18 May 2009

First 20 results Previous 20 results   Records 51 to 100 of 207     Next 20 results Last results

DUN LAOGHAIRE HARBOUR, COUNTY DUBLIN
DUN LAOGHAIRE HARBOUR, COUNTY DUBLIN
Ronald Ossory Dunlop RA RBA NEAC (1894-1973)

Auction Date / Lot No.: 18 May 2009 / 53

Published Estimate: €6000-8000

Price Realised: €6000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Private collection, Dublin, 1989; Sotheby's, London, 13 May 2004, lot 92; Whence purchased by the present owner
  • Depicts a view of the "Coal Harbour" with Coastguard buildings, Dun Laoghaire.

  • Have one to sell? Interested in Similar Items?


MAKING HAY STACKS
MAKING HAY STACKS
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 18 May 2009 / 54

Published Estimate: €8000-10000

Price Realised: 

  • Signature: signed lower left; inscribed on reverse; also with exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 25 by 34cm., 10 by 13.5in.
  • Provenance: Dawson Gallery, Dublin; Whence purchased by the present owner
  • Have one to sell? Interested in Similar Items?


VIEW FROM CROAGH PATRICK
VIEW FROM CROAGH PATRICK
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 18 May 2009 / 55

Published Estimate: €6000-8000

Price Realised: €6000

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Whyte's, 21 September 2004, lot 106; Whence purchased by the present owner
  • Possibly exhibited as 'Autumn, Mayo Coast' at the exhibition, 'New Paintings by George Campbell R.H.A., at The Kenny Art Gallery, Salthill, Galway, in the late 1970s.

  • Have one to sell? Interested in Similar Items?


EARLY SUMMER
EARLY SUMMER
Nano Reid (1900-1981)

Auction Date / Lot No.: 18 May 2009 / 56

Published Estimate: €5000-7000

Price Realised: €5000

  • Signature: signed lower right; inscribed label on reverse; also with original Dawson Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 41 by 69cm., 16 by 27in.
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Have one to sell? Interested in Similar Items?


BARLEY MOON
BARLEY MOON
Norah McGuinness HRHA (1901-1980)

Auction Date / Lot No.: 18 May 2009 / 57

Published Estimate: €15000-20000

Price Realised: €19000

  • Signature: signed lower right; original label on reverse
  • Medium: oil on canvas
  • Dimensions: 76 by 127cm., 30 by 50in.
  • Provenance: Dawson Gallery, Dublin; Whence purchased by the first owner; Adam's & Bonham's, Dublin, 30 May 2007; Private collection
  • Exhibited: 'Norah McGuinness Exhibition', Dawson Gallery, Dublin, 1964, catalogue no. 14 (£200.00)
  • This dark impressive landscape was exhibited at the Dawson Gallery, Dublin in 1964 during which time McGuinness had returned to live in Ireland. Having been formally trained at the Metropolitan School of Art, Dublin, the Chelsea Polytechnic, London, and on Mainie Jellett’s advice, under André l’Hôte in Paris, McGuinness, who was originally from Derry, proved to be a rounded, well travelled and informed artist at this point in her career. The present work, which is likely to have been executed from her cottage studio in the Dublin Mountains where she was living from 1957, shows the artist at her most confident. Her brushwork, while loose and fluid, retains control of technique with its precise application. The tone of Barley Moon is romantic both in title and subject matter. A full September moon dominates the sky and filters into the body of the work before resting in a pool of creamy luminosity in the foreground of the canvas. There is a sense of theatricality to this autumnal moonlight - an element to the work that perhaps resonates her time spent in the theatre world, in The Abbey, Dublin in the mid-twenties and later in the Westminster Theatre in London in the mid-thirties. The spotlight however in this case is focused on Barley Moon’s poetic lunar activity; the overall effect is sensual, mysterious and distinctly feminine.

  • Have one to sell? Interested in Similar Items?


CAP D'AIL, 1938
CAP D'AIL, 1938
Kenneth Hall (1913-1946)

Auction Date / Lot No.: 18 May 2009 / 58

Published Estimate: €5000-7000

Price Realised: €4200

  • Signature: signed lower right; inscribed and dated 28 January 1938
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Collection of Lucy Carrington Wertheim; Private collection
  • Exhibited: Second solo exhibition, Wertheim Gallery, London, 1938
  • Have one to sell? Interested in Similar Items?


STILL LIFE WITH FLOWERS AND TEA CUP
STILL LIFE WITH FLOWERS AND TEA CUP
Kenneth Hall (1913-1946)

Auction Date / Lot No.: 18 May 2009 / 59

Published Estimate: €3000-4000

Price Realised: 

  • Signature: signed lower right
  • Medium: watercolour, pen and ink on paper
  • Dimensions: 75 by 54cm., 29.5 by 21.2 5in.
  • Provenance: Collection of Lucy Carrington Wertheim; Private collection
  • The original owner of this and the following work (lot 59), Lucy Wertheim, was Hall’s first dealer and an ardent advocate of his work. Wertheim supported numerous young, and then unknown artists such as Frances Hodgkins and Christopher Wood, and in 1934 gave Hall his first solo exhibition. Around the time of his first exhibition, Hall met Basil Rákóczi a fellow interior designer and founder of the Society for Creative Psychology. Together they read works on psychoanalysis and painted works they described as “subjective art”. They exhibited these in a shared studio in Fitzroy Street under the collective name of the White Stag Group. During the years 1936-38 they travelled through France, Spain, Italy and Greece. Hall’s second show at the Wertheim Gallery consisted chiefly of paintings of Cap D’Ail, on the French Riviera. In July 1939 he and Rákóczi came to Ireland, partly to avoid conscription, and partly, perhaps, owing to the fact that both of their mothers hailed from Co. Cork. In an attempt to live frugally they took a cottage at Delphi, Co. Mayo, but returned to Dublin in March 1940. There they re-established the White Stag Group, creating a nucleus for likeminded experimental artists such as Patrick Scott, Mainie Jellett, and Nick Nicholls. After the war Hall returned to London and showed briefly with the Redfern Gallery. However, he suffered acute depression and in July 1946 took his own life. The following year, in the preface to her memoirs, Adventure in Art, Lucy Wertheim paid tribute to Hall, whose untimely death, she wrote, “…robbed [us] of a very great artist”. Many works from the collection of Lucy Wertheim were loaned to ‘Kenneth Hall 1913-1946, A Retrospective Exhibition’, March 1991 held at European Modern Art, 5 Clare Street, Dublin 2.

  • Have one to sell? Interested in Similar Items?


STILL LIFE WITH BLUE JUG and STILL LIFE WITH BLUE OIL CAN (A PAIR)
STILL LIFE WITH BLUE JUG and STILL LIFE WITH BLUE OIL CAN (A PAIR)
Basil Ivan Rakoczi (1908-1979)

Auction Date / Lot No.: 18 May 2009 / 60

Published Estimate: €3000-4000

Price Realised: €3200


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

Auction Date / Lot No.: 18 May 2009 / 61

Published Estimate: €3000-4000

Price Realised: €2900


PORTRAIT OF KIT, 1912
PORTRAIT OF KIT, 1912
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 18 May 2009 / 64

