29 November 2010

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BACKSTAGE, c.1930s
BACKSTAGE, c.1930s
Kitty Wilmer O'Brien RHA PWCSI (1910-1982)

Auction Date / Lot No.: 29 November 2010 / 52

Published Estimate: €6000-8000

Price Realised: €4800

  • Signature: signed lower right; with inscribed label on reverse detailing title, artist's address [25 Ailesbury Road, Dublin], price [15gns] and exhibition number [no. one]
  • Medium: oil on canvas
  • Dimensions: 67 by 88cm., 26.5 by 34.5in.
  • This work is signed ‘Kitty Wilmer’. The artist exhibited in the RHA from 1933-35 under her maiden name and from her address in Ailesbury Road. In 1936 she married Dr. Brendan O’Brien, son of her former tutor, Dermod O’Brien. The pair honeymooned in Dresden where Kitty was exposed to the works of Vincent van Gogh (1853-90) and was particularly stimulated by his still lifes. This is a very rare early figurative work. Only one other figure study has appeared in auction in the last decade – Greek Boy at Skyros, which sold for A$38,000 in Sotheby’s, Melbourne, 5 July 2001 (lot 42). The scene here is possibly the interior of the same Royal Theatre shown in Patrick Leonard’s painting, lot 50, in this sale. See Snoddy, p. 461-462.

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FEMALE NUDE, 1920
FEMALE NUDE, 1920
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 29 November 2010 / 53

Published Estimate: €1000-1500

Price Realised: €2000

  • Signature: signed and dated lower right; with typed Jorgensen Fine Art label on reverse
  • Medium: pencil on paper
  • Dimensions: 18 by 28cm., 7 by 11in.
  • Provenance: Provenance:Jorgensen Fine Art, Dublin; Private collection
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ILLUSTRATION TO JOHN KEAT'S POEM, THE EVE OF ST. AGNES
ILLUSTRATION TO JOHN KEAT'S POEM, THE EVE OF ST. AGNES
Harry Clarke RHA (1889-1931)

Auction Date / Lot No.: 29 November 2010 / 54

Published Estimate: €8000-10000

Price Realised: €15500

  • Medium: pencil, pen and ink and watercolour on Bristol board
  • Dimensions: 36 by 27cm., 14.2 5 by 10.5in. (Including dense black 2cm. thick frame painted by the artist around the illustration) painted by the artist around the illustration)
  • Provenance: Provenance:Purchased by the present owner at Sotheby's, London, early 1980s
  • Literature: Gordon Bowe, Nicola, Harry Clarke, Monograph and Catalogue, published to accompany, ‘Harry Clarke’ exhibition, Douglas Hyde Gallery, Trinity College, Dublin, 1979 Gordon Bowe, Nicola, The Life and Work of Harry Clarke, Dublin, 1989 Moore Steenson, Martin, A Bibliographical Checklist of the Work of Harry Clarke, London, 2003 Gordon Bowe, Nicola, ‘Harry Clarke’s Illustrations for Hans Christian Andersen’s Fairy Tales’ in Harry Clarke 1889-1931: Ten Original Illustrations for Hans Christian Andersen’s Fairy Tales, London, 2008.
  • “They glide, like phantoms, into the wide hall; Like phantoms, to the iron porch, they glide; Where lay the Porter, in uneasy sprawl, With a huge empty flaggon by his side: The wakeful bloodhound rose, and shook his hide, But his sagacious eye an inmate owns: By one, and one, the bolts full easy slide: - The chains lie silent on the footworn stones; - The key turns, and the door upon its hinges groans.”

