2 March 2009

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ABBEY RUINS ON AN ISLAND
ABBEY RUINS ON AN ISLAND
Séamus O Colmáin (1925-1990)

Auction Date / Lot No.: 2 March 2009 / 51

Published Estimate: €2500-3000

Price Realised: €2200

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 64 by 76cm., 25 by 30in.
  • Exhibited: 'Seamus O Colmain Retrospective', United Arts Club, 2006
  • Thought to be Sherkin Island, Co. Cork, showing the ruins of the Franciscan Friary.

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NATASHA'S MARROWS, 1966
NATASHA'S MARROWS, 1966
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 2 March 2009 / 52

Published Estimate: €15000-18000

Price Realised: 

  • Signature: signed and dated lower right; original label on reverse
  • Medium: oil on board
  • Dimensions: 20 by 76cm., 8 by 30in.
  • Provenance: Dawson Gallery, Dublin; Whence purchased by James J. Stafford; Sold through the Taylor Galleries, Dublin to Jeremy Hill; Christie's, South Kensington, 7 March 1997, lot 274; Private collection, Co. Laois
  • Exhibited: '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 in conjunction with the Arts Council / An Chomhairle Ealaíon, 28 October to 5 November 1972, catalogue no. 45 (lent by James J. Stafford); Dawson Gallery, Dublin, March 1977 ‘Camille Souter’, Douglas Hyde Gallery, Dublin, 8 June to 9 July, 1980, catalogue no. 28
  • Literature: Garrett Cormican, Camille Souter: The Mirror in The Sea, Whyte's, Dublin, 2006, catalogue no. 229, listed p. 264 and illustrated p. 265
  • Gardens and gardening are a recurrent theme in Camille Souter’s life. As her son, the sculptor Tim Morris, once remarked ‘Ever since childhood, very important to her living and being has been growth and gardens and vegetables. She’s rooted to the soil. She paints, but a lot of her time is spent in the garden. It’s not a pretty garden, it’s a functional garden. The most important thing is that you grow, and you keep growing, and that you eat the end result. She feels the soil, it’s part of her. I think that through some of the harder times in life, it was part of what kept her sane – the garden and growing were the simple things in a life that was pretty chaotic.’ The garden fulfilled a multi-functional role. It provided food for her young family and the seeds of several art works were also planted there. Her daughter Gino remembers that during her childhood the cooking apples, ‘… couldn’t be touched until they had been painted.’ Some of Souter’s earliest still-lifes portrayed Bed Ends in the Yard. Others from the sixties, depict turnips, tomatoes and a variety of flowers picked from her garden. In the seventies, she painted a series of paintings of her father’s greenhouse and garden. Interestingly, many of her studios have been located very near, if not actually in, gardens. Natasha’s Marrows grew organically out of this working practice. The marrows were in Souter’s garden in Calary Bog, County Wicklow. Her daughter Natasha (born June 1955) liked them, and one imagines may have planted or sustained them with her mother. While the lightly textured application of paint is impressionistic, it fair to say that without the benefit of a title this painting would appear as abstracted as any of Souter’s early work. Indeed, it operates perfectly well on an abstract level with the oval marrows evenly distributed in a classically balanced, tri-partite arrangement. This seems a highly imaginative way to resolve the compositional difficulties presented by a very horizontally elongated painting support. More simply, it may have been prompted by the sight of marrows planted in rows and growing at equal distances apart. As is typical of many paintings by Souter from the 1960’s color is deployed sparingly and tonally. This can softens the three-dimensional qualities of her subject, as it does here, so that its form emerges slowly and subtly to the viewer. Garrett Cormican Dublin February 2009 Gardens and gardening are a recurrent theme in Camille Souter’s life. As her son, the sculptor Tim Morris, once remarked ‘Ever since childhood, very important to her living and being has been growth and gardens and vegetables. She’s rooted to the soil. She paints, but a lot of her time is spent in the garden. It’s not a pretty garden, it’s a functional garden. The most important thing is that you grow, and you keep growing, and that you eat the end result. She feels the soil, it’s part of her. I think that through some of the harder times in life, it was part of what kept her sane – the garden and growing were the simple things in a life that was pretty chaotic.’ The garden fulfilled a multi-functional role. It provided food for her young family and the seeds of several art works were also planted there. Her daughter Gino remembers that during her childhood the cooking apples, ‘… couldn’t be touched until they had been painted.’ Some of Souter’s earliest still-lifes portrayed Bed Ends in the Yard. Others from the sixties, depict turnips, tomatoes and a variety of flowers picked from her garden. In the seventies, she painted a series of paintings of her father’s greenhouse and garden. Interestingly, many of her studios have been located very near, if not actually in, gardens. Natasha’s Marrows grew organically out of this working practice. The marrows were in Souter’s garden in Calary Bog, County Wicklow. Her daughter Natasha (born June 1955) liked them, and one imagines may have planted or sustained them with her mother. While the lightly textured application of paint is impressionistic, it fair to say that without the benefit of a title this painting would appear as abstracted as any of Souter’s early work. Indeed, it operates perfectly well on an abstract level with the oval marrows evenly distributed in a classically balanced, tri-partite arrangement. This seems a highly imaginative way to resolve the compositional difficulties presented by a very horizontally elongated painting support. More simply, it may have been prompted by the sight of marrows planted in rows and growing at equal distances apart. As is typical of many paintings by Souter from the 1960’s color is deployed sparingly and tonally. This can softens the three-dimensional qualities of her subject, as it does here, so that its form emerges slowly and subtly to the viewer. Garrett Cormican Dublin February 2009. References: Tim Morris as interviewed by Heidi Marion, ‘Growth and Change’ p. 6 Arts West March 2000 No. 67 Quote from a conversation with Gino and her mother, 17 October 2002.

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STUDY FOR BANK OF IRELAND MURAL, circa 1966
STUDY FOR BANK OF IRELAND MURAL, circa 1966
Micheal Farrell (1940-2000)

Auction Date / Lot No.: 2 March 2009 / 53

Published Estimate: €2000-3000

Price Realised: 

  • Medium: mixed media on paper
  • Dimensions: 68 by 84cm., 26.7 5 by 33.2 5i
  • In 1966 Farrell developed a motif of interwined circles, referencing old Celtic designs. He used these to most striking effect in the Bank of Ireland murals of 1966-7; this is a study for that series.

