenance: Miss M. Weir (as per lot 81); Thence by descent to the previous owner
  • Yeats’ subtle and soft handling of the black lead pencil, seen to excellent effect in this work, is typical of his style in the late 1890s and early 1900s. In the introduction to Yeats’ exhibition in Dublin in 1901, the critic Frederick York Powell, wrote: “he has incontestably made the soft greys and dark sheen of the black lead the vehicle of some of his most intimate and successful interpretations of living nature”. The sitter is possibly his daughter Lily, who sat for her father on many occasions (see for instance Lily Yeats Reclining, circa 1897, plate 19 in Fintan Cullen, The Drawings of John Butler Yeats (1839-1922), Albany Institute of History and Art, New York, 1987, and Portrait of Lily Yeats, circa 1901, oil on canvas, National Gallery of Ireland).

  • Have one to sell? Interested in Similar Items?


FISHING FLEET ON THE SANDS AT SCHIEVENINGEN
FISHING FLEET ON THE SANDS AT SCHIEVENINGEN
Nathaniel Hone RHA (1813-1917)

Auction Date / Lot No.: 28 November 2006 / 88

Published Estimate: €15,000-20,000

Price Realised: 

  • Signature: signed lower right; remains of an exhibition label (number 1[?]52) on reverse
  • Medium: oil on canvas
  • Dimensions: 30 by 46cm., 12 by 18in.
  • Provenance: Adam's, Dublin, (date unknown) ; Whence purchased by the present owner
  • Exhibited: Possibly exhibited at the RHA, 1886, catalogue no. 267 as Scheveningen
  • A similar composition, The Fishing Fleet, Scheveningen (National Gallery of Ireland, no. 1425) was part of the Hone Bequest in 1919. Both works were clearly based upon a watercolour sketch, Study: Dutch Fishing Fleet, some with Sails Set, others not; Sand, listed as no. 592 in Bodkin’s Four Irish Landscape Painters and sold through the Gorry Gallery, Dublin, June 2002, catalogue no. 5.

  • Have one to sell? Interested in Similar Items?


BRIXHAM, AUGUST 1894
BRIXHAM, AUGUST 1894
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 28 November 2006 / 89

Published Estimate: €12,000-15,000

Price Realised: €16000

  • Signature: studio stamp lower right; inscribed with title and dated upper left (beneath mount)
  • Medium: watercolour over pencil
  • Dimensions: 15 by 25cm., 6 by 10in.
  • Provenance: Victor Waddington Galleries, London; Private collection
  • Literature: Hilary Pyle, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 4, page 57
  • Hilary Pyle describes this as “a sketch in soft colours of the sea town. Brixham is on the south coast of Devon, and Yeats may have visited there after his marriage in August 1894” (Pyle, op. cit., page 57).

  • Have one to sell? Interested in Similar Items?


LITTLE GIRL ON A STRAND, 1918
LITTLE GIRL ON A STRAND, 1918
William Percy French (1854-1920)

Auction Date / Lot No.: 28 November 2006 / 90

Published Estimate: €15,000-20,000

Price Realised: €14000


THE KENMARE RIVER, EVENING, COUNTY KERRY, 1924
THE KENMARE RIVER, EVENING, COUNTY KERRY, 1924
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 28 November 2006 / 91