    Harry Clarke’s fertile imagination was ideally suited to Keats’ sensuous poetic narrative, steeped as it is in “the romantic atmosphere of love and religious ritual”. Among a number of writers the young artist specially noted down in his 1914 diary were Keats, Poe, Goethe, Ronsard, Villon, Flaubert, Coleridge and Synge – all of whose works he was to subsequently illustrate during his tragically short working life, either in special edition illustrated books or in stained glass panels. The previous year, aged 24, he had made two illustrations of Keats’ poems – the illustration featured here, to The Eve of St. Agnes, and another of similar scale to La Belle Dame sans Merci, as part of the portfolio he prepared to take round prospective publishers in London after he had left the Dublin Metropolitan School of Art as a prize-winning student in the summer of 1913. Although neither was ever published, along with a number of others illustrating Oscar Wilde, Edgar Allen Poe, Hans Christian Andersen and W.B. Yeats, for example, they were responsible for securing his first book illustrating commission, from the London publisher George Harrap. Keats’ name also features among his favourite authors in the pile of books depicted in the bookplate he drew for his first major patron, the Epicurean Dublin stockbroker and bibliophile Laurence A. Waldron, during this period. And of course, ten years later, in 1923, Clarke would embark on his secular masterpiece, the twenty two small stained glass panels illustrating The Eve of St. Agnes, the “revel in blue” he made into a window for the staircase of the Jacob family’s residence, St. Michael’s, on the corner of Ailesbury Road, Dublin (now in the Dublin City Gallery The Hugh Lane).

    This surprisingly large, detailed work uses a miniaturist’s technique to illustrate the penultimate stanza of Keats’ evocative poem, in which the thwarted lovers escape from their warring families in the wintery night of auspicious St. Agnes’ Eve. With full artistic licence, Clarke depicts “thoughtful Madeline” poised apprehensively on tiny slippered feet. Exquisitely coiffed and tiara’d, she is modishly made up, diaphanously swathed in a veiled scarf and vogueishly dressed in an exquisitely embroidered chiffon ballgown – despite the “bitter chill” and storm that awaits her outside her family’s baronial fortress. She is framed by the billowing satin-lined cloak of her “impassion’d” lover, Porphyro, dressed in signature Clarke chequered skull cap, peacock feather and cape. The spiky fingers of his right hand hover around her willowy waist while the other points the way forward to their life together beyond the huge castle door. Theatrically made-up and wearing black-laced ballet pumps and a belted harlequin cat-suit, he is poised like a dancer about to leap – a marionette hero inspired by the Ballets Russes production of Carnaval (1910) which Clarke is known to have greatly admired. These two figures are closer to the unearthly “phantoms” Keats likens them to in his poem than to the majestically dressed hero and heroine who re-emerge in the artist’s subsequent secular stained glass masterpiece. Behind them, true to Keats’ vivid descriptions, we can discern the blue-toned vaulted hall, which would re-appear in Clarke’s Jacob window ten years later, the thick tapestry hanging that Porphyro has pulled back to unlock the heavy door, the “chain-droop’d lamp” flickering in the deserted, moonlit night and, slumped in the lower right-hand corner, the drunken porter clutching “a huge empty flaggon by his side”. Similarly, as in the penultimate panel of the later Eve of St. Agnes window, the only sign of stirring life is “the wakeful bloodhound”, who goes back to sleep once he recognises his mistress.

    As in his contemporary and slightly later illustrations to Hans Andersen’s Fairy Tales, Clarke shows himself a master of decoration. The Irish Times wrote that even “if he were to produce a drawing of, let us say, an isosceles triangle, on an otherwise blank sheet of paper, he would somehow or another contrive to make it decorative”. Madeline’s distinctive profile, immaculately arranged and decorated hair, subtle maquillage, her voiled stole, pointy ringed fingers and exotically patterned robe recall those of the Elf Maidens from Hans Andersen’s The Elf-Hill, the Princess in the tale of The Travelling Companions, even the Emperor in The Nightingale (all three, National Gallery of Ireland collection). The two large whorling medallions decorating Madeline’s skirt and her floriated bodice indicate that the artist was well acquainted with currently fashionable Japanese mon and katagami ornamental devices, while his subtle colour palette, posturing protagonists and use of surface pattern mirror Kay Nielsen’s illustrations for the recently published book, In Powder and Crinoline (1912). This finely wrought image heralds Clarke’s consummate Lady of the Decoration and his Hans Andersen illustrations completed over the next two years. It also anticipates his imaginative textile designs for Sefton five years later, and shows how close text and image were always to be in his work - even at such an early stage in his career.

    Dr. Nicola Gordon Bowe
    October, 2010

    For works by the artist’s son, David Clarke, see lots 120-122.

