31 May 2010

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PUB AT NIGHT
PUB AT NIGHT
Nano Reid (1900-1981)

Auction Date / Lot No.: 31 May 2010 / 1

Published Estimate: €5000-7000

Price Realised: €5000

  • Signature: signed lower right; with title inscribed on board on reverse; with inscribed artist's label and typed Exhibition label on reverse; also with typed Nano Reid Retrospective exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Provenance: Provenance:Dawson Gallery, Dublin
  • Exhibited: Hanover Gallery, 1952; Dawson Gallery, Dublin, 1956; Arts Council Retrospective, 1964; ‘Nano Reid Retrospective', Municipal Gallery, Dublin and the Ulster Museum, Belfast, 22 December 1974 - January 1975; ‘Nano Reid 1900-1981, Retrospective Exhibition’, Droichead Arts Centre, Drogheda, 5 April – 31 May 1991, catalogue no. 18
  • The work was in the collection of the artist during the time of its exhibition at the Reid Retrospective in 1974/1975. It was later lent by Jim O'Driscoll for the Droichead Arts Centre Retrospective in 1991.

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ANCIENT CAVE
ANCIENT CAVE
Nano Reid (1900-1981)

Auction Date / Lot No.: 31 May 2010 / 2

Published Estimate: €5000-7000

Price Realised: €4600

  • Signature: signed lower left; with inscribed label on reverse; with inscribed Dawson Gallery label on reverse; also with original Dawson Gallery framing label on reverse
  • Medium: oil on board
  • Dimensions: 62 by 79cm., 24.5 by 31in.
  • Provenance: Provenance:Dawson Gallery, Dublin
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MAGIC IN THE SKY
MAGIC IN THE SKY
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 31 May 2010 / 3

Published Estimate: €20000-30000

Price Realised: €28000

  • Signature: signed lower left; with typed Dillon Retrospective Exhibition label on reverse; with title inscribed on stretcher on reverse; also with Dawson Gallery framing label on reverse
  • Medium: oil on canvas
  • Dimensions: 76 by 88cm., 30 by 34.5in.
  • Exhibited: Exhibited:'Irish Exhibition of Living Art', 1968; 'Gerard Dillon Retrospective', Municipal Gallery of Modern Art, Dublin, 15 January - 4 February, 1973, catalogue No. 94
  • Literature: Literature:White, James, Gerard Dillon, An Illustrated Biography, Wolfhound Press, Dublin, 1994, p. 93 and p. 105 (illustrated)
  • Magic in the Sky belongs to the series of imaginative paintings that Gerard Dillon created during the 1960s, which feature the clown Pierrot. Unusually, in this case Pierrot appears as an outline suspended in the sky and surrounded by other less distinct figures all floating along as if in limbo between heaven and earth. Below, three silhouetted figures who may also be clowns, gaze upwards towards their companion in the sky. The intense red earth and yellow sky enhance the otherworldly qualities of the landscape and suggest that this is a dreamscape or the product of the artist’s imagination.

    As James White pointed out in his book Gerard Dillon: An Illustrated Biography, Dillon used Pierrot as an alter ego. The clowns Pierrot and Harlequin are popular tropes in art history. During the eighteenth century they appeared in the works of French and Italian painters including Watteau and Tiepolo, where they referenced the Commedia dell’Arte theatre tradition. In the first decades of the twentieth century both Pierrot and Harlequin were adopted by Modernists including Pablo Picasso, Georges Braque and Juan Gris whose Pierrot (1921) was among the paintings donated to the National Gallery of Ireland by Marie MacNeill Sweeney. Both in his origins in the Commedia dell’Arte and in his reinvention as a Modernist trope, Pierrot was associated with disguised identity, melancholia and gender confusion.

    One of Dillon’s first paintings to include Pierrot is The Brothers (c.1965) which depicts the clown crying over a grave where three skeletons are visible. White argues that the skeletons represent Dillon’s three brothers all of whom had recently died young from heart complaints. In this reading Pierrot is the artist mourning his brothers and fearing that he will soon follow them to an early grave. Sadly, Dillon’s prediction was correct and he died from a heart related illness in 1971 when he was only fifty-five years old. During the last years of his life, which were spent in Dublin, Dillon painted a series of images of Pierrot often in imaginary landscapes. Through these works he often commented on issues, including politics, religion and sexuality, that the conservative nature of Irish culture made it difficult to address directly.

    In Magic in the Sky, the three silhouetted figures may represent Dillon’s three dead brothers watching the insubstantial figure of Pierrot floating through the sky above. Whether the landscape they inhabit represents heaven or some sort of limbo is unclear. In either case the imagery does not follow any conventional religious doctrine and certainly not the teachings of the Catholic Church in which Dillon was raised. Despite the melancholy subject matter of the Pierrot paintings, the images are imbued with a sense of serenity that suggests Dillon had come to terms with his fate. In one of his last paintings, Self-Portrait with Pierrot and Nude painted in 1971 (National Gallery of Ireland) Dillon presents a candid image of his features with Pierrot and a stack of canvases in the background. Perhaps the only image where both artist and alter ego appear together, this painting can be interpreted as a record of Dillon’s acceptance of his own mortality.

