19 February 2007

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CAP D'AIL, 1938
CAP D'AIL, 1938
Kenneth Hall (1913-1946)

Auction Date / Lot No.: 19 February 2007 / 51

Published Estimate: €8,000-10,000

Price Realised: €10000

  • Signature: signed lower right; inscribed and dated 28 January 1938 on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Collection of Lucy Carrington Wertheim; Private Collection
  • Exhibited: Second solo exhibition, Wertheim Gallery, London 1938
  • The original owner of this work, Lucy Wertheim, was Hall’s first dealer and an ardent advocate of his work. Wertheim supported numerous young, then unknown artists such as Frances Hodgkins and Christopher Wood, and in 1934 gave Hall his first solo exhibition. Hall had studied furniture design in London during the early 1930s, but as a painter was largely self-taught. Around the time of his first exhibition, Hall met Basil Rákóczi, a fellow interior designer and founder of the Society for Creative Psychology. Together they read works on psychoanalysis and painted works they described as “subjective art”. They exhibited these in a shared studio in Fitzroy Street under the collective name of the White Stag Group. During the years 1936-38 they travelled through France, Spain, Italy and Greece. Hall’s second show at the Wertheim Gallery consisted chiefly of paintings of Cap D’Ail, on the French Riviera. In July 1939 he and Rákóczi came to Ireland, partly to avoid conscription, and partly perhaps owing to the fact that both of their mothers hailed from Co. Cork. In an attempt to live frugally they took a cottage at Delphi, Co. Mayo, but returned to Dublin in March 1940. There they re-established the White Stag Group, creating a nucleus for likeminded experimental artists such as Patrick Scott, Mainie Jellett, and Nick Nicholls. After the war Hall returned to London and showed briefly with the Redfern Gallery. However, he suffered acute depression and in July 1946 took his own life. The following year, in the preface to her memoirs, Adventure in Art, Lucy Wertheim paid tribute to Hall, whose untimely death, she wrote “robbed [us] of a very great artist”.

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NELSON'S PILLAR, DUBLIN and TRAM AT NIGHT, DUBLIN (A PAIR)
NELSON'S PILLAR, DUBLIN and TRAM AT NIGHT, DUBLIN (A PAIR)
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 19 February 2007 / 52

Published Estimate: €800-1,000

Price Realised: €2600

  • Signature: each signed lower right and inscribed lower left
  • Medium: woodcut prints (2)
  • Dimensions: 20 by 15cm., 7.75 by 5.75in.
  • In the original frames of the Victor Waddington Galleries, Dublin.

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DROGHEDA, 1982
DROGHEDA, 1982
Thomas Ryan PPRHA (b.1929)

Auction Date / Lot No.: 19 February 2007 / 53

Published Estimate: €1,500-2,000

Price Realised: €2700

  • Signature: signed lower right; inscribed with artist's reference no. 124.82 lower left; inscribed, dated 25 September 1982 and signed again on reverse
  • Medium: watercolour
  • Dimensions: 25 by 20cm., 10 by 8in.
  • Painted on the reverse of a catalogue to an exhibition by Liam Treacy.

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THE PARADE AND CITADEL, HALIFAX, 1957
THE PARADE AND CITADEL, HALIFAX, 1957
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 19 February 2007 / 54

Published Estimate: €8,000-10,000

Price Realised: €7700

  • Signature: signed and dated lower right
  • Medium: watercolour over pencil
  • Dimensions: 29 by 37cm., 11.5 by 14.7 5in.
  • Exhibited: `Harry Kernoff: Nova Scotia Pictures', Hendricks Gallery, Dublin, 1958.
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ORMOND QUAY, DUBLIN (IN DECAY), 1986
ORMOND QUAY, DUBLIN (IN DECAY), 1986
Thomas Ryan PPRHA (b.1929)

Auction Date / Lot No.: 19 February 2007 / 55

Published Estimate: €2,500-3,500

Price Realised: 

  • Signature: signed, inscribed "Dublin Quays" and dated 3 September 1986 lower left; inscribed on reverse
  • Medium: watercolour, pen and ink
  • Dimensions: 20 by 29cm., 8 by 11.5in.
  • No. 72-86 in the artist's records.

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MOTHER AND CHILD
MOTHER AND CHILD
Stella Steyn (1907-1987)

Auction Date / Lot No.: 19 February 2007 / 56

Published Estimate: €1,000-1,500

Price Realised: €1100

  • Medium: oil on canvas
  • Dimensions: 65 by 44cm., 25.5 by 17.5in.
  • Provenance: The artist's studio sale, conducted by Thompson, Roddick and Medcalfe, Carlisle, 16 May 2005, lot 59
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THE BUSINESSMAN
THE BUSINESSMAN
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 19 February 2007 / 57

Published Estimate: €5,000-7,000

Price Realised: €10500


THE GATE, NEWTOWNARDS
THE GATE, NEWTOWNARDS
Alicia Boyle RBA (1908-1997)