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FARMYARD IN FRANCE
FARMYARD IN FRANCE
Lady Hazel Lavery (née Martyn) (1880-1935)

Auction Date / Lot No.: 29 November 2010 / 55

Published Estimate: €3000-5000

Price Realised: €3000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 71 by 100cm., 28 by 39.5in.
  • Hazel Martyn, better known as Lady Lavery, the second wife of Sir John Lavery (1856-1941), visited the artist colony of Beg-Meil in Brittany in 1903 where she met her future husband. That year the twenty-three year old American was studying Impressionist techniques and painting en plein air in the French countryside having previously studied dry-point etching, in Paris with native Edgar Chahine (1874-1947). An exhibition of her work in this medium was subsequently held in Chicago in spring 1903 and her European work was met favourably by American audiences. This rural landscape is suggestive of France and it is likely that it dates to this period in her oeuvre. A small number of oil canvases are known dating from the period 1903-1905 including Canal in France (1904, Private collection) and The Brown Baby, (1905, Private collection), a painting of her daughter Alice, born 1904, the child of Edward Livingston Trudeau whom Hazel married 1903. This work she exhibited at the Salon in 1909, the year she married John Lavery.

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GIRLS IN SUNLIGHT and PÉRE ET FILLE: JOHN LAVERY AND HIS DAUGHTER, 1897 (A PAIR)
GIRLS IN SUNLIGHT and PÉRE ET FILLE: JOHN LAVERY AND HIS DAUGHTER, 1897 (A PAIR)
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 29 November 2010 / 56

Published Estimate: €600-800

Price Realised: €1700

  • Signature: each signed in the plate and in the margin; each titled and numbered in the margin; both works with labels affixed verso detailing the edition number
  • Medium: engraving (no.150 from an edition of 160)
  • Dimensions: 26 by 20cm., 10.2 5 by 7.75in.
  • Provenance: Provenance:Gifted to Sean McEntee from the artist; Private collection
  • Dimensions of the second title: 11 by 7in. Folio size 13.25 by 8.5in.
    Details on label on reverse explain the engravings as follows, “...In 1911 a major book was published by Walter Shaw Sparrow titled John Lavery - His Life and Work. It was a major success as an art reference book and was published in several editions. At the same time John Lavery published privately a De Luxe Large Folio version in an edition of 160 copies. Each folio contained 20 selected engravings of Lavery’s work. None of these were ever for sale. They were donated personally by Lavery to friends and colleagues who had helped his career. Of these 160 copies, most are today held in the great art reference libraries of the world. Approximately twenty were dedicated and signed by Lavery for very special friends and immediate family members. Each was signed and inscribed by Lavery. This particular engraving comes from copy no. 150.”

    The previous owner Seán McEntee (1899-1984) was a 1916 Rising and War of Independence commander, sentenced to death in 1916 (sentence commuted). He was a prominent member of Fianna Fáil and was a cabinet minister, most notably as Minister for Foreign Affairs, for many years.

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... AND AWAIT, TO-MORROW'S SUNRISE
... AND AWAIT, TO-MORROW'S SUNRISE
George Russell ("AE") (1867-1935)

Auction Date / Lot No.: 29 November 2010 / 57

Published Estimate: €3000-5000

Price Realised: €2900

  • Signature: signed in monogram lower left; with Oriel Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 30 by 25cm., 12 by 10in.
  • Provenance: Provenance:The Oriel Gallery, Dublin; Private collection
  • Exhibited: Exhibited:'George Russell - AE...', The Oriel Gallery, Dublin, 13 November - 2 December, 1989, catalogue no. 7, p.20 of the illustrated catalogue
  • Also with this lot is a copy of the original Oriel Gallery’s 21st Anniversary exhibition catalogue illustrating this work.

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DIANA - WINTER LANDSCAPE
DIANA - WINTER LANDSCAPE
Cecil ffrench Salkeld ARHA (1904-1969)

Auction Date / Lot No.: 29 November 2010 / 58

Published Estimate: €3000-4000

Price Realised: €2900

  • Medium: oil on canvas
  • Dimensions: 65 by 50cm., 25.5 by 19.5in.
  • As a member of the Dublin Painters group, as well as a poet, playwright and owner of the Gayfield Press, Cecil Salkeld was at the forefront of the avantgarde in Irish arts and literature. He studied art in Kassell in the early 1920s, coming under the influence of Otto Dix and the New Objectivity movement. Upon returning to Dublin, he aligned himself immediately with the modernists, showing works with the New Irish Salon and the Radical Painters’ Group among others. Reviewing an exhibition of his at the Victor Waddington Galleries in 1945, the Dublin Magazine commented on Salkeld’s “original, sombre palette, intellectually rather than emotionally conceived.”

