26 November 2007

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1916-1921 A RARE GROUP OF MEDALS, BADGES AND RELATED MEMORABILIA OF VOUNTEER DANIEL TYNAN, “B” COMPANY, FIRST DUBLIN BATTALION, IRISH REPUBLICAN ARMY
1916-1921 A RARE GROUP OF MEDALS, BADGES AND RELATED MEMORABILIA OF VOUNTEER DANIEL TYNAN, “B” COMPANY, FIRST DUBLIN BATTALION, IRISH REPUBLICAN ARMY
  

Auction Date / Lot No.: 26 November 2007 / 98.1

Published Estimate: €8000-10000

Price Realised: €25000

  • A very rare collection of medals awarded to Daniel Tynan (1895-1974) including 1916 Rising Service Medal, 1919-21 War of Independence Service Medal with Comrac bar for Combat Service, 1966 Rising Jubilee Medal and 1971 War of Independence Jubilee Medal, the latter awarded to surviving veterans of both campaigns, complete with ribbons and tunic flashes, the Jubilee armband worn by the 1916 Rising veterans who marched in the commemorative parade in O’Connell Street, Dublin at Easter 1966, the 1971 medal still in its original box of issue and official Department of Defence registered envelope. Also included with the medals are a black and purple cloth and leather funeral sash, believed to have been worn by Tynan as a Volunteer at the funeral of O’Donovan Rossa in 1915, his Irish Volunteers membership card, dated 28 November 1914, his military service commemorative certificate signed by Oscar Traynor, 1941, his cloth prison number (Portland Prison, England 1921), a series of letters to his mother from Portland and Dartmoor Prisons, 1921, and later from Mountjoy and “Tintown” (The Curragh) Internment Camps 1923, 1923 Saorstát Éireann Internment Order to imprison Daniel Tynan, signed by Richard Mulcahy, a handkerchief handpainted memorial “1st Dublin Batt. In Loving Memory of the Officers and Men Killed in Action” signed by Daniel Tynan and dated 1923, made in prison, photographs of Daniel Tynan parading with IRA veterans, various mementoes of the Dublin Brigade IRA reunions, association membership card, some menus signed including survivors of the Four Courts action in the Civil War, a rare commemorative card marking the 1946 “Historical Presentation” to Commandant Tom Byrne, “the last Surviving Officer, Irish Brigade, Boer War 1899-1922”, etc. A marvellous archive of immense interest to collectors of this period.

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1916-1959 COLLECTION OF SCARCE AND RARE PUBLICATIONS OF HISTORICAL INTEREST
1916-1959 COLLECTION OF SCARCE AND RARE PUBLICATIONS OF HISTORICAL INTEREST
  

Auction Date / Lot No.: 26 November 2007 / 98.2

Published Estimate: €800-1000

Price Realised: €2400

  • This rare assembly was the property of Daniel Tynan who served as a Volunteer with B Company 1st Dublin Battalion, IRA, from 1914 to 1923 (see lot 98A for his military medals and memorabilia). It includes the Weekly Irish Times Sinn Féin Rebellion Handbook in excellent condition complete with all maps, an extremely rare 1921 leaflet in Spanish, English and Irish published in Madrid on Terence MacSwiney including a portrait by Maroto, a 1922 Cumann na mBan, Hunger Strike notice concerning woman prisoners at Mountjoy including Mrs Seán McDermott, National Museum questionnaire for veterans on the weapons they used in 1916-22, 1926 Eamon de Valera’s National Policy Outlined booklet, 1931 Easter Week Commemoration Programme, a rare Communist Party of Ireland booklet The Irish Revolt – 1916 and after, with interesting ms note by Tynan regarding its sale at Glasnevin Cemetery Easter 1936 during Parade of “so-called IRA” and an attack on them by “Catholic Action Sections” (apparently a clash between Communists and Fascists), An Dé (The Spark) scarce duplicated 5pp, issued by the Joseph Mary Plunkett Cumann, Sinn Féin, March 1936, No. 12, 1946 Republican Prisoners’ Release Association Constitution, etc., also 1940s Anti-Partition “stamps”, 1966 Rising Jubilee stamps, and some interesting newspaper cuttings

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PÁDRAIG PEARSE SIGNED CHEQUE
PÁDRAIG PEARSE SIGNED CHEQUE
  

Auction Date / Lot No.: 26 November 2007 / 99

Published Estimate: €1500-2000

Price Realised: €3400

  • Medium: printed and manuscript cheque
  • Dimensions: 9 by 19cm., 3.5 by 7.5in.
  • Royal Bank of Ireland Terenure cheque to J. & W. Nolan in the amount of one pound five shillings and nine pence, handwritten and signed "Pádraic Mac Piarais" by Pádraig Pearse, from his school, St. Enda’s, in Rathfarnham. A fine and rare clear autograph of the commander in chief of the Irish Republic of April 1916 and the main author and signatory of the 1916 Proclamation.

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1916 RISING: A MILITARY PASS ISSUED TO RAILWAY OFFICIALS AT AMIENS STREET STATION
1916 RISING: A MILITARY PASS ISSUED TO RAILWAY OFFICIALS AT AMIENS STREET STATION
  

Auction Date / Lot No.: 26 November 2007 / 99.1

Published Estimate: €800-1000

Price Realised: €1500

  • Medium: Typescript and manuscript on Army Form for Messages and Signals
  • Dimensions: 22 by 14cm., 8.5 by 5.5in.
  • This rare type of pass reads (ms in italics): “AVAILABLE FOR DAYLIGHT ONLY / Please pass Bearer. / Name J. A. & J. L. Armstrong / Residence Amiens Street Station / Occupation GNR (I) officials / To and from Amiens Street. & Baggot St. Hospital. / Signed. C. Loathes Major. / Ulster Composite Battalion. Amiens Street. / Date. 1st.May.1916” Martial Law was declared on 25 April 1916 and anyone who needed to travel in the city had to have a military pass which were only granted to essential workers such as, in this case, these Great Northern Railway (Ireland) officials.