Auction Date / Lot No.: 19 February 2007 / 58

Published Estimate: €1,500-1,800

Price Realised: €1500

  • Signature: signed in monogram lower right; inscribed with title and artist's address on reverse
  • Medium: oil on canvas
  • Dimensions: 76 by 51cm., 30 by 20in.
  • Provenance: Studio Sale, de Vere's Dublin, 22-29 September 1998, lot ???
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SITTING IN THE SUN
SITTING IN THE SUN
Elizabeth Taggart (b.1943)

Auction Date / Lot No.: 19 February 2007 / 59

Published Estimate: €1,000-1,500

Price Realised: €1700

  • Signature: inscribed on reverse; also with gallery label on reverse
  • Medium: oil on board
  • Dimensions: 30 by 20cm., 12 by 8in.
  • Provenance: Tom Caldwell Gallery, Belfast; Whence purchased by the present owner in 1977
  • Exhibited: 'Summer Exhibition', Tom Caldwell Gallery, Belfast, June 1977
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ABSTRACT, circa 1924-26
ABSTRACT, circa 1924-26
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 19 February 2007 / 60

Published Estimate: €4,000-6,000

Price Realised: €8500

  • Signature: exhibition label on reverse
  • Medium: gouache on paper mounted on board
  • Dimensions: 23 by 12cm., 9.25 by 4.75in.
  • Provenance: Artist's studio; Neptune Gallery, Dublin; Whence purchased by the present owner in 1980
  • Exhibited: 'Mainie Jellett Abstracts', Neptune Gallery, Dublin, 4 September - 2 October 1980, catalogue no. 11 (illustrated in catalogue)
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BOOKPLATE FOR CYRIL M. E. FRANKLIN
BOOKPLATE FOR CYRIL M. E. FRANKLIN
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 19 February 2007 / 61

Published Estimate: €10,000-12,000

Price Realised: €10500

  • Signature: stamped with monogram lower right; inscribed with printer's instructions on reverse
  • Medium: pen and ink on card
  • Dimensions: 18 by 13cm., 7 by 5.25in.
  • Provenance: Waddington Galleries, London; Private collection, Co. Kildare
  • Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats: His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994, catalogue no. 2114, listed and illustrated page 300
  • Original artwork for a Cuala Press bookplate. Instructions on reverse, written in Yeats’ hand, are for the printing block to be sent to Miss E. C. Yeats, Ghurteen Dhas, Churchtown, Dundrum, County Dublin, and for the original drawing to be returned to Jack B. Yeats, Red Ford House, Greystones, County Wicklow.

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ABSTRACT PAINTING NO. 43
ABSTRACT PAINTING NO. 43
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 19 February 2007 / 62

Published Estimate: €3,000-5,000

Price Realised: €3600

  • Signature: original exhibition label on reverse
  • Medium: watercolour and gouache over pencil
  • Dimensions: 22 by 17cm., 8.75 by 6.5in.
  • Exhibited: 'Abstract Paintings by Evie Hone', Dawson Gallery, Dublin, 1957, catalogue no. 43
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"WITHOUT PREJUDICE" - PENCIL SKETCH OF MAJOR RALPH WALTER MAUDE and ILLUSTRATED LETTER TO MAJOR MAUD, 1920 (A PAIR)
Sir William Orpen RA RWS RHA (1878-1931)

Auction Date / Lot No.: 19 February 2007 / 63

Published Estimate: €4,000-6,000

Price Realised: €5200

  • Signature: the former inscribed lower centre; the latter signed "love Orps"
  • Medium: pencil on paper (1); pen and ink on paper (1)
  • Dimensions: 18 by 10cm., 7.25 by 3.75in.
  • Provenance: By descent from Major Ralph Walter Maude; Private collection
  • Orpen met Captain Maude during World War I in Amiens, where Maude was A.P.M. (Army Provost Marshall). The two became great friends, and Orpen recounts numerous humorous anecdotes about Maude in his memoir, An Onlooker in France. In 1918 Maude was promoted to Major and appointed A.P.M. Cologne, where he remained until demobilisation in 1920. He then accepted the position of Secretary to the Guard’s Club in London. In the letter, written from the Hotel Majestic, Paris, 14 November 1920, Orpen asks for his friend’s help in connection to a portrait of Lord Cavan that he had painted for the Guard’s Club. As it transpired, Maude never assumed duties at the club owing to illness, and died of T. B. in 1922. Accompanying the lot are two letters from Major Maude’s son, dated 1987, detailing the background to the letter and pencil sketch. The letter measures 12.75 by 8 inches. (2)

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TWO WOMEN AND A GIRL ON A BELFAST STREET
TWO WOMEN AND A GIRL ON A BELFAST STREET
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 19 February 2007 / 64

Published Estimate: €4,000-6,000

Price Realised: €9200


DEADMANS POINT, SLIGO, LONG AGO
DEADMANS POINT, SLIGO, LONG AGO
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 19 February 2007 / 65

Published Estimate: €1,500-2,000

Price Realised: €2000

  • Signature: signed and inscribed "the dead Mans Point / Rosses Point Sligo 7.30 AM / long ago" lower right
  • Medium: pen and ink
  • Dimensions: 10 by 11cm., 3.75 by 4.5in.
  • In the original frame, circa 1940s, of Combridge's Fine Art, Dublin

