24 November 2008

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DRIVING THE ASSES TO BED, 1946
DRIVING THE ASSES TO BED, 1946
Derek Clarke RP RSW ARSA (b.1912)

Auction Date / Lot No.: 24 November 2008 / 70

Published Estimate: €2000-3000

Price Realised: 

  • Signature: signed and dated lower left; signed and with original labels on reverse
  • Medium: oil on panel
  • Dimensions: 30 by 41cm., 12 by 16in.
  • Provenance: Victor Waddington Galleries, Dublin; Private collection
  • In the original frame of the Waddington Galleries, Dublin and with an unfinished portrait of a woman on reverse.

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THE STREET IN SHADOW, 1932
THE STREET IN SHADOW, 1932
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 24 November 2008 / 72

Published Estimate: €90000-120000

Price Realised: €90000

  • Signature: signed on lower right
  • Medium: oil on panel
  • Dimensions: 24 by 36cm., 9.5 by 14.2 5in.
  • Provenance: Sold through the Victor Waddington Galleries, Dublin, in 1943, to Mrs Chase for a wedding present to Miss Post and M. Bloch, United States; Private collection, Ireland
  • Exhibited: 'Ireland and the Irish Life in Paintings', Leger Galleries, London, 5-25 October 1932, catalogue no. 14
  • Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings, Andre Deutsch, London, 1992, vol. I, p. 394, catalogue no. 436
  • Jack Yeats lived in Dublin for 40 years of his life and the city was a central theme in his work. In The Street in Shadow Yeats depicts himself standing on O’Connell Street, looking directly out at the viewer. He is accompanied by his wife, Cottie, who appears as his companion in a number of cityscapes of this period. She wears a distinctive black cloche hat which is similar to the one she is shown wearing in the 1925 painting, O’Connell Bridge (private collection). The third figure, a man in a cap, who appears to interject between the couple is, as his shadowy form suggests, a passer-by. The pose of the figures, silhouetted against two of the city’s most famous landmarks, is reminiscent of a photograph of the kind taken by on street photographers, a familiar feature of O’Connell Street until relatively recently. The distinctive profile of Clerys department store dominates the right hand side of the background. Immediately behind the artist’s head can be seen the spiralling form of Nelson’s Pillar, with its normally solid structure appearing elongated and tenuous in the clear daylight. The figures, by contrast, stand in the shadow of two buildings, one of which is the GPO, on the west side of the street. The faces of Cottie and Jack are depicted in dark green and yellows which suggest the effects of shadow on their features. The passer-by stands further back towards the street and his form, which appears to be almost transparent, is being dissolved by its exposure to direct sunlight. Yeats’s daring exaggeration of colour and ebullient application of paint elucidates the spatial relationships of the different elements in the painting. In spite of its seeming complexity his use of paint guides the viewer and enables them to read the shapes and forms in terms of tangible reality. The myriad of colours used in the depiction of the sky and in the streetscape evoke the sense of movement and excitement which the modern city encapsulated. Yeats saw this energy as parallel to the vitality of nature. The opaque murky colours so evident in parts of this work are typical of this period in Yeats’s oeuvre when the artist was moving from his early realist style to his later expressionist approach. In this regard it is interesting to note that Yeats chose to exhibit the work along with other Dublin scenes in London rather than Dublin. The exhibition at the Leger Galleries in 1932 attracted a great deal of critical interest with the London press praising Yeats’s work for its unity of purpose and joyousness of colour and craftsmanship. The dramatic handling of paint and colour and the theme of urban life in The Street in Shadow is reminiscent of the work of expressionist artists working on the continent. This is particularly evident in the way in which Yeats has transformed the features of Cottie. Her black hat, pearl necklace and red collar take on a primitive appearance as if she was part of an exotic tribe. While the city often evoked an anxious response on the part of the expressionist artists, Yeats does not respond to modern Dublin with apprehension. It was for him a familiar and accessible space in which one could observe the interaction of different social groups and types, and in which for a moment, like Cottie, one could become an unfamiliar and anonymous figure.

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TWO MEN CONVERSING
TWO MEN CONVERSING
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 24 November 2008 / 77

Published Estimate: €3000-4000

Price Realised: €3000

  • Signature: stamped monogram lower right
  • Medium: pencil with wash
  • Dimensions: 13 by 9cm., 5 by 3.5in.
  • Provenance: Dawson Gallery, Dublin; Osborne King, Irish Picture Sale, RHA Gallagher Gallery, Dublin, December 1990, lot 24; Whence purchased by present owners
  • In the original frame of the Dawson Gallery, Dublin.

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MUST HAVE BEEN AN ALLEGORY, 1899
MUST HAVE BEEN AN ALLEGORY, 1899
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 24 November 2008 / 78

Published Estimate: €3000-4000

Price Realised: 

  • Signature: signed and dated lower right; inscribed with title on reverse underneath backing board
  • Medium: pencil and wash on paper mounted on card
  • Dimensions: 10 by 15cm., 4 by 6in.
  • Provenance: Sold to John Quinn at the New York exhibition; American Art Galleries, New York, sale of John Quinn collection, 10 February 1927, lot 276A; Bought by J. M. Kerrigan
  • Exhibited: ’Sketches of Life in the West of Ireland’, Walker Art Gallery, London, February 1899, catalogue no. 31; ’Sketches of Life in the West of Ireland’, Leinster Hall, Dublin, May 1899, catalogue no. 26; ’Recent Watercolours’, Clausen Galleries, New York, 1904, catalogue no. 25
  • Literature: Hilary Pyle, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1983, catalogue no. 180, p. 81
  • In the frame of Rowley Gallery, London. It is unclear whether the present work is the same listed by Pyle as no. 180, as whilst the dimensions and description match, it may be a study for the same work; several other sketches for it exist in sketchbooks

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IRISH FREE STATE BACON, 1928
IRISH FREE STATE BACON, 1928
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 24 November 2008 / 81