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NEAR BALLYCASTLE [COUNTY MAYO], c.1905
NEAR BALLYCASTLE [COUNTY MAYO], c.1905
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 29 November 2010 / 59

Published Estimate: €12000-15000

Price Realised: €0

  • Signature: signed in monogram lower right; wth typed Waddington & Tooth Galleries exhibition label on reverse
  • Medium: watercolour
  • Dimensions: 23 by 32cm., 9.25 by 12.7 5in.
  • Provenance: Provenance:Waddington & Tooth Galleries Ltd., London; William Doyle, New York, 26 May 1999, Lot 14; Adam's, 30 May 2001, Lot 102; Private collection; Whyte's, 21 September 2004, Lot 65; Private collection
  • Literature: Literature:Pyle, Hilary; 'Jack B. Yeats: His Watercolours, Drawings and Pastels', Irish Academic Press, Dublin, 1993 catalogue number 652A
  • Hilary Pyle notes that Yeats stayed at Ballycastle in County Mayo in the summer of 1909, during which time he made numerous sketches, watercolours and oils. In particular he was impressed by the distinctive shape of Downpatrick Head and the formation of the rocky coastline.

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GIRLS ON A BEACH
GIRLS ON A BEACH
George Russell ("AE") (1867-1935)

Auction Date / Lot No.: 29 November 2010 / 60

Published Estimate: €15000-20000

Price Realised: €14500

  • Signature: signed in monogram lower left
  • Medium: oil on canvas
  • Dimensions: 52 by 80cm., 20.5 by 31.5in.
  • Born in Lurgan, Co. Armagh, George William Russell moved with his family to Dublin in 1878. He began to paint as a youth when on holidays in the North of Ireland. In 1885 Russell enrolled in evening classes at the Dublin Metropolitan School of Art and later at the RHA, where he won the prize for best painting from a living model. Among his friends at the Metropolitan were George Moore and W.B. Yeats, who encouraged him to write and to join the Theosophical Society. In 1905 he exhibited at the RHA and in 1907-10 he was involved in four exhibitions at the Leinster Lecture Hall, one of them including no less than sixty-three of his works. In 1922 he showed three works in the Irish Exhibition at Galleries Barbazanges, Paris. Aside from his talent as an artist, Russell was also a renowned poet, playwright, critic, and newspaper editor, as well as a great advocate of Horace Plunket’s Irish Agriculture Organisation Society. He gave lecture tours in the USA and received an honorary degree at Yale University in 1928. More than a dozen of his works are in the Armagh County Museum, whilst the National Gallery of Ireland has five of his portraits. The present work compares favourably in terms of scale, scope and beauty with Young Girls Sitting Upon Rocks, which sold through Whyte’s in February 2006 for €60,000, the highest recorded auction realisation for this artist.

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THE PILOT (also known as THE CAPTAIN GOES ABOARD), 1925
THE PILOT (also known as THE CAPTAIN GOES ABOARD), 1925
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 29 November 2010 / 61

Published Estimate: €50000-70000

Price Realised: €0

  • Signature: signed lower right; with original typed Waddington Galleries, London label on reverse
  • Medium: oil on board
  • Dimensions: 23 by 36cm., 9 by 14in.
  • Provenance: Provenance:Sold to Lady Leconfield at the exhibition in London in 1926; Collection of Mrs John Mount; Waddington Galleries, London; Private collection, Dublin
  • Exhibited: Exhibited:Dublin, 1925, exhibition no. 2; London, 1926, exhibition no. 6
  • Literature: Literature:Pyle, Hilary, Jack B. Yeats A Catalogue Raisonne of the Oil Paintings, Volume I, p. 263, catalogue number 290, as The Captain Goes Aboard, 1925
  • In her Catalogue Raisonné, Hilary Pyle describes this work as follows, “A rowing boat carries a nautical man out to a tramp steamer. The picture is very blue, with touches of other warm colouring” and illustrates an image of Yeats’ drawing The Pilot, for A Broadside No. 11, second year (April 1910).

