26 November 2007

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ACHILL ROCKS AND REFLECTIONS I 1959
ACHILL ROCKS AND REFLECTIONS I 1959
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 26 November 2007 / 51

Published Estimate: €20000-30000

Price Realised: €20000

  • Signature: signed, inscribed 'Achill' and dated lower centre; exhibition labels on reverse
  • Medium: oil, black enamel, spirit aluminium on kraft paper
  • Dimensions: 49 by 72cm., 19.2 5 by 28.5in.
  • Provenance: Collection of Sir Basil Goulding, Bt; Sold by the Goulding Estate through the Taylor Galleries, 1982; Whence purchased by the present owner
  • Exhibited: ‘One Man’s Meat’, Municipal Gallery of Modern Art, Dublin, December 1961, catalogue no. 61 (illustrated on front cover of catalogue); ’Two Painters from the Collection of Sir Basil Goulding’, joint exhibition with Barrie Cooke, Ulster Museum, Belfast, 28 January – 27 February 1965, catalogue no. 18; ’Modern Irish Paintings’, Athenaeum, Helsinki, September – October 1969, exhibition toured Scandinavia and to the RCA Gallery, London, November – December 1970, and the City Art Gallery, Leeds, 1971, catalogue no. 44; ’2 Deeply: One Hundred Paintings by Barrie Cooke and Camille Souter’, The Carroll Building, Grand Parade, Dublin, August 1971, in aid of the Central Remedial Clinic, catalogue no. 13; ’Camille Souter: An exhibition of paintings from the collection of Sir Basil Goulding, Bt., and a selection of Still Life paintings from other collections’, YMCA Hall, North Main Street, Wexford, organised by the Friends of the Wexford Festival in conjunction with the Arts Council / An Chomhairle Ealaíon, 28 October – 5 November 1972, catalogue no. 11; ’Camille Souter’, Douglas Hyde Gallery, Trinity College Dublin, 8 June – 9 July 1980, catalogue no. 8 (reproduced page 14 of the catalogue); ’From the Collection of Sir Basil Goulding Bart.’, Taylor Galleries, Dublin, 2-18 December 1982, catalogue no. 54
  • Literature: Garrett Cormican, Camille Souter: The Mirror in The Sea, Whyte's, Dublin, 2006, catalogue no. 100, pages 46, 238, illustrated page 55; Aidan Dunne, Making a Space all her own, Irish Times, 12 February 2007, illustrated
  • Camille Souter returned from Italy and settled in Achill in early 1959. Historically, the island has been popular with artists and writers. Major figures such as Paul and Grace Henry, Robert Henri, Letitia Hamilton, Derek Hill, Evie Hone, Mainie Jellett, Doreen Vanston, Dorothy Blackham, Barbara Warren, J. M. Synge, Graham Greene and Nobel prize-winner Heinrich Boll have all been attracted to the island. Unintentionally, Souter might be said to have followed in the footsteps of an earlier generation of painters, who learnt a considerable amount about modern painting on the continent and applied that knowledge to the Achill landscape. Her approach was, however, far more radical than any of her predecessors. Throughout the 1950s Souter had used a myriad of unconventional materials and techniques, but in Achill this trend became much more pronounced. It was there that she first began to use fluid aluminium and enamel paints to supplement her limited, less easily obtainable supplies of oil paint. Fortuitously the colours that were available in the local hardware corresponded closely to some of those prevalent in the landscape. The early work from Achill has such a high degree of painterly expressiveness that it may often appear to verge on abstraction and, without reference to a title, one might be at a loss to discover its content or subject. This is undoubtedly true of Achill Rocks and Reflections I. As the artist herself once remarked of her early work ‘None of those pictures were abstract. All the Achill paintings dealt with bog, rocks and pools more or less’. The materials used in the painting (black enamel and aluminium paint on brown kraft wrapping paper) and the manner in which they are used, is strikingly experimental for the period both in an Irish and an international context. While influenced by movements such as abstract expressionism and tachisme, Souter’s work is distinguished by being firmly rooted in its subject. The top half of the Achill Rocks and Reflections I roughly mirrors the lower half. The left half of the painting roughly reflects the right half. It seems that Souter probably began by painting one side of the work. Then in an almost childlike fashion, she folded the work in two, to print both sides of the painting with a similar motif. Alternatively, this may have been done on a separate sheet which was then pressed onto the surface. It is as though her subject matter –rocks and reflections – literally dictated the manner in which the paint was applied. It is also true that the reflective nature of aluminium paint provides a peculiarly appropriate substitute for the reflective qualities of water. This work seems to unite all the unconscious automatist energy of an action painting, with the cool precision and minimalism of a Japanese print. When the late Sir Basil Goulding exhibited his collection of modern art at the Dublin City Gallery, the Hugh Lane, in 1960 under the title ‘One Man’s Meat’, Achill Rocks and Reflections I was chosen to grace the cover of the exhibition catalogue. It was an interesting choice, considering his enormous collection included works by Oskar Kokoshka, Jean Lurcat, Pablo Picasso, Louis le Brocquy and Barrie Cooke to name but a few. Reputations and style appear to have been of less significance to him. Goulding trusted the judgment of his own eyes, placing the greatest emphasis on quality. He wrote: ‘It is not the idiom that counts; it is the performance within one,’ and ‘Quality is by far the senior ingredient over idiom.’ When comparing the works of artists such as le Brocquy, Cooke and Souter in terms of their ‘quality’ ‘authority’ and ‘penetration’ he noted, ‘Perhaps by the way we should keep all these alternative words available because we must have the noun “Quality” for Camille Souter – the others aren’t quite right for the art which is gentle but complex and unique.’ Achill Rocks and Reflections was sold in 1982 following Sir Basil Goulding’s death and has not to my knowledge been seen in public since. While I have lusted after countless paintings by Camille Souter, in my opinion this is one of the very best, one of the very highest ‘Quality’ to have come up for auction since I began following sales of her work 10 years ago. Collectors are understandably reluctant to let them go. Garrett Cormican

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AFTER CAMILLE SOUTER
AFTER CAMILLE SOUTER
Helen Cody 

Auction Date / Lot No.: 26 November 2007 / 52

Published Estimate: €1500-1800

Price Realised: 


LANDSCAPE
LANDSCAPE
Anita Shelbourne RHA (b.1938)

Auction Date / Lot No.: 26 November 2007 / 53

Published Estimate: €2500-3500

Price Realised: €2600

  • Signature: signed on reverse; also original labels on reverse giving title and artist's address
  • Medium: oil on canvas
  • Dimensions: 64 by 76cm., 25 by 30in.
  • Exhibited: Possibly exhibited as part of 'Figurative Image', Bank of Ireland Exhibition Hall, September 1982, catalogue no. 42 (£250)
  • Painted circa 1972-75.