Published Estimate: €30000-40000

Price Realised: €28000

  • Signature: signed lower right
  • Medium: gouache, pencil and coloured chalk
  • Dimensions: 99 by 150cm., 39 by 59in.
  • Provenance: Paul Conran; From whom purchased by the previous owner in October 1982
  • The Empire Marketing Board (EMB) was established in London in 1926 for the purpose of promoting the sale of produce from countries associated with the British Empire. The methods of advertising included posters for shop windows and outdoor billboards. Continued access to the British market was of vital economic necessity to the newly established Irish Free State, a point that was given recognition when in 1927 the EMB commissioned Seán Keating to undertake the design of three posters, Irish Free State Dairying, Irish Free State Bacon and Irish Free State Chicken, to advertise Irish produce to the English market. The three posters were used around England between June and July 1929 on specially designed outdoor billboards. Keating was familiar with the skills necessary for large-scale poster design owing to his training at the Metropolitan School of Art in Dublin. His brief was firmly controlled by the EMB, and at the same time, the artist knew that the designs had to be visually specific and immediately legible. The drawing illustrated is Keating’s innovative design for Irish Free State Bacon, which is replete with the visual iconography that was expected of Ireland in the 1920s. However, this is a design by Keating, and therefore there is more to the image than immediately apparent. Keating’s work for the EMB appears at first glance, to reflect an imagined view of Ireland as a rural ideal and idyll, as dictated by the advertising concerns of the EMB. But, arguably, there is degree of artistic subterfuge in the image. There are no green rolling hills, shamrocks, shillelaghs or white thatched cottages. Instead, Keating posited an image of a peaceful and prosperous peasantry within a well maintained farmyard, which refutes the age-old vision of misery and deprivation in Ireland of the 1920s. The close range view and the stage-like setting combined with clear architectural and figurative detail serves to further engage the viewer with the atmosphere of a real and flourishing farm. The appeal in the work is therefore premised on Keating’s ability to suitably advertise Irish Free State Bacon within the limits of the constraints set by the EMB, but without reducing the images to mere pastiche. The survival of Keating’s original design for Irish Free State Bacon, which was intentionally ephemeral, is noteworthy, and an exceptionally rare surviving example of Keating’s extensive career as an artist of ephemeral work.

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EVENING IN CONNEMARA
EVENING IN CONNEMARA
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 24 November 2008 / 82

Published Estimate: €90000-120000

Price Realised: €90000

  • Signature: signed lower left; titled on reverse
  • Medium: oil on panel
  • Dimensions: 46 by 55cm., 18 by 21.7in.
  • Provenance: Combridge Gallery, Dublin, 1946; Whence purchased by the original owner from Maine, USA; Private collection, Dublin
  • Exhibited: 'Recent Paintings by Paul Henry, RHA', Combridge's Gallery, Dublin, from 16 November 1942 (catalogue number unknown); 'Pictures by Paul Henry, RHA', Heal and Son, Tottenham Court Road, London, from 14 January 1946, catalogue no. 11
  • Literature: S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale University Press, New Haven and London, 2007, number 1040, as The Village by the Lake
  • Although the title ‘Evening In Connemara by Paul Henry R.H.A’ is inscribed on the reverse in the artist’s hand, this must be a composition also known as The Village by the Lake (indeed a title, which appears to read ‘The Village by the Lake’, is also inscribed on the reverse in the artist’s hand, although partly scored out by him). Reviewing the artist’s 1942 Dublin exhibition the Irish Times (17 November 1942) commented on the “unexpected touch of pink between mountain and cloud” in the picture. The bravura painting of the clouds and the subtle modelling of the mountains, the low hills in the middle distance and the reflections in the water in the foreground, combined with the relatively limited palette and sense of stillness in the scene testify to the residual influence of Whistler in Henry’s art. The concise — and precise — handling of the paint throughout well illustrates Henry’s ability to capture mood and atmosphere and the nature of the terrain with a minimum of means. The view almost certainly represents a scene on Achill Sound, County Mayo; the background mountain being Corraun. The composition, especially the disposition of the cottages in the middle distance, with their reflections in the water, is similar to a number of other works by Henry, notably Connemara Landscape, 1916-19, Achill Sound, 1922-3, A Village in Connemara, 1922-9, and Evening on Achill Sound, 1924-5 (see Kennedy 2007, numbers 460, 589, 599 and 608 respectively). Henry often made kindred compositions and these were normally done (perhaps years later) from drawings originally made on the spot in his sketchbooks. Evening in Connemara, however, was probably painted in July or September 1942 when the artist holidayed in the West of Ireland. S. B. Kennedy Seaforde, Co. Down

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THE FISHING BOATS RETURN, CONNEMARA
THE FISHING BOATS RETURN, CONNEMARA
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 24 November 2008 / 83

Published Estimate: €4000-5000

Price Realised: 


BENBULBEN FROM SANDHILL, COUNTY SLIGO
BENBULBEN FROM SANDHILL, COUNTY SLIGO
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 24 November 2008 / 84

Published Estimate: €2000-3000

Price Realised: €1900


FARMYARD AT PASHEL-NA-GOR, COUNTY DONEGAL
FARMYARD AT PASHEL-NA-GOR, COUNTY DONEGAL
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 24 November 2008 / 85

Published Estimate: €6000-8000

Price Realised: 


BOGLAND WITH TURFSTACKS
BOGLAND WITH TURFSTACKS
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 24 November 2008 / 86

Published Estimate: €7000-9000

Price Realised: 


ROSES
ROSES
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 24 November 2008 / 90

Published Estimate: €5000-7000

Price Realised: 

  • Signature: signed lower left
  • Medium: oil on canvas laid on board
  • Dimensions: 36 by 46cm., 14 by 18in.
  • A very similar composition sold through these rooms, 22 February 2005, as lot 135.

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IN THE STUDIO
IN THE STUDIO
Patrick Hennessy RHA (1915-1980)

Auction Date / Lot No.: 24 November 2008 / 91

Published Estimate: €8000-10000

Price Realised: €10000

  • Signature: signed upper left; inscribed with title and original price (25 gns) on reverse
  • Medium: oil on canvas board
  • Dimensions: 46 by 36cm., 18 by 14in.
  • Provenance: Adam's, Dublin, 9 December 1998, lot 113
  • The artist’s studio is a constant theme in European art. In many instances the artist is painted by another while at work in their studio, but in this studio interior the artist is concealed, while the studio itself is reflected in a mirror over a mantelpiece. The central figure, a male nude model, has his back to the mirror and is effectively framed by a Staffordshire figure and a glass jar containing a loose collection of asters and daisies, colourful in contrast to the muted hues of the main picture. In the background a canvas is leaning against a wooden press. Shadows are cast by light coming from the left, which highlights the porcelain figurine and the body of the model. Patrick Hennessy painted this studio a number of times, usually as a background to a still life composition. In one example, The Staffordshire Figure (private collection), a china figure of a mounted soldier is arranged on the mantelpiece and the same pink light-shade is visible beyond. Kevin A. Rutledge Dublin

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GORSE
GORSE
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 24 November 2008 / 92