    1925 was a pivotal year in Yeats’ oeuvre and marks a turning point in the artist’s style and attitude. A more mature and abandoned technique comes to the fore during this period and Pyle reflects on this change as follows:

    “Looking at his work over the previous ten years, one can trace a gradual loosening of style , first in a broader, freer brushstroke, and subsequently in a relaxing of the strong - symbolist - outline from 1922 or 1923. The strong line of the Cuala Broadsides which dominated but assisted the narratives of his first West of Ireland oils, and was so useful as a descriptive instrument in the oil illustrations to George Birmingham’s Irishmen All (66-77), continued to draw, but in balance with the increasingly expressive colour and brushwork. By 1923 the line has more or less disappeared, and, while images are clearly formed, the whole approach is more naturalistic. Yeats himself recognised during the year 1924-1925 that something dramatic had happened within himself and his work from which he would never turn back. This was when he told his brother, ‘I know I am the first living painter in the world.’ He saw the life that had been epitomised for him in the West of Ireland, or in the ‘living ginger’ of his first drawings and oils, to be in the paint itself, and he now had the miraculous key to it...” (See Pyle, Vol. I, p. XXIV-XXV).

    The Pilot is indicative of this abandonment of the old in favour of an intuitive leap towards a less controlled and more instinctual artistic practice. This change in the artist’s attitude developed further in subsequent years as he became more concerned with his viewers and their interpretation of his paintings. By 1925 Yeats had turned his back on reproducing what his considered “diluted” versions of his work and went so far as to refuse transfer copyright of his pictures (e.g. Back from the Races, sold to the Tate in April 1925).
    The Pilot is a unique oil painting from this critical period in Yeats’ career and is testament to the artist’s new steadfast goal to communicate directly with the viewer through the “living pigment.” In his own words Yeats decreed, “I am not a great believer in broadcasted reproductions of pictures... I think when anyone sees a picture they should rest on the memory of it. If they buy a little photograph of the picture as they go out, that little photograph stands always between them and the picture.”

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THE BOG ROAD, c.1917-23
THE BOG ROAD, c.1917-23
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 29 November 2010 / 62

Published Estimate: €50000-70000

Price Realised: €44000

  • Signature: signed lower left; with Combridge Gallery framing label on reverse
  • Medium: oil on canvas
  • Dimensions: 38 by 46cm., 15 by 18in.
  • Provenance: Provenance:The artist's studio until 1957; Adam's, 28 September 1989, lot 181, as An Old Bog Road; acquired by the Oriel Gallery, Dublin; Where purchaed by the present owner
  • Exhibited: Exhibited:'New Pictures by Paul Henry', Combridge Gallery, Dublin from 8 April 1940, catalogue no. 13; 'Paul Henry & Frank McKelvey,' The Oriel Gallery, Dublin, 11 December - 26 Jenuary, 1991, catalogue no. 29 (illustrated p. 22)
  • Literature: Literature:Kennedy, S.B., Paul Henry: with a Catalogue of the Paintings, Drawings, Illustrations, catalogue no.496,p.201 (illustrated)
  • As was common practice for Paul Henry, The Bog Road was almost certainly painted from drawings made earlier in his career. It is impossible to say where the scene is, but it is most likely to be Connemara, although in 1919 Henry painted a number of pictures similar to this one of boglands in County Antrim, where he had thought of settling at the time. These Antrim pictures—An Antrim Bog, Western Skies and The Bog Cutting (Kennedy, 2007, numbers 525, 526 and 528 respectively) are typical—however, share a number of characteristics with The Bog Road: they are all painted on a coarse grained canvas; they have the same massing of heavy rain clouds; in each case the landscape is confined to the lower part of the picture plane; the brushwork, range of colours and overall treatment are also similar. As often with Henry, the menacing weather, which threatens to overpower the scene, is the real subject matter in The Bog Road, and this sets the mood of the scene. By comparison, the landscape itself seems almost superfluous. Dated c.1917-23 on stylistic grounds, the form of the signature with its telltale dots, suggests a date closer to 1917-19.

    Dr. S.B. Kennedy
    October, 2010

    Also with this lot is the original catalogue for the Oriel Gallery exhibition.