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STUDY FOR RESURRECTION, 1953
STUDY FOR RESURRECTION, 1953
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 26 November 2007 / 54

Published Estimate: €100000-150000

Price Realised: 

  • Signature: signed and dated lower right; inscribed and signed again on reverse; also with original exhibition labels on reverse
  • Medium: oil on canvas
  • Dimensions: 41 by 30cm., 16 by 12in.
  • Provenance: Sir Robert and Lady Mayer; Private collection
  • Exhibited: Gimpel Fils Gallery, London, February 1955, catalogue no. 5 (lent by Sir Robert and Lady Mayer)
  • Hand-written label on reverse reads: ‘1 Resurrection / by Louis le Brocquy RHA’. During the early 1950s le Brocquy produced a series of works concerning human isolation. The best-known of these works, A Family, 1951 (National Gallery of Ireland collection), depicts a family under emotional duress, their fractured relations exposed under a bare light bulb. Another significant work of this so-called ‘grey period’ is Lazarus, 1954 (formerly property of the Jefferson Smurfit Group, now in a private collection), which was exhibited at the Gimpel Fils Gallery in 1955, alongside the present work. Both works are depictions of the resurrected Lazarus, draped in his burial shroud and stepping forward from the confines of a severely modernist-styled tomb or bunker. The outspread arms presage those of the crucified Christ who, according to the parable, has worked this miracle. Whilst the subject matter is ostensibly religious, critics at the time understood these works to be primarily investigations into nature of human physicality. Reviewing the Gimpel Fils exhibition in 1955, John Berger wrote: Even if some are called Lazarus or Resurrection … the theme … is the same. It is ¬– and there is no way of putting it briefly except in a platitude –¬ the mystery of the flesh: the nearness within the nervous system of pain and pleasure: the ambiguity between the body as a cage containing an animal and the body as an expendable servant of the heart: the fact that the same muscles move in the shoulder whether the arm is raised to caress or do violence.1 In Berger’s view the paintings are studies of one man’s contemplation of his own physical being. The artist’s own comments support this thesis: Originally I remember being moved by the story of Lazarus as a return ¬– miraculous or otherwise –¬ to a heightened awareness of his own being. I saw his head as a black hole of absence, stooped to regard his renewed physical presence. 2 This interpretation allows us to see how the Lazarus paintings prefigure le Brocquy’s later series of ‘presences’ and ‘heads’. The centrality of the vertical human form would be a leitmotif of later works, from the white ‘Beings’ paintings of the late 1950s, to the well-known ancestral heads and portrait heads, floating against a white expanse or void. Thus both Lazarus and Study for Resurrection can be seen as transitional works, leading from the ‘grey period’ (c.1951-54) to the ‘white period’ (c.1956-66), and on to the head paintings of the mid-1960s and beyond. In Study for Resurrection , the head is a white ovoid shape, set upon a grey risen body. It is perhaps no coincidence that the head should take the form of an egg – the symbol of birth and regeneration. By the following year the head had transmogrified into ‘a black hole of absence’. According to John Russell, the artist had used ‘sketches made from Egyptian mummies’ as a model for the shrouded figure of Lazarus. 3 However, le Brocquy clearly also worked from living models, as seen in Study - man holding a towel, 1951 (sold through Sotheby’s, 16 May 2003, lot 122), a chalk and gouache study of a naked man with arms stretched apart, holding a white towel behind him. Study for Resurrection, 1953, is less overtly a study of the naked human form, and more pointedly a study of one man’s wonder at his own existence. The original owners of this painting, Sir Robert and Dorothy Mayer, were well-known patrons of the arts, particularly music. Robert Mayer, businessman and philanthropist, was born in 1879 in Mannheim, Germany. He moved to Britain in 1896 and was naturalized in 1902. In 1919 he married Dorothy Moulton, a soprano, with whose encouragement he co-founded the London Philharmonic Orchestra. In later years his philanthropic interests expanded to include the improvement of foreign relations. In 1979 he published his autobiography, My First Hundred Years. He died on 9 January 1985 in London. 1 John Berger, ‘Louis le Brocquy’, The New Statesman, London, 12 February 1955. 2 Louis le Brocquy, quoted on the artist’s website, www.anne-madden.com 3 John Russell, ‘Introduction’, in Dorothy Walker, Louis le Brocquy, Ward River Press, Dublin, 1981, p. 10.

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A SUDDEN GUST
A SUDDEN GUST
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 26 November 2007 / 55

Published Estimate: €40000-60000

Price Realised: €46000

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 35 by 53cm., 13.7 5 by 20.7 5i
  • Provenance: Taylor de Vere's, Dublin, 13 March 1990, lot 35; de Vere's, Dublin, 23 November 2004, lot 29; Private collection
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LANDSCAPE, TYRELLA
LANDSCAPE, TYRELLA
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 26 November 2007 / 56

Published Estimate: €60000-80000

Price Realised: €60000

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Sotheby's, London, 18 May 2000, lot 172; Private collection
  • This painting dates to the relatively peaceful and productive stage of O’Neill’s life in the early 1950s, when he and his small family left Belfast in favour of the small village of Conlig, Co. Down. Conlig had a small-scale artists’ colony at the time, with George Campbell and Gerard Dillon also living there. Residents of Conlig still recall the sight of O’Neill taking long walks outside the village with his wife and small daughter. It is most probable that the models in the mid-foreground of the present painting were O’Neill’s own wife and child, on an outing to Tyrella Beach, which lay further south on Dundrum Bay. It is a highly successful work. O’Neill defies the convention of the golden mean, opting instead for an abstracted, flattened series of diagonal strips in the lower half of the composition, over which the low grey clouds lie suspended. A note of poetic drama is introduced with the almost biblical ray of light penetrating the cloud, softly illuminating the woman and girl in the field of flowers.

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THE HARVESTERS, 1943
THE HARVESTERS, 1943
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 26 November 2007 / 58

Published Estimate: €30000-40000

Price Realised: €42000

  • Signature: signed and dated lower left
  • Medium: oil on canvas
  • Dimensions: 56 by 76cm., 22 by 30in.
  • Provenance: Gift of the artist to the present owner
  • Exhibited: Solo exhibition, Dublin Painter's Gallery, March 1943
  • To have an overriding hobby, that’s the secret. Mine was an overriding hobby; I couldn’t get rid of it.1 Mary Swanzy was born in Merrion Square, Dublin. Her artistic talent was nurtured from an early age and upon the death of her parents, when the family home broke up, she began a series of travels which added immense colour to her palette. She travelled widely and enjoyed each new location with zeal. All the while she retained an interest in the classical proportions that she was surrounded by in her native Georgian Dublin. ‘I am quite sure that being brought up here laid the foundations of my feeling of structure in everything, of discipline.’2 Swanzy learned that all art was based in some way on classical proportions and she retained a lifelong style that paid homage to these proportions. Whilst she moved to London in 1926, Swanzy retained an interest in Irish art and was a great admirer of Evie Hone, whom she felt had never painted a bad picture. Swanzy continued to send paintings to the RHA until 1951 when she suddenly stopped. The RHA, believing she was dead, fell out of contact with her until 1974, when she began sending paintings again. Classified as too modern, Swanzy did not find a willing audience for her work in Ireland. She continued, however, to paint in London, unable to stop her overriding hobby. The Second World War greatly affected her, and the paintings of that time are dark, mysterious and full of sorrow. The effect of war on humanity, as perceived by Swanzy, produced deeply personal paintings and it was this symbolic style that she returned to in her later years. It is this style which we see in The Harvesters, a painting that seems to eulogise a lost bucolic way of life. Swanzy remained elusive about the meaning of her paintings and never used her time in interviews to discuss this. She preferred to think instead of the meanings attributed by the paintings’ new owners. ‘I’d like very much to be able to see what people have done with my paintings … I’d very much like to know how the people who have them christened them, what they meant to them.’3 Mary Swanzy took solace at the end of her life that in some way her memory would not be forgotten in the story of Irish art. ‘When I die … the legend will begin, I suppose.’4 Swanzy’s wish comes true each time a piece appears at auction, when a new owner will treasure a piece of her work, change its title, and make it their own. 1 Mary Swanzy speaking to Andy O’Mahony, The Arts, RTÉ Radio, 5 May 1977. 2 Una Lehane, The Irish Times, 29 March 1974. 3 Una Lehane, The Irish Times, 29 March 1974. 4 Patrick Murphy, The Irish Times, 28 October 1982. Lorraine Keane

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AN APPARITION
AN APPARITION
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 26 November 2007 / 59

