30 November 2009

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WORKING SKETCH, early 1950s
WORKING SKETCH, early 1950s
Seán Keating PRHA HRA HRSA (1889 - 1977)

Auction Date / Lot No.: 30 November 2009 / 51

Published Estimate: €1500-2000

Price Realised: €2100

  • Signature: signed lower right; with original Dawson Gallery, Dublin label on reverse
  • Medium: charcoal with black, brown and sanguine Conté crayon heightened with white
  • Dimensions: 41 by 30cm., 16 by 12in.
  • Provenance: A gift from Donal O Múchú from the College of Art to the family of the present owner
  • This study is a working sketch executed in the early 1950s for a large oil entitled, An Beinsín Luarchra (1951). This work was shown at the RHA in 1953. We are grateful to Dr. Éimear O’Connor for her assistance in cataloguing this lot.

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GREEN HOLLWS
GREEN HOLLWS
Estella Frances Solomons HRHA (1882-1967)

Auction Date / Lot No.: 30 November 2009 / 52

Published Estimate: €3000-4000

Price Realised: €2800

  • Signature: with Frederick Gallery exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 37 by 27cm., 14.5 by 10.5in.
  • Provenance: Collection of the artist; Thence by descent
  • Exhibited: 'Work from an Artist's Studio: Estella Solomons 1882-1968', Crawford Gallery Cork, 15 May - 7 June, 1986, catalogue no. 116; 'Estella Solomons HRHA (1882-1968)', Frederick Gallery, Dublin, 8 - 19 November, 1999, catalogue no. 50
  • This is one of the many views Solomons painted featuring her husband, James Starkey, better known as the poet Seamus O'Sullivan (1879-1958). With another work on reverse depicting a man cutting turf.

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PORTOBELLO HARBOUR
PORTOBELLO HARBOUR
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 30 November 2009 / 53

Published Estimate: €20000-30000

Price Realised: €19000

  • Signature: signed lower left
  • Medium: gouache and oil with pencil
  • Dimensions: 38 by 51cm., 15 by 20in.
  • This work was reproduced as a woodcut, Cuan Portobello - Báid na Móna, Turf Boats, Portobello, one of thirty-six, in the limited edition publication, Woodcuts Harry Kernoff, RHA, Cahill and Company, Dublin, 1942 with a foreword by Edwards Sheehy (a limited edition of 220 copies. )

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MAN READING ON STONE WALL WITH VILLAGE BEYOND
MAN READING ON STONE WALL WITH VILLAGE BEYOND
Estella Frances Solomons HRHA (1882-1968)

Auction Date / Lot No.: 30 November 2009 / 54

Published Estimate: €4000-5000

Price Realised: 

  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Collection of the artist; Thence by descent
  • Depicts the artist's husband, James Starkey, better known as the poet Seamus O'Sullivan (1879-1958).

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CAPE CORNWALL
CAPE CORNWALL
Estella Frances Solomons HRHA (1882-1968)

Auction Date / Lot No.: 30 November 2009 / 55

Published Estimate: €1500-1800

Price Realised: €1900

  • Signature: inscribed on reverse; also with Frederick Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 26 by 36cm., 10.2 5 by 14.2 5in.
  • Provenance: The artist's studio; Private collection, Co. Kerry; Frederick Gallery, Dublin; Private collection, Dublin
  • Exhibited: 'Works from an artist's studio: Estella Solomons 1882-1968', Crawford Gallery, Cork, 15 May - 7 June 1986, catalogue no. 166; 'Estella Solomons HRHA (1882-1968)', Frederick Gallery, Dublin, 8-19 November 1999, catalogue no. 61 (illustrated)
  • Cape Cornwall was long believed to be the most westerly point in Cornwall, before the Ordnance Survey proved that Land’s End could lay claim to that title. The small building visible on the furthest tip of the promontory is the remains of an old copper mine.

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GRAND CANAL LOCK, DUBLIN, 1935
GRAND CANAL LOCK, DUBLIN, 1935
Harry Kernoff RHA (1900 - 1974)

Auction Date / Lot No.: 30 November 2009 / 56

Published Estimate: €25000-35000

Price Realised: 

  • Signature: signed lower left; inscribed with title, date and artist's home address [ HARRY KERNOFF RHA/ 13 STAMER ST/HARRINGTON ST./DUBLIN 8] on reverse
  • Medium: oil on board
  • Dimensions: 61 by 76cm., 24 by 30in.
  • The Grand Canal and its nearby neighbourhoods were popular subjects for Harry Kernoff who was a dedicated recorder of life in Dublin throughout his career. He depicted many similar scenes in the area such as, Murphy's Boatyard, Ringsend, The New Dublin Gasometer, 1933 (now the gasworks apartments in Ringsend), Mespil Road, 1933, Lesson Street Bridge, 1931 and The Dock Milling Co. Premises. Dublin, 1930. Grand Canal Lock, Dublin is also the subject of an almost identical pen and ink drawing (24.5 by 30cm.) which may have been a study for this oil. Many of these Dublin scenes formed part of the Godolphin Gallery Exhibition, Dublin in 1974. 1935 was a significant year for Kernoff in that he was elected an associate of the RHA and in the same year to full membership. He was also represented among the illustrators with the Cuala Press Publication of a second and third series of A Broadside in 1935 and again in 1937.