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AIDA MACGONIGAL and STUDY OF A WOMAN (A PAIR)
AIDA MACGONIGAL and STUDY OF A WOMAN (A PAIR)
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 19 February 2007 / 66

Published Estimate: €10,000-15,000

Price Realised: €9500

  • Medium: charcoal and pastel on buff coloured paper
  • Dimensions: 33 by 25cm., 13 by 10in.
  • In the original matching frames of the Victor Waddington Galleries, Dublin. Aida MacGonigal née Kelly (1915-1979), known to her friends as ‘Paddy’, was a regular arts reviewer for The Leader, writing under various pseudonyms including Paddy Kelly or P. K., John O’Clery and Aodh McGee. As a young art student she modelled for other artists including Oliver Sheppard, whose marble relief Aida, is in the collection of the Crawford Gallery, and Maurice MacGonigal, whom she married in 1940. During the 1950s she designed sets and costumes for Irish language plays staged by Gael Linn at the Damer Hall on St. Stephen’s Green, and was also involved with the Dublin Grand Opera Society. Another drawing of Aida MacGonigal was in the possession of the sitter’s family at the time of the 1989 RHA retrospective of Keating’s work. With thanks to Maire MacConghail for her information relating to Aida MacGonigal.

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SALMON NETS, ACHILL ISLAND
SALMON NETS, ACHILL ISLAND
Harry Epworth Allen RBA (1894-1958)

Auction Date / Lot No.: 19 February 2007 / 67

Published Estimate: €3,000-4,000

Price Realised: €1600

  • Signature: certificate of authenticity on reverse
  • Medium: watercolour, pencil, pen and ink on paper
  • Dimensions: 17 by 22cm., 6.5 by 8.5in.
  • Literature: John Basford, Harry Epworth Allen (1894-1958): Catalogue of his Works, Derwent-Wye Fine Art, Rowsley, Derbyshire, 2007, listed as no. S.3-39, page 160
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SLIEVEMORE, EIRE
SLIEVEMORE, EIRE
Harry Epworth Allen RBA (1894-1958)

Auction Date / Lot No.: 19 February 2007 / 69

Published Estimate: €3,000-4,000

Price Realised: €1600

  • Signature: certificate of authenticity on reverse
  • Medium: watercolour, pencil, pen and ink on paper
  • Dimensions: 17 by 22cm., 6.5 by 8.5in.
  • Literature: John Basford, Harry Epworth Allen (1894-1958): Catalogue of his Works, Derwent-Wye Fine Art, Rowsley, Derbyshire, 2007, listed as no. S.3-38, page 160
  • Slievemore is a village, now deserted, on Achill Island.

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GATHERING POTATOES
GATHERING POTATOES
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 19 February 2007 / 70

Published Estimate: €20,000-30,000

Price Realised: €33000

  • Signature: signed twice upper left
  • Medium: crayon on buff coloured paper
  • Dimensions: 48 by 36cm., 19 by 14in.
  • Provenance: Collection of Belfast poet John Irvine (1903-1954); Thence by descent
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LANDSCAPE NEAR HILLSBOROUGH, COUNTY DOWN, circa 1926-30
LANDSCAPE NEAR HILLSBOROUGH, COUNTY DOWN, circa 1926-30
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 19 February 2007 / 71

Published Estimate: €8,000-12,000

Price Realised: €9000

  • Signature: signed lower left; original inscribed label on reverse
  • Medium: oil on panel
  • Dimensions: 27 by 36cm., 10.5 by 14.2 5in.
  • Provenance: Gift from the artist to Dermod O'Brien PRHA, January 1930; Dermod O'Brien collection dispersal sale, Dawson Gallery, 1945; Whence bought by Dr cross; Thence by descent within the Cross family; Thomas Adam's, Blackrock, co. Dublin, 4 October 1993, lot 83; Whence purchased by the present owner
  • Exhibited: 'Paintings from the collection of the late Dermod O'Brien PRHA', Dawson Gallery, Dublin, 1945 (£20-0-0)
  • Full inscription reads: “Title / Landscape near Hillsborough / Co. Down / To my good friend Dermod O’Brien / (on a visit to my studio Jan 1930) / with the compliments of the painter”. In a ledger of sales from the dispersal of Dermod O’Brien’s collection, both this painting and a Paul Henry Connemara Landscape are recorded as selling to a Dr Cross; the McKelvey for £20-0-0 and the Henry for £36-15-0 (Dermod O’Brien papers, NLI, MS 34,276 and 36,906/2).

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TURF CARTS ON A COUNTRY ROAD
TURF CARTS ON A COUNTRY ROAD
Charles J. McAuley (1910-1999)

Auction Date / Lot No.: 19 February 2007 / 72

Published Estimate: €3,000-4,000

Price Realised: €5600

  • Signature: signed lower left
  • Medium: oil on panel
  • Dimensions: 31 by 40cm., 12.2 5 by 15.7 5i
  • Provenance: Collection of Belfast poet John Irvine (1903-1964); Thence by descent
  • In the original frame of the Victor Waddington Galleries, 8 South Anne Street, Dublin.