Published Estimate: €12000-15000

Price Realised: €13500

  • Signature: inscribed and with remains of original label on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Waddington Galleries, Dublin; Goodwin Galleries, Limerick; Whence purchased by the previous owner's family; Private collection
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LIMERICK
LIMERICK
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 26 November 2007 / 60

Published Estimate: €12000-15000

Price Realised: €11500

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 41 by 48cm., 16.25 by 18.75in
  • Provenance: Lord Killanin; Oriel Gallery, Dublin; Whence purchased by the present owners circa late 1970s
  • Exhibited: Probably exhibited as 'Old Limerick' solo exhibition, Dawson Gallery, Dublin, 1946 as 'Old Limerick'
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MARKET SCENE
MARKET SCENE
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 26 November 2007 / 61

Published Estimate: €10000-15000

Price Realised: €9500

  • Signature: exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 30 by 50cm., 12 by 19.5in.
  • Provenance: Pyms Gallery, London; de Vere's Dublin, 27 June 2000, lot 47; Private collection
  • Exhibited: 'An Exhibition of Paintings by Mary Swanzy HRHA (1882-1978)', Pyms Gallery, London, 6-29 May 1998, catalogue no. 5 (illustrated in catalogue)
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THE HARBOUR
THE HARBOUR
Georgette Rondel (c.1915-1942)

Auction Date / Lot No.: 26 November 2007 / 62

Published Estimate: €5000-7000

Price Realised: €5000

  • Signature: signed upper left; inscribed in another hand on reverse
  • Medium: oil on board
  • Dimensions: 34 by 42cm., 13.5 by 16.5in.
  • Exhibited: Possibly exhibited as Sailing Boat, catalogue no. 20 at the artist's solo show, Victor Waddington Galleries, Dublin, 3-11 October 1941
  • Georgette Rondel was a member of the White Stag Group, an avant-garde coterie of painters who exhibited in Dublin during the 1939-45 war. From France originally, she came to Dublin in August 1939 to flee the war with her German husband, René Buhler, and another of their friends, the English painter Nick Nicholls. In Dublin she worked as a commercial artist and produced theatrical designs. She left Dublin in 1942, only to die that autumn in London. Nick Nicholls published a poem, ‘My Love is Dead’, dedicated to Zette Rondel, in The Bell, November 1942.

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MADONNA AND CHILD
MADONNA AND CHILD
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 26 November 2007 / 63

Published Estimate: €6000-8000

Price Realised: €5800

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 44 by 34cm., 17.5 by 13.5in.
  • Provenance:  Bequeathed by the artist to author Stephen Rynne; Thence by descent to the previous owner
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STILL LIFE WITH GUITAR, 1945
STILL LIFE WITH GUITAR, 1945
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 26 November 2007 / 64

Published Estimate: €3000-4000

Price Realised: €3000

  • Signature: signed and dated lower right; inscribed label on reverse with artist's address (31 Banbridge Square, Edgware Road, W2)
  • Medium: crayon on paper
  • Dimensions: 25 by 18cm., 10 by 7.25in.
  • Provenance: Leinster Gallery, Dublin; Private collection
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SINGLE ELEMENT COMPOSITION
SINGLE ELEMENT COMPOSITION
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 26 November 2007 / 65

Published Estimate: €5000-7000

Price Realised: 

  • Signature: signed lower right; framer's instructions on reverse
  • Medium: gouache on card
  • Dimensions: 22 by 10cm., 8.75 by 4in.
  • Provenance: By family descent until 2005; Whence purchased privately by the present owner
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STORM AT SHANNON circa 1980-84
STORM AT SHANNON circa 1980-84
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 26 November 2007 / 66

Published Estimate: €20000-30000

Price Realised: €16500

  • Signature: signed with initials lower right
  • Medium: oil on paper
  • Dimensions: 37 by 23cm., 14.5 by 9.25in.
  • Provenance: Taylor Galleries, Dublin; Private collection
  • Exhibited: 'Camille Souter Retrospective Exhibition', Model Arts Centre and Niland Gallery, Sligo, 24 April - 2 June 2001, and Royal Hibernian Academy, Dublin, 12 July - 26 August 2001, illustrated in catalogue p. 45
  • Literature: Garrett Cormican, Camille Souter: The Mirror in the Sea, Whyte's, Dublin 2006, catalogue no. 399, p. 304, illustrated p. 142
  • Towards the end of the 1970s Camille Souter’s son Tim and daughter Emma were attending boarding school in Villiers, County Limerick. While in the area, Souter decided to renew her acquaintance with nearby Shannon Airport. She had first visited the place with her parents in 1939, just before World War Two, and remembered it ‘vividly’. ‘The weather down there is stunning,’ she remarked. The severe contrast between the natural and man-made also fascinated her. Despite their inherent drama, the fact that countless numbers of people travel through them on a daily basis, airports have attracted little in the way of serious, artistic interest. Souter, on the other hand, ‘took one look at the place and said, I’m going to paint here’. The level of attention Souter subsequently directed towards airports and flying is unique in the history of Irish art. Indeed, it is difficult to think of many artists internationally that have devoted so much energy to the subject either. It may, however, be true to say that her fascination has an ancestry in nineteenth century Romantic painting, though this does not seem to have ever crossed the artist’s mind. Like Souter, many Romantic painters were drawn to locations associated with travel, most notably harbours and docks – points of perpetual arrival and departure. In such places it is easy to imagine an exciting escape from one’s day-to-day routine. J. M. W. Turner is said to have had himself lashed to the mast of a boat at sea so that he could observe a storm. Not satisfied with simply watching aeroplanes, Souter herself took flying lessons and painted a series of views from the air. ‘I felt so proud that I could fly’ she once remarked, ‘they called me Biggles’. Indeed, with her scarf and beret, she must have looked the part. ‘Visually, it was wonderful. Because of a lack of money, it was [the lessons were] so precious; I only wanted to fly in bad weather. I wanted to see the landscape in bad weather,’ she recalled. Evidently, the weather was not just a peripheral interest of the series but was often central to it. This applies both to those paintings based on views from the air and those from the ground. Storm at Shannon falls into the latter category of work. A white plane charges down the runway on a collision course towards an approaching front like a bull to a red rag. It has already gored half way into a sheet of dark grey cloud, propelled forward by the near irresistible force of its own momentum and relative mass. As Alain de Botton has pointed out, the ability of aircraft to defy gravity (and or the weather) and ascend skyward may lead us to contemplate a similar dramatic transformation of our own circumstances.1 The converse is also true. Their ability to land and bring us home to the safety and security of what we know best can be comforting. Seemingly insurmountable forces and unknown dangers can be overcome. 1 Alain de Botton, The Art of Travel, Penguin, London, 2003. Garrett Cormican

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THE KNOCKOUT, 1974 (DIPTYCH)
THE KNOCKOUT, 1974 (DIPTYCH)
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 26 November 2007 / 67

Published Estimate: €20000-30000

Price Realised: 

