15 March 2010

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WESTERN SKY, OCTOBER 1969
WESTERN SKY, OCTOBER 1969
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 15 March 2010 / 53

Published Estimate: €8000-10000

Price Realised: 

  • Signature: signed in monogram lower right; inscribed with title and signed 'Colin' and with monogram again on reverse; with inscribed Arts Council of Northern Ireland label on reverse; also with two Tom Caldwell Gallery labels on reverse
  • Medium: oil on board
  • Dimensions: 30 by 30cm., 12 by 12in.
  • Provenance: Provenance:
    Tom Caldwell Gallery Belfast; Mr and Mrs Noel H. Scott Scott; Private collection
  • Exhibited: Exhibited:
    Exhibited as La Scala, at the Arts Council of Northern Ireland, 'Colin Middleton Retrospective', Ulster Museum, Belfast, 14 January - 22 February, 1976, catalogue no. 146.
  • Lent by Noel H. Scott and exhibited as La Scala, this work was presented along with 45 other works chronicling the period 1972-75. At this juncture in his career, Middleton was based in Bangor but had visited Barcelona where he produced a notebook series of paintings. By the end of 1975 Middleton was at the peak of his painting career.

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FREE AND CAPTIVE BIRD
FREE AND CAPTIVE BIRD
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 15 March 2010 / 54

Published Estimate: €2500-3500

Price Realised: €2700


U.F.O.'s
U.F.O.'s
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 15 March 2010 / 55

Published Estimate: €20000-30000

Price Realised: €20000

  • Signature: signed in monogram lower right; signed again [Colin M] and inscribed with title on reverse; also with typed Bourne Fine Art, London, label on reverse
  • Medium: oil on board
  • Dimensions: 61 by 61cm., 24 by 24in.
  • Provenance: Provenance:
    Bourne Fine Art, London; Private collection
  • Literature: Literature:
    Eastwood, Carlo, Colin Middleton - A Millennium Appreciation, Eastwood Gallery, Belfast, 2000, p. 12, illustrated p.61
  • 2010 marks the centenary of the birth of Colin Middleton who has been recognised through the years as Ireland's greatest surrealist artist and while Middleton exercised an à la carte approach to style and technique throughout his career it is perhaps his Dalí-esque works which have had the most impact on Irish audiences offering hitherto unimagined landscapes to an island distanced both geographically and psychologically from the artistic developments in Europe.

    Colin Middleton had an overwhelming thirst to explore and experiment with the possibilities in painting and, although aged in his mid-forties at the time of his retrospective in the Victor Waddington Galleries Middleton's style showed no signs of consistency but rather demonstrated a feverish impatience to investigate evermore styles. External forces were constantly directing his journey and he freely offered himself as a vessel through which they could pass and assimilate. Pat Murphy in interview with Middleton in December 1980 for the Irish Times asked the artist why it was that he adopted so many styles during his career. In response Middleton revealed, “…when someone opens a door you go through it."

    Thus, the forces of the 'isims' had free reign on his undecided mind. Magritte, Miró and Dalí were to prove lasting influences on his style in the 1930s and 1940s and their impact would have a lasting effect which would manifest itself in works such as, U.F.O'.s, some forty years later. Although not immediately obvious, U.F.O.'s shares a link with Middlton's prior works in that it too is rooted in the idea of place. The strata in the foreground are reminiscent of his earlier landscapes of bogs or perhaps the beaches in Newcastle Co. Down while the grainy texture of the harsh plane demonstrates a similar technique of paint application seen in Important Lady with Attendant (1976) (illustrated p.53, Eastwood). This precise execution with its polished finish and suggestion of texture is indication of the lasting effect of his time as a damask designer. The organic nature of the landscape and the idea of place and environment are balanced by the menacing presence of the smooth, structured objects suspended in the expanse of the sky.

    In conversation with Ciarán Carthy (Sunday Independent) in 1980 the artist offered by way of explanation that he needed, "...an organic reference, whether it be landscape or figure" and that he saw himself as a "spiritual medium [with an] ever present conflict between reason and intuition." These veins which channelled Middleton's creativity were what marked him out as an artist. He was the Irish answer to Surrealism, opening the floodgates to audiences to explore foreign and imagined landscapes. It is perhaps interesting also to note that there are in fact records of an unidentified object sighted in Belfast in 1972. Middleton, known to react to actual events, may have been faced at this juncture in his career with an extraordinary real-life stimulus to charge his canvas with yet another conflict between reason and intuition.

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CATHEDRAL TOWN, 1962
CATHEDRAL TOWN, 1962
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 15 March 2010 / 56

Published Estimate: €2000-3000

Price Realised: €1800

  • Signature: signed and dated lower right; with typed Ritchie Hendriks Gallery label on reverse
  • Medium: ink and gouache with oil pastel on paper
  • Dimensions: 47 by 29cm., 18.5 by 11.2 5in.
  • Provenance: Provenance:
    The Ritchie Hendriks Gallery, Dublin; Whence purchased by the Arts Council; Private collection
  • Exhibited: Exhibited:
    Ritchie Hendriks Gallery, Dublin, June 1963
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STUDY FOR STAINED GLASS
STUDY FOR STAINED GLASS
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 15 March 2010 / 57

Published Estimate: €1500-2000

Price Realised: 

  • Signature: with inscribed Taylor Galleries label on reverse
  • Medium: gouache on wood
  • Dimensions: 25 by 6cm., 10 by 2.5in.
  • Provenance: Provenance:
    Taylor Galleries, Dublin; Private collection
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TOLEDO
TOLEDO
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 15 March 2010 / 58

Published Estimate: €8000-10000

Price Realised: 

  • Signature: signed lower left; with title on reverse; also bearing Oriel Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 34 by 44cm., 13.5 by 17.5in.
  • Provenance: Provenance:
    Oriel Gallery, Dublin; Private collection
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ROUNDSTONE HARBOUR, c.1940s
ROUNDSTONE HARBOUR, c.1940s
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 15 March 2010 / 59

Published Estimate: €4000-6000

Price Realised: €3900

  • Signature: signed lower right
  • Medium: gouache and watercolour
  • Dimensions: 25 by 36cm., 10 by 14in.
  • In March 1971 the Dawson Gallery, Dublin held 'Gerard Dillon, Early Paintings of the West' an exhibition which comprised twenty-nine works by the artist dating to the early 1940s. In the catalogue to this exhibition James White (then Director of the National Gallery of Ireland) commented on the importance of these works in terms of understanding artistic life in Ireland during this period. Dillon's interpretation of Ireland is principally communicated to his audience through scenes of Connemara, especially in works which he did while in exile in London. In particular, he focused on the natural elements within the landscape: the water and land and their interaction with its inhabitants in the harbours and boats. These works were rooted in the reality of the time, the work - farming and fishing - and, as White remarked, "He translated it all into visual images as Synge has earlier translated it into words and drama."