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NEAR GORTAHORK, COUNTY DONEGAL, circa 1936
NEAR GORTAHORK, COUNTY DONEGAL, circa 1936
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 19 February 2007 / 73

Published Estimate: €20,000-30,000

Price Realised: €30000

  • Signature: signed lower right; label on reverse inscribed with title and original price (£40-0-0)
  • Medium: oil on canvas
  • Dimensions: 51 by 66cm., 20 by 26in.
  • Exhibited: RHA, Dublin, 1936, catalogue no. 224 (£40-0-0)
  • In the original frame of William Mol, Belfast.

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A BOGLAND STREAM WITH GORSE IN FLOWER, 1891
A BOGLAND STREAM WITH GORSE IN FLOWER, 1891
William Percy French (1854-1920)

Auction Date / Lot No.: 19 February 2007 / 74

Published Estimate: €5,000-7,000

Price Realised: €5200

  • Signature: signed with initials and dated lower left
  • Medium: watercolour
  • Dimensions: 18 by 25cm., 7 by 9.75in.
  • In the original gilt frame of William Rodman and Co., Belfast.

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COASTAL SCENE, THOUGHT TO BE CARLINGFORD LOUGH, LOOKING TOWARDS COUNTY LOUTH
COASTAL SCENE, THOUGHT TO BE CARLINGFORD LOUGH, LOOKING TOWARDS COUNTY LOUTH
William Percy French (1854-1920)

Auction Date / Lot No.: 19 February 2007 / 75

Published Estimate: €3,000-4,000

Price Realised: €3000

  • Signature: signed with initials "P.F." lower left
  • Medium: watercolour
  • Dimensions: 13 by 17cm., 5 by 6.75in.
  • Provenance: Collection of Miss Beecher; Her sale, Kinsale, Co. Cork, circa 1980; Private collection
  • The original owner of this work, Miss Beecher, was an ambulance driver during World War I and a friend of the artist's. In the original frame of Harrods, Knightsbridge.

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BATHERS
BATHERS
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 19 February 2007 / 76

Published Estimate: €20,000-30,000

Price Realised: €25000


CONNEMARA
CONNEMARA
William Percy French (1854-1920)

Auction Date / Lot No.: 19 February 2007 / 77

Published Estimate: €3,000-5,000

Price Realised: €4000


THE COTTAGE POOL, CASHLA RIVER, COUNTY GALWAY
THE COTTAGE POOL, CASHLA RIVER, COUNTY GALWAY
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 19 February 2007 / 78

Published Estimate: €2,000-3,000

Price Realised: €3200


THE POTATO HARVEST, GWEEBARRA, COUNTY DONEGAL
THE POTATO HARVEST, GWEEBARRA, COUNTY DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 19 February 2007 / 79

Published Estimate: €20,000-30,000

Price Realised: €36000


TWO GIRLS DANCING
TWO GIRLS DANCING
William Butler Yeats (1865-1939)

Auction Date / Lot No.: 19 February 2007 / 80

Published Estimate: €8,000-10,000

Price Realised: €16000

  • Medium: pastel on paper
  • Dimensions: 35 by 25cm., 13.7 5 by 9.75in.
  • Provenance: Estate of Anne Yeats (1919-2001); Her sale, Hamilton Osborne King, Dublin, 19 November 2002, lot 587; Whence purchased by the present owner
  • As a young man W. B. Yeats studied at the Dublin Metropolitan School of Art (1884-85) and at the RHA painting schools (1886), before turning to writing as a fulltime occupation. A number of his pastel drawings and oils are in institutional collections, and several others were sold with the contents of his daughter Anne Yeats’ estate, in 2002. The present example is thought to be a depiction of the two Gore-Booth sisters, Eva and Constance.

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YOUNG GIRLS SITTING UPON ROCKS WITH A HARBOUR AND HEADLANDS IN THE DISTANCE
YOUNG GIRLS SITTING UPON ROCKS WITH A HARBOUR AND HEADLANDS IN THE DISTANCE
George Russell "Æ" (1867-1935)

Auction Date / Lot No.: 19 February 2007 / 81

Published Estimate: €20,000-30,000

Price Realised: €60000

  • Signature: signed in monogram lower left
  • Medium: oil on canvas
  • Dimensions: 53 by 81cm., 21 by 32in.
  • Provenance: Collection of Senator E. A. Maguire, Blackrock, Co. Dublin; By whom given to Herbert and Maureen McGuire, most probably as a wedding present in 1938
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FAUVETTE AND THE SHEPHERD
FAUVETTE AND THE SHEPHERD
William John Hennessy NA ROI (1839-1917)

Auction Date / Lot No.: 19 February 2007 / 82

Published Estimate: €2,000-3,000

Price Realised: €3200

  • Signature: signed lower left
  • Medium: pencil, pen and ink with wash heightened with white
  • Dimensions: 18 by 17cm., 7.25 by 6.5in.
  • Literature: mary Mather, 'Calvados', English Illustrated Magazine, 1884-5, reproduced page 203
  • William John Hennessy was based in the Calvados region of Normandy during the 1870s. According to Prof. Kenneth McConkey, the name Fauvette, which translates as "hedge warbler" or "little wild bird" is most likely a reference to Bastien-Lepage's celebrated 'Pauvre Fauvette' of 1881 (Glasgow Art Gallery).

