29 September 2008

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NEW YORK A LA ANGLAISE, NOVEMBER 1982
NEW YORK A LA ANGLAISE, NOVEMBER 1982
Micheal Farrell (1940-2000)

Auction Date / Lot No.: 29 September 2008 / 52

Published Estimate: €7000-9000

Price Realised: 

  • Signature: signed, inscribed and dated lower right
  • Medium: watercolour and pencil
  • Dimensions: 75 by 105cm., 29.5 by 41.5in.
  • Provenance: Origrafica, Malmo, Sweden; Private collection
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LA RECONTRE, 1984
LA RECONTRE, 1984
Micheal Farrell (1940-2000)

Auction Date / Lot No.: 29 September 2008 / 53

Published Estimate: €2000-3000

Price Realised: 

  • Signature: signed and dated lower right; inscribed and numbered lower left
  • Medium: etching with aquatint (no. 37 from an edition of 90)
  • Dimensions: 60 by 88cm., 23.5 by 34.5in.
  • Provenance: Origrafica, Malmo, Sweden; Private collection
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JAMES JOYCE STUDY 92, 1978
JAMES JOYCE STUDY 92, 1978
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 29 September 2008 / 54

Published Estimate: €30000-40000

Price Realised: €29000

  • Signature: signed with initials and dated lower left; original exhibition label on reverse
  • Medium: watercolour
  • Dimensions: 39 by 34cm., 15.5 by 13.5in.
  • Provenance: Taylor Galleries, Dublin; Private collection
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LIBERTY AT THE BARRICADES AFTER DELACROIX, THE THIRD OF MAY AFTER GOYA and THE RAPE OF THE SABINES AFTER DAVID, 1971-73 (SET OF THREE)
LIBERTY AT THE BARRICADES AFTER DELACROIX, THE THIRD OF MAY AFTER GOYA and THE RAPE OF THE SABINES AFTER DAVID, 1971-73 (SET OF THREE)
Robert Ballagh (b.1943)

Auction Date / Lot No.: 29 September 2008 / 55

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: each signed, numbered and dated lower left; also with artist's embossed studio stamp lower left
  • Medium: silkscreen prints (nos. 7 of 100, 8 of 100, and 35 of 75 respectively)
  • Dimensions: 50 by 64cm., 19.5 by 25in.
  • Exhibited: `Ballagh 1968-1978', Orchard Gallery, Derry, 14 September to 10 October 1979, catalogue nos. 8, 7 and 6 respectively
  • Accompanied by a printed pamphlet in which photographs of the riots in Derry are juxtaposed against Ballagh's three iconic images. The second work has a Hendriks Gallery label on reverse.

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LILY HOUSE, BOTANIC GARDENS, 1987
LILY HOUSE, BOTANIC GARDENS, 1987
Robert Ballagh (b.1943)

Auction Date / Lot No.: 29 September 2008 / 56

Published Estimate: €3000-5000

Price Realised: €3000

  • Signature: signed and dated lower right; inscribed lower left.
  • Medium: pen and ink
  • Dimensions: 34 by 31cm., 13.2 5 by 12.2 5i
  • Original art work for an etching, published in an edition of 300, in 1987.

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MY STUDIO, 1969
MY STUDIO, 1969
Robert Ballagh (b.1943)

Auction Date / Lot No.: 29 September 2008 / 57

Published Estimate: €3000-4000

Price Realised: 

  • Signature: signed in pencil
  • Medium: giclee print on wove paper (no. 2 from an edition of 75)
  • Dimensions: 109 by 135cm., 43 by 53in.
  • Published by Damien Matthews Fine Art, 2005.

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SAMUEL BECKETT PHOTOGRAPHED AT THE RIVERSIDE STUDIOS, LONDON, 1984
SAMUEL BECKETT PHOTOGRAPHED AT THE RIVERSIDE STUDIOS, LONDON, 1984
John Minihan (b.1946)

Auction Date / Lot No.: 29 September 2008 / 58

Published Estimate: €2000-3000

Price Realised: €1700

  • Signature: signed lower right; inscribed and dated lower left; signed again with artist's stamp on reverse
  • Medium: silver gelatin print (no. 4 from an edition of 6)
  • Dimensions: 30 by 45cm., 11.7 5 by 17.7 5i
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FRANCIS BACON AT THE CLAUDE BERNARD GALLERY, PARIS, 1977
FRANCIS BACON AT THE CLAUDE BERNARD GALLERY, PARIS, 1977
John Minihan (b.1946)

Auction Date / Lot No.: 29 September 2008 / 59

Published Estimate: €3000-5000

Price Realised: €2800


RIGHT PANEL OF THREE STUDIES FOR A PORTRAIT OF JOHN EDWARDS, 1986
RIGHT PANEL OF THREE STUDIES FOR A PORTRAIT OF JOHN EDWARDS, 1986
Francis Bacon (1909-1992)

Auction Date / Lot No.: 29 September 2008 / 60

Published Estimate: €5000-7000

Price Realised: €5000

  • Signature: signed in pencil in lower right margin; numbered lower left
  • Medium: lithograph in colours on Arches paper (no. 135 from an edition of 150)
  • Dimensions: 60 by 45cm., 23.7 5 by 17.7 5i
  • Provenance: Andipa Gallery, London; Private collection, Dublin
  • Sheet size: 31.75 by 23.25 inches.

