29 September 2008

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FARMYARD IN SNOW, 1916
FARMYARD IN SNOW, 1916
Paul Nietsche (1885-1950)

Auction Date / Lot No.: 29 September 2008 / 102

Published Estimate: €3000-4000

Price Realised: €2900

  • Signature: signed and dated lower right
  • Medium: oil on board
  • Dimensions: 55 by 58cm., 21.5 by 23in.
  • Almost certainly painted near Odessa in the Southern Ukraine, where the artist was raised. Nietsche’s father ran a lithographic printing firm in Odessa. After attending the Imperial Art Academy there, Nietsche studied at the Academy of Fine Arts in Munich, first enrolling in 1908. He then went on to Paris, where Rodin befriended him. In 1914 he returned to Odessa, remaining there for the duration of the war. In 1918 Nietsche and his family moved to Berlin, where he met an Irish scholar Michael O’Brien on whose invitation in 1926 Nietsche first came to Ireland (see Snoddy, pp. 454-4).

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LOUGHSHINNY HARBOUR
LOUGHSHINNY HARBOUR
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 29 September 2008 / 103

Published Estimate: €4000-5000

Price Realised: 


ST. AUDEON'S ARCH, COOK STREET, DUBLIN, 1934
ST. AUDEON'S ARCH, COOK STREET, DUBLIN, 1934
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 29 September 2008 / 104

Published Estimate: €12000-15000

Price Realised: 

  • Signature: signed and dated lower left
  • Medium: oil on panel
  • Dimensions: 30 by 41cm., 12 by 16in.
  • Exhibited: 'Catalogue of Exhibition of Recent Paintings by Harry Kernoff, R.H.A.', Mill's Hall, Dublin, 1-15 December 1937, catalogue no. 42
  • Cook Street in the vicinity of Christ Church Cathedral, houses a rather imposing stretch of medieval town wall. Although much restored in recent years, it marks the line of the original Hiberno-Norse wall, which was first built c.1100 (according to archaeological dating) not far from the banks of the River Liffey at high tide. Cook Street is so named as during the thirteenth century, the time of Anglo-Norman settlement, cooks (the medieval equivalent of fast-food traders), were placed outside the town wall in order to minimise the danger of fire. Most buildings at this time were made of timber and so at great risk. A number of gateways were cut through the wall to give access to the new quarter. Of these, the sole survivor is St Audeon’s Arch, seen here as it appeared in 1934.

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THE GRAND CANAL AT WILTON PLACE, 1945
THE GRAND CANAL AT WILTON PLACE, 1945
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 29 September 2008 / 105

Published Estimate: €6000-8000

Price Realised: 


THE AVENUE, LATE AUTUMN GRANGE HOUSE, RATHFARNHAM
THE AVENUE, LATE AUTUMN GRANGE HOUSE, RATHFARNHAM
Estella Frances Solomons HRHA (1882-1968)

Auction Date / Lot No.: 29 September 2008 / 106

Published Estimate: €1500-2000

Price Realised: €2700

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 25 by 33cm., 10 by 13in.
  • Provenance: Bought by the present owner's mother in the 1950s
  • Exhibited: Possibly exhibited as `The Avenue' at the Oireachtas Art Exhibition of 1932, catalogue no. 88
  • Painted circa 1926-38, when the artist lived at Grange House, Whitechurch, Rathfarnham, Co. Dublin.

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

Auction Date / Lot No.: 29 September 2008 / 107

Published Estimate: €12000-15000

Price Realised: 


JEAN
JEAN
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 29 September 2008 / 108

Published Estimate: €8000-10000

Price Realised: €8000

  • Signature: signed upper left; inscribed on label on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 46 by 36cm., 18 by 14in.
  • Provenance: By descent from the sitter to the present owner
  • Accompanied by a letter from the sitter, Jean McAneavy (née Stoneley), reciting the circumstance which led to her portrait being painted, and photograph of her, aged seven or eight. William Conor was a friend of Jean’s mother, the novelist Annie M. Stoneley. Conor was devastated at the death of his mother and unable to paint. Annie Stoneley, who was interested in spiritualism, therefore suggested that Conor attend a séance with her, which he did, and after receiving an apparent message from his mother, wished to repay Mrs Stoneley for her kindness. He offered to paint a portrait of her only daughter, Jean, by way of thanks. Subsequently Jean attended Conor’s studio on Saturday mornings to sit for her portrait. He sat the child in front of a mirror and painted her reflection, intending to title the work Reflections. In the original frame of John Magee, Belfast.

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HAYSTACK
HAYSTACK
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 29 September 2008 / 109