  • Signature: one section signed upper right; the other section signed lower left; inscribed by the artist on label on reverse
  • Medium: oil on paper
  • Dimensions: 21 by 19cm., 8.25 by 7.5in.
  • Provenance: Dawson Galleries, Dublin; Private collection
  • Exhibited: 'Camille Souter Retrospective Exhibition', Model Arts Centre and Niland Gallery, Sligo, 24 April - 2 June 2001, and Royal Hibernian Academy, Dublin, 12 July-26 August 2001
  • Literature: Garrett Cormican, Camille Souter: The Mirror in the Sea, Whyte's, Dublin 2006, catalogue no. 320, p. 296, illustrated p. 121
  • Second section measures 7.5 by 8.25 inches. While some commentators are better acquainted with Camille Souter’s paintings of landscapes and still-lives, she has made numerous paintings of the human form in every decade of her career. They are usually very intimate and rarely populated by more than two figures. In the mid 1950s, when she had barely enough money to survive, drawing conventional portraits of locals in a Melegnano trattoria even provided Souter’s ‘bread and butter’. From 1955 through to the late 1960s she produced numerous paintings of clowns and circus scenes. Under the influence of artists like Klee and Miro, these early depictions of the figure were almost like pared down signs or ‘match stick’ men (or women). However, over the course of the 1960s her style gradually became less abstracted. In 1966 she attended a ground-breaking exhibition of Pierre Bonnard’s work at the Royal Academy in London which may also have pushed her further in the direction of a more soft-edged, impressionistic approach to form. The Knockout is one of a series of paintings to do with boxers that the artist produced during the 1970s. It may also be viewed in the broader context of her interest in sport. She also painted sports fields and depictions of footballers during the World Cup during the same decade. There may be another angle to it as well. Sport is intimately connected with violence and has been since people began to wrestle or watch gladiators in the Colosseum for entertainment. Modern sport is not expected to result in death but it continues to involve a physical contest between opposing individuals or nations. The Knockout presents the viewer with intimate close-ups of figures that have been beaten senseless. They lay awkwardly where they fell. The paint is quite thinly applied in places and the slightly blurred treatment of the forms gives each panel a dazed or dream-like quality. The figures could almost be the casualties of a war, a subject the artist would directly address a decade later. In some respects, they are also reminiscent of her fish series (c.1975-76), in which the immobile, sometimes bloody, creatures are laid out against a spare almost monochromatic background. One empathises with the vanquished, as though one were partly responsible for their fate and, as a spectator, perhaps one is. With rare exceptions, Camille Souter’s paintings are inspired by something directly experienced. She would never, for example, work from a photograph as many young painters do today. She has, on occasion, used memories of fleeting images viewed through the medium of television and stories heard over the radio to inform her imagination however. This is the case with The Knockout. In a letter to the author, the artist once wrote ‘Some time I must go to a boxing match – glimpses on TV so rapid – stupid, they would be the same in reality, but more atmosphere, etc. Though I think the most exciting on radio 1930/40s times, my father loved listening to them. As has often been said, the pictures are better on the radio.’ Garrett Cormican

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CUBIST COMPOSITION
CUBIST COMPOSITION
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 26 November 2007 / 68

Published Estimate: €30000-50000

Price Realised: €36000

  • Medium: oil on canvas
  • Dimensions: 91 by 66cm., 36 by 26in.
  • Provenance: Estate of the artist; Taylor Galleries, Dublin; Whence purchased by the present owner in 1988
  • Exhibited: Possibly exhibited as Abstract-Blue at the retrospective exhibition, 'Evie Hone 1894-1955', Trinity College Dublin, 29 July to 5 September 1958, catalogue no. 26
  • Evie Hone is widely celebrated as one of the finest stained glass artists Ireland has produced, yet her activities as a painter, and particularly as an abstract painter, are commonly overlooked. This may be partly owing to the success she achieved later in life with religious subjects, and partly owing to the large shadow cast by her friend and colleague, Mainie Jellett. Whereas Jellett’s paintings have been the subject of a scholarly monograph and a major exhibition at IMMA, Hone’s paintings have remained all but unexamined. That this should be the case would doubtless have surprised and puzzled at least some of Hone’s contemporaries, who considered her a more intuitive artist than Jellett (see for instance comments made by their co-worker at Moly Sabata, the Australian potter, Anne Dangar, who considered Hone a naturally gifted draughtswoman).1 Hone and Jellett met as students at the Westminster School of Art in London in 1917. The pair had much in common: both Dublin-born, they came from well-connected Protestant families (Hone was a descendent of Nathaniel Hone RA and a distant cousin to the younger Nathaniel Hone RHA). Both women were educated at home by governesses, and had already travelled extensively in Europe. Hone however, was partially disabled, her hand and both legs weakened as a result of infantile paralysis. She therefore depended upon her friend to help navigate their way through London and, soon afterwards, Paris, where the pair enrolled at André Lhote’s academy. James White once observed how little Lhote’s teaching seemed to impact on Hone; rather than impose a design on nature, as Lhote taught his students, Hone sought ‘for an analysis of forms which would provide a pictorial statement in which the parts of the picture would sing with the qualities analogous to but not repetitive of nature’. 2 Dissatisfied with Lhote’s teaching, Hone and Jellett approached Albert Gleizes for lessons. Gleizes was not at the time in the habit of teaching students, but at the two women’s insistence agreed to give them instruction in pure abstract painting. In later life he would acknowledge their importance in helping him to clarify his own theories on abstraction.3 Gleizes formulated a method he called ‘translation and rotation’, which involved the movement of rectangular shapes – echoing the shape of the canvas – horizontally, vertically and in circular rotation. The purpose of so doing was to arrange the basic forms harmoniously in such a way that resisted Renaissance perspective but produced a rhythmic organic whole.4 The present work and the three that follow (lots 69-71) are painted according to this system of translation and rotation, and demonstrate Hone’s ability to absorb Gleizes’ lessons and transform them in her work. In 1924 she and Mainie Jellett exhibited their abstract works at the Dublin Painters Society; they were met with incomprehension and abuse. The following year Hone ceased painting altogether, taking refuge with a community of Anglican nuns in Cornwall. After nearly a year’s spiritual contemplation, she returned to painting and began exhibiting with the avant-garde group Abstraction-Creation in Paris. Her work was also was accepted by the Salon des Indépendants and the Salon d’Automn, and was reproduced at the time in a number of French art journals. In London she showed abstract works with the 7 & 5 Society, a group of artists including Ben Nicholson, Christopher Wood and Frances Hodgkins, who favoured a primitive or child-like approach to representation. The success that Hone and Jellett found overseas ultimately swayed critics in Ireland to consider their work in seriousness, and helped pave the way for a younger generation of experimental Irish artists such as Gerard Dillon and Louis le Brocquy. 1 Helen Topliss (ed.), Earth Fire Water Air: Anne Dangar’s Letters to Grace Crowley 1930-1951, Allen and Unwin, St Leonards, 2000. 2 James White, introduction to ‘Evie Hone 1894-1955’, exhibition catalogue, Trinity College Dublin, 1958, unpaginated. 3 The experience of teaching Hone and Jellett was crucial in the publication of Gleizes’ book, La Peinture et ses lois. He later thanked the two artists, posthumously, in the introduction to Eileen MacCarvill (ed.), The artists vision, Mainie Jellett: lectures and essays on art, Dundalgen Press, Dundalk, 1958. 4 For further reading see Bruce Arnold, Mainie Jellett and the modern movement in Ireland, Yale, 1991, pp. 62-7.