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MICHAEL COLLINS LETTER TO THOMAS ASHE, 24 APRIL 1917
MICHAEL COLLINS LETTER TO THOMAS ASHE, 24 APRIL 1917
  

Auction Date / Lot No.: 26 November 2007 / 100

Published Estimate: €40000-60000

Price Realised: €260000

  • Signature: signed "Mick C."
  • Medium: autograph ms letter: two folio pages, written on both sides
  • Dimensions: 43 by 56cm., 17 by 22in.
  • Dated on the first anniversary of the Easter Rising this is letter of great importance between two of the leading republicans of the time. Michael Collins, having been released from Frongoch Internment Camp in December 1916, was trying to establish himself as a political organiser in the republican movement, which at that time was reforming under the general aegis of “Sinn Féin”. Collins had already been involved in getting Count George Plunkett (father of executed 1916 leader Joseph Mary Plunkett) elected in the by-election at North Roscommon on 3 February 1917 as a separatist republican candidate. The letter is part of a manuscript that includes letters from Séamus Ó Donnchadha and Ashe’s sister, Nora. Although dated by Ó Donnchadha 24 April, Collins mentions that his part of the epistle was written on 2 May. Collins writes in coded terms to his comrade in arms Thomas Ashe, still in Lewes Jail, about the campaign to get Joe McGuinness elected as MP for Longford in the upcoming by-election on 9 May 1917. “Collins didn’t make the decision [to nominate McGuinness] but… he took the blame and, rather cleverly, the responsibility” Collins continues. “You can tell Con Collins, Seán McGarry, & any other highbrows that I’ve been getting all their scathing messages and am not a little annoyed, or at least was, but one gets used to be called bad names & being misunderstood If they only knew of the long fight I’ve had with AG [Arthur Griffith] & some of his pals before I could gain the present point!” Referring to Griffith’s opposition to the Rising and the new republican movement he writes “The difference we had with him in the old school has been continued & grows more intense as the new school [the separatist republicans like Collins and Ashe] passes into working order” and “don’t think Master AG is going to turn us into eight two’ites [the parliamentary reformists of 1782 whom Griffiths idealised according to Hart]. In the rest of the letter Collins continues to use the school metaphor to disguise his comments on the political manoeuvres in the republican movement from the prison censor, a typical example being “the new master is going strongly for the highest salary” – a reference to De Valera’s ambition perhaps. Careful analysis of the content will reveal Collins’ view of the other protagonists in the political battle to unite republicans and nationalists under the Sinn Féin banner to carry on the struggle for independence by both political and military means. 1 Peter Hart, Mick: The Real Michael Collins, Macmillan, London, 2005.

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PORTRAIT OF THOMAS ASHE IN THE UNIFORM OF THE IRISH VOLUNTEERS
PORTRAIT OF THOMAS ASHE IN THE UNIFORM OF THE IRISH VOLUNTEERS
Leo Whelan RHA (1892-1956)

Auction Date / Lot No.: 26 November 2007 / 101

Published Estimate: €50000-70000

Price Realised: €40000

  • Signature: signed lower right; inscribed on reverse with artist's name and address (Studio, 64 Dawson Street, Dublin)
  • Medium: oil on canvas
  • Dimensions: 61 by 48cm., 24 by 18.7 5in.
  • Provenance: The family of Thomas Ashe
  • Thomas Patrick Ashe was born in 1885 at Lispole, Co. Kerry. He became a teacher and an active member of the Gaelic League and the Irish Republican Brotherhood and was a founding member of the Irish Volunteers. In the 1916 Rising he commanded the I.V. Fingal Battalion which he led into battle with British forces at Ashbourne, Co. Meath, where he gained a significant victory over a superior force. On the surrender of the Irish Volunteers Ashe was imprisoned in England but was not released under the general amnesty in June 1917. On return to Ireland he immediately became involved in the new struggle for independence. In August Tom Ashe was arrested for sedition and at a court martial in September, which his friend Michael Collins described as farcical, he was sentenced to one year’s hard labour. He was sent to Mountjoy prison where he and other prisoners started a hunger strike as part of a campaign to be treated as prisoners of war rather than as common criminals. The authorities reacted, as they had against the pre war Suffragettes, by force feeding the hunger strikers. Tragically the force feeding was badly administered to Ashe and he died from its effects on 25 September 1917. He was the first Irish political prisoner to die on hunger strike. His death led to national outrage, and an even greater desire of the majority of the populace to press for independence from Britain which led to the success of Sinn Féin in the 1918 general election, the formation of An Dáil in 1919, the War of Independence, and, ultimately the formation of the Irish Free State in 1922.

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1921 MICHAEL COLLINS AS MINISTER FOR FINANCE TO Dáil ÉIREANN SIGNED LETTER
1921 MICHAEL COLLINS AS MINISTER FOR FINANCE TO Dáil ÉIREANN SIGNED LETTER
  

Auction Date / Lot No.: 26 November 2007 / 102

Published Estimate: €2000-3000

Price Realised: €4200

  • Medium: typescript on printed letterhead with ms signature
  • Dimensions: 27 by 20cm., 10.5 by 8in.
  • Amusing personal letter to Seán Etchingham TD, Minister for Fisheries, on Dáil Éireann Department of Finance notepaper, dated “12 Lughnasa 1921” concerning a practical joke Collins had played on Dick King, who worked for Etchingham. Attached is a receipt from the Irish Republican Prisoners’ Dependents’ Fund for eighteen shillings and seven pence made out to King. On reverse of the letter is a jocular reply by Dick King accusing Collins of sponging drink and taking his pipe “you got it as you get everything and everywhere” and finishing “I’ll have the satisfaction of seeing you on Gaffer work in Hell and 18/7 [the amount of money taken by Collins] in coppers playing the Rakes of Mallow off your chest bone”. With a note by Mrs Mary Woods into whose possession the letter came, as it had been hidden under the floor at her house at 131 Morehampton Road, Donnybrook, one of the safe houses Collins used to eat or sleep in. A rare item of personal correspondence giving an insight to Collins’ sense of humour. (2 items)