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ROWING THE CURRACH
ROWING THE CURRACH
William Conor OBE RHA ROI (1881-1968)

Auction Date / Lot No.: 30 November 2009 / 57

Published Estimate: €1800-2200

Price Realised: €2300


TIME GOES BY, c.1965
TIME GOES BY, c.1965
Séan Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 30 November 2009 / 58

Published Estimate: €4000-6000

Price Realised: €6500

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 75 by 61cm., 29.5 by 24in.
  • Time Goes By is a most extraordinary, unflattering but truthful observation of old age in which the title, style and composition leave little doubt as to Keating’s intended meaning. The identity of the sitter is unknown, but his unorthodox outfit and the setting offer tantalising evidence. His face is etched with the lines of a hard life; his eyes are wistful mirrors to his inner thoughts, his brow is furrowed. He is seated in a plain room, with a door to the left and he wears a decorative pink gown. The sitter may well have been an actor or a model at the School of Art during his younger years. Now, having lived a full life, he has become a metaphor for old age, and another world awaits him, and thus everybody else, stage left. The painting, which was made in the latter years of Keating’s career, appears to have been either a private commission or a study of an actor or model that the artist had known in his youth. Dr Éimear O’Connor Triarc-Irish Art Research Centre November, 2009

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AT THE PIG MARKET
AT THE PIG MARKET
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 30 November 2009 / 59

Published Estimate: €3000-5000

Price Realised: €2900

  • Signature: signed in pencil lower left
  • Medium: watercolour over pencil
  • Dimensions: 30 by 41cm., 12 by 16.2 5in.
  • In April 1960 The Dawson Gallery Dublin held an exhibition of Paintings of Ireland, Portugal & Italy by Letitia Hamilton. The exhibition comprised fifty-two paintings many of which were market scenes for which this work may be a study.

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THE ROSSES, COUNTY DONEGAL
THE ROSSES, COUNTY DONEGAL
William Conor OBE RHA RUA ROI (1881 - 1968)

Auction Date / Lot No.: 30 November 2009 / 60

Published Estimate: €2000-3000

Price Realised: 


MARBLE HILL STRAND, COUNTY DONEGAL, circa 1903
MARBLE HILL STRAND, COUNTY DONEGAL, circa 1903
George Russell 'AE' (1867 - 1935)

Auction Date / Lot No.: 30 November 2009 / 61

Published Estimate: €4000-5000

Price Realised: €4800

  • Signature: with partial inscribed exhibition label on reverse, bearing the title and the name Osborn Bergin (possibly the purchaser of the work); with original framing label of the Bregazzi and Sons, Carvers, Gilders and Picture Framers, 10 Merrion Row, Dublin.
  • Medium: oil on canvas
  • Dimensions: 41 by 53cm., 16 by 21in.
  • In 1903 George Russell presented forty-four pictures, many of which were Donegal landscapes at the Leinster Lecture Hall, Molesworth Street. This was a joint exhibition with Count Markievicz and his wife, Constance Gore-Booth. Dana- An Irish Magazine of Independent Thought, published in Dublin in the early 1900s, commented on Russell’s pictures from this era describing them as "...an absolutely unique attempt to interpret in colour the Celtic mood and the divine vision which he had already set forth in verse.."This painting bears the name of Osborn Bergin on reverse. It is likely that he was the original owner of this piece. Osborn Joseph Bergin (1873-1950) was a scholar of the Irish language and Early Irish literature. He was born in Cork and was educated at Queen's College Cork (now University College Cork), and later went to Germany for advanced studies in Celtic languages. In his later years he returned to Ireland and taught at the School of Irish Learning and at University College Dublin. He died in Dublin at the age of 76.

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LETTER TO SIR JOHN and LADY LAVERY, 1929
LETTER TO SIR JOHN and LADY LAVERY, 1929
George Russell 'AE' (1867 - 1935)

Auction Date / Lot No.: 30 November 2009 / 62

Published Estimate: €300-400

Price Realised: €370

  • Dimensions: 27 by 21cm., 10.5 by 8.2in.
  • Typed letter on headed-paper of The Irish Statesman with which is incorporated The Irish Homestead. Dated 27 January, 1929. Addressed to Lady Lavery, 5 Cromwell Place, London, SW 7. pp. 2, signed ‘AE’.