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HERBERT EVERETT
HERBERT EVERETT
Sir William Orpen RA RWS RHA (1878-1931)

Auction Date / Lot No.: 19 February 2007 / 83

Published Estimate: €3,000-4,000

Price Realised: €2600

  • Signature: exhibition and provenance details on reverse
  • Medium: pen and ink on paper
  • Dimensions: 29 by 22cm., 11.2 5 by 8.75in.
  • Provenance: Artist’s gift to Michel Salaman, a fellow student at the Slade; By descent to his son, Michael Salaman; Pyms Gallery, London, by 1981; Sotheby’s, London, Victorian and Modern British Paintings and Sculpture, 26 September 1985, lot 219; Sold to Bruce Arnold; European Modern Fine Art, Dublin; Private collection, Co. Kildare
  • Exhibited: 'William Orpen: Early Work', Pyms Gallery, London, 20 May - 12 June 1981, catalogue no. 69 (illustrated in catalogue)
  • Literature: Bruce Arnold, Orpen: Mirror to an Age, Jonathan Cape, 1981, pp. 79-82, illustrated p. 81
  • Herbert Everett (1876-1949), who later changed his name to John Everett, was a marine painter and a fellow student of Orpen’s at the Slade. Everett’s mother Augusta, herself an artist, ran a boarding house for art students, including Orpen, at 21 Fitzroy Street, the sitting room of which featured in Orpen’s A Mere Fracture. Herbert Everett married Orpen’s cousin Katherine, and an account of their heady student days may be read in her memoir, Bricks and Flowers.

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LADY WITH A PARROT, 1903
LADY WITH A PARROT, 1903
Sir William Orpen RA RHA (1878-1931)

Auction Date / Lot No.: 19 February 2007 / 84

Published Estimate: €10,000-12,000

Price Realised: €12500

  • Signature: signed and dated lower right
  • Medium: watercolour, charcoal, conté crayon and white chalk on paper
  • Dimensions: 33 by 23cm., 13 by 9in.
  • At some stage in 1899, when Orpen was still a student at the Slade, he witnessed a scene near to Fitzroy Street of a group of actors or acrobats performing. It had a profound influence on him. He was intrigued by the appearance, costumes and inventiveness of the mixed band of men and women … [including] a beautiful girl he called ‘Fatima’ who wore eastern costume. He did several drawings of ‘Fatima’, bejeweled, half-nude, smiling enticingly. … In the three years between the Fatima drawings and Lady with a Parrot, Orpen made huge technical strides. ... Lady with a Parrot includes charcoal, conté, crayon, watercolour and white chalk. The buff paper gives a sensuous richness to the light in the picture. The woman wears eastern costume, and the setting with the paneled cupboard door in the wall, is likely to have been either Fitzroy Street, where he continued to work after his marriage, or his first home in Chelsea. The composition is remarkable for its formality, the design of the picture like a small Dutch interior, the vase in the recess in the top right-hand corner counter-pointing the upright figure of the woman and of the parrot’s perch. The Eastern inspiration prevailed for a period of three years or so and then widened out into some of his most breath-taking early paintings of naturalistic subjects, many of them inspired by two painters he revered, Rembrandt and Velasquez. The work belongs to Orpen’s best period. He was unburdened by portraiture, which later took all his time and energy. He was inspired still by his teachers at the Slade School. He was developing his technique at a rapid pace, his painting and his drawing growing in confidence and maturity and in a grandeur of design. And he was only 25 years old. Bruce Arnold Dublin

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THE BOG AT EVENING, circa 1922-23
THE BOG AT EVENING, circa 1922-23
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 19 February 2007 / 85