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1921 MICHAEL COLLINS LETTER REGARDING HIS "SAFE HOUSE"
  

Auction Date / Lot No.: 26 November 2007 / 103

Published Estimate: €2000-3000

Price Realised: €5200

  • Medium: manuscript letter
  • Dimensions: 20 by 13cm., 8 by 5in.
  • A letter written in Michael Collins’ hand and signed “M” to Mrs Woods, who acted as housekeeper for him at 9 St. Mary’s Road, Ballsbridge, where he sometimes stayed. Dated 25 May 1921 he thanks her for her trouble and there is mention of Mrs Quinn who was a candidate as a replacement for Mary Woods, who also looked after other republicans on the run including Liam Mellowes, Austin Stack and Desmond FitzGerald, and who was too busy with her other activities for the movement to continue keeping house for them. In the letter Collins expresses doubts over Mrs Quinn’s suitability; in fact he appointed Mrs Comerford (mother of Máire) to the position of “safe house” keeper. A rare and interesting note from Collins in the middle of the guerrilla war in Dublin.

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1922 (28 JUNE) PROCLAMATION AT THE FOUR COURTS BY THE ANTI-TREATY IRA FORCES – THE START OF THE CIVIL WAR
1922 (28 JUNE) PROCLAMATION AT THE FOUR COURTS BY THE ANTI-TREATY IRA FORCES – THE START OF THE CIVIL WAR
  

Auction Date / Lot No.: 26 November 2007 / 104

Published Estimate: €3000-5000

Price Realised: €4200

  • Medium: letterpress printed single sheet
  • “Fellow Citizens… the fateful hour has come. At the dictation of our hereditary enemy our rightful cause is being treacherously assaulted by recreant Irishmen. The crash of arms and the boom of artillery reverberate in this supreme test of the Nation’s destiny……………” “We…appeal to all citizens who have withstood unflinchingly the oppression of the enemy during the past six years to rally to the support of the Republic, and recognise that the resistance now being offered is but the continuance of the struggle that was suspended by the truce with the British.” The (printed) signatories include Commandant Generals Liam Mellowes, Rory O’Connor, Joseph McKelvey, Earnan O’Maille, Seamus Robinson, Seán Moylan, Michael Kilroy, Frank Barrett, Thomas Deerig, Liam Deasy, General Liam Lynch, and Commandant Tom Barry among others. This historic document was issued on the day that Free State forces laid siege to the Four Courts which had been occupied by Anti-Treaty forces since April. This was the start of a tragic civil war which only ended nearly a year later in May 1923.

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1917-18. AN IRISHWOMAN’S APPEAL TO ALL IRISH SOLDIERS – PRO GERMAN ANTI BRITISH BROADSHEET POSTER
1917-18. AN IRISHWOMAN’S APPEAL TO ALL IRISH SOLDIERS – PRO GERMAN ANTI BRITISH BROADSHEET POSTER
  

Auction Date / Lot No.: 26 November 2007 / 105

Published Estimate: €1000-1500

Price Realised: €1500

  • Medium: letterpress single broadsheet poster
  • Dimensions: 56 by 38cm., 22 by 15in.
  • A very rare exhortation by a “Mrs Leonard Marshall” to Irish soldiers to join Germany’s Irish Brigade to fight the British and to liberate Ireland. “I came to Germany as I would have gone to Hell itself were the powers of Darkness fighting against the Sassanach……” Mention is made of the Irish soldiers in the British Army whom the writer met as prisoners of war at Limburg, also of the “Judas John Redmond” who had encouraged Irishmen to join the British Army “to come to the rescue of poor little Belgium” . Typical of the content is “All Hail to England’s foes in Germany, India, Egypt, Persia. South Africa”. We have not found any record of this rare publication in an Irish library.

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1921-22 LIAM MELLOWES CORRESPONDENCE
1921-22 LIAM MELLOWES CORRESPONDENCE
  

Auction Date / Lot No.: 26 November 2007 / 106

Published Estimate: €2000-3000

Price Realised: €5200

  • Medium: manuscript and typewritten letters (4) and 2 other related i
  • ms letter dated 25 May 1921 and signed “L” to Mrs Mary Woods, “Mother expects the gang this evening” warning her of visitors to the safe house kept by Mary Woods for Michael Collins at St Mary’s Road. “Miss Daly [probably Paddy Daly, one of Collins’ assassins] will come too”. Typed letter to Mrs Woods, dated 5 September 1921 concerning the Prisoners’ Dependents Fund, signed in ms “LM”. Typed letter to Mrs Woods, dated 3 February 1922, signed ms “Liam M” seeking work for a man who was unemployed. Handwritten letters on one sheet to Mrs Mary Woods from her son Anthony and Liam Mellowes, in Mountjoy Jail, dated 16 November 1922. Three weeks later, on 8 December 1922, Mellowes, along with Rory O’Connor, Joe McKelvey and Richard Barrett, was executed by firing squad on the orders of the Free State Government in reprisal for the assassination of TD Seán Hales. The letter refers to the dire conditions in the prison and to the fact that this letter was being smuggled out. Mellowes was imprisoned in Mountjoy after the surrender of the IRA Dublin Brigade at the Four Courts in June 1922. (6 items).

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ULYSSES, first edition
ULYSSES, first edition
James Joyce (1882-1941)

Auction Date / Lot No.: 26 November 2007 / 107

Published Estimate: €20000-30000

Price Realised: €23000

  • Copy number 248 of the first edition. Published by Shakespeare and Company, Paris, 1922. The first edition of Ulysses was limited to 1,000 copies, of which the first 100 were printed on Dutch paper and signed by Joyce, the following 150 (numbered 101-250) were issued on vergé D’Arches (large paper), and the final 750 copies were printed on handmade paper. This is one of 150 copies printed on vergé D’Arches, bound with the half-title but without the preliminary or concluding blank leaves. Finely bound by Sangorski and Sutcliffe in full pale blue levant morocco, inside gilt borders, marbled endpapers, and top edges gilt. A handsome copy in fine condition of what is widely regarded as the most important work of twentieth century literature.