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LETTER TO SHANE LESLIE, 24 JANUARY, 1916
LETTER TO SHANE LESLIE, 24 JANUARY, 1916
George Russell 'AE' (1867 - 1935)

Auction Date / Lot No.: 30 November 2009 / 63

Published Estimate: €200-300

Price Realised: €300


PORTRAIT OF 'AE' GEORGE RUSSELL (1867-1935)
PORTRAIT OF 'AE' GEORGE RUSSELL (1867-1935)
John Butler Yeats RHA (1839-1922)

Auction Date / Lot No.: 30 November 2009 / 64

Published Estimate: €6000-8000

Price Realised: €7000

  • Signature: with label on reverse printed, 'Property of Theo Waddington's Irish Art Project'
  • Medium: pencil
  • Dimensions: 31 by 25cm., 12.2 5 by 10in.
  • Provenance: Victor Waddington Galleries; Private collection
  • George Russell (AE) has been the subject of several works by John Butler Yeats whose sensitive humane portraiture has been deservedly celebrated for more than one hundred years. F. York Powell in his 1901 catalogue essay for the joint exhibition of Nathaniel Hone and John Butler Yeats noted, “The inspiration of Yeats’ art is sympathy… it is the life, the humanity, the mood, the temper of the sitter that he is always striving to render through, and by means of, colour and line.” A similar sized drawing to this work entitled, G.W. Russell (AE), was exhibited in 1972 at ‘Paintings and Drawings by John Butler Yeats from the Collection of Senator Michael B. Yeats and the National Gallery of Ireland’, Dublin, 30 November, to mark the fiftieth anniversary of the artist’s death, catalogue no. 39. AE and Yeats were kindred mystics in an age of delightful spiritual and cultural exploration. Yeats with his spontaneity of line, especially in his pencil drawings, was clearly drawn towards portraiture as an outlet. His fellow artist as a subject perhaps satisfied in some way his own craving for the spiritual.

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FALCARRAGH, COUNTY DONEGAL, 1909
FALCARRAGH, COUNTY DONEGAL, 1909
William Percy French (1854 - 1920)

Auction Date / Lot No.: 30 November 2009 / 65

Published Estimate: €2500-3500

Price Realised: €2500

  • Signature: signed and dated lower left, with location lower right; with inscribed Taylor Gallery, Belfast label on reverse
  • Medium: watercolour
  • Dimensions: 17 by 23cm., 6.5 by 9.25in.
  • Provenance: The Taylor Gallery, Belfast; Private collection
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EVENING SUNSET OVER THE BOG, 1908
EVENING SUNSET OVER THE BOG, 1908
William Percy French (1854 - 1920)

Auction Date / Lot No.: 30 November 2009 / 66

Published Estimate: €2500-3500

Price Realised: 


SUNLIGHT OVER BOG
SUNLIGHT OVER BOG
William Percy French (1854 - 1920)

Auction Date / Lot No.: 30 November 2009 / 67

Published Estimate: €2500-3500

Price Realised: 

  • Signature: signed lower left; with inscribed Emer Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 18 by 26cm., 7 by 10.2 5in.
  • Provenance: Emer Gallery, Belfast; Private collection
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BOGLAND RIVER, 1915
BOGLAND RIVER, 1915
William Percy French (1854 - 1920)

Auction Date / Lot No.: 30 November 2009 / 68

Published Estimate: €8000-10000

Price Realised: 

  • Signature: signed with initials and dated lower left; with original Oriel Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 23 by 34cm., 9.25 by 13.5in.
  • Provenance: Oriel Gallery, Dublin; Whence purchased by the family of the previous owner in 1985; Private collection; Whyte's, 21 September, 2004, Lot 69; Private collection
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ALPINE SNOW SCENE WITH SPRUCE TREES, 1915
ALPINE SNOW SCENE WITH SPRUCE TREES, 1915
William Percy French (1854 - 1920)

Auction Date / Lot No.: 30 November 2009 / 69

Published Estimate: €2000-3000

Price Realised: 

  • Signature: signed and dated lower right; with original Cambridge framing label on reverse
  • Medium: watercolour
  • Dimensions: 18 by 13cm., 7 by 5in.
  • Provenance: Whyte's, 22 February 2005, Lot no. 129; Private collection
  • Percy French painted a number of snow scenes both in Switzerland, where he spent much of 1913 performing his famous variety sketches in the alpine hotels, and in France, where he travelled during the early years of World War I, entertaining the troops.

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STUDY OF ALPINE SCENE
STUDY OF ALPINE SCENE
William Percy French (1854 - 1920)

Auction Date / Lot No.: 30 November 2009 / 70

Published Estimate: €600-800

Price Realised: €600

  • Signature: with typed Jorgensen Fine Art label on reverse
  • Medium: watercolour
  • Dimensions: 6 by 9cm., 2.5 by 3.5in.
  • Provenance: Jorgensen Fine Art, Dublin; Private collection
  • Curiously, this Alpine scene, likely to have been executed in 1913 when the artist was in Switzerland, when viewed as a vertical, transforms the mountain peaks into the profile of a woman.