Published Estimate: €10000-15000

Price Realised: €21000

  • Signature: signed lower left; original label on reverse
  • Medium: oil on panel
  • Dimensions: 38 by 46cm., 15 by 18in.
  • Provenance: Kitty Le Marquand, Jersey; Thence to her son, the late Richard Wigginton; By whom given to the present owner
  • Exhibited: Possibly`Paintings by William J. Leech RHA', Dawson Gallery, Dublin, 1-8 June 1945, catalogue no. 8 (£35)
  • Haystack epitomizes Leech’s awareness of Monet’s work and his assimilation of Impressionism, first apparent in Leech’s paintings of c.1912. The more strident yellows and greens of A Secret Garden and A Convent Garden are resolved into a harmonious arrangement of the foreground’s pink and blue shadows in Haystack, which contrasts against the yellow greens of the newly-mown meadow. The change in Leech’s painting technique is apparent; textured strokes have been replaced by smooth brush strokes, freely drawn, leaving areas of the support to shine through. This free execution indicates that Leech probably painted this work directly in the landscape, perhaps from the upper level of the Devon Cider barn, with its wide opening, planned for easy access of loads of apples but ideal as an artist’s advantage viewpoint and studio workspace. The Blitz of 1941 twice damaged Leech’s Steele’s Studio in Hampstead but May Botterell’s Abbey Road flat escaped damage and became home and studio for them both. Leech’s family, especially his brother Cecil and wife ‘Babs’, who ran an apple orchard in Devon, provided a refuge for the couple in the countryside away from the bombings in London for months at this time. Cecil Leech cleared the upper part of one of the cider barns as a studio for his younger brother William John who began a series of paintings of farmyard gates, meadows of hay and apple orchards during these war years, a respite from London back gardens and views from the fifth floor of May’s flat. Leech exhibited a similar work, A Haystack, at the RHA in 1944, the same year he exhibited Back Gardens and A War Time Garden, all care of Leo Smith. This present work was probably included in Leech’s first solo exhibition at the Dawson Gallery in June 1945. He exhibited his oil Haystack and window, evening, which depicts a haystack in a farmyard scene with chickens, at the Oireachtas Exhibition of 1945 and at the RHA in 1948 and which was also included in Leech’s exhibition with Frances Kelly and Evie Hone at the Dawson Gallery in July/August 1953. His journeys to France were ended by the Second World War and Leech was never to return to his earlier Breton subject matter or his later paintings in the South of France. These were replaced by sunlit Regent Park gardens, flowers on windowsills and later his garden at Candy Cottage, but during the war years his work focuses on a series of haystacks in farmyards framed though open windows or, as in Haystack, through a five barred wooden gate and the diagonal trunk of a nearby tree. Dr Denise Ferran August 2008

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ACHILL HEAD, circa 1929
ACHILL HEAD, circa 1929
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 29 September 2008 / 110

Published Estimate: €80000-100000

Price Realised: €90000

  • Signature: signed lower right
  • Medium: oil on panel
  • Dimensions: 35 by 39cm., 13.7 5 by 15.2 5i
  • Provenance: Josephine Cantwell, until 1950; Thence by descent to present owner
  • Achill Head marks the extreme western promontory of Achill Island and is seen here looking due west from the village of Keel. It is a scene that Henry painted a number of times both during his later years on Achill and after his move to Dublin in 1919. Achill Head, 1918-20, Limerick City Art Gallery (number 518 in S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale University Press, New Haven and London, 2007) and Achill Head, Co. Mayo c.1930-5 (Kennedy 763) are similar compositions. Keel village, situated at the end of its long peerless strand, was Henry’s headquarters for most of his time on Achill. The setting was all that he dreamt of and where he felt that the Island was seen at its best. “As I wandered round and through the village, and out on the road that led through Pullough, and looked down on ... the noble cliffs of Achill Head,” he wrote in his autobiography (An Irish Portrait, 1951, p.3), “I felt that here I must stay somehow or another. I would not go any farther”. Indeed it was while sitting on the small promontory of rocks, Gubalennaun, seen in the middle distance of this composition that Henry tore up his return railway ticket to London and decided to make Achill his home. Thus, during the ensuing nine years that he lived there he made some of his most important paintings – and some of the finest Irish landscapes of the twentieth century – in the process hewing from the native life of the island and its people an art form comparable to that which the writer John Synge created from his visits to the Aran Islands. All of the ruggedness of life on Achill is implied in this Achill Head composition; from the majestic profile of the distant hills to the barren and dangerous rocks of Gubalennaun and the sparse turf cuttings of the foreground one is conscious of the paucity of life there, of the essence of man’s unequal contest with nature, which, as in much of Henry’s work, imbues the scene with an enduring universality. Dated c.1929 on stylistic grounds. Achill Head is numbered 1230 in S. B. Kennedy’s ongoing catalogue of Paul Henry’s oeuvre. The original owner of the painting, Josephine Cantwell, was born in 1867, the daughter of James Cantwell and his wife, Anna Teresa, at 16 D’Olier Street, Dublin, then the site of The Star and Garter Hotel and later of the Irish Times newspaper. James Cantwell was a member of the Council of the Young Ireland movement and had to flee to America following the failed uprising of 1848. He became friendly with Thomas Francis Meagher and through the latter’s influence with the US government was able to return to Dublin in the late 1850s, when he became active in the Fenian movement. Cantwell died in 1875. Josephine Cantwell also became involved in politics. She joined Sinn Féin and became the first woman councillor in Kingstown Urban District in 1920, a position she held until 1925. She died in 1950. For a biography, see Brian Smith, ‘Josephine Cantwell - Kingstown’s first lady’, Dun Laoghaire Journal, vol. 11, 2002, pp. 72-5. Dr S. B. Kennedy Seaforde, Co. Down July 2008

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THE JOLLY WASHER-WOMAN
THE JOLLY WASHER-WOMAN
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 29 September 2008 / 112

Published Estimate: €30000-40000

Price Realised: 

  • Signature: signed lower right
  • Medium: crayon on paper
  • Dimensions: 60 by 50cm., 23.5 by 19.5in.
  • Exhibited: 'William Conor 1881-1968', McClelland Galleries, Belfast, 1969, catalogue no. 58
  • A copy of the above exhibition catalogue is included with this lot. Also known as Wash Day. The sitter in this work was a woman known as Duchie who modelled for Conor on many occasions. She is seen in a similar pose in a smaller composition, Factory Worker, 1919, which sold through these rooms (30 April 2007, lot 86).

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POLO IN PHOENIX PARK
POLO IN PHOENIX PARK
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 29 September 2008 / 113

Published Estimate: €4000-6000

Price Realised: 

  • Signature: signed with initials lower right; original inscribed label on reverse
  • Medium: oil on canvas on board
  • Dimensions: 13 by 18cm., 5 by 7in.
  • Provenance: Purchased by the present owner's mother circa 1958
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COURTYARD OF HOTEL IN ANDALUSIA
COURTYARD OF HOTEL IN ANDALUSIA
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 29 September 2008 / 114

Published Estimate: €3000-5000

Price Realised: €2700


VIEW ACROSS A MEDITTERANEAN TOWN, POSSIBLY MENTON
VIEW ACROSS A MEDITTERANEAN TOWN, POSSIBLY MENTON
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 29 September 2008 / 115

Published Estimate: €12000-15000

Price Realised: €12500

  • Medium: oil on canvas
  • Dimensions: 56 by 66cm., 22 by 26in.
  • Provenance: The artist's family by descent
  • A similar viewpoint was used by the artist in her watercolour of 'La Charite-sur-Loire', with a figure seated beneath trees in the foreground. In this case however, the vantage point is higher and the sea is visible in the distance.