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OLIVER GOLDSMITH, 1861
OLIVER GOLDSMITH, 1861
John Henry Foley RA RHA (1818-1874)

Auction Date / Lot No.: 26 November 2007 / 108

Published Estimate: €5000-7000

Price Realised: €6200

  • Medium: electroplated bronze
  • Dimensions: 51 cm., 20.2 5 in. high
  • Exhibited: RHA, Dublin, 1861, catalogue no. 599; RA, London, 1861, catalogue no. 981
  • Maquette for the life-size bronze erected in 1863 at the front gates to Trinity College Dublin. The original plaster model is in the Birmingham City Art Gallery. This is believed to be an earlier cast than the later Elkington and Co. bronzes, and the darker patina closer to the original patina of the Trinity statues.

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FALLEN SOLDIER - STUDY FOR THE BRONX VICTORY MEMORIAL, circa 1924-5
FALLEN SOLDIER - STUDY FOR THE BRONX VICTORY MEMORIAL, circa 1924-5
Jerome Connor (1874-1943)

Auction Date / Lot No.: 26 November 2007 / 109

Published Estimate: €2000-3000

Price Realised: €12000

  • Signature: signed 'Jerome Connor fecit' on base
  • Medium: bronze
  • Dimensions: 23 cm., 9 in. high
  • Exhibited: Possibly exhibited in Dublin in January 1926
  • Literature: Irish Independent, 22 January 1926, p. 3; Jerome Connor retrospective exhibition catalogue, NGI, Dublin, 1993, p. 80, footnote 63
  • Study for a United States war memorial commemorating servicemen from Bedford Park and Norwood who died in World War I. The memorial stands in the Mosholu Parkway on Hull and Marion Avenues, New York.

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BELFAST AFTER THE BLITZ, 1942
BELFAST AFTER THE BLITZ, 1942
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 November 2007 / 110

Published Estimate: €40000-60000

Price Realised: 

  • Signature: signed lower left; inscribed on reverse and with original exhibition labels
  • Medium: oil on board
  • Dimensions: 47 by 62cm., 18.7 by 24.5in.
  • Provenance: Purchased by the resent owner's grandfather, circa 1943
  • Exhibited: Possibly exhibited under the title, Crucified City, Irish Exhibition of Living Art, Dublin, 1943, catalogue no. 20; ’Gerard Dillon’, Arts Council of Northern Ireland and An Chomhairle Ealaíon, Ulster Museum, Belfast, November – December 1972 and the Municipal Gallery of Modern Art, Dublin, January – February 1973, catalogue no. 16
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WINETAVERN STREET, DUBLIN
WINETAVERN STREET, DUBLIN
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 26 November 2007 / 111

Published Estimate: €15000-20000

Price Realised: €24000

  • Signature: signed lower left
  • Medium: watercolour
  • Dimensions: 23 by 32cm., 9 by 12.7 5in.
  • Provenance: Gift to Maire Nolan (n
  • Exhibited: RHA, Dublin, 1957, catalogue no. 147 (
  • Teeming with historic and anecdotal details, Kernoff’s cityscapes chronicled Dublin life of the 1930s, ‘40s and ‘50s. He first exhibited a view of Winetavern Street in 1934 at a solo exhibition at Daniel Egan’s Gallery. In 1940 he painted Winetavern Street, July Morning, exhibiting it that year at the RHA (later sold through Sotheby’s, 16 May 2003, lot 106). Two years later he showed another version, Old Houses, Winetavern Street, at the Studio Arts Club, and finally in 1957 exhibited the present watercolour at the RHA. It was also the subject of a woodcut print. In each version it is possible to discern the names of the various shops: at number 5 is a clothier by the name of Walker; at number 7 a fishmonger, Richardson; T. Young, hatter, is at number 9; and on the far corner (presumably at number 11), red and white stripes indicate a barbershop. Above the rooftops the green dome of the Four Courts is visible, whilst the foreground is dominated by the looming shadow of Christchurch Cathedral. The old houses of Winetavern Street were demolished in 1964.

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ST STEPHEN'S GREEN, SUMMER IN DUBLIN
ST STEPHEN'S GREEN, SUMMER IN DUBLIN
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 26 November 2007 / 112

Published Estimate: €15000-20000

Price Realised: 


THE SEE-SAW (BOTANIC GARDENS)
THE SEE-SAW (BOTANIC GARDENS)
William Conor RHA RUA ROI OBE (1881-1968)

Auction Date / Lot No.: 26 November 2007 / 113

Published Estimate: €10000-15000

Price Realised: €23000

  • Signature: signed lower right
  • Medium: crayon on paper
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Arches Gallery, Belfast; Private collection
  • Exhibited: Possibly exhibited as In the Botanic Gardens, Ulster Academy of Arts, Belfast, 1946, catalogue no. 154; ’A Time and a Place: Two Centuries of Irish Social Life’, National Gallery of Ireland, Dublin, 18 October 2006 – 28 January 2007, catalogue no. 64
  • Literature: Brendan Rooney, A Time and a Place: Two Centuries of Irish Social Life, NGI, Dublin, 2006, pp. 119-20, illustrated p. 120
  • In the mid 1940s and early ‘50s Conor exhibited a series of work depicting children at play, including Swing High, Swing Low (1944), Hobby Horses (1947) and Chair-o-Planes (1951). The present work can be dated to this same period and – given the style of dress and the subject – may tentatively be identified as a work exhibited in 1946 under the title In the Botanic Gardens. In the catalogue to the recent National Gallery exhibition, Brendan Rooney wrote of this work: The carefree, excited play of children on a see-saw on a bright summer’s day can be seen as a kind of pictorial antidote to some of the harsher realities – illness, physical work, penury and unemployment – of life in working-class Belfast in the 1920s and 1930s, and a counterpoint to the daily toils of artisans and the lower middle-class. Significantly, and not withstanding the complexity of Conor’s identity, these pictures, including those of children at play, transcend the sectarianism that had crept with increasing virulence into Belfast from the late nineteenth century onwards. Conor delighted in depicting recreational activities, from music and games to singing, dancing, visits to the beach, theatre and even polo. Other works, including Lamp-post Swinging and Queue for the Picture House (both in the collection of the Ulster Folk and Transport Museum) echo the cheeriness communicated in The See-Saw, and reflect the artist’s fascination with the collective nature of children’s recreation. His ability to communicate glee and good-humour was unsurpassed. Nor was it one-dimensional. He could capture with equal alacrity the jovial confidence of an army recruit, the celebratory air of a wedding party, or the giddiness of a dancing couple. A study for this work was exhibited at the Oriel Gallery’s ‘William Conor Centenary Exhibition’, 8-22 July 1981, catalogue no. 9 (illustrated).