Published Estimate: €70,000-90,000

Price Realised: €80000

  • Signature: signed lower left; inscribed lower right; dated and inscribed with the artist's address and an alternate title The Mouth of the Kenmare Riveron reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Christie's, Dublin, 23 October 1989, lot 115; Private collection
  • When they made their first expedition to Kerry in 1913, John and Hazel Lavery were captivated by its beauty and intended to return in the near future.1 Lavery had painted the resplendent Lakes of Killarney and a small study known as The Madonna of the Lakes which inspired the background of his triptych for St. Patrick’s Church in Belfast (figure 1).2 Their resolve to revisit Kerry the following summer was thwarted by the outbreak of war and although they were frequently in Dublin in the early twenties, the instability in rural areas made such an expedition hazardous. Having visited the north in 1923, the Laverys remained keen to tour the south as soon as possible. Lavery had conceived the idea of producing a “series of southern pictures” with the possible intention of staging an ‘Irish’ exhibition.3 This project waited until the following summer when they arrived in Dublin at the beginning of August and stayed briefly at Vice-Regal Lodge before setting off for Kerry, their ultimate destination being the Great Southern Hotel at Parknasilla. En route, they stopped at Glendalough, Tramore and Tipperary where Lavery painted landscapes and figure subjects.4 At Kenmare he painted the gardens of the hotel and views of the Kenmare river, the most vivid of which is the present example.5 Driving around the Ring of Kerry he also painted roadside characters and mountain landscapes. A visit to Kenmare House to call upon the Earl and Countess is also likely, but not recorded.6 By mid-September however, because of bad weather and the poor condition of the roads, he was obliged to curtail his plans to travel up the west coast through Connemara and Donegal to visit his cousin at Soldierstown in Co. Antrim. To find his vantage point for The Kenmare River, Evening, Lavery walked down from the hotel to the shore. The landscape with its dramatic skies and incoming Atlantic cloud formations, was constantly in flux. Despite the fact that such a scene, the subject of tourist postcards, was conventionally beautiful, Lavery felt compelled to address its vivid colours and changing moods. A similar motivation had spurred him to paint Loch Katrine in Scotland (National Gallery of Scotland, Edinburgh) and the Alpine ranges before the war.7 He habitually used the medium to document his experience and the present work is part of that ongoing diary. By mid-September 1924, when other commitments obliged him to return to London, the evening serenity of the estuary formed part of his small treasure trove. Not only does it represent a moment of tranquillity in troubled times, but the searing blues and greens of the distant hillsides make this his most vivid rendering of the Kenmare River. Prof. Kenneth McConkey University of Northumbria, October 2006 1 On this first occasion they were guests at Killarney House, on the vast estates of the 5th Earl and Countess of Kenmare. It is likely that Lavery went there primarily to paint the portrait of the Kenmare’s daughter, Lady Dorothy Browne (untraced). The house was built by the present incumbent’s father, the 4th Earl, in 1872, at a location reputedly chosen by Queen Victoria. This lavish Victorian pile was destroyed by fire in 1913 not long after Lavery’s visit. The 5th Earl then employed Edwin Lutyens to advise on the conversion of the stables of the original house into a dwelling which was then re-named Kenmare House. See Leonard Mosley, Castlerosse, 1956 (Arthur Barker Ltd), pp. 22-3; see also George Malcolm Thomson, Lord Castlerosse, his Life and Times, 1973, (Weidenfeld and Nicolson) and the Kenmare Papers at www.proni.gov.uk/records/private/kenmare.htm 2 The Lakes of Killarney was sold Sotheby’s, 2 June 1995, lot 292, a work inscribed and dated, 17 August 1913 and dedicated to the Countess of Kenmare. For further reference to the first version of The Madonna of the Lakes, see Kenneth McConkey, Sir John Lavery, 1993 (Canongate), pp. 134-5, 153. 3 Sadly, this project was never realized. 4 These included at least two views of Glendalough, The Blacksmiths of Tramore, The O’Sullivan Family (also from Tramore), The Stonebreakers, an itinerant penny-whistle player known as Phil, the Fluter, and at least one landscape of Tipperary (all private collections, see McConkey, 1993, p. 160-1). 5 Two views of the Kenmare River are known. As well as the present lot, Lavery also painted Where the Kenmare River joins the Sea, (Christie’s South Kensington, 16 Sept 1998, lot 78). This work apparently is dated 1930. No evidence exists for a visit to Kerry in that year – in fact the Laverys spent the holiday season in 1930 at Marienbad. Two further landscapes – The Coast of Kerry, (Christie’s, 15 May 2003, lot 53) and The Kerry Hills, (Phillips, 25 March 1997, lot 6), may be added to this sequence. 6 In the intervening eleven years, it is also likely that Lavery would have met Valentine Browne, (1891-1943), Lord Castlerosse, son of the 5th Earl, a notorious bon viveur, gossip columnist and gambler, who died when, according to one account, he was “overtaken by obesity”. It is not recorded precisely when he met the Laverys, but we may assume that their first encounter had occurred by the end of the Great War. In the early twenties they must have been familiar with his fiancée, Doris De Lavigne, the future Lady Castlerosse, since Valentine and Doris were also friends of the Coopers. Lavery painted Lady Castlerosse’s portrait at the time of their marriage in 1928, again in eighteenth century costume in 1933, and at Palm Springs in 1938. In the summer of 1924, Castlerosse was escorting Mrs Randolph Hearst in London and Kenmare, see Mosley, 1956, pp. 61-4; also, John Julius Norwich ed., The Duff Cooper Diaries, 2005, (Weidenfeld and Nicolson), p. 196. 7 See McConkey, 1993, pp. 103-104.