Published Estimate: €5000-7000

Price Realised: €6600

  • Signature: signed with initials lower right; inscribed on reverse
  • Medium: oil on panel
  • Dimensions: 30 by 41cm., 12 by 16in.
  • Provenance: Inherited by the present owner from his late uncle and in private hands for at least the past fifty years
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LOUGH CARA, COUNTY MAYO
LOUGH CARA, COUNTY MAYO
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 24 November 2008 / 93

Published Estimate: €8000-10000

Price Realised: €7500

  • Signature: signed with initials lower left; inscribed on reverse; also with exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 41 by 58cm., 16 by 23in.
  • Exhibited: Beaux Arts Gallery, Bruton Place, London, circa 1952
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AN OLIVE GROVE BY THE SEA
AN OLIVE GROVE BY THE SEA
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 24 November 2008 / 94

Published Estimate: €8000-10000

Price Realised: €7800

  • Signature: signed with initials lower right
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: The artist's family by descent
  • Probably painted in Majorca (see a smaller version sold through these rooms, 28 November 2006, lot 61).

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EVENING IN CONNEMARA
EVENING IN CONNEMARA
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 24 November 2008 / 95

Published Estimate: €3000-4000

Price Realised: €2900


THE TURF STACK, DUGORT, ACHILL ISLAND
THE TURF STACK, DUGORT, ACHILL ISLAND
Lilian Lucy Davidson ARHA (1893-1954)

Auction Date / Lot No.: 24 November 2008 / 99

Published Estimate: €2000-3000

Price Realised: €1800

  • Signature: signed in monogram lower left; original inscribed label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 28 by 36cm., 11 by 14in.
  • Exhibited: WCSI, Dublin, 1938, catalogue no. 45
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CARRAROE, COUNTY GALWAY
CARRAROE, COUNTY GALWAY
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 24 November 2008 / 100

Published Estimate: €3000-4000

Price Realised: €3600

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 26 by 35cm., 10.2 5 by 13.7 5i
  • Provenance: Purchased from the artist's widow in 1968 by previous owner; By whom bequeathed to present owner
  • Framed by Charles Webb, Dublin.

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ON THE STRAND
ON THE STRAND
George Russell 'AE' (1867-1935)

Auction Date / Lot No.: 24 November 2008 / 101

Published Estimate: €20000-30000

Price Realised: €19000

  • Signature: signed in monogram lower right
  • Medium: oil on canvas
  • Dimensions: 53 by 81cm., 21 by 32in.
  • Born in Lurgan, Co. Armagh, George William Russell moved with his family to Dublin in 1878. He began to paint as a youth when on holidays in the North of Ireland. In 1885 Russell enrolled in evening classes at the Dublin Metropolitan School of Art and later at the RHA, where he won the prize for best painting from a living model. Among his friends at the Metropolitan were George Moore and W. B. Yeats, who encouraged him to write and to join the Theosophical Society. In 1905 he exhibited at the RHA and in 1907-10 he was involved in four exhibitions at the Leinster Lecture Hall, one of them including no less than 63 of his works. In 1922 he showed three works in the Irish Exhibition at Galleries Barbazanges, Paris. Aside from his talent as an artist, Russell was also a renowned poet, playwright, critic, and newspaper editor, as well as a great advocate of Horace Plunket’s Irish Agriculture Organisation Society. He gave lecture tours in the USA and received an honorary degree at Yale University in 1928. More than a dozen of his works are in the Armagh County Museum, whilst the National Gallery of Ireland has five of his portraits. The present work compares favourably in terms of scale, scope and beauty with Young Girls Sitting Upon Rocks, which sold through these room in February 2006 for a record price of €60,000.

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DEIRDRE AGUS LAVARCHAM, 1919
DEIRDRE AGUS LAVARCHAM, 1919
Micheal MacLiammoir (1899-1978)

Auction Date / Lot No.: 24 November 2008 / 102

Published Estimate: €2500-3500

Price Realised: €4200

  • Signature: signed and dated upper right; inscribed on reverse
  • Medium: pen and ink with watercolour
  • Dimensions: 25 by 16cm., 9.75 by 6.25in.
  • Deirdre of the Sorrows is one of the most familiar characters from the eighth and ninth century heroic cycle of Cuchulain. Before her birth it was prophesised that her great beauty would bring about the fall of the House of Usna, High Kings of Ulster. Attempting to thwart this prophesy, King Conchubar sent the child Deirdre away to a secluded location, with only a nurse and a tutor for company. She is depicted here as a young woman with her tutor, Lavarcham, shortly before eloping with her lover Naoise. Another illustration from the legend, The Lament of Deirdre for Naoise, was included in MacLíammóir’s exhibition, ‘Fantasies in Colour and Black and White’, held in Dublin in 1925.

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PORTRAIT OF LIA CLARKE
PORTRAIT OF LIA CLARKE
George Russell 'AE' (1867-1935)

Auction Date / Lot No.: 24 November 2008 / 103

Published Estimate: €2000-3000

Price Realised: €4800

  • Signature: signed in monogram lower left
  • Medium: pencil over paper
  • Dimensions: 36 by 23cm., 14 by 9.25in.
  • Provenance: The sitter's family by descent
  • Novelist, playwright, art critic and psychic medium, Lia Clarke (1889-1943) was a woman of many parts. Born Cornelia Comyn (or Cummins) the daughter of Nicholas Comyn of Balinderry, Co. Galway, her mother’s family were Blakes from Co. Cork, from whom she inherited a private income derived from her grandfather’s business as a glass maker. She was raised in Waterford by an aunt’s family, the Jennings, but later moved to Dublin, where she became involved in literary and theosophical circles. Possibly it was her experiments in automatic writing that interested Æ, who has captured her here with an inspired yet far away expression. In 1920 she married Austin Clarke, but the marriage lasted barely a fortnight. She later settled in Nassau Street, where she wrote articles for the Irish Press. A later portrait of her, by Gaetano de Gennaro, sold through these rooms (27 May 2006, lot 135); a photograph of her appears opposite.