Published Estimate: €50000-70000

Price Realised: €70000

  • Signature: signed lower right; inscribed (KIT) and dated, 1912, lower left
  • Medium: oil on panel
  • Dimensions: 50 by 61cm., 19.5 by 24in.
  • Provenance: The artist; Lady Orpen; to the sitter; thence by descent
  • Exhibited: London, Royal Academy of Arts, Late Members, 1933, no 23 Dublin, National Gallery of Ireland, William Orpen, 1878-1931, A Centenary Exhibition, 1978, no 86
  • Literature: Bruce Arnold, Orpen, Mirror to an Age, 1981 (Jonathan Cape), p. 269 (illustrated)
  • In the late twenties, in what were to be the last years of his life, Orpen would, according to his nephew, get down on the floor and play with infants’ toys. In the strict social codes of the period, this behaviour was indefensible and John Rothenstein in 1952, rained savage criticism on his long dead uncle accordingly (See note 1 below). There could be little justice for a painter who although traumatised by his experiences on the Western Front, and bitterly cynical of Peace Conference hypocrisy, had seemingly turned his back on the mainstream of European Modernism. Rothenstein’s words failed to acknowledge the Edwardian fascination with childhood that produced JM Barrie’s Peter Pan and Rudyard Kipling’s Puck. He did not appreciate a period when WB Yeats talked of the ‘human child’ inhabiting ‘the waters and the wild’, a world of fairy fantasy. And more especially, he closed his eyes to that aspect of the work of Orpen’s contemporaries, Augustus John, Charles Sims and the popular illustrator, Arthur Rackham, in which children were idolized and upheld as a synonym for innocence and magic. Orpen, from the point in 1902 when he painted the infant Clara Hughes, aged 4½, was the most sympathetic recorder of childhood. Famous family portraits depict the offspring of the Swintons, the Vere Fosters and the Nicholsons, and in his child portraits, before 1912 there is an intuitive understanding of child psychology. Watching his two daughters play, Orpen, like many Edwardian intellectuals was enthralled by the imaginative world that seemed to open. The mystic setting for these reveries was Howth, where from 1909, with Grace, his wife, and the girls, ‘Bunnie’ and ‘Kit’, he would spend idyllic summer holidays. Here, in 1912, he placed the six year old Kit, precariously ‘on a drawing board on top of a sculptor’s high stool’, to pose for her portrait (See note 2 below). ‘As the board overlapped the stool considerably on all sides’ she later recalled, ‘one was bound to sit absolutely still or have a nasty crash’. Sittings lasted ‘only an hour at a time’ and were followed by ‘a dash along the cliffs for a bathe – golden days’. For enduring this suffering Kit was generously rewarded by being ‘paid half a crown an hour for sitting for these portraits – a fortune in those days’. (See note 3 below) Kit posed for Orpen on many occasions on the hilltops and coves around Howth Head. (See note 4 below) Irish summers required that thick woollen garments were always readily to hand, and thus attired, she sat for her portrait in 1912, in what is the simplest, most direct rendering of her features. As is evident in the present work, Kit had inherited her father’s impish eyes – a characteristic which she retained in old age. The work coincides with the full-length portrait of Noll Gogarty, her playmate at Howth, who is similarly dressed in woollen hat and pullover. (See note 5 below) Unlike the Hughes portrait, or the Gogarty, or indeed the two versions of Miss Harmsworth, the Ferris St George or Master Spottiswoode, Orpen was not obliged to flatter or please the parents of the offspring he painted, and here he dispenses with quotation from the old masters to confront the six year old’s inquisitive gaze. Only in the later watercolour Kit c. 1913 is there equal directness. (See note 6 below) A counterpoint to her finely recorded features in the present work is evident in the swift, staccato notation of texture in her clothing and the muted windswept cloudy sky, a familiar backdrop for the Howth compositions. Centrally placed and primly posed with her arms folded she looks out at the spectator with doll-like passivity. In this moment, Orpen was absolved from the need to perform as his daughter adopts her gamine gaze. Nothing has come between them. Orpen, in contrast to his nephew, so well understood, the universal child, the essence of the present portrait. Notes: 1. John Rothenstein, Modern English Painters, Sickert to Smith, 1952 (Eyre and Spottiswoode), pp. 212-227. 2. Christine, known as ‘Kit’ (1906-2003) was the Orpens’ second daughter. After the First World War, Kit’s carefree childhood had come to an end. She trained as a pianist and singer, and even trod the London boards for a little time, making her debut, in 1931, as “A Chelsea Guest” in A.P. Herbert’s hunting-cum-Chelsea musical satire Tantivy Towers , at the Lyric Theatre, Hammersmith. Like her father she was a keen and competitive tennis player. In 1933 she married Mr Barrie Nicoll, with whom she had three children. She was widowed in 1955 and remarried twenty years later. 3. Quoted from James White ed., William Orpen, 1878-1931, A Centenary Exhibition, 1978, (exhibition catalogue, National Gallery of Ireland), p. 49; Arnold 1981, p. 269. 4. A further portrait, slightly smaller in size, was lent to the Royal Academy Late Members exhibition in 1933, no. 135 by Alfred Jowett (unlocated). In addition she appears lying beside her mother in On the Beach, Howth, c.1910, partially undressed beside her elder sister in On the Beach, c. 1910-12 (unlocated, Arnold p. 268 illus), sitting on a headland near the Bailey lighthouse in Watching the Yacht Race and The Edge of the Cliff, Howth, c. 1913, sitting with crossed legs and black hat in Kit and posing in striped bathing costume with arms folded in Kit, c. 1913 (all Private Collections). 5. Sotheby’s Irish Sale, 8 May 2009, catalogue entry by ORP. 6. By 1913, Kit’s pigtails were gone and her golden hair was cropped in the then fashionable ‘Renaissance pageboy’ style. The ‘bathing costume’ watercolour portrait was used for reproduction in a series of facsimiles issued by the Chenil Gallery in 1914. Orpen Research Project April 2009

  • Have one to sell? Interested in Similar Items?


MAY (THE ARTIST'S WIFE) c.1920-25
MAY (THE ARTIST'S WIFE) c.1920-25
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 18 May 2009 / 65

Published Estimate: €10000-15000

Price Realised: 

  • Signature: signed 'LEECH' verso at the base; also with foundry mark, D.A.F. '89
  • Medium: bronze (no. 4 from an edition of 12)
  • Dimensions: 37 by 34cm., 14.5 by 13.5in.
  • Provenance: Collectioin of the artist; By whom bequeathed to Mr. Alan Denson, poet, author, art historian and friend of Leech by whom it was bequeath; 'An Exhibition of 18th, 19th and 20th Century Irish Paintings, Gorry Gallery, Dublin, 25 November to 8 December 198
  • Exhibited: 'An Exhibition of 18th, 19th and 20th Century Irish Paintings, Gorry Gallery, Dublin, 25 November - 8 December, 1988, catalogue no. 13, illustrated p.8
  • Literature: Alan Denson, 'An Irish Artist, W. J. Leech R.H.A. 1881-1968', Kendal, 1968, illustrated plate 5, p. 16; Alan Denson, 'Visual Taste: Catalogue of an Author's Art Collection', Volume 2, Kendal, 1971, catalogue no. 199
  • This limited edition bronze was cast by the Dublin Art Foundry from the original plaster and is the only example of a sculptural work from the artist’s oeuvre. Until its presentation in 1988 at the Gorry Gallery this bronze had never before been seen in public. This rare work illustrates Leech’s adaptability into the three dimensional as well as his astute technique, one which sensitively translates his distinct style from canvas to bronze. This bronze is number four from a finite edition of twelve, the original plaster cast having been donated by Mr. Alan Denson, poet, author, art historian and friend of Leech, into a permanent public collection. After 1910 William John Leech made London his home, with annual painting trips to France with Elizabeth Lane, who became his wife in 1912. With the outbreak of the First World War he remained in Brittany with Elizabeth but his marriage, his painting and his finances greatly suffered. When he returned to London at the end of the war in 1918 he met the Botterell family who had just returned from Holland where Percy Botterell, an eminent London lawyer, had been a commercial attaché to The Hague. Percy Botterell’s wife May organised a relief centre for released prisoners of war, providing clothes, money and information on their return home, and there met Leech’s older brother, Cecil. Cecil Leech, who had fought in the First World War as a commissioned officer in the Royal Horse Artillery, spent four years in a prisoner of war camp and worked with May Botterell to ensure the safe return of soldiers in his command. In London he arranged meetings between the Botterell family and the Leech family and from this introduction Percy Botterell commissioned W. J. Leech to paint portraits of himself, his wife, May and his three children, James , Guy and Suzanne. This meeting and the painting of May’s portrait was to change the Botterell family life irrevocably and was to begin the lifelong relationship between May Botterell and W. J. Leech, which culminated in their wedding in 1953, after the death of Percy Botterell in 1951 and Leech’s wife Elizabeth, in 1950. For the entirety of their relationship, since their first encounter in 1920, until her death in July 1965, May remained a constant supporter, companion and muse to Leech.

  • Have one to sell? Interested in Similar Items?