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A SANDY BAY WITH TREES IN THE FOREGROUND
A SANDY BAY WITH TREES IN THE FOREGROUND
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 29 September 2008 / 116

Published Estimate: €6000-8000

Price Realised: 


PRIMROSES, 1952
PRIMROSES, 1952
Kathleen Fox (1880-1963)

Auction Date / Lot No.: 29 September 2008 / 117

Published Estimate: €2000-3000

Price Realised: €1900


POPLARS IN THE JURA VALLEY
POPLARS IN THE JURA VALLEY
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 29 September 2008 / 118

Published Estimate: €8000-10000

Price Realised: €12500

  • Signature: signed with initials lower right; original labels on reverse, inscribed with title and artist's address (Woodville House, Lucan, Co. Dublin)
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: The artist's family by descent
  • Exhibited: RHA, Dublin, 1933, catalogue no. 34 (£30-0-0)
  • Literature: Reproduced as a colour print by the Medici Foundation, London
  • A label on reverse records that this is the original painting from which the Medici print of the same title was made. A smaller version of the same view sold through these rooms (17 February 2004 lot 55)

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SINGLE ELEMENT COMPOSITION
SINGLE ELEMENT COMPOSITION
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 29 September 2008 / 119

Published Estimate: €4000-6000

Price Realised: 

  • Signature: signed lower right
  • 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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CAFE EN MONTMARTE
CAFE EN MONTMARTE
May Guinness (1863-1955)

Auction Date / Lot No.: 29 September 2008 / 120

Published Estimate: €1500-2000

Price Realised: €1500

  • Signature: note card from the National Gallery picture clinic on reverse
  • Medium: pastel on paper
  • Dimensions: 22 by 32cm., 8.75 by 12.5in.
  • Provenance: Taylor de Vere's, Dublin, 3 December 1991, lot 7; Whence purchased by the present owner
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COMPOSITION, 1924
COMPOSITION, 1924
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 29 September 2008 / 121

Published Estimate: €6000-8000

Price Realised: 

  • Signature: signed and dated lower right; exhibition label on reverse
  • Medium: gouache
  • Dimensions: 17 by 25cm., 6.75 by 9.75in.
  • Provenance: Artist's studio; Neptune Gallery, Dublin; Private collection
  • Exhibited: 'Mainie Jellett 1897-1944, Neptune Gallery, Dublin, 12 September to 26 October 1974, catalogue no. 58
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GERALDINE; DECORATION FOR COLERIDGE'S `CHRISTABEL'
GERALDINE; DECORATION FOR COLERIDGE'S `CHRISTABEL'
Norah McGuinness HRHA (1901-1980)

Auction Date / Lot No.: 29 September 2008 / 122

Published Estimate: €3000-4000

Price Realised: €5200

  • Signature: signed lower right; inscribed and initialled on reverse
  • Medium: pen and ink on card
  • Dimensions: 26 by 21cm., 10.2 5 by 8.25in.
  • Full inscription on reverse reads: ”GERALDINE” /Decoration for /Colridge’s [sic] “Christ-” /Miss N McGuinness/Leitrim Wicklow/ Call Tuesday/NMcG”. Leitrim was the artist’s home from 1925 to 1929. In the early years of her career Norah McGuinness sought to support herself financially through illustration work. Her manner of drawing was clearly influenced by Harry Clarke, whose illustrations to Edgar Allan Poe’s Tales of Mystery and Imagination were first published in 1919 and reprinted many times. In 1923 the Dublin Magazine published some of McGuinness’ black and white work. The following year she received a medal at the Tailteann Competition for her drawings. Her first major commission was for an illustrated de luxe edition of Laurence Stern’s A Sentimental Journey Through France and Italy, which was published 1925 and well reviewed in The Studio. The present work is an illustration to one of Coleridge’s more enigmatic poems, written in 1798, about a young maid, Christabel, who, pining for her betrothed’s return, walks through a wood at midnight. There she encounters a beautiful woman called Geraldine, who claims to have been abducted from her home and abandoned in the wood. Christabel takes pity on Geraldine, brings her back to her father’s castle and offers to shares her couch. The illustration captures the moment of Geraldine’s disrobing, with the innocent, bewitched Christabel looking on. The next morning, Christabel presents Geraldine to her widowed father, who likewise falls under Geraldine’s spell. Christabel has a sense of having sinned, and asks her father to banish Geraldine from the house, only to be refused. The poem has no clear conclusion. McGuinness accurately captures the half-lidded snake-like eyes of Geraldine, and the peculiar detail of a carved “lamp with twofold silver chain … fastened to an angel’s feet”.

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TWO MAGPIES ON A STONE WALL, c. 1934
TWO MAGPIES ON A STONE WALL, c. 1934
Susan Mary ('Lily') Yeats (1866-1949)