Published Estimate: €200,000-300,000

Price Realised: €205000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 76 by 91cm., 30 by 36in.
  • Provenance: Combridge’s Fine Art, Dublin; Henry Lee Shattuck, Boston; Sold, Skinner’s, Boston, 10 November 2000, lot 187 as Evening on an Achill Bog; Acquired by Milmo-Penny Fine Art, Dublin; Private collection; De Vere’s, Dublin, 23 November 2004, lot 35; Purchased after sale by present owner
  • Exhibited: 'Exhibition of Pictures by Paul and Grace Henry', Magee's Gallery, Belfast, April 1923; 'Paul Henry', NGI, Dublin, 19 February - 18 May 2003, catalogue no 71
  • Literature: S. B. Kennedy, Paul Henry, NGI, Dublin, 2003, pp. 100-102, illustrated
  • As with many artists, a good number of Paul Henry’s paintings are known by more than one title. This often makes for difficulties in precisely identifying them, although contemporary press reviews (which were usually more detailed than those of today) of the artist’s exhibitions often help in this regard. Thus, for example, the Northern Whig (12 April 1923) in its review of Henry’s 1923 exhibition at Magee’s Gallery, Belfast, commented on a composition called The Bog at Evening in a manner which exactly describes this picture: “the black peat-stacks”, it said, “stand out against the dim brown of the bog, and the curves of their shapes are repeated and magnified in the curves of the mountains, and of the clouds that tower above them”. It continued: “The repetition of these curves gives a sense of rhythm to the design, and the fine purple of the mountains is enriched by the contrast with the blacks and browns of the foreground”. Despite also being known as Evening on an Achill Bog (a label on the reverse of the frame, but not in the artist’s hand, bears this title), it seems likely that this picture is indeed The Bog at Evening which Henry exhibited in 1923. The first owner of the picture, H. L. Shattuck, who also owned another Henry painting, A Mountain Village (now in the Museum of Fine Arts, Boston), almost certainly acquired it from the exhibition of Contemporary Irish Art, held at Grace Horne’s Gallery, Boston, in May 1929. At any rate, The Bog at Evening shows Henry at the height of his powers. There is an absence of all human activity, his attention is focused firmly on the landscape and his handling of paint and treatment of the scene have become slightly codified, with a suffuse sense of stillness, even of timelessness — in this respect compare, for example, his In the West of Ireland (National Gallery of Ireland), which also dates from the 1920s — in a manner that typifies much of his oeuvre hereafter. Although one cannot be certain, the setting is most probably Connemara, and may be Achill Island. The size of the composition is unusual for Henry, as is the degree of impasto employed throughout, but these elements serve to illustrate the confidence and vigour of the artist’s early years in Dublin. The handling of colour is particularly subtle, the pinks and warm creams in the cloud formations contrasting with the cooler cobalt blues elsewhere in the sky, while the juxtaposition of the purple mountains and the yellow cornfield in the middle distance is distinctly Post-Impressionist in concept and recalls the artist’s time in Paris. The foreground, too, despite the predominance of the umbers, browns and blacks of the soft earth, is a myriad of pinks and other hues and the reflections in the foreground pool lead the eye back into the composition and ultimately to the splendour of the sky. A label on the reverse of the frame notes: ‘Museum of Fine Arts, Boston, T. L. 3682, H. L. Shattuck.’ The Bog at Evening is numbered 591 in S. B. Kennedy’s forthcoming catalogue of Paul Henry’s oeuvre. S. B. Kennedy Seaforde, January 2007

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DOOEGA HEAD, ACHILL ISLAND, circa 1916-19
DOOEGA HEAD, ACHILL ISLAND, circa 1916-19
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 19 February 2007 / 86

Published Estimate: €80,000-100,000

Price Realised: 

  • Signature: signed "Paul . Henry" lower right
  • Medium: oil on canvas
  • Dimensions: 46 by 51cm., 18 by 20in.
  • Provenance: James Adam's, Dublin, 12 December 1985, lot 93 (as Storm Clouds Over Blue Cliffs, illustrated in catalogue); Christie's, Belfast, 27 October 1989, lot 313 (illustrated in catalogue); de Vere's Dublin, 30 November 2005, lot 27 (as `Achill Coastline';Private collection
  • Exhibited: Possibly included in `Pictures of the West of Ireland' by Mr and Mrs Paul Henry, Mills' Hall, Dublin, 16-28 April 1917, catalogue no. 6; `18th, 19th and 20th Century Irish Paintings', Gorry Gallery, Dublin, 25 November - 8 December 1988, catalogue no. 48
  • In 1910, at the age of thirty-four, Paul Henry went to Achill Island for a fortnight’s holiday. He was so captivated by the island’s landscape and people that he decided to settle there. “Achill spoke to me, it called me as no other place had ever done”, he wrote later in life. He went on “I wanted to live there, not as a visitor but to identify myself with its life and to see it every day in all its moods; in wind and rain, in storm, in summer and in winter, and by painting in all these conditions to find out, if I could, the driving force behind its attractiveness”. He was quite overwhelmed, he tells us, by the “wild beauty of the landscape, of the colour and variety of the cloud formations, one of the especial glories of the West of Ireland” (Henry, autobiography, An Irish Portrait, London, 1951, pp. 50-1). Having arrived by train at Achill Sound he travelled on by pony and cart to Dooega in the north of the island but, after an overnight there, he went on to Keel in the south-west where he settled on and off till mid-1919. Judged stylistically this composition must date from around 1916-19. The economy and precision of the brushwork are typical of Henry’s late Achill period and the ponderous treatment of the heavily massed rain clouds is similar to a number of other of his works of these years. The form of the signature, too, with a dot between the artist’s first and second names, also suggests a date of 1916-19. The setting shows Dooega Head in the distance and the majestic Minaun, or ‘Cathedral’, cliffs, with their distinctive profile, viewed from the road to the east of the village of Keel. The picture may conceivably be The Head, which Henry exhibited in his 1917 Dublin exhibition and which the Freeman's Journal (16 April 1917) described as “a notable piece of bravura landscape painting”, but of this one cannot be certain. Dooega Head, Achill Island is numbered 489 in S. B. Kennedy’s forthcoming catalogue raisonné of Paul Henry's oeuvre. Dr. S. B. Kennedy Seaforde, January 2007