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CUBIST TRIPTYCH
CUBIST TRIPTYCH
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 26 November 2007 / 69

Published Estimate: €15000-20000

Price Realised: 

  • Medium: gouache and watercolour
  • Dimensions: 30 by 48cm., 12 by 19in.
  • Provenance: Estate of the artist; Taylor Galleries, Dublin; Whence purchased by the present owner in 1988
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CUBIST COMPOSITION
CUBIST COMPOSITION
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 26 November 2007 / 70

Published Estimate: €15000-20000

Price Realised: €22000


FERN STUDY WITH CUBIST SURROUND
FERN STUDY WITH CUBIST SURROUND
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 26 November 2007 / 71

Published Estimate: €10000-15000

Price Realised: €11500


YOUNG COUPLE
YOUNG COUPLE
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 November 2007 / 72

Published Estimate: €30000-40000

Price Realised: €25500

  • Signature: signed lower right; exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 60 by 39cm., 23.5 by 15.5in.
  • Provenance: Taylor Galleries, Dublin; Private collection
  • Young Couple belongs to the series of works painted by Gerard Dillon from the mid 1960s that feature the clown Pierrot. A familiar figure in the work of Picasso, Braque and Miró, Pierrot was both Dillon’s alter ego and a playful character through whom he could explore the dream world that increasingly provided the setting for his art. Although James White has linked Dillon’s use of Pierrot with the artist’s fear of death, in this painting Pierrot is cast as a young lover.1 The contrast between the naked female figure, who resembles a model in a life class, and Pierrot, whose face and body are masked by his clown costume, echoes the traditional relationship between the male artist and the female model who is the object of the both the artist’s and the audience’s gaze. Like Red Nude with Loving Pierrot, c.1970, and Once upon a Wavelength, c.1968, this painting includes a host of stencilled figures who occupy the sky. Reminiscent of patterns cut from fabric or paper, these figures echo Pierrot’s gestures and provide a shadowy chorus to the scene. 1 James White, Gerard Dillon: An Illustrated Biography, Wolfhound Press, Dublin, 1994, p. 90. Riann Coulter

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LENT
LENT
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 November 2007 / 73

Published Estimate: €15000-20000

Price Realised: 

  • Signature: original labels of reverse giving title and artist's address (102 Abbey Road, London)
  • Medium: oil and sand on hessian canvas
  • Dimensions: 44 by 65cm., 17.5 by 25.5in.
  • Provenance: Taylor Galleries, Dublin; Private collection
  • Gerard Dillon is best known for his distinctive images of the west of Ireland, yet, unlike several of his contemporaries, he was not content to focus on western scenes for the whole of his career. The artist Noreen Rice, who lived and worked with Dillon in London, recalls the enthusiasm with which he embraced new developments in international art. Inspired by their first glimpses of work by Jackson Pollock, the Spanish painter Tàpies and the French sculptor Cézar in London galleries, both artists embraced abstraction and began to experiment with collage and the incorporation of found objects into their work.1 Lent, along with related compositions including Whit Tuesday, 1957, Masquerade, c.1959, and The Side of a Hill, c.1962, resulted from these experiments. In each case, Dillon created areas of texture by adding sand to the oil paint. In a letter of February 1958 Dillon described his new technique to James White: I’ve discovered a new way, an exciting way to use sand with my painting. Remember when you were a child … 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 1 Noreen Rice, ‘Memories of Gerard Dillon’, Gerard Dillon: A Retrospective Exhibition, Droichead Arts Centre, Drogheda, 2003, unpaginated. 2 Gerard Dillon, letter to James White, 20 February 1958, quoted by James White in Gerard Dillon, p. 78. Riann Coulter

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ANY OLD TOWN
ANY OLD TOWN
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 November 2007 / 74

Published Estimate: €15000-20000

Price Realised: €14500

  • Signature: signed lower right; exhibition label on reverse
  • Medium: watercolour, crayon and coloured chalks
  • Dimensions: 38 by 56cm., 15 by 22in.
  • Provenance: Taylor Galleries, Dublin; Private collection Taylor Galleries, Dublin; Private collection
  • Related to the larger oil painting Any Old Irish Town, c.1958, this composition was created during the period that Dillon was experimenting with abstraction. Although representational, the window-studded facades in this urban scene are reminiscent of the abstract shapes in Lent, which in turn can be traced back to the compartmentalised structure of the Celtic carvings that Dillon admired at monastic sites such as Monasterboice and Mellifont. Riann Coulter

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SHAPES IN LANDSCAPE
SHAPES IN LANDSCAPE
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 November 2007 / 75

Published Estimate: €10000-15000

Price Realised: €11500

  • Signature: signed lower left; exhibition label on reverse
  • Medium: crayon and collage
  • Dimensions: 38 by 56cm., 15 by 22in.
  • Provenance: Taylor Galleries, Dublin; Private collection Taylor Galleries, Dublin; Private collection
  • Dillon’s love of colour and pattern was nurtured during the years he spent as a painter and decorator. As Noreen Rice recalls, by the late 1950s Dillon had begun to experiment with collage and introduce found objects into his work. Blurring the boundaries between painting and sculpture and fine art and design, he utilised craft and decorative techniques to create works such as Shapes in the Landscape (lot 75) and Not Man nor Beast (lot 77). Famously resourceful and self-sufficient, Dillon even branched out into fashion with his ultimately unsuccessful attempts to make himself a suit and a pair of shoes.1 1 Noreen Rice, ‘Memories of Gerard Dillon’, unpaginated. Riann Coulter

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WANDERING IN A STRANGE PLACE
WANDERING IN A STRANGE PLACE
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 November 2007 / 76

Published Estimate: €8000-10000

Price Realised: €10000

  • Signature: signed lower left; exhibition label on reverse
  • Medium: crayon, chalk and watercolour
  • Dimensions: 38 by 55cm., 15 by 21.5in.
  • Provenance: Taylor Galleries, Dublin; Private collection Taylor Galleries, Dublin; Private collection
  • While most of Dillon’s oeuvre is figurative, as a young man he had been befriended and championed by Mainie Jellett, who in 1923 had caused an uproar when her painting Decoration (National Gallery of Ireland) became the first abstract composition exhibited in Ireland. Like Jellett, Dillon refused to be confined by tradition and engaged with international developments in contemporary art. Dillon’s innovations were recognised in 1960, when Masquerade was chosen to represent Ireland at the Guggenheim International Award New York, and again in 1962, when The Side of a Hill was exhibited at the Marzotto European Community Painting Award. Riann Coulter

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NOT MAN NOR BEAST
NOT MAN NOR BEAST
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 November 2007 / 77

Published Estimate: €6000-8000

Price Realised: €5700

  • Signature: signed lower right; exhibition label on reverse
  • Medium: crayon and collage
  • Dimensions: 25 by 41cm., 10 by 16in.
  • Provenance: Taylor Galleries, Dublin; Private collection Taylor Galleries, Dublin; Private collection
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NUDE STUDY
NUDE STUDY
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 November 2007 / 78

Published Estimate: €10000-15000

Price Realised: €9000

  • Signature: exhibition label on reverse
  • Medium: watercolour, crayon and collage
  • Dimensions: 52 by 74cm., 20.5 by 29in.
  • Provenance: Taylor Galleries, Dublin; Private collection Taylor Galleries, Dublin; Private collection
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AFTER LOUIS LE BROCQUY
AFTER LOUIS LE BROCQUY
Helen Cody 

Auction Date / Lot No.: 26 November 2007 / 80

Published Estimate: €1500-1800

Price Realised: €1400


AFTER GERARD DILLON
AFTER GERARD DILLON
Helen Cody 

Auction Date / Lot No.: 26 November 2007 / 81

Published Estimate: €2500-3000

Price Realised: 

  • Medium: lime crushed velvet strapless ruched and boned dress with gold metallic beaded embroidery, peacock feather tails, beige multilayered underskirt and hand dyed silk lining
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CLARE ISLAND, 1911
CLARE ISLAND, 1911
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 26 November 2007 / 82

Published Estimate: €80000-120000

Price Realised: 

