28 April 2008

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IN THE MORNING (MILL GIRLS GOING TO WORK)
IN THE MORNING (MILL GIRLS GOING TO WORK)
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 28 April 2008 / 101

Published Estimate: €6000-8000

Price Realised: €10000

  • Signature: signed upper left; inscribed on reverse
  • Medium: pen and ink with pencil and blue crayon on paper laid on car
  • Dimensions: 30 by 21cm., 12 by 8.25in.
  • Provenance: Collection of Letitia Hamilton; Thence by descent
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A TUNE ON THE CONCERTINA
A TUNE ON THE CONCERTINA
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 28 April 2008 / 102

Published Estimate: €10000-15000

Price Realised: €37000

  • Signature: signed lower right
  • Medium: crayon
  • Dimensions: 46 by 35cm., 18 by 13.7 5in.
  • Provenance: Bell Gallery, Belfast; Private collection
  • Exhibited: 'William Conor OBE MA RHA: Paintings and Drawings', Bell Gallery, Dublin, 7-24 December 1964, catalogue no. 12 (28 gns)
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MAGGIE HILL (FLOWER SELLER OUTSIDE CITY HALL, BELFAST)
MAGGIE HILL (FLOWER SELLER OUTSIDE CITY HALL, BELFAST)
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 28 April 2008 / 103

Published Estimate: €8000-10000

Price Realised: €12500

  • Signature: signed lower right
  • Medium: watercolour
  • Dimensions: 47 by 36cm., 18.5 by 14in.
  • In the original frame of J. McGuigan, Belfast. Inscribed on reverse; 'Maggie Hill/Shawl presented by Ladies of Belfast, when she did the Walter Raleigh for Queen Mary, 30.10.65'

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CATCHING THE TRAM IN NASSAU STREET, DUBLIN
CATCHING THE TRAM IN NASSAU STREET, DUBLIN
Rose Mary Barton RWS (1856-1929)

Auction Date / Lot No.: 28 April 2008 / 104

Published Estimate: €10000-15000

Price Realised: €13000

  • Signature: signed lower left
  • Medium: watercolour heightened with bodycolout
  • Dimensions: 29 by 18cm., 11.2 5 by 7.25in.
  • Provenance: Christies, Dublin, 24 October 1988, lot 53; Whence purchased by the present owner
  • In this evocative street scene Barton depicts Finn’s Hotel in the foreground at right, with the railings of Trinity College beyond and the spire of St Andrew’s church on Suffolk Street visible in the distance. Comparable views, taken further along Nassau Street, include Kildare Street Club and Nassau Street, illustrated in Frances Gerard’s Picturesque Dublin (1898, p. 227), another view exhibited at the Crawford Gallery in 1987 (loaned by Major Victor McCalmont) and one sold through Adam’s, 6 December 1979 (lot 8), which depicted a woman in a pony trap near the corner of Kildare Street, and which was featured on the front cover of Raymond Brooke’s A Brimming River.

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PORTRAIT OF LILY YEATS AT BEDFORD PARK, LONDON
PORTRAIT OF LILY YEATS AT BEDFORD PARK, LONDON
John Butler Yeats RHA (1839-1922)

Auction Date / Lot No.: 28 April 2008 / 105

Published Estimate: €10000-15000

Price Realised: €14500

  • Signature: remains of original label on reverse
  • Medium: oil on panel
  • Dimensions: 36 by 29cm., 14 by 11.2 5in.
  • In a 1930s frame from the Victor Waddington Galleries, Dublin. The Yeats family have long been recognised as outstanding ambassadors for Ireland in the realm of literature and the arts. With a Noble Laureate poet, an internationally renowned painter, and two pioneers of the Arts and Crafts movement among their ranks, it might reasonably be said that the family defined the Irish cultural renaissance. As father of this extraordinary family, John Butler Yeats commands attention. Yet as an artist in his own right, he has long been ranked one of the most important portrait painters of his generation. Sarah Purser did much to promote his work when she arranged the joint show of his paintings in 1901 with Nathaniel Hone’s, two artists who, Purser rightly perceived, had been disgracefully neglected by the Academy. The Yeats family moved to Bedford Park in 1879. In a 1930s frame from the Victor Waddington Galleries, Dublin. The Yeats family have long been recognised as outstanding ambassadors for Ireland in the realm of literature and the arts. With a Noble Laureate poet, an internationally renowned painter, and two pioneers of the Arts and Crafts movement among their ranks, it might reasonably be said that the family defined the Irish cultural renaissance. As father of this extraordinary family, John Butler Yeats commands attention. Yet as an artist in his own right, he has long been ranked one of the most important portrait painters of his generation. Sarah Purser did much to promote his work when she arranged the joint show of his paintings in 1901 with Nathaniel Hone’s, two artists who, Purser rightly perceived, had been disgracefully neglected by the Academy. The Yeats family moved to Bedford Park in 1879.