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SEATED FIGURE, 1991
SEATED FIGURE, 1991
Nevill Johnson (1911-1999)

Auction Date / Lot No.: 15 March 2010 / 60

Published Estimate: €3000-4000

Price Realised: 


DESIGN FOR A RUG (CEADOGAN - MAINIE JELLETT 13)
DESIGN FOR A RUG (CEADOGAN - MAINIE JELLETT 13)
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 15 March 2010 / 61

Published Estimate: €3000-5000

Price Realised: €3500

  • Medium: gouache
  • Dimensions: 36 by 25cm., 14 by 10in.
  • Literature: Literature:
    Arnold, Bruce, Abstract Cubist Rugs, Art Deco Rugs designed by Mainie Jellett, Ceadogan Rugs, 2008, p.13 (illustrated)
  • In 1928 Mainie Jellett exhibited her inaugural carpet design in a solo exhibition. Similar to this example, executed in gouache on paper, it was mounted on card and supplemented by a pencil drawing indicating her intentions with regards to the colours. Jellett made many rug designs originally intended to guide rug-makers in woven examples of Cubism. In the 1930s a small number of her rugs, which were hand-knotted, sold through the Country Shop in Dublin. This gouache is the original design used for a Ceadogán rug, Mainie Jellett 13. Limited to twenty, the rugs measures 4.57m by 3.05m and is made from 100% New Zealand tufted yarn. For an example from this edition see: www.ceadogan.ie.

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HOMAGE TO PICASSO (A PAIR) 1930 & 1990
HOMAGE TO PICASSO (A PAIR) 1930 & 1990
Nevill Johnson (1911-1999)

Auction Date / Lot No.: 15 March 2010 / 62

Published Estimate: €300-400

Price Realised: €300

  • Signature: each signed and dated lower right and lower left respectively
  • Medium: pencil on paper
  • Dimensions: 11 by 10cm., 4.5 by 4in.
  • Provenance: Provenance:
    Acquired directly from the artist by the present owner
  • Dimensions of second drawing: 4.5 by 5.75ins.

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THE FAITHFUL DOG, 1953
THE FAITHFUL DOG, 1953
Basil Ivan Rakoczi (1908-1979)

Auction Date / Lot No.: 15 March 2010 / 63

Published Estimate: €4000-6000

Price Realised: 

  • Signature: signed lower right; inscribed with title and dated on reverse; with artist's archival number [1992A] and inscribed 'Desbordes, Paris' label also on reverse
  • Medium: oil on canvas
  • Dimensions: 27 by 46cm., 10.5 by 18in.
  • Provenance: Provenance:
    The collection of Jacqueline Robinson, Paris; Private collection
  • Possibly exhibited at the Dublin Painters' Gallery, 12-14 October 1953, this exhibition included works in oil, monotypes, gouaches and watercolours and depicted similar scenes of beasts and woodlands. During the early 1950s Basil Rákóczi published a range of works including de luxe editions of his own poems and illustrations, Song Book of Idiot Boy, (Paris, 1953) and The Caged and The Free (Paris, 1955) many of which published were also connected with his artistic collective, The White Stag ('Editions du Cerf Blanc' (White Stag Press’). This escape into another form of expression activated the artist and inspired some of his most important creations including the later work, Jacqueline Robinson's Et ce chant dans mon coeur... sept poemes (1971). Robinson was a dancer and friend of Mainie Jellett's who established her own dance company in Paris. She was closely affiliated with Basil Rákóczi and other members of The White Stag. Rákóczi painted Jacqueline on a few occasions and the two were romantically linked for a time.

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STILL LIFE WITH BLUE COFFEE POT, c.1955
STILL LIFE WITH BLUE COFFEE POT, c.1955
Basil Ivan Rakoczi (1908-1979)

Auction Date / Lot No.: 15 March 2010 / 64

Published Estimate: €2000-3000

Price Realised: €2400

  • Signature: signed lower left
  • Medium: gouache on paper
  • Dimensions: 23 by 62cm., 9 by 24.5in.
  • With thanks to the artist’s grandson, Chris Rákóczi, for his assistance in cataloguing this lot and lot 65.

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UNTITLED, c.1947-48
UNTITLED, c.1947-48
Basil Ivan Rakoczi (1908-1979)

Auction Date / Lot No.: 15 March 2010 / 65

Published Estimate: €3000-5000

Price Realised: 


WOMAN IN HAT, c.1950s (SET OF THREE)
WOMAN IN HAT, c.1950s (SET OF THREE)
Stella Steyn (1907-1987)

Auction Date / Lot No.: 15 March 2010 / 66

Published Estimate: €1000-1500

Price Realised: €1050


WOMAN IN HAT, c.1950s (SET OF TWO)
WOMAN IN HAT, c.1950s (SET OF TWO)
Stella Steyn (1907-1987)

Auction Date / Lot No.: 15 March 2010 / 67

Published Estimate: €800-1000

Price Realised: €1000


RECLINING WOMAN, c.1950
RECLINING WOMAN, c.1950
Stella Steyn (1907-1987)

Auction Date / Lot No.: 15 March 2010 / 68

Published Estimate: €500-700

Price Realised: €850


TWO WOMEN, c.1950
TWO WOMEN, c.1950
Stella Steyn (1907-1987)

Auction Date / Lot No.: 15 March 2010 / 69

Published Estimate: €500-700

Price Realised: €750


SELF PORTRAIT IN FLORAL DRESS, c.1940s
SELF PORTRAIT IN FLORAL DRESS, c.1940s
Stella Steyn (1907-1987)