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A SHORTER HISTORY, 1982 (SET OF EIGHT)
A SHORTER HISTORY, 1982 (SET OF EIGHT)
Micheal Farrell (1940-2000)

Auction Date / Lot No.: 2 March 2009 / 54

Published Estimate: €3000-4000

Price Realised: 

  • Signature: each signed, inscribed and dated in lower margin
  • Medium: etchings with aquatint, plus eight sheets of letterpress
  • Dimensions: 36 by 36cm., 14 by 14in.
  • A series of eight etchings, each one representing a key image in Farrell's long-running series on postcolonial Ireland, including Miss O'Murphy, Pressé Politique and the eponymous A Shorter History. Accompanied by eight pages of letterpress by Cyril Barrett. Printed at the Atelier Moret in Paris for Origrafica Malmo, with the aid of the National College of Art, Dublin.

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UNTITLED, 1956
UNTITLED, 1956
Camille Souter HRHA (b.1929)

Auction Date / Lot No.: 2 March 2009 / 55

Published Estimate: €5000-7000

Price Realised: 

  • Signature: signed and dated lower left
  • Medium: oil on newspaper
  • Dimensions: 20 by 15cm., 8 by 6in.
  • Provenance: Collection of Gordon Lambert; Private collection
  • Literature: Garrett Cormican, Camille Souter: The Mirror in the Sea, Whyte's, Dublin, 2006, catalogue no. 35, p. 223
  • It is likely that this work was originally titled. Many of the titles of Souter’s paintings from this period were either forgotten by the collectors who bought them, or ignored by the dealers who sold them on. In the absence of a title in the years that followed, it was easier for art historians and critics to see such paintings as abstract than to try and grasp their representational content. Though employing similar graphical nomenclature to Klee, that is to say the line, the dot, the plane and space, this work signifies something real. It is no less a sign than a traditional academic oil painting in a “realistic” vein. One can ignore such inconvenient facts and the forms of the painting are no less appealing for doing so. But perhaps even then part of that appeal remains our unconscious association of the forms we find in the painting and those we experience in nature. The large red semi-circle in the upper left of the work is reminiscent of a sun ascending or descending on the horizon. The grey area in the middle of the work thus becomes the land caught in the half light. The vertical white lines in the lower half of the painting with the curves at their apex may represent Bed Ends in the Yard, something the artist chose to paint on a number of occasions in her early career. Alternatively, it may represent something like a fence. Whatever the case, with its simplified forms and subtle texture, this is a very attractive work.

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SUMMER MORNING
SUMMER MORNING
Richard Kingston RHA (1922-2003)

Auction Date / Lot No.: 2 March 2009 / 56

Published Estimate: €1200-1500

Price Realised: €1600

  • Signature: signed lower left; with original gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 30 by 25cm., 12 by 10in.
  • Provenance: Hendriks Gallery, Dublin; Whence purchased in September 1963, by Aer Lingus; De Vere's, Dublin, 20 November 2001, lot 218V; Private collection
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MARTHA
MARTHA
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 2 March 2009 / 57

Published Estimate: €70000-90000

Price Realised: 

  • Signature: signed lower left; original Dawson Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 61 by 43cm., 24 by 17in.
  • Provenance: Dawson Gallery Dublin; Whence purchased by Mrs. Pearl Eidinger; Private collection
  • Dan O’Neill was born in Belfast in 1920 where he worked as an electrician and was largely self taught as an artist, although he did attend some life classes at the Belfast College of Art. From his first important exhibition in 1946 with Victor Waddington Galleries in Dublin to his last major exhibition at the McClelland Galleries, Belfast, in 1970, he exhibited still lives, religious pictures, landscapes and many figure studies. In the work of O’Neill we find the imaginative, often haunting interaction between figure and environment, mood and circumstance – an imagery which is clearly concerned with the dignity of the individual. Portraits of women always remained an important subject for the artist although there are some self-portraits as with the muse in Artist’s Model (1948/49) or occasionally as a youthful narcissus. The portrait of Martha is painted within a domestic setting with a view, framed behind her head, of a brightly painted landscape. The subject’s upright pose is somewhat italianate and mannerist in style and disposition. It also recalls the influence of Cézanne in his flattening of the picture plane and the blocked areas of painting. The inclusion of a vase of flowers is a recurring motif with O’Neill both as a life symbol and as a decorative device. In his Flowers on the Shore (1951) a broken vase of flowers, inflated in scale to dominate the shoreline, takes on surreal and threatening powers. As with most portraits by O’Neill, whether depicting a bride, actress or model, Martha has a brooding presence. Often his female studies are taken out of time, sometimes by the use of historical costume. Here, however, Martha is in contemporary dress and setting and presents a youthful, confident if questioning figure. Light pours in from behind the sitter with her Modigliani eyes and is used to structure and facet the predominately blue, textured and ultimately satisfying composition. O’Neill’s work is in many public collections including, The Hugh Lane Municipal Gallery, Dublin, The Ulster Museum, Belfast, The Arts Council, Dublin, IMMA, Dublin, The Arts Council, Northern Ireland, The Herbert Art Gallery, Coventry and The Bishop Suter Gallery, New Zealand. He is also represented in many private collections in Ireland, England, France, Holland, Sweden, USA, Canada and Israel. Professor Liam Kelly Belfast February 2009

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DONEGAL COTTAGE
DONEGAL COTTAGE
Charles Oakley (b.1925)

Auction Date / Lot No.: 2 March 2009 / 58

Published Estimate: €500-700

Price Realised: €700

  • Signature: signed lower right; original gallery label on reverse
  • Medium: gouache on paper
  • Dimensions: 21 by 29cm., 8.25 by 11.2 5in.
  • Exhibited: Tom Caldwell Gallery, Belfast
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NEWCASTLE, COUNTY DOWN, 1943
NEWCASTLE, COUNTY DOWN, 1943
Tom Carr HRHA HRUA ARWS (1909-1999)

Auction Date / Lot No.: 2 March 2009 / 59

Published Estimate: €2000-3000

Price Realised: 