    Dr Riann Coulter

    April, 2010

    Dr. Coulter was curator of ‘Nano Reid and Gerard Dillon’, Highlanes Municipal Gallery, Drogheda and F.E. McWilliam Gallery and Studio, Banbridge 30 January- 2 May 2010

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TAKING HOME THE FISH
TAKING HOME THE FISH
Nano Reid (1900-1981)

Auction Date / Lot No.: 31 May 2010 / 4

Published Estimate: €5000-7000

Price Realised: €5800

  • Signature: signed lower left; with inscribed Dawson Gallery exhibition label on reverse; also with Dawson Gallery framing label on reverse
  • Medium: oil on board
  • Dimensions: 76 by 61cm., 30 by 24in.
  • Provenance: Provenance:Dawson Gallery, Dublin
  • Exhibited: Exhibited:'Nano Reid', Dawson Gallery, Dublin, 14-28 July 1966, catalogue no. 8 [price 120gns]
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TINKERS AND PONY
TINKERS AND PONY
Nano Reid (1900-1981)

Auction Date / Lot No.: 31 May 2010 / 5

Published Estimate: €5000-7000

Price Realised: 

  • Signature: signed lower left; with title and number [6] inscribed on label on reverse; with both Dawson Gallery exhibition and framing labels on reverse
  • Medium: oil on board
  • Dimensions: 74 by 39cm., 29 by 15.25in.
  • Provenance: Provenance:Dawson Gallery, Dublin
  • In original frame of the Dawson Gallery, Dublin. Possibly exhibited at the Dawson Gallery c.1960-1970.

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ON THE DUNES, DOLLYMOUNT, 1984
ON THE DUNES, DOLLYMOUNT, 1984
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 31 May 2010 / 6

Published Estimate: €10000-15000

Price Realised: 

  • Signature: signed and dated lower right; with inscribed Tom Caldwell Galleries label on reverse
  • Medium: oil on canvas
  • Dimensions: 61 by 89cm., 24 by 35in.
  • Provenance: Provenance:Tom Caldwell Galleries, Dublin
  • Exhibited: Exhibited:'Patrick Collins', Tom Caldwell Galleries, Dublin, April - May 1985, catalogue no. 3
  • Collins often drew on memories from his past for subjects so that the passage of time would erode details and allow him to distil the poetic essence of the experience. As a young man he played for Clontarf Rugby Club and for a while, in the mid-1940s, lived in a tower in Howth Castle, so it is reasonable to suppose that his attraction to Dollymount Strand grew out of this period in his life. On the Dunes is an exuberant evocation of the place and the feeling of being there: the brisk wind in your face, the warm light bouncing off the sand, moist rock pools at your feet, the expanse of undulating dunes that pull you towards the sea, with the hill of Howth hovering in the distance.

    Around 1978 Collins’ paintings entered a more robust stage, with bold calligraphic strokes of paint giving strong definition to the surface. Through the early 1980s these marks became more and more rounded and more active, culminating in paintings like this one, with its swirling curvilinear movement. On both professional and domestic fronts Collins had entered what was perhaps the most stable period in his life and paintings like this one certainly have a joyous, celebratory feeling to them. Colour is also used with greater gusto, the pale greyed hues having given way to more intense tones like the yellow and blues in On the Dunes. Although the painting still has the diffused light that we associate with the artist, it is more brilliant here.

    Collins preferred to paint from memory so that the picture would be an independent entity with its own internal visual logic rather than being determined by the physical appearance of the subject. The composition of this picture is pure Collins, with the main action gravitating towards the edges. He pulls the shapes towards the perimeter and pivots them around the centre so that the composition has a dynamic rotating movement. The use of crisp white paint further animates the surface, contributing to the picture’s freshness. Ovals within ovals and sweeping arabesques reinforce the undulating rhythms of the dunes, the blustery wind and the sea in a way that is far more potent than any literal depiction.

    Dr. Frances Ruane

    May, 2010

    Dr. Ruane is the author of Patrick Collins, The Arts Council Dublin, 1982.

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WHISTLER'S STUDIO COUCH STUDY, 1995
WHISTLER'S STUDIO COUCH STUDY, 1995
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 31 May 2010 / 7

Published Estimate: €2500-3500

Price Realised: 

  • Signature: signed lower right; with typed Taylor Galleries exhibition label on reverse
  • Medium: oil on linen
  • Dimensions: 27 by 41cm., 10.5 by 16in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'Charles Brady', Taylor Galleries, Dublin, 13-29 July 1995, catalogue no. 8
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NUDE, 1961
NUDE, 1961
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 31 May 2010 / 8

Published Estimate: €800-1000

Price Realised: €950

  • Signature: signed with initials lower right; titled and dated lower left; with typed Arts Council label on reverse; also copy of another O'Malley illustration on reverse
  • Medium: graphite on paper
  • Dimensions: 22 by 33cm., 8.75 by 13in.
  • Provenance: Provenance:Collection of the artist
  • Exhibited: Exhibited:'Tony O'Malley Retrospective', Arts Council/An Chomhairle Ealaion, touring exhibition to the Ulster Museum, Belfast, Douglas Hyde Gallery, Dublin and the Crawford Municipal Gallery of Art Cork, 1984, catalogue no. 34
  • Illustration affixed on reverse entitled, The Straw Hat, 1961.