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TRIPTYCH, 1983-84
TRIPTYCH, 1983-84
Francis Bacon (1909-1992)

Auction Date / Lot No.: 29 September 2008 / 61

Published Estimate: €20000-30000

Price Realised: 

  • Signature: each signed lower right; numbered lower left
  • Medium: lithographs (no. 98 from an edition of 180)
  • Dimensions: 67 by 50cm., 26.2 5 by 19.5in.
  • Published by Galerie Lelong, Paris. The oils on which this triptych is based are in the collection of the Tate Gallery, London.

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LEG FIGURE SEATED, 1977
LEG FIGURE SEATED, 1977
Frederick Edward McWilliam RA HRUA (1909-1992)

Auction Date / Lot No.: 29 September 2008 / 62

Published Estimate: €20000-30000

Price Realised: 

  • Signature: signed with initials and numbered at base
  • Medium: bronze (no. 1 from an edition of 5)
  • Dimensions: 37 by 25cm., 14.7 5 by 9.75in.
  • Exhibited: 'F.E. McWilliam', Taylor Galleries, Dublin, March 1980, catalogue no. 18; 'F.E. McWilliam Retrospective', Ulster Museum, Belfast, April to May 1980, Douglas Hyde Gallery, Dublin, May to June 1980, Crawford Gallery, Cork, July to August 1980, catalogue no. 18
  • Literature: Judy Marle and T. P. Flanagan, F. E. McWilliam, Arts Council of Ireland, 1981, illustrated p. 85
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GROUP, 1995
GROUP, 1995
Carolyn Mulholland RHA (b.1944)

Auction Date / Lot No.: 29 September 2008 / 63

Published Estimate: €10000-15000

Price Realised: 

  • Signature: signed with initials, dated and numbered at base
  • Medium: bronze with cream-coloured patina (no. 9 from an edition of
  • Dimensions: 39 by 9cm., 15.2 5 by 3.5in.
  • Exhibited: 'Carolyn Mulholland RHA', Jorgensen Fine Art, Dublin, 21 September to 12 October, catalogue no. 3 (illustrated in catalogue); 'Basil Blackshaw HRHA and Carolyn Mulholland RHA', Peppercanister Gallery, Dublin, June to July 2000 (illustrated in catalogue)
  • 5.5 inches deep

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THE PIPER
THE PIPER
Edward Delaney RHA (b.1930)

Auction Date / Lot No.: 29 September 2008 / 64

Published Estimate: €2000-3000

Price Realised: €5200

  • Signature: stamped with initials
  • Medium: sterling silver on a polished limestone base
  • Dimensions: 18 by 5cm., 7.25 by 2in.
  • Provenance: Purchased from the Davis Gallery, Dublin, circa 1990
  • 2 inches deep

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PAIR OF FIGURES
PAIR OF FIGURES
Edward Delaney RHA (b.1930)

Auction Date / Lot No.: 29 September 2008 / 65

Published Estimate: €3000-5000

Price Realised: €3100


THE SAMSON RIDDLE (SET OF EIGHT), 1972
THE SAMSON RIDDLE (SET OF EIGHT), 1972
Edward Delaney RHA (b.1930)

Auction Date / Lot No.: 29 September 2008 / 66

Published Estimate: €5000-7000

Price Realised: 

  • Signature: each signed and inscribed "A/P" (artist's proof) lower right
  • Medium: eight artists proof lithographs, framed separately
  • Dimensions: 38 by 28cm., 15 by 11.2in.
  • Provenance: The late Gerald Davis; Private collection
  • Exhibited: Davis Gallery, Dublin, 22-27 March 1972
  • This is the final set of artist proofs to come from the estate of the publisher and fellow artist, Gerald Davis; a set of six sold previously through these rooms (17 September 2007, lot. 38). Published by the Davis Gallery, Dublin, in a limited edition of 75. The title derives from the book of the same name by Wolf Mankowitz, the London-born author and screen writer whose film credits include Casino Royale (1967). Mankowitz lived in Ireland for a period in the early 1970s and collaborated with Delaney on a number of projects. The Samson Riddle was a series of tales of love and passion based on the Old Testament. Delaney illustrated the book (published by Valentine Mitchell, 1972) and produced a series of prints – the only such series he ever made.

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SELF PORTRAIT, 1962
SELF PORTRAIT, 1962
William Crozier HRHA (b.1930)

Auction Date / Lot No.: 29 September 2008 / 67

Published Estimate: €3000-4000

Price Realised: 

  • Signature: signed and dated lower right; original label on reverse
  • Medium: oil on paper, monoprint
  • Dimensions: 53 by 37cm., 21 by 14.7 5in.
  • Provenance: Arthur Tooth and Sons Ltd, London; Private collection
  • In 1961 William Crozier’s interests moved from the landscape to the depiction of skeletal, existential figures. These haunting images were invariably more concerned with depicting the human condition than with the portrayal of any one individual and they owe more to tachisme and art informel (which interested Crozier in the 1960s) than to any traditional idea of the self-portrait. In 1961, too, Crozier was invited by Ruth Borchard to paint a picture of himself for inclusion in a national collection of artists’ self-portraits.1 This monoprint was one of a number of works Crozier made in connection with Borchard’s commission. Dr Katharine Crouan September 2008 1 See Philip Vann, Face to Face: British Self-Portraits in the Twentieth Century, Sansom and Co., Bristol, 2004, pp. 136-7

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NUDE STUDY: WOMAN WITH RED FLOWER, 1950
NUDE STUDY: WOMAN WITH RED FLOWER, 1950
J. P. Donleavy (b.1926)