  • Signature: signed lower left; original gallery label on reverse
  • Medium: watercolour
  • Dimensions: 22 by 32cm., 8.5 by 12.7 5in.
  • Provenance: Tom Caldwell Gallery, Belfast; Private collection
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SLEEPING CAT
SLEEPING CAT
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 2 March 2009 / 60

Published Estimate: €800-1000

Price Realised: €1100

  • Signature: signed lower left; inscribed on reverse
  • Medium: pen on paper
  • Dimensions: 15 by 20cm., 6 by 7.75in.
  • Provenance: Ross's, Belfast, 5 December 2007, lot 21; Private collection
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FIGURES IN LANDSCAPE
FIGURES IN LANDSCAPE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 2 March 2009 / 61

Published Estimate: €8000-10000

Price Realised: €14000


BOATS AT STRANGFORD (SET OF THREE)
BOATS AT STRANGFORD (SET OF THREE)
Tom Carr HRHA HRUA ARWS (1909-1999)

Auction Date / Lot No.: 2 March 2009 / 62

Published Estimate: €4000-6000

Price Realised: 

  • Signature: signed lower left; original gallery label on reverse
  • Medium: watercolour with pen and ink on paper
  • Dimensions: 24 by 37cm., 9.5 by 14.5in.
  • Provenance: Tom Caldwell Gallery, Belfast; Private collection
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NUDE
NUDE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 2 March 2009 / 63

Published Estimate: €40000-60000

Price Realised: 

  • Signature: signed upper right
  • Medium: oil on panel
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Solomon Gallery, Dublin; Private collection
  • Nude recalls immediately the French modernist tradition in art and to some extent the pose of Manet’s provocative masterpiece Olympia (1863). Early in his career O’Neill had worked for a short time in the studio of Sidney Smith, who, together with Gerard Dillon, introduced him to French art, inter alia Rouault, Cezanne and Picasso. He also visited Paris for the first time c. 1948/49. O’Neill’s reclining nude nonchalantly and with a tear in her eye is ‘unwrapped’ as it were to confront the viewer. Everything conspires towards an erotic, if somewhat sentimental charge – the sensuous drapes; the revealed nudity; the rich colours and impasto. John Hewitt, who regarded O’Neill highly, described him as ‘…a brooding painter, he suggests rather than states his passionate strength in a severely limited range of colours’. O’Neill often relied on dark yellows, blues and greens to support a visionary quality in his work. The 1940s was something of a decas mirabilis for the artist culminating in 1952 in a very successful exhibition at the CEMA gallery, Belfast and which Ken Jamison would claim had significant influence on a younger generation of artists – the influence more of ‘attitude than of style’. During this productive period O’Neill painted a series of nude works such as Susanna and the Elders (1949); Artist’s Model (c.1948/49) and The Blue Skirt (1949). Nude could well belong to this period. It has the more characteristic and sombre colour range of this earlier phase before his later brighter paintings which could verge on sweetness at times. All these paintings incorporate the female archetype in differing reclining and seated positions. Artist’s Model shows the artist at his easel painting a reclining nude with curiously another women (muse?) looking on, while a seated nude is the subject of the male gaze in Susanna and the Elders. Although it more languid and less Picasso-like, Nude also recalls The Blue Skirt ( Ulster Museum) which Ken Jamison would describe as ‘ A kind of Northern odalisque, this half-nude reclining figure seemed to belong to the great European tradition and yet something excitingly new’. Professor Liam Kelly Belfast February 2009

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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.: 2 March 2009 / 64

Published Estimate: €1000-1500

Price Realised: €400

  • Signature: signed and dated lower right
  • Medium: watercolour with pen and ink lower right on paper
  • Dimensions: 48 by 30cm., 19 by 12in.
  • Born in New York City of Irish parents, James Patrick Donleavy served in the US Navy during World War II. He came to Dublin after the war on the GI Bill of Rights programme and studied macrobiology at Trinity College. Among his many friends were writers Patrick Kavanagh and Brendan Behan and painter Ralph Cusack. Attracting controversy as a painter he exhibited in the Stephen's Green Gallery in the late 1940s and early 1950s. Jack Yeats commented favourably on his work, especially on his oil painting technique. It was as a writer that he was to find international fame and his first novel, The Ginger Man (1955) was hailed as a comic masterpiece. Among his other works are A Singular Man (1963), The Beastly Beatitudes of Balthazar B (1968), The Onion Eaters (1971), Leila (1983), Are You Listening, Rabbi Low? (1987) and That Darcy, That Dancer, That Gentleman (1990). He became an Irish citizen in 1967 and lives in Mullingar, Co. Westmeath where he writes, paints and farms. While writing became his career his painting took a back seat but he has returned to it many times over the past fifty years, often providing illustrations for his books or for articles written in magazines such as The New Yorker. He exhibited at the Tom Caldwell Gallery in the 1980s and had a joint exhibition in 1990 in London with his daughter, Karen, a talented painter and highly successful ceramicist and potter now living in the USA.

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BRENDAN BEHAN, 1963
BRENDAN BEHAN, 1963
Claude Marks (English, 1915-1991)

Auction Date / Lot No.: 2 March 2009 / 65

Published Estimate: €2000-3000

Price Realised: €2100

  • Signature: signed and dated lower right; newspaper clipping on reverse
  • Medium: black crayon on paper
  • Dimensions: 46 by 41cm., 18 by 16in.
  • Born in London, Claude Marks was educated at Harrow and Trinity College, Cambridge. He studied painting and stage design in Paris and Salzburg before emigrating to the United States. During WWII he served with the US army. After the war he returned to America and took a Masters in fine art from the University of Iowa. As a painter he specialised in theatrical portraits and costume designs. Examples of his work are in the Fine Arts Museum of San Francisco and the New York Public library among others. He also wrote several books on art and lectures widely on art history. After his death in 1991 a memorial service was held at the Metropolitan Museum in New York, and a retrospective, titled `Theatre People and Places', was held at the Royal National Theatre in London. A pen and ink drawing of Behan was purchased from the Claude Marks exhibition at the Thorndike Theatre for the Beckett Theatre at Oxford.