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BOATS IN A WEST OF IRELAND INLET
BOATS IN A WEST OF IRELAND INLET
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 29 November 2010 / 63

Published Estimate: €2000-3000

Price Realised: €3000


CATTLE BY A RIVER
CATTLE BY A RIVER
Charles J. McAuley (1910-1999)

Auction Date / Lot No.: 29 November 2010 / 64

Published Estimate: €1000-1500

Price Realised: €1700

  • Signature: signed lower left; with Combridge Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 46 by 61cm., 18 by 24in.
  • This, and lot 65, date to the 1930s when McAuley exhibited in Dublin – at the RHA and at the Combridge Gallery. From the outbreak of the war to his death he did not appear to exhibit south of the border again, having settled on his family farm near Cushendall, Co. Antrim where he remained until his death.

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CONNEMARA LAKE, c.1935
CONNEMARA LAKE, c.1935
Charles J. McAuley (1910-1999)

Auction Date / Lot No.: 29 November 2010 / 65

Published Estimate: €1000-1500

Price Realised: €1000


GALWAY SHAWLS, 1982
GALWAY SHAWLS, 1982
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 29 November 2010 / 66

Published Estimate: €3000-4000

Price Realised: €3200


TWLEVE PINS FROM LETTERDYFE, ROUNDSTONE, CONNEMARA, 1966
TWLEVE PINS FROM LETTERDYFE, ROUNDSTONE, CONNEMARA, 1966
Cecil Maguire RHA RUA (b.1930)

Auction Date / Lot No.: 29 November 2010 / 67

Published Estimate: €3000-5000

Price Realised: €4200

  • Signature: signed and dated lower left; with title inscribed on reverse; also with artist's address on reverse
  • Medium: oil on canvas
  • Dimensions: 38 by 91cm., 15 by 36in.
  • Provenance: Provenance:Purchased directly from the artist by the present owner
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CLEW BAY
CLEW BAY
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 29 November 2010 / 68

Published Estimate: €1500-2000

Price Realised: €1500


DUST TO DUST, 1946
DUST TO DUST, 1946
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 29 November 2010 / 69

Published Estimate: €5000-7000

Price Realised: €4400

  • Signature: with partial typed Leincester Galleries label on reverse
  • Medium: oil on board
  • Dimensions: 37 by 24cm., 14.7 5 by 9.5in.
  • Exhibited: Exhibited:'Exhibition of Works by Living Irish Artist's', Leicester Galleries, London, October 1946, catalogue no. 45
  • Literature: Literature:White, James, 'Gerard Dillon, An Illustrated Biography', Wolfhound Press, 1994, page 25 (illustrated in colour)
  • Dust to Dust dates to 1946 a time in the artist’s career which was, according to James White, “...still very dependent on places or persons of his everyday life...” This painting in particular relates to the passing of Dillon’s mother.

    The year this work was exhibited the Irish Exhibition of Living Art (IELA) was unable to secure a gallery space in Dublin and the show was as a consequence hosted in London by the Leicester Galleries. This was a momentous occasion for Irish artists, which reflected their productivity in Ireland during the war years. The exhibition ran in tandem with another significant exhibition of sculpture and drawings by Henry Moore who was established as one of Britain’s foremost artists at that time. The press reported positively on the IELA exhibition and its success did much to boost the career of Gerard Dillon who was represented by four works from a total of seventy-two paintings. Following the success of this London exhibition Dillon abandoned his work on the building sites to dedicate himself to painting fulltime mostly in the West of Ireland.

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CORRESPONDENCE BETWEEN THE ARTIST AND PATRICK KELLY, c.1969
CORRESPONDENCE BETWEEN THE ARTIST AND PATRICK KELLY, c.1969
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 29 November 2010 / 70

Published Estimate: €2000-3000

Price Realised: €3200

  • Signature: variously signed, inscribed and dated
  • Medium: correspondence letters (35); cards (2); Christmas cards (1)
  • With a fluid artist’s tongue, Dillon eloquently shares his ideas and attitudes on a variety of topics including his exhibitions, Northern politics, his then housemate at 28 Chelmsford Avenue, Arthur Armstrong (“A”) in this collection of rare correspondence. Patrick or Paddy Kelly, a friend of the artist from his time in London, is referred to in James White’s Gerard Dillon, An Illustrated Biography, p.50 and 63 as a “Northern chap…a talker, articulate and a strong personality whom Gerard liked greatly.” White also references Aidan Higgins’ novel The Balcony of Europe where there is a chapter entitled Who’s Paddy Kelly.