  • Have one to sell? Interested in Similar Items?


ARRANMORE, BURTON PORT, COUNTY DONEGAL and COASTLINE, COUNTY DONEGAL, 1910 (A PAIR)
ARRANMORE, BURTON PORT, COUNTY DONEGAL and COASTLINE, COUNTY DONEGAL, 1910 (A PAIR)
William H. Bartlett RBA (1858-1932)

Auction Date / Lot No.: 28 November 2006 / 92

Published Estimate: €6,000-8,000

Price Realised: 

  • Signature: each signed and dated lower left; the former inscribed on reverse
  • Medium: oil on panel
  • Dimensions: 18 by 23cm., 7 by 9.25in.
  • Exhibited: 'An Exhibition of 18th, 19th and 20th Century Irish Paintings', Gorry Gallery, Dublin, 2-12 March 2005, catalogue nos. 57 and 58
  • In the original gilt wood frames of Thomas Wood and Sons, Darlington. Full inscription on reverse of the first work reads: "By Mr Bartlett RBA / Arranmore/ Burton Port / Co. Donegal / Loveliest spot in all Co. Donegal".

  • Have one to sell? Interested in Similar Items?


FAIRIES APPEARING TO A WOMAN ON A MOUNTAINSID AT DUSK
FAIRIES APPEARING TO A WOMAN ON A MOUNTAINSID AT DUSK
George Russell Æ (1867-1935)

Auction Date / Lot No.: 28 November 2006 / 93

Published Estimate: €10,000-12,000

Price Realised: €12500


MISS FLORA LION IN ORIENTAL COSTUME
MISS FLORA LION IN ORIENTAL COSTUME
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 28 November 2006 / 94