Auction Date / Lot No.: 29 September 2008 / 68

Published Estimate: €2000-3000

Price Realised: 


THREE SHADOWS
THREE SHADOWS
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 September 2008 / 69

Published Estimate: €5000-7000

Price Realised: 

  • Signature: signed with initials lower right; numbered lower left
  • Medium: carborundum with relief (no. 13 from edition of 20)
  • Dimensions: 170 by 70cm., 67 by 27.5in.
  • Exhibited: `Prints, Tony and Jane O'Malley', Vangard Gallery, Macroom, Co. Cork, 21 January to 14 February 1999, catalogue no. 9
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TOWER
TOWER
Edward Delaney RHA (b.1930)

Auction Date / Lot No.: 29 September 2008 / 70

Published Estimate: €5000-7000

Price Realised: 

  • Medium: wood with black painted finish
  • Dimensions: 79 by 30cm., 31 by 12in.
  • Provenance: The artist's studio; Private collection
  • Exhibited: Possibly exhibited as 'Tower of Darkness', Temple Bar Gallery and Studios, Dublin, date unknown, catalogue no. 15
  • 9 inches wide. This is a maquette for a proposed work for Castlebar, Co. Mayo, which was never realised.

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BIRTH OF PINOCCHIO, circa 1981
BIRTH OF PINOCCHIO, circa 1981
John Shinnors (b.1950)

Auction Date / Lot No.: 29 September 2008 / 71

Published Estimate: €30000-40000

Price Realised: €29000

  • Medium: oil on canvas, triptych
  • Dimensions: 164 by 242cm., 64.5 by 95.2in.
  • Provenance: Acquired directly from the artist by the present owner; Formerly on long-term loan to Guinness Peat Aviation, Shannon, where hung in the boardroom
  • Exhibited: `Shinnors: New Paintings', Belltable Arts Centre, Limerick, 11-25 November 1984, catalogue no. 7
  • John Shinnors is a Limerick man born and bred. From 1969-72 he studied at the Limerick School of Art and Design, where his teacher Jack Donovan’s figurative style was influential, and in 2002 the Limerick City Gallery of Art gave him a significant mid-term retrospective, which toured to Sligo and Cork. His first solo exhibition was held in 1978 at the Goodwin Galleries, Limerick; he showed with them again in 1981, and at the Belltable Arts Centre (Limerick) in 1984. In that year too he won the GPA Emerging Artists Award. In 1987 he held his first of many successful solo shows with the Taylor Galleries, Dublin, where he has exhibited for the past twenty years. He is an integral part of the contemporary arts scene in Ireland, exhibiting, curating, and sponsoring younger artists. An elected member of Aosdána, he is represented in numerous public and corporate collections in Ireland and abroad. The present work dates to the early 1980s and was included in his third solo show, at the Belltable Arts Centre. A number of Shinnors’ works from this period were concerned with birth and rebirth – themes tackled by many of the Old Masters whose influence he cites, including Giotto and Fra Filippo. In Resurrection Painting (collection of Mary Immaculate College, Limerick), a young child reaches a disbelieving hand out to touch a grinning clown-like figure, whilst a female harlequin assumes the pose of a sorrowing Madonna. The Cot (private collection, Co. Kilkenny), depicts an empty crib, the red and white bed sheets disturbingly bright, like football supporters’ scarves; the child apparently missing. In Birth of Pinocchio, Shinnors reworks the Italian tale, wherein Pinocchio is carved from a humble log of pine. Instead, Pinocchio is attached by an umbilical cord to a woman who can only be the Fairy with Turquoise Hair, a maternal figure who in the traditional fairytale adopts Pinocchio. The relationship is further complicated by the wood grained texture of the prone fairy, suggesting that it is she who was carved from a piece of pine. Immaculate conception or Caesarean section? The painting offers no easy answers. The shadowy background of burnt umber and Vandyke brown lends a richness to the overall composition and casts the principal event in stark relief, whilst the dramatic use of chiaroscuro hints at the direction in which Shinnors work would later develop.

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EMERGING
EMERGING
Cecil King (1921-1986)

Auction Date / Lot No.: 29 September 2008 / 72

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed lower right; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 31 by 45cm., 12.2 5 by 17.7 5i
  • Exhibited: 'Cecil King', Hendriks Gallery, Dublin, May to June 1965, catalogue no. 23
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YELLOW WHORLS (SILK SCARF), 1974
YELLOW WHORLS (SILK SCARF), 1974
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 29 September 2008 / 73

Published Estimate: €2000-3000

Price Realised: €2800

  • Signature: signed in the block lower right
  • Medium: screen print on silk
  • Dimensions: 79 by 79cm., 31 by 31in.
  • Designed by Scott for Kilkenny Design Workshops to mark the opening of their store in New York. Originally it was intended that between fifty and one hundred were to be produced, but the final print run is believed to have been far less and only a handful have survived. With thanks to the artist for his help in cataloguing this work.