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PEONIES AND PLUMS; AN EMBROIDERED CUSHION SQUARE
PEONIES AND PLUMS; AN EMBROIDERED CUSHION SQUARE
Susan Mary ('Lily') Yeats (1866-1949)

Auction Date / Lot No.: 28 April 2008 / 106

Published Estimate: €3000-5000

Price Realised: €5200

  • Signature: signed 'Lily Yeats' lower right; Cuala Industries label on reverse
  • Medium: silk embroidery
  • Dimensions: 53 by 53cm., 21 by 21in.
  • Provenance: By descent from the artist's cousin, Rupert Gordon (1894-1961) to present owner
  • With a family letter dated 22 September 1952 regarding the cushion cover and three related news clippings included with lot. It is unusual to be able to document an early piece of embroidery by Lily Yeats once she had returned to Dublin in 1902, after the six years she spent working in the embroidery workshop run by William Morris’s daughter, May, which she had been invited to join in 1888. This piece appears to have originally belonged to Dr. Rupert Gordon, the son of Frances Armstrong (‘Fannie’) Yeats, the sister of John Butler Yeats, father of Lily, W. B., Jack and Elizabeth (‘Lolly’) Yeats. Fannie Yeats married Dr. Samuel Thomas Gordon, Vice-President of the Royal College of Physicians of Ireland, and Surgeon in the Royal Irish Constabulary. Rupert Gordon was therefore a first cousin of Lily Yeats. May Morris’ embroidery shop was originally based in her father William Morris’ Kelmscott House in Hammersmith, and then, after her marriage in 1890, was run from Hammersmith Terrace, close to the Yeats’ family’s London house in Bedford Park. Although Lily Yeats had been glad to be able to earn a wage by working on distinguished designs by Morris (who often visited the shop), Henry Dearle, and other luminaries of the Arts and Crafts movement, Murphy records that May Morris “seldom did any work herself but supervised the girls, who never completed a curtain or bedspread but simply began the needlework for wealthy women who purchased the designs” from her. Parry, however, states that the success of the venture was due to “May’s hard work designing, embroidering and supervising the work”, and to her underrated “skills and use of satin stitches”, which gave “a marvellously shimmering silky texture, an effect described by George Bernard Shaw, a great admirer, as ‘glowing fruit-forests’”. Lewis quotes Lily Yeats: “What we did was to start [beautiful] work for great ladies who probably never finished it. We worked an inch or two of ground, half a flower, a leaf and a bit of stem”. May Morris’s authoritative book, Decorative Needlework (1893), served as a valuable guide for amateur embroiderers and for those who collected her fashionable workshop’s completed designs. That year, the four-poster bed hanging William Morris had asked her to embroider for his Kelmscott Manor in Oxfordshire was exhibited with the English Arts and Crafts Exhibition Society. By then, Lily Yeats had become the most experienced assistant working there, working alongside the actress Florence Farr (wife of Emery Walker), Mary de Morgan, sister of the potter William, and other distinguished designer/craftsmen’s wives. The following year, she resigned from the workshop, and in 1895, she exhibited “an embroidered mantle” border at the first exhibition of the Arts and Crafts Society of Ireland. May Morris’ influence is clear here, in the centralised, sinuous design, the rhythmic disposition of flowerheads, fruits, leaf stems and thorny stemmed arabesques which anchor the composition. The design also resembles the cushion covers or firescreen panels, designed earlier, between 1878 and 1885, which Parry states “became the financial mainstay” of the embroidery section of Morris & Co., and were as often the designs of Henry Dearle and May Morris as of Morris himself. A much more accomplished design in the formalised floriated mode than any other that has so far come to light by Lily Yeats, it is particularly interesting that it is clearly signed by her (in orange silk thread, in the distinctive manner which demarcated all her own work once she returned to live in Dublin). Its scale of design is smaller and more intricate than the large (filled) cushion which appears in the foreground of the well-known 1903 photograph of Lily Yeats and her girls in the Embroidery Room at Dun Emer. The fact that it is a cushion cover, in perfect (seemingly unused) condition, and not an embroidered version of a design by her brother Jack, her sister Elizabeth, or other friends, family and fellow artists (not even Walter Crane, mentioned in the attached letter of 1952), or one of her later ‘Abbey’ pictures, ‘Garden’ firescreens or embroidered decorations for clothes and domestic items, makes it of particular and rare interest. Dr Nicola Gordon Bowe April 2008

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NEW YORK SKETCHBOOK, circa 1907-22
NEW YORK SKETCHBOOK, circa 1907-22
John Butler Yeats RHA (1839-1922)

Auction Date / Lot No.: 28 April 2008 / 107

Published Estimate: €15000-20000

Price Realised: €16000

  • Signature: final page inscribed with name of sitter,John Quinn
  • Medium: 23 pencil drawings in a sketchbook with suppliers label of N
  • Dimensions: 15 by 20cm., 6 by 8in.
  • Provenance: The artist's nephew, Rupert Gordon (1984-1961); Thence by descent
  • Contains twenty-three drawings on eighteen pages, all portraits and figure studies. One portrait is of John Quinn, Yeats’ American patron. Others were tentatively identified by Eileen Gordon (sister of Rupert Gordon) in 1967 as members of the Yeats family. However, comparison with other named portraits exhibited in 1987 at the Albany Institute of History and Art, New York, suggests these are portraits of Yeats’ American friends Celestine Petitpas, Mary Shaw and John and Dolly Sloan. Celestine was the youngest of the Petitpas sisters, in whose boarding house at 317 West 29th Street Yeats lived from 1909 until his death. Yeats was particularly fond of Celestine and sketched her on many occasions. Mary Shaw was a wealthy older patron who often visited Petitpas to listen to the Irishman expound on his favourite subjects, all the while sketching portraits of his appreciative audience. The first portrait in the book is possibly John Sloan, another of Yeats’ New York patrons.