THE BEGGAR GIRL
THE BEGGAR GIRL
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 18 May 2009 / 66

Published Estimate: €20000-30000

Price Realised: €27000

  • Signature: signed upper left
  • Medium: oil on canvas
  • Dimensions: 76 by 56cm., 30 by 22in.
  • Provenance: Beaux Arts Gallery, London (by 1924) Thomas Howarth, Westmoreland, England (by 1932) (purchased from above); Anon, London, Christie’s Sale, 04 November 1983, Lot No. 64 (Illus. p.34); Vincent Ferguson, Lisnacran, Dun Laoghaire, Dublin; Christie’s & Edmiston’s Ltd, Ireland, Lisnacran, Dun Laoghaire, Dublin (Hamilton & Hamilton) Sale, 20 May 1987, Lot No. 277; Private Collection; Christie’s, London, 8 May 2008, Lot No. 86
  • Exhibited: `Sir William Orpen, R.A', Beaux Arts Gallery, London, July 1924, catalogue no. 5
  • Literature: Konody, P.G., and Dark, Sidney, William Orpen: Artist and Man, Seeley Service, London, 1932, p. 277, (Appendix - List of Works - Uncertain Date) Cara Copland Ref : H03:13
  • In September 1904, Orpen accompanied his friend, the art dealer and connoisseur, Hugh Lane, to Europe on a buying expedition to acquire works for Lane’s project - a Modern Art Gallery for Dublin. The tour took them first to Paris and then to Madrid. As Lane’s forte was the Old Masters, Orpen went along ostensibly as a guide and adviser in the field of modern European art. However, for Orpen, who had for years been studying images of the Old Master paintings whilst learning his trade at the Metropolitan School of Art in Dublin and then the Slade School of Fine Art in London, it was an opportunity to come face to face with works that until then he only knew from reproductions. He embraced them like old friends, and their sight did not disappoint. In letters to his wife from Madrid, he enthuses ‘We have seen the Prado! We have seen San Fernando! And I have no great wish to see anything more here except these two again and again till I leave …’ and: ‘I have spent nearly the whole morning looking at Goya’s. they are the most amazing things I have ever seen all wonderfull [sic]in paint and composition…’; and again : ‘I am learning so much from Velasquez and Goya that I am nearly off my head with excitement.’(See note 1 below) Orpen returned to London with renewed vigour and an almost insatiable desire to translate the experience into paint. What followed throughout 1905 and into 1906 was an explosion of energy and a willingness to explore and assimilate the techniques of the Old Masters, mainly, but not exclusively, inspired by the Spanish artists such as Goya, Velasquez, Pereda, Ribera and others, with a zest not matched since his Slade days when he drew on the likes of Watteau, Hogarth, Goya, Rembrandt and Chardin, for his master work of that period, the Play Scene from Hamlet, 1899 (Private Collection). For the new canvases of 1905 his choice of male and female models was inspired. Foremost amongst these were Mr Green and Lottie Stafford of Paradise Walk, Mr Green featuring in The Saint of Poverty, 1905 (Glasgow Museums and Art Galleries) and the Flycatcher, 1905 (Private Collection) with their echoes of Ribera, while Lottie Stafford was portrayed as a washerwoman after Chardin in such works as At the Tub, 1905 (National Gallery of Canada, Ottawa, and The Wash House, 1905 (National Gallery of Ireland, Dublin) and the half-length Resting, 1905 (Ulster Museum, Belfast). Working class characters were devoid of idealism; their ‘lived-in’ hands and faces permitted a display of virtuosity, conveyed, for the most part, in an earth-based palette. It is into such groupings that the present work, The Beggar Girl, falls. Orpen’s revitalised Old Master enthusiasm caused him to revisit his early affection for the Dutch Masters. He had looked at the Dutch before, with New English Art Club submissions such as The Mirror, 1900 (Tate) in which P.G. Konody found echoes of Metsu and Terborch (See note 2 below), but now he turned to Frans Hals. Whether it was Hals that inspired the choice of model or the model that called the Dutch master vividly to mind, is not certain, and although her identity is not known, her striking features, especially her teeth, may have been the catalyst for the racy brushwork that recalls Hals’works. Her looks and expression have a remarkable resemblance to Hals’ The Laughing Boy (Tête d’enfant), c.1625 (Mauritshuis Royal Picture Gallery, The Hague) and A Young Fisherman of Scheveningen (National Gallery of Ireland, Dublin). Since the latter work was acquired by the gallery in 1881, resemblances would not have been lost on Orpen. He may then have drawn on two other of Hals works, The Gypsy Girl (La Bohémienne 1628-30 (Louvre, Paris), for pose and Malle Babbe, c 1635 (Gemäldegalerie, Berlin), for the palette and technique. Thus, in contrast to the ‘Lottie’ and ‘Mr Green’ groups, in the Beggar Girl, Orpen’s application is looser and freer, and features such as the hands, are less detailed. Hals now stands in the same firmament along with Ribera, Velazquez and Chardin. This is especially clear when comparing The Beggar Girl, with Resting and the Saint of Poverty, (a second version, was sold in these rooms, 24 November 2008 as Lot 126) - three paintings of half length figures with similar poses. These works are not merely an expression of prowess, of showing off, they remind us that Orpen’s education had not ended with the Slade. His avaricious eye had been unleashed in the great collections of Paris and Madrid and in 1905 he was still honing his talent. Notes: 1. Extracts from unpublished letters from Orpen to his wife Grace, September 1904, quoted by Bruce Arnold, Orpen Mirror to an Age, Jonathan Cape, London, 1981, p.145 2. P.G. Konody and Sidney Dark, Sir William Orpen: Artist & Man, Seeley Service, London, 1932, p.141. Orpen Research Project April 2009

  • Have one to sell? Interested in Similar Items?


A WORD OF ADVICE, c.1900
A WORD OF ADVICE, c.1900
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 18 May 2009 / 67

Published Estimate: €2000-3000

Price Realised: €2900

  • Signature: signed lower right
  • Medium: watercolour and pen over paper
  • Dimensions: 17 by 22cm., 6.5 by 8.75in.
  • Provenance: Christie's, London, 8 June 1984, lot 96; Christie's, London, 10 May 2007, lot 99; Whence purchased by the present owner
  • Have one to sell? Interested in Similar Items?


LIFE IN THE WEST OF IRELAND, DRAWN AND PAINTED BY JACK BUTLER YEATS
LIFE IN THE WEST OF IRELAND, DRAWN AND PAINTED BY JACK BUTLER YEATS
Jack Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 18 May 2009 / 68

Published Estimate: €1000-1500

Price Realised: €1000

  • Maunsel and Co. Dublin, 1912. First edition. Contains eight tipped-in colour plates, thirty-two block printed line drawings and sixteen photogravure reproductions from paintings. Quarto; in original blue cloth with gilt lettering; top edge gilt. A rare and lovely livre d'artiste.

  • Have one to sell? Interested in Similar Items?


ERNEST MARRIOTT, 'JACK B. YEATS: HIS PICTORIAL AND DRAMATIC ART
ERNEST MARRIOTT, 'JACK B. YEATS: HIS PICTORIAL AND DRAMATIC ART
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 18 May 2009 / 69

Published Estimate: €300-500

Price Realised: €320

  • This pamphlet published by Elkin Mathews, London, 1911 and originally retailed for one shilling a copy. The book itself is printed in blue wrappers sewn at the spine, with Jack B. Yeats' monogram tipped in. This lot includes Yeats' 'fold-out, 'Chart of Pirate Island'.

  • Have one to sell? Interested in Similar Items?


THOMAS MACGREEVY, 'JACK B. YEATS: AN APPRECIATION AND AN INTERPRETATION' with HANDWRITTEN LETTER FR
THOMAS MACGREEVY, 'JACK B. YEATS: AN APPRECIATION AND AN INTERPRETATION' with HANDWRITTEN LETTER FR
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 18 May 2009 / 70

Published Estimate: €600-800

Price Realised: €650

  • Victor Waddington Publications, printed at the Sign of the Three Candles, Dublin, June 1945. First edition. Written at Jack Yeats’ own request, this was an important production in terms of raising Yeats’ reputation overseas. Whilst the idea for the book first arose in 1931, it failed to take root owing to the reluctance of London publishers to take on what seemed an expensive and risky venture. In 1942 Yeats had a joint show with William Nicholson and consequently became better known in Britain, but by then wartime economies precluded the publishing of art books, thus it did not appear until 1945 (for a full account see The Irish Arts Review, Spring 2005, pp. 96-9). The letter, handwritten by Jack B. Yeats to McLoughlin, who was a member of the United Arts Club in Dublin and a confidant of the artist, is dated August 22nd 1945. Inscribed in blue ink and displaying an old Dublin watermark the letter is written on Yeats’ own headed paper, No. 18 Fitzwilliam Square, and mentions (Thomas) McGreevy, a resident of Fitzwilliam Place, Dublin in the 1940s, close friend to Yeats and prominent member of the arts scene. It also refers to the opening of ‘The Living Art Exhibition’ “yesterday”, Yeats’ largest exhibition and most prolific year for painting.

  • Have one to sell? Interested in Similar Items?