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IRISH SKETCHES
IRISH SKETCHES
William Percy French (1854-1920)

Auction Date / Lot No.: 24 November 2008 / 106

Published Estimate: €40000-60000

Price Realised: €54000

  • Signature: one work signed
  • Medium: 13 watercolours mounted in an album with handwritten verses
  • Dimensions: 13 by 18cm., 5 by 7in.
  • Provenance: Acquired from the artist's family by Joseph Kelly Vodrey; Thence by descent
  • This rare album of watercolours brings together Percy French’s skills as both a talented poet and landscape artist. It contains thirteen original watercolours, each mounted opposite one of his short verses, carefully hand-printed by a professional calligrapher. The entire album is bound in the original dark green morocco with raised bands at spine, and with a pattern of gilt shamrocks stamped on both boards and at spine. Oblong quarto; it measures 8.25 by 10in., with each watercolour measuring approximately 5 by 7in. Watercolours mounted in grey card, backed with linen, and stitched in. With several newspaper clippings laid in, including ‘Percy French’s Cavan and Roscommon’ (Irish Times, 17 May 1977), and a manuscript account of French’s career. Individual titles of the poems (in the order they appear) are: Here and Hereafter, From London Day Dream, The Fairies Lough, To E.R, The Kindly Welcome, L’Envoi, The Rock of Cashel, In the Studio, Derry, The End of the Holidays, An Irish Mother and two untitled poems. The original owner, Joseph Kelly Vodrey (1905-75), was a bibliophile and active member of the Arthur Machen Society. His collection of Machen first editions and papers was donated to Princeton University, whilst in 1989 his widow donated an original Sybil Connolly cocktail dress to Kent State University, Ohio. Other works from Kelly’s eclectic collection include a complete set of Robert Gibbings woodblocks, used to illustrate The Voyage of the Bounty’s Launch (Golden Cockerell Press, 1934), which sold at auction in 2005. Interestingly, another example of one of these handsomely bound presentation albums appeared on the market with Christie’s (London, 19 May 2000, lot 8), where it fetched a record price of £50,000. The Christie’s album also contained thirteen watercolours and included five of the same poems as used in the present album.

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

Auction Date / Lot No.: 24 November 2008 / 107

Published Estimate: €4000-6000

Price Realised: €3700


A BOGLAND RIVER WITH TURF STACKS IN DISTANCE
A BOGLAND RIVER WITH TURF STACKS IN DISTANCE
William Percy French (1854-1920)

Auction Date / Lot No.: 24 November 2008 / 108

Published Estimate: €4000-6000

Price Realised: 


DRAWINGS AND SKETCHES
DRAWINGS AND SKETCHES
William Brocas RHA (c.1794-1868)

Auction Date / Lot No.: 24 November 2008 / 110

Published Estimate: €6000-8000

Price Realised: €5700

  • Signature: some works inscribed
  • Medium: red leather-bound sketchbook with 40 drawings loosely.......
  • Provenance: Bookplate of Edward S. Herbert on front pastedown
  • The subject matter contained in this handsome red leather-bound sketchbook is wide-ranging and confirms the view that William Brocas RHA (c.1794-1868), like the rest of his family, was a fascinating recorder of life in nineteenth century Ireland.1 Born in Dublin, the artist was the third son of Henry Brocas Senior (c.1762-1837), influential and long-standing drawing Master of the Dublin Society’s School of Landscape and Ornament (appointed 14 August, 1800-37). William, like his other three brothers, James, Samuel and Henry Junior, trained under his father but unlike his brothers he tended to specialise largely in the field of portraiture, the family’s strong political and social connections being a useful advantage throughout his career.2 He exhibited portraits and figure subjects as well as occasional landscapes at the RHA between 1828 and 1863 and was elected Associate and Member of the RHA in 1854 and 1860.3 He was also President of the Society of Irish Artists, who held their first exhibition at the Royal Irish Institution in College Street, Dublin, in 1843. An interpretation in watercolour and pencil of Dublin born politician and socialite, Quentin Dick (1777-1858) appears on p. 45 (drawing no. 27). Son of Samuel Dick (d.1802), a wealthy East India merchant, his mother Charlotte was the daughter of Nicholas Forster of Tullaghan, Co. Monaghan. Later, Quentin Dick’s sister, Charlotte-Anne, was to marry William Hoare Hume of Humewood, Kiltegan, Co. Wicklow. The latter was elected in 1798 to fill the vacancy left by the untimely death of his father, William, shot in the Wicklow mountains by a party of rebels on 8 October 1798. After graduating from Trinity College Dublin in 1797, Quentin Dick practised as a barrister at the King’s Inns, Dublin (1800). His long but not particularly distinguished parliamentary career began in 1800 as nominee of a relative, sitting in 1800 for Dunleer, Co. Louth, in the Irish Parliament. Opposed to the Act of Union, and after inheriting a substantial amount of his father’s wealth, Dick entered the British Parliament by purchasing West Looe, Cornwall (held 1803 to 1806). Largely through wealth and influence, he went on to hold Orford, Suffolk (1826-30), Maldon, East Essex (1830-47) and Aylesbury, Buckinghamshire (1848-52). In 1833 he was included in Sir George Hayter’s (1792-1871) group portrait of nearly 400 figures, which was presented by the government to the National Portrait Gallery, London in 1858. Dick’s abilities appear to have been more celebrated on the social stage than in the political field. The presenter of many an opulent and lavish dinner party held in his house in Mayfair, his guests included Lord Walpole and Benjamin Disraeli. The genial Irish host is mentioned on a number of occasions in the Prime Minister’s correspondence and was later to feature as the hospitable millionaire, Ormsby, in Disraeli’s Coningsby (1844).4 The dandified ’Carrotty Quintin’ died at 20 Curzon St, Mayfair, leaving a substantial fortune estimated at between £2 million to £3 million.5 Drawing no. 19 in the album connects to a pencil and watercolour drawing, half length, inscribed in pencil ‘Lord Sandys’, which forms part of the Windsor and London sketchbook by William Brocas (Brocas collection, NLI).6 In both portraits, the artist depicts the sitter half-length, seated on a horse, holding the reins in his left hand, and attired in the undress uniform of his regiment, the 2nd Royal North British Dragoons. On his left breast, the artist has made provision for a medal. This was the Waterloo Medal, which the sitter would have been entitled to wear.7 Arthur Moyses (Hill), Lord Sandys of Ombersley, was educated at Eton 1802-04, and in July 1809 joined the 10th Lt. Dragoons. He served in the Peninsula War on Wellington’s staff and was awarded a medal following the Battle of Waterloo. From 1818 to 1836 he was MP for County Down and appears to have adopted the position of being a Whig in the Commons and a Conservative in the House of Lords. He succeeded to the peerage on 1 August 1836, the family seat being Ombersley Court, Ombersley, Worcestershire.8 This sketchbook also contains a number of light, delicate topographical views executed in pencil and include scenes recorded largely in County Wicklow, such as Glendalough (drawing no. 29), Enniskerry, (no. 26) and Tinnehinch (no. 42). A topographical watercolour and pencil view (no. 60) is also included and features the town of Bray, with Bray Bridge spanning the river Dargle and St. Paul’s church perched high above the river.9 Evidence of travel further a field by this artist is demonstrated in a pencil view of Loch Long, Argyllshire, Scotland (no. 20). William, together with his brother, Samuel, sketched in Scotland throughout the 1820s and ’30s, recording scenes by the shores of Lochs Long, Lomond and Achray.10 An interesting pencil study (drawing no. 43) of the ancient Benedictine Abbey of Engelberg, lying at the foot of Mt. Titlis in central Switzerland, is also included and may be connected to a journey undertaken by this artist to Hieres-sur-Amby in the south eastern corner of France.11 Many of William Brocas’s genre and figure scenes reveal a wide range of subject matter and include a royal pageant (drawing no. 3), figures carrying a basket (no. 11), sawing wood (no. 49), setting out on a shooting expedition (no. 44), a child copying from a book (no. 15), a mother and child playing with their dog (no. 47), figures in conversation (nos. 5, 21, 40, 36), and a man loading a boat (no. 9). These drawings, together with the landscapes and portraits found throughout this sketchbook, confirm the sheer richness and diversity of this artist’s ability to record so many aspects of Irish life. Patricia Butler Consultant, Prints and Drawings, NLI, 1990-97, and author of The Brocas Collection: An illustrated selective catalogue of original watercolours, prints and drawings in the National Library of Ireland, NLI, Dublin, 1997 1 For a general background on the Brocas family see Patricia Butler, The Brocas Collection, NLI, Dublin, 1997, and Patricia Butler, ‘Introducing Mr Brocas: A Family of Dublin Artists’, Irish Arts Review Yearbook, Vol. 15, 1999, pp. 80-6. 2 James Henry Brocas c.1790-1846, Samuel Frederick Brocas c.1792-1847, Henry Brocas, Junior c.1798-1873. 3 Ann M. Stewart, Royal Hibernian Academy of Arts Index of Exhibitors, 1826-1979, Vol. 1 A-G, Dublin, 1986, pp. 85-6. 4 William Flavelle Moneypenny, The Life of Disraeli, Earl of Beaconsfield, Vol. 1 (1804-1837), p. 367, and Vol. III (1846-1855), pp. 179, 234. 5 Harriette Wilson’s Memoirs, London, 1929, p. 238. 6 William Brocas, Windsor and London sketchbook, NLI, catalogue nos. 2031 (TX) 12, and 2031 (TX) 10. 7 The author would like to thank F. Glenn Thompson for his help in identifying the sitter’s uniform. 8 The Complete Peerage, Vol. XI, London, 1949, p. 452. 9 St. Paul’s church, Bray, Co. Wicklow, was not named St Pauls until the late nineteenth century. It was deconsecrated 1 April 1977 and converted into an organ factory. See Mary Davies, That Favourite Resort: The Story of Bray, Co. Wicklow, 2007, p. 54. 10 NLI catalogue nos. 2064 (TX) 32 and 2064 (TX) 36. See also The Brocas Collection, p. viii. 11 NLI catalogue no. 2115 (TX) 39, William Brocas pencil drawing inscribed ‘At Hieres - Department des Alpes maritimes’.