Auction Date / Lot No.: 29 September 2008 / 123

Published Estimate: €5000-7000

Price Realised: €5000

  • Signature: signed lower right
  • Medium: silk embroidery on blue poplin ground
  • Dimensions: 25 by 35cm., 10 by 13.7 5in.
  • Provenance: Given as a wedding present by the Yeats family to the present owner's parents, William S.J. Carter (who knew Jack Yeats when he read law at Trinity College, Dublin) and Dorothy L. Mowbray, on their marriage in July 1934
  • Literature: Nicola Gordon Bowe and Elizabeth S. Cumming, The Arts and Crafts Movements in Dublin and Edinburgh, Irish Academic Press, Dublin, 1998, reproduced on front cover; Gifford Lewis, 'Rediscovered Embroideries by Lily Yeats', Irish Arts Review Yearbook, 1998,vol. 14, pp 147-50
  • Lily Yeats first worked this distinctive design by her brother, the painter and graphic illustrator Jack Yeats, c.1910 in a version which remained in the Yeats’ family collection until Anne Yeats’ recent death. Before she and her sister Elizabeth (‘Lolly’) set up their independent Cuala Industries in 1908 in Churchtown, in the foothills of the Dublin mountains, both her brother and sister provided designs for Lily Yeats to execute. These she interpreted with the embroidered skills she had learnt and eminently practised during the six years she worked with William Morris’s daughter, May, in London. In 1894, she left the Morris workshop and soon began exhibiting her own embroidered pieces, mostly focussing on artistically stylized flower compositions. The bold black lines delineating the stones in the foreground wall are reminiscent of the strongly graphic treatment Jack Yeats gave the sodality banner saints he designed for his sister to embroider for St. Brendan’s Cathedral, Loughrea, Co. Galway. These were worked in the embroidery workshop she was invited to set up in 1902 by Evelyn Gleeson at her Dun Emer Guild in Dundrum, Co. Dublin. There she taught local, untrained girls a wide range of expressive stitches to emphasize the compositional and textural elements in the work they produced. Some pieces were framed, some incorporated into cushions, table or bed linen or furnishings, and some into clothing. Many were sold at nationalist art fairs and arts and crafts exhibitions in Dublin, London and New York, or given as presents far and wide. Although some Cuala designs were reworked a number of times, such as this, of which there are at least three known versions (see Yeats collection, National Gallery of Ireland), each slightly different in their colouring and use of stitches, they are still rare, particularly with such a direct provenance. Dr Nicola Gordon Bowe Dublin, August 2008

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VISIT TO A DUBLIN FAMILY DURING THE TUBERCULOSIS EPIDEMIC, 1924
VISIT TO A DUBLIN FAMILY DURING THE TUBERCULOSIS EPIDEMIC, 1924
Constance Gore-Booth, Countess Markievicz (1868-1927

Auction Date / Lot No.: 29 September 2008 / 124

Published Estimate: €3000-5000

Price Realised: €5000

  • Signature: signed with initials and dated lower right
  • Medium: pen and black ink over pencil on paper heightened with white
  • Dimensions: 18 by 24cm., 7 by 9.5in.
  • Provenance: The family of Robert Erskine Childers
  • Tuberculosis, or TB, was a major cause of death among Dublin’s poor during the early years of the last century. In 1912 it was reported that TB-related deaths in Ireland were fifty percent higher than in England or Scotland. As a champion of the poor and disenfranchised, Constance Gore-Booth often visited families in the Dublin slums, bringing food and support. During the lock-out of 1913, she set up a kitchen in her basement to feed the unemployed, and later, with Inghinidhe na hÉireann, set up soup kitchens for poor schoolchildren in the city centre. Her death in 1927 was possibly the result of TB, contracted whilst visiting the families such as those depicted with such sympathy here. With an unfinished work on reverse, depicting a woman in a yellow dress holding a bowl, watercolour over pencil. Inscribed ‘Mrs Kelly’, this is possibly a sketch of Mary Kelly née Hyland, who as a member of the Irish Citizen Army served with the Garrison of St Stephen’s Green/College of Surgeons during the Easter Rising.

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MAN SEATED BY A WOOD STOVE, SMOKING A PIPE, 1911
MAN SEATED BY A WOOD STOVE, SMOKING A PIPE, 1911
Mary Duncan (1885-1964)

Auction Date / Lot No.: 29 September 2008 / 125

Published Estimate: €1500-2000

Price Realised: €2000

  • Signature: signed and dated lower right
  • Medium: oil on canvas
  • Dimensions: 30 by 41cm., 12 by 16.2 5in.
  • In the frame of J. Davey and Sons, 44 Duke Street, Liverpool. This may be one of two works shown by Duncan at the RHA: 'Solemn' (1911, no. 146) or 'The Fireside' (1912, no. 156).

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MISS CECILY RICHARDSON, 1892
MISS CECILY RICHARDSON, 1892
Sarah Henrietta Purser HRHA (1848-1943)

Auction Date / Lot No.: 29 September 2008 / 126

Published Estimate: €4000-6000

Price Realised: €5300

  • Signature: signed lower left
  • Medium: pastel and gouache on paper laid on canvas
  • Dimensions: 40 by 29cm., 15.7 5 by 11.2 5i
  • Provenance: By descent from the sitter to the present owner
  • Exhibited: RHA, 1893, catalogue no. 178
  • Literature: John O'Grady, The Life and Work of Sarah Purser, Four Courts Press, 1996, catalogue no. 243, pp. 73, 215
  • In the original Kent frame of Daniel Egan, 92 Lower Ormond Quay, Dublin. The location of this work was untraced at the time of publication of Prof. O’Grady’s book, but its existence was known from both the RHA exhibition records and a letter (23 December 1892) from Rev. Charles Graves, the Bishop of Limerick, in which he mentioned that Purser “had painted a charming portrait of a little Miss Richardson”. Cicely was the third daughter of John Richardson (1836-1912) and his wife Mildred. She was born at Rossfad House, Ballinamallard, in Co. Fermanagh in 1887 and died near Rosslare in Co. Wexford in 1981. She married Henry d’Arcy-Irvine, of Castle Irvine, Co. Fermanagh in 1914 and had two children Ann, born 1916 and Brian born 1918. Brian was killed in the Battle of Britain over the Isle of Wight in 1940. Her sister Jane (born 1888) was the first wife of Lord Alanbrooke, of Brookeborough, Co Fermanagh, the British Chief of the General Staff in World War II.