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CUTTING THE TURF, DONEGAL
CUTTING THE TURF, DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 19 February 2007 / 87

Published Estimate: €7,000-9,000

Price Realised: €8000


CHILDREN AND BOATS BY AN ESTUARY
CHILDREN AND BOATS BY AN ESTUARY
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 19 February 2007 / 88

Published Estimate: €12,000-15,000

Price Realised: €11500


STUDY: TREE IN COURTYARD
STUDY: TREE IN COURTYARD
Nathaniel Hone RHA (1831-1917)

Auction Date / Lot No.: 19 February 2007 / 89

Published Estimate: €4,000-6,000

Price Realised: €8500

  • Medium: oil on canvas laid on board
  • Dimensions: 33 by 41cm., 13 by 16in.
  • Provenance: Estate of the artist; Gorry Gallery, Dublin; Whence purchased by the present owner
  • Exhibited: 'Paintings from the studio of Nathaniel Hone RHA', Gorry Gallery, Dublin, 27 June - 9 July 2002, catalogue no. 47
  • Literature: Thomas Bodkin, Four Irish Landscape Painters, Talbot Press, Dublin, 1920, listed as no. 283
  • With a copy of the Gorry Gallery exhibition catalogue accompanying lot.

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LANDSCAPE WITH CATTLE
LANDSCAPE WITH CATTLE
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 19 February 2007 / 90

Published Estimate: €8,000-10,000

Price Realised: €8000

  • Signature: signed lower left
  • Medium: oil on panel
  • Dimensions: 38 by 51cm., 15 by 20in.
  • Provenance: Oriel Gallery, Dublin; Christies, London, 22 May 1998, lot 177; Whence purchased by the present owner
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COWS IN TREE SHADOWS
COWS IN TREE SHADOWS
Nathaniel Hone RHA (1831-1917)

Auction Date / Lot No.: 19 February 2007 / 91

Published Estimate: €10,000-15,000

Price Realised: €11500

  • Medium: oil on canvas
  • Dimensions: 61 by 91cm., 24 by 36in.
  • Provenance: Private collection; James Adam's, Dublin, 26 May 2004, lot 41 (as Cows in Landscape); Whence purchased by the present owner
  • Literature: Thomas Bodkin, Four Irish Landscape Painters, Talbot Press, Dublin, 1920, listed as no. 87
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MISS FLORA LION IN PERIOD COSTUME, circa 1916
MISS FLORA LION IN PERIOD COSTUME, circa 1916
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 19 February 2007 / 93

Published Estimate: €25,000-35,000

Price Realised: €24000

  • Signature: signed lower right
  • Medium: oil on canvas board
  • Dimensions: 34 by 24cm., 13.5 by 9.5in.
  • Provenance: Gorringes, Lewes, 29 April 2003, lot 2176; Jorgensen Fine Art, Dublin; Whence purchased by the present owner
  • Exhibited: Carnegie Institute, Pittsburgh; 'Christmas Exhibition',Jorgensen Fine Art, Dublin, December 2003, catalogue no. 4
  • Professor Kenneth McConkey has documentation on a closely related work showing the sitter in the same costume and pose, painted on the same occasion, which indicates that the model’s identity was Miss Flora Lion. Flora Lion (1876-1958) was a fellow artist who sat for Lavery on a number of occasions. Another portrait of her, dressed in Oriental costume, sold through these rooms on 28 November 2006, lot 94. When the present work appeared on the market in 2003 it was identified as a portrait of Arabella, Duchess of Marlborough, a title which caused some confusion as there has never been a Duchess of Marlborough by this name. However, the sister of the first Duke of Marlborough was Arabella Churchill (1648-1714), mistress to James II. It is now thought that the work depicts Flora Lions in the costume of Arabella. Professor McConkey has dated the work provisionally to 1916 on stylistic grounds, while further research is conducted. With thanks to Karen Wiseman, Education Officer at Blenheim Palace, and Kenneth McConkey for their help in cataloguing this work.