    His contemporaries in the art world are regularly mentioned, some of whom are treated to Dillon’s sharp tongue making for a delightfully humorous and eyeopening read. For example, “A” is described as, “so quiet – so easygoing, so slithery and dithery – a slow mover to do anything, to think of anything.” Some letters refer to their domestic differences. Dillon bickers to Kelly on Armstrong’s (perceived) shortcomings and on their house cleaning tasks going into amusing detail regarding scraping plates, washing windows and hair trimming, among other neglected duties. In a separate letter Dillon recalls a visit to Drogheda to see Nano Reid where he notes, “…the Reids have become more and more eccentric and if you didn’t know them you’d run a mile.”

    Notable exhibition openings and Dillon’s controversial attitude within the art scene is recorded in his reference to Pat Scott’s exhibition 1969 where he was given the, “…cold shoulder from most of the “set” over the Living Art Protest I was involved in. Norah McGuinness said to me as she was going to talk to someone else, “only I like you so much I could easily kill you” And I think she meant it – for I’ve hit hard at their unionist hearts I expect.” Other artists mentioned include his neighbour George Campbell, Louis le Brocquy, Maurice MacGonigal, Dan O’Neill and Noreen Rice among others.

    Historic events such as the Dublin bombings are noted, “Did I tell you the explosion at O’Connell’s monument woke me up – and that’s about 2 ½-3 miles away. So it was loud but did little damage, but to plenty of windows all around. The U.V.F. threaten more – to date – attempt at R.T.E. studios, W. Tone’s Grave, the attempt at power station in Donegal & now Dan O’C!”
    Dillon also includes an unsent letter to the Editor of The IrishTtimes which references the RHA, Maurice MacGonigal and Charlie Haughey’s “tax release for artists.” He signs off this unsent letter, ”Hurrah for Charlie, may he become the next LEADER, or KING of Ireland or SOMETHING, Yours faithfully, Gerard Dillon.”

    A rare and absorbing insight into the artist’s private thoughts, anxieties and observations during his final years. Critical archival material for Dillon aficionados.

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GIRL AT A WINDOW WITH FISHERMEN AND GOATS ALONG THE SHORE
GIRL AT A WINDOW WITH FISHERMEN AND GOATS ALONG THE SHORE
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 29 November 2010 / 71

Published Estimate: €20000-30000

Price Realised: €0

  • Signature: signed lower left; with the artists name inscribed on reverse
  • Medium: oil on masonite board
  • Dimensions: 51 by 81cm., 20 by 32in.
  • Dillon visited Spain in 1951 with his friends George and Madge Campbell who made frequent visits to an area called Pedregalejo, east of Málaga. This painting is reminiscent of the artist’s work during this period and the landscape is suggestive of this stretch of the Andalucian coast. James White notes,1 “It was Gerard’s only visit to Spain and it made a great impression on him for its painterly qualities. Unlike Italy he found the uneven terrain and the strong contrast of light and shade sympathetic to his style.” Some of the fruits of this trip were exhibited in the artist’s solo exhibition in the Victor Waddington Gallery in 1953.

    1. White, James, An Illustrated Biography, Wolfhound Press, Dublin, 1994, p.60

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"GOD BLESS THE WORK", SAID HE POLITELY, FROM THE JAMES STEPHEN'S CROCK OF GOLD, 1966
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 29 November 2010 / 72

Published Estimate: €6000-8000

Price Realised: €0

  • Signature: signed lower left; inscribed with title and artist's address [13 Stamer Street, Dublin 8] on reverse
  • Medium: oil over pencil on board
  • Dimensions: 83 by 62cm., 32.7 5 by 24.5in.
  • Provenance: Provenance:Whyte's, 17 September 2007, lot 74; Private collection
  • Exhibited: Exhibited:RHA, Dublin, 1966, catalogue no. 128 [£175-0-0]
  • Whilst Kernoff apparently never produced a full set of illustrations to Stephen’s classic work, A Crock of Gold, he did illustrate a number of scenes from the book, including a watercolour dated 1925, sold through Whyte’s (16 September 2003, lot 61).

    A version of God Bless the Work was included in one of Kernoff’s earliest exhibitions with the Radical Club Painter’s Group exhibition at the Daniel Egan Salon May 3rd to May 17th 1926. It was also included as an illustration in the catalogue for his 1931 exhibition at the Grives Gallery, 22 Old Bond Street, W.1, London, in 1931.