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HAYRICK, DONEGAL
HAYRICK, DONEGAL
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 31 May 2010 / 9

Published Estimate: €4000-5000

Price Realised: €6200

  • Signature: signed lower right; with title and exhibition number inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 43 by 56cm., 17 by 22in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'Charles Brady', Taylor Galleries, Dublin, 9-25 July 1992, catalogue no. 21
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IRISH LANDSCAPE, 1963
IRISH LANDSCAPE, 1963
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 31 May 2010 / 10

Published Estimate: €1000-1500

Price Realised: €1800


A MANGER AT EVENING, 1954
A MANGER AT EVENING, 1954
Diarmuid O Ceallachain (1915-1993)

Auction Date / Lot No.: 31 May 2010 / 11

Published Estimate: €800-1000

Price Realised: €900

  • Signature: signed lower right; with inscribed label on reverse detailing artist name, title and date of work; with possible exhibition number [67] also on reverse
  • Medium: oil on masonite board
  • Dimensions: 30 by 41cm., 12 by 16in.
  • In 1991 the Crawford Municipal Art Gallery hosted 'Diarmuid O Ceallachain, Paintings 1937-1990', in acknowledgement of the native Cork artist's significant contribution to artistic life in both the county and nationwide.

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MEETING POINT, 1965
MEETING POINT, 1965
Cecil King (1921-1986)

Auction Date / Lot No.: 31 May 2010 / 12

Published Estimate: €800-1200

Price Realised: €950

  • Signature: signed in pencil lower right; with inscribed David Hendriks Gallery label on reverse
  • Medium: pastel on paper
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Provenance: Provenance:David Hendriks Gallery, Dublin
  • Exhibited: Exhibited:'Cecil King', David Hendriks Gallery, Dublin, May - June 1965, catalogue no. 24
  • The Hendriks Gallery as well as the Oliver Dowling Gallery played host to several solo exhibitions of Cecil King’s work. In his introductory essay to a King exhibition in 1986, Dennis O’Driscoll commented on the difficulty with classifying the artist’s work, noting that “abstract” was sufficient in terms of a definition of style, but decidedly inadequate in terms of a description. He notes that, “…as entirely non-representational works, they are easily placed in this bracket [abstract], however, there is a universality about their connection with the viewer through King’s unique rendering of space and colour.”

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VERGE, 1985
VERGE, 1985
Cecil King (1921-1986)

Auction Date / Lot No.: 31 May 2010 / 13

Published Estimate: €3000-4000

Price Realised: 

  • Signature: with typed Oliver Dowling Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 91 by 122cm., 36 by 48in.
  • Provenance: Provenance:Oliver Dowling Gallery, Dublin
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THE SAME BUT DIFFERENT (A PAIR), 1992
THE SAME BUT DIFFERENT (A PAIR), 1992
Eilis O'Connell ARHA (b.1953)

Auction Date / Lot No.: 31 May 2010 / 14

Published Estimate: €3000-4000

Price Realised: €2700

  • Signature: with gallery exhibition label affixed inside the base
  • Medium: bronze with green patina
  • Dimensions: 65 by 11cm., 25.5 by 4.5in.
  • Provenance: Provenance:Fenton Gallery, Cork
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UNTITLED
UNTITLED
John Burke (1946-2006)

Auction Date / Lot No.: 31 May 2010 / 15

Published Estimate: €1500-2000

Price Realised: €950

  • Medium: steel
  • Dimensions: 66 by 27cm., 26 by 10.5in.
  • Cork artist John Burke had his first exhibition in 1967 and continued to exhibit regularly during the 1970s and 1980s whilst teaching in the Crawford College of Art. Hilary Pyle in her 1973 article on the artist’s exhibition in the Jury’s Hotel, Cork, described his sculptures as having an “ease” and “fluidity”. Burke confines his medium to thin strips of steel rods which he, as Pyle see it, translates from, “…the visual material of the mundane life into a realm of fancy and vision.”

    Burke executed many corporate commissions throughout his career including Red Cardinal, 1978 for the Bank of Ireland, Baggot St., Dublin. A member of Aosdána, he concentrated on making smaller 'maquette' pieces in his latter years.

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BIRD OF CAPRICORN, 1983
BIRD OF CAPRICORN, 1983
Conor Fallon HRHA (1939-2007)

Auction Date / Lot No.: 31 May 2010 / 16

Published Estimate: €4000-6000

Price Realised: €4600

  • Signature: signed, dated and numbered at the base
  • Medium: bronze (no. 3 from an edition of 9)
  • Dimensions: 36 by 34cm., 14 by 13.5in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'Conor Fallon', Taylor Galleries, Dublin, 18 November - 3 December 1983, catalogue no. 11
  • All sculpture for this 1983 exhibition was executed in mild steel. However, Crow and Bird of Capricorn were also available in bronze in an edition of nine. During the same year a retrospective exhibition of Fallon’s work toured Ireland as an Arts Council exhibition in the ‘Artist Response’ series.

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SQUARING THE CIRCLE NO. 3, 1989
SQUARING THE CIRCLE NO. 3, 1989
Brian King (b.1942)

Auction Date / Lot No.: 31 May 2010 / 17

Published Estimate: €4000-6000

Price Realised: 

  • Signature: signed, titled and dated on reverse
  • Medium: aluminium on board
  • Dimensions: 90 by 90cm., 35.5 by 35.25in.
  • Brian King was born in Dublin in 1942 and studied in the National college of Art and Design, Dublin. He later lectured at the college and in 1984 assumed the position of Head of the Department of Sculpture, a role he held until 2004. From 1964 to 1978 he participated in the Irish Exhibition of Living Art, serving as its President for the last ten years. He won the Carroll’s Award 1965. In 1969 and 1983 he represented Ireland at the Paris Biennale, on the earlier occasion becoming the first Irish artist to win the major individual prize. He has exhibited widely throughout Ireland and abroad and has secured several sizeable commissions for public sculpture; most recently the construction of the National Memorial to Members of the Defence Forces who died in Service now sited in Merrion Square, Dublin. He is an member of Aosdána and his work is held in public collections including The Hugh Lane Gallery of Modern Art, Dublin; Crawford Municipal Gallery, Cork; RTE; Bank of Ireland; Allied Irish Bank; University of Ulster and University College, Dublin, among other.