Auction Date / Lot No.: 15 March 2010 / 70

Published Estimate: €1500-2000

Price Realised: €1500

  • Signature: with exhibition label on reverse
  • Medium: oil on linen
  • Dimensions: 66 by 43cm., 26 by 17in.
  • Provenance: Provenance:
    Merz Gallery, Edinburgh; Private collection
  • Exhibited: Exhibited:
    'Stella Steyn The Female Self, Portraits & Nude Self Portraits', Merz Gallery, Edinburgh, 25 November - 10 December, 2005
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SELF PORTRAIT WITH PLANT, c.1940s
SELF PORTRAIT WITH PLANT, c.1940s
Stella Steyn (1907-1987)

Auction Date / Lot No.: 15 March 2010 / 71

Published Estimate: €2000-3000

Price Realised: €3400

  • Signature: with exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 66 by 51cm., 26 by 20in.
  • Provenance: Provenance:
    Merz Gallery, Edinburgh; Private collection
  • Exhibited: Exhibited:
    'Stella Steyn The Female Self, Portraits & Nude Self Portraits', Merz Gallery, Edinburgh, 25 November - 10 December, 2005
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PARIS CAFE, 1950
PARIS CAFE, 1950
Stella Steyn (1907-1987)

Auction Date / Lot No.: 15 March 2010 / 72

Published Estimate: €500-700

Price Realised: €500

  • Signature: dated lower left; with Gorry Gallery exhibition label on reverse
  • Medium: pencil
  • Dimensions: 17 by 19cm., 6.75 by 7.5in.
  • Provenance: Provenance:
    Gorry Gallery, Dublin; Private collection
  • Exhibited: Exhibited:
    'Stella Steyn 1907-1987, A Retrospective View', Gorry Gallery, Dublin, 26 October - 9 November, 1995, catalogue no. 77
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SNOW SCENE
SNOW SCENE
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 15 March 2010 / 73

Published Estimate: €2000-3000

Price Realised: 

  • Signature: with Mary Swanzy studio sale stamp on reverse
  • Medium: oil on canvas
  • Dimensions: 25 by 48cm., 10 by 18.7 5in.
  • Provenance: Provenance:
    Christie's Mary Swanzy Studio Sale, 10 May, 2007; Private collection
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LANDSCAPE, POSSIBLY COUNTY KERRY, 1964
LANDSCAPE, POSSIBLY COUNTY KERRY, 1964
Bea Orpen HRHA (1913-1980)

Auction Date / Lot No.: 15 March 2010 / 74

Published Estimate: €800-1000

Price Realised: €750

  • Signature: signed lower left
  • Medium: gouache heightened with white on tinted paper
  • Dimensions: 30 by 44cm., 11.7 5 by 17.2 5in.
  • Bea Orpen was niece to the renowned Sir William Orpen RA RI HRHA (1878-1931) and R.C. Orpen RHA (1863-1938). She was predominately a landscape artist, having trained from 1932-35 at the Metropolitan School of Art, Dublin and at the Royal Hibernian Academy Schools and later at the Slade School in London. Orpen won a variety of accolades for her artistic ability throughout her training as well as in her latter years as an established artist. In 1980, two months prior to her death, Orpen was elected an honorary member of the RHA. In 1981 the Gorry Gallery, Dublin, held a retrospective exhibition of her works. This work appears to be dated 1964. The artist's diary records suggest it may be a scene in Co. Kerry where she painted in July of that year. We are grateful to the artist's family for this information.

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ROUNDSTONE, COUNTY GALWAY
ROUNDSTONE, COUNTY GALWAY
Lady Elizabeth Butler (1846-1937)

Auction Date / Lot No.: 15 March 2010 / 75

Published Estimate: €800-1000

Price Realised: €1600

  • Signature: inscribed with location on reverse; also with Victor Waddington Galleries framing label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 23 by 29cm., 9 by 11.5in.
  • Provenance: Provenance:
    Victor Waddington Galleries, Dublin; Private collection
  • Inscribed "Mount Orris, Roundstone, Co. Galway" in pencil on reverse.

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THREE ACHILL GIRLS
THREE ACHILL GIRLS
Hilda Roberts HRHA (1901-1982)

Auction Date / Lot No.: 15 March 2010 / 76

Published Estimate: €6000-8000

Price Realised: €5800

  • Signature: signed lower right; bearing original Taylor Galleries framing label on reverse
  • Medium: oil on canvas
  • Dimensions: 69 by 89cm., 27 by 35in.
  • Exhibited: Exhibited:
    'Hilda Roberts HRHA: Paintings, Drawings and Sculpture from early 1920's-1978', Taylor Galleries, Dublin, 25 May - 9 June 1979, catalogue no. 1 (as Three Little Girls), illustrated on front cover of catalogue.
  • Born into a Dublin Quaker family, Hilda Roberts excelled at art whilst at school and received her first artistic commission at the age of seventeen, when she illustrated the Lorimers' translation of Persian Tales. In 1919 she enrolled at the Dublin Metropolitan School of Art, where she was taught by Patrick Tuohy. He later introduced Roberts to the New York dealer Helen Hackett, who in 1929 commissioned Roberts to paint what was to become her best known portrait, that of George Russell 'AE', now in the collection of the Ulster Museum, Belfast. The Russell portrait was widely exhibited in America, including at the 1933 World Trade Fair in Chicago. Roberts continued to specialise in portraiture. In 1929 she spent some months on Achill Island, painting portraits of local children. Her first solo show was held later that year at the Dublin Painters Gallery and featured these Achill portraits, exhibited as genre studies under titles such as The White Pinafore and Brigid. This latter work may well be the same Little Brigid, 1929, which is reproduced in the Crawford Gallery's retrospective catalogue of Robert's work. That work was certainly a study for the present larger composite work, in which Brigid is flanked by two little girls, presumably her sisters.

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PORTRAIT OF MARY ST. CLAIR SWANZY TULLO, SEPTEMBER, 1933
PORTRAIT OF MARY ST. CLAIR SWANZY TULLO, SEPTEMBER, 1933
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 15 March 2010 / 77

Published Estimate: €1800-2200

Price Realised: 

  • Signature: signed lower left; inscribed and dated lower right; with Mary Swanzy studio sale stamp on reverse; also with original R. Strahan & Co. Ltd., Dublin label on reverse
  • Medium: oil on board
  • Dimensions: 53 by 46cm., 21 by 18in.
  • Provenance: Provenance:
    Studio of the artist; Christie's Mary Swanzy Studio Sale, May 2007, lot 338
  • In what appears to be its original frame.