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ACHILL VOLCANIC, 1959
ACHILL VOLCANIC, 1959
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 29 September 2008 / 74

Published Estimate: €6000-8000

Price Realised: 

  • Signature: signed, inscribed "Achill" and dated lower left
  • Medium: oil, red lead and enamel on paper
  • Dimensions: 30 by 30cm., 12 by 12in.
  • Provenance: Collection of Sir Basil Goulding, Bt; Sold by the Goulding Estate through the Taylor Galleries, 1982; Whence purchased by the present owner
  • Exhibited: ’Two Painters from the Collection of Sir Basil Goulding’, joint exhibition with Barrie Cooke, Ulster Museum, Belfast, 28 January to 27 February 1965, catalogue no. 23; ’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. 15; ’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 to 5 November 1972, catalogue no. 13; ’Camille Souter’, Douglas Hyde Gallery, Trinity College Dublin, 8 June to 9 July 1980, catalogue no. 10; ’From the Collection of Sir Basil Goulding Bart.’, Taylor Galleries, Dublin, 2-18 December 1982, catalogue no. 57
  • Literature: Garrett Cormican, Camille Souter: The Mirror in The Sea, Whyte's, Dublin, 2006, catalogue no. 114, listed and illustrated page 240
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LARAGH WEEKEND, 1957
LARAGH WEEKEND, 1957
Pauline Bewick RHA (b.1935)

Auction Date / Lot No.: 29 September 2008 / 75

Published Estimate: €4000-5000

Price Realised: 


VISITATION - WESTERNESS CYCLE NO. 8, 1974/75
VISITATION - WESTERNESS CYCLE NO. 8, 1974/75
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 29 September 2008 / 76

Published Estimate: €30000-40000

Price Realised: €34000

  • Signature: signed in monogram lower right; inscribed, dated and signed again on reverse; also with exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 61 by 61cm., 24 by 24in.
  • Provenance: Hendriks Gallery, Dublin; Whence purchased by the present owner in April 1976
  • The Westerness Cycle was the last major body of work Colin Middleton completed. While there are some stylistic connections with the Wilderness Series, which had preceded it, this later cycle appears to seek to re-examine and resolve many of the ideas that had preoccupied him throughout his long career. One of these is the theme of the female archetype, which in some of these works is poetic, in others more unsettling. Visitation could be read as a pair with Important Lady with Attendant; these two figures appear to be formally greeting us, the leaders and emissaries of their world. In the present painting, the tents behind them suggest an army encamped for battle, or a travelling outpost. Yet despite the protective pose of the figure standing ahead and in front of the regal seated lady wearing a headdress, there is a gentleness about her features and the flower she holds that expresses beauty and vulnerability in this harsh terrain. The use of decalcomania to achieve the rubbed, patterned effect in the clothing creates a consciousness of surface that is typical of the Westerness Series. The effect of flatness is increased by the series of horizontal lines and the black and white boxes which establish a formal geometric picture space that almost negates the suggestion of recession in the landscape towards the blue hills and the row of tents. The title of the Westerness series is drawn from Finnegan’s Wake and there are numerous literary and historical references that run throughout the cycle. There is a questioning here that recalls some of Middleton’s post-war paintings, and an ambiguity that explores the duality of human nature; titles of various paintings introduce the struggle for faith of the blind Samson, set against the materialism of Eliot’s Sweeney, as well as the mountain sanctuary of Montserrat which holds great Christian significance. Visitation might refer simply to the arrival of these two female figures with their entourage, or to their role greeting the visitation, but it also hints at a religious interpretation, its complexity typical of the body of this rich and rewarding late cycle. Dickon Hall Killinchy, Co. Down

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NEARING DUN AENGUS, INISHMOR
NEARING DUN AENGUS, INISHMOR
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 29 September 2008 / 77

Published Estimate: €12000-15000

Price Realised: 

  • Signature: signed lower right; inscribed on reverse; also with original exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 51 by 64cm., 20 by 25in.
  • Provenance: Hendriks Gallery, Dublin; Whence purchased by the present owner in October 1969
  • Exhibited: 'George Campbell', Hendriks Gallery, Dublin, October 1969, catalogue no. 23 (illustrated on front cover of catalogue)
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STILL LIFE, PALO
STILL LIFE, PALO
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 29 September 2008 / 78

Published Estimate: €15000-20000

Price Realised: 


STILL LIFE WITH GREEN BOTTLE
STILL LIFE WITH GREEN BOTTLE
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 29 September 2008 / 79

Published Estimate: €5000-7000

Price Realised: 

  • Signature: signed lower centre
  • Medium: oil on canvas
  • Dimensions: 61 by 41cm., 24 by 16in.
  • Provenance: Taylor galleries, Belfast; Private collection
  • A similar composition, 'Still Life with Wine Bottle', sold through these rooms in February 2003 (lot 139).

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SHAPE AND FORMS
SHAPE AND FORMS
Nancy Wynne-Jones HRHA (1922-2006)

Auction Date / Lot No.: 29 September 2008 / 80

Published Estimate: €2000-3000

Price Realised: €2300

  • Signature: inscribed with artist's name on reverse of canvas overlap
  • Medium: oil on canvas
  • Dimensions: 64 by 64cm., 25 by 25in.
  • Exhibited: Possibly exhibited as Corner of My Studio, 'Paintings: Nancy Wynne Jones, Sculpture: Conor Fallon', Emmet Gallery, Dublin, February 1977, catalogue no. 3
  • Throughout the 1970s Nancy Wynne-Jones frequently painted still life, subtly juxtaposing forms against one another to create semi-abstract compositions. Reviewers compared these works to Braque and Stuart Davis, yet her influences derived more from her time spent in St Ives, Cornwall, where she studied with Peter Lanyon, and where she encountered the pottery of Bernard Leach. Wynne-Jones was born in Wales and studied at Heatherly’s Art School and the Chelsea School of Art, London, before moving to Cornwall, where she met the Irish sculptor, Conor Fallon, whom she married. The pair moved to Kinsale, Co. Cork, in 1972 and later settled outside Rathdrum, Co. Wicklow. An elected member of Aosdána, Wynne-Jones’ work is represented in the collections of Arts Council of Great Britain and the Arts Council of Ireland / An Chomhairle Ealaíon among others.