    We are grateful to the artist for his assistance in cataloguing this work.

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C13.06
C13.06
Charles Tyrrell (b.1950)

Auction Date / Lot No.: 31 May 2010 / 18

Published Estimate: €5000-7000

Price Realised: 


GOLD PAINTING 11.94
GOLD PAINTING 11.94
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 31 May 2010 / 19

Published Estimate: €6000-8000

Price Realised: €10000


GOLD PAINTING 7/92
GOLD PAINTING 7/92
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 31 May 2010 / 20

Published Estimate: €6000-8000

Price Realised: 


SHADOW LINES VI, 1998
SHADOW LINES VI, 1998
Charles Tyrrell (b.1950)

Auction Date / Lot No.: 31 May 2010 / 21

Published Estimate: €8000-10000

Price Realised: 


SOUVENIR OF SAINT VALERY - CONCERNING THE VIOLATION OF BELGIAN NEUTRALITY, 2006
SOUVENIR OF SAINT VALERY - CONCERNING THE VIOLATION OF BELGIAN NEUTRALITY, 2006
Hughie O'Donoghue (b.1953)

Auction Date / Lot No.: 31 May 2010 / 22

Published Estimate: €4000-6000

Price Realised: €4000

  • Signature: signed lower right; signed again, dated and with title on reverse; also with typed label in French on reverse
  • Medium: oil with collage on wood
  • Dimensions: 30 by 47cm., 12 by 18.5in.
  • Hughie O’Donoghue arrived in St Valery-en-Caux on 7 July 2005. The purpose of this journey was to visit the place where the 51st Highland Division surrendered in 1940. During this trip the artist came across a photograph album recording a holiday in St Valery-en-Caux made one hundred years earlier. It was discovered by chance by O’Donoghue in an antiques shop in the town of Valery-sur-Somme, approximately forty miles to the north east. The artist notes in the text, Souvenir of St Valery, “The 51st Highland Division was captured at St Valery-en-Caux on 12 June 1940; eight days after the last troops had left the Dunkirk beaches. It is highly probable that the division could have been evacuated successfully. However, political decisions made away from the battlefield sealed their fate. A reformed 51st Highland Division re-entered St Valery-en-Caux on 3 September 1944. A memorial to the soldiers of 1940 is located on the cliffs above the town.

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SLOW TURN, 1987
SLOW TURN, 1987
Charles Tyrrell (b.1950)

Auction Date / Lot No.: 31 May 2010 / 23

Published Estimate: €12000-15000

Price Realised: €16500

  • Signature: signed, titled and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 178 by 175cm., 70 by 69in.
  • Charles Tyrrell was born in Trim, Co Meath, in 1950. He studied at the National College of Art and Design from 1969 to 1974. Trips to the United States, where he was struck by the work of a range of American painters including Mark Rothko, Willem de Kooning, Morris Louis, Kenneth Noland and others, encouraged him to work on a scale that was unusually large in Ireland at the time. He quickly established himself as an abstract painter of real boldness and ability. He developed a personal, grid-based pictorial vocabulary based on rhythmic subdivisions of the picture plane, combining textural painting with lines, angles and arcs, an “intuitive geometry.” As he remarked in an interview with Brian Fallon in 1993, though, he was not hung up on a purist definition of abstraction: “I do not regard the abstract stance as an entrenched one…”

    Having been based in inner city Dublin, in 1984 he moved with his family to live and work in a house overlooking the sea near Allihies on the Beara Peninsula. Exposed to the elements, it’s a spectacular setting by any standard, and it’s fair to say that it brought Tyrrell into the closest engagement with the landscape that we have seen in his paintings to date. Slow Turn is one of a series of large, square-formatted paintings first exhibited at the Douglas Hyde Gallery in Dublin in 1987 (in a two-person show, with Theo McNab, titled ‘Surface and Structure’).

    All the pictures display the same diagonal pattern, their geometry underpinning passages of beautifully atmospheric textural painting. They don’t represent the landscape directly, but they are certainly responsive to its shifting light, its colour and its subtle tonality. As he noted himself at the time: “It is hard not to see my work as landscape but I have not consciously gone after it…” Writing in 1994, Dorothy Walker described this group of paintings as “certainly his finest from that period.” In them, Tyrrell acknowledges his debt to some Irish artists, notably Barrie Cooke and Patrick Collins.

    Aidan Dunne

    April, 2010

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THREE STUDIES OF MALE BACK, 1987
THREE STUDIES OF MALE BACK, 1987
Francis Bacon (1909-1992)

Auction Date / Lot No.: 31 May 2010 / 24

Published Estimate: €10000-15000

Price Realised: €14000

  • Signature: each signed in pencil in the lower margin, lower right; with 'H.C' (Hors de Commerce) lower left
  • Medium: lithograph
  • Dimensions: 60 by 45cm., 23.75 by 17.75in.
  • Folio size: 32 by 23.25 ins.

    This lithograph was produced in an edition of ninety-nine; however, this work is the ‘hors de commerce’ issue from the limited edition. The vitrine or cage seen here became a trademark feature in the artist’s oeuvre from the mid 1940s onwards. The shape, sometimes distorted or used in the background, was often employed by the artist to suggest both the public nature of the sitter’s display as well as their isolation or perhaps captivity within the structure. Other examples where this element is utilised can be found in the Pope Series, 1951.