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FIGURE WITH GUITAR, c.1944
FIGURE WITH GUITAR, c.1944
Nevill Johnson (1911-1999)

Auction Date / Lot No.: 2 March 2009 / 66

Published Estimate: €3000-5000

Price Realised: €2650


FIGURES IN LANDSCAPE
FIGURES IN LANDSCAPE
Nevill Johnson (1911-1999)

Auction Date / Lot No.: 2 March 2009 / 67

Published Estimate: €3500-4500

Price Realised: €3000


A LONG JOURNEY, 1953
A LONG JOURNEY, 1953
Thurloe Conolly (b.1918)

Auction Date / Lot No.: 2 March 2009 / 68

Published Estimate: €3000-5000

Price Realised: €2600


PAINTING I
PAINTING I
Thurloe Conolly (b.1918)

Auction Date / Lot No.: 2 March 2009 / 69

Published Estimate: €3000-5000

Price Realised: €3600

  • Signature: original label on reverse; inscribed with title and price of £22; also with original Waddington Galleries label on reverse
  • Medium: oil on masonite board
  • Dimensions: 38 by 46cm., 15 by 18in.
  • Provenance: Victor Waddington Galleries, Dublin; Estate of Alan Malcolm Brush
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TINKER MAN, 1947
TINKER MAN, 1947
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 2 March 2009 / 70

Published Estimate: €30000-40000

Price Realised: €32000


SEEK NO FURTHER II, 1947
SEEK NO FURTHER II, 1947
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 2 March 2009 / 71

Published Estimate: €90000-120000

Price Realised: €88000

  • Signature: signed lower right; signed and inscribed with title on reverse; with original Victor Waddington Galleries label on reverse
  • Medium: oil on board
  • Dimensions: 23 by 36cm., 9.25 by 14.2 5in.
  • Provenance: Victor Waddington Galleries, Dublin; Whence purchased by the present owner's father circa 1948
  • Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings, Andre Deutsch, London, 1992, catalogue no. 872, Vol. II, p.786
  • Described by Yeats in his record book as ‘man with back to sunset’, this work was sold through Victor Waddington to the family of the current vendor in 1948. It has never been exhibited publicly. Yeats used the same title for a horse racing scene of 1946, but here Seek No Further suggests something more fundamental. The year in which this was painted was a pivotal one for the artist. His wife and companion of many years, Cottie, died. This work, like others produced at this time, can be read within the context of this event, which heralded a final period of isolation and a sense of the artist’s own mortality. The man sits with his arms folded and his legs drawn up against the mossy bank of a cliff top behind which the sea and sky expand. The downcast face suggests that the figure is resigned to his fate and that his journey has come to an end. The work, like a number of other paintings by Yeats of this period, uses a strong white base which reflects light back through the darker colours and is particularly evident in the treatment of the sky. The work is also notable for the range of techniques that Yeats has used to apply the paint. The palette knife, the bristles and the handles of the paintbrush can be identified. Due to the secretive way in which the artist worked the exact nature of his oil technique is difficult to decipher. Here the range of methods creates a richly textured and complex paint surface which adds to the vitality of the scene. This and the choice of colour, particularly the blues conveys the strong emotional and physical connection between the man and his surroundings. The blue of his face indicates that it is in shadow and it is relieved by dramatic strokes of orange and pink, the reflection of the light of the setting sun on his right cheekbone. But the blue also connects the man to the ocean behind suggesting that his imagination, like that of the sea and sky, is tumultuous and in direct contrast to the static and rigid nature of his pose. Dr. Róisín Kennedy Dublin January 2009

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BRUSH-WORK STUDIES OF FLOWERS, FRUIT AND ANIMALS
BRUSH-WORK STUDIES OF FLOWERS, FRUIT AND ANIMALS
Elizabeth ('Lolly') Corbet Yeats (1868-1940)

Auction Date / Lot No.: 2 March 2009 / 72

Published Estimate: €1500-2000

Price Realised: €1250

  • George Philip & Son, London, 1898. Contains twenty-seven coloured plates depicting mainly flowers and fruit, as well as birds and animals, opposite detailed descriptions of the brushstrokes used. With an introduction by the author, Dublin, August 1898. Oblong folio, 63 pages, bound in green cloth with title embossed on front and spine. Elizabeth Corbet Yeats, known as Lolly, was the daughter of artist John Butler Yeats, sister to Jack and William Butler Yeats, artist and writer respectively, and a co-founder of the Cuala Press. Lolly Yeats offered children’s art classes; this book reveals the techniques she taught children so that they might faithfully and simply paint from nature. A beautiful and quite rare collector’s item.

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THE TREASURE OF THE GARDEN
THE TREASURE OF THE GARDEN
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 2 March 2009 / 73

Published Estimate: €2500-3500

Price Realised: €2500

  • Dimensions: 29 by 23cm., 11.5 by 9in.
  • Elkin Mathews, London, 1902. With seven full page plates handcoloured by Yeats. (Vignette on cover not coloured, rare thus). Original blue wrappers (split); 33 pp plus adverts at rear.

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FIVE LETTERS FROM GEORGE FLETCHER AND ONE LETTER TO CURRIE FROM JOHN HAMILTON, 1909
FIVE LETTERS FROM GEORGE FLETCHER AND ONE LETTER TO CURRIE FROM JOHN HAMILTON, 1909
John Currie NEAC (1883-1914)

Auction Date / Lot No.: 2 March 2009 / 74

Published Estimate: €200-400

Price Realised: 

  • Signature: variously signed and dated; contained in a hardback folio case with original labels
  • Medium: nine items in total; eight, pencil and pen and ink on paper; one photograph
  • Of Irish extraction, John Currie studied at the Slade and exhibited at NEAC and the RHA. Fletcher was Assistant Secretary and Head of Technical Instruction in Ireland.