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FIGHTING COCKS
FIGHTING COCKS
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 29 September 2008 / 81

Published Estimate: €8000-10000

Price Realised: 

  • Signature: signed lower left; inscribed on reverse
  • Medium: oil on board
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Exhibited: 'Mostly Connemara: Exhibition of Paintings by George Campbell RHA', Kenny Gallery, Galway, September 1977, catalogue no. 30
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WEST COAST LANDSCAPE
WEST COAST LANDSCAPE
Barbara Warren RHA (b.1925)

Auction Date / Lot No.: 29 September 2008 / 82

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed lower left
  • Medium: watercolour over pencil and black crayon
  • Dimensions: 20 by 37cm., 7.75 by 14.7 5in.
  • Exhibited: IELA, Dublin, 1956, catalogue no. 49
  • With the original 1956 exhibition catalogue included with lot.

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LEESON STREET FROM APPIAN WAY, DUBLIN
LEESON STREET FROM APPIAN WAY, DUBLIN
Kitty Wilmer O'Brien RHA PWCSI (1910-1982)

Auction Date / Lot No.: 29 September 2008 / 83

Published Estimate: €3000-5000

Price Realised: €3000

  • Signature: signed lower left; original label on reverse
  • Medium: oil on board
  • Dimensions: 36 by 42cm., 14 by 16.5in.
  • Exhibited: 'Kitty Wilmer O'Brien: New Paintings of Dublin', Dawson Gallery, Dublin, 11-25 February 1975, catalogue no. 21
  • In the original frame of the Dawson Gallery, Dublin.

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THE GREAT NORTHERN RAILWAY, VICTORIA STREET, BELFAST
THE GREAT NORTHERN RAILWAY, VICTORIA STREET, BELFAST
John Frederick Hunter ARCA (1893-1951)

Auction Date / Lot No.: 29 September 2008 / 84

Published Estimate: €3000-4000

Price Realised: 

  • Signature: exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 50 by 60cm., 19.5 by 23.5in.
  • Exhibited: 'An Exhibition of Paintings, Watercolours, Etchings, Woodcuts and Stained Glass by John F. Hunter', Emer Gallery, Belfast, 27 September to 6 October 1990, catalogue no. 67 (illustrated in catalogue)
  • Born in Manchuria, the son of an Irish Presbyterian minister, Hunter came to Ireland as a young man and was educated at Larne, Belfast and Dublin, where he studied at Trinity College. He was part of a progressive group of artists in the north who exhibited briefly together as the Ulster Unit. During a period at the RCA in London in the early twenties he absorbed modernist influences, which were to shape his future work. In 1923 he was appointed the first Inspector of Art to the Ministry of Education in Northern Ireland. He exhibited regularly at the RUA and with the Ulster Arts Club and the Waddington Galleries, Dublin.

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HALLOW'EEN
HALLOW'EEN
John Frederick Hunter ARCA (1893-1951)

Auction Date / Lot No.: 29 September 2008 / 85

Published Estimate: €1500-2000

Price Realised: 

  • Signature: signed lower right; original label on reverse
  • Medium: oil on canvas
  • Dimensions: 56 by 46cm., 22 by 18in.
  • Exhibited: 'An Exhibition of Paintings, Watercolours, Etchings, Woodcuts and Stained Glass by John F. Hunter', Emer Gallery, Belfast, 27 September to 6 October 1990, catalogue no. 14 (illustrated in catalogue)
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PORTRAIT NO. 3
PORTRAIT NO. 3
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 29 September 2008 / 86

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: original inscribed label on reverse
  • Medium: oil with pen and ink on canvas board
  • Dimensions: 36 by 25cm., 14 by 10in.
  • Provenance: Collection of Lucy Carrington Wertheim; Private collection
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SLIGO LANDSCAPE, 1940
SLIGO LANDSCAPE, 1940
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 29 September 2008 / 87

Published Estimate: €20000-30000

Price Realised: €19000

  • Signature: signed and dated lower left
  • Medium: oil on canvas
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Provenance: Purchased from the artist by the original owner, circa 1941-42; British and Irish Modernist Paintings from 1900, Christies, London, 7 March 1986, lot 308 (as Wind Through Trees in a Hilly Landscape); Collection of George and Maura McClelland; Latterly on loan from them to the Irish Museum of Modern Art
  • Landscape pre-occupied Colin Middleton throughout his career, although those that pre-date his move to Ardglass in the late 1940s are not well-known. Middleton’s sense of involvement with his surroundings had already been stimulated by Cave Hill and Belfast, where he grew up, as well as by visits to Donegal. He was as experimental as a landscape painter as he was in his other work and there are influences of neo-romanticism and impressionism in these paintings as well as a more general searching through styles. Middleton also seems to be exploring ways in which he could integrate his professional consciousness of design into painting. In 1928, Middleton was impressed by an exhibition of van Gogh’s work held in the Leicester Galleries in London and the present work foreshadows the influence that the Dutch painter will have on Middleton later in the 1940s. The swirling sky creates a pattern that runs throughout the work and is mirrored in the trees, but the patchwork of fields in the middle distance and the rhythmic blocks of colour into which the light breaks down the mountains are much more elements of Middleton the designer. Middleton employed similar techniques in abstracting and defining form in some landscape paintings of the 1970s, demonstrating the essential consistency of much of his work. Trees are the dominant feature of many of Middleton’s wartime landscapes. An early exhibition included Landscape with Trees, Cave Hill and Willows, Downpatrick, while Beeches, Glen Head and Willows, Dundrod were included in his extensive 1943 one-man exhibition in the Belfast Museum and Art Gallery. The title Sligo Landscape seems to have been added to the stretcher here at a later date but it appears that this painting was not exhibited during Middleton’s lifetime. Dickon Hall Killincy, Co. Down