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BEING, 1998
BEING, 1998
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 31 May 2010 / 25

Published Estimate: €18000-25000

Price Realised: €23000

  • Signature: signed and dated lower left; with typed Taylor Galleries exhibition label on reverse
  • Medium: watercolour
  • Dimensions: 50 by 34cm., 19.5 by 13.5in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'Human Images, early and recent works on paper', Taylor Galleries, Dublin, December 1998, catalogue number (W1425)
  • Being, 1998 falls into the artist’s ‘Human Images’ stage of his career from c.1996 to 2005. This chapter in le Brocquy’s oeuvre was born out of a previous concern with the human condition and existentialist philosophies which manifested itself in his ‘Presence Series’ dating from 1956 to 1966. This universal and sustained preoccupation is perhaps what makes this era in the artist’s career of continual importance and appeal.

    His use of colour, or indeed its absence, imbues these works with an ethereal quality that is gentle and understated. He is patient with the medium allowing the image to develop of out the watercolour and be shaped finally in the viewer’s eye. In contrast to his contemporary, Francis Bacon, whose handling of the same subject matter involved a visual dissection of the body and an aggressive handling of the medium, le Brocquy’s approach is calm and markedly spiritual.

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SIENA, 2000
SIENA, 2000
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 31 May 2010 / 26

Published Estimate: €8000-10000

Price Realised: 

  • Signature: signed with initials lower left; inscribed with title [SIENA] and dated on reverse; signed again with initial on reverse; with archival number [No. 6362] on reverse; with typed Fenton Gallery Exhibition label also on reverse
  • Medium: oil on board
  • Dimensions: 61 by 91cm., 24 by 36in.
  • Provenance: Provenance:Fenton Gallery, Cork
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SAMHAIN II, 1990
SAMHAIN II, 1990
Bridget Flannery (b.1959)

Auction Date / Lot No.: 31 May 2010 / 27

Published Estimate: €1200-1500

Price Realised: €1600

  • Medium: oil on board
  • Dimensions: 73 by 50cm., 28.75 by 19.5in.
  • Provenance: Provenance:Triskel Arts Centre, Cork
  • Bridget Flannery graduated from the Crawford College of Art and Design in 1981 and has since held numerous solo and group exhibitions throughout Ireland and Europe; including the RHA, Dublin, The Cross Gallery, Dublin and The Vanguard Gallery, Cork, among others.

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LANDSCAPE WITH OLD TREE, 1964
LANDSCAPE WITH OLD TREE, 1964
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 31 May 2010 / 28

Published Estimate: €10000-15000

Price Realised: €15000

  • Signature: signed with initials, titled and dated lower centre; signed again, titled and dated on reverse; with archival number [No. R136] on reverse; also with typed Fenton Gallery exhibition label on reverse
  • Medium: oil and collage on board
  • Dimensions: 44 by 122cm., 17.25 by 48in.
  • Provenance: Provenance:Fenton Gallery, Cork
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SNOW FIELD REMAINING
SNOW FIELD REMAINING
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 31 May 2010 / 29

Published Estimate: €4000-5000

Price Realised: €5200

  • Signature: signed and titled lower right; with Nicholas Gallery label on reverse
  • Medium: gouache on paper
  • Dimensions: 56 by 76cm., 22 by 30in.
  • Provenance: Provenance:Nicholas Gallery, Belfast
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PORTRAIT OF A GIRL, 1989
PORTRAIT OF A GIRL, 1989
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 31 May 2010 / 30

Published Estimate: €1000-1500

Price Realised: €1400

  • Signature: signed and dated in pencil lower right; with typed Taylor Galleries label on reverse
  • Medium: oil on paper
  • Dimensions: 55 by 37cm., 21.75 by 14.5in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • In 1989 Brian Bourke exhibited at the Taylor Galleries in a two-man exhibition with Micheal Farrell entitled, 'At Sweeney - Two Artists' and 'At Brian Bourke, Work for Wexford, 1989' at the Wexford Arts Centre. The Wexford exhibition lists four works, catalogue numbers 13 to 16 inclusive, which match this work. Julian Campbell in his essay, ‘Portraits on Women’, 1989 describes Bourke’s interpretation of women in the Wexford show as sharing "...the same robust modelling in the heads, the long necks and clasped hands as well as the dancing coloured backgrounds. In some the bodies are left flat and un-modelled; in others the hands are drawn but not painted. However, there is a new mood here - more stylised, and thus more detached." Campbell notes a distinctly "Eastern" feel, particularly in the depiction of the cheekbones, eyes and elongated neck.

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BOG SERIES
BOG SERIES
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 31 May 2010 / 31

Published Estimate: €4000-5000

Price Realised: €4000


SELF PORTRAIT, SUMMER, 1965
SELF PORTRAIT, SUMMER, 1965
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 31 May 2010 / 32

Published Estimate: €4000-6000

Price Realised: €4200

  • Signature: signed, titled and dated on reverse; with typed Taylor Galleries label on reverse; also with typed Biennale de Paris label on reverse
  • Medium: oil on canvas
  • Dimensions: 117 by 102cm., 46 by 40in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'Brian Bourke, First Exhibition of Paintings', Dawson Gallery, Dublin, 28 October - 20 November 1965, catalogue no. 25; Biennale de Paris, June, 1965
  • In his introductory essay for the Dawson exhibition catalogue James White, then director of the National Gallery, comments, "He seems to choose for his subjects those human figures to which he is closest. First of all himself and afterwards those whose lives impinge most of all on his consciousness..." White continues to describe Bourke as "...one of the most interesting young Europeans of the present day" and was therefore, one might assume, the natural choice to represent Ireland at the Biennale de Paris in 1965. In conversation with Brian McAvera for the Irish Arts Review, Winter 2006, Bourke commented on his attraction to self portraits in particular saying, “…Availability! The aging process is always interesting. Every year I do several self-portraits – a flock of self portraits – and basically it’s an interest in the aging process, and who better to observe it than myself!”