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FIVE LETTERS FROM REV. MATTHEW RUSSELL, EDITOR OF 'THE IRISH MAGAZINE', TO JOHN HAMILTON
FIVE LETTERS FROM REV. MATTHEW RUSSELL, EDITOR OF 'THE IRISH MAGAZINE', TO JOHN HAMILTON
Rev. Matthew Russell, S.J. (1834-1912)

Auction Date / Lot No.: 2 March 2009 / 75

Published Estimate: €200-400

Price Realised: 

  • Signature: variously signed and dated
  • Medium: six pages in total; pen and ink on paper
  • Five autograph manuscript letters; four on the embossed letterhead of St. Stanislaus College, Tullamore, and one on University College Dublin headed paper. These six letters illustrate the colourful communication between Rev. Matthew Russell, S.J., editor of The Irish Monthly Magazine, a literary journal published in both Dublin and London, and one of its contributing writers and artists, J. Millbank Hamilton. Hamilton's contributions to the magazine date from 1902 and include a character sketch and an essay entitled ’At the Tuam Station’, from the December 1904 issue, both of which are referred to in their playful correspondence, dated 26 September 1903. In this letter Russell asks of Hamilton "...Perhaps you will let me steal your little sketch, ‘At Tuam Station', without pleading guilty to previous publications". The Irish Monthly Magazine continued to be published until 1954. Yearly volumes of the magazine are held in the Old Library of Trinity College, Dublin.

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TWO GIRLS PLAYING BY THE SEASHORE
TWO GIRLS PLAYING BY THE SEASHORE
George Russell 'AE' (1867-1935)

Auction Date / Lot No.: 2 March 2009 / 76

Published Estimate: €9000-12000

Price Realised: €9000

  • Signature: signed in monogram lower right; gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 40 by 50cm., 15.7 5 by 19.7 5i
  • Exhibited: Pyms Gallery, London
  • 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.

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SHEET OF PORTRAIT SKETCHES, INCLUDING A SELF PORTRAIT, IN COLLABORATION WITH WALTER LOOMIS
SHEET OF PORTRAIT SKETCHES, INCLUDING A SELF PORTRAIT, IN COLLABORATION WITH WALTER LOOMIS
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 2 March 2009 / 77

Published Estimate: €2000-3000

Price Realised: 

  • Signature: each sketch signed and inscribed lower right
  • Medium: pen and ink over pencil on paper (unframed)
  • Dimensions: 25 by 20cm., 10 by 8in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • Variously inscribed; Loomis by Loomis; Yeats by Loomis; Loomis by Yeats; Yeats by Yeats. Loomis was a regular visitor to Coole Park.

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THE BALLAD SINGER, THE SHANACHIE AND OTHER CUALA PRESS PRINTS
THE BALLAD SINGER, THE SHANACHIE AND OTHER CUALA PRESS PRINTS
Jack Butler Yeats RHA (1871-1957) and others

Auction Date / Lot No.: 2 March 2009 / 78

Published Estimate: €1000-1500

Price Realised: €850

  • Signature: three signed in the plate
  • Medium: eleven handcoloured Cuala Press prints (unframed)
  • Dimensions: 13 by 15cm., 5 by 6in.
  • Provenance: Collection of Lady Gregory, Coole Park, and other sources; Private collection
  • Includes The Fiddler of Dooney by W.B. Yeats, illustrated by George Atkinson RHA (1880-1941), and The Lover Pleads with his Friend for Old Friends and The Lover Tells of The Rose in his Heart, both by W.B. Yeats. Eleven prints in total, with some duplication.

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SIX CATALOGUES AND ONE INVITATION TO VARIOUS EXHIBITIONS OF 'LIFE IN THE WEST OF IRELAND'
SIX CATALOGUES AND ONE INVITATION TO VARIOUS EXHIBITIONS OF 'LIFE IN THE WEST OF IRELAND'
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 2 March 2009 / 79

Published Estimate: €1500-2000

Price Realised: €1800

  • Medium: six printed catalogues, one with handcolouring, and two annotated by Lady Gregory
  • Dimensions: 18 by 11cm., 7 by 4.5in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • A rare and desirable collection of original catalogues to the following ‘Life in the West of Ireland’ Yeats exhibitions: Walker Gallery, London, February 1901 (with handcoloured motif of horse’s head on front); 9 Merrion Row, Dublin, 23 October to 2 November 1901, copy annotated by Lady Gregory; Wells Central Hall, Dublin, 18-30 August 1902 (two versions: the first, eight pages stapled in printed blue wrappers; the second, a single folded sheet, annotated by Lady Gregory with names of various purchasers – John Quinn's name appears several times); Leinster Hall Dublin, 8-21 December 1910 (single folded card with illustration of figure study on front); and Walker Gallery, London, 29 June to 18 July 1914 (single folded card). Also with an invitation to the Yeats Museum opening at the National Gallery of Ireland, 2 March 1999.

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W.B. YEATS, 1908
W.B. YEATS, 1908
John Singer Sargent RA (1856-1925)

Auction Date / Lot No.: 2 March 2009 / 80

Published Estimate: €500-700

Price Realised: €850

  • Signature: signed and dated in the plate upper right
  • Medium: photogravure of a charcoal drawing by Sargent (unframed)
  • Dimensions: 13 by 10cm., 5.25 by 4in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • Sheet size: 11.25 by 8.75in. Also included with this lot is a printed bookplate by Thomas Sturge Moore (7.5 by 4.75in.)

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PORTRAIT OF A MAN, 26 JUNE 1904
PORTRAIT OF A MAN, 26 JUNE 1904
John Butler Yeats RHA (1839-1922)

Auction Date / Lot No.: 2 March 2009 / 81

Published Estimate: €1000-1500

Price Realised: €850

  • Signature: signed, inscribed and dated lower left
  • Medium: pencil on reverse of a handwritten menu card
  • Dimensions: 16 by 11cm., 6.25 by 4.25in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • John Butler Yeats was in London in June 1904 to coalesce a visit to the Guildhall, ‘Exhibition of a Selection of Works by Irish Painters’, which opened in May and which contained six of his paintings (of the 465 on display), and to attend at a performance of Willie’s (William Butler Yeats’) Where There is Nothing. The timing of these two very significant Irish events in London in mid-June of 1904 meant that a large community of Irish, from the arts scene in particular, were present in the city at this time. It is uncertain how John Butler Yeats financed this journey to London but it has been suggested that Lady Gregory was a possible sponsor. William M. Murphy, in his text Prodigal Father: The Life of John Butler Yeats indicates that she had asked him to do sketches for her at the rehearsal for the play, which he attended along with many others from Dublin. On Sunday, June 26 1904, the day of the debut performance of Where There is Nothing, John Butler Yeats dined beforehand with Willie, Miss Annie Horniman, Charles Shannon, Charles Ricketts, Robert Gregory and Florence Farr in Sloane Square, London. All these individuals were prominent figures in the formation of the Abbey Theatre, Dublin. Murphy notes that Miss Horniman gave Yeats her ticket for the performance, “the best seat in the house”, he told Lily, “front row in the middle of the Gallery” while she sat in William Butler Yeats’ box with Arthur Symons and his wife. The play, Murphy notes, could not be shown in Dublin at that time because of the controversial nature of its plot, but cites the June 1904 performance as “splendid, most stimulating”. William M. Murphy, Prodigal Father: The Life of John Butler Yeats, Cornell University Press, 1978, p. 271