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ARCHIVE OF LETTERS, CARDS, CLIPPINGS AND PAMPHLETS, 1920s-1990
ARCHIVE OF LETTERS, CARDS, CLIPPINGS AND PAMPHLETS, 1920s-1990
 Yeats' family 

Auction Date / Lot No.: 28 April 2008 / 108

Published Estimate: €2000-3000

Price Realised: €4000

  • Provenance: Rupert Gordon (1894-1961), cousin of the Yeats family; Thence by descent
  • Includes six letters from Lily Yeats, written from Churchtown, Dundrum, 1945-46; four in her own hand and two dictated. Content largely concerning Yeats family history; describes her grandfather Rev. W. B. Yeats as having “red hair, dark eyes”, and mentions a connection by marriage to the grand nephew of Thomas Davis who became High Commissioner in Australia. Also six hand-coloured Cuala Press Christmas cards, three sent by Lily Yeats, plus a photograph of W. B. Yeats, inscribed on reverse by Lily, who states that it was taken circa 1934 by F. J. McCormack of the Abbey Theatre at Lennox Robinson’s cottage in Dalkey. Also a letter dated 15 September 1990 from Anne Yeats. Booklets include On the Boiler by W. B. Yeats, Cuala Press, 1938, and the W. B. Yeats commemoration number of The Arrow summer 1939. Plus two framed Cuala prints, The Fiddler of Dooney and The Side Car.

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TWO LETTERS TO RUPERT GORDON AND MRS LOWE, 1943-46
TWO LETTERS TO RUPERT GORDON AND MRS LOWE, 1943-46
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 28 April 2008 / 109

Published Estimate: €1000-1500

Price Realised: €1100

  • Signature: each signed 'Jack B. Yeats'on headed paper
  • Medium: autograph manuscript, 2pp
  • Dimensions: 20 by 25cm., 8 by 10in.
  • Provenance: By descent from the artist's cousin, Rupert Gordon (1894-1961) to present owner
  • The first letter, written 6 December 1943, declines an invitation to the wedding of Joy Lowe and Yeats’ cousin Rupert Gordon. The second letter, written 24 April 1946, thanks Rupert for his congratulations, sent on the occasion of Yeats being conferred an honorary doctorate at Trinity College Dublin. Included with this lot is the commemorative programme from the conferral, dated July 1946, and a newspaper photograph of Yeats with two other recipients, Rev. Lambert A. J. McKenna and Sir Arnold Bax.

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SELF PORTRAIT, JUNE 1919
SELF PORTRAIT, JUNE 1919
John Butler Yeats RHA (1839-1922)

Auction Date / Lot No.: 28 April 2008 / 110

Published Estimate: €8000-10000

Price Realised: €13000

  • Signature: signed, inscribed "New York" and dated lower right
  • Medium: pencil and charcoal on paper
  • Dimensions: 49 by 36cm., 19.2 by 14in.
  • Provenance: Collection of J. M. Kerrigan; Thence by family descent
  • This is one of a small number (approximately six) self portraits by John Butler Yeats drawn during the period 1919-22. The stance is more informal and candid than that of the October 1919 portrait (collection of William M. Murphy, the artist’s biographer), without the quizzical tilt of the head seen in the 1921 portrait (Pyms Gallery, 2005) and the undated sketch in the National Gallery (NGI 6313). It belonged originally to Joseph Kerrigan (1884-1964), Abbey actor and film star, who settled permanently in Hollywood in 1935. It was left to an Irish cousin of his and has remained in the one family’s possession since.

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THE GARDEN AT BEDFORD SQUARE
THE GARDEN AT BEDFORD SQUARE
Elizabeth Corbet ('Lolly') Yeats (1868-1940)

Auction Date / Lot No.: 28 April 2008 / 111

Published Estimate: €1500-2000

Price Realised: €3200

  • Signature: signed and indistinctly dated lower right; label on reverse
  • Medium: watercolour
  • Dimensions: 36 by 43cm., 14 by 17in.
  • Exhibited: Possibly exhibited at the Oireachtas Art Exhibition, Dublin, 1906, as 'A London Garden' catalogue no. 8
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ANNALONG, COUNTY DOWN
ANNALONG, COUNTY DOWN
Elizabeth Corbet ('Lolly') Yeats (1868-1940)

Auction Date / Lot No.: 28 April 2008 / 112

Published Estimate: €1000-1500

Price Realised: €2200


A CONTINENTAL TOWN
A CONTINENTAL TOWN
Elizabeth Corbet ('Lolly') Yeats (1868-1940)

Auction Date / Lot No.: 28 April 2008 / 113

Published Estimate: €800-1000

Price Realised: €1700


STILL LIFE OF FLOWERS, MAY 1895
STILL LIFE OF FLOWERS, MAY 1895
Susan Mary ('Lily') Yeats (1866-1949)

Auction Date / Lot No.: 28 April 2008 / 114

Published Estimate: €800-1000

Price Realised: €2000


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

Auction Date / Lot No.: 28 April 2008 / 115

Published Estimate: €12000-15000

Price Realised: €15000

  • Signature: signed in monogram lower left
  • Medium: oil on canvas
  • Dimensions: 41 by 53cm., 16 by 21in.
  • Provenance: Dr Emil Szekulesz, Vienna; Private collection, Dublin
  • The original owner, Dr Szekulesz, was a barrister and Director of the Weiner Bankverein.