Published Estimate: €40,000-60,000

Price Realised: €39000

  • Signature: signed lower left; inscribed with title and artist's Cromwell Place Studio address on reverse
  • Medium: oil on canvas
  • Dimensions: 77 by 55cm., 30.5 by 21.5in.
  • Provenance: With the Fine Art Society, London, circa 1968 The McClelland Collection; Private collection, Dublin
  • The precise circumstances which led to Lavery’s sketch of Flora Lion remain obscure.1 It is likely that they would have met as exhibitors. In the early years of the twentieth century Lion was keen to establish her reputation as a portrait painter and an association with Lavery may have been regarded as advantageous around 1914, when his international reputation was high. There is no doubt that she cut a striking figure in London society. Flora Lion (1876-1958) was of Franco-Jewish extraction.2 Her family were boot and shoe manufacturers. She studied briefly at St John’s Wood School of Art before progressing to the Royal Academy Schools in 1895 and finished her training at the Atelier Julian in Paris, 1899-1900. A regular exhibitor from 1899, Lion showed at the Royal Academy, the Royal Institute for Painters in Oil Colours and the Royal Society of Portrait Painters in London. Her sitters, in addition to Lavery (figure 1), included Elizabeth Bowes-Lyon, Duchess of York, Sir Henry Wood, the suffragette Flora Drummond, and the classical painter Sir Lawrence Alma Tadema. In many cases her portraits began as lithographs that could be used for reproduction or sold as sets; these, in stylistic terms, often recall the charcoals of John Singer Sargent.3 During the Great War, Flora Lion, like Lavery, painted scenes of armament construction – having been granted access to factories in Leeds and Bradford.4 Solo exhibitions of her portraits, landscapes and flower-pieces were staged in London at Barbizon House in 1929, the Fine Art Society in October 1937 and Knoedler and Co. in 1940. The precise decoding of Miss Lion’s Oriental attire presents difficulty. Elements of her headdress recall the Indo-Chinese dancers painted by Sargent and Gerald Kelly, while her costume is more Indian or Burmese than Chinese or Japanese. Although Lavery preferred his female sitters in contemporary dress, costume-piece portraits were not uncommon at a time when painters and sitters alike, sought to recreate the ambiance of the Medici or Hapsburg courts. However, in a work of this type the painter was more interested in colour and tonal harmony, than academic precision. What we have is an impression – possibly a preparatory sketch for a full-length portrait – a work of the type which seventeenth and eighteenth century portraitists were believed to have carried out.5 This clearly places Lavery in the lineage of Velazquez and Van Dyck, emphasising spontaneity above surface accuracy. Prof. Kenneth McConkey University of Northumbria, October 2006 1 It is possible that Miss Lion appeared in her Oriental costume at one of the many costume balls which were popular in London prior to the Great War. 2 Despite her contemporary reputation, information on Flora Lion is now difficult to assemble. Much useful material has been drawn together by the author of her entry at http://en.wikipedia.org/wiki/Flora_Lion, although in some aspects it should be treated with caution. 3 For two examples see Kenneth McConkey introduction, Royal Society of Portrait Painters Centenary Exhibition, 1991 (exhibition catalogue), nos. 36 and 37. Sargent’s ‘charcoals’, swift substitutes for the time-consuming business of formal portraits, were immensely popular as public currency because, like Lion’s lithographs, they were easily reproduced in the growing number of ‘celebrity’ or ‘gossip’ publications. 4 See for instance, Building Flying Boats, 1918 (Imperial War Museum, London). 5 A large version of the present work has never come to light. For the aesthetics of the portrait sketch and the popular belief that artists like Van Dyck carried out such preliminary exercises see Kenneth McConkey, Edwardian Portraits, Antique Collectors Club, 1987, pp. 22-37.

  • Have one to sell? Interested in Similar Items?


QMAAC CAMP, 1918
QMAAC CAMP, 1918
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 28 November 2006 / 95

Published Estimate: €40,000-50,000

Price Realised: €60000

  • Signature: signed lower left; inscribed, dated and signed again on reverse
  • Medium: oil on canvas
  • Dimensions: 64 by 76cm., 25 by 30in.
  • In May 1917, with the outcome of the Great War undecided and both sides locked in stalemate, John Lavery became one of the first painters appointed as Official War Artist.1 Due to his age, he was restricted to the ‘Home Front’ and allocated a Special Joint Naval and Military Permit, giving access to Naval bases, gun factories and troop embarkations.2 He would not witness the bombardments of the Western Front. His assignment did not stop him from taking risks and during the severe winter of 1917, he travelled north to Scapa Flow to paint the British Fleet. The severity of the conditions necessitated experimentation with an electrified suit removed from a German airman who had been shot down. In his early sixties Lavery flew over the North Sea convoys, painting U-Boat attacks from an airship.3 By the Armistice, many Official War Artists had produced battlefield scenes and others, Lavery included, had painted support activities involving women in ordinance factories in Britain, but the specific record of ‘Women’s Work’ in France had been neglected.4 The need to remedy this oversight was perhaps provoked by C. E. Montagu who penned the introduction to Lavery’s folio of reproductions in the ‘British Artists at the Front’ series. Illustrating women making shells in a Scottish factory, Montagu observed that: ”Women have travelled some way from the mild watercolours and crochet of mid-Victorian maidenhood… What they have done in this war will surely be remembered for ever, not only helping to win it, but also helping all men in future to a nobler idea of comradeship with women”.5 Such comments may well have sparked the 1919 enterprise, a special commission to paint army hospitals and other ‘behind the lines’ scenes in Northern France. The work upon which Lavery now embarked was urgent because many of the facilities were being dismantled. His brief was specific; the Ministry of Information suggested that he might like to show the motor repair shops at Etaples, army clerks at Rouen, and the production line at the massive army bakery at Dieppe. Ambulance drivers and nurses of Queen Mary’s Army Auxiliary Corps (QMAAC) were also recommended because “they contain some of the finest golfing and sporting women among the personnel”. The present camp may be either of two field hospitals visited by the artist at Le Touquet and Rouxmesnil.6 Lavery declined the opportunity to paint QMAAC auxiliaries playing football at Dieppe. Although the 1919 expedition was time-limited, Lavery continued his practice of producing duplicate variants of his war works. This enabled him to fulfil the terms of his contract with the British Government, while retaining pictures for private use. Works such as QMAAC Camp formed part of this personal diary. As the sun shines and the trees come into leaf, calm prevails across the green hillside with its cluster of temporary buildings. In the foreground, three women auxiliaries are relaxing in the shade, while others stroll casually on either side of the open gates and sentry box. Access is no longer restricted. The landscape is touched by the effects of war, but unlike the devastated Flanders fields, it is peacefully renewing itself. Prof. Kenneth McConkey University of Northumbria, October 2006 1 Lavery was instrumental in setting up the War Artists scheme. Having failed to make any headway with the Artists Rifles, he started lobbying on his own behalf, to equip a motor-bus full of painting materials, to take him to the Western Front. See Kenneth McConkey, Sir John Lavery, 1993 (Canongate), pp. 134-142. See also Meirion and Susie Harries, The War Artists, 1983 (Michael Joseph), pp. 34-7. 2 Since no one had ever seen his permit before, he was promptly arrested when he set up his easel on the banks of the Forth. 3 See for instance, McConkey, 1993, plate 172. 4 The Imperial War Museum, London, contains 11 works in this category. 5 Robert Ross and C. E. Montagu, British Artists at the Front – Sir John Lavery ARA, The Offices of “Country Life”, George Newnes Ltd, 1919, plate XII; quoted in M&S Harries, 1983, p. 37. 6 These are represented in two works (nos. 2885 and 2891) in the Imperial War Museum, London.