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AN MACALLA (THE ECHO)
AN MACALLA (THE ECHO)
Richard Henry Albert Willis (1853-1905)

Auction Date / Lot No.: 24 November 2008 / 111

Published Estimate: €1000-1500

Price Realised: 

  • Signature: inscribed 'O'Criadain' in a later hand on reverse
  • Medium: watercolour
  • Dimensions: 43 by 28cm., 17 by 11in.
  • Provenance: The artist's family; By whom sold through Adams, Blackrock, to Seán O'Criadian; Thence sold to the present owner's father-in-law circa 1970-77
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CUPID AND PSYCHE, 1828
CUPID AND PSYCHE, 1828
Daniel Maclise RA HRHA (1806-1870)

Auction Date / Lot No.: 24 November 2008 / 112

Published Estimate: €2000-3000

Price Realised: €1500

  • Signature: signed, inscribed and dated lower right
  • Medium: pencil and white chalk
  • Dimensions: 51 by 32cm., 20 by 12.5in.
  • This delicate drawing from the antique, carefully shaded and modelled, was executed in March 1828 in preparation for entrance to the Royal Academy’s painting school in London. Maclise was admitted to the school on 20 April that year, as recorded in the inscription at the base of the sheet. Richard Ormond records that Maclise submitted a drawing of a statue of Hercules for entry to the RA (see his essay in the Maclise exhibition catalogue, Arts Council of Great Britain, 1974, p. 31). The present work would probably have formed part of his portfolio but was possibly not submitted to the examiners. It is a study of a well-known Roman marble, casts of which are found in museums worldwide, and which is in turn based upon an earlier Greek marble from Ostia, dating to the second century AD. The form of the signature on this work (‘McClise’) is consistent with that on other early works of the artist’s, including another drawing from the antique now in the collection of the National Gallery in Dublin (NGI 2179).

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WADHAM COLLEGE, OXFORD, 1916
WADHAM COLLEGE, OXFORD, 1916
William Bingham McGuinness RHA (1849-1928)

Auction Date / Lot No.: 24 November 2008 / 114

Published Estimate: €1200-1500

Price Realised: €1050

  • Signature: signed and dated lower centre
  • Medium: watercolour
  • Dimensions: 46 by 29cm., 18 by 11.2 5in.
  • Founded in 1610, Wadham College was the first college in Oxford to be built in the Jacobean Gothic style and houses the oldest, purpose-built music room in Europe: the Holywell Music Room. Among the college’s alumni are Sir Christopher Wren, three Lord Chancellors (Lord Westbury, Lord Birkenhead and John Simon), Poet Laureate Cecil Day-Lewis, Archbishop of Canterbury Dr Rowan Williams and broadcaster and historian Melvyn Bragg.