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RECLINING NUDE, circa 1916
RECLINING NUDE, circa 1916
Roderic O'Conor (1860-1940)

Auction Date / Lot No.: 19 February 2007 / 94

Published Estimate: €50,000-70,000

Price Realised: 

  • Signature: stamped "atelier O'CONOR" twice on reverse; also with exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 46 by 65cm., 18 by 25.5in.
  • Provenance: Hôtel Drouot, Paris, Vente O’Conor, 7 February 1956; Sotheby’s, London, 23 May 1984, lot 84; Sotheby’s, London, 26 September 1984, lot 235 (illustrated in catalogue); Crane Kalman Gallery, London; Sold to Dr W. Harris, March 1985; Christie’s, London, 6 November 1992, lot 121; James Adam’s, Dublin, 25 September 1996, lot 65; Private collection
  • Literature: Jonathan Benington, Roderic O'Conor, Irish Academic Press, Dublin 1992, catalogue no. 209
  • Roderic O’Conor’s career as an artist has been well documented. After studying in Dublin and Antwerp he left Ireland in 1886 to pursue his artistic career in France. He made an early visit to Brittany and chose to live and work there for thirteen years and it was in this period that he developed a close affiliation with the Pont-Aven circle of artists who were inspired by Paul Gauguin. In 1904 O’Conor returned to Paris and took up residence in the Montparnasse district of the city. The choice of subject matter in this work is indicative of O’Conor’s change of environment from rural France and his preference for landscape themes, to the traditional subject matter associated with the artist’s studio. Still-life groups, portraits, bouquets of flowers and the female model became his preferred subjects after his return to Paris. In this particular work a slender female model reclines on a comfortable chaise longue which has a carved base with curvilinear forms in the style of Louis XV. The contrast between her pale translucent skin, the velvet fabric of the divan and the heavy red drapery in the background combine to give a sense of theatre to the work. It appears that she may have fallen asleep in the quiet environment of the studio with the artist working in silence as he concentrated on his painting. The composition here is rather unusual for O’Conor who more frequently liked to pose his models to show their relationship to the larger interior space of the studio. In this painting the deliberate placing of the model in a pose parallel to the picture plane and against a draped background, minimizes the sense of spatial recession in the work so that our attention is directed very specifically to the reclining figure. The comparative neutrality of the environment in which she is placed adds to this reading of the painting. O’Conor must have been intrigued by the visual and pictorial possibilities of simplifying his composition in this way as he painted a second and very similar version of this arrangement in which the model is posed lying on her side with her back to the viewer. Several other traced and identified paintings of the same woman share a similar colour range and feature the same drapery, sometimes to create a background as is the case here, at other times to cover the chaise longue. The spontaneity of the brushwork in these related paintings would suggest that they were painted within a relatively short time frame, possibly on consecutive days and they may have been preliminary to this work. Roy Johnston Ph.D.

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CROSSING THE BAR
CROSSING THE BAR
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 19 February 2007 / 96

Published Estimate: €2,000-3,000

Price Realised: €2200


WAR, 1870
WAR, 1870
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 19 February 2007 / 97

Published Estimate: €4,000-5,000

Price Realised: €4000

  • Signature: signed, inscribed and dated lower left
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 18 by 46cm., 7 by 18in.
  • Depicts the foiled French blockade of northern Germany during the months of July - September 1870, at the outset of the Franco-Prussian War.

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BANK OF WILDFLOWERS WITH A ROSS CASTLE, KILLARNEY, IN THE DISTANCE
BANK OF WILDFLOWERS WITH A ROSS CASTLE, KILLARNEY, IN THE DISTANCE
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 19 February 2007 / 98

Published Estimate: €15,000-20,000

Price Realised: €14000


A DARK BAY RACEHORSE WITH JOCKEY UP AND A VIEW OF ABBEY RUINS BEYOND
A DARK BAY RACEHORSE WITH JOCKEY UP AND A VIEW OF ABBEY RUINS BEYOND
Samuel Spode (fl.1825-58)

Auction Date / Lot No.: 19 February 2007 / 99

Published Estimate: €7,000-9,000

Price Realised: €8500


TWO HORSES FACING EACH OTHER IN A RIVER LANDSCAPE
TWO HORSES FACING EACH OTHER IN A RIVER LANDSCAPE
Sam Spode (fl.1825-1858)

Auction Date / Lot No.: 19 February 2007 / 100

Published Estimate: €4,000-5,000

Price Realised: 


ROSS CASTLE, KILLARNEY
ROSS CASTLE, KILLARNEY
Alexander Williams RHA (1846-1930)

Auction Date / Lot No.: 19 February 2007 / 101

Published Estimate: €1,500-2,000

Price Realised: €1500


MIDNIGHT ON DUBLIN BAY
MIDNIGHT ON DUBLIN BAY
Joseph Fitzgerald (fl.1878-1894)

Auction Date / Lot No.: 19 February 2007 / 102

Published Estimate: €3,000-4,000

Price Realised: €5000

  • Signature: remains of original inscription on reverse
  • Medium: oil on canvas
  • Dimensions: 61 by 107cm., 24 by 42in.
  • Maritime artist Joseph Fitzgerald contributed twenty-five works to the RHA durign the years 1878-94 from an address in Dalkey, Co. Dublin. He also exhibited regularly at the Dublin Sketching Club and the WCSI.

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HIGHWAY MEN ON HORSEBACK WITH CHURCH AND RUIN IN FOREGROUND
HIGHWAY MEN ON HORSEBACK WITH CHURCH AND RUIN IN FOREGROUND
William Sadler II (c.1782-1839)

Auction Date / Lot No.: 19 February 2007 / 103

Published Estimate: €6,000-8,000

Price Realised: 


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