STAGE IRISHMAN, c.1909
STAGE IRISHMAN, c.1909
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 18 May 2009 / 71

Published Estimate: €6000-8000

Price Realised: €5600

  • Signature: signed and titled lower right; inscribed on reverse; with original Dawson gallery label on reverse
  • Medium: ink and watercolour
  • Dimensions: 25 by 18cm., 10 by 7in.
  • Provenance: The artist's estate; Dawson Gallery; Private collection
  • Exhibited: Dawson Gallery, Dublin, 1919, catalogue no. 29; 'Jack Butler Yeats, Exhibition of Theatrical Paintings', The Peacock Theatre, Dublin, 1971, catalogue no. 12
  • Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats: His cartoons and Illustrations, Irish Academic Press, Dublin, 1994, page 248, catalogue no. 1785; 'A Broadside', No. 2 (second year), July 1909, Cuala Press, Dundrum, Co. Dublin
  • Have one to sell? Interested in Similar Items?


DONNELLY AND COOPER, (2) 1910
DONNELLY AND COOPER, (2) 1910
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 18 May 2009 / 72

Published Estimate: €5000-7000

Price Realised: €3500

  • Signature: signed lower right; original Dawson Gallery label on reverse; also inscribed (in Yeats' hand) on paper pasted to back of frame, "Crying Dan my boy, what do you mean? my Irish son, said she My whole estate this day I'll bet on you, brave Donnelly."
  • Medium: pen and ink and watercolour
  • Dimensions: 15 by 12cm., 5.75 by 4.75in.
  • Provenance: Dawson Gallery; Private collection
  • Exhibited: Dawson Gallery, Dublin, 1923, catalogue no. 28
  • Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats: His cartoons and Illustrations, Irish Academic Press, Dublin, 1994, page 252, catalogue no. 1822
  • This is the second of two illustrations of the same subject both of which featured in A Broadside, no. 3, in August 1910. Dan Donnelly “the famous Irish Boxer” was born in Dublin in 1788 and died in 1820. The fight with the English champion, Cooper, took place at the Curragh, County Kildare, in 1815. Yeats, who obviously had an admiration for the champion, commemorated him again in the drawing, Dan Donnelly, (A Broadside, January 1913, 1909) and in his oil painting of 1936, Donnelly’s Hollow. The first illustration to Donnelly and Cooper was reproduced a second time in 1979 in A Little Book of Drawings , by Jack B. Yeats.

  • Have one to sell? Interested in Similar Items?


RABBITING
RABBITING
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 18 May 2009 / 73

Published Estimate: €12000-15000

Price Realised: €8500

  • Signature: signed upper right; original Dawson Gallery label on reverse
  • Medium: ink drawing
  • Dimensions: 34 by 30cm., 13.5 by 12in.
  • Provenance: Dawson Gallery; Private collection
  • Exhibited: Dawson Gallery, Dublin [DATE]
  • This pair of pencil and ink drawings (lots 73 and 74) was acquired by the vendor from the Dawson Gallery. Each is inscribed on the back ‘Jack B. Yeats, Strete, N. Dartmouth, South Devon’, in the artist’s hand. Yeats lived in Strete between 1897 and 1910,after which he settled in Ireland permanently. During these 13 years Yeats was a prolific illustrator, producing images for the Dun Emer and Cuala Industries in Dublin as well as work for London based publishers. The medium and the technique of cross-hatching seen in the two drawings are typical of his working method at this time. The drawings were probably made as designs for printed illustrations but they do not appear to have been published. The subjects are of rural life, possibly of Devon rather than Ireland. After settling in the West Country of England Yeats became fascinated by local farming communities and his sketchbooks and watercolour paintings of the late 1890s are dominated by scenes of English rural life. From 1898 onwards Ireland becomes a more significant theme. The subject matter of both works refers to distinctive aspects of rural life, and possibly to the idea of different seasons. Rabbiting is a rather humorous image of a determined hunter looking for his prey while his dog stands guard. The latter appears to be modelled on Yeats’s own dog, ‘Hooley’ who features in many of the artist’s sketches of domestic life in Devon in these years. The subject recalls another untraced work which was exhibited in London in 1897 entitled ‘When ferrets lie up and when rabbits are plentiful’, which was subsequently reproduced but has not been traced (See note 1). A print of the latter was sold in these rooms as lot 26, 29 November 2005. The dominant trunk of the tree which forms the background to the scene is very stylised and indebted to the current vogue for Art Nouveau which Yeats experimented with in his graphic work of the 1890s. Thatching in the Sun also focuses on a single individual. A thatcher at work on a rooftop is depicted in acute foreshortening which has the effect of flattening the thatch and the various tools strewn across it. The exaggerated awkwardness of the figure and the extreme perspective accentuate the primitive notions of the subject which could be either English or Irish in its origins. These drawings appear to date to an early period in the artist’s development as a black and white illustrator before he had fully developed a distinctive style and approach. Both show his knowledge of post-impressionist art and design and his skill at creating vibrant and complex images from very simple subject matter. Notes: 1. H. Pyle, Jack B. Yeats. His Watercolours, Drawings and Pastels , Irish Academic Press, 1993, nos. 46-7, p. 63 Dr. Róisín Kennedy Dublin, April, 2009

  • Have one to sell? Interested in Similar Items?


THATCHING IN THE SUN
THATCHING IN THE SUN
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 18 May 2009 / 74

Published Estimate: €12000-15000

Price Realised: €8500

  • Signature: signed lower right; original Dawson Gallery label on reverse
  • Medium: ink over pencil
  • Dimensions: 34 by 30cm., 13.5 by 12in.
  • Provenance: Dawson Gallery; Private collection
  • Exhibited: Dawson Gallery, Dublin [DATE]
  • This pair of pencil and ink drawings (lots 73 and 74) was acquired by the vendor from the Dawson Gallery. Each is inscribed on the back ‘Jack B. Yeats, Strete, N. Dartmouth, South Devon’, in the artist’s hand. Yeats lived in Strete between 1897 and 1910,after which he settled in Ireland permanently. During these 13 years Yeats was a prolific illustrator, producing images for the Dun Emer and Cuala Industries in Dublin as well as work for London based publishers. The medium and the technique of cross-hatching seen in the two drawings are typical of his working method at this time. The drawings were probably made as designs for printed illustrations but they do not appear to have been published. The subjects are of rural life, possibly of Devon rather than Ireland. After settling in the West Country of England Yeats became fascinated by local farming communities and his sketchbooks and watercolour paintings of the late 1890s are dominated by scenes of English rural life. From 1898 onwards Ireland becomes a more significant theme. The subject matter of both works refers to distinctive aspects of rural life, and possibly to the idea of different seasons. Rabbiting is a rather humorous image of a determined hunter looking for his prey while his dog stands guard. The latter appears to be modelled on Yeats’s own dog, ‘Hooley’ who features in many of the artist’s sketches of domestic life in Devon in these years. The subject recalls another untraced work which was exhibited in London in 1897 entitled ‘When ferrets lie up and when rabbits are plentiful’, which was subsequently reproduced but has not been traced (See note 1). A print of the latter was sold in these rooms as lot 26, 29 November 2005. The dominant trunk of the tree which forms the background to the scene is very stylised and indebted to the current vogue for Art Nouveau which Yeats experimented with in his graphic work of the 1890s. Thatching in the Sun also focuses on a single individual. A thatcher at work on a rooftop is depicted in acute foreshortening which has the effect of flattening the thatch and the various tools strewn across it. The exaggerated awkwardness of the figure and the extreme perspective accentuate the primitive notions of the subject which could be either English or Irish in its origins. These drawings appear to date to an early period in the artist’s development as a black and white illustrator before he had fully developed a distinctive style and approach. Both show his knowledge of post-impressionist art and design and his skill at creating vibrant and complex images from very simple subject matter. Notes: 1. H. Pyle, Jack B. Yeats. His Watercolours, Drawings and Pastels , Irish Academic Press, 1993, nos. 46-7, p. 63 Dr. Róisín Kennedy Dublin, April, 2009

  • Have one to sell? Interested in Similar Items?