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THE GATHERING (LANDSCAPE WITH WOMEN BY A CHALK PIT)
THE GATHERING (LANDSCAPE WITH WOMEN BY A CHALK PIT)
George Russell "AE" (1867-1935)

Auction Date / Lot No.: 28 April 2008 / 116

Published Estimate: €12000-15000

Price Realised: €11500

  • Signature: signed in monogram lower right
  • Medium: oil on canvas
  • Dimensions: 41 by 53cm., 16 by 21in.
  • Provenance: Sotheby’s, New York, 22 January 1992, lot 156; Donated to the Seattle Art Museum for a fundraising sale; Whence purchased by the present owners, 9 October 1993
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TWO GIRLS BEFORE A RING FORT
TWO GIRLS BEFORE A RING FORT
George Russell "AE" (1867-1935)

Auction Date / Lot No.: 28 April 2008 / 117

Published Estimate: €10000-12000

Price Realised: €9000

  • Medium: oil on canvas
  • Dimensions: 41 by 53cm., 16 by 21in.
  • Provenance: Gift of the artist to author Frank O'Connor (1903-1966); Gift from Frank O'Connor to Nancy McCarthy Allitt, Co. Cork; By whom bequeathed in 1988 to Frank O'Connor's widow, Harriet O'Donovan Sheehy; Sold privately to the present owner
  • The friendship between Irish writer Frank O’Connor (pen name of Michael O’Donovan) and George Russell is attested to in O’Connor’s autobiography, My Father’s Son. Accompanying this lot is a letter of provenance from O’Connor’s widow, Harriet O’Donovan Sheehy.

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AN APPARITION, 1921
AN APPARITION, 1921
George Russell "AE" (1867-1935)

Auction Date / Lot No.: 28 April 2008 / 118

Published Estimate: €15000-20000

Price Realised: €14500

  • Signature: signed in monogram lower right; dated on stretcher on reverse
  • Medium: oil on canvas
  • Dimensions: 55 by 63cm., 21.7 5 by 24.7 5i
  • Provenance: James Adam Salerooms, Dublin, 15 March 1990, lot 95; Whence purchased by the present owner
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CONNEMARA SCENE, 1898
CONNEMARA SCENE, 1898
William Percy French (1854-1920)

Auction Date / Lot No.: 28 April 2008 / 119

Published Estimate: €3000-4000

Price Realised: €3000


VIEW ALONG A STRAND, POSSIBLY BUNDORAN, 1905
VIEW ALONG A STRAND, POSSIBLY BUNDORAN, 1905
William Percy French (1854-1920)

Auction Date / Lot No.: 28 April 2008 / 120

Published Estimate: €3000-4000

Price Realised: €3600

  • Signature: signed and dated lower left; inscirbed with price (10/-) on reverse
  • Medium: watercolour
  • Dimensions: 13 by 17cm., 5 by 6.5in.
  • Provenance: By descent from Robert Acherson Cromie Montagu of Cromore, Portstewart, Co. Derry
  • With a letter of provenance from the present owner.

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AN ALPINE LOG CABIN, 1914
AN ALPINE LOG CABIN, 1914
William Percy French (1854-1920)

Auction Date / Lot No.: 28 April 2008 / 121

Published Estimate: €2000-3000

Price Realised: €3000


AN IRISH HILLSIDE CABIN
AN IRISH HILLSIDE CABIN
William Percy French (1854-1920)

Auction Date / Lot No.: 28 April 2008 / 122

Published Estimate: €4000-6000

Price Realised: €4200


A BOGLAND LAKE, DONEGAL
A BOGLAND LAKE, DONEGAL
William Percy French (1854-1920)

Auction Date / Lot No.: 28 April 2008 / 123

Published Estimate: €4000-6000

Price Realised: €4200


SAILBOATS ON CARLINGFORD LOUGH, 1909
SAILBOATS ON CARLINGFORD LOUGH, 1909
William Percy French (1854-1920)

Auction Date / Lot No.: 28 April 2008 / 124

Published Estimate: €5000-7000

Price Realised: 


BISHOPS PALACE, GLASGOW, 1888
BISHOPS PALACE, GLASGOW, 1888
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 28 April 2008 / 125

Published Estimate: €80000-100000

Price Realised: 