    The 1965 exhibition in the Dawson Gallery was the first one-man exhibition by the artist. Later that year Bourke represented Ireland at the Paris Biennale and was also awarded joint first prize in the Arts Council Competition for portrait painting. Adjudicator in 1965 was the British artist Sir William Coldstream.

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MOUNTAIN LAKE, 1979
MOUNTAIN LAKE, 1979
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 31 May 2010 / 33

Published Estimate: €1000-1500

Price Realised: €1400

  • Signature: signed lower right; signed again and with title and date on reverse; also with possible exhibtion number [40] on reverse
  • Medium: oil on masonite board
  • Dimensions: 18 by 25cm., 7 by 10in.
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BOG IN CONNEMARA II, 1987
BOG IN CONNEMARA II, 1987
Maria Simonds-Gooding ARHA (b.1939)

Auction Date / Lot No.: 31 May 2010 / 34

Published Estimate: €1000-1500

Price Realised: €2000

  • Signature: signed lower left; with typed Taylor Galleries exhibition label on reverse
  • Medium: oil on paper
  • Dimensions: 55 by 74cm., 21.5 by 29in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'Maria Simonds-Gooding', Taylor Galleries, Dublin, March - April 1987
  • In 1985 the artist mounted a substantial exhibition at the Crawford Municipal Gallery, Cork where she presented work from 1965-1985. Follwing this show Simonds-Gooding returned to using oil applied thinly and directly to paper using vibrant colours to describe the bog landscape which had become a central theme at this point in her career. These works, executed over a two year period from 1985-1987, culminated in exhibitions in London at the Solomon Gallery (1986) and the Taylor Galleries, Dublin, 1987. This work was exhibited at the latter.

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LIETUVA XVIII, 1995
LIETUVA XVIII, 1995
Maurice Desmond (b.1944)

Auction Date / Lot No.: 31 May 2010 / 35

Published Estimate: €1000-1500

Price Realised: €1800

  • Signature: signed and dated lower left; signed again and with title, medium and date on reverse
  • Medium: acrylic on wood
  • Dimensions: 58 by 75cm., 23 by 29.5in.
  • Provenance: Provenance:Hallward Gallery, Dublin
  • Exhibited: Exhibited:'Maurice Desmond, Recent Paintings', Hallward Gallery, Dublin; 19 November - 8 December 1995, catalogue no. 18, illustrated on p.7 of exhibition catalogue
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DARK LAKE SURFACE, 1980
DARK LAKE SURFACE, 1980
Barrie Cooke HRHA (b.1931)

Auction Date / Lot No.: 31 May 2010 / 36

Published Estimate: €5000-7000

Price Realised: €5600

  • Signature: signed, dated and with title on reverse; with typed Hendriks Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 152 by 152cm., 60 by 60in.
  • Provenance: Provenance:Hendriks Gallery, Dublin
  • ”Barrie Cooke is most often associated with very strong large scale work in which the predominant elements are the flow and surge of water in his beloved streams and lakes and the exuberance of growth and change in the countryside which surrounds him.” (Neil Monahan) Roderic Knowles (ed.), Contemporary Irish Art: A Documentation, Dublin, Wolfhound Press, 1982, p. 218.

    Cooke first exhibited in New York in 1950 and in 1963 represented Ireland at the Paris Biennale. In 1971 he held a joint retrospective exhibition with Camille Souter in Dublin and, in the year this work was executed, he won first prize at the Irish Exhibition of Living Art. The David Hendriks Gallery was a staunch supporter of Barrie Cook’s work and he exhibited biennially with the gallery from 1961.

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BANANA, 1976
BANANA, 1976
Barrie Cooke HRHA (b.1931)

Auction Date / Lot No.: 31 May 2010 / 37

Published Estimate: €800-1000

Price Realised: €850

  • Signature: signed, titled and dated in pencil lower right; bearing title and date again on reverse; with exhibition label affixed on reverse
  • Medium: watercolour over pencil
  • Dimensions: 20 by 18cm., 8 by 7in.
  • Possibly exhibited as Banana Trees at 'Barrie Cooke', presented by David Hendriks, at the Cork Arts Society Gallery, Lavitts Quay, Cork, May 1977, exhibition no. 19. This exhibition comprised thirty-five works in oil, watercolour, pencil as well as Cooke’s sculptural boxes.