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ORGAN GRINDER AND MONKEY, 1858
ORGAN GRINDER AND MONKEY, 1858
Robert Richard Scanlan (1801-1876)

Auction Date / Lot No.: 24 November 2008 / 115

Published Estimate: €1500-2000

Price Realised: €1400

  • Signature: signed in monogram lower left; dated lower right
  • Medium: watercolour, pen and ink and pencil on paper
  • Dimensions: 34 by 25cm., 13.5 by 9.75in.
  • Scanlan was an Irish artist who spent much of his career in England, particularly London and Plymouth, returning periodically to Dublin. He was Headmaster of the Cork School of Design for three years, from 1853. Several of his works were reproduced as lithographs, particularly his comic sketches of horse derbies. A regular exhibitor at the RA and the RHA, he showed mainly portraits in watercolour, but genre studies also appeared on occasion, such as The Italian Boy and The Itinerant Boy with his Dog, both of which were exhibited at the RBA in 1832.

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PORTRAIT, HALF-LENGTH, OF A YOUNG GIRL IN A WHITE SMOCK AND TARTAN SASH, 1829
PORTRAIT, HALF-LENGTH, OF A YOUNG GIRL IN A WHITE SMOCK AND TARTAN SASH, 1829
Adam Buck (1759-1833)

Auction Date / Lot No.: 24 November 2008 / 116

Published Estimate: €800-1000

Price Realised: €1100

  • Signature: signed and dated mid-left
  • Medium: watercolour in an oval vignette
  • Dimensions: 13 by 11cm., 5 by 4.5in.
  • With a copy of an article on Buck included in the lot: Harold Malet, ‘Adam Buck’, The Connoisseur: A Magazine for Collectors, Vol. L, No. 199, March 1918, pp. 135-40, in which appears a list of Buck’s exhibited works. It is possible that the present work may be the unnamed portrait of a child exhibited at the RA in 1829. In the original frame of J. Benson, “Nephew and Successor to the Late Mr Gravel, Carver, Gilder, Looking Glass and Picture Frame Manufacturer, No. 39 Warwick Street, Golden Square”, London. Also with the later label of Rodman’s Art & Gift Shop, Belfast.

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GEORGE, 1ST MARQUESS TOWNSHEND, 1769
GEORGE, 1ST MARQUESS TOWNSHEND, 1769
Thomas Hickey (1741-1824)

Auction Date / Lot No.: 24 November 2008 / 117

Published Estimate: €5000-7000

Price Realised: 

  • Signature: signed and dated lower left
  • Medium: oil on canvas
  • Dimensions: 74 by 47cm., 29 by 18.5in.
  • Provenance: The sitter's family by descent
  • George, 4th Viscount and 1st Marquess Townshend, was born in 1724 at Raynham Hall, Norfolk. He was educated at St John’s College, Cambridge, and afterwards served with the British army in Germany. In 1746 he was at the Battle of Culloden, where the Jacobite rebellion was put down. After further service on the Continent, Townshend joined James Wolfe’s expedition to Quebec, where he commanded one of three brigades against the French. At the battle on the Plains of Abraham Wolfe was mortally wounded and the second-in-command, Robert Monckton, disabled. Townshend thus took command and took possession of Quebec on 18 September 1759. He returned to Britain and received a colonelcy and the thanks of the parliament. In 1767 he was appointed Lord Lieutenant of Ireland, a post he held until 1772. He had eight children by his first wife, Charlotte Compton, 15th Baroness Ferrers of Chartley and 7th Baroness Compton, who died in 1770. Three years later he married Anne Montgomery, with whom he had a further six children, all born in Dublin. In 1784, twenty-three years before he succeeded his father, he was created Earl of Leicester, and in 1787 he was created Marquess Townshend. In 1769 Dublin Corporation commissioned Thomas Hickey to paint Townshend’s portrait in appreciation of his success in securing the passage of the Octennial Act, which limited the duration of Irish Parliaments to eight years, ensuring regular elections. Hickey painted two versions, identical apart from size, showing Townshend holding a copy of the Octennial Act. The larger version was clearly conceived as a companion to Sir Joshua Reynolds’ portrait of the previous Viceroy, the Earl of Northumberland, 1765; both works hang in identical carved Rococo frames (attributed to Richard Cranfield) either side of the drawing room fireplace in the Mansion House, Dublin. The present smaller version may have been exhibited in the year it was painted at the Society of Artists, Dublin (as Portrait of a nobleman, whole length, catalogue no. 31) and has remained in the sitter’s family to the present day.

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MALLARDS IN FLIGHT
MALLARDS IN FLIGHT
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 24 November 2008 / 118

Published Estimate: €5000-7000

Price Realised: 


WOMAN ON A PATH BY A LAKE, CASTLE BEYOND
WOMAN ON A PATH BY A LAKE, CASTLE BEYOND
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 24 November 2008 / 119

Published Estimate: €3000-4000

Price Realised: 


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

Auction Date / Lot No.: 24 November 2008 / 120

Published Estimate: €6000-8000

Price Realised: 

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

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STILL LIFE WITH MELONS, RASPBERRIES AND GOOSEBERRIES
STILL LIFE WITH MELONS, RASPBERRIES AND GOOSEBERRIES
St George Hare RI ROI (1857-1933)

Auction Date / Lot No.: 24 November 2008 / 122

Published Estimate: €3000-5000

Price Realised: 


AFTER THE STORM
AFTER THE STORM
Thomas Rose Miles RCA (fl.1869-1910)

Auction Date / Lot No.: 24 November 2008 / 123

Published Estimate: €7000-9000

Price Realised: 

  • Signature: signed lower left; inscribed and signed again on reverse
  • Medium: oil on canvas
  • Dimensions: 61 by 107cm., 24 by 42in.
  • In the original gilt frame of James A. Pollock, 47 Donegall Place, Belfast.

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HENRY D. JAMESON, AGED 17, 1912
HENRY D. JAMESON, AGED 17, 1912
Sarah Cecilia Harrison (1863-1941)

Auction Date / Lot No.: 24 November 2008 / 125

Published Estimate: €5000-7000

Price Realised: €4200

  • Signature: signed with initials and dated lower left; inscribed upper right
  • Medium: oil on canvas
  • Dimensions: 64 by 51cm., 25 by 20in.
  • Inscribed “Henry D. Jameson ÆTAT 17” and in a good quality Kent frame. Henry D’Arcy Jameson, of Delvin Lodge, Co. Dublin, was the son of Robert D’Arcy Jameson by his second wife, Eva Harrison, who was possibly a relation of the artist’s. Certainly, S. C. Harrison (known as Celia to her friends) exhibited a portrait of Henry’s father, Robert Jameson, at the RHA in 1921. Henry D’Arcy Jameson was a lieutenant with the South Irish Horse during the First World War. In 1926 he married Isabelle Eileen Preston, eldest daughter of Alexander Preston Jones of Enniscorthy, and by her had one son, Robert Alexander Jameson, who later settled at Calary House, Ballinastoe, Kilpedder, Co. Wicklow (see Burke’s Irish Family Records, London, 1976, p. 628).