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BELOW THE GOLDEN FALLS, 1936
BELOW THE GOLDEN FALLS, 1936
Jack B. Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 November 2007 / 114

Published Estimate: €60000-80000

Price Realised: €70000

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 23 by 36cm., 9.25 by 14.2 5in.
  • Provenance: Bought from Robert Dunthorne and Sons Ltd, London, in 1936 by a Dublin collector and passed by legacy to the previous owner; de Vere's, Dublin, 21 November 2000, lot 383; Whence purchased by the present owner
  • Exhibited: 'Jack B. Yeats: Recent Paintings' Robert Dunthorne, the Rembrandt Gallery, London, 19 March - 15 April 1936, catalogue no. 32
  • Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings, Andre Deutsch, London, 1992, Vol. 1, p. 433, catalogue no. 478
  • Jack Yeats exhibited only once with Robert Dunthorne, who owned the Rembrandt Gallery, in Vigo Street, off Regent Street in London. The exhibition, from March 19 to April 16, 1936, was widely and successfully noticed, and caused quite a stir. What was detected, by several critics, was a shift away from ‘hearty pictures of Irish life, of horses, races, fairs and crowds’, to an abstraction of his art which was becoming ‘vague and visionary’. The art critic of the New Statesman wrote of a new devotion to landscape and interiors, and great attention was paid by all the critics to a major work, About to Write a Letter, included in the show. The same critic also referred to Jack Yeats’ new performance as a writer. His book, The Amaranthers, appeared at roughly the same time. These changes and new qualities were picked up by more than one critic at the time in respect of Below the Golden Falls. It was described as ‘an impression of the Liffey at its best’ in the Cork Examiner, and praised in The Morning Post [the London newspaper which later was amalgamated with The Daily Telegraph] as ‘songs without words, or the formless music of dreams’. The general view of critics was favourable, and the softer, warmer aspects of the painter’s art were emphasised. In those days, Yeats had no hesitation – as he later had – about talking with the press, and The Cork Examiner published his views about Ireland. ‘The one great change I do notice about masses of Irish people is that the young ones are in ascendant. That change has been brought about by the big slump in emigration to America.’ And he added: ‘I think the boys and girls at political meetings leave the politicians wondering as to what they are thinking about.’ A fellow artist in London, James Bone, gave Jack Yeats a printed quotation from Seneca which was appropriate to his career, then and later, and which he kept for the rest of his life: ‘It is nothing for a man to hold his head in a calm; but to maintain his post when all others have quitted their ground, and there to stand upright, where all the other men are beaten down – this is divine and praiseworthy.’ Bruce Arnold

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STREET ACCORDION PLAYER
STREET ACCORDION PLAYER
George Collie RHA (1904-1975)

Auction Date / Lot No.: 26 November 2007 / 115

Published Estimate: €10000-15000

Price Realised: €10000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 76 by 64cm., 30 by 25in.
  • Exhibited: Possibly exhibited at the RHA, 1966, as Dublin Street Musician, catalogue no. 73
  • Born in Carrickmacross, Co. Monaghan, Collie moved to Dublin when still a child, and was educated at St Kevin’s School in Blackpitts. At the age of eighteen he began exhibiting with the RHA, showing a study of a head and a still life. He was a star pupil at the Dublin Metropolitan School of Art, studying under Patrick Tuohy, James Sinton Sleator and Seán Keating. His depiction of The Fruit and Vegetable Market, Dublin won him the Taylor Scholarship in 1927, whilst The Mid-day Meal, another piece of social realist documentation, set in the dining room of the Dublin Union, won the Taylor Prize in 1928. This enabled him to study abroad, firstly at the Royal College of Art in London, and later at the Académie la Grande Chaumière and at Colarossi’s in Paris. Upon returning to Dublin he took up a teaching position at the Metropolitan School. By 1938 he had opened his own private school in Schoolhouse Lane, off Molesworth Street, where he taught pupils for the next thirty years. He was a regular exhibitor at the Academy, showing mostly portraits such as Eamon de Valera, Liam Cosgrave, Cardinal D’Alton and Thomas McGreevy (NGI). Collie’s skill as a portraitist also came to the fore in a number of fine character studies such as Blighted Hopes, c.1933 (Ulster Museum), which depicts an aging man, slumped with eyes downcast, oblivious to the crowd of people and dogs behind him. Street Accordion Player belongs to this latter category of works, revealing Collie’s interest in working class Dubliners and showing the artist’s extraordinary skill in figure painting.