SWANS ON A RIVER
SWANS ON A RIVER
Aloysius C. O'Kelly (1850-1929)

Auction Date / Lot No.: 18 May 2009 / 75

Published Estimate: €2000-3000

Price Realised: €1900


LAGAN BROOK, COUNTY LOUTH, 1880
LAGAN BROOK, COUNTY LOUTH, 1880
Henry Allan (1865-1912)

Auction Date / Lot No.: 18 May 2009 / 76

Published Estimate: €3000-4000

Price Realised: 

  • Signature: signed lower right; title and date inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 76cm., 20 by 30in.
  • Henry Allan, a native of Dundalk, County Louth began his artistic training first in Belfast and Dublin before later following his contemporaries to Antwerp where he trained from 1884 to 1888. However, unlike many other artists of his day, Allan did not travel to France for further instruction, returning instead to begin his career in Ireland. Allan first exhibited in the RHA in 1889 and among the subjects he depicted were Irish landscapes as well as Dutch and Belgian interiors; testament to his previous expeditions abroad. Two years later Allan was to become a Royal Hibernian Academician and this position progressed to that of Academy Treasurer in 1909. Lagan Brook, County Louth is dated 1880 and is a rare example of the artist’s early works prior to his exposure to artistic styles on the Continent. However, in its execution of the figures, certain similarities with his later work, such as Country Road Near Antwerp, catalogue no. 91 (£2-2-0), exhibited at the RHA in 1889, can be seen. Allan’s work very rarely comes onto the market. The National Gallery of Ireland currently holds only one example of Henry Allan‘s work within its collection, Dutch Interior, which was exhibited at the RHA in 1889, catalogue no. 290 (£3-3-0).

  • Have one to sell? Interested in Similar Items?


THE SILVER BIRCH
THE SILVER BIRCH
Nathaniel Hone RHA (1831-1917)

Auction Date / Lot No.: 18 May 2009 / 77

Published Estimate: €10000-15000

Price Realised: €11000

  • Signature: signed with initials lower right
  • Medium: oil on canvas
  • Dimensions: 43 by 69cm., 17 by 27in.
  • Provenance: Collection of Dermod O'Brien PRHA (no.458 in an inventory of his collection); Dr Brendan O'Brien, by descent; James Adam's, 17 May 1987, lot 143 (£4,000); Private collection; Gorry Gallery, Dublin; Private collection
  • Exhibited: ‘Paintings of the 18th, 19th and 20th Centuries’, The Gorry Gallery, November 2003
  • This is a rapidly painted landscape with firs and mountains by Hone, probably painted on the continent. The relaxed manner in which it is painted belies the skill with which the artist can convey the essence of the landscape. The figures of the standing man and the woman who bends towards the ground add a pleasing human quality to the scene. In many later landscapes Hone deliberately subdued his colour range, with a sort of “less is more” philosophy, and here the palette of olives, silvers and ochres is original. He employs an interesting ‘scuffed’ technique to indicate the lightness or movement of the trees on the right. Julian Campbell (Reprinted courtesy of the author and The Gorry Gallery, Dublin)

  • Have one to sell? Interested in Similar Items?


CONNEMARA, 1914
CONNEMARA, 1914
William Percy French (1854-1920)

Auction Date / Lot No.: 18 May 2009 / 78

Published Estimate: €4000-6000

Price Realised: €6500

  • Signature: signed and dated lower left; inscribed with title and original price, £3-5-0, beneath backing board
  • Medium: watercolour
  • Dimensions: 26 by 36cm., 10.2 5 by 14.2 5in.
  • Have one to sell? Interested in Similar Items?


MOUNTAINS OF MOURNE, THE SILENT VALLEY, COUNTY DOWN, 1928
MOUNTAINS OF MOURNE, THE SILENT VALLEY, COUNTY DOWN, 1928
Joseph William Carey RUA (1859-1937)

Auction Date / Lot No.: 18 May 2009 / 79

Published Estimate: €800-1000

Price Realised: €950

  • Signature: signed and dated lower right; titled lower left; original W.J. Irvine, Belfast label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 42 by 60cm., 16.5 by 23.7 5in.
  • Carey was predominantly a watercolour painter of seascapes and landscapes, and also did some illustrative work. The most prestigious commission of his career was a series of thirteen scenes from Belfast history painted on canvas for the Ulster Hall and completed in 1903. He exhibited at the RHA from 1915-35.

  • Have one to sell? Interested in Similar Items?


HEATHER IN THE MOUNTAINS
HEATHER IN THE MOUNTAINS
William Percy French (1854-1920)

Auction Date / Lot No.: 18 May 2009 / 80

Published Estimate: €8000-10000

Price Realised: €8000

  • Signature: signed lower left
  • Medium: watercolour
  • Dimensions: 28 by 45cm., 11 by 17.7 5in.
  • Provenance: Purchased by the first owner's grandparents directly from the artist; Christie's, South Kensington, 10 May 2007; Whence purchased by the present owner
  • Have one to sell? Interested in Similar Items?


DONAGHADEE, COUNTY DOWN, 1923
DONAGHADEE, COUNTY DOWN, 1923
Joseph William Carey RUA (1859-1937)

Auction Date / Lot No.: 18 May 2009 / 81

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed and dated lower left; titled lower right
  • Medium: watercolour
  • Dimensions: 18 by 52cm., 7 by 20.5in.
  • Carey was predominantly a watercolour painter of seascapes and landscapes, and also did some illustrative work and exhibited at the RHA from 1915-35. During these years Carey was commissioned by John Kelly of Donaghadee to paint for him and for his family firm, Kelly Coals. Carey helped illustrate their Annual Calendar. The Kelly Coal firm became the biggest coal importing and shipping firm in Ireland in the 1920s with one hundred and ninety ocean going frigates.

  • Have one to sell? Interested in Similar Items?


RELIEVING [THE] GUARD, DUBLIN CASTLE, 1891
RELIEVING [THE] GUARD, DUBLIN CASTLE, 1891
Rose Mary Barton RWS (1856-1929)

Auction Date / Lot No.: 18 May 2009 / 82

Published Estimate: €10000-15000

Price Realised: €9500

  • Signature: signed and dated lower left; title and artist name on original label on reverse
  • Medium: watercolour
  • Dimensions: 22 by 32cm., 8.75 by 12.7 5in.
  • Exhibited: Watercolour Society of Ireland, Dublin, 1895, catalogue no. 309, price £6-0-0
  • One of Ireland’s best-loved watercolour painters, a contemporary of Mildred Anne Butler and Percy French and cousin of the author and artist Edith Somerville, Rose Barton was born in Rochestown, Co. Tipperary. She received drawing tuition whilst visiting Brussels in 1875 and by the early 1880s had embarked on a career as a professional artist. She exhibited with the RA, the RHA, the Society of Women Artists and the RWS, of which she was made a full member in 1911. Her work was also used to illustrate books, including Francis Gerard’s, Picturesque Dublin Old and New (London, 1898). She is represented in the NGI, the Ulster Museum in Belfast, and the Hugh Lane Municipal Gallery of Art, Dublin. This work bears a close resemblance to Going to the Levée at Dublin Castle, 1897 (illustrated here), in the collection of The National Gallery of Ireland. In 1987 Rose Barton was the subject of a major retrospective exhibition at the Crawford Municipal Art Gallery Cork, 7 to 30 January. Going to the Levée at Dublin Castle, 1897 (courtesy of The National Gallery of Ireland)

  • Have one to sell? Interested in Similar Items?


A CLASSICAL LANDSCAPE COMPOSITION
A CLASSICAL LANDSCAPE COMPOSITION
Jeremiah Hodges Mulcahy RHA (fl. c.1830-1889)

Auction Date / Lot No.: 18 May 2009 / 83

Published Estimate: €10000-15000

Price Realised: 

  • Signature: with old printed label containing artist's name and title on reverse
  • Medium: oil on canvas; within what appears to be its original 19th century gilt gesso frame
  • Dimensions: 64 by 77cm., 25 by 30.2 5in.
  • The manner in which A Classical Landscape Composition has been painted corresponds with Mulcahy’s bluish tone, his particularly 18th century depiction of the landscape and trees and the very polished nature of his finished canvases. Here, like in many other works by Mulcahy, he has reused a standardised interpretation of the bark of the principal tree and a feathered technique to interpret the leaves featured. Mulcahy was a master of country scenes; its houses, light and surrounding wildlife. Other examples of his works include Curragh Chase House, Co. Limerick (1834, National Gallery of Ireland) and two views of Glin Castle with the Shannon Estuary (1839, 1843, Glin Castle). This work with the temples to the left and archetypal Italian bridge demonstrates the influence of the idyllic canvases of Claude Lorrain (c.1600-1682) in its recollection of the golden age of the classics. The figures, while finely drawn, are inconsequential within the immense vegetation and the plentiful livestock. In this respect, the work is similar to another Claudean style work by the artist, Ideal Landscape View with Classical Temple, formerly in the Richard Wood Collection, Fota House, now housed in the collection of Limerick University. Unfortunately, neither a biography nor Mulcahy’s early years in Limerick have been researched. What is known is that he began a painting school in the city in 1842 and later exhibited in the RHA from 1843-78. In 1875 Mulcahy was elected an ARHA. We are grateful to Dr Adrian Le Harivel for his assistance in cataloguing this work.