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NUDE ON THE HILL OF HOWTH
NUDE ON THE HILL OF HOWTH
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 15 March 2010 / 78

Published Estimate: €5000-7000

Price Realised: €16500

  • Signature: signed lower right
  • Medium: oil over pencil on board
  • Dimensions: 27 by 49cm., 10.5 by 19.2 5in.
  • Provenance: Provenance:
    With Oriel Gallery, Dublin, July 1979; Whence purchased by William and Joan Roth, USA; Adam's, 29 September 2004, lot 139 as ‘Reclining Male Nude’; Private collection
  • Orpen attended the Slade School of Art between 1897-1899. Life Study was one of a number of areas in which he excelled. By the end of his first year he took the First Class Certificate in ‘Figure Painting’ and a £5 prize for ‘Figure Drawing’. He was only too aware of the long and noble tradition for this type of image dating back at least to the religious paintings of artists such as Ribera, whom he greatly admired. It is hardly suprising therefore that in the few years following the Slade he should indulge this passion for the challenges presented by the male nude, producing a number of works testing his abilities. One such was The Rebel (1902) (Crawford Municipal Art Gallery, Cork), about which, P. G. Konody comments; “The romantic title is merely a cloak for a scholarly, accomplished study of a male torso. A rifle on the ground by the side of the corpse is introduced as a concession to the requirements of pictorial story-telling, a perfectly legitimate and acceptable means of investing the subject with additional interest, so long as the literary significance does not interfere with the working out of the purely pictorial problem.” He continues; “His leaning towards the romantic was always tempered by realism. To use J. B. Manson's happy phrase : " He hitched his waggon to a star, but one end was securely tied to earth.". (See footnote no. 1) It may well be that the origins of the present work date from this period, and the figure element, executed in pencil, could indeed have been one of a number of studies for that work, as Orpen attempted to resolve the pose for the corpse. Konody’s comments hold true for many of the artists following in the neo-classical and historic traditions. Orpen, in his rapacious thirst for art history and tradition would not only be able to draw on the religious paintings of Ribera and trace them through to works such as Thèodule Ribot’s Le Samaritain (1870) (Musèe d’Orsay, Paris), but also would combine them with other traditions such as the Irish Romantics, characterised by such works as James Barry’s Death of Adonis (c.1775) (National Gallery of Ireland), or Francis Danby’s The Precipice aka Death of an Alpine Hunter (c.1827) (City of Bristol Museum and Art Gallery), or Harry Jones Thaddeus’s The Wounded Poacher (1880-1881) (National Gallery of Ireland) or with the Scottish Historical tradition, such as David Scott’s Philoctetes left in the Isle of Lemnos by the Greeks, in their Passage towards Troy (1840) (National Galleries of Scotland) (See footnote no. 2)

    As the artist’s style developed and matured, and the vista of his genre works opened out from those interiors, so characteristic of the turn-of-the century New English Art Club, to the broader canvases and challeges of the open air, the dominance given to line, increasingly gave way to colour and form, a development no doubt feulled by the awe-inspiring, ever-changing skies over Dublin Bay, which Orpen regularly painted as he holidayed in Howth between 1909 and 1914 (see footnote no. 3), and later by the strange and eerie beauty of the sun-baked battlefields of the Western Front (see footnote no. 4), and onimous billowing clouds over Paris (see footnote no. 5). Orpen exulted the incongruity of the strong yet suble, sometime contrasting, sometime harmonious, colours, that nature created in its landscapes, seascapes and cloudscapes, and in consequence his pallette developed to accommodate them. Throughout the 1920s Orpen subjugated his own freedom to explore through genre painting to concentrate on his portrait business. However, in the last few months of his life, he branched out from commissioned portraiture to produce a series of works, often unfinished, seemingly very different from anything else he produced before. Orpen’s health was failing rapidly at that time, and he must have been aware that his time was short, but he was determined to work to the very end. He still had things to say, things he had put off for a decade, things emanating from a new conciousness arising from his changing medical condition. Consequently the pictures, forged by a new urgency, do not have the finesse of previous works, but they do contain passion, vision, commitment and unity of expression. Evidently they must have meant a great deal to the artist for he submitted three of the more major pictures, Palm Sunday A.D.33 (1931) (Private Collection), Eve in the Garden of Eden (1931) (Royal Academy, London) and Pavlova on a Beach (1931) (Mildura Arts Centre, Australia), to public scrutiny at the Royal Academy Summer Exhibition in 1931.

    Consisting of two intertwining strands these last works are set in an indeterminate location comprising earth, sea and sky, that may be an idealised reference to Howth and Dublin Bay, the character of which can change from idyllic sunshine to stormy turmoil in the blink of an eye. It is this duality that is reflected, with the female form representing serenity and the male form turmoil. When we gaze upon these works we are experiencing Orpen’s visualisation of the Agony and the Ecstasy, yet still the romantic is corralled by realism, as he did three decades before with The Rebel. Only now with the balance tipped in favour of the romantic. Realism was achieved by the preservation of line, and as his faculties deteriorated, the ingenious artist resorted to various subterfuges to compensate. Among these would be the use of photographs, tracing, or using old academic pencil studies of the nude and adding a background based upon colour and form, which did not require the same precision in its handling. The current work falls into this category, the figure itself could possibly be a trace of , or an earlier study. (See footnote no 6)

    The quality of the works suggest Orpen was trying to aspire to some supernatural vision, as if he was looking through his own approaching death to the after-life. All the pictures possess a mystical or spiritual quality, and a number of them have a religious theme or title. Religion had taken on a greater significance in these last years. He had become friendly with a Roman Catholic priest and had installed his own little Chapel in his revamped studio completed in 1929. One could imagine, the recumbent figure representing Orpen himself, a tortured soul, as he comtemplates the haunting images of Ribera’s Christ and martyrs which had been etched in his memory all those years before. As his dexterity wanes, colour becomes increasing more important to express his feelings, and these pictures of the male nude are far darker in colour and tone than the more serene ones involving the female form. The stillness of those pictures is replaced with a disturbing sky, full of movement and menace, where even the seagulls are agitated. There is no peace here. This is more akin to purgatory than to heaven, and the man’s implied suffering may well be a manifestation of Orpen’s guilt and loathing at certain aspects of his life as he prepares to meet his Maker. Is he in purgatory, naked before God, racked by pain both mental and physical, atoning for his sins in a neverland? Taking the current work as an example, just as with Van Gogh, or Dadd, whatever governed Orpen’s thoughts in the last months, he still was able to produce powerful and challenging works, focuses for meditation, that have the ability to cause a stir, divide opinion, court controversy, shock and bewilder. As such this oft dismissed small but significant part of his ouvre should not be rejected or ignored. Instead it must be embraced, for it represents the closing bracket around the artistic life of a great painter.