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FEMME AU CORSAGE MAUVE, 1912
FEMME AU CORSAGE MAUVE, 1912
Roderic O'Conor (1860-1940)

Auction Date / Lot No.: 26 November 2007 / 116

Published Estimate: €50000-70000

Price Realised: 

  • Signature: signed and dated upper right; atelier stamp on reverse
  • Medium: oil on canvas
  • Dimensions: 81 by 65cm., 32 by 25.5in.
  • Provenance: Hotel Drouot, Paris, Vente O’Conor, 6-7 February 1956; Oscar Ghez, Musée du Petit Palais, Geneve; Private collection, Belfast; Christie’s, London, 9 March 1984, lot 239; Private collection, Newry; Sotheby’s, London, 2 May 1990, lot 26; Sotheby’s, London, 22 May 1997, lot 226; de Vere’s, Dublin, 16 November 1999, lot 64; Milmo Penny Fine Art, Dublin; Whence purchased by present owner, March 2000
  • Literature: Jonathan Benington, Roderic O'Conor, Irish Academic Press, Dublin 1992, catalogue no. 162, illustrated plate 48, p. 112; Dominic Milmo-Penny and Daniel Fennelly, Roderic O'Conor, Private View, Dublin, 2001, pp. 48-9, reproduced
  • The heightened realism of this portrait reiterates the fact that O’Conor was forever seeking out new modes of expression and never allowed himself to be typecast as the exponent of any one style or method. The palpable, almost sculptural rendering of volumes in Femme au corsage mauve, with its strong side-lighting and sharply delineated forms, could be seen as a distant echo of the Irishman’s academic training in the art schools of Dublin, Antwerp and Paris during the 1880s. The strong colours and tonal contrasts of the present work are reminiscent of those seen in such early portraits as A Breton Fisherman of 1891, whilst the arrangement of the figure along a diagonal harks back to works like Paysanne Bretonne, an etching of 1893. Precisely why O’Conor should have decided to revisit these techniques when he was in his middle age will remain a mystery, but it may have had something to do with the more settled life he was able to enjoy following his acquisition of a permanent studio in Paris in 1904. Here, blissfully isolated in a courtyard setting and at one remove from the bustle of the boulevards, he had time to focus his attention on the indoor subjects of female figures (nude and clothed), self-portraits and still lifes, developing these themes exhaustively at the expense of his former preoccupation with landscape. With ample space in which to pose the model, position his studio furniture and store his wet canvases, O’Conor was able to experiment with a more textured and layered approach than was his wont at this time, using palette knives to build up a dense, rich impasto. We see the outcome of this daring method to good effect in Femme au corsage mauve, where the paint in some areas must almost be as thick as a centimetre, thereby endowing the surface with a relief-like quality. And yet the densely layered pigment is never allowed to interfere with the clarity of the forms it depicts, for ultimately this painting is all about control, right down to the painstaking representation of the model’s intertwined fingers. O’Conor’s depictions of women usually fell into one of two categories: nudes, or interior views where the sitter’s features were blurred. Hence portraits of women, especially those wearing casual everyday dress (as opposed to peasant costume), are rare in his oeuvre. It is naturally tempting to speculate on the identity of Femme au corsage mauve, and indeed a previous commentator has suggested that she is Renée Honta, the artist’s mistress (and later wife). However, Renée was only 18 years old in 1912, whereas O’Conor’s portrait shows a woman of more mature years, perhaps a friend or fellow artist. The artist’s great niece, Sister Olga Dwyer, has confirmed from a photograph that the lady was not a member of the O’Conor family. It is safe to assume she was someone from his inner circle of cultured Parisian acquaintances, given the trouble he has so obviously lavished on the picture, plus the fact that it remained in his possession for the remaining 28 years of his life. Jonathan Benington

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NOW WOPPY IS BUT A BEGINNER
NOW WOPPY IS BUT A BEGINNER
Sir William Orpen RA RI HRHA (1878-1931)

Auction Date / Lot No.: 26 November 2007 / 117

Published Estimate: €1500-2000

Price Realised: €1500

  • Signature: inscribed upper right
  • Medium: pen and ink with wash
  • Dimensions: 25 by 20cm., 10 by 8in.
  • Provenance: Letter to Mrs Evelyn St George; Thence by descent
  • Orpen often referred to himself as ‘Woppy’ in his letters to the St George family. Full inscription reads: ‘Now Woppy is but a beginner / though he simply delights in his dinner / and with six dozen drinks / His eye never blinks / but he only grows thinner and thinner’.

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THAT DEAR LITTLE GIRL CALLED POPPY
THAT DEAR LITTLE GIRL CALLED POPPY
Sir William Orpen RA RI HRHA (1878-1931)

Auction Date / Lot No.: 26 November 2007 / 118

Published Estimate: €1500-2000

Price Realised: €1500

  • Signature: inscribed upper centre
  • Medium: pen and ink on paper
  • Dimensions: 25 by 20cm., 9.75 by 8in.
  • Provenance: Letter to Gardenia St George; Thence by descent
  • Poppy was Orpen’s pet-name for Gardenia St George. Full inscription reads: ‘But That dear little girl called Poppy / Loves no one so well as dear Woppy... / Which shows she is wise / for both the same size / are, Poppy-Wop, Woppy pop Poppy!’

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HENRIETTA PAGET, NEÉ FARR
HENRIETTA PAGET, NEÉ FARR
John Butler Yeats RHA (1839-1922)

Auction Date / Lot No.: 26 November 2007 / 119

Published Estimate: €6000-8000

Price Realised: €6500

  • Signature: signed and dated 23 September 1894 lower right; inscribed "Etta" lower left
  • Medium: pencil
  • Dimensions: 17 by 11cm., 6.5 by 4.5in.
  • Henrietta Paget was the daughter of statistician, William Farr. The Pagets were neighbours of the Yeats family in Bedford Park in west London in the 1890s. They were a family of artists and illustrators. Etta and her sister Florence were members of a group called the Golden Dawn, who were involved with spiritualism and the occult. W. B. Yeats was also a member; indeed Florence Paget was said to have had an affair with both W. B. Yeats and George Bernard Shaw.

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FISHING FLEET ON THE SANDS AT SCHEVENINGEN
FISHING FLEET ON THE SANDS AT SCHEVENINGEN
Nathaniel Hone RHA (1931-1917)

Auction Date / Lot No.: 26 November 2007 / 120

Published Estimate: €12000-15000

Price Realised: €18000

  • 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; and Sand, listed as no. 592 in Bodkin’s Four Irish Landscape Painters and sold through the Gorry Gallery, Dublin, June 2002, catalogue no. 5.