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SHEEP PASTURES, KILLEEK, COUNTY DUBLIN, 1903
SHEEP PASTURES, KILLEEK, COUNTY DUBLIN, 1903
Joseph Malachy Kavanagh RHA (1856-1918)

Auction Date / Lot No.: 29 September 2008 / 127

Published Estimate: €5000-7000

Price Realised: €5000

  • Signature: signed and dated lower left; inscribed and dated on reverse
  • Medium: oil on board
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Provenance: Lillian Price, Dublin; Judge Wilfred Price, Cheshire; Ada Price, Cheshire; Thence by descent
  • Exhibited: RHA, Dublin, 1904, catalogue no. 43
  • The parish of Killeek lies two miles west of Swords, north Co. Dublin.

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IN THE GREY OF THE MORNING, 1906
IN THE GREY OF THE MORNING, 1906
Joseph Malachy Kavanagh RHA (1856-1918)

Auction Date / Lot No.: 29 September 2008 / 128

Published Estimate: €4000-6000

Price Realised: €4000

  • Signature: signed and dated lower right; titled on reverse
  • Medium: oil on board
  • Dimensions: 31 by 39cm., 12.2 5 by 15.2 5i
  • Provenance: Lillian Price, Dublin; Judge Wilfred Price, Cheshire; Ada Price, Cheshire; Thence by descent
  • Exhibited: RHA, Dublin, 1907, catalogue no. 236
  • Probably a view of Feltrim, north Co. Dublin, where the artist frequently painted in 1906.

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STUDY - COWS IN A FIELD
STUDY - COWS IN A FIELD
Nathaniel Hone RHA (1831-1917)

Auction Date / Lot No.: 29 September 2008 / 129

Published Estimate: €8000-10000

Price Realised: €8000

  • Medium: oil on canvas laid on board
  • Dimensions: 36 by 50cm., 14 by 19.5in.
  • Literature: Thomas Bodkin, Four Irish Landscape Painters, Talbot Press, Dublin, 1920, catalogue no. 386 in the appendix
  • In the original frame of Bregazzi and Sons, 10 Merrion Row, Dublin.

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KILMURRY, 1918 (VIEW OF THE ARTIST'S HOUSE)
KILMURRY, 1918 (VIEW OF THE ARTIST'S HOUSE)
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 29 September 2008 / 130

Published Estimate: €6000-8000

Price Realised: €6000

  • Signature: signed with initials lower elft; exhibition label on reverse
  • Medium: watercolour
  • Dimensions: 24 by 34cm., 9.5 by 13.5in.
  • Exhibited: 'Mildred Anne Butler', Crawford Gallery, Cork, 25 August to 30 September 1987, catalogue no. 19; Ulster Museum, Belfast, 29 April to 12 June 1988, catalogue no. 19
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ON THE PORTSTEWART ROCKS, COUNTY DERRY
ON THE PORTSTEWART ROCKS, COUNTY DERRY
Helen O'Hara (1846-1920)

Auction Date / Lot No.: 29 September 2008 / 131

Published Estimate: €1500-2000

Price Realised: 

  • Signature: signed in monogram lower left; inscribed on reverse
  • Medium: watercolour
  • Dimensions: 25 by 36cm., 10 by 14in.
  • In 1891 the artist exhibited a work called 'On the Portstewart Cliffs' at the Belfast Art Society (no. 308). This is possibly a companion to that piece.

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TOLL FROM THE TURNIP CART, 1896
TOLL FROM THE TURNIP CART, 1896
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 29 September 2008 / 132

Published Estimate: €30000-40000

Price Realised: 

  • Signature: signed, inscribed 'Kilmurry' and dated lower right; signed and inscribed on reverse and with various exhibition labels on reverse
  • Medium: watercolour heightened with white
  • Dimensions: 51 by 71cm., 20.2 5 by 28in.
  • Provenance: The artist's estate, Kilmurry, Thomastown, Co. Kilkenny; Studio sale, Christies, London, 13 October 1981, lot 154 (illustrated in catalogue); Whence purchased by the present owners
  • Exhibited: WCSI, 1898, catalogue no. 259 (£40-0-0); Butler Society, Kilkenny, 1982; ‘Mildred Anne Butler’, Crawford Gallery, Cork, 25 August to 30 September 1987, catalogue no. 39; Ulster Museum, Belfast, 29 April to 12 June 1988, catalogue no. 39; ‘Mildred Anne Butler (1858-1941)’, Royal Hospital Kilmainham, Dublin, July to October 1988, catalogue no. 19; Galway, catalogue no. 61 (date unknown); ‘Mildred Anne Butler 1858-1941, Inaugural Exhibition’, Kilkenny People Art Gallery, July 1991, catalogue no. 28
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AN ALPINE LOG CABIN
AN ALPINE LOG CABIN
William Percy French (1854-1920)

Auction Date / Lot No.: 29 September 2008 / 133

Published Estimate: €2500-3500

Price Realised: €4200


TENNIS COURT, POSSIBLY COUNTY WICKLOW, 1906
TENNIS COURT, POSSIBLY COUNTY WICKLOW, 1906
William Percy French (1854-1920)

Auction Date / Lot No.: 29 September 2008 / 134

Published Estimate: €3000-4000

Price Realised: 

  • Signature: signed and dated lower right
  • Medium: watercolour
  • Dimensions: 18 by 25cm., 7 by 10in.
  • Provenance: Miss Eleanor Digby French, a cousin of the artist; Thence by descent
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GEESE ON A BOG
GEESE ON A BOG
William Percy French (1854-1920)

Auction Date / Lot No.: 29 September 2008 / 135

Published Estimate: €5000-7000

Price Realised: €6800


VIEW OF HARBOUR FROM WHITEPOINT, TIDE OUT, c. 1878
VIEW OF HARBOUR FROM WHITEPOINT, TIDE OUT, c. 1878
Walter Frederick Osborne RHA ROI (1859-1903)

Auction Date / Lot No.: 29 September 2008 / 136

Published Estimate: €3000-4000

Price Realised: €5000

  • Signature: signed in monogram lower right; inscribed on reverse
  • Medium: watercolour with pen and ink heightened with white on paper
  • Dimensions: 10 by 22cm., 3.75 by 8.5in.
  • Painted circa 1878 at Whitepoint, Queenstown (now Cobh), Co. Cork. Osborne was then a student at the Royal Hibernian Academy Schools. He began exhibiting at the RHA in 1877 and in 1878 showed two views of Whitepoint, Queenstown. This is one of the earliest known works of Osborne’s (see Jeanne Sheehy, Walter Osborne, 1974, p. 111).