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COASTAL SCENE WITH CLIFF HEAD
COASTAL SCENE WITH CLIFF HEAD
William Percy French (1854 - 1920)

Auction Date / Lot No.: 30 November 2009 / 71

Published Estimate: €1000-1500

Price Realised: 


PIGEON CAVE, DONEGAL
PIGEON CAVE, DONEGAL
Andrew Nicholl RHA (1804 - 1886)

Auction Date / Lot No.: 30 November 2009 / 72

Published Estimate: €1500-2000

Price Realised: 

  • Signature: signed lower right; original William Rodman & Co., Belfast label on reverse
  • Medium: watercolour over pencil, heightened with white
  • Dimensions: 22 by 29cm., 8.75 by 11.5in.
  • Provenance: William Rodman & Co., Belfast; Private collection
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CARLINGFORD LOUGH, COUNTY DOWN, 1925
CARLINGFORD LOUGH, COUNTY DOWN, 1925
Joseph William Carey (1859 - 1937)

Auction Date / Lot No.: 30 November 2009 / 73

Published Estimate: €500-600

Price Realised: 

  • Signature: signed, titled and dated lower right; with original Combridge framing label on reverse
  • Medium: water colour heightened with white
  • Dimensions: 18 by 36cm., 7.25 by 14.2 5in.
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"THE HOUSE ON THE LEFT IN THE MID-DISTANCE IS MY STUDIO", 1862
Erskine Nicol ARA RSA (1825 - 1904)

Auction Date / Lot No.: 30 November 2009 / 74

Published Estimate: €1500-2000

Price Realised: 

  • Signature: signed and dated lower right; signed again and inscribed with title on reverse
  • Medium: watercolour heightened with white
  • Dimensions: 25 by 57cm., 9.75 by 22.5in.
  • Provenance: Private collection, Oxford; Leighton Fine Arts Gallery, Buckinghamshire; Private collection
  • After working in Dublin for many years, Nicol relocated in 1862 to Clonave Island on Lough Derravaragh, Co. Westmeath where he established a studio. Nicol’s landscapes range from views of the Dublin Mountains, to others of Meath, Wicklow and Connemara. At least five of the twelve paintings by Nicol that were included in the Exhibition of Fine and Ornamental Arts in Dublin in 1861 were scenes specifically of Westmeath. Furthermore, all but one were lent by one of Nicol’s principal patrons, Andrew Armstrong MRIA of Dublin, who delivered a speech at the opening of the artist’s studio on Clonave in 1862.

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A BIT OF SUTTON COURTNEY - A VILLAGE BY THE THAMES, 1887
A BIT OF SUTTON COURTNEY - A VILLAGE BY THE THAMES, 1887
Walter Frederick Osborne RHA ROI (1859 - 1903)

Auction Date / Lot No.: 30 November 2009 / 75

Published Estimate: €80000-120000

Price Realised: 