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SCENE IN THE GLEN OF THE DOWNS, 1848
SCENE IN THE GLEN OF THE DOWNS, 1848
William Guy Wall (1792-1864)

Auction Date / Lot No.: 26 November 2007 / 121

Published Estimate: €8000-10000

Price Realised: 

  • Signature: original exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 52 by 81cm., 20.5 by 32in.
  • Exhibited: National Art Union for Ireland, 1848
  • William Guy Wall was born and educated in Dublin, but moved to America in 1818. There he achieved recognition for his series of watercolour landscapes which were published in aquatint form as the Hudson River Portfolio (c.1820), and which were later used as transfer printed designs for Stevenson’s Cobridge pottery works in Staffordshire, England. In 1826 Wall helped found the National Academy of Design in New York, from where he exhibited, whilst also showing at the Pennsylvania Academy of Fine Arts in Philadelphia. He returned to Ireland around 1832 and began exhibiting at the RHA in 1840. In 1843 Wall was one of the nine founding members of the Society of Irish Artists (along with Edward Hayes, Michael Angelo Hayes, and the Brocas family). However, a perceived neglect of his work led Wall to return to America in 1856 for a period of four years. He finally returned to Dublin in 1860 where he died in relative obscurity. His work hangs in the Metropolitan Museum of Art, New York, the Brooklyn Museum of Art, and in the collection of the New York Historical Society. Strickland records that many of Wall’s paintings were purchased by the Royal Irish Art Union and given as prizes to subscribers during the years 1843-46 (vol. II, p. 499). However, Wall’s association with the National Art Union was hitherto unrecorded. The National Art Union was founded in 1846 with the object of encouraging Irish artists. According to Strickland, ‘it began with great promise, but, owing chiefly to want of funds, had only a brief existence, and came to an end in 1851’ (vol. II, p. 663).

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TRAVELLERS IN A RIVER GORGE
TRAVELLERS IN A RIVER GORGE
Thomas Walmsley (1763-1806)

Auction Date / Lot No.: 26 November 2007 / 123

Published Estimate: €8000-10000

Price Realised: 


FIGURES BY A LAKE NEAR CASTLE RUINS
FIGURES BY A LAKE NEAR CASTLE RUINS
Attributed to Thomas Walmsley (1763-1806)

Auction Date / Lot No.: 26 November 2007 / 124

Published Estimate: €800-1000

Price Realised: 

  • Medium: watercolour and gouache on paper
  • Dimensions: 38 by 51cm., 15 by 20in.
  • Provenance: Collection of John Heard Esq, Hertford, by 1905; Thence to his wife, Lena Gertrude Heard, in 1954; By whom bequeathed to the previous owner (full details on reverse)
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PASTORAL SCENE WITH FIGURES RESTING IN A VALLEY AND A MAN HERDING CATTLE BEYOND
PASTORAL SCENE WITH FIGURES RESTING IN A VALLEY AND A MAN HERDING CATTLE BEYOND
Francis Wheatley RA (1747-1801)

Auction Date / Lot No.: 26 November 2007 / 125

Published Estimate: €3000-4000

Price Realised: €2150


GLENDALOUGH, COUNTY WICKLOW
GLENDALOUGH, COUNTY WICKLOW
John Henry Campbell (1757-1828)

Auction Date / Lot No.: 26 November 2007 / 126

Published Estimate: €1500-2000

Price Realised: €2200

  • Signature: signed lower right
  • Medium: watercolour over pencil on paper
  • Dimensions: 22 by 30cm., 8.5 by 11.7 5in.
  • Provenance: Grafton Gallery, Dublin; Smurfit collection; Private collection, Dublin
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RUINED CASTLE
RUINED CASTLE
John Henry Campbell (1757-1828)

Auction Date / Lot No.: 26 November 2007 / 127

Published Estimate: €800-1000

Price Realised: 


LISSAN HOUSE, COOKSTOWN, COUNTY TYRONE, 1937
LISSAN HOUSE, COOKSTOWN, COUNTY TYRONE, 1937
Sir Robert Ponsonby Staples RBA (1853-1943)

Auction Date / Lot No.: 26 November 2007 / 128

Published Estimate: €3000-4000

Price Realised: €3000

  • Signature: signed, inscribed "to Mondes" and dated centre right
  • Medium: oil on canvas
  • Dimensions: 36 by 46cm., 14 by 18in.
  • Depicts the front porch of the carriage entrance of Lissan House, the ancestral home of the Staples family.

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SLIEVE GALLION, COUNTY TYRONE, 1876
SLIEVE GALLION, COUNTY TYRONE, 1876
Sir Robert Ponsonby Staples RBA (1853-1943)

Auction Date / Lot No.: 26 November 2007 / 129

Published Estimate: €6000-8000

Price Realised: €4000

  • Signature: signed and dated lower left; inscribed on reverse with title 'Slievegalion, Ireland' and artist's addresses (20 Newman and 30 Marlboro Hill St John's Wood)
  • Medium: oil on canvas
  • Dimensions: 46 by 119cm., 18 by 47in.
  • Exhibited: RHA, Dublin, 1876, catalogue no. 161 (£26-5-0)
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KILMURRAY - CATS CHASING BIRDS, 1918
KILMURRAY - CATS CHASING BIRDS, 1918
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 26 November 2007 / 130

Published Estimate: €6000-8000

Price Realised: €6000

  • Signature: signed and dated July 1918 lower left; exhibition labels on reverse
  • Medium: watercolour
  • Dimensions: 26 by 36cm., 10.2 5 by 14.2 5i
  • Exhibited: 'Mildred Anne Butler', Kilkenny Art Gallery, 1987, catalogue no. 71; 'Mildred Anne Butler', Ulster Museum, Belfast, 29 April - 12 June 1988, catalogue no. 14
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THE POTATO GATHERERS, 1922
THE POTATO GATHERERS, 1922
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 26 November 2007 / 131

Published Estimate: €20000-30000

Price Realised: €24000

  • Signature: signed and dated lower left
  • Medium: watercolour over pencil
  • Dimensions: 36 by 53cm., 14.2 5 by 20.7in.
  • The old woman depicted in this work was used as a model by McKelvey on several other occasions during the early 1920s. She was presumably a friend or neighbour from the area around Bessborough, Co. Armagh, where McKelvey’s in-laws owned a farm. She appears in a similar pose – arms akimbo, hands on hips – in a delicately painted watercolour of this period, Tending Her Goats (sold through these room, 21 February 2006, lot 87). Her distinctive lined visage is recognisable in the watercolour, Feeding the Hens, 1920 (sold through these rooms, 20 September 2005, lot 57). She was also possibly the model for McKelvey’s prize-winning entry to the Taylor art competition in 1918, The Grandmother.