  • Have one to sell? Interested in Similar Items?


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

Auction Date / Lot No.: 28 November 2006 / 96

Published Estimate: €6,000-8,000

Price Realised: €5800

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

  • Have one to sell? Interested in Similar Items?


COWS IN PASTURE
COWS IN PASTURE
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 28 November 2006 / 97

Published Estimate: €15,000-20,000

Price Realised: €7700

  • Signature: signed with initials lower right
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 26 by 36cm., 10.2 5 by 14in.
  • In the original gilt wood frame of Rowley and Co., Manchester

  • Have one to sell? Interested in Similar Items?


THE THORNBUSH, 1894
THE THORNBUSH, 1894
Walter Frederick Osborne RHA (1859-1903)

Auction Date / Lot No.: 28 November 2006 / 98

Published Estimate: €400,000-600,000

Price Realised: €400000

  • Signature: signed and dated 'Walter Osborne 94' lower left; original exhibition labels on reverse
  • Medium: oil on canvas
  • Dimensions: 70 by 90cm., 27.5 by 35.5in.
  • Provenance: Canon Harris, Rathmines; His sales, Messrs. Bennett and Sons, Dublin, 3 April 1914; Whence purchased by M. Barrington Jellett, JP; Dr Cremin, thence by descent; Christie's, The Irish Sale, 22 May 1998, lot 159; Whence purchased by the present owner
  • Exhibited: RA, London, 1894, catalogue no. 43; RHA, Dublin, 1895, cat. no. 47; ’Irish International Exhibition’, Dublin, 1907, catalogue no. 73 (illustrated); ’Exposition d’Art Irlandais’, Brussels, 1930, catalogue no. 120 (lent by Dr Cremin); ’Walter Osborne’, National Gallery of Ireland, Dublin, November - December 1983, the exhibition later travelled to the Ulster Museum, Belfast, in January - February 1984, catalogue no. 46
  • Literature: Henry Blackburn, Academy Notes, Chatto and Windus, London, 1894, illustrated; Walter Strickland, A Dictionary of Irish Artists, Irish University Press, Dublin, 1969, page 206; Thomas Bodkin, Four Irish Landscape Painters, Talbot Press, Dublin, 1920, pages 44, 124, 151, 153, plate XV; Jeanne Sheehy, Walter Osborne, Gifford and Craven, Ballycotton, Co. Cork, 1974, catalogue no. 359, listed page 134; Jeanne Sheehy, Walter Osborne, National Gallery of Ireland, Dublin, 1983, page 102 (reproduced)
  • “This picture is regarded by many as Osborne’s masterpiece. I cannot think of any landscape by which he might be more fitly represented.” Thus wrote Professor Bodkin in 1920. Continuing, he wrote: “It was painted at Foxrock, near Dublin, towards the close of summer. The inextricable tangle of weeds and grasses in the foreground is wonderfully rendered both as to line and colour. Black-and-white goats. red-and-white cattle, the blue-shirted boy, the pink-frocked smaller child, the thornbush itself, are all placed with great skill to emphasise the suggestion of a confused and spacious wilderness. The composition of the picture is as subtle as it is effective. The way in which the paint is laid is accomplished in the extreme; and yet conveys a first impression of delightful, almost careless ease”. In the early 1890s, after several years of painting on the Continent and in England, Walter Osborne set about re-discovering his own country; street scenes in Dublin, rural landscapes at Foxrock and north Co. Dublin, and market scenes in Galway. At Foxrock he found an ideal painting ground close to Dublin: by no means part of the spreading suburbs of Dublin, as it is today, but then a mixture of wild scrub and open landscape, quarries and farmland. He often took the train out from Harcourt Street, and could spend several hours painting at Foxrock en plein air. Beatrice Elvery recalled Osborne painting near the quarry holes at Foxrock, representing local children and farm animals.1 In 1892 he painted a study of goats at Foxrock (Dublin City Gallery the Hugh Lane), and in 1893 made several important canvases on the theme of dairy farming, showing girls milking cattle in the meadow; for example, Milking Time, (on loan to National Gallery of Ireland). The Thornbush was probably commenced in late summer 1893, and completed in 1894, a year in which the artist received several