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THE SAINT OF POVERTY, 1905
THE SAINT OF POVERTY, 1905
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 24 November 2008 / 126

Published Estimate: €15000-20000

Price Realised: €20000

  • Signature: signed and dated upper right
  • Medium: oil on canvas
  • Dimensions: 67 by 53cm., 26.5 by 21in.
  • Provenance: Purchased by the present owner's father circa 1960-75
  • Exhibited: NEAC, London, 1905; RHA, Dublin, 1906, catalogue no. 66
  • Literature: The Speaker, 21 October 1905; P. G. Konody and Sidney Dark, Sir William Orpen: Artist and Man, Seeley Service & Co., London, 1932, listed p. 266; Bruce Arnold, Orpen: Mirror to an Age, Jonathan Cape, London, 1981, pp. 123, 200, 203
  • In 1905 Orpen embarked on one of his richest periods of work: a series of social realist genre studies. One series depicted the cockney model, Lottie, whilst another series featured an older Dublin man by the name of Mr Green, seen here as the model for The Saint of Poverty. Green had the sort of gnarled and careworn features beloved by artists from Caravaggio to Velazquez. He was painted by Orpen various guises: as Saint Patrick, The Coster Monger and The Fly Catcher. Bruce Arnold recounts that The Saint of Poverty was inspired by a work by Joseph Ribera (1589-1652), Saint Procopius, which the National Gallery of Ireland had purchased from the 4th Duke of Leinster in 1879 (Arnold, op. cit., p. 123). Ribera’s saint is seen stripped to the waist, his withered body commanding pathos even whilst his transfixed gaze indicates an ecstasy of vision. Orpen’s saint is more introspective and thoughtful; it is clearly the study of an actual person and bears witness to the former hardships faced by his model, Mr Green. According to the inventory of paintings in Konody and Dark, Orpen painted two versions of The Saint of Poverty, one of which was exhibited at the New English Art Club in 1905 and again, the following year, at the RHA. Judging by the description of the exhibited work given by the critic for the The Speaker, it is probable that the present version is the one that which was shown in London and Dublin: ”Powerful, and in many ways more gratifying than more elaborate compositions he has shown here, are Mr. William Orpen’s Saint of Poverty and Spanish Woman. The former is the half-length of a middle-aged man with his hands folded across his breast; the firm mouth and deep-set eyes are beautifully drawn and painted, the gnarled and knotted hands of the toiler are exquisite in their truth and brilliant craftsmanship. Rich blacks and their varieties are the ground-work of his colour scheme. Both in this and in the half-nude Spanish Woman, where he employs black as a foil to sufficiently idealised flesh tones, he handles it with unusual ability. Above all, these canvases, straight-forward and boldly painted as they are, seem to me to indicate a genuine sense of beauty that augurs well for future development”.

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STILL LIFE WITH GREEN BOTTLE
STILL LIFE WITH GREEN BOTTLE
May Guinness (1863-1955)

Auction Date / Lot No.: 24 November 2008 / 127

Published Estimate: €6000-8000

Price Realised: €5400

  • Medium: oil on canvas
  • Dimensions: 64 by 51cm., 25 by 20in.
  • Provenance: Christie's, London, 16 October 2003, lot 481; Private collection
  • Exhibited: Probably exhibited as 'La Bouteille Verte', 'May Guinness', Galerie Visconti, Paris, January 1925; the exhibition later travelled in the same year to the Mayor Gallery, London
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CUBIST TRIPTYCH
CUBIST TRIPTYCH
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 24 November 2008 / 128

Published Estimate: €10000-15000

Price Realised: €9200

  • Medium: gouache and watercolour
  • Dimensions: 30 by 48cm., 12 by 19in.
  • Provenance: Estate of the artist; Taylor Galleries, Dublin; Whence purchased by the present owner in 1988
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FISHERMEN, KILKEEL, COUNTY DOWN
FISHERMEN, KILKEEL, COUNTY DOWN
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 24 November 2008 / 129

Published Estimate: €5000-7000

Price Realised: 

  • Signature: signed lower right
  • Medium: oil on canvas laid on board
  • Dimensions: 30 by 43cm., 12 by 17in.
  • Provenance: James Adam Salesrooms, Dublin, 25 March 1992, lot 178; Private collection
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WINGED FIGURE HOLDING A CHALICE
WINGED FIGURE HOLDING A CHALICE
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 24 November 2008 / 130

Published Estimate: €3000-4000

Price Realised: €2800


ROUNDABOUT, 1966
ROUNDABOUT, 1966
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 24 November 2008 / 131

Published Estimate: €6000-8000

Price Realised: €6600

  • Signature: studio stamp and exhibition labels on reverse
  • Medium: oil on panel
  • Dimensions: 53 by 46cm., 20.7 by 18in.
  • Provenance: Artist's family by descent; Pyms Gallery, London; Private collection Artist's family by descent; Pyms Gallery, London; Private collection Artist's estate; Pyms Gallery, London; .....Private collection
  • Exhibited: ‘Mary Swanzy HRHA: Centenary Exhibition’, Taylor Galleries, Dublin, October 1982, catalogue no. 51; 'Mary Swanzy HRHA (1882-1978)’, Pyms Gallery, London, 30 September to 25 October 1986, catalogue no. 59; ’Mary Swanzy HRHA (1882-1978)’, Pyms Gallery, London, 6-29 May 1998, catalogue no. 39 (illustrated in catalogue)
  • When it was exhibited in 1986, Julian Campbell wrote at length about this work, comparing it to the work of Goya and Max Ernst; an extract follows: “All the deftness of touch and versatile draughtsmanship, the enamelled surfaces, use of glazes and glowing colours of Swanzy’s maturity are evident in this rich and extraordinary painting, an enigmatic allegory or fantasy. Each posture of the figures, each gesture or movement of a hand is highly symbolic and has some private meaning for Swanzy. There is a procession of twitching, dancing figures, half-human and half-animal, while on the right are figures in a cage. … One half of mankind dances, while the other half is imprisoned. Perhaps the procession of dancing figures represents the sins and follies of the world”.