  • Signature: signed and dated 1888
  • Medium: oil on canvas
  • Dimensions: 36 by 30cm., 14 by 12in.
  • Exhibited: Craibe Angus Gallery, Glasgow, October 1888; 'Lavery Exhibition', Van Baerle Brothers, Glasgow, 1890-1, catalogue no. 114, 'A Free Spirit: Irish Art 1860-1960', RHA Dublin, 1990, catalogue no. 10; 'The Art of a Nation: Three Centuries of Irish Painting',
  • Literature: The Glasgow Herald, 10 October 1888; The Bailie, 3 October 1888, p. 11; Kenneth McConkey, A Free Spirit: Irish Art 1860-1960, Antique Collectors Club, 1990, pp. 102-3, illustrated p. 103
  • In 1886, with major International Exhibitions in Edinburgh and Manchester in prospect, the ‘bailies’ of Glasgow voted to stage their own great exhibition. After two years of planning and construction, a large wooden building appeared in the public park on the banks of the Kelvin. Fringed by the opulent terraces of Queen’s Park and Gilbert Scott’s Gothic university buildings, it quickly became the city’s proud boast that the Great Hall, designed by James Sellars, suggesting ‘the Alhambra and the Great Pavilion of Caliphat’, was the largest of its kind since the Great Exhibition in London in 1862. The park also contained a reconstructed Dutch Cocoa House, a Fairy Fountain, a sports ground converted for military parades and numerous kiosks, bandstands and cafeterias.1 Queen Victoria consented to act as patron of the exhibition and the Prince of Wales, its honorary president, performed the opening ceremony on the 8 May 1888.2 At the time of the opening one final structure, the Bishop’s Castle, (fig. 1) sometimes referred to as the Bishop’s Palace, remained under construction on the bank facing the Great Hall, in the shadow of the University buildings. A special opening ceremony was staged on 25 May by the Duke of Montrose. While the Great Hall, like the Great Exhibition of 1851, was devoted to the arts and manufactures of the Empire, the importance and popularity of the Bishop’s Castle lay in its devotion to Scottish identity, exemplified in an unrivalled assemblage of national treasures. It was modelled on the original sandstone Bishop’s Castle which remained as a ruin in the city until 1792, when the site was cleared to make way for what eventually became Glasgow Infirmary. Although constructed entirely of wood, plaster, paint and canvas, the replica was so convincing that some visitors to the park wondered why an ‘old’ building had been allowed to remain on the site. A visit to its theatrical displays, which included copies of the Solemn League and Covenant, along with relics from Mary, Queen of Scots and Robert Burns, may well have stirred nationalistic feelings.3 The huge interest in the Scots Queen prompted a celebratory poem – In the Bishop’s Castle, Queen Mary – in which the author was transported by the sight of a lock of her ‘golden hair’ and the crucifix ‘her hands held in many an hour forlorn’.4 Shortly after the opening, Lavery seized upon this opportunity to become a sort of artist-in-residence at the exhibition, painting all aspects of its daily life. General views of the park and crowds complimented the recording of specific incidents or particular characters and between May and October over fifty canvases were produced. It is likely that the painter had entered into some form of contract with the gallery-owner, Craibe Angus to display the results of his observations. Speculative or not, this was a risky strategy for it meant sacrificing the vital period of planning for next year’s exhibition pictures. Immediate opportunities must be seized, even if there was no long-term plan. Lavery would follow the Whistlerian precept of capturing the chief point of interest, placing it within the rectangle and then elaborating the details. In this way, a half-finished picture appeared finished. If it had to be abandoned due to inclement weather or rowdy passers-by, the viewer, having a focal point, would imaginatively sense the completed whole.5 No such necessities prevailed in the present case, since The Bishop’s Castle is one of the most satisfactory of Lavery’s compositions – with the motif ranged to the left and balancing notes of colour found in parasols. On a sunny summer’s day, he approaches the building from the path which connects the Bachelors Café with the North Kiosk. On the right the land falls away towards the river and behind the bowler-hatted figure lounging on the grass, it rises steeply to the university. Another study, Sunshine and Shade, Glasgow International Exhibition (private collection) shows figures seated under the trees in the approaches to the castle, while the nocturne, North Kiosk and Glasgow University Buildings, 1888 (fig. 2, unlocated) shows the Bishop’s Castle under Scott’s university spire, partially obscured by trees. From his formidable body of work completed that summer, Lavery selected fifty canvases, presenting his record of the sights of the International, at the premises of Craibe Angus and Son, Glasgow, in October 1888. This show, like the International itself, was a critical success, and the artist was warmly praised for the richness and variety of his studies; these were not ‘hasty memorials’, but like The Bishop’s Castle were ‘completed pictures’ which in ‘arrangement, colour or effect’ vividly captured one of the most successful events in the city’s history.6 1 The Art Journal, ‘Supplement’, 1888, p. 3; see also Stanley K. Hunter, Kelvingrove and the 1888 Exhibition, International Exhibition of Industry, Science and Art, 1888, privately printed, 1990, provides an excellent and detailed survey of the exhibition. 2 The Illustrated London News, 19 May 1888; see also The Graphic, 12 May 1888. 3 In addition to letters, the display contained Mary’s work-box, the richly embroidered gloves she gave to her lover, Lord Darnley and the cradle of King James VI. 4 Quoted in Stanley K. Hunter, 1990, p. 176; the poem was written by JL Stenhouse and published in the Glasgow Weekly Herald. In the Fine Art galleries of the Great Hall, Lavery was showing his history painting of Mary, Queen of Scots, Dawn after the Battle of Langside, 1887 (Private Collection). The theme formed a sub-plot for the entire exhibition, since waitresses in cafeterias were all dressed in Mary, Queen of Scots costume. 5 Mortimer Menpes, Whistler as I knew him, n.d., [1904], A. & C. Black, p. 22 records Whistler’s advice, “I began first of all by seizing the chief point of interest. Perhaps it might have been the extreme distance … if so, I would begin drawing the distance, and then would expand from it … in this way the picture must necessarily be a perfect thing from start to finish. Even if one were arrested in the middle of it, it would still be a fine and complete picture”. 6 The Glasgow Herald, 1 October 1888; The Bailie, 3 October 1888, p. 11. Kenneth McConkey April 2008

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FISHING BOATS IN A SWELL
FISHING BOATS IN A SWELL
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 28 April 2008 / 126

Published Estimate: €7000-9000

Price Realised: €7000


KILKEIRAN BAY, CONNEMARA
KILKEIRAN BAY, CONNEMARA
Thomas Rose Miles RCA (fl. 1869-1910)

Auction Date / Lot No.: 28 April 2008 / 127

Published Estimate: €3000-4000

Price Realised: €3000


WAR IN MID AIR, 1910
WAR IN MID AIR, 1910
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 28 April 2008 / 128