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STUDY OF A STAG WITH HERD OF DEER BEYOND
STUDY OF A STAG WITH HERD OF DEER BEYOND
Sir Edwin Henry Landseer RA RI (1802-1873)

Auction Date / Lot No.: 29 September 2008 / 137

Published Estimate: €1500-2000

Price Realised: €1500

  • Signature: signed in monogram on a separate sheet of paper and framed as one
  • Medium: ink and pencil on paper
  • Dimensions: 11 by 18cm., 4.5 by 7in.
  • Provenance: The late Lord William Beresford of Woodhouse, Stradbally, Co. Waterford
  • Both sketch and monogram were taken from a Beresford family visitors’ book, which also contained signatures of such guests as Winston Churchill, his mother Jenny Churchill and aunt Leonie Leslie, the latter whom was related by marriage to the 4th Marquis of Waterford, great great grandfather of the late Lord Beresford. Accompanied by a letter of provenance.

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DUNLUCE CASTLE, COUNTY ANTRIM
DUNLUCE CASTLE, COUNTY ANTRIM
William Bourke Kirwan (c.1814-c.1852)

Auction Date / Lot No.: 29 September 2008 / 138

Published Estimate: €1000-1500

Price Realised: €1000

  • Signature: signed lower left
  • Medium: watercolour with pen and ink
  • Dimensions: 21 by 30cm., 8.25 by 12in.
  • Born in Dublin, the son of a picture dealer from Co. Fermanagh, William Kirwan studied under Richard Downes Boyer (c.1746-1841), a portrait painter. Kirwan likewise practiced portraiture and exhibited miniatures at the RHA from 1835 to 1846, and with the Northern Irish Union in Belfast in 1843. He also painted cottage interiors and landscapes for various printmakers such as Hodges of Grafton Street, and found work as an anatomical draughtsman and as a picture cleaner. However, in 1852 he was arrested on suspicion of having murdered his wife whilst on an excursion to Ireland’s Eye in Howth harbour. The case is widely documented; Kirwan was found guilty, the chief piece of evidence against him being the existence of a mistress with whom he had eight children. He was sentenced to transportation for life to Australia. Some years later he was pardoned and returned to Dublin but, unable to find work, emigrated to America, where he is believed to have died in New York some time after 1852. The National Library of Ireland has a large folio of his work, some of which is reproduced in Claudia Kinmouth’s Irish Rural Interiors in Art. See also Strickland, Vol. I, pp. 596-7.

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YACHTS OFF A PIER
YACHTS OFF A PIER
Matthew Kendrick RHA (c.1797-1874)

Auction Date / Lot No.: 29 September 2008 / 139

Published Estimate: €1500-2000

Price Realised: €2000

  • Signature: 9£13 13 signed lower right
  • Medium: oil on canvas
  • Dimensions: 23 by 33cm., 9 by 13in.
  • Born in Dublin, the son of a customs official, Kendrick went to sea as a young man with a Newfoundland fishing vessel. Upon his return to Dublin he was in great demand as a yachtsman and according to Strickland, he was “one of the most expert yacht sailors of his day”. He entered the Dublin Society’s School in 1825 and soon began to specialise in marine subjects. These he exhibited at the RHA, the RA, BI and SBA (see Strickland, vol. I, pp. 574-5).

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FISHERS RETURNING, MORNING AT STONE HEAD, CONNEMARA
FISHERS RETURNING, MORNING AT STONE HEAD, CONNEMARA
Thomas Rose Miles RCA (fl.1869-1910)

Auction Date / Lot No.: 29 September 2008 / 140

Published Estimate: €5000-7000

Price Realised: 


THE CARD GAME
THE CARD GAME
Septimus Dawson (1851-1914)

Auction Date / Lot No.: 29 September 2008 / 141

Published Estimate: €4000-6000

Price Realised: €5500

  • Signature: signed lower right (beneath edge of frame)
  • Medium: oil on canvas
  • Dimensions: 71 by 91cm., 28 by 36in.
  • Born in Sunderland, Durham, Septimus Dawson was a painter of genre scenes, specialising in depictions of rustic types. Little is known of his career yet the present work would suggest that he visited Ireland. The scene takes place inside a public house with advertisements for Dunville’s Irish Whiskey and Guinness Extra Stout on the rear wall. A simple tin lamp hangs from a nail, and a black and white print of a dancing Irishman, shillelagh held aloft, is likewise pinned to the wall. Other objects of interest include a rectangular spittoon or ashtray on the floor, a variety of blue and white delft and stoneware jugs, and a leg of cured meat and a white sack, possibly of grain or flour, hanging from the rafters. The slightly simian features of the gamblers and the general air of drunkenness were typical of the manner in which the Irish were portrayed in the English press during the nineteenth century.

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THE SHEEBEEN, 1859
THE SHEEBEEN, 1859
Erskine Nicol ARA RSA (1825-1904)

Auction Date / Lot No.: 29 September 2008 / 142

Published Estimate: €8000-10000

Price Realised: €9000

  • Signature: signed and dated lower right
  • Medium: oil on canvas
  • Dimensions: 26 by 39cm., 10.2 5 by 15.5in.
  • Nicol exhibited `A Shebeen House' at the RA in London in 1858. This work was most likely the result of a favourable reception to the earlier composition.