    Footnotes: 1. For a more detailed assessment of these works, especially The Rebel, refer to P.G. Konody’s comments in P.G. Konody and Sidney Dark, Sir William Orpen, Artist and Man, Seeley Service, London, 1932, p.158. 2 This pose adopted for the current work, or variants, can be seen in many works of neo classical, historic and romantic painters in the late eighteenth and early nineteenth centuries. Further examples include William Blake’s The Spiritual Form of Nelson Guiding Leviathan, c.1805-9 (Tate Gallery, London) and David Scott’s, Russians Burying their Dead, 1831-2 (Hunterian Art Gallery, University of Glasgow). Perhaps of greatest interest, however, is the latters’ 1840 rendition of Philoctetes left in the Isle of Lemnos by the Greeks, in their Passage towards Troy, which seems to have been inspired by William Wordsworth’s 1827 Sonnet, When Philoctetes in the Lemnian Isle, rather than directly from the Greek legend:

    WHEN Philoctetes in the Lemnian isle Like a form sculptured on a monument Lay couched; on him or his dread bow unbent Some wild bird oft might settle and beguile The rigid features of a transient smile, Disperse the tear, or to the sigh give vent, Slackening the pains of ruthless banishment From his loved home, and from heroic toil. And trust that spiritual Creatures round us move, Griefs to allay which Reason cannot heal; Yea, veriest reptiles have sufficed to prove To fettered wretchedness, that no Bastile Is deep enough to exclude the light of love, Though man for brother man has ceased to feel.

    Although viewed from a different angle, Philocetetes’ pose closely resembles the pose of the nude in the subject work. This along with the nature and placement of the accoutrements, the bow and quiver of arrows for Scott and the hat and firearn for Orpen, coupled with the similarity in the beards suggest that this may have been one of Orpen’s references when undertaking The Rebel. Scott’s painting had been acquired by the National Gallery of Scoland in 1890. It is also not inconceivable that Orpen knew that Scott’s source was Wordsworth, and that he was also conversant with the sonnet. However, whereas in The Rebel, he was using elements of Scott’s picture for a composition in relation to a different subject, with regard to the present work, the added elements surrounding the central figure, together with colour and tone of the torso suggest a direct connection with the sonnet on the one hand and a link to Scott’s work on the other. It may well be that the sentiments expressed by Wordsworth found a resonance with Orpen in his twilight days. 3 Examples include: A Breezy Day, Howth (1912) (Hugh Lane Gallery of Modern Art, Dublin) Bringing In the Boat (c.1912) (Private Collection), and Dublin Bay From Howth Head (c.1912) (Private Collection). For further discussion see Orpen Research Project, Christie’s Irish Sale, 19 May 2000 Catalogue, Lot.184. pp.162-3, Christie’s, London, 2000. 4 Examples include: The Main Street, Combles (1917) (Imperial War Museum, London) and Harvest, 1918 (Imperial War Museum, London) 5 Clouds Over Montmartre (c.1919) (Private Collection). For further discussion see Orpen Research Project, Sotheby’s Irish Sale, 13 May 2004 Catalogue, , Lot.34. p.55., Sotheby’s, London, 2004. 6 Other works to be considered: Based on the male nude - Male Nude Study (Private Collection); On the Edge of the Cliff (Private Collection); and Nude, Male Lying on a Rock [No.1] (Private Collection), and based on the Female form - Mother and Child on a Beach (Royal Academy, London); Nude Female Model Reading on a Seashore (Royal Academy, London) ; and Nude, Female, Back - Looking to Sea (Private Collection).

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THE TEA TRAY
THE TEA TRAY
William John Leech RHA (1881-1968)

Auction Date / Lot No.: 15 March 2010 / 79

Published Estimate: €15000-20000

Price Realised: 

  • Medium: oil on canvas
  • Dimensions: 84 by 84cm., 33 by 33in.
  • Provenance: Provenance:
    Taylor Galleries, Dublin; Private collection
  • Literature: Literature:
    Alan Denson, 'W.J. Leech RHA (1881-1968) Volume Two: His Life Work, A Catalogue', private publication, Kendal, 1969, illustrated plate no. 24
  • The Tea Tray most likely belongs to the last ten years of Leech's life, 1958-1968, when he and his wife May moved out of London and bought a house in West Clandon, Surrey. They lived quietly in retirement, listening to the radio, enjoying the countryside and their garden. When Leech wrote to his life-long friend the New Zealander, Sydney Lough Thompson, he told him of the subjects he was presently painting at Candy Cottage and of his lifelong striving to capture light on his canvases: "I am painting very simple things - Still lifes, mostly without flowers, so that I only have the changing light to compete with, quite enough and I learn what I can".(See footnote no. 1) He bemoaned the lack of water, "Landscape does not exist here - I like painting water but there is none about: so there we are! Paint in the garden and be thankful that one need not take long walks in search of subjects". (See footnote no. 2) Leech was then in his seventies and his paintings reflected his immediate surroundings. He worked in the garden and the garden became an essential element in his work, as in the paintings, In the Artist's Garden, The Painter with his Picture and Studio Garden. (See footnote no. 3) May and Bill enjoyed having tea out of doors in the summer in their garden. The genteel world of tea on the lawn is captured in both this and another work The Tea Trolley. The latter is set under the dappled shadows of the trees, depicting a trolley set with china cup and saucer, and patterned tea-cosy on the tea-pot; the quintessence of an English summer day in the garden. Colour dominates in the purple-backed book, the clear blue of a tray-cloth, and the orange, yellow, blue and green stripes of the deck chair. The Tea Tray, on the other hand, is a broadly mapped-in study of a tray, set simply with a bottle, brownish black tea-pot, mug, plate and knife. The simplified forms of these objects, painted in large areas of unbroken colour, indicate Leech's working method, before he added detail and the 'finish' of The Tea Trolley. Leech's technique is visible in the pencil lines defining the bottle shape, the edge of the tray and the handle of the knife. After quickly blocking in the main shapes of this still-life in pencil, he continues to draw in paint using close tones of siennas and ochres, greens in tones of viridian and Prussian blue. Painted freely, he allows edges of white canvas to appear. Interesting too, is his use of black which accentuates the shadows, highlighting the upright of the background trees, the curved form of the brown teapot and the edge of the tray. Leech has completed the middle tones and deep shadows and has carefully planned the composition in his usual style with strong diagonals balanced by uprights. This work was in Leech's studio when he died, the contents of which were bequeathed to Leo Smith of the Dawson Gallery.