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STRANGE WORLD
STRANGE WORLD
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 24 November 2008 / 132

Published Estimate: €6000-8000

Price Realised: €6400

  • Signature: studio stamp and exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 53 by 46cm., 21 by 18in.
  • Provenance: Artist's family by descent; Pyms Gallery, London; Private collection
  • Exhibited: 'Mary Swanzy HRHA (1882-1978)', Pyms Gallery, London, 7 November to 8 December 1989, catalogue no. 66; 'Mary Swanzy HRHA (1882-1978)', Pyms Gallery, London, 6-29 May 1998, catalogue no. 37 (illustrated in catalogue)
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FLOWERS AGAINST BLUE
FLOWERS AGAINST BLUE
Basil Ivan Rakoczi (1908-1979)

Auction Date / Lot No.: 24 November 2008 / 133

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed lower left
  • Medium: oil on paper; monotype
  • Dimensions: 38 by 50cm., 15 by 19.5in.
  • Provenance: Gift of the artist to the previous owner, a former art school friend; By whom given to the present owner's mother
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YELLOW FLOWERS
YELLOW FLOWERS
Basil Ivan Rakoczi (1908-1397)

Auction Date / Lot No.: 24 November 2008 / 134

Published Estimate: €2000-3000

Price Realised: 

  • Signature: signed lower left
  • Medium: oil on paper; monotype
  • Dimensions: 38 by 50cm., 15 by 19.5in.
  • Provenance: Gift of the artist to the previous owner, a former art school friend; By whom given to the present owner's mother
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HARVEST SCENE
HARVEST SCENE
Basil Ivan Rakoczi (1908-1979)

Auction Date / Lot No.: 24 November 2008 / 135

Published Estimate: €3000-5000

Price Realised: €3000

  • Signature: signed lower right
  • Medium: gouache on board
  • Dimensions: 50 by 65cm., 19.5 by 25.5in.
  • Provenance: Gift of the artist to the pervious owner, a former art school friend; By whom given to the present owner's mother
  • Exhibited: Almost certainly exhibited under the title, Corn Queen, at the artist's solo exhibition at the Dublin Painters' Gallery, 12-24 October 1953, catalogue no. 33
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MEN FISHING, WEST RIVER FALLS, NOVA SCOTIA, CANADA, 1957
MEN FISHING, WEST RIVER FALLS, NOVA SCOTIA, CANADA, 1957
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 24 November 2008 / 137

Published Estimate: €12000-15000

Price Realised: 

  • Signature: signed lower left; titled on reverse
  • Medium: oil and pastel on board
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Provenance: Jefferson Smurfit Group, Dublin; Private collection
  • Exhibited: Hendriks Gallery, Dublin, 1958 (catalogue untraced); '30th Anniversary Exhibition of Harry Kernoff (1900-1974)', Spiller Art, Dublin, 16-28 February 2005, catalogue no. 2
  • Kernoff visited Canada for six months in 1957 at the invitation of a Canadian businessman, whom he met and befriended in the Bailey pub. He completed approximately thirty works and they all sold in the Hendriks Gallery in 1958, including this oil and pastel of West River Falls. This painting was subsequently in the Jefferson Smurfit Collection and has been in another private collection since 2004.

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TOWARDS ERRISBEG, CONNEMARA
TOWARDS ERRISBEG, CONNEMARA
Maurice MacGonigal PRHA HRA HRSA (1900-1979)

Auction Date / Lot No.: 24 November 2008 / 138

Published Estimate: €10000-15000

Price Realised: €10000

  • Signature: signed lower right; original exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 51 by 76cm., 20 by 30in.
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Exhibited: Maurice MacGonigal PRHA', Dawson Gallery, Dublin, 4-24 March 1970, catalogue no. 16
  • Painted in July 1969 and in the original Dawson Gallery frame. The townland of Derryeither lies on the southern flank of Errislanan and faces directly onto the tidal inflow between the two sections of Derryeither and Derrygimla, which is seen on the right hand side of the composition. Also on the right of the work can be seen the studio and cottage of the artist and writer Allannah Heather (1901-1997) who wrote a threnodic account of her family, local middle range resident landlords of Errislannen. Christened Medora by her parents who had taken the name from the equine stud book, it was either that or “Cob web” as she recalled in her book Scenes From a Painter’s Life (Lilliput, 1993). In this work painter has used the foreground field of oats to give the sense of movement. The use of the gable end of the house to the viewers’ left, allied with the long striation of the red limestone so typical of the rock formations all the way along the coast to Mannin Bay, as well as the thrust of the inlet, gives a strong dynamic to the composition. The scudding clouds over the stripes of land, anchored by the distant shape of Errisbeg, give this work its punch. Just over the hillock in the centre of the composition is the bog of Derrygimla, where in June 1919, in a flight from Newfoundland, Alcock and Brown made their famous landing in the first non-stop transatlantic flight. They landed beside the Marconi Wireless station and so they were able to communicate their news instantly. The actual landing site is marked by a white conical cairn where the Marconi station once stood. Their memorial sits on the ridge of Errislannen, which is the nearest piece of rock on which to base a heavy granite monument and is above the house on the left of the viewer in this work. The long shapes of the sandy ‘coral’ sand, so typical of that part of the Connemara coast, and the rising land to the distant mass of Errisbeg, the other side of which lies Roundstone, all echo many of the preoccupations of the painter in his fifty-plus years of painting in Connemara. The painter uses the white ground of the picture plane to give the bounce to the brilliant surface and the signature is a compositional note bringing in the eye over the letters to the waving grass, the seed stalks of the dock leaves, the patterns of the walls beyond and the two shapes of the houses, left and right in the work, to give visual stability in this lively account of the Connemara landscape. Ciarán MacGonigal Dublin.

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BEACH AT ANAGRY, COUNTY DONEGAL
BEACH AT ANAGRY, COUNTY DONEGAL
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 24 November 2008 / 142

Published Estimate: €15000-20000

Price Realised: 


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FREE VALUATIONS: DUBLIN: Informal and confidential advice and valuations for prospective sellers given by appointment at our galleries, 38 Molesworth Street, Dublin 2; Monday to Friday,10am to 5pm. .
ELSEWHERE: send images and details to info@whytes.ie for a free appraisal and advice on selling. We also travel throughout Ireland and Great Britain, and occasionally to the US and elsewhere, to appraise large collections or valuable single items. 
CLICK HERE FOR GUIDE TO SELLING AT WHYTE'S, or watch our video here.

Whyte & Sons Auctioneers Ltd., 38 Molesworth Street, Dublin D02 KF80, Ireland. Tel: +353 (0)1 676 2888 Email: info@whytes.ie
Licensed to conduct auctions by The Property Services Regulatory Authority of Ireland. Licence No. 001759.