  • Signature: signed lower right; with original inscribed label with title, artist's details and exhibition number on reverse; details are repeated in pencil on the upper part of the board on reverse; details are repeated in pencil on the upper part of the board.
  • Medium: oil on panel
  • Dimensions: 41 by 32cm., 16 by 12.5in.
  • Provenance: The Rowley Gallery, 87 Campden Street, Kensington, Church Street, London, circa 1920; from whence acquired by a member of the family of the present estate.
  • Exhibited: The Dublin Art Club, 1887, catalogue no. 129
  • Literature: Sheehy, Jeanne, 'Walter Osborne', Gifford & Craven, Cork, 1975, p.121, no. 174
  • Amongst the many villages in England in which Osborne worked in the mid1880s to the early nineties, the name of Sutton Courtney on the Thames is not so familiar. So the reappearance of the picture of this location is an exciting discovery. In the late 1880s and early nineties Osborne’s figures of country people are placed in the mid-distance or distance, often engaging in their farming work. But in the mid eighties, as in the present picture, the figures of the villagers and children are often shown in the foreground. In A Bit of Sutton Courtney – A Village by the Thames the figure of the boy standing in the foreground, leaning against the railing and fishing, is prominent. Although his legs are cut by the lower edge of the picture, as in a photograph, and he faces away from us, the view of the boy from behind, fishing rod in hand, and sun falling on his cheek and sleeve, is evocative. Although he is engaged with his activity, and the woman on the far bank looks down at the barge, a dialogue is set up between the two figures. Osborne set several of his English scenes by a river or canal bank, and sometimes - for instance in A Waterway, Lincoln, 1884 (ill., A Free Spirit, by Kenneth McConkey, Pyms Gallery, 1990, p.90-91) - showed scenes of boys fishing. In some of his English villages Osborne was inspired by the deep reds and browns of the brickwork and roof tiles. In A Bit of Sutton Courtney – A Village by the Thames, these colours, combined with the pale blue of the woman’s apron, the greens, reds and blues in the barge, the ruddy reflections in the water, and the white on the boy’s sleeve, create a palette of glowing richness. Osborne uses skilled brushwork throughout the picture: textured and expressive on the clothing of the boy; blurred in some of the background, employing the contemporary ‘square-brush style’ in the figure of the woman, the doors and walls of the barn, and the ground; and more fluid in the surface of the water and reflections. Osborne’s squared lettering, lower right, is characteristic of his signature in this period. Julian Campbell Cork, November 2009 Biographical Note: 1887 is a significant year for Osborne in that it marks a turning point in his career having previously studied at the Académie Royale des Beaux-Arts in Antwerp where he was awarded the prestigious Irish Taylor Prize in 1881 and 1882 and, later, like many of his contemporaries, he travelled from Belgium to Brittany, where he cultivated a naturalist style of landscape painting, focusing on en plein-air and Breton scenes in the main. After two years in Brittany, Osborne repositioned himself in England in 1884 and although based out of his parents’ home at 5 Castlewood Avenue, Rathmines, Dublin during these years, he travelled and lived in England for extended periods of time painting and exploring the British arts scene. In these years Osborne was coming into his own as an artist, no longer a student but a promising professional. He was an ardent attendee at all the London exhibitions where he made copious notes on, and sketched, the works he saw there. One such exhibition which enthralled the artist was the 1884 ‘Institute of Painters in Oil Colours’, where the colour, tone and texture of Sir George Clausen’s (1852-1944) Day Dreams made quite an impression on him. Osborne was closely aligned with fellow artists Nathaniel Hill and Edward Scott during this time but towards the latter years of the 1880s he had relocated to small villages in Oxfordshire, Berkshire and Hampshire working in a more independent capacity. Walter Osborne lived in Sutton Courtney during the time when this work was executed. The barn seen in this painting has been converted and extended to form a substantial house.

    During 1887 there is a marked difference in the artist’s handling of oil and his technique begins to change. Jeanne Sheehy in her text on Osborne notes that, “…Dating from around 1887 is a group of small landscapes in which the painter uses a technique of hatching, with fairly broad brushstrokes and a harsh brush.” These observations are evident in this work particularly in the smooth reflections in the water and in the rendering of the cottages in the background. Sheehy continues to describe the subject of these works as, “…sensitive renderings of corners of the countryside [that]…convey a rustic atmosphere without being either sentimental or anecdotal.” A Bit of Sutton Courtney – a Village by the Thames bears similarity to another work entitled Down an Old Court, Newbury, also dating from 1887 and which was also exhibited at the Dublin Arts Club, 1887, catalogue no. 161 [7gns] and illustrated in The National Gallery of Ireland publication, Walter Osborne by Jeanne Sheehy, page 75. In terms of Osborne’s connection with the art of his contemporaries during these years, he had exhibited for the first time at the RA in 1886 and was also elected to the RHA. He was also one of the founding members of the Dublin Arts Club, c.1886, which was considered the local equivalent of the New English Arts Club (NEAC) founded the same year and to which he was also a member and active exhibitor. From 1892 Osborne ceased to make painting trips to England and instead concentrated on Dublin streets and in villages of North Dublin where his work began to display a distinct Impressionistic influence paying greater attention to the contrasts of light and shade in his palette. A.H.

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DUNLUCE CASTLE, COUNTY ANTRIM, 1817
DUNLUCE CASTLE, COUNTY ANTRIM, 1817
W. Watts (1792-c.1864)

Auction Date / Lot No.: 30 November 2009 / 76

Published Estimate: €3000-5000

Price Realised: €2000

  • Signature: signed and dated on reverse, a record of which has been photographed, canvas has since been restored; with Beaulah Collection catalogue label on reverse
  • Medium: oil on canvas
  • Dimensions: 61 by 76cm., 24 by 30in.
  • Provenance: Ex-Beaulah Collection, catalogue no. 137; Private collection
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INISHFALLEN ISLAND, KILLARNEY IN MOONLIGHT
INISHFALLEN ISLAND, KILLARNEY IN MOONLIGHT
Patrick Vincent Duffy RHA (1836-1909)

Auction Date / Lot No.: 30 November 2009 / 77

Published Estimate: €800-1200

Price Realised: €900


FIGURE FISHING BY A WOODED STREAM
FIGURE FISHING BY A WOODED STREAM
James Arthur O'Connor (1792-1841)