    Dr Denise Ferran

    Footnotes: 1 William John Leech, letter from Candy Cottage to S. L. Thompson, Christchurch, New Zealand, offering consolation on learning of the death of his wife Maud Ethel Thompson and narrating the subject matter he was painting, 9 September 1961. 2 Ibid. 3 See Denise Ferran, William John Leech: An Irish Painter Abroad, Merrell Holberton, London, 1996, illustrated in colour, pages 290, 291 and 278 respectively.

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GLORY O! (1937), FAMINE SONG (1935), and ONE OTHER WORK
GLORY O! (1937), FAMINE SONG (1935), and ONE OTHER WORK
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 15 March 2010 / 80

Published Estimate: €200-300

Price Realised: €100

  • Signature: signed in the plate lower left
  • Medium: coloured prints; (3) (framed)
  • Dimensions: 8 by 13cm., 3.25 by 5in.
  • Literature: Literature:
    Pyle, Hilary, Jack B. Yeats His Cartoons and Illustrations, Irish Academic Press, 1994, p. 283
  • Glory O! is listed in Pyle p. 283 catalogue no. 2010. The original illustration was reproduced in A Broadside No. 7 (New Series) July 1937. Famine Song appeared in A Broadside No. 12. The New Series differed from the 1935 Broadside in that they included musical scores. See Pyle, p.279.

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THE STREAMS OF BUNCLODY and SONG FOR THE CLATTER BONES, 1935 and THREE OTHER WORKS
THE STREAMS OF BUNCLODY and SONG FOR THE CLATTER BONES, 1935 and THREE OTHER WORKS
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 15 March 2010 / 81

Published Estimate: €400-600

Price Realised: €60

  • Signature: signed in the plate lower left
  • Medium: coloured prints; (5) (framed)
  • Dimensions: 13 by 10cm., 5 by 4in.
  • Literature: Literature:
    Pyle, Hilary, Jack B. Yeats His Cartoons and Illustrations, Irish Academic Press, 1994, p. 277-279
  • Titles of the three other works, all listed in Pyle p. 277-279, include; 'Song of Repentance', 'The Lowlands of Holland' and 'The Riddle Song'.

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A LAMENT FOR ART O'LEARY, 1940
A LAMENT FOR ART O'LEARY, 1940
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 15 March 2010 / 82

Published Estimate: €600-800

Price Realised: €320

  • Signature: variously signed in the plate with monogram or in full
  • Medium: coloured prints; (6) (framed)
  • Dimensions: 13 by 11cm., 5.25 by 4.25in.
  • Literature: Literature:
    Pyle, Hilary, 'Jack B. Yeats His Cartoons and Illustrations', Irish Academic Press, 1994, p. 204 (illustrated)
  • Titles for all six include, Horse and Ride, Horse and Rider with Whip, Horse at Gate, Mother and Two Children, Woman Carrying Coffin and Woman Grieving over Fallen Ride. Pyle notes: “Frank O’Connor’s translation from the Irish, A Lament for Art O’Leary, with illustrations by Jack B. Yeats, was published in a limited edition of 130 copies by the Cuala Press in 1940. The poem from West Cork tells of the death of Art O'Leary, a firebrand and ex-officer of the Austrian army, married in 1768 to a young widow, Eileen O'Connell, to whom the lament is ascribed. In terse oblique visual images Yeats encapsulates the tragedy of the event". The original drawings of these prints can be found in the collection of Theo Waddington's Irish Art Project.

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COME GATHER ROUND ME PARNELLITES, 1937 and THREE OTHER WORKS
COME GATHER ROUND ME PARNELLITES, 1937 and THREE OTHER WORKS
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 15 March 2010 / 83

Published Estimate: €300-500

Price Realised: €350

  • Signature: signed in the plate lower left
  • Medium: coloured prints; (4) (framed)
  • Dimensions: 14 by 13cm., 5.5 by 5in.
  • Literature: Literature:
    Pyle, Hilary, Jack B. Yeats His Cartoons and Illustrations, Irish Academic Press, 1994, p. 279 (illustrated p. 280)
  • Come Gather Round me Parnellites was reproduced in A Broadside No. 1 (New Series) January, 1937. See Pyle, p. 279 catalogue no. 2002 (ill. p. 280). Lovely Hill-Torrents Are, catalogue no. 2003, and possibly, The Main Deep, catalogue no. 2004, both 1937, comprise two and three of the four works in this lot. The fourth, unidentified, is also by Yeats.