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PORTRAIT OF ARNOLD HARVEY
PORTRAIT OF ARNOLD HARVEY
John Butler Yeats RHA (1839-1922)

Auction Date / Lot No.: 2 March 2009 / 82

Published Estimate: €4000-6000

Price Realised: 

  • Signature: inscribed lower right
  • Medium: pencil on card (unframed)
  • Dimensions: 29 by 23cm., 11.2 5 by 9in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • Arnold Harvey was a student of Divinity at Trinity College Dublin who came to Coole Park as tutor to Robert Gregory (son of Lady Gregory). There he met various members of the Yeats family and became a particular friend of Jack and Cottie Yeats. He later became Rector of Ballinfull at Lissadell, Co. Sligo from 1929 to 1933, he was professor of Theology at TCD and from 1935 he was Dean of St. Patricks Cathedral, Dublin. He was Bishop of Cashel and Waterford from 1935 to 1958. This portrait shows Harvey as a young man; a later portrait by John Butler Yeats depicts him with his clerical collar (illustrated in Bruce Arnold, Jack Yeats, Yale University Press, New Haven, 1998, p. 155.)

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BATHERS, MYTHOLOGICAL SCENES - A COLLECTION OF WATERCOLOURS AND DRAWINGS
BATHERS, MYTHOLOGICAL SCENES - A COLLECTION OF WATERCOLOURS AND DRAWINGS
Robert Gregory (1881-1918)

Auction Date / Lot No.: 2 March 2009 / 83

Published Estimate: €3000-4000

Price Realised: €2400

  • Medium: nine works: five watercolour over pencil on paper; two pen and ink with wash on paper; two pencil on paper
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • Literature: Colin Smythe, (ed.), Robert Gregory (1881-1918): A Centenary Tribute, Colin Smythe, Gerrards Cross, Bucks., 1981, p. 24
  • Robert Gregory was the only child of the godmother of the Irish Literary Revival and Director of the Abbey Theatre, Lady Isabella Augusta Gregory (1852-1932). Robert, a true Renaissance man of his age, excelled not only in the arts, but was an outstanding athlete and distinguished military man, joining the war effort as a member of the 4th Connaught Rangers and transferring to the Royal Flying Corps in 1916. He was awarded won the Military Cross for "conspicuous gallantry and devotion to duty.” In his desire to become an artist Robert studied at the prominent Slade School of Art and later in Paris, under Jacques Émile Blanche (1861-1942), who openly praised his skill and intellect. His work was exhibited in 1912 and 1914 at the Baillie Gallery and the Chenil Gallery, in London. Robert's premature death in 1918, aged 37, had a lasting effect on W. B. Yeats, and he became the subject of four poems by him; including; In Memory of Major Robert Gregory and An Irish Airman Foresees his Death. These works demonstrate Robert Gregory's innovative style and distinctive use of line and colour. His work may be likened stylistically to that of Puvis de Chavannes (1824-1898) and in terms of theme and palette, with that of Gauguin (1848-1903). Included within this lot are working studies for an oil, Finevara, which was exhibited at the Baillie Gallery, London, 1912.

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WEST OF IRELAND LANDSCAPES WITH FIGURES AND BATHERS - A COLLECTION OF WATERCOLOURS
WEST OF IRELAND LANDSCAPES WITH FIGURES AND BATHERS - A COLLECTION OF WATERCOLOURS
Robert Gregory (1881-1918)

Auction Date / Lot No.: 2 March 2009 / 84

Published Estimate: €2000-3000

Price Realised: €1700


SELF PORTRAIT IN THE WEST OF IRELAND AND A COLLECTION OF FIGURE STUDIES AND LANDSCAPES
SELF PORTRAIT IN THE WEST OF IRELAND AND A COLLECTION OF FIGURE STUDIES AND LANDSCAPES
Robert Gregory (1881-1918)

Auction Date / Lot No.: 2 March 2009 / 85

Published Estimate: €3000-4000

Price Realised: 

  • Signature: one sheet inscribed and dated 1890 lower right
  • Medium: eleven works in total; various mediums (unframed)
  • Dimensions: 36 by 25cm., 14 by 10in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private Collection
  • Literature: Colin Smythe, (ed.), Robert Gregory (1881-1918): A Centenary Tribute, Colin Smythe, Gerrards Cross, Bucks., 1981, pp. 30., See also portrait frontispiece
  • Includes a pen and ink study of a woman believed to be Pamela Colman Smith (1878-1951); also known as 'Pixie' she was a celebrated psychic medium and artist. Also includes two watercolour drawings of Staffordshire figures, one of Daniel O'Connell and one of Napoleon, Lady Gregory collected these figurines and Robert illustrated four of them for the Kiltartan History Book, 1909. A drawing of old men is possibly an illustration for a WB Yeats poem The Old Men Admiring Themselves in the Water.

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SCENES IN THE WEST OF IRELAND, A COLLECTION OF WATERCOLOURS AND DRAWINGS
SCENES IN THE WEST OF IRELAND, A COLLECTION OF WATERCOLOURS AND DRAWINGS
Robert Gregory (1881-1918)

Auction Date / Lot No.: 2 March 2009 / 86

Published Estimate: €3000-4000

Price Realised: €5000

  • Medium: ten works; pencil and pencil and wash on paper (unframed)
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • Literature: Colin Smythe, (ed.), Robert Gregory (1881-1918): A Centenary Tribute, Colin Smythe, Gerrards Cross, Bucks., 1981, pp. 36
  • Includes a study for 'Cottages in The Burren', exhibited at the Chenil Gallery, London, 1914 and illustrated in 'Robert Gregory, A Centenary Tribute', p. 36.