Published Estimate: €30000-40000

Price Realised: €39000

  • Signature: signed lower right; inscribed with title, exhibition details and artist's address on reverse
  • Medium: watercolour
  • Dimensions: 74 by 53cm., 29 by 21in.
  • Provenance: James Adam Salerooms, Dublin, 28 September 1989, lot 162; Whence purchased by the present owner
  • Exhibited: RWS, London, March 1910
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HER FIRST BROOD, 1887
HER FIRST BROOD, 1887
Gregor Grey (fl. 1870s-1911)

Auction Date / Lot No.: 28 April 2008 / 129

Published Estimate: €5000-7000

Price Realised: €5000

  • Signature: signed and dated lower left
  • Medium: oil on canvas
  • Dimensions: 71 by 91cm., 28 by 36in.
  • Exhibited: RHA, Dublin, 1887, catalogue no. 61 (£40-0-0)
  • Gregor Grey was the son of Charles Grey RHA (c.1808-1892) and brother of the painters Alfred Grey RHA (1845-1926), Edwin Landseer Grey and James Grey and the engraver Charles Malcolm Grey. Gregor exhibited every year at the RHA from 1877 to 1911, averaging three to four exhibits a year – the most that a non-RHA member could possibly hope to have accepted. He also showed twice at the Oireachtas Art Exhibitions of 1906 and 1907. His works tended to be on a rustic theme and featured quaint, anecdotal titles. Grey earned – albeit unwittingly – some modicum of posterity when James Joyce included in Ulysses a character called Gregor Grey who was the designer of Gallaher’s map and whose career was given “a leg up” by illustrating an advertisement. Lots 129 to 133 are from a single private collection.

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THE CHAMPION, 1891
THE CHAMPION, 1891
Gregor Grey (fl.1870s-1911)

Auction Date / Lot No.: 28 April 2008 / 130

Published Estimate: €5000-7000

Price Realised: 

  • Signature: signed and dated lower left; label on reverse inscribed with title and artist's address (1 Lower Sherr
  • Medium: oil on canvas
  • Dimensions: 66 by 51cm., 26 by 20in.
  • Provenance: de Vere's, Dublin, 2 December 1987, lot 109; Whence purchased by present owner
  • Exhibited: RHA, Dublin, 1891, catalogue no. 337 (£25-0-0)
  • In the original frame of J. D. Spence, Dublin.

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A GOLDEN HARVEST, 1903
A GOLDEN HARVEST, 1903
Gregor Grey (fl. 1870s-1911)

Auction Date / Lot No.: 28 April 2008 / 131

Published Estimate: €5000-7000

Price Realised: €5000

  • Signature: signed lower left; remains of label on reverse
  • Medium: oil on canvas
  • Dimensions: 62 by 52cm., 24.5 by 20.5in.
  • Provenance: Sheppard's, Durrow, 29 November 2000, lot 345; Whence purchased by present owner
  • Exhibited: RHA, Dublin, 1903, catalogue no. 194
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READY TO PAINT THE STABLE and THE RESULT, 1912 (A PAIR)
READY TO PAINT THE STABLE and THE RESULT, 1912 (A PAIR)
Gregor Grey (fl. 1870s-1911)

Auction Date / Lot No.: 28 April 2008 / 132

Published Estimate: €8000-10000

Price Realised: 

  • Signature: the former signed and dated lower left; the latter signed lower right
  • Medium: oil on canvas
  • Dimensions: 61 by 51cm., 24 by 20in.
  • Provenance: James Adam's, Dublin, 29 March 2000, lot 45; Whence purchased by present owner
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AN UNINVITED GUEST, 1909
AN UNINVITED GUEST, 1909
Gregor Grey (fl. 1870s-1911)

Auction Date / Lot No.: 28 April 2008 / 133

Published Estimate: €4000-6000

Price Realised: €4000

  • Signature: signed and dated lower left
  • Medium: oil on canvas
  • Dimensions: 46 by 61cm., 18 by 24in.
  • Provenance: Sheppard's, Durrow, 29 November 2000, lot 346; Whence purchased by present owner
  • Exhibited: RHA, Dublin, 1909, catalogue no. 267 (£12-0-0)
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LANDSCAPE WITH A VIEW TOWARDS A TOWN AND GRAZING CATTLE IN FOREGROUND
LANDSCAPE WITH A VIEW TOWARDS A TOWN AND GRAZING CATTLE IN FOREGROUND
John Faulkner RHA (1835-1894)

Auction Date / Lot No.: 28 April 2008 / 134

Published Estimate: €5000-7000

Price Realised: 


COTTAGE NEAR MAYO
COTTAGE NEAR MAYO
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 28 April 2008 / 135

Published Estimate: €5000-7000

Price Realised: 


STILL LIFE WITH ROSE AND LILY, 1876 and APPLES AND ORANGES, 1879 (A PAIR)
STILL LIFE WITH ROSE AND LILY, 1876 and APPLES AND ORANGES, 1879 (A PAIR)
Thomas Frederick Collier (1825-1885)

Auction Date / Lot No.: 28 April 2008 / 136

Published Estimate: €2000-3000

Price Realised: €1500


CAVE HILL, 1892
CAVE HILL, 1892
Joseph William Carey RUA (1859-1937)

Auction Date / Lot No.: 28 April 2008 / 137

Published Estimate: €1000-1500

Price Realised: €1400

  • Signature: signed, inscribed and dated lower left
  • Medium: watercolour heightened with white
  • Dimensions: 20 by 32cm., 8 by 12.7 5in.
  • Depicts Belfast Castle in the distance, built in the Scottish boranial style by the 2nd Marquess of Donegal.