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GIRL WITH BLUE THISTLES
GIRL WITH BLUE THISTLES
Patrick Swift (1927-1983)

Auction Date / Lot No.: 29 September 2008 / 88

Published Estimate: €8000-10000

Price Realised: €32000

  • Signature: signed lower right; inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 76 by 61cm., 30 by 24in.
  • Exhibited: 'Paintings by Patrick Swift', Victor Waddington Galleries, Dublin, October 1952, catalogue no. 29 (as Girl with Thistles)
  • Born in Dublin and educated at the Christian Brothers School on Synge Street, Swift studied at the National College of Art, 1946-8, before moving to London, then Paris, to further his studies. By 1950 he had returned to Dublin and befriended Nano Reid, on whose work he wrote for Envoy; Reid returned the compliment by painting Swift’sportrait, which she showed at the Irish Exhibition of Living Art in 1950. In that same exhibition Swift showed his first works in public. The following year, also at the IELA, his work was singled out for comment by a reviewer for the Dublin Magazine, who commented on Swift’s exceptional technical ability and “uncompromising clarity of vision which eschews the accidental or the obvious or the sentimental”. In 1952 he held his first solo exhibition at the Waddington Galleries. Again, the critic for the Dublin Magazine reviewed the exhibition and wrote that it “shows his power to convey the full impact of the object, as though the spectator were experiencing it for the first time”. Among the works shown were Girl on a Couch and Interior (both shown forty years later at Swift’s retrospective at IMMA) and almost certainly the present work, under the title: Girl with Thistles. The sitter is most probably Swift’s sister-in-law, the poet Claire McAllister, who sat for other works of this period. As with most of Swift’s works from the early fifties, the influence of Lucian Freud is clear here, particularly in the dispassionate, scientific scrutinity of the human form. The pair met circa 1949-50 when, as Anthony Cronin recalls, they shared a flat in Hatch Street, Dublin. Freud was then courting his future wife, Caroline Blackwood (see lot 6), and was sharing Swift’s studio. Freud was five years older than Swift, and was inevitably influential on the younger artist, but the influence may have been at least partially two-way. Swift and Freud met again later in the fifities in London, where Swift co-edited a literary and arts journal, X, and associated with many other leading artists of the period, including Francis Bacon, John Minton and Leon Kossof. Throughout the fifties Swift moved back and forth between London and Dublin, providing a link between those of the Dublin literati and artists who socialised in McDaid’s – such as Patrick Kavanagh, John Ryan and Edward Maguire – and the Soho intelligentsia. In 1962 Swift and his wife first visited the Algarve in Portugal, where they eventually settled. Along with Portuguese artist Lima de Freitas, they established the Porches Pottery, producing hand-painted tiles and table-ware. With his co-editor from X, David Wright, Swift also wrote illustrated guidebooks to the Algarve. Swift continued to exhibit paintings in Dublin on occasion; his celebrated portrait of Patrick Kavanagh (CIÉ collection) was shown at the RHA in 1968 and he was included in the 1971 ROSC exhibition, ‘The Irish Imagination’. In 1974 he had a significant one-man exhibition in Lisbon, but Irish audiences were deprived of seeing his work en masse until a decade after his death, when IMMA mounted a major retrospective. The exhibition received great critical acclaim, with fellow artists such as Derek Hill declaring Swift to be “probably the most formidable Irish artist of this century” (Irish Times, 24 January 1994).

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COTTAGES BY A RIVER IN MOONLIGHT
COTTAGES BY A RIVER IN MOONLIGHT
Markey Robinson (1918-1999)

Auction Date / Lot No.: 29 September 2008 / 89

Published Estimate: €4000-6000

Price Realised: €4200

  • Signature: signed lower left
  • Medium: oil on panel
  • Dimensions: 24 by 50cm., 9.5 by 19.5in.
  • Provenance: Tom Caldwell Gallery, Belfast; Whence purchased by present owner in 1976
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DOG RACE ON TORY ISLAND, 1967
DOG RACE ON TORY ISLAND, 1967
James Dixon (1887-1970)

Auction Date / Lot No.: 29 September 2008 / 90

Published Estimate: €4000-6000

Price Realised: €3700

  • Signature: signed, inscribed and dated lower left
  • Medium: oil on board
  • Dimensions: 56 by 75cm., 22 by 29.5in.
  • Exhibited: 'James Dixon: Paintings of Tory Island', Dawson Gallery,Dublin, 2-13 June 1967, catalogue no. 8
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MAKING HAY STACKS
MAKING HAY STACKS
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 29 September 2008 / 91

Published Estimate: €25000-35000

Price Realised: 

  • Signature: signed lower left; inscribed on reverse; also with exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 25 by 34cm., 10 by 13.5in.
  • Provenance: Dawson Gallery, Dublin; Whence purchased by the present owners
  • In original frame of the Dawson Gallery, Dublin.