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PORTRAIT OF DANIEL O'CONNELL
PORTRAIT OF DANIEL O'CONNELL
Sir Martin Archer Shee PRA (1769-1850)

Auction Date / Lot No.: 29 September 2008 / 143

Published Estimate: €10000-15000

Price Realised: €27000

  • Medium: oil on canvas
  • Dimensions: 91 by 70cm., 36 by 27.5in.
  • Provenance: The Hon. W. S. Campbell, United States Consul in Holland, 1843-62 and Consul General at Dresden, 1862-71; His sale, Fifth Avenue Art Galleries, New York, 10-11 May 1899; Whence purchased by John D. Crimmins, financier and philanthropist; By whom donated to the Metropolitan Museum of Art, New York, November 1899; Deaccessioned by the Metropolitan and sold through Sotheby’s, New York, Old Master and 19th Century European Art, 26 January 2008, lot 131; Whence purchased by the present owner
  • Exhibited: Fifth Avenue Galleries, New York, 10-11 May 1899; Metropolitan Museum, New York, 1900;
  • Literature: ‘New Pictures at the Museum’, New York Times, 15 April 1900; The Champlain Educator; vol. 23, 1904, pp. 305; George H. Story, Illustrated Catalogue: Paintings in the Metropolitan Museum of Art New York, 1905, pp. 159-60; David C. Preyer, The Art of the Metropolitan Museum of New York, 1909; Katharine Baetjer, European Paintings in the Metropolitan Museum of Art by artists born before 1865. A summary catalogue, 1995, illustrated p. 202
  • This important and intriguing portrait of Daniel O’Connell, the Liberator, is the only known official portrait to depict him with his natural receding hairline, rather than the recognisable mop of brown hair with which he was usually depicted for posterity. O’Connell’s visage was painted by many of the foremost artists of the day, among them Joseph Haverty, whose full length portrait of O’Connell hangs in the Reform Club, London, and David Wilkie, whose dashing portrayal is now on loan to the National Gallery of Ireland. In all known portraits O’Connell wore his customary brown wig. Whilst O’Connell’s baldness is today largely forgotten, in his own time it was a widely known fact thanks to the jibes of satirists and political opponents. In one cartoon, titled The Irish Agitator Tossed by the Papal Bull, O’Connell is sent flying with his hat and wig going in opposite directions, his bald pate exposed to the world. A correspondent for the New York Times described with some relish witnessing O’Connell leave a courtroom, remove his barrister robes and bar wig and don a “curly, nutty-brown ‘jasey’” to cover his baldness.1 O’Connell himself was capable of a joke about his appearance. In one election contest, he commented on the rather plain appearance of his opponent, a conservative barrister by the name of John B. West. Thus taunted, West replied, “it’s all very well for Mr O’Connell to attack me on my appearance, but I can tell you, if you saw Mr O’Connell without his wig, he does not present a face which is much to boast of”, whereupon O’Connell is said to have whipped off his wig for the crowd’s great appreciation2. The artist, Sir Martin Archer Shee, one of Ireland’s most successful portrait painters and President of the Royal Academy in London, first met O’Connell in 1825, during the sitting of a Parliamentary Committee. O’Connell was usually reluctant to sit for portraits, but granted Shee the sittings presumably as a compliment to the distinguished Irishman, one of the few Catholics to have forged a successful career in London. The portrait was probably executed in London in or around 1825-30. The earliest known owner of the work was the Hon. W. S. Campbell, United States Consul to Holland (1843-62) and Consul General at Dresden (1862-71), who, according to contemporary accounts, was a well known “connoisseur in many a European art centre”.3 Campbell’s collection was sold in 1899 at the Fifth Avenue Galleries in New York, where financier and philanthropist John D. Crimmins purchased the portrait of O’Connell. Shortly afterwards Crimmins was approached by James Boothby Burke Roche, 3rd Baron Fermoy, who offered him a sum between $1,500 and $1,600 for the work.4 Burke Roche may have been acting on behalf of an institution, as five years later a New York magazine reported that Crimmins had “nobly prevented” the portrait’s return to the British Museum.5 In any case Crimmins declined the offer and instead promptly donated the portrait to the Metropolitan Museum. It first went on exhibit at the Metropolitan in 1900, and was later loaned out to Gracie Mansion in Omaha (1950-54) and the American Bar Association (1961-78). Successive catalogues to the Metropolitan Museum collection document the work. In 1909 it was described as “an excellent character study, suggesting mobility of countenance and fiery temper”, and as recently as 1995 it was illustrated in the summary catalogue of European Paintings by artists born before 1865. However, in recent times the museum staff, whilst researching their collections, compared Shee’s portrait to other known portraits of O’Connell, and were concerned to note the receding hairline. Not realising that the statesman was in fact bald, they decided to de-accession the work, and sold it through Sotheby’s in New York. Since then, a fuller history of the painting’s provenance has come to light, as have the facts of O’Connell’s baldness, enabling the portrait to be once more fully identified as that of one of Ireland’s greatest statesmen, Daniel O’Connell. 1 New York Times, 27 December 1874. 2 James E. McGee, Irish Wit and Humor: Anecdote Biography of Swift, Curran, O’Leary and O’Connell, F. Pustet and Co., New York, Cincinnati, c.1886. 3 New York Times, 10 May 1899. 4 Letter from John D. Crimmins to Mr MarQuand, Metropolitan Museum, New York, undated, c.1899, Metropolitan Museum archives. 5 The Champlain Educator, vol. 23, 1904, p. 305.