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THE CADGER BEATING ROBIN HOOD, 1846
THE CADGER BEATING ROBIN HOOD, 1846
Robert Richard Scanlan (1801-1876)

Auction Date / Lot No.: 28 April 2008 / 138

Published Estimate: €1500-2000

Price Realised: 


THE MASTER OF THE HUNT, 1895
THE MASTER OF THE HUNT, 1895
Charles MacIver Grierson RI (1864-1939)

Auction Date / Lot No.: 28 April 2008 / 139

Published Estimate: €1500-2000

Price Realised: €1600

  • Signature: signed and dated lower centre; inscribed on reverse with title and artist's address (2 Weston Broadway, Ravenscourt Park)
  • Medium: watercolour
  • Dimensions: 26 by 18cm., 10.2 5 by 7in.
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CORN STOOKS, FIGURES IN A LANDSCAPE
CORN STOOKS, FIGURES IN A LANDSCAPE
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 28 April 2008 / 140

Published Estimate: €1500-2000

Price Realised: €1500

  • Signature: signed lower right
  • Medium: watercolour with sgraffito heightened with white
  • Dimensions: 32 by 47cm., 12.5 by 18.5in.
  • Provenance: Christie's, Belfast, 26 October 1990, lot 68; Whence purchased by present owner
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FAIRHEAD FROM BALLY CASTLE, COUNTY ANTRIM
FAIRHEAD FROM BALLY CASTLE, COUNTY ANTRIM
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 28 April 2008 / 141

Published Estimate: €1000-1500

Price Realised: €1000


CLASSICAL PILLAR, ALEXANDRIA, EGYPT, circa 1846-1850
CLASSICAL PILLAR, ALEXANDRIA, EGYPT, circa 1846-1850
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 28 April 2008 / 142

Published Estimate: €1000-1500

Price Realised: €1000

  • Signature: signed lower left
  • Medium: watercolour over pencil with white highlights and sgraffito
  • Dimensions: 36 by 51cm., 14 by 20in.
  • Exhibited: Almost certainly exhibited at the Irish exhibition of Arts and Manufacturers, Dublin, 1882, as Pompey's Pillar, Egypt, catalogue no. 1581, lent by E. B. Roche
  • In August 1846 Nicholl sailed to Ceylon (modern-day Sri Lanka) to take up a position as art master at the government school there. On the journey out he travelled across northern Egypt via Alexandria, sending a view of Mount Sinai to the RHA the following year. This work was painted either on the outwards or return journey, circa 1850. It is interesting to see the foreshadowing of his later series of views with banks of flowers in the foreground; here the vista of Alexandria is dominated by the giant monument in the foreground.

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BANK OF WILD FLOWERS WITH VIEW OF A FORT,LOUGH AND MOUNTAINS IN THE DISTANCE
BANK OF WILD FLOWERS WITH VIEW OF A FORT,LOUGH AND MOUNTAINS IN THE DISTANCE
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 28 April 2008 / 143

Published Estimate: €12000-15000

Price Realised: €11500

  • Signature: signed lower right signed lower right signed lower right
  • Medium: watercolour with sgraffito, heightened with white
  • Dimensions: 34 by 52cm., 13.5 by 20.5in.
  • Provenance: Maurice Dear, Southampton; Private collection
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WOODED LANDSCAPE, COUNTY WICKLOW, 1837
WOODED LANDSCAPE, COUNTY WICKLOW, 1837
James Arthur O'Connor (1792-1841)

Auction Date / Lot No.: 28 April 2008 / 144

Published Estimate: €8000-10000

Price Realised: €8000

  • Signature: signed with initials and dated lower right
  • Medium: oil on panel
  • Dimensions: 25 by 30cm., 9.75 by 11.7 5in.
  • Provenance: Neptune Gallery, Dublin; Private collection
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MISS O'NEILL AS 'JULIET'
MISS O'NEILL AS 'JULIET'
Samuel Lover RHA (1797-1868)

Auction Date / Lot No.: 28 April 2008 / 145

Published Estimate: €4000-6000

Price Realised: €8000

  • Medium: watercolour with gum arabic
  • Dimensions: 17 by 13cm., 6.5 by 5in.
  • In the original frame of J. D. Spence, 7 Lower Sackville Street, Dublin. Elizabeth O’Neill was a successful Irish actress. Born in 1791, her father was the manager of a small theatre company. Reared for the stage, she played in Belfast, Dublin, Londonderry and Newry, before appearing in the role of Juliet at Convent Garden in 1814. Acclaimed as the successor of Mrs Siddons, she won rapturous praise. Macready wrote of “the spirit of perfect innocence and purity that seemed to glisten in her speaking eyes and breathe from her chiselled lips”. In 1819 she married Sir William Wrixon Beecher, MP for Mallow, and thence retired to a quiet life. She died in 1872. A later portrait of her, by William John Newton, is in the collection of the National Gallery (NGI 2206). The present work appears to be the earliest known portrait of Lady Wrixon Beecher. Lover most likely became acquainted with her in London, where he forged a successful career as a poet, painter and impresario. With thanks to Paul Caffrey for his help in cataloguing this work.