important portrait commissions. There is no disputing the weight and intensity of The Thornbush. It is painted on a large canvas, and is on of Osborne key plein air scenes of the 1890s. Most of the activity is placed at the left of the picture. A boy wearing cap and open jacket is shown, preoccupied, whittling at something with a knife, while his little sister leans close to him for protection. The boy is reminiscent of the farm lads with caps, standing in fields or under a tree, in earlier pictures. Yet the placing of the children at the left margin, while the grazing goats are positioned centrally, and the sombre tonality, give a low-key, almost casual, ‘snapshot’ quality to the scene. In mood, The Thornbush has something of the tone of The Poachers, painted circa 1884, ten years earlier. Yet the low tonality belies the skill of Osborne’s close observation of nature, the verdancy of his palette, and the richness of his painting technique. The brushwork in the boy’s shirt and hand, and in the girl’s face and dress, half hidden by foliage, has a looseness and vigour. The goats in the foreground are painted with skill and character, each one with a different posture, with textured, criss-cross brushstrokes. The cattle in the background are rendered with curling brushstrokes, with characteristic skill and vigour. Osborne captures well the dry wiriness of the thorn tree. In the distance a golden pasture is lit by sunshine, while above the flat landscape is a cloudy sky, in which white clouds are scudding towards the right, revealing beautiful patches of blue, suggesting sunshine to come. One of the most striking areas of the picture is the detailed and varied rendering of the rough pasture in the foreground: different types of plants and grasses, weeds and twisted briars, with a few vivid yellow flowers floating against the green and brown background. The Pre-Raphaelites had painted garden flowers and foliage with painstaking exactitude. Isolated plants in Jean Francois Millet’s peasant pictures take on a mysterious, spiritual quality. French Naturalist painter, Jules Bastien-Lepage, had given fascinating detail and varied textures to foreground plants and grasses. So too had John Lavery in his masterly painting Under the Cherry Tree (Ulster Museum, Belfast). Yet Osborne’s treatment of the foreground wildness has greater vigour and modernity. It is mysterious, yet has a sense of tangibility; with tangled grasses here, flecks of paint there, and rapid impasto strokes, we almost feel that we could reach out and touch the plants. Jeanne Sheehy dates The Thornbush to 1893-94, implying that Osborne worked on it for some time, conscious that it would be a major exhibition piece.2 The painting was exhibited widely, and illustrated on several occasions. It was shown first at the Royal Academy in London in 1894, and illustrated in Henry Blackburn’s Academy Notes of that year. It was exhibited at the Royal Hibernian Academy in 1895. It was shown again in Dublin in 1907, at the Irish International Exhibition. A reproduction was included in the Souvenir ‘Folio of Famous Pictures’ on that occasion. The Thornbush was described in detail and illustrated in Four Irish Landscape Painters by Thomas Bodkin, published in 1920. The painting was included in the ‘Exhibition d’Art Irlandais’ held in Brussels in 1930. Jeanne Sheehy selected it for the retrospective of Osborne’s work, at the National Gallery of Ireland in 1983, and the Ulster Museum, Belfast in 1984. The Thornbush entered the collection of Canon Harris, perhaps purchased at the RHA in 1895. Amongst several subsequent owners was Dr. Cremin, who had a surgery at 120 St. Stephen’s Green, and who also owned Osborne’s fine Impressionistic painting In St. Stephen’s Green.3 The Thornbush was Dr. Cremin’s favourite painting, and he hung it in his surgery above an American roll-top desk.4 1 Beatrice Elvery, cited by Jeanne Sheehy, Walter Osborne, National Gallery of Ireland, Dublin, 1983, page 102. 2 J. Sheehy, ibid. 3 See provenance, above. 4 Christie’s sale catalogue, 22 May 1998, pages 108-110; provenance details also inscribed on label on reverse of painting. Julian Campbell Crawford College of Art, Cork, 2006