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THE DOME, PARIS
THE DOME, PARIS
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 29 September 2008 / 92

Published Estimate: €2000-3000

Price Realised: €1900

  • Signature: original inscribed label on reverse
  • Medium: watercolour
  • Dimensions: 34 by 44cm., 13.5 by 17.2 5in.
  • Exhibited: Dublin Painters Gallery, St Stephen's Green, Dublin, 1939, catalogue no. 40
  • Established in 1898 and still in business to this day, Le Dome was the first café to open in Montparnasse. During the early decades of the twentieth century it became a well-known artistic haunt. It was a particular favourite of English-speaking artists, and sometimes referred to as the Anglo-American Café, but it was the local clientele who are ultimately best remembered; among them Man Ray, Picasso, Kandinsky and Soutine.

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LANDSCAPE WITH LAKE AND HILLS, 1964
LANDSCAPE WITH LAKE AND HILLS, 1964
Dairine Vanston (1903-1988)

Auction Date / Lot No.: 29 September 2008 / 93

Published Estimate: €1500-2000

Price Realised: 

  • Signature: signed and dated lower right; labels on reverse
  • Medium: oil on paper (monotype)
  • Dimensions: 52 by 65cm., 20.5 by 25.5in.
  • Provenance: Collection of Barbara Warren RHA; Private collection
  • Exhibited: Probably exhibited at the IELA, 1964, as 'Lake and Silver Mine Hills', catalogue no. 97
  • An exhibition label on reverse with the title of Rain would seem to relate to another work by Vanston, although no such exhibited work has been traced. Also with an IELA label and a Waddington Galleries framing label on reverse.

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SNOW, CLEW BAY
SNOW, CLEW BAY
Patricia Griffith née Wallace (1912-1973)

Auction Date / Lot No.: 29 September 2008 / 94

Published Estimate: €1500-2000

Price Realised: 

  • Signature: signed lower left; inscribed on reverse with alternate titles (Spring Snow and Melting Snow) and with remains of original exhibition label on reverse
  • Medium: gouache on buff coloured paper
  • Dimensions: 28 by 38cm., 11 by 15in.
  • Exhibited: WCSI, Dublin, 1942, catalogue no. 101 (£3-3-0)
  • Born in Dublin, the daughter of William Wallace, company secretary to Arthur Guinness, Pat Wallace studied art at the RHA, Dublin, and the Slade, London. In the mid-1930s she worked as a scene-painter at the Torch Theatre in Dublin. Her first solo show was held at the Dublin Painters Gallery in 1942. During the 1940s her husband William A. Griffith owned the Unicorn Restaurant, where he employed a number of European refugees, and where Pat Griffith painted murals. During this period she exhibited with the White Stag Group. She also painted murals for the Wallace family’s Old Head Hotel in Louisburgh, Co. Mayo. She exhibited with the Dublin Painters and at the RHA and the WCSI, specialising in children’s portraits. She died in Dublin, 1973. (See Snoddy, pp. 211-2).

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SEA CLIFFS AND ROCKS
SEA CLIFFS AND ROCKS
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 29 September 2008 / 95

Published Estimate: €3000-5000

Price Realised: 

  • Medium: gouache on paper (double-sided)
  • Dimensions: 33 by 39cm., 13 by 15.5in.
  • Probably painted along the cliffs of Dublin Bay. With a second, finished work of the same subject on reverse.

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TWO JUGS OF FLOWERS
TWO JUGS OF FLOWERS
Stella Steyn (1907-1987)

Auction Date / Lot No.: 29 September 2008 / 96

Published Estimate: €3000-4000

Price Realised: €2900

  • Signature: signed lower right; exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 64 by 86cm., 25 by 34in.
  • Provenance: Frederick Gallery, Dublin; Whence sold to the previous owner, June 1996; Whyte's, 21 February 2006, lot 147; Private collection
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THE PERFECT STORM - WAVES OFF BRITTAINY COAST
THE PERFECT STORM - WAVES OFF BRITTAINY COAST
James le Jeune RHA (1910-1983)

Auction Date / Lot No.: 29 September 2008 / 97

Published Estimate: €8000-10000

Price Realised: €36000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 76 by 102cm., 30 by 40in.
  • Born in Canada, James George le Jeune’s father was a musician of Anglo-French extraction, whilst his mother was Irish. When he was just two years old his family moved to Brittany, where he spent his childhood. He was sent to boarding school in England but returned to France to study art in Paris. Further studies followed at Heatherley’s Academy in London, Byam Shaw, and the Art Students’ League in New York.Back in London he also studied architecture and, after a period serving with the British Army during the Second World War, he worked as an architect firstly in London and then in Dublin, to where he moved in 1950. During these years he exhibited his paintings on occasion. He showed at the ROI in 1948, the RSA in 1950, and the RHA from 1951 almost annually until his death. In 1951 he turned to painting full-time. Victor Waddington gave him his first solo show, in 1954. He also exhibited at the Little Theatre, Brown Thomas, and with the WCSI. His work is represented in the collections of the NGI, McKee Barracks, Dublin, and the Crawford Gallery in Cork, among others.