  • Signature: signed lower left; original newspaper clipping review from 1922 taped to reverse of frame
  • Medium: oil on canvas
  • Dimensions: 41 by 61cm., 16 by 24in.
  • Provenance: Oriel Gallery, Dublin; Whence acquired by the present owners, circa late 1970s.
  • Exhibited: (?) ‘Paintings of Irish Life: Mr and Mrs Paul Henry’, Pollocks Gallery, Belfast, 14-27 March 1911, catalogue no. 22; ’Paintings by Mrs Frances Baker, Grace Henry, Paul Henry, Casimir Bunin-Markievicz and George Russell’, Leinster Lecture Hall, Dublin, 16-21 October (either catalogue nos. 4, 7 or 22); (?) ‘Pictures of the west of Ireland by Mr and Mrs Paul Henry’, The Carlton, Belfast, 15-29 March 1915; ’Exhibition of Pictures by Paul and Grace Henry’, Dublin Painter’s Society, 17 June – 1 July 1922; (?) ‘Exhibition of Pictures by Paul and Grace Henry’, Magee’s Gallery, Belfast, from 12 April 1923; (?) ‘Pictures by Paul Henry’, the Studio, Merrion Row, Dublin, c.5-19 July 1925, catalogue no. 33b, ex-catalogue and marked NFS
  • Literature: The Irish Times, 17 June 1922; S. B. Kennedy, 'Paul Henry: Paintings Drawings Illustrations', Yale University Press, New Haven and London, 2007, catalogue no. 345, illustrated, p.163
  • When he first visited Achill Island, in August 1910, Paul Henry settled with John and Eliza Barrett in the village of Keel in the south of the Island, but in the following January or early February he moved half a mile or so away to Pulloch, taking lodgings with Bridget Fadian who ran a small shop there. Not only was Mrs. Fadian able to provide him with a bedroom, but she also had a spare room which he fixed up as a studio. Thus Pulloch became his base for the next two to three years and of Bridget Fadian he later wrote that he was indebted to her — and later to her second husband, John MacNamara—“for two or three of the best years of my life”. 1 The village of Pulloch is situated on gently rising ground and commands a wide view of Keel Bay with, as Henry noted in An Irish Portrait, the mountains of Clare Island — which has been likened to the fabled isle of Hy Brazil — as a backdrop. This composition, which dates from January or February 1911, is one of several that Henry painted of Clare Island at that time (for a note on the others see Kennedy, Henry Catalogue, numbers 344, 365, 380, 381). It is almost identical in compositional terms to Clare Island (Kennedy number 344) and illustrates the artist’s frequent habit of making closely related images of the same scene. Henry’s earliest Achill pictures are almost always dominated by figures working on the land, and it was not until around 1916 that he began to concentrate exclusively on the landscape as subject matter. This picture, therefore, an exception to this generalisation, is one of his earliest ‘pure’ landscapes in which there are no human figures. Yet even here, in the solitude of the scene, one is conscious of an eternal human presence, of a sense of the past and of terrain that has supported life for generations. Paul Henry suffered from red-green colour-blindness, and although the precise nature of this is unknown it no doubt contributed to his liking for cool lights and blocks of closely modulated tones as set down in this picture. Reviewing his 1915 Belfast exhibition the Northern Whig (15 March 1915), possibly speaking of this composition, admired the “dream-like vision”, “the strange wedge-shaped hill [rising] out of the waves [which it thought was] as glamorous as the fabled isle of Hy Brazil”; and in 1922 to the Irish Times (17 June 1922) the island lay “like a dream on a still sea, yet alive and breathing … what delicacy is in it, what subtle gradations, and what a sense of space” it said. The paint has been applied thinly but evenly throughout, and the texture of the coarsely woven canvas is used to good effect as is the spirited brushwork. The highest point of Clare Island, Knockmore, rises to a height of 462 metres. Probably painted from the headland of Gubelennaun, near Pulloch. There is a newspaper clipping from the Irish Times (17 June 1922) pasted on the rear of the canvas. 1 Paul Henry, An Irish Portrait, London, Batsford, 1951, p. 78. S. B. Kennedy

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ACHILL VILLAGE
ACHILL VILLAGE
Grace Henry HRHA (1868-1953)

Auction Date / Lot No.: 26 November 2007 / 83

Published Estimate: €10000-15000

Price Realised: €12500

  • Signature: signed lower right; original exhibition label on reverse
  • Medium: oil on panel
  • Dimensions: 25 by 34cm., 10 by 13.5in.
  • Provenance: John Magee Gallery, Belfast; Oriel Gallery, Dublin; Whence purchased by the present owners, circa late 1970s
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PINK BRIDGE, VENICE
PINK BRIDGE, VENICE
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 26 November 2007 / 84

Published Estimate: €15000-20000

Price Realised: €14000


PORTRAIT OF GUY BOTTERELL
PORTRAIT OF GUY BOTTERELL
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 26 November 2007 / 85

Published Estimate: €15000-20000

Price Realised: 

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 73 by 57cm., 28.7 5 by 22.5in.
  • Provenance: Mrs Jim Botterell; Pyms Gallery, London; Private collection
  • Literature: Denise Ferran, William John Leech: An Irish Painter Abroad, NGI, 1996, pp 70, 72, illustrated p. 72
  • After 1910 William John Leech made London his home, with annual painting trips to France with Elizabeth Lane, who became his wife in 1912. With the outbreak of the First World War he remained in Brittany with Elizabeth but his marriage, his painting and his finances greatly suffered. When he returned to London at the end of the war in 1918 he met the Botterell family who had just returned from Holland where Percy Botterell, an eminent London lawyer, had been a commercial attaché to The Hague. Percy Botterwell’s wife May organised a relief centre for released prisoners of war, providing clothes, money and information on their return home, and there met Leech’s older brother, Cecil. Cecil Leech, who had fought in the First World War as a commissioned officer in the Royal Horse Artillery, spent four years in a prisoner of war camp and worked with May Botterell to ensure the safe return of soldiers in his command. In London he arranged meetings between the Botterell family and the Leech family and from this introduction Percy Botterell commissioned W. J. Leech to paint portraits of himself, his wife, May and his three children, James 1, Guy and Suzanne. This meeting and the painting of May’s portrait was to change the Botterell family life irrevocably and was to begin the lifelong relationship between May Botterell and W. J. Leech, which culminated in their wedding in 1953, after the death of Percy Botterell in 1951 and Leech’s wife Elizabeth, in 1950. Guy Botterell was the second eldest of the Botterell’s three children. He had accompanied his parents and younger sister to Holland while Jim, the eldest, remained at school in Winchester. Guy was a sensitive retiring young teenager when Leech painted this portrait of him, c.1923, wearing his school tie. Under the comfortable armchair behind him is his toy train set, his childhood interests remaining as he emerges into manhood. He avoids direct contact with the viewer but gazes into the distance, wrapped in his private world, which is emphasised by Leech’s use of blues and greys with just a flash of red in the train set in the corner. A contemporary photograph of Guy (fig. 1), taken with Jim at his mother’s apartment at 24 Hamilton Terrace, London, after she had moved out from the family home at Coombe-Edge, Hampstead, shows Guy as a vulnerable younger brother, similar to the image captured by Leech in this portrait. As an artist, Leech had the ability to catch the likeness of his sitter as was the case in his later portrait of Chloe Abbott 2 in 1965, forty-three years later, but he eschewed portrait painting as a profitable source of income. Leech captures Guy, at the time of the break-up of his happy family home and he resented Leech’s intrusion very deeply, a mood conveyed in this portrait. His brother Jim, recounted in conversation with me in the 1980s, how devastated Guy was when his mother, May, planned to move out of the family home to Hamilton Terrace with Leech in a studio close by in Hamilton Mews. However, May and Percy Botterell maintained a cordial relationship for the sake of their children and family time was spent during the holidays at their large family home in Hampstead and later in the Botterell home in Burley in the New Forest, when Percy Botterell, suffering from multiple sclerosis, moved out of London. Guy never married and after his father’s death remained at Burley. He was joined there by Jim and his wife Eileen and their two daughters, and they continued to have their mother and Leech visit, especially during May’s later illnesses. Denise Ferran 1 Portrait of James Botterell, 1926, sold through these rooms 30 April 2007 as lot 73. 2 Sold through these rooms on 30 April 2007 as lot 72.