  • Have one to sell? Interested in Similar Items?


SEATED SEMI-NUDE GIRL
SEATED SEMI-NUDE GIRL
Sir William Orpen RA RWS RHA (1878-1931)

Auction Date / Lot No.: 28 November 2006 / 99

Published Estimate: €10,000-15,000

Price Realised: €10500

  • Medium: pencil, sanguine conté crayon and wash on paper
  • Dimensions: 29 by 23cm., 11.2 5 by 9in.
  • Provenance: Sir Edmund Davis; Fine Art Society, London, by 1971; Christie's, The Irish Sale, 14 May 2004, lot 197; Private collection
  • Exhibited: `The Slade Tradition', Fine Art Society, London, October - November 1971, catalogue no. 69
  • With a study of a woman's head, in sanguine conté, on reverse.

  • Have one to sell? Interested in Similar Items?


MAISON ET JARDIN, 1893
MAISON ET JARDIN, 1893
George S. Waterlow (fl. 1890s-1932)

Auction Date / Lot No.: 28 November 2006 / 100

Published Estimate: €1,000-1,500

Price Realised: €2200

  • Signature: signed and dated lower left
  • Medium: oil on canvas
  • Dimensions: 65 by 54cm., 25.5 by 21.2 5in.
  • Trained in France at the turn of the century, George S. Waterlow. He exhibited occasionally at the RHA (1916-32), the Dublin Sketching Club and the WCSI, submitting from an address in Killiney, Co. Dublin.

  • Have one to sell? Interested in Similar Items?


STILL LIFE WITH CYCLAMEN IN A VASE
STILL LIFE WITH CYCLAMEN IN A VASE
James Sinton Sleator PRHA (1885-1950)

Auction Date / Lot No.: 28 November 2006 / 101

Published Estimate: €15,000-20,000

Price Realised: €14000

  • Medium: oil on board
  • Dimensions: 70 by 53cm., 27.5 by 21in.
  • Provenance: Edith Sleator, the artist's sister; Rachel Maxwell (neé Hoey), the artist's niece; By whom given to the parents of the former owners; Christie's, South kensington, 14 May 2004, lot 387; Private collection
  • Exhibited: 'An Exhibition of 17th, 18th, 19th and 20th Century Irish Paintings', Gorry Gallery, Dublin, 1-15 March 2006, catalogue no. 75
  • Have one to sell? Interested in Similar Items?