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THE IRISH HAZEL, c.1950
THE IRISH HAZEL, c.1950
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 29 September 2008 / 98

Published Estimate: €30000-40000

Price Realised: €30000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 50 by 70cm., 19.5 by 27.7 5in.
  • Provenance: Jim Canning, Naas, Co. Kildare; From whom purchased privately by the present owners
  • This painting, which illustrates well Keating’s interest in engineering and atmospheric conditions, was previously thought to have been an image of the boats that served the Aran Islands; the Dun Aengus and later, the Naomh Eanna. But Keating was extraordinarily inquisitive about the world and although he became closely associated with the Islands, there was a brief period in the late 1940s when he managed to travel further afield in a bid to find new and colourful inspiration for his work. Irish Shipping Ltd was formed in 1941 in order to source supplies for the country during the Second World War. It existed for over forty years and only ceased trading in 1984. The fleet of ships commissioned by the company were all named after Irish trees including the elm, the ash and the hazel. Irish Shipping produced a calendar every year featuring the work of Irish artists including Keating who, in turn, came to know some of the management team quite well. In 1947 it was arranged for Keating to travel on board one of the ships, The Irish Hazel, which was journeying to Bone in Algeria to collect phosphorus – vital to the production of fertilizer in Ireland. While on board Keating took several photographs and made numerous drawings and sketches of the boat and crew. In 1948 Keating sailed again on The Irish Hazel and in the ensuing few years he undertook a series of paintings of both expeditions, which were shown in exhibitions in Dublin and Galway. The Irish Hazel was last exhibited in Galway in 1991 under the erroneous title The Irish Elm. The mistake in title came about at that time because it was known that Keating had sailed with Irish Shipping and that the boats had been called after trees. There is no doubt however, that this is a precise study of the view from the stern towards the prow of The Irish Hazel. The painting offers a wonderful opportunity to appreciate Keating’s ability to render atmospheric weather conditions and in this instance it was obviously a fine and tranquil afternoon at sea. At the same time the picture also signals Keating’s life-long fascination with mechanical engineering, first made evident to the public through his work on the Shannon Scheme in the late 1920s. The close view of the rear of the wheelhouse and the machinery and ventilation shafts on the poop deck offered the artist an irresistible opportunity to paint a series of powerful vertical lines, which are further enhanced by the low horizon and calm conditions. This painting is about the robustness of the engineering rather than the muscularity of the two crew members working on deck. At the same time however, unlike the crew, Keating found life at sea to be peaceful and contemplative. With this in mind, it is tempting to consider that the tiny seated figure to the left of the funnel may in fact be a representation of the artist. Dr Eimear O’Connor Post Doctoral Research Assistant TRIARC - Trinity Irish Art Research Centre Trinity College Dublin September 2008

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HEAD OF GIRL
HEAD OF GIRL
Laurence Campbell RHA (1911-1964)

Auction Date / Lot No.: 29 September 2008 / 99

Published Estimate: €2000-3000

Price Realised: 

  • Medium: bronze
  • Dimensions: 46 by 20cm., 18 by 8in.
  • One of a limited edition of six foundry bronzes, cast from a plaster bust that was sold through the Gorry Gallery, May 1988 (catalogue no. 44) and which is now in a private collection. Of the edition of six bronzes, only three (nos. 2, 3 and 4) were available for sale, two of which have sold previously through these rooms.

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A NICE POINT - PORTRAIT OF A JUDGE
A NICE POINT - PORTRAIT OF A JUDGE
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 29 September 2008 / 100

Published Estimate: €3000-4000

Price Realised: €2800


STUDY FOR BRETHREN SO RUN, 1935
STUDY FOR BRETHREN SO RUN, 1935
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 29 September 2008 / 101

Published Estimate: €5000-7000

Price Realised: €4800

  • Signature: signed lower right; inscribed in another hand on reverse
  • Medium: gouache, pastel and charcoal on paper
  • Dimensions: 61 by 50cm., 24 by 19.7 5in.
  • Exhibited: Victor Waddington Gallery Dublin, circa 1937-40
  • In 1935 Seán Keating exhibited an entertaining painting titled Brethren... So Run! at the annual RHA exhibition. The scene illustrated the Sunday morning rush to get into church before the priest or the neighbours noticed anyone missing. Invariably, possibly owing to social activities the previous evening, some members of the congregation were late, but the characters in Keating’s portrayal of the scene displayed a comical agility born of sheer determination. The young, nimble and actively single-minded figure portrayed in Study for Brethren... so run! is dressed in typical Aran style and he is the central if somewhat more aged character in the finished painting. Although Keating favoured sketching and photography as compositional tools, from time to time he also used methods more often associated with large-scale mural painting and Study for Brethren... so run! offers an exceptional and unusual opportunity to illustrate this point. In this instance the male form in the study is carefully excised and pasted to a sheet of paper. In order to develop complicated compositions evident in paintings such as Brethren...so run! Keating excised all of the figures so that he could continually position and re-position them on the canvas until satisfied with the result. Ordinarily, once the elements of the painting were meticulously in place, the excised figures became redundant and were left to languish in Keating’s studio. However, the artist was aware that the wry and humorous content of Brethren... so run! appealed to the public and in response, he resurrected some of the characters and carefully pasted them to background paper of a similar colour. This superb study was one of two rare examples illustrating this method of work shown with Victor Waddington Gallery in Dublin between 1937 and 1940. Dr Eimear O’Connor TRIARC - Trinity Irish Art Research Centre Trinity College Dublin September 2008

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