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PORTRAIT OF PATRICK VINCENT FITZPATRICK, DANIEL O'CONNELLS ACCOUNTANT, 1818, aged 26
PORTRAIT OF PATRICK VINCENT FITZPATRICK, DANIEL O'CONNELLS ACCOUNTANT, 1818, aged 26
Irish School, 19th century  

Auction Date / Lot No.: 29 September 2008 / 144

Published Estimate: €4000-6000

Price Realised: 

  • Signature: inscribed on reverse of canvas
  • Medium: oil on canvas
  • Dimensions: 77 by 64cm., 30.5 by 25in.
  • Provenance: Capuchin Annual Collection from which acquired by the father of the present owner circa 1960.
  • Patrick Vincent Fitzpatrick (1792-1865) was a close colleague and confidant of Daniel O’Connell. He was a fund raiser and accountant for O’Connell and was a prominent member of The Repeal Association, where he was in charge of the Repeal Annuity or Rent paid by hundreds of thousands of supporters. In 1847, en route to Rome, knowing he was dying, Daniel O’Connell called on the Prime Minister, Lord John Russell, and begged him to do something for his friend Fitzpatrick that would save him from penury in his old age. Russell granted the request and arranged that the Assistant Registrar of Deeds in Dublin should be pensioned off and that Fitzpatrick should be given the vacant post. At the same time O’Connell wrote to Fitzpatrick telling him he was sure that he was close to death and that the doctors were only deceiving him when they said there was still hope for his recovery. He also told him what he wanted done with his papers and his life insurance. Correspondence between Fitzpatrick and O’Connell is in the National Library (MS 13748).

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PORTRAIT OF AN OFFICER OF IV KING'S OWN REGIMENT OF FOOT (LANCASTER)
PORTRAIT OF AN OFFICER OF IV KING'S OWN REGIMENT OF FOOT (LANCASTER)
Isabel Odell (1871-1943)

Auction Date / Lot No.: 29 September 2008 / 145

Published Estimate: €2000-3000

Price Realised: 

  • Medium: oil on canvas
  • Dimensions: 79 by 66cm., 31 by 26in.
  • Provenance: Fitzgerald family of Lady Lans, Waterford; Thence by decent to present owner
  • Born in Dublin Isabel Mary Grant Ussher was the only daughter of Richard J. Ussher of Cappagh, Co. Waterford, and an aunt of author and artist Arland Ussher. She studied at the Slade School in London and at Julian’s atelier in Paris, where Constance Gore-Booth was a fellow student. Upon returning to Ireland she settled at Cappagh House, Lismore, and from there sent four portraits to the RHA in the 1890s. In 1901 she married William Odell and shortly afterwards moved to Ardmore, before moving to Bristol and later Southwold, Suffolk. She returned to Ardmore in 1934 as a widow, and with her daughter Mary, who was also an artist, built a studio cottage, which was open to visitors each summer. The two women held a joint exhibition at the Country Shop in Dublin in 1942. Isabel was sometimes asked by relatives to copy old family portraits such as the one here. She is represented in the Waterford municipal art collection (see Snoddy p. 478). In the original frame of R. and W. Clarke, 40 and 41 Grand Parade, Cork.

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A DAIRY MAID WITH FARMER, HIS HORSE AND TWO CHILDREN
A DAIRY MAID WITH FARMER, HIS HORSE AND TWO CHILDREN
Francis Wheatley RA (1747-1801)

Auction Date / Lot No.: 29 September 2008 / 146

Published Estimate: €6000-8000

Price Realised: 

  • Signature: typed label on reverse
  • Medium: oil on canvas
  • Dimensions: 34 by 29cm., 13.5 by 11.5in.
  • Provenance: [Sotheby's, London, 14 March 1984, lot 101; Peter Coe, Shepton Mallet, Somerset; Private collection
  • Restored by James Bourlet and Sons, Nassau Street, London (their label on reverse).

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CARAGH LAKE, COUNTY KERRY
CARAGH LAKE, COUNTY KERRY
Edward Louis Lawrenson (1868-1940)

Auction Date / Lot No.: 29 September 2008 / 147

Published Estimate: €1500-1800

Price Realised: €1800

  • Signature: signed lower left; inscribed and with original label on reverse
  • Medium: oil on panel
  • Dimensions: 32 by 42cm., 12.5 by 16.5in.
  • Exhibited: `Exhibition of Irish landscapes arranged by J. Crampton Walker ARHA and Daniel Egan; Daniel Egan Gallery, Dublin, 17 July to 12 August 1933
  • A Dublin born landscape painter and etcher, educated at Trinity College Dublin, he first soldiered with the Connaught Rangers per his family tradition, leaving the army in 1900 to study art in Paris. He studied under Colarossi, Mucha, and in Holland, the American artist, George Hitchcock. He exhibited regularly at the RA from 1907 to 1934 and at the RHA between 1900 and 1934. He designed the one of the first commemorative postage stamps of the Irish Free State to mark the opening of the Shannon Barrage in 1930.

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THE DINGLE PENINSULA FROM ROSSBEIGH, COUNTY KERRY
THE DINGLE PENINSULA FROM ROSSBEIGH, COUNTY KERRY
Edward Louis Lawrenson (1868-1940)

Auction Date / Lot No.: 29 September 2008 / 148

Published Estimate: €1500-1800

Price Realised: €1600


ROSSBEIGH, COUNTY KERRY
ROSSBEIGH, COUNTY KERRY
Edward Louis Lawrenson (1868-1940)

Auction Date / Lot No.: 29 September 2008 / 149

Published Estimate: €1500-1800

Price Realised: €1200


COUNTY DONEGAL
COUNTY DONEGAL
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 29 September 2008 / 150

Published Estimate: €10000-15000

Price Realised: €15500

  • Signature: signed lower left; original inscribed label on reverse
  • Medium: oil on canvas
  • Dimensions: 38 by 51cm., 15 by 20in.
  • Provenance: William Mol, Belfast; Private collection, Northern Ireland
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THE DEVIL'S MOTHER, KILLARY HARBOUR
THE DEVIL'S MOTHER, KILLARY HARBOUR
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 29 September 2008 / 151

Published Estimate: €1500-2000

Price Realised: 


DINGLE BAY, KERRY
DINGLE BAY, KERRY
Mabel Young (1889-1994)

Auction Date / Lot No.: 29 September 2008 / 152

Published Estimate: €3000-4000

Price Realised: 

  • Signature: signed lower left; remains of inscription on reverse
  • Medium: oil on canvas
  • Dimensions: 36 by 41cm., 14 by 16in.
  • In original frame from Harrods' Picture Department, London.

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