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A FAERY SCENE AT SPRINGTIME
A FAERY SCENE AT SPRINGTIME
Robert James Enraght Moony RBA (1869-1946)

Auction Date / Lot No.: 26 November 2007 / 86

Published Estimate: €3000-4000

Price Realised: 

  • Signature: signed lower right and again in monogram upper right
  • Medium: tempera on canvas
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Exhibited: Possibly exhibited at the NEAC, London, 1916, no. 234 under the title "I dreamed the sleeping spring arose with half closed eyes"
  • With an unfinished head of a woman on reverse. Born in Athlone, Co. Westmeath, into the land-owning classes, Enraght Moony was educated at Galway Grammar School and in Devon. During the 1890s he went to Paris where he studied under Jean-Paul Laurens (1838-1921), and also travelled through Italy where, according to Nicola Gordon Bowe, he appears to have come under the influence of the Italian Symbolist painter Giovanni Segantini (1858-99). He first exhibited at the RHA in 1903 and at the RA in 1909. His work straddled a number of genres and styles, combining the heightened realism of the Pre-Raphaelites (see for instance his illustrations for Kenneth Graham’s The Golden Age of 1915), with the otherworldly ‘faery’ subject matter much in vogue in Ireland during the Literary Revival.

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THE WISHING STREAM, 1926
THE WISHING STREAM, 1926
Robert James Enraght Moony RBA (1869-1946)

Auction Date / Lot No.: 26 November 2007 / 87

Published Estimate: €6000-8000

Price Realised: 

  • Signature: signed and dated lower left and signed again in monogram lower right; original exhibition label on reverse
  • Medium: tempera on canvas
  • Dimensions: 64 by 76cm., 25 by 30in.
  • Exhibited: 'International Exhibition of Watercolour Paintings', Art Institute of Chicago, 1926
  • With a copy of Kenneth Grahame's 'The Golden Age', illustrated by R.J.E. Moony published by John Lane, London, 1915 included with lot.

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THE BATHERS
THE BATHERS
George Russell "AE" (1867-1935)

Auction Date / Lot No.: 26 November 2007 / 88

Published Estimate: €18000-22000

Price Realised: €23000


BOG SCENE, 1916
BOG SCENE, 1916
William Percy French (1854-1920)

Auction Date / Lot No.: 26 November 2007 / 89

Published Estimate: €5000-7000

Price Realised: €5800


BOG LANDSCAPE WITH TURF STACKS, 1910
BOG LANDSCAPE WITH TURF STACKS, 1910
William Percy French (1854-1920)

Auction Date / Lot No.: 26 November 2007 / 90

Published Estimate: €4000-6000

Price Realised: €8000


THE POTATO PLANTER, SLIGO, 1904
THE POTATO PLANTER, SLIGO, 1904
Charles MacIver Grierson RI (1864-1939)

Auction Date / Lot No.: 26 November 2007 / 91

Published Estimate: €3000-5000

Price Realised: €4600

  • Signature: signed and dated lower left; typed label on reverse
  • Medium: watercolour and pastel
  • Dimensions: 36 by 28cm., 14 by 11in.
  • Exhibited: Royal Institute of Painters in Watercolour, 1904
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FAR O’ER THE MOORS THE LAKELETS LIE ADREAM, THE PAINTER’S VISION AND THE POET'S THEME, 1896
FAR O’ER THE MOORS THE LAKELETS LIE ADREAM, THE PAINTER’S VISION AND THE POET'S THEME, 1896
William Percy French (1854-1920)

Auction Date / Lot No.: 26 November 2007 / 92

Published Estimate: €20000-30000

Price Realised: €20000

  • Signature: signed and dated lower right; original label on reverse inscribed with title, price (£10) and artist's address (35 Mespil Road, Dublin)
  • Medium: watercolour
  • Dimensions: 40 by 59cm., 15.7 5 by 23.2 5i
  • Provenance: Gift to the present owner's uncle in 1960
  • Exhibited: Belfast Art Society, 1896, catalogue no. 95
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CANDLE-SMOKE DRAWING OF A NAVAL SHIP, circa 1916-18
CANDLE-SMOKE DRAWING OF A NAVAL SHIP, circa 1916-18
William Percy French (1854-1920)

Auction Date / Lot No.: 26 November 2007 / 93

Published Estimate: €1200-1500

Price Realised: 

  • Medium: candle smoke on base of china saucer
  • Dimensions: 10 by 10cm., 4 by 4in.
  • Provenance: By descent from Mrs Betty Robson, Lurgan, Co. Armagh
  • Percy French used to produce these novelty drawings as part of his on-stage comic skits. Having blackened the base of the china plate with candle-smoke, he would ‘etch’ an image using either a matchstick or the wooden end of his paintbrush (see Snoddy, p. 167). The present example was made during a performance at Lurgan Town Hall circa 1916-18.

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HEAD OF A WOMAN IN A MOP CAP, A YOUNG SERVANT GIRL IN A PINAFORE, and HEAD OF A YOUNG WOMAN (SET OF THREE)
HEAD OF A WOMAN IN A MOP CAP, A YOUNG SERVANT GIRL IN A PINAFORE, and HEAD OF A YOUNG WOMAN (SET OF THREE)
Constance Gore-Booth, Countess Markievicz (1868-1927)

Auction Date / Lot No.: 26 November 2007 / 94

Published Estimate: €10000-15000

Price Realised: €15000

  • Signature: former signed "C. Gore Booth" lower right
  • Medium: charcoal and white chalk on tinted paper
  • Dimensions: 57 by 44cm., 22.5 by 17.5in.
  • Provenance: Gore-Booth family, Lissadell House, Co. Sligo; Their sale, Mealy's, Castlecomer, Co. Kilkenny, May 2002; Whence purchased by the present owner
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RECOLLECTIONS OF KERRY
RECOLLECTIONS OF KERRY
William H. Rice, District Inspector of the Royal Irish Constabulary 

Auction Date / Lot No.: 26 November 2007 / 94.1

Published Estimate: €300-500

Price Realised: €3200

  • Medium: Typescript, 360pp, clothbound, with additional 25pp in paper
  • Dimensions: 25 by 18cm., 10 by 7in.
  • A rare and fascinating account of a policeman’s life in County Kerry in the 1880s and 1890s during the Land League agitation with first hand accounts of riots, shootings, burnings, evictions, boycotts, murders as well as some light hearted reminiscences of life in those troubled times.

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ROBERT EMMET, 1884
ROBERT EMMET, 1884
Dennis B. Sheahan (American, fl.1870-1900)

Auction Date / Lot No.: 26 November 2007 / 95

Published Estimate: €2000-3000

Price Realised: €2600

  • Signature: signed, inscribed and dated lower left
  • Medium: copper relief panel
  • Dimensions: 26 by 26cm., 10.2 5 by 10.2 5i
  • Profile head of the executed Irish patriot, Robert Emmet (1778-1803), based on the stipple engraved portrait by James Petrie and sculpted by the American-born artist Dennis B. Sheahan. Sheahan evidently had Irish connections for in 1879 he was commissioned by the Friendly Sons of Saint Patrick to sculpt a bust of the poet Thomas Moore, which now stands in Central Park, New York. Other recorded works include a 27 inch high standing statue of Daniel O’Connell (sold through Skinner’s, Massachusetts, 1997) and a marble bust of the engineer Joseph Harrison Jnr in the Pennsylvania Academy for the Fine Arts. Sheahan earned a degree of notoriety for his forgeries of eighteenth century sundials and scientific equipment, which had become highly collectible by the late 1880s and proved a lucrative sideline industry.