LA MAISON DU PENDU, LA POULOU, 1893
LA MAISON DU PENDU, LA POULOU, 1893
Roderic O'Conor (1860-1940)

Auction Date / Lot No.: 28 November 2006 / 102

Published Estimate: €3,000-4,000

Price Realised: 

  • Signature: signed and dated lower right; atelier stamp lower left
  • Medium: crayon on paper
  • Dimensions: 18 by 44cm., 7.25 by 17.2 5in.
  • This house was the subject of at least one other drawing by O’Conor and an etching, circa 1893 (see Jonathan Benington, Roderic O’Conor: A Biography with a Catalogue of his Work, Irish Academic Press, Dublin, 1992, catalogue nos. 337 and 442). It was a favourite subject of many of the Pont-Aven artists including Gauguin and Seguin.

  • Have one to sell? Interested in Similar Items?


SUNLIGHT THROUGH THE CLOUDS, 1893
SUNLIGHT THROUGH THE CLOUDS, 1893
Roderic O'Conor (1860-1940)

Auction Date / Lot No.: 28 November 2006 / 103

Published Estimate: €1,500-2,000

Price Realised: €2000

  • Signature: signed and dated in the plate lower right
  • Medium: restrike etching
  • Dimensions: 27 by 34cm., 10.7 5 by 13.2 5i
  • Exhibited: 'Exhibition of Irish Art', Milmo-Penny Fine Art, Dublin, 21-28 May 1992, catalogue no. 10 (as 'Effet de soliel dans un nuage')
  • Literature: Jonathan Benington, Roderic O'Conor, Irish Academic Press, Dublin, 1992, page 236, no. 430
  • The original plate from which this restrike was made was sold with the contents of the artist's studio, Hotel Drouot, Paris, 17 November 1975, lot 172, no. 2.

  • Have one to sell? Interested in Similar Items?


FEMALE DANCER, 1898-9 (SET OF THREE)
FEMALE DANCER, 1898-9 (SET OF THREE)
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 28 November 2006 / 104

Published Estimate: €12,000-15,000

Price Realised: €19000

  • Signature: each signed either lower left or lower right
  • Medium: gouache over pencil on board (three, framed separately)
  • Dimensions: 23 by 10cm., 9 by 4in.
  • Provenance: Purchased from a Paris gallery circa 1900 and thence by descent until acquired by the present owner; Wiith the Galerie Herrmann, Hamburg
  • With letters of authenticity for each work from Dr S. B. Kennedy, in which he notes that these were probably done whilst Henry was a student in Paris, and numbering them 115, 116 and 117 in the forthcoming catalogue raissoné, to be published by Yale in Spring 2007.

  • Have one to sell? Interested in Similar Items?


COTTAGE INTERIOR WITH CHICKENS, OR A KERRY COTTAGE
COTTAGE INTERIOR WITH CHICKENS, OR A KERRY COTTAGE
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 28 November 2006 / 105

Published Estimate: €20,000-30,000

Price Realised: €29000

  • Signature: signed lower left; inscribed on stretcher and with exhibition labels on reverse
  • Medium: oil on canvas
  • Dimensions: 46 by 56cm., 18 by 22in.
  • Exhibited: 'An Angler's Eye: James Humbert Craig', Ulster Museum, Belfast, November 2000 - March 2001
  • Have one to sell? Interested in Similar Items?


First 20 results Previous 20 results   Records 51 to 100 of 183     Next 20 results Last results

FREE VALUATIONS: DUBLIN: Informal and confidential advice and valuations for prospective sellers given by appointment at our galleries, 38 Molesworth Street, Dublin 2; Monday to Friday,10am to 5pm. .
ELSEWHERE: send images and details to info@whytes.ie for a free appraisal and advice on selling. We also travel throughout Ireland and Great Britain, and occasionally to the US and elsewhere, to appraise large collections or valuable single items. 
CLICK HERE FOR GUIDE TO SELLING AT WHYTE'S, or watch our video here.

Whyte & Sons Auctioneers Ltd., 38 Molesworth Street, Dublin D02 KF80, Ireland. Tel: +353 (0)1 676 2888 Email: info@whytes.ie
Licensed to conduct auctions by The Property Services Regulatory Authority of Ireland. Licence No. 001759.