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THE THREE GRACES, WITH CARTOON FOR STAINED GLASS WINDOW ON REVERSE
THE THREE GRACES, WITH CARTOON FOR STAINED GLASS WINDOW ON REVERSE
Attributed to Margaret Gregory (1881-1918)

Auction Date / Lot No.: 2 March 2009 / 87

Published Estimate: €500-700

Price Realised: €350


COSTUME DESIGN, FRANCISCAN MONK, FOR FERDINAND BUCHNER'S ELIZABETH OF ENGLAND, 1931
COSTUME DESIGN, FRANCISCAN MONK, FOR FERDINAND BUCHNER'S ELIZABETH OF ENGLAND, 1931
Charles Ricketts RA (1866-1931)

Auction Date / Lot No.: 2 March 2009 / 88

Published Estimate: €300-500

Price Realised: 

  • Signature: variously inscribed with wardrobe instructions
  • Medium: watercolour and pencil on paper (unframed)
  • Dimensions: 36 by 25cm., 14 by 10in.
  • Charles Ricketts was a prominent member of the Irish Theatre scene in Dublin and one of the many influential figures involved in the establishment of the city’s Abbey Theatre. A friend of the Yeats’ Ricketts attended the many performances of William Butler Yeats,’ including the debut of Where There is Nothing, in London 1904, as noted in lot 81. The design for this costume recalls the character of Paul Ruttledge in Yeats’ Where There is Nothing. The protagonist, Ruttledge, is a landlord who joins a band of tinkers until illness forces him to enter a Franciscan monastery, where he disturbs the community with his high spirits and his apparitions. It is possible that costumes for this earlier play proved inspiring to the designer for this adaptation of Elizabeth’s England. Although from the same owner, this lot was not part of Lady Gregory’s collection.

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THE BLESSED TRINITY OF IRELAND: STORIES OF ST. BRIGID, ST. COLUMCILLE AND ST. PATRICK
THE BLESSED TRINITY OF IRELAND: STORIES OF ST. BRIGID, ST. COLUMCILLE AND ST. PATRICK
Margaret Gregory (nee Parry) (1884-1979)

Auction Date / Lot No.: 2 March 2009 / 89

Published Estimate: €2000-3000

Price Realised: €3800

  • Signature: eight signed in monogram
  • Medium: twenty-seven black and white drawings in pen and ink on paper; five works in pencil on paper; thirteen printers' proofs; plus two printed chapbooks, one handcoloured; (all unframed)
  • Dimensions: 18 by 13cm., 7.25 by 5.25in.
  • Provenance: Collection of Lady Gregory, Coole Park, and some others; Private collection
  • Literature: Lady Gregory, The Blessed Trinity of Ireland, Stories of St. Brigit, St. Columcille and St. Patrick, recorded for posterity according to the old writtings and the memory of the people of Ireland, Colin Smythe, Gerrards Cross, Bucks., 1985
  • Lily Margaret Graham Parry studied in London at the Slade School of Art, where she met Robert Gregory, son of Lady Gregory. Margaret illustrated three of her mother-in-law's books: The Kiltartan Wonder Book (Maunsel, Dublin, 1910), The Blessed Trinity (Bucks., 1985) and The Golden Apple (Murray, London, 1907) and it has been noted that Lady Gregory cherished all of Margaret's illustrations. These drawings were only published posthumously in 1985. The National Library of Ireland holds other examples of the collaborative work between Lady Gregory and her daughter-in-law, Margaret (see NLI News, no. 13, Autumn 2003).

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COLLECTION OF BOOKPLATES PLUS DÚN EMER PRESSMARK, 1907
COLLECTION OF BOOKPLATES PLUS DÚN EMER PRESSMARK, 1907
Robert Gregory (1881-1918)

Auction Date / Lot No.: 2 March 2009 / 90

Published Estimate: €300-500

Price Realised: €300

  • Signature: three signed with initials in the plate
  • Medium: eight printed bookplates, including one handcoloured (unframed)
  • Dimensions: 10 by 7cm., 3.75 by 2.75in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • Literature: Colin Smythe, (ed.), Robert Gregory (1881-1918): A Centenary Tribute, Colin Smythe, Gerrards Cross, Bucks., 1981, p. 31
  • Dún Emer Industries, an endeavour that was largely philanthropic in nature, was founded in 1902 by Evelyn Gleeson who set up the business in her home in Dundrum, Co. Dublin. In addition to Dún Emer Industries, she established the Dún Emer Guild and the Dún Emer Press, employing the Yeats sisters, Elizabeth and Lily, to help with the latter. The Yeats sisters later parted ways with Gleeson and established their own company, the Cuala Press. The Dún Emer Press published a number of rare books including The Book of Saints and Wonders by Lady Gregory, Robert Gregory's mother. Robert Gregory's bookplates and Dún Emer pressmark illustrate his strong ties to the literary world in Ireland and his passion for supporting his mother's many creative accomplishments.

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STATUES OF MEMNON, NEAR THEBES, EGYPT
STATUES OF MEMNON, NEAR THEBES, EGYPT
Attributed to Lady Isabella Augusta Gregory (1852-1932)

Auction Date / Lot No.: 2 March 2009 / 91

Published Estimate: €300-500

Price Realised: 

  • Medium: watercolour with pen and ink on paper (unframed)
  • Dimensions: 18 by 25cm., 7 by 10in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • Literature: Mary Massoud (ed.), Literary Inter-Relations: Ireland, Egypt, and the Far East, Irish Literary Studies, no. 47, 1993, illustrated on front cover
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LYNCHE'S CASTLE, GALWAY, CLONFERT CATHEDRAL AND TWO OTHERS
LYNCHE'S CASTLE, GALWAY, CLONFERT CATHEDRAL AND TWO OTHERS
Lady Isabella Augusta Gregory (1852-1932)

Auction Date / Lot No.: 2 March 2009 / 92

Published Estimate: €2000-3000

Price Realised: 

  • Signature: variously inscribed and dated in lower margin
  • Medium: four watercolours with pen and ink on paper (unframed)
  • Dimensions: 18 by 25cm., 7 by 9.75in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • Includes a view of Sant'Apollinaire in Classe, Ravenna, Italy.