Auction Date / Lot No.: 30 November 2009 / 78

Published Estimate: €5000-7000

Price Realised: €4800

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 36 by 50cm., 14 by 19.5in.
  • O’Connor’s wooded rural landscapes of the late 1820s are instantly recognisable for their picturesque subject matter and contemplative ambience which owe much to the Dutch artists of the 17th century. This idealised river scene, a likely depiction of the Irish countryside, bears similarity to two other works from the period both of which were included in the James Arthur O’Connor exhibition in the National Gallery in 1985, catalogue no. 60 and 61. The composition of the work is characteristic of O’Connor; a dense wooded enclosure dominating a diminutive figure consumed by his task in the foreground. The cool blue sky and pale light in the background guide the eye through the work and towards the illuminated mountains beyond. An almost identical painting entitled, Woodland River Scene with Fisherman, by this artist was exhibited at the Gorry Gallery, Dublin, 28 May – 10 June 1998, catalogue no. 2, illustrated on p.5 of catalogue.

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THE SHIPBUILDER'S CART
THE SHIPBUILDER'S CART
John O'Connor ARHA RI (1830-1889)

Auction Date / Lot No.: 30 November 2009 / 79

Published Estimate: €3000-5000

Price Realised: €4600

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 56 by 66cm., 22 by 26in.
  • John O’Connor was born in the Derry and began his career in the arts as an assistant in scene-paintings at the Belfast theatre and later in the Dublin theatre. In 1848 he went to London to begin his career as an artist and was employed at Drury Lane, and later at the Haymarket theatre where he became principal scene-painter in 1863. He was renowned in this field for his architectural compositions and for his use of colour. His popularity as an artist attracted the attention of the Royal Family who became patrons of his work. In 1849 he returned in Ireland and painted a Diorama of the Queen’s Visit, which was exhibited at the Chinese Gallery in London and five years later began to exhibit at the Society of British Artists and later at the Royal Academy in 1857. The subject of his works included views in London and the Continent. In later years he exhibited at the new Water-colour Society, becoming a member of same in 1887 and to the Royal Hibernian Academy from 1875 onwards, to which he was elected an Associate in 1883. In 1870 and 1871 he visited France in the company of Lord Ronald Gower, and in 1872 they took over a studio together in Sir Joshua Reynold’s old house in Leicester Square. This location was to become the hub of the arts world in London for the duration of their occupancy there. The National Gallery of Ireland’s collection holds a drawing by O’Connor, Old York Gate, 1861, exhibited at the Royal Academy in 1872 and presented to the Gallery by the artist. His works can also be found in the British Museum.

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FISHERMEN BY WATER'S EDGE
FISHERMEN BY WATER'S EDGE
William Nicholl (1794-1840)

Auction Date / Lot No.: 30 November 2009 / 80

Published Estimate: €800-1000

Price Realised: 


PORTRAIT OF MARGARET 'PEG' WOFFINGTON (c.1714-1760)
PORTRAIT OF MARGARET 'PEG' WOFFINGTON (c.1714-1760)
 Irish School (18th century)

Auction Date / Lot No.: 30 November 2009 / 81

Published Estimate: €3000-5000

Price Realised: €1900

  • Medium: oil on canvas
  • Dimensions: 76 by 63cm., 30 by 24.7 5in.
  • Peg Woffington was an outstanding Irish actress whose professional career was launched with her acclaimed performance as Ophelia in Shakespeare's Hamlet in 1737, at Covent Garden (1754-57) where she allegedly outshone her contemporaries. She was romantically linked with many luminaries of the time including Edward Burke. By 1757 Woffington was suffering from an illness which culminated in her collapse on stage during a performance of As You Like It by Shakespeare. Her exit from stage was marked by Rosalind's line, "...I would kiss as many..." Peg Woffington is the subject of nine portraits in various mediums including oil and mezzotint in the collection of the National Gallery of Ireland, Dublin. Of the nine, this painting bears closest resemblance to an oil by John Lewis (fl.1740-69) entitled, Margaret (Peg) Woffington, Actress, (1718-60), signed Jn. Lewis, April 1753. This work is currently on view in the National Gallery, Dublin and listed in The National Gallery of Ireland, Illustrated Summary Catalogue of Paintings, p.263, catalogue no. 579.

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MIRIAM
MIRIAM
George Mounsey Atkinson (c.1830-1884)

Auction Date / Lot No.: 30 November 2009 / 82

Published Estimate: €2000-3000

Price Realised: 

  • Signature: signed with initials lower right beneath the mount
  • Medium: oil on canvas
  • Dimensions: 39 by 29cm., 15.5 by 11.5in.
  • George Mounsey Atkinson was the eldest son of the marine painter from Co. Cork, George Mounsey Wheatley Atkinson, and brother of Richard Peterson, Robert and Sarah Atkinson, all of whom were also artists. However, of all George Mounsey Wheatley Atkinson's children, the most outstanding artist was his namesake. George Mounsey, who for many years was Art Examiner at South Kensington, was also according to Walter Strickland "an ardent student of Irish archaeology", contributing papers to the Journal of the Royal Society of Irish Antiquaries, and also editing the Cork architect Richard Rolt Brash's Ogham Inscribed Monuments of Gaedhil, published in London in 1879. George Mounsey died at his home in West Brompton, London, in 1908. In biblical history Miriam is known as a prophetess and is traditionally believed to have composed a short victory song following the drowning of Pharaoh’s army in the Red Sea, “Sing to the Lord, for he has triumphed gloriously; Horse and rider he has thrown into the sea.”