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WINTER SHORELINE, 1995
WINTER SHORELINE, 1995
Seán McSweeney 

Auction Date / Lot No.: 31 May 2010 / 38

Published Estimate: €4000-5000

Price Realised: €5400

  • Signature: signed and with title on reverse
  • Medium: oil on masonite board
  • Dimensions: 43 by 58cm., 17 by 23in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'Recent Work', Taylor Galleries, Dublin, December 1994 - January 1995, catalogue no. 36
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BALLINCOLLIG, CORK, MAY 1988
BALLINCOLLIG, CORK, MAY 1988
Jill Dennis (b.1957)

Auction Date / Lot No.: 31 May 2010 / 39

Published Estimate: €1000-1500

Price Realised: €1500

  • Signature: signed, titled and dated lower right; with artist's name and title on reverse
  • Medium: watercolour
  • Dimensions: 69 by 100cm., 27 by 39.5in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'Jill Dennis', Taylor Galleries, Dublin, June 1988
  • Aidan Dunne for the Sunday Tribune described the artist as a, "…fluent, adventurous painter... [whose] strong incisively made drawings hint at a world of darker tones and duller colours than the Mediterranean brightness seen elsewhere...". Although originally from the North of England, Dennis' love for Ireland, and Cork in particular, is "enthusiastically described by a painter sure of her abilities." (12 June, 1988)

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FLOODED FIELDS, BARNEY, COUNTY SLIGO, 1986
FLOODED FIELDS, BARNEY, COUNTY SLIGO, 1986
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 31 May 2010 / 40

Published Estimate: €6000-8000

Price Realised: €7200

  • Signature: signed titled and dated on reverse; with artist's archival number [No. 25T5/86] on reverse; also with typed Taylor Galleries label on reverse
  • Medium: oil on board
  • Dimensions: 81 by 112cm., 32 by 44in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'Seán McSweeney, Sligo Landscapes', Taylor Galleries, Dublin, until 7 June 1986, catalogue no. 25
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WOMAN'S WINDOW, ST. JOHN ST., I, 1998
WOMAN'S WINDOW, ST. JOHN ST., I, 1998
John Shinnors (b.1950)

Auction Date / Lot No.: 31 May 2010 / 41

Published Estimate: €8000-10000

Price Realised: €7800

  • Signature: signed lower right; with inscribed label on reverse; also with typed Taylor Galleries label on reverse
  • Medium: oil pastel on panel
  • Dimensions: 61 by 61cm., 24 by 24in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'John Shinnors', Taylor Galleries, Dublin, 29 May - 13 June 1998, catalogue no. 1
  • This painting is one of two works purchased by Jim O'Driscoll at the artist's solo exhibition at the Taylor Galleries in 1998. For the second work see lot 44.

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TRAPEZE, LAST CIRCUS NIGHT
TRAPEZE, LAST CIRCUS NIGHT
John Shinnors (b.1950)

Auction Date / Lot No.: 31 May 2010 / 42

Published Estimate: €3000-5000

Price Realised: €3800


SPECTRAL GARDEN, BAHAMAS, 1987
SPECTRAL GARDEN, BAHAMAS, 1987
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 31 May 2010 / 43

Published Estimate: €25000-35000

Price Realised: €38000

  • Signature: signed and dated lower left; also with archival number [No. 1347] on reverse; also signed 'Antoine O Maille' on reverse; with Taylor Galleries exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 89 by 122cm., 35 by 48in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • In 1973 Tony O’Malley married Jane Harris whose family was from the Bahamas. From 1973 to 1987 the couple travelled to the island working there during the winter months. The Caribbean light and the island’s colours had an enormous impact on the artist’s palette. This radically different environment charged O’Malley’s canvases with a buoyancy and lightness which extended to a renewed interpretation of both his Irish landscapes and those of the Canary Islands and Scilly Isles. The Bahamian works were also hugely important in terms of his career development and opened doors to commercial galleries in Ireland and abroad. In 1989 the artist was made an Honorary member of the Royal Hibernian Academy and won the Guardian Art Critic’s award for painting, Newlyn Contemporaries Exhibition, Newlyn Society of Artists as well as the Irish American Cultural Award for painting. By 1990 Jane and Tony O’Malley had returned to Ireland to settle permanently near the artist’s birthplace in Callan, County Kilkenny.

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WHITE KITE, SCARECROW AND CATTLE, 1998
WHITE KITE, SCARECROW AND CATTLE, 1998
John Shinnors (b.1950)

Auction Date / Lot No.: 31 May 2010 / 44

Published Estimate: €20000-30000

Price Realised: €28000

  • Signature: signed lower right; with inscribed label on reverse; also with typed Taylor Galleries label on reverse
  • Medium: oil on canvas
  • Dimensions: 122 by 122cm., 48 by 48in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'John Shinnors', Taylor Galleries, Dublin, 29 May - 13 June, 1998, catalogue no.23
  • This painting is one of two works purchased by Jim O’Driscoll at the artist’s solo exhibition at the Taylor Galleries in 1998. For the second work see lot 41.

    John Shinnors trained in fine art painting and drawing at the Limerick School of Art and Design and held his first exhibition in the Goodwin Gallery, Limerick in 1978. Since emerging on the gallery circuit his development as an artist has seen his body of work develop out of the figurative towards an increasingly abstract approach. This very distinctive style, which defies commonplace classification, is what he is celebrated for today. The works by John Shinnors in the O’Driscoll collection are representative of the artist’s more abstracted canvases, the origins of which are rooted in the real world as evidenced in their titles. Of constant inspiration to the artist are his familiar surroundings in Limerick, St. Johns Street, Limerick (lot 41) being an obvious example as well as his fascination with kites, scarecrows and the circus. The artist’s palette, although characteristically restricted, is never monochromatic and is imbued with his chiaroscuro genius and layers of light.

    John Shinnors’ work is represented in numerous public and private collections and has been widely celebrated. He is a member of Aosdána and an active advocate of the arts through the Shinnors Scholarship. Represented by the Taylor Galleries, Dublin he continues to live and work in Limerick.