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LIFE IN THE WEST OF IRELAND, 1912
LIFE IN THE WEST OF IRELAND, 1912
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 15 March 2010 / 84

Published Estimate: €15000-20000

Price Realised: 

  • Signature: signed lower right; with Waddington Galleries typed exhibition label preserved on reverse
  • Medium: pen and brush ink over pencil
  • Dimensions: 18 by 44cm., 7 by 17.2 5in.
  • Provenance: Provenance:
    Waddington Galleries, London; Whence purchased by Lady Reiss; Private collection
  • Literature: Literature:
    Pyle, Hilary, 'The Different Worlds of Jack B. Yeats, His Cartoons and Illustrations', Irish Academic Press, 1994, p. 212, catalogue no. 1536
  • In reference to Life in the West of Ireland (Published in Dublin in 1912 by the Maunsel Press), Pyle notes, "...Life in the West of Ireland is a compilation of drawings made by the artist referring to incidents and characters he saw on his return to the West from Devon every year." She notes that the manner in which these illustrations are executed is typical of Yeats' illustrative style adopted from 1904 on. Life in the West of Ireland comprised forty line drawings, eight of which were published as colour prints, as well as sixteen reproductions of his recent oil paintings. Issued as a special edition of 150 copies, each edition included an original sketch signed by the author. This work is an original pen and brush ink drawing used for the wrapper and the cover of the publication. Listed as catalogue no. 1536 in Pyle, she explains the work as follows, "...A man with a roulette wheel in conversation with a farmer, a fair ground behind. The central part of the drawing, blocked in gilt, is used on the cover."

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DERELICT, 1910
DERELICT, 1910
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 15 March 2010 / 85

Published Estimate: €1200-1500

Price Realised: €1350

  • Signature: with a copy of the handwritten note by the artist to the original owners on the occasion of their wedding
  • Medium: watercolour over pencil
  • Dimensions: 12 by 8cm., 4.75 by 3.25in.
  • Provenance: Provenance:
    A gift from the artist to the original owners; de Vere's, Dublin, November, 2002; Private collection
  • Accompanying note addressing Sally Hone and Stanely Cooke Smith on the occasion of their wedding reads, "My dear Sally, This is a little wedding present, of two of my old sketch books - one for each of you. With all my good thoughts & good wishes for the health, wealth & happiness of you both. Yours very sincerely, Jack B. Yeats."

    Hilary Pyle in Jack Butler Yeats, His Watercolours, Drawings and Pastels sites Derelict, 1910, describing the principal subject as, "A redheaded, red-bearded seaman in patched blue clothes..." See Pyle p.164, catalogue no. 699.

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GENTLEMAN AND LADY IN SHAWL c.1930s and NINE OTHER WORKS BY MAURICE MACGONIGAL AND ANOTHER HAND
GENTLEMAN AND LADY IN SHAWL c.1930s and NINE OTHER WORKS BY MAURICE MACGONIGAL AND ANOTHER HAND
Seán O'Sullivan RHA (1906-1964)

Auction Date / Lot No.: 15 March 2010 / 86

Published Estimate: €400-600

Price Realised: €160

  • Signature: the first signed in the plate lower centre
  • Medium: coloured prints; (10) (framed)
  • Dimensions: 9 by 13cm., 3.5 by 5in.
  • Dublin born O'Sullivan is better known as a portrait artist however, he did contribute to a second series of 'A Broadside' published in 1935. The other nine works in this lot, some initialled 'M', depict a variety of charming subject matter.

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THE THREE BUSHES, 1937 and FIVE OTHER WORKS
THE THREE BUSHES, 1937 and FIVE OTHER WORKS
Victor Brown (1900-1953)

Auction Date / Lot No.: 15 March 2010 / 87

Published Estimate: €300-400

Price Realised: €100

  • Signature: all signed with initials in the plate
  • Medium: coloured prints; (6) (framed)
  • Dimensions: 9 by 11cm., 3.5 by 4.25in.
  • The Three Bushes was illustrated by Victor Brown to accompany W.B. Yeats' poem of the same name. It appeared in A Broadside (New Series), No. 3 in March 1937. The five other works by Brown are similarly illustrated, some figurative. Brown arrived in Ireland in the mid 1920's and worked free lance as a commercial artist for a variety of books and magazines. The theme of Celtic mythology featured heavily in Brown's oeuvre leading to strong ties with fellow artists, the poet F.R. Higgins and W.B. Yeats. Brown contributed widely to Yeats' Broadside publication in both 1935 and 1937.

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Cuala Press Collection  

Auction Date / Lot No.: 15 March 2010 / 88

Published Estimate: €200-300

Price Realised: 


THE LADY, THE SQUIRE AND THE SERVING MAID, 1933 and THREE OTHER WORKS
THE LADY, THE SQUIRE AND THE SERVING MAID, 1933 and THREE OTHER WORKS
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 15 March 2010 / 89

Published Estimate: €300-400

Price Realised: €100

  • Signature: the first signed lower right with initial 'K' in the plate
  • Medium: coloured prints; (4) (framed)
  • Dimensions: 13 by 13cm., 5 by 5in.
  • 'The Lady, The Squire and the Serving Maid' graced the cover of 'A Broadside' No. 9 (New Series) September, 1937. Harry Kernoff was represented among the illustrators for 'A Broadside' in 1935 and 1937 published by the Cuala Press.

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A BROADSIDE No. 1, THIRD YEAR
A BROADSIDE No. 1, THIRD YEAR
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 15 March 2010 / 90

Published Estimate: €200-300

Price Realised: €200


CONNEMARA, 1923-24
CONNEMARA, 1923-24
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 15 March 2010 / 91

Published Estimate: €100-200

Price Realised: €300

  • Signature: signed in the plate lower right
  • Medium: photolithographic print
  • Dimensions: 43 by 55cm., 17 by 21.5in.
  • The original oil painting of this print is listed in S.B. Kennedy's, Paul Henry, Paintings, Drawings, Illustrations, p.223. The painting was first reproduced as a poster by the London Midland and Scottish Railway Company in 1925. Kennedy notes that it was, "...Subsequently one of the best selling LMS railway posters, during 1932, for example, 671 copies were sold in the British Isles and 50 copies in the USA."

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FISHING VESSELS IN A HARBOUR
FISHING VESSELS IN A HARBOUR
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 15 March 2010 / 92

Published Estimate: €600-800

Price Realised: €500

  • Signature: signed lower left; with gallery label on reverse
  • Medium: pen and ink over pencil on paper
  • Dimensions: 22 by 17cm., 8.5 by 6.75in.
  • Provenance: Provenance:
    The Loquens Gallery, Cheltenham; Private collection
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BEACH HARVEST IN COUNTY DONEGAL, 1864
BEACH HARVEST IN COUNTY DONEGAL, 1864
 Irish School (19th century)

Auction Date / Lot No.: 15 March 2010 / 93

Published Estimate: €200-300

Price Realised: €300


ELEMENTARY BRUSH-WORK STUDIES
Elizabeth ("Lolly") Corbet-Yeats (1868 - 1940)

Auction Date / Lot No.: 15 March 2010 / 94

Published Estimate: €800-1000

Price Realised: 

  • Dimensions: 25 by 30cm., 10 by 12in.
  • George Philip & Son, London and Liverpool, 1900, with twenty-four coloured plates and introduction by Corbet Yeats. In original buff-coloured boards, titled upper.