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THE COAST ROAD
THE COAST ROAD
John Faulkner RHA (c.1830-1890)

Auction Date / Lot No.: 30 November 2009 / 83

Published Estimate: €3000-5000

Price Realised: €3000


FEEDING THE CHICKENS
FEEDING THE CHICKENS
Erskine Nicol ARA RSA (1825-1904)

Auction Date / Lot No.: 30 November 2009 / 84

Published Estimate: €3000-4000

Price Realised: €3800


COTTAGES BY A BOGLAND LAKE
COTTAGES BY A BOGLAND LAKE
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 30 November 2009 / 85

Published Estimate: €400-600

Price Realised: €400

  • Signature: signed in pencil in the lower right margin; blind stamp of the Fine Art Trade Guild lower left
  • Medium: photolithographic print
  • Dimensions: 34 by 39cm., 13.5 by 15.5in.
  • Published by W.J. Stacey, London

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KILLARY BAY, CONNEMARA
KILLARY BAY, CONNEMARA
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 30 November 2009 / 86

Published Estimate: €400-600

Price Realised: 

  • Signature: signed in pencil in the lower right margin; blind stamp of the Fine Art Trade Guild lower left
  • Medium: photolithographic print
  • Dimensions: 34 by 39cm., 13.5 by 15.5in.
  • The original oil painting of this is catalogued in S.B. Kennedy's Paul Henry - Paintings, Drawings, Illustration', no. 615, p.225. Kennedy notes, “Despite the title, this may be a scene on Lough Fee, near Leenane, the background mountain with its distinctive profile being Garraun which rises to a height of 450 metres”.

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GATHERING HAY NEAR SCRABO COUNTY DOWN
GATHERING HAY NEAR SCRABO COUNTY DOWN
Thomas Bond Walker (1861-1933)

Auction Date / Lot No.: 30 November 2009 / 87

Published Estimate: €500-700

Price Realised: 


GLIMPSE OF LOUGH INAGH, CONNEMARA
GLIMPSE OF LOUGH INAGH, CONNEMARA
Frank McKelvey RHA RUA (1895 - 1974)

Auction Date / Lot No.: 30 November 2009 / 88

Published Estimate: €4000-5000

Price Realised: €4800


DONEGAL COAST NEAR DUNFANAGHY
DONEGAL COAST NEAR DUNFANAGHY
George Gillespie RUA (1924 - 1995)

Auction Date / Lot No.: 30 November 2009 / 89

Published Estimate: €3000-5000

Price Realised: €4200


STAINED GLASS WINDOW DESIGNS (SET OF THREE)
STAINED GLASS WINDOW DESIGNS (SET OF THREE)
Christopher Campbell (1908-1973)

Auction Date / Lot No.: 30 November 2009 / 90

Published Estimate: €1000-1500

Price Realised: €1000

  • Signature: each signed, 'CHRISTOPHER CAMPBELL' OR 'CAMPBELL', DUBLIN
  • Medium: charcoal, oil pastel and pencil
  • Dimensions: 147 by 38cm., 58 by 15in.
  • Stained glass designs depict, St. Brigid, The Head of the Nuns of Erin, St. Oliver Plunkett, and St. Agnes. St. Oliver was declared a Saint by Pope Paul VI in 1973. St. Peter's church in Drogheda houses the preserved head of St. Oliver which forms the centrepiece of the church's shrine. Campbell spent a short period of time working in the Harry Clarke Stained Glass Studios; however this was a short-lived and unhappy employment. In spite of this, Campbell executed a number of innovative and celebrated religious and secular designs for stained glass windows for churches and commissions throughout Ireland. Many such stained glass designs formed part of the artist's posthumous exhibition held in the Neptune Gallery, Dublin in 1976. Campbell first exhibited with the RHA in 1929 and continued to do so regularly until 1945.