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THE WEDDING
THE WEDDING
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 29 November 2010 / 73

Published Estimate: €4000-6000

Price Realised: €4000


A BAKER'S DOZEN, 1971
A BAKER'S DOZEN, 1971
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 29 November 2010 / 74

Published Estimate: €8000-10000

Price Realised: €0

  • Signature: signed and dated lower right
  • Medium: oil on board
  • Dimensions: 75 by 59cm., 29.5 by 23.2 5in.
  • Exhibited: Exhibited:RHA, Dublin, 1971, exhibition no. 63 [£150-0-0]
  • This late work by Kernoff was one of four paintings, two watercolours and two oils, exhibited in the RHA in 1971.

    Placed in the social context of 1971 A Baker’s Dozen represents the impact of current affairs on Kernoff’s oeuvre. 1971 marked the beginning of the campaign by Senators Mary Robinson, John Horgan and Trevor West to introduce a bill to amend the acts preventing the sale and import of contraceptives in Ireland. It was also when the Irish Women’s Liberation Movement travelled by train to Belfast to purchase contraceptives and their members were stopped by customs officials in Connolly Station. In this painting Kernoff has chosen to depict a woman possibly identifiable as Roman Catholic by the crucifix around her neck, surrounded by her brood she looks plaintively out at the viewer - as though arguing the case for the introduction of new family planning legislation. The hardship of her life is shown through the lines of washing emanating from the house, the furniture around the grass hints at disarray in the home - and the open door of the outside lavatory suggests a lack of privacy in the domestic space. It was not at all unusual for Kernoff to take inspiration from the social events happening around him - the crises of unemployment and poverty are reoccurring motifs in his oeuvre, especially in his work from the 1930s.

    We are grateful to Kathryn Milligan, Trinity Irish Art Research Centre, for her assistance in cataloguing this lot.

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MOTLEY FOOLS
MOTLEY FOOLS
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 29 November 2010 / 75

Published Estimate: €5000-7000

Price Realised: €0

  • Signature: with evidence of signature lower left; with title and artist's name inscribed on reverse; also with Beverly Smyth & Sons Ltd. Packers, Dublin [inscribed "44/G Dillon 1/3/76"] on reverse
  • Medium: oil and sand on board
  • Dimensions: 98 by 72cm., 38.5 by 28.5in.
  • In the 1960s Dillon began introducing a variety of unconventional materials into his artistic practice such as sand and other textured substances which he mixed into oils and applied to canvas. In the exhibition ‘New Work by Gerard Dillon’ at the Dawson Gallery, Dublin, April 1962, evidence of this practice could be seen in a variety of works, such as Masquerade, 1960, catalogue no. 1, sold at Whyte’s November 2005, lot 105.

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ABSTRACT COMPOSITION WITH EYE
ABSTRACT COMPOSITION WITH EYE
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 29 November 2010 / 76

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: with 1985 studio stamp on reverse
  • Medium: pen and ink with wash
  • Dimensions: 46 by 38cm., 18 by 15in.
  • Provenance: Provenance:'The Colin Middleton Studio Sale', Christie's, 4 October 1985, lot 167; Private collection
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THE BOG HOLE
THE BOG HOLE
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 29 November 2010 / 77

Published Estimate: €8000-12000

Price Realised: €9500

  • Signature: signed lower right; inscribed with title on reverse; with original inscribed Dawson Gallery labels on reverse
  • Medium: oil on board
  • Dimensions: 40 by 40cm., 15.7 5 by 15.7 5in.
  • Provenance: Provenance:Dawson Gallery, Dublin; whence purchased by Miss T. Bourke; Private collection
  • Contained in original Dawson Gallery frame.

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SLIGO BARN, 1964
SLIGO BARN, 1964
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 29 November 2010 / 78

Published Estimate: €3000-4000

Price Realised: €2900

  • Signature: signed and dated lower left; inscribed with title on stretcher on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 46cm., 20 by 18in.
  • Charles Brady’s first one man show in Ireland was held in the Molesworth Gallery in 1964. This was followed by two exhibitions in New York and Philadelphia respectively in 1967. He would not exhibit again in Ireland until 1969 when the Brown Thomas Gallery hosted a solo show of his work.

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