  • Have one to sell? Interested in Similar Items?


TRAVELLER IN EXTENSIVE WOODED MOUNTAIN LANDSCAPE
TRAVELLER IN EXTENSIVE WOODED MOUNTAIN LANDSCAPE
James Arthur O'Connor (1792-1841)

Auction Date / Lot No.: 18 May 2009 / 84

Published Estimate: €20000-30000

Price Realised: 

  • Medium: oil on canvas
  • Dimensions: 64 by 76cm., 25 by 30in.
  • Provenance: James Adam & Bonham's, Dublin, 28 May 2003, lot 9; Private collection, Canada
  • This work by O’Connor dates from 1825-1830 and is characteristic of the deeply Romantic and personal style of painting which was fashionable in London during the 1820s with many of his contemporaries such as Constable, Turner and Danby. The present scene, enclosed by dense trees and foliage and bathed in rich light, is typical of O’Connor’s middle period (1821-1829) and demonstrates the artist’s acute sensitivity to the power of nature. Throughout his career O’Connor paid a number of visits to Ireland and commented in a letter to John Gibbons, dated August 1830, that he found inspiration in the “...Wild beautiful scenery of my native country.” Engulfed by towering landscape of rockery and water, O’Connor’s solitary figure, heightened by his red jacket, is left dwarfed and brooding in this immense atmospheric environment. This scene bears similarity to the landscape of The Devil’s Glen, in Wicklow, which was the subject of another canvas by O’Connor c.1830, now held in the collection of the National Gallery of Ireland (catalogue no. 825) and is also comparable to O’Connor’s landscape, Homeward Bound, National Gallery of Ireland, catalogue no. 1182 (illustrated). Homeward Bound (courtesy of The National Gallery of Ireland)

  • Have one to sell? Interested in Similar Items?


SET OF EIGHT PORTRAITS OF OLIVER CROMWELL, HIS SON, HIS GENERALS AND ASSOCIATES
SET OF EIGHT PORTRAITS OF OLIVER CROMWELL, HIS SON, HIS GENERALS AND ASSOCIATES
 Irish/English School (Late 18th/Early 19th century)

Auction Date / Lot No.: 18 May 2009 / 85

Published Estimate: €12000-15000

Price Realised: €9000

  • Signature: variously inscribed; all with inscribed brass plates, upper centre, detailing sitter and dates, wax seal - coronet over shield with St. Andrew's Cross - of an earl on reverse
  • Medium: oil on oak panel; contained in gilt 18th/19th century replicas of 17th century Sunderland frames
  • Dimensions: 39 by 30cm., 15.2 5 by 11.7 5in.
  • Provenance: F.E. De Groot, Antiques and Work of Art, 59 Dawson Street, Dublin, c.1964; Private collection
  • Portraits include: 1. Oliver Cromwell, (1599-1658), 2. Richard Cromwell, (1626-1712); 3. Cromwell’s son (Robert or Oliver Junior, deceased early); 4. Lt. Gen. Henry Ireton, Cromwell’s one-time son-in-law, first husband of Bridget, (1611-1651); 5. George Monk, Duke of Albemarle, (1608-1670); 6. Lord Thomas Fairfax, (1612-1671); 7. Lt. Gen. Charles Fleetwood, (1618-1692), Cromwell’s son-in-law through Bridget’s second marriage; 8. Robert Devereux, Earl of Essex, (1591-1646). Original invoice and provenance letters from De Groot accompany this lot.

  • Have one to sell? Interested in Similar Items?


TWO PORTRAIT SKETCHES OF GENTLEMEN and ONE SIGNED, DATED AND ANNOTATED COPY OF THE 46TH ROYAL ACADEM
TWO PORTRAIT SKETCHES OF GENTLEMEN and ONE SIGNED, DATED AND ANNOTATED COPY OF THE 46TH ROYAL ACADEM
Raphael Lamar West (1766-1850)

Auction Date / Lot No.: 18 May 2009 / 86

Published Estimate: €1500-2000

Price Realised: 

  • Signature: exhibition catalogue signed, 'R.L. West', and dated 1814
  • Medium: oil on paper, pencil and pen and ink over paper
  • Dimensions: 37 by 27cm., 14.5 by 10.5in.
  • Literature: Algernon Graves, F.S.A., 'The Royal Academy of Arts, A Complete Dicionary of Contributors and their work from its foundation in 1769 to 1904', Volume 4., S.R. Publishers Ltd., and Kingsmead Reprints, London, 1970, p. 220
  • Little is known of artist Rafael Lamar West, partly owing to the talents and success of his father, Sir Benjamin West, P.R.A. (1738-1820) an Anglo- American who became historical painter to the court of King George III c.1772 and 2nd president of the Royal Academy. Rafael possessed all the talents of his father but lived reluctantly in his shadow for the entirety of his artistic career. This small archival collection comprises three very insightful items; a rare glimpse into the life, thoughts and talents of this artist lesser known artist. The first, an RA catalogue, 1814, containing two works that were exhibited by Lamar West’s father, Cupid Stung by a bee, complains to his mother, catalogue no. 16 and The late Duke of Portland as Chancellor of the University of Oxford, catalogue no. 103. Rafael was 48 years of age when he visited this exhibition and the annotated catalogue illustrates his varied thoughts on the exhibitors. The catalogue (pp. 46) also contains 18 inserted double-sided sketches by West (perhaps illustrations of the exhibited works or notes made for his own reference) These sketches bear resemblance to other illustrations by West contained in the Whitworth Art Gallery, Manchester and referred to in Drawings by Benjamin West and his son, Raphael Lamar West. The first portrait sketch depicts the head of a young gentleman, sensitively coloured with accented tones in the lips and cheeks, the second, a hastier full-length portrait sketch shows the male figure in a classic stance with the left arm resting on his hip and the right extended in formal attire. Reference: Kraemer, Ruth S., Drawings by Benjamin West and his son, Raphael Lamar West, Pierpoint Morgan Library, New York, 1975, fig. 51, p. 87

  • Have one to sell? Interested in Similar Items?


VIEWS OF IRELAND, AN ALBUM OF INK AND PENCIL DRAWINGS AND WATERCOLOURS FROM THE COLLECTION OF SHELTON ABBEY LIBRARY, COUNTY WICKLOW
VIEWS OF IRELAND, AN ALBUM OF INK AND PENCIL DRAWINGS AND WATERCOLOURS FROM THE COLLECTION OF SHELTON ABBEY LIBRARY, COUNTY WICKLOW
Irish School (early 19th century)  

Auction Date / Lot No.: 18 May 2009 / 87

Published Estimate: €2000-3000

Price Realised: €1500

  • Medium: watercolours (22), pencil drawings (6), unfinished pencil and watercolour drawings (2)
  • Dimensions: 28 by 43cm., 11 by 17in.
  • Provenance: Earl of Wicklow; His sale (unknown date); Private collection
  • Have one to sell? Interested in Similar Items?


FIGURE BENEATH A TREE IN AN EXTENSIVE LANDSCAPE
FIGURE BENEATH A TREE IN AN EXTENSIVE LANDSCAPE
James Arthur O'Connor (1792-1841)

Auction Date / Lot No.: 18 May 2009 / 88

Published Estimate: €3000-4000

Price Realised: €4200

  • Signature: signed with initials 'J.A.O.C.' lower right
  • Medium: oil on panel
  • Dimensions: 18 by 27cm., 7 by 10.5in.
  • Provenance: Christies, London, 17 May 2001, lot 337; Whence purchased by the present owner
  • Have one to sell? Interested in Similar Items?


LANDSCAPE AND RUINS
LANDSCAPE AND RUINS
19th Century  

Auction Date / Lot No.: 18 May 2009 / 89

Published Estimate: €300-500

Price Realised: €320

  • Signature: signed lower right; with inscribed label on reverse detailing title, artist and provenance
  • Medium: watercolour
  • Dimensions: 9 by 14cm., 3.5 by 5.5in.
  • Provenance: With a label inscribed "Landscape & Ruins by George Petrie, The Collection of Sir William Thornley Stoker, Bt., M.D."; Private collection
  • Sir William Thornley Stoker was a celebrated Irish surgeon and elder brother of 'Dracula' author, Bram Stoker. Thornley Stoker, like his sibling, had a passion for art and held the position of Professor of Anatomy in the Royal Hibernian Academy of Art, was governor of the Dublin National Gallery and had a sizeable personal collection of art and antiques.