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THE VIRGIN AND CHILD ENTHRONED AND FLANKED BY ANGELS, late 1930s
THE VIRGIN AND CHILD ENTHRONED AND FLANKED BY ANGELS, late 1930s
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 30 November 2009 / 91

Published Estimate: €600-800

Price Realised: €550

  • Medium: pencil
  • Dimensions: 30 by 22cm., 12 by 8.75in.
  • Provenance: Miss R.S.R. Kirkpatrick, Terenure, Co. Dublin; Her auction c.1979; Private collection
  • The 1930s marked an increased 'spiritual' element entering the work of Jellett. Bruce Arnold in his book, Mainie Jellett and the Modern Movement in Ireland, Yale University Press, London, 1991, p. 123, suggests that at this period in Jellett's development, "...we are witnessing...a shift in composition which was to usher in the more directly religious works of the 1930s. These were to become stylised representations of events in the Life of Christ, and would culminate in far more overtly religious paintings, like The Nativity of 1940..."

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UNTITLED ABSTRACT, 1940
UNTITLED ABSTRACT, 1940
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 30 November 2009 / 92

Published Estimate: €3000-4000

Price Realised: €3000


STILL LIFE OF TULIPS AND DAFFODILS
STILL LIFE OF TULIPS AND DAFFODILS
Stella Steyn (1907 - 1987)

Auction Date / Lot No.: 30 November 2009 / 93

Published Estimate: €800-1000

Price Realised: €750


RELIGIOUS ABSTRACT
RELIGIOUS ABSTRACT
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 30 November 2009 / 94

Published Estimate: €700-900

Price Realised: €850

  • Medium: watercolour and pencil on paper
  • Dimensions: 11 by 23cm., 4.5 by 9in.
  • Provenance: Miss R.S.R. Kirkpatrick, 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. These works are reproduced in their Illusrated Summary Catalogue of Drawings, Watercolours and Miniatures, compiled by Adrian Le Harivel, 1983, p. 437, catalogue no.s 18,229-18,223.

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CHURCH NEAR GRASSE, PROVENCE
CHURCH NEAR GRASSE, PROVENCE
Father Jack P. Hanlon (1913 - 1968)

Auction Date / Lot No.: 30 November 2009 / 95

Published Estimate: €800-1200

Price Realised: 

  • Signature: signed lower right
  • Medium: watercolour
  • Dimensions: 33 by 44cm., 13 by 17.2 5in.
  • While studying for the priesthood in Maynooth College, where he was later ordained in 1939, Father Jack Hanlon took many trips to Europe taking in, Spain, Belgium and France. It is likely that this work, situated in Grasse, corresponds with one of these early excursions where Hanlon paid visits to local galleries and cathedrals as well as spending time in the studio and company of native artists such as André Lhôte (1885-1962) in Paris. This work clearly illustrates the Place du Petit-Puy with the 10th to 11th century Notre-Dame du Puy Cathedral (which was rebuilt in the 17th century) and the large 18th century clock tower to the rear. The cathedral which houses paintings by Rubens and Jean-Honoré Fragonard would have been of immense interest to Hanlon.

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FIELD AND SOUTHWEST GALE SAINT MARTIN'S, 1982
FIELD AND SOUTHWEST GALE SAINT MARTIN'S, 1982
Tony O'Malley HRHA (1913 - 2003)

Auction Date / Lot No.: 30 November 2009 / 96

Published Estimate: €800-1200

Price Realised: 


HILLSIDE LANDSCAPE WITH FIGURES
HILLSIDE LANDSCAPE WITH FIGURES
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 30 November 2009 / 97

Published Estimate: €1000-1500

Price Realised: 

  • Signature: signed lower right; with David Hendrick's Gallery label on reverse
  • Medium: watercolour with pencil
  • Dimensions: 29 by 41cm., 11.2 5 by 16.2 5in.
  • Provenance: David Hendricks Gallery, Dublin; Private collection
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LAKE LANDSCAPE
LAKE LANDSCAPE
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 30 November 2009 / 98

Published Estimate: €1000-1500

Price Realised: 


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

Auction Date / Lot No.: 30 November 2009 / 99

Published Estimate: €4000-6000

Price Realised: 

  • Signature: signed with initials lower right; numbered lower left
  • Medium: carborundum with relief (no. 13 from an edition of 20)
  • Dimensions: 170 by 70cm., 67 by 27.5in.
  • Exhibited: 'Prints, Tony O'Malley and Jane O'Malley', Vangard Gallery, Macroon, Co. Cork, 21 January - 14 February, 1999, catalogue no. 9
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EUNUCHS ENVY LOVERS, c.1988
EUNUCHS ENVY LOVERS, c.1988
Charlie Whisker (b.1949)

Auction Date / Lot No.: 30 November 2009 / 100

Published Estimate: €800-1000

Price Realised: €700

  • Signature: signed lower right; titled centre; with original typed Henriks Gallery label on reverse
  • Medium: pencil, gouache, pastel, collage and mixed media
  • Dimensions: 95 by 72cm., 37.2 5 by 28.2 5in.
  • Provenance: Hendriks Gallery, Dublin; Whence purchased by Vincent Ferguson; Private collection
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