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GOLDSMITH'S GRAVE
GOLDSMITH'S GRAVE
Lady Isabella Augusta Gregory (1852-1932)

Auction Date / Lot No.: 2 March 2009 / 93

Published Estimate: €500-700

Price Realised: 

  • Medium: pen and ink over pencil on paper (unframed)
  • Dimensions: 18 by 25cm., 7 by 10in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • Inscribed with a verse from Denis Florence MacCarthy's 'To The Memory of Father Prout'.

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THE VALE OF AVOCA
THE VALE OF AVOCA
Irish School  19th/20th century

Auction Date / Lot No.: 2 March 2009 / 94

Published Estimate: €500-700

Price Realised: 

  • Medium: watercolour heightened with white on paper (unframed)
  • Dimensions: 20 by 34cm., 8 by 13.5in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
  • An almost identical view was produced in 1863 by George Mowbray Sutherland (British, fl.1861-1866)

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LAKE VIEWS IN IRELAND
LAKE VIEWS IN IRELAND
Irish School  19th/20th century

Auction Date / Lot No.: 2 March 2009 / 95

Published Estimate: €500-700

Price Realised: €400

  • Medium: three watercolours with pen and ink on paper (unframed)
  • Dimensions: 18 by 27cm., 7.25 by 10.5in.
  • Provenance: Collection of Lady Gregory, Coole Park; Private collection
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COLLECTION OF WATERCOLOURS AND ENGRAVINGS, 1830s TO 1860s
COLLECTION OF WATERCOLOURS AND ENGRAVINGS, 1830s TO 1860s
Miss G. Miss G. Cunningham and others 19th century

Auction Date / Lot No.: 2 March 2009 / 96

Published Estimate: €800-1000

Price Realised: €800

  • Signature: variously signed and dated
  • Medium: thirty-three works total: fifteen watercolour; four oil on board; four pencil on paper; six engravings and four handcoloured lithographs
  • Provenance: Gift from artist's family member to present owner's family
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LIFE DRAWING OF STANDING WOMAN, 1878-79
LIFE DRAWING OF STANDING WOMAN, 1878-79
Sarah Henrietta Purser HRHA (1848-1943)

Auction Date / Lot No.: 2 March 2009 / 97

Published Estimate: €1000-1500

Price Realised: €900

  • Signature: signed S.H. Purser upper right
  • Medium: charcoal and white chalk on buff coloured paper
  • Dimensions: 53 by 30cm., 21 by 12in.
  • Provenance: Collection of Sarah Henrietta Purser; Her sale, Mespil House 1943, whence purchased by the present owner's sister-in-law
  • Literature: John O'Grady, The Life and Work of Sarah Purser, Four Courts Press, Dublin, 1996, catalogue no. 17, p.169, illustrated p.168
  • Dr. John O'Grady describes this work as, "A finished life-class nude of a standing woman in frontal pose, torso slightly to the right but head turned to the left, weight on right leg, left hand on a high stool, right forearm behind back. The feet have been lost in trimming the sheet”.

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LIFE DRAWING OF MAN WITH MOUSTACHE, 1878-79
LIFE DRAWING OF MAN WITH MOUSTACHE, 1878-79
Sarah Henrietta Purser HRHA (1848-1943)

Auction Date / Lot No.: 2 March 2009 / 98

Published Estimate: €800-1000

Price Realised: 

  • Signature: signed S.H. Purser upper left
  • Medium: charcoal and white chalk on buff coloured paper
  • Dimensions: 60 by 41cm., 23.5 by 16.2 5in.
  • Provenance: Collection of Sarah Henrietta Purser; Her sale, Mespil House 1943, whence purchased by the present owner's sister-in-law
  • Exhibited: Probably one of the "admirable charcoal studies from life" that were exhibited at the Irish Fine Art Society, March 1880
  • Literature: John O'Grady, The Life and Work of Sarah Purser, Four Courts Press, Dublin, 1996, catalogue no. 14, illustrated p.168
  • As noted in Dr. O'Grady's text this work is, “A finished life-class nude of a young male model, from Sarah Henrietta Purser's months at the Académie Julian in Paris, October 1878 to May 1879; full length, near profile to left, leaning back against a high stool, left hand behind him on the seat. This drawing and others were probably among the 'admirable charcoal studies from life' which S.H.P. exhibited at the Irish Fine Art Society in March 1880 as noted by the Daily Express review on 5 April 1880; no copy of the exhibition catalogue has come to light and the review does not give catalogue numbers.

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LIFE DRAWING OF MAN WITH LONG HAIR
LIFE DRAWING OF MAN WITH LONG HAIR
Sarah Henrietta Purser HRHA (1848-1943)

Auction Date / Lot No.: 2 March 2009 / 99

Published Estimate: €1000-1500

Price Realised: 

  • Signature: signed S. Purser upper right
  • Medium: charcoal, red and white chalk on buff coloured paper
  • Dimensions: 58 by 41cm., 23 by 16in.
  • Provenance: Collection of Sarah Henrietta Purser; Her sale, Mespil House 1943, whence purchased by the present owner's sister-in-law
  • Literature: John O'Grady, The Life and Work of Sarah Purser, Four Courts Press, Dublin, 1996, catalogue no. 15, illustrated p.168
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LIFE DRAWING OF MAN WITH STAFF, 1878-79
LIFE DRAWING OF MAN WITH STAFF, 1878-79
Sarah Henrietta Purser HRHA (1848-1943)

Auction Date / Lot No.: 2 March 2009 / 100

Published Estimate: €1000-1500

Price Realised: 

  • Medium: charcoal, red and white chalk on buff coloured paper
  • Dimensions: 61 by 37cm., 24 by 14.7 5in.
  • Provenance: Collection of Sarah Henrietta Purser; Her sale, Mespil House 1943, whence purchased by the present owner's sister-in-law
  • Literature: John O'Grady, The Life and Work of Sarah Purser, Four Courts Press, Dublin, 1996, catalogue no. 16, P. 169, illustrated p.168
  • In his text, Dr. O'Grady refers to this work as a finished life-class nude, "...in back view, three quarters to left; striding pose, right leg advanced; staff in both hands, left high, right low; head tilted to the right and downwards. With lightly sketched female nude on reverse”.

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