  • Have one to sell? Interested in Similar Items?


COASTAL SCENE FROM CARRAGEENAN DRYING RACK
COASTAL SCENE FROM CARRAGEENAN DRYING RACK
William H. Bartlett RBA (1858-1932)

Auction Date / Lot No.: 18 May 2009 / 90

Published Estimate: €2000-3000

Price Realised: €1800

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 25 by 33cm., 9.75 by 13in.
  • Provenance: Whyte's, 29 November 2005, lot 153; Private collection
  • Wooden platforms such as these were traditionally used to dry seawrack, or Irish moss. The wrack had to be washed in seawater after collection to remove any sediment such as sand, then spread over the platforms for several days to dry and prevent it from spoiling.

  • Have one to sell? Interested in Similar Items?


PORTRAIT OF THOMAS E. FOSTER MACGEAGH, 1891
PORTRAIT OF THOMAS E. FOSTER MACGEAGH, 1891
Henry Jones Thaddeus (1860-1929)

Auction Date / Lot No.: 18 May 2009 / 91

Published Estimate: €1500-2000

Price Realised: 

  • Signature: signed and dated lower right; inscribed 'To Foster MacGeagh M.D. from the painter', lower left
  • Medium: oil on canvas
  • Dimensions: 61 by 51cm., 24 by 20in.
  • Provenance: A gift from the artist to the sitter; Thence by decent to the previous owner; Private collection
  • In original frame with plaque lower centre. Plaque inscribed, 'Thomas E. Foster MacGeagh (1854-1935) of Hadlow Castle, Kent. Son of B.S. Foster MacGeagh (1830-1907), of Hadlow Castle & Co. Tyrone, Northern Ireland. Father of H.F.M.'

  • Have one to sell? Interested in Similar Items?


LETTER TO WILLIAM GLADSTONE, FROM MRS. ANNE CATTERSON-SMITH, 1873 AND LETTER FROM JOSEPH CHAMBERLAIN TO MRS CATTERSON-SMITH
LETTER TO WILLIAM GLADSTONE, FROM MRS. ANNE CATTERSON-SMITH, 1873 AND LETTER FROM JOSEPH CHAMBERLAIN TO MRS CATTERSON-SMITH
[Stephen Catterson-Smith] (1806-72)]

Auction Date / Lot No.: 18 May 2009 / 92

Published Estimate: €200-300

Price Realised: €180

  • Signature: the first signed by Stephen Catterson-Smith's widow, Anne. Includes an appeal on her behalf containing 37 signatories; the second letter is signed by Joseph Chamberlain
  • Medium: two handwritten letters both dated 1873, the second on 'Sackville Street Club' paper
  • Dimensions: 32 by 19cm., 12.5 by 7.5in.
  • The first, a letter to the Right Honourable William Ewart Gladstone M.P. from Mrs. Anne Catterson-Smith, widow of artist Stephen Catterson-Smith, dated 7 January 1873. The letter details an appeal on Mrs. Catterson-Smith’s behalf to the then Prime Minister requesting to be placed on the Queen’s civil list owing to her late husband’s position of portrait artist of the Queen as well as former president of the R.H.A. Letter includes a signed petition list (thirty-seven signatories, total) of support from various society members such as Arthur Guinness, Thomas Conolly, Lord Clancarty, Lord Talbot de Malahide, B. Colles Watkins RHA, Lord Dunsandle and Viscount Powerscourt. The reply letter, dated June 1873, from Joseph Chamberlain, regretfully informs Mrs. Catterson-Smith on the failure of her supplication but mentions a separate collection fund from which she may acquire a supplementary income. This letter is written on ‘Sackville Street Club’ headed paper and is contained in a stamped envelope to Mrs. Catterson-Smith, 4 Eldon Road, South Kensington.

  • Have one to sell? Interested in Similar Items?


A WOODED RIVER WITH A GROUP OF FIGURES ON THE FAR BANK, circa 1916-20
A WOODED RIVER WITH A GROUP OF FIGURES ON THE FAR BANK, circa 1916-20
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 18 May 2009 / 93

Published Estimate: €20000-30000

Price Realised: 

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 66 by 79cm., 26 by 31in.
  • Provenance: Single private collection since the 1930s
  • Exhibited: Possibly exhibited at the RHA, Dublin, 1918, as The Dun River, catalogue no. 130 (£40-0-0); or the following year, RHA, 1919, as Glen Den, Co. Antrim, catalogue no. 158 (£50-0-0)
  • Have one to sell? Interested in Similar Items?


NUDE FIGURES WITH LANDSCAPE BACKGROUND
NUDE FIGURES WITH LANDSCAPE BACKGROUND
Christopher Campbell (1908-1973)

Auction Date / Lot No.: 18 May 2009 / 94

Published Estimate: €2000-3000

Price Realised: 

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 76 by 76cm., 30 by 30in.
  • Provenance: De Vere's, Dublin, 27 September 2005, lot 52a
  • Exhibited: 'Christopher Campbell 1908-1973', Neptune Gallery, Dublin, 1976, catalogue no. 4
  • A student of Patrick Tuohy’s at the Dublin Metropolitan School of Art and brother of the sculptor Lawrence Campbell, Christopher Campbell is best remembered as a figure painter and stained glass artist. He worked for a period in Harry Clarke’s studio, and later taught art at the Kilkenny Technical School (1947-1951). A regular exhibitor at the RHA, his only solo exhibition was held posthumously at the Neptune Gallery, Dublin, in 1976.

  • Have one to sell? Interested in Similar Items?


SAND AND SEA, 1968
SAND AND SEA, 1968
William Mason ARCA (1906-2002)

Auction Date / Lot No.: 18 May 2009 / 95

Published Estimate: €1500-2000

Price Realised: 

  • Signature: signed and dated lower right; title inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 61 by 76cm., 24 by 30in.
  • William Mason was born in Newport, Gwent, in Wales. He studied at Newport College of Art, 1923-27, and the RCA, 1927-31. He taught at Scarborough School of Art, 1932-37, and at St. Alban’s School of Art from 1945 until his retirement in the early 1970s. He held a solo exhibition at the McClelland Galleries, Belfast in 1970, and has also exhibited at the RA. His brother, Gilbert Mason (1913-1972), was also a painter, based mainly in Birmingham. William Mason practised an Impressionist style of painting, finding inspiration in the likes of Sickert and Pissaro. He was described by the famous Irish art dealer and collector George McClelland as a “retiring man” whose paintings have a “timeless quality which is not dictated by fashion” (essay note from an exhibition catalogue, McClelland Galleries, March-April 1970). Mason was a regular visitor to Ireland in the 1960s to the 1980s and many of his works from that time are of scenes in Dublin, Belfast and their environs. The present work is believed to be of a beach in Ireland.

  • Have one to sell? Interested in Similar Items?


FLIGHT
FLIGHT
George Russell 'AE' (1867-1935)

Auction Date / Lot No.: 18 May 2009 / 96

Published Estimate: €6000-8000

Price Realised: €8500

  • Signature: inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 41 by 53cm., 16 by 21in.
  • Provenance: Lord Harmsworth, Lime Lodge, Egham, Surrey; Private collection
  • In the original frame of Arthur Staples, 201 High Road, Kilburn, NW London. The former owner of this painting was the publisher, poet and artist, Desmond Harmsworth, 2nd Baron Harmsworth. Born in 1903, he was educated at Eton and Christchurch College Oxford. A confidant of such authors as James Joyce and Wyndham Lewis, he published both their works, including Joyce’s Pomes Penyeach and Lewis’s The Enemy of the Stars and Thirty Personalities and a Self- Portrait. During the 1930s he followed in the footsteps of Gauguin, painting in Tahiti. His daughter, the Hon. Margaret Philips (1928-2007), was likewise artistically inclined; she studied sculpture and lived and worked in Paris.

  • Have one to sell? Interested in Similar Items?


RELIGIOUS ABSTRACT
RELIGIOUS ABSTRACT
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 18 May 2009 / 97

Published Estimate: €1500-1800

Price Realised: 

  • Medium: watercolour and pencil on paper
  • Dimensions: 11 by 23cm., 4.5 by 9in.
  • Provenance: Miss R.S.R. Kirkpatrick, Hazelbrook, Terenure, Co. Dublin; Her auction c.1979; Private collection
  • This work is very similar to five other drawings by Jellett of the same subject contained in the National Gallery of Ireland Collection and reproduced in their Illustrated Summary Catalogue of Drawings, Watercolours and Miniatures , compiled by Adrian Le Harivel, 1983, p. 437, catalogue numbers 18,229-18,223.