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"OH" A DAINTY PLANT IS THE IVY GREEN THAT CREEPETH O'ER RUINS OLD..." - DICKEN'S IVY GREEN, 1846
John Howard Burgess (1817-1890)

Auction Date / Lot No.: 28 April 2008 / 146

Published Estimate: €2500-3500

Price Realised: €5000

  • Signature: signed and dated lower left; inscribed with artist's name and dated again on reverse
  • Medium: oil on canvas
  • Dimensions: 53 by 44cm., 21 by 17.2 5in.
  • Exhibited: RHA, Dublin, 1846, catalogue no. 30
  • In the original Gothic revival frame. Burgess exhibited at the RHA from 1830 until 1880, showing mostly views of the Antrim coast, particularly Carrickfergus. He contributed twenty-five illustrations to Hall’s Ireland, its Scenery and Character (1841) and was awarded two prizes by the Royal Irish Art Union in 1843. By 1850 he had established a painting academy in Donegall Place, Belfast. The present work is comparable in subject and treatment to his watercolour of the O’Cahan Tomb, Dungiven Church, (Ulster Museum, illustrated in Crookshank and Glin, The Watercolours of Ireland, p. 8).

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FOUR VIEWS OF BRAY AND THE SUGARLOAF, COUNTY WICKLOW, circa 1820
FOUR VIEWS OF BRAY AND THE SUGARLOAF, COUNTY WICKLOW, circa 1820
John Henry Campbell (1757-1828)

Auction Date / Lot No.: 28 April 2008 / 147

Published Estimate: €6000-8000

Price Realised: 

  • Medium: watercolour on paper, four, framed separately
  • Dimensions: 20 by 29cm., 8 by 11.2 5in.
  • Exhibited: Cynthia O'Connor Gallery, 23rd Irish Antique Dealers' Fair, Mansion House, Dublin, 1-6 August 1988, catalogues nos. 1, 2, 4 and 5
  • Individual views are: Grattan's Cottage with the Sugar Loaf in the distance, a view in Co. Wicklow with the Sugar Loaf in the distance, Bray with Bray Head in the distance, and figures on a path with Bray Head in the distance. (4)

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LANDSCAPE AND RIVER SCENE WITH EEL FISHERS
LANDSCAPE AND RIVER SCENE WITH EEL FISHERS
William Sadler (c.1782-1839)

Auction Date / Lot No.: 28 April 2008 / 148

Published Estimate: €6000-8000

Price Realised: €6000


THE BATTLE OF THE BOYNE, PRIOR TO THE DEATH OF THE DUKE OF SCHOMBERG BEFORE WILLIAM III, 1690
THE BATTLE OF THE BOYNE, PRIOR TO THE DEATH OF THE DUKE OF SCHOMBERG BEFORE WILLIAM III, 1690
Attributed to Jan Wyck (1540-1702)

Auction Date / Lot No.: 28 April 2008 / 149

Published Estimate: €10000-15000

Price Realised: €75000

  • Signature: inscribed on reverse
  • Medium: oil on canvas, cut down and strip-lined
  • Dimensions: 51 by 51cm., 20 by 20in.
  • Jan Wyck is recorded as having painted at least four different views of the Battle of the Boyne. The best known of these, in the National Gallery of Ireland, depicts William III mounted on a white horse surveying his troops with canons firing, cavalry charging, and Donore Hill visible in the distance. A similar view exists in the National Army Museum, London, whilst two others have appeared on the London market (Christies, Cassel Sale, Davenport Collection, 24 July 1953, and Sotheby’s, 12 March 1980). Given the convincing degree of topographic and historic detail to these works, it has generally been accepted that Jan Wyck was most likely present at the battle.1 However, Crookshank and Glin have recently suggested that Wyck may have referred to a drawing by Dirck Maas (1656-1715), now in the Royal Collection.2 This recently rediscovered work differs from the above listed views in that it depicts an event shortly prior to the start of battle. The Duke of Schomberg, identifiable in his suit of armour and long blonde wig, points his sword towards the Boyne, beseeching King William to advance, whilst a hound in the left hand foreground turns balefully towards the river where Schomberg will shortly meet his death. William’s advisors conspire amongst themselves, and a blue and white striped tent strikes an almost carnivalesque note in the background. It is almost certainly by the same hand that painted a view of the siege of Derry, recently in trade, which has been attributed to Jan Wyck. 1 Katherine Gibson, ‘Jan Wyck’, British Art Journal, Autumn 2000, vol. II, no. 1, p. 6. 2 Anne Crookshank and the Knight of Glin, Ireland’s Painters 1600-1940, Yale, New Haven and London, 2002, p. 12.

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MARECHAL DE SCHOMBERG, c.1615-90
MARECHAL DE SCHOMBERG, c.1615-90
Jan van Rossum (Viennese, 1630-1673)

Auction Date / Lot No.: 28 April 2008 / 150

Published Estimate: €1500-2000

Price Realised: €3000

  • Signature: inscribed upper right; extensively inscribed on reverse
  • Medium: watercolour on paper
  • Dimensions: 25 by 16cm., 9.75 by 6.25in.
  • Provenance: Mentmore Towers, Buckinghamshire; Private collection, Sussex
  • Frederick Armand de Schomberg, 1st Duke of Schomberg, was a distinguished military officer and second in command to King William III at the Battle of the Boyne. Born in Germany circa 1615, he was the son of Count Schomberg by the daughter of Lord Dudley. He served in six different armies, commanding the French army in Catalonia, and serving Frederick, Prince of Orange, in the Netherlands, among others. He was awarded the staff of the Marshall of France in 1675. After marrying a Huguenot woman, he came to England in 1688 with William of Orange. The following year he was sent to Ireland with the Williamite armies. He perished at the Battle of the Boyne on the 1st July 1690. The present work may be compared to Sir Godfrey Kneller’s portrait, engraved in mezzotint c.1693 by John Smith, which shows him in full armour on a rearing horse.

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