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THE DARK BARN, 1988
THE DARK BARN, 1988
William Crozier HRHA (b.1930)

Auction Date / Lot No.: 31 May 2010 / 45

Published Estimate: €20000-30000

Price Realised: €26000

  • Signature: signed, titled and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 117 by 132cm., 46 by 52in.
  • Born in Glasgow in 1930 of Irish parents, William Crozier studied at the Glasgow School of Art. While developing a very successful career in England, becoming Head of Painting at Winchester School of Art in 1968, Crozier maintained strong links to Ireland. He stayed in Dublin in the 1950s when he became friends with Patrick Kavanagh and Anthony Cronin and returned to the country regularly in the following decades. He took up his Irish citizenship and, in 1984, he bought a house at Kilcoe, near Skibbereen, Co. Cork. The local landscape, soon to become a major theme in his work, featured in a major mid-term retrospective exhibition at the RHA and the Crawford Gallery, Cork in 1990 -91. One of the largest exhibitions of Crozier’s work ever held, it sparked widespread interest in his work amongst the Irish public. In 1992 Crozier was made an ARHA. The landscape of West Cork is central to many of the paintings in the current sale which date to this period of discovery.

    Crozier’s approach differs from Irish landscape artists of his generation through its often dramatic scale, its vibrant colour and its bringing together of diverse shapes, forms and textures. While aware of the landscape tradition in Irish art such as that of Jack Yeats and Paul Henry, Crozier brings to bear a range of other traditions to this subject. The maintenance of a studio in England and travelling widely has enabled Crozier to retain an international perspective on the local landscape. His attitude reflects Kavanagh’s idea of privileging the best of the local, while retaining a sense of universality. Apart from European and American expressionism, Crozier’s understanding of the theme of landscape is also indebted to his interest in Italian primitivism and to the classical tradition of Claude Lorrain which centres on the notion of controlling nature and sculpting the land into manmade proportions. His almost childlike choice of form and colour highlight the visual complexity of the natural world while his flattening and simplification of form privilege the authority of art over nature.

    Crozier’s fixation on specific motifs such as trees and rivers relates to this much older approach to landscape. The Dark Barn (lot 45) considers how the black form of the building intrudes into the nocturnal landscape. Its strange shape is inspired by a distinctive local tradition of building barns in Hampshire. As Crozier describes it, ‘They [the barns] have gone home to the landscape.... Their backsides squat in the grass’ . A shaft of blue light to the left of the barn coupled with the bright red shapes of the bushes to its right counteract the opacity of the black structure and evoke the disruptive reality of nature in all its glorious colours and shapes.

    Dr. Roisin Kennedy,

    May, 2010

    ed. K. Crouan, S.B. Kennedy, W. Vann, William Crozier, Lund Humphries, 2007, p.41.

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THE DOLL SCARECROW, 1992
THE DOLL SCARECROW, 1992
John Shinnors (b.1950)

Auction Date / Lot No.: 31 May 2010 / 46

Published Estimate: €10000-15000

Price Realised: €16000

  • Signature: signed lower right; with typed Taylor Galleries gallery label on reverse
  • Medium: oil on panel
  • Dimensions: 90 by 99cm., 35.5 by 39in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'John Shinnors', Taylor Galleries, Dublin, 7 - 23 May 1992, catalogue no. 8
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FEMALE STILL LIFE CALENDAR, JULY
FEMALE STILL LIFE CALENDAR, JULY
John Shinnors (b.1950)

Auction Date / Lot No.: 31 May 2010 / 47

Published Estimate: €6000-8000

Price Realised: €5500

  • Signature: signed right of centre; with typed Taylor Galleries label on reverse; also with inscribed label affixed on reverse
  • Medium: oil on canvas
  • Dimensions: 61 by 61cm., 24 by 24in.
  • Provenance: Provenance:Taylor Galleries, Dublin
  • Exhibited: Exhibited:'John Shinnors, Twenty-One Paintings, 1999-2000', Taylor Galleries, Dublin, 2000, catalogue no. 10
  • This work, July, forms part of a suite of twelve paintings, entitled, Female Still Life Calendar, each oil on canvas measuring 24 by 24in., numbered one to twelve and titled January to December. Each work from the suite bears a letter suggesting the month in which it was painted. This series was inspired by women's clothing.

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BAHAMAS PAINTING WITH WHITE SHAPE, OCTOBER/ NOVEMBER, 1987
BAHAMAS PAINTING WITH WHITE SHAPE, OCTOBER/ NOVEMBER, 1987
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 31 May 2010 / 48

Published Estimate: €10000-15000

Price Realised: €20000

  • Signature: signed with initials lower left; dated lower right; signed again with title and dated on reverse; also with archival number [No. 1908] on reverse
  • Medium: oil on board
  • Dimensions: 64 by 76cm., 25 by 30in.
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RED GATE, 1986
RED GATE, 1986
William Crozier HRHA (b.1930)

Auction Date / Lot No.: 31 May 2010 / 49

Published Estimate: €6000-8000

Price Realised: €6500


WOLF'S CASTLE, TOE HEAD, c.1998
WOLF'S CASTLE, TOE HEAD, c.1998
William Crozier HRHA (b.1930)

Auction Date / Lot No.: 31 May 2010 / 50

Published Estimate: €4000-6000

Price Realised: €4200

  • Signature: signed lower right; with typed Taylor Galleries label on reverse
  • Medium: oil on canvas
  • Dimensions: 37 by 44cm., 14.5 by 17.5in.
  • Provenance: Provenance:Taylor Galleries, Dublin
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