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1882 PHOENIX PARK MURDERS-POSTER AND POSTCARD
1882 PHOENIX PARK MURDERS-POSTER AND POSTCARD
  

Auction Date / Lot No.: 26 November 2007 / 95.1

Published Estimate: €800-1000

Price Realised: €850

  • Medium: letterpress single sheet and chromolithograph picture postca
  • Dimensions: 61 by 43cm., 24 by 17in.
  • On 6 May 1882 the most senior Irish civil servant, Thomas Henry Burke, the Permanent Under Secretary of State for Ireland, and Lord Frederick Cavendish, the Chief Secretary for Ireland – who also happened to be Prime Minister William Gladstone’s nephew – were stabbed to death as they walked through the Phoenix Park en route to the Viceregal Lodge. The “Phoenix Park Murders” as they became known, were claimed by a hitherto little known group calling themselves the “Irish National Invincibles”, and were condemned by Charles Stuart Parnell. The political repercussions led to the delay of Home Rule for Ireland. This Daily Telegraph poster of 31 July 1882 refers to the assassination of James Carey, who joined the Fenians in 1861, became treasurer of the Irish Republican Brotherhood and was a member of the “Invincibles”. Carey took part in the Phoenix Park murders, his role being to identify the intended victims. He was arrested and turned Queen’s evidence, with the result that five of his co-conspirators were found guilty and executed. The authorities arranged for him to emigrate to South Africa under the name of Power but he was followed and shot by the “Invincibles” on a ship between Cape Town and Natal, hence the headline here. Also with this lot is a very rare picture postcard of P. J. Tynan in an unusual military uniform at the Boston Convention. Tynan was the “Number One” (leader) of the “Invincibles” at the time of the murders. (2 items)

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1908-1922 RARE COLLECTION OF PROPAGANDA STAMPS ISSUED BY SINN FÉIN, THE IRA AND OTHERS
1908-1922 RARE COLLECTION OF PROPAGANDA STAMPS ISSUED BY SINN FÉIN, THE IRA AND OTHERS
  

Auction Date / Lot No.: 26 November 2007 / 96

Published Estimate: €1500-2000

Price Realised: €2600

  • This comprehensive collection includes the Sinn Fin Celtic Cross (pairs of both printings) and Wolfhound issues of 1908-09 with two postally used (rare as they were banned by the authorities), the Manchester Martyrs pair of stamps issued Easter 1916 at the same time as the Rising, the very rare complete sheet in fine mint condition of Irish Republic Post stamps issued by North American sympathisers immediately after the 1916 execution of the Rising leaders – 8 different designs, erroneously inscribed “ERIE PUIST”, and the three stamps issued by the IRA in Cork in 1922. A magnificent collection of great philatelic and historic interest. (10 items)

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SINN Féin REBELLION HANDBOOK, EASTER 1916 & “WAR NEWS” No. 174 LIST OF IRA DEAD OF 1922-23 CIVIL WAR
SINN Féin REBELLION HANDBOOK, EASTER 1916 & “WAR NEWS” No. 174 LIST OF IRA DEAD OF 1922-23 CIVIL WAR
  

Auction Date / Lot No.: 26 November 2007 / 96.1

Published Estimate: €400-600

Price Realised: €650

  • Medium: Crown octavo; original pink printed wrappers, complete with
  • Dimensions: 25 by 15cm., 10 by 6in.
  • 1917 issue, published by Weekly Irish Times, Dublin. "A Complete and Connected Narrative of the Rising, with Detailed Accounts of the Fighting at All Points...etc.” including lists of casualties, prisoners, etc. The definitive contemporaneous reference work to the 1916 Rising. Also “Poblacht na h Éireann War News 174” listing the Anti Treaty republicans killed during the Civil War 1922-23, another useful historical source. (2 items)

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1916 FRONGOCH CAMP – IRISH VOLUNTEERS AUTOGRAPH BOOK INCLUDING A  POEM BY MICHAEL COLLINS
1916 FRONGOCH CAMP – IRISH VOLUNTEERS AUTOGRAPH BOOK INCLUDING A POEM BY MICHAEL COLLINS
  

Auction Date / Lot No.: 26 November 2007 / 97

Published Estimate: €8000-10000

Price Realised: €13000

  • Medium: Pigskin bound autograph book, 96pp.
  • Dimensions: 14 by 18cm., 5.5 by 7in.
  • Provenance: By descent from the family of one of the prisoners.
  • A valuable collection of inscriptions, watercolour drawings (4) by Cathal MacDubhgaill including badge and crest designs as well as a view of the camp, verse and prose by Irish Volunteers imprisoned at this internment camp in Wales after the 1916 Rising. The book is dated 14 October 1916. Includes a ms poem by Commandant W. J. Brennan Whitmore, who was IRA Camp Commandant, and ms contributions from Diarmuid Ó Laoghaire, London Brigade, Risteard Ua Maolcatha (later General Richard Mulcahy, C in C IRA in the War of Independence), John McLoughlin, Commandant IRA HQ, GPO and Moore Street in the Rising. Most importantly the book contains a manuscript poem “Executed 1916” in Michael Collins hand and signed “Miceal Ua Coileain, Capt. IRA, Woodfield, Clonakilty. Frongoch 1916”.

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1916-1917 IRISH VOLUNTEER PRISON CAMP, CORK AUTOGRAPH BOOK INCLUDING INSCRIPTIONS FROM TOMÁS MAC CURTÁIN AND TERENCE MACSWINEY
1916-1917 IRISH VOLUNTEER PRISON CAMP, CORK AUTOGRAPH BOOK INCLUDING INSCRIPTIONS FROM TOMÁS MAC CURTÁIN AND TERENCE MACSWINEY
  

Auction Date / Lot No.: 26 November 2007 / 97.1

Published Estimate: €2000-3000

Price Realised: €5400

  • Medium: small autograph book, lacking its cover and missing some pages, 36pp remaining
  • Dimensions: 10 by 11cm., 4 by 4.5in.
  • Mementoes from the Prison Camp on the Great Western Road, Cork are exceedingly rare. This little booklet includes an inscription in Irish by Tomás Mac Curtain, Commandant of the IRA in the camp, later Lord Mayor of Cork, murdered in his home by British forces in 1920, and Terence MacSwiney who succeeded MacCurtain as Lord Mayor and died in prison on hunger strike in 1920 – “Torndealbac mac Suibne, Ceann Cata, Fianna Fáil, Corcaig”. The other signatories are from IRA brigades in Cork, Clare, Limerick and Kerry.

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A GUN OF THE 1916 RISING - PADRAIG PEARSE, 2006
A GUN OF THE 1916 RISING - PADRAIG PEARSE, 2006
Laurent Mellet (b.1968)

Auction Date / Lot No.: 26 November 2007 / 98

Published Estimate: €3000-4000

Price Realised: 

  • Signature: initialed on the underside
  • Medium: cast bronze on a wooden base
  • Dimensions: 17 cm., 6.5 in. high
  • Cast from the original Belgian Browning pattern hand-gun belonging to Padraig Pearse and used by him in the 1916 Rising, now in the collection of the National Museum of Ireland. Limited edition of nine, of which only six were ever cast. Born in Co. Tipperary and resident in Co. Wicklow, Laurent Mellet graduated from NCAD in 1992 and has since worked in New York, San Francisco, Paris and Dublin, on both sculptural commissions and as an art director on numerous film and television projects. Commissions include a set of five sculptures for ABN AMRO Bank’s offices in the International Services Centre, Dublin, an ‘art mobile’ for Saatchi & Saatchi’s offices, London, and a large pig sculpture, created to raise money for the Kosovo Fund and now on permanent display at Dublin Airport. He exhibits annually at the RHA and was awarded the Solomon Gallery prize for sculpture in 2003.

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