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DONEGAL CASTLE and LANDSCAPE WITH COTTAGE, c.1850s (A PAIR)
DONEGAL CASTLE and LANDSCAPE WITH COTTAGE, c.1850s (A PAIR)
Isabella and Alice Harvey (fl.1830s-1850s)

Auction Date / Lot No.: 15 March 2010 / 95

Published Estimate: €500-700

Price Realised: €400

  • Signature: both with typed label detailing artist, location and provenance of the works
  • Medium: watercolour over pencil
  • Dimensions: 24 by 34cm., 9.5 by 13.2 5in.
  • Provenance: Provenance:
    From a folder of watercolours by Isabella and Alice Harvey, Brownhall, Ballintra, Co. Donegal; Private collection
  • Dimensions of second work: 7.5 by 11.75ins. Stylistically, the hand of these artist sisters is very similar, both working on parallel subject matters in the Donegal landscape predominantly. Little is known of the sisters other than Harvey's Point on Lough Swilly was named after one of their ancestors.

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ARABIC, AFRICAN AND EGYPTIAN FIGURES IN COSTUME, c.1800
ARABIC, AFRICAN AND EGYPTIAN FIGURES IN COSTUME, c.1800
  

Auction Date / Lot No.: 15 March 2010 / 96

Published Estimate: €500-700

Price Realised: €600

  • Signature: variously dated; with James Wates Junr., Carver & Gilder, Powis St., London label on reverse
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 50 by 85cm., 19.5 by 33.5in.
  • Provenance: Provenance:
    James Wates Junr., London; Private collection
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RESTING BY THE PARK PATH
RESTING BY THE PARK PATH
Blanche F. MacArthur (fl. 1870-1903)

Auction Date / Lot No.: 15 March 2010 / 97

Published Estimate: €500-700

Price Realised: €500

  • Signature: signed lower right
  • Medium: watercolour heightened with white
  • Dimensions: 36 by 25cm., 14 by 10in.
  • Blanche MacArthur exhibited extensively with the Royal Hibernian Academy of Arts from 1872-1894. Her subject matter was distinctly feminine and delicate in nature as exemplified in the work. Testament to her abilities as an artist, in 1881, in collaboration with fellow artist Jennie Moore, MacArthur published, Lessons in Figure Painting in Water Colours. The book included coloured plates by both artists as well as instructions in the handling of the medium. The present view is thought to be St. Stephen's Green, Dublin.

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THE MARKET PLACE, NAVAN
THE MARKET PLACE, NAVAN
William Frederick Wakeman (1822-1900)

Auction Date / Lot No.: 15 March 2010 / 98

Published Estimate: €500-700

Price Realised: €850

  • Signature: with original printed label preserved on reverse; also with Combridge Fine Arts, Dublin label on reverse
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 18 by 25cm., 7 by 10in.
  • Provenance: Provenance:
    Combridge Fine Arts, Dublin; Private collection
  • Original label details, "The Market Place, Navan, a sketch made upon the spot by W. Wakeman". With 'Saddler' premises clearly visible left of centre. William Frederick Wakeman was born in Dublin to an English father; a bookseller and publisher based in D'Olier Street. During his early years he received tuition from George Petrie whose influence can be seen in his decision to become a draughtsman and assistant in the topographical department of the Ordnance Survey. While in this position Wakeman executed several large drawings of views and antiquities, which were later acquired by the Royal Irish Academy. Also an accomplished watercolourist, he made many drawings of Irish scenery and contributed to the Royal Hibernian Academy from 1843 to 1863.In 1842 his talent in the genre was recognised for a lithograph of Thomand Bridge in Limerick.

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TRAVELLER CHILDREN AND MOTHER AT FIRESIDE
TRAVELLER CHILDREN AND MOTHER AT FIRESIDE
Charles G. Hards (19th century)

Auction Date / Lot No.: 15 March 2010 / 99

Published Estimate: €400-500

Price Realised: €420


RIVER SLANEY; WEXFORD ON THE RIGHT, WATERFORD ON THE LEFT and SCENE ON THE HOWTH HEAD, DUBLIN, 1937
RIVER SLANEY; WEXFORD ON THE RIGHT, WATERFORD ON THE LEFT and SCENE ON THE HOWTH HEAD, DUBLIN, 1937
Henry William Moss (1859-1944)

Auction Date / Lot No.: 15 March 2010 / 100

Published Estimate: €100-200

Price Realised: €120

  • Signature: signed lower left; signed and dated lower left, respectively
  • Medium: watercolour over pencil
  • Dimensions: 39 by 52cm., 15.5 by 20.5in.
  • Dimensions of the second work: 15.5 by 22.25in.

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CONNEMARA COAST
CONNEMARA COAST
Lady Elizabeth Butler (1846-1933)

Auction Date / Lot No.: 15 March 2010 / 101

Published Estimate: €1000-1500

Price Realised: €2300

  • Signature: signed with intials lower right; with original Victor Waddington Galleries label on reverse
  • Medium: watercolour
  • Dimensions: 32 by 50cm., 12.5 by 19.5in.
  • Provenance: Provenance:
    Victor Waddington Galleries, Dublin; Private collection
  • In original frame of the Victor Waddington Galleries, Dublin.

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HEXWIRTH BRIDGE, DEVON
HEXWIRTH BRIDGE, DEVON
Wycliffe Egginton RI RWS (1875-1951)

Auction Date / Lot No.: 15 March 2010 / 102

Published Estimate: €500-700

Price Realised: €500

  • Signature: signed lower left; with original inscribed label on reverse
  • Medium: watercolour
  • Dimensions: 36 by 50cm., 14.2 5 by 19.7 5in.
  • Label verso inscribed, "Hexworthy Bridge" by W. Egginton, RI RCA, Teignmouth. Price 25gns".

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