  • Have one to sell? Interested in Similar Items?


STUDY FOR SEA RHYTHM, c.1926
STUDY FOR SEA RHYTHM, c.1926
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 18 May 2009 / 98

Published Estimate: €800-1200

Price Realised: €800

  • Medium: pen and ink on transparent paper
  • Dimensions: 21 by 27cm., 8.25 by 10.5in.
  • Provenance: Miss R.S.R. Kirkpatrick, Hazelbrook, Terenure, Co. Dublin; Her auction c.1979; Private collection
  • A similar sketch to this one, for the finished oil, Sea Rhythm, in the collection of the National Gallery of Ireland, catalogue no. 4317, can be found in Illustrated Summary Catalogue of Drawings, Watercolours and Miniatures , compiled by Adrian Le Harivel, 1983, p. 419, catalogue no. 7843.

  • Have one to sell? Interested in Similar Items?


A POSTER FOR 'CUBIST PAINTINGS AND RUGS EXHIBITION', 18 - 30 NOVEMBER, 1929
A POSTER FOR 'CUBIST PAINTINGS AND RUGS EXHIBITION', 18 - 30 NOVEMBER, 1929
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 18 May 2009 / 99

Published Estimate: €1000-1500

Price Realised: 

  • Medium: pencil (squared for transfer)
  • Dimensions: 31 by 23cm., 12.2 5 by 9in.
  • Provenance: Miss R.S.R. Kirkpatrick, Hazelbrook, Terenure, Co. Dublin; Her auction c.1979; Private collection
  • Literature: Bruce Arnold, 'Mainie Jellett and The Modern Movement in Ireland', Yale University Press, New Haven and London, 1991, p. 105 and p. 209
  • This work bears a similarity to other poster designs by Jellett within the collection of The National Gallery of Ireland and reproduced in their Illustrated Summary Catalogue of Drawings, Watercolours and Miniatures , compiled by Adrian Le Harivel, 1983, p. 420, catalogue numbers 7921 and 18,101. This solo exhibition marks a turning point in the development of Jellett’s relationship with abstract Cubism and the decorative arts, both of which were to become a regular feature of her work from then on. The Irish Times , Tuesday 19 November 1929 records the exhibition as follows: “…Whatever may be thought of the cubist designs of the painting there can be no questioning the beautiful effect which has been achieved by the use of cubist designs for carpets and rugs...In this form of decorative art certainly there is a deal to be said for cubism.” The design and sale of rugs and carpets went on until the mid-1930s. They were sold in The Country Shop, in St. Stephen’s Green, run by Muriel Gahan, who was also one of the women who made up the rugs to Jellett‘s designs. She exhibited works by Mainie Jellett and other ‘modernist’ artists at this time.

  • Have one to sell? Interested in Similar Items?


FLOWER PIECE
FLOWER PIECE
Frances J. Kelly HRUA ARHA ROI FRSA (b.1908)

Auction Date / Lot No.: 18 May 2009 / 100

Published Estimate: €3000-5000

Price Realised: €3600

  • Signature: signed with initials lower left
  • Medium: oil on canvas
  • Dimensions: 51 by 41cm., 20 by 16in.
  • Provenance: Dawson Gallery, Dublin; Gorry Gallery Dublin; Private collection
  • Exhibited: 'Frances Kelly Exhibition', Dawson Gallery, Dublin, 10 October, 1946, catalogue no. 17 ('Decorative Flower Piece', price 35 Gns.); 'Frances Kelly', 2 to 12 March, 2005, Gorry Gallery, Dublin, catalogue no. 66
  • Frances Kelly studied at the Dublin Metropolitan School of Art where she was a star pupil, exhibiting frequently at the RHA from the age of twenty-one. In 1932 she became the first recipient of the Henry Higgins travelling scholarship, which enabled her to go to Paris and study with the cubist painter Léopold Survage. She returned to Dublin and established herself primarily as a portrait painter; George Furlong, Basil Goulding, Joseph Hone, Frank O’Connor and Michael Scott were amongst her sitters. During the 1940s at her solo exhibitions with the Dawson Gallery and the Dublin Painters Gallery she also exhibited a notable number of still life paintings. S. B. Kennedy describes her: “…strong feeling for light, air and space, often rendered in pale colours and with a predominance of greys, against which she would set bright reds, violets and other colours which thrill with their radiance” (Irish Art and Modernism, page 58). After her marriage to Irish statesman F. H. Boland (1904-1985) and the birth of five daughters (including poet Eavan Boland) she moved to London and then New York. Her last exhibited works were two Connemara landscapes in the Irish Living Art Exhibition of 1954.

  • Have one to sell? Interested in Similar Items?


STILL LIFE WITH LOBSTER
STILL LIFE WITH LOBSTER
Frances J. Kelly HRUA ARHA ROI FRSA (1908-2002)

Auction Date / Lot No.: 18 May 2009 / 101

Published Estimate: €3000-5000

Price Realised: €4400

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 61 by 51cm., 24 by 20in.
  • Exhibited: 'An Exhibition of 18th-21st Century Irish Paintings', Gorry Gallery, Dublin, 26 November - 6th December 2003, catalogue no. 66
  • A gouache study for this work was exhibited at the artist's exhibition in the Dawson Gallery, Dublin, October 1946 (catalogue no. 19, 12gns).

  • Have one to sell? Interested in Similar Items?


OLD COTTAGES NEAR CARRIGROHANE, COUNTY CORK (SET OF THREE LANDSCAPES)
OLD COTTAGES NEAR CARRIGROHANE, COUNTY CORK (SET OF THREE LANDSCAPES)
Domhnall O'Murchada RHA (1914-1991)

Auction Date / Lot No.: 18 May 2009 / 102

Published Estimate: €1000-1500

Price Realised: 

  • Signature: one signed lower right; all with typed labels on reverse; the first with gallery label also on reverse
  • Medium: oil on board
  • Dimensions: 21 by 29cm., 8.25 by 11.2 5in.
  • Provenance: Oisin Art Gallery, 'Fairview, Dublin', Private collection
  • Titles of all three works: Old Cottages Near Carrigrohane, County Cork, Chez Françoise Henry, Les Bretons Burgundy: The Courtyard from the Garden and Françoise’s Field: Farm Buildings at Les Bretons, Burgundy. Dimensions of second work: 11.25in by 8.25in. Dimensions of third work: 8.5in by 11.25in.

  • Have one to sell? Interested in Similar Items?


FARMHOUSE WITH CHICKENS FEEDING
FARMHOUSE WITH CHICKENS FEEDING
Muriel Brandt (neé McKinley) RHA (1909-1981)

Auction Date / Lot No.: 18 May 2009 / 103

Published Estimate: €600-800

Price Realised: €650

  • Signature: signed 'Muriel Brandt' lower left; signed with her maiden name 'Muriel McKinley' lower right
  • Medium: watercolour over pencil
  • Dimensions: 17 by 27cm., 6.5 by 10.7 5in.
  • Provenance: Taylor de Veres, Dublin, 1993; Private collection
  • Muriel McKinley, a Belfast born muralist, portrait artist and landscape painter was educated at Belfast College of Art and, on scholarship, at the Royal College of Art, London from 1934-37. In 1935 she married Frank Brandt, a designer in the Electricity Supply Board, and a few months prior to sitting her final exams for the ARCA diploma her daughter, Ruth, (illustrator and etcher, 1936-89) was born. In 1938 she initiated what developed into a forty-year long relationship with the RHA. Later, in 1943, she exhibited with the Watercolour Society of Ireland and this association, too, resulted in a submission of forty-one pieces up until her death in 1981. It is likely that Farmhouse with Chickens Feeding dates from Brandt’s early years in London, circa 1934-35, when she would have still been using her maiden name to sign her works.

  • Have one to sell? Interested in Similar Items?


DIVER'S FARM, CULDAFF, COUNTY DONEGAL
DIVER'S FARM, CULDAFF, COUNTY DONEGAL
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 18 May 2009 / 104

Published Estimate: €1500-2000

Price Realised: 

  • Signature: signed lower left; with original gallery label preserved on reverse
  • Medium: watercolour over pencil on paper
  • Dimensions: 25 by 37cm., 10 by 14.5in.
  • Provenance: William Rodman & Co. Belfast; Whyte's, 8 May 2002, lot 59; Whence purchased by the present owner
  • Have one to sell? Interested in Similar Items?


First 20 results Previous 20 results   Records 51 to 100 of 207     Next 20 results Last results

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.