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DONEGAL COTTAGES
DONEGAL COTTAGES
Theodore James Gracey RUA (1895-1959)

Auction Date / Lot No.: 26 November 2007 / 132

Published Estimate: €1000-1500

Price Realised: €1900

  • Signature: signed lower left
  • Medium: watercolour over pencil
  • Dimensions: 18 by 25cm., 7.25 by 10in.
  • Remains of the original hand-lettered mount and framer's label (Samuel Mills, Belfast) on reverse.

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SLIEVEMORE FROM ACHILL SOUND
SLIEVEMORE FROM ACHILL SOUND
Fergus O'Ryan RHA (1911-1989)

Auction Date / Lot No.: 26 November 2007 / 133

Published Estimate: €1500-2000

Price Realised: €2200


THE FRIARY BEACH, ARDS BAY, COUNTY DONEGAL
THE FRIARY BEACH, ARDS BAY, COUNTY DONEGAL
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 26 November 2007 / 134

Published Estimate: €20000-30000

Price Realised: €17000

  • Signature: signed lower left; inscribed with title on reverse
  • Medium: oil on canvas
  • Dimensions: 46 by 61cm., 18 by 24in.
  • Provenance: Sotheby's, London, 16 May 2002, lot 138; Whence purchased by the present owner
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THE MUCKISH RIVER, COUNTY DONEGAL
THE MUCKISH RIVER, COUNTY DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 26 November 2007 / 135

Published Estimate: €10000-12000

Price Realised: €8500

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Exhibited: Possibly exhibited at the RHA, 1932, catalogue no. 306
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IN THE ROSSES, COUNTY DONEGAL
IN THE ROSSES, COUNTY DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 26 November 2007 / 136

Published Estimate: €15000-18000

Price Realised: 

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on panel
  • Dimensions: 29 by 42cm., 11.5 by 16.5in.
  • Provenance: Mellors Fine Art, Toronto; Whence purchased by C. R. Arthur Esq, 1935
  • With the original bill of sale included with lot.

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TURF BOATS IN CONNEMARA
TURF BOATS IN CONNEMARA
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 26 November 2007 / 137

Published Estimate: €4000-5000

Price Realised: €3250

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 27 by 35cm., 10.5 by 13.7 5in.
  • In the original frame of the Victor Waddington Galleries, Dublin.

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THE CLIFFS ON THE ARAN ISLANDS
THE CLIFFS ON THE ARAN ISLANDS
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 26 November 2007 / 138

Published Estimate: €4000-5000

Price Realised: €4000

  • Signature: signed lower right; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 27 by 35cm., 10.5 by 13.7 5in.
  • In the original frame of the Victor Waddington Galleries, Dublin.

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COTTAGE AT FAUL, CONNEMARA
COTTAGE AT FAUL, CONNEMARA
Maurice MacGonigal PRHA (1900-1979)

Auction Date / Lot No.: 26 November 2007 / 139

Published Estimate: €12000-15000

Price Realised: €12000

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 51 by 76cm., 20 by 30in.
  • Provenance: Dawson Gallery, Dublin; Tom Caldwell Galleries, Dublin and Belfast, by 1986; Private collection
  • Painted circa 1968-70.

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TURF BOATS MOORED AT CARRAROE, COUNTY GALWAY
TURF BOATS MOORED AT CARRAROE, COUNTY GALWAY
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 26 November 2007 / 140

Published Estimate: €5000-7000

Price Realised: €6200


CARRAROE PIER AT SUNSET, COUNTY GALWAY
CARRAROE PIER AT SUNSET, COUNTY GALWAY
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 26 November 2007 / 141

Published Estimate: €5000-7000

Price Realised: €5600


CARLINGFORD, COUNTY LOUTH
CARLINGFORD, COUNTY LOUTH
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 26 November 2007 / 142

Published Estimate: €4000-6000

Price Realised: €7000


WOODLAND SCENE
WOODLAND SCENE
Nano Reid (1900-1981)

Auction Date / Lot No.: 26 November 2007 / 143

Published Estimate: €4000-6000

Price Realised: €5000


FIDDLER
FIDDLER
Simon Coleman RHA (1916-1995)

Auction Date / Lot No.: 26 November 2007 / 144

Published Estimate: €2000-3000

Price Realised: 


BACKYARDS, LIFFEY STREET, DUBLIN
BACKYARDS, LIFFEY STREET, DUBLIN
Simon Coleman RHA (1916-1995)

Auction Date / Lot No.: 26 November 2007 / 145

Published Estimate: €1500-2000

Price Realised: €1500


PATRICK STREET, DUBLIN, 1940
PATRICK STREET, DUBLIN, 1940
Fergus O'Ryan RHA (1911-1989)

Auction Date / Lot No.: 26 November 2007 / 146

Published Estimate: €800-1200

Price Realised: €1200

  • Signature: signed and dated lower left
  • Medium: watercolour
  • Dimensions: 36 by 25cm., 14 by 10in.
  • With the spire of St Patrick's Cathedral visible behind the row of shops and houses. The houses at the left were later cleared for the construction of the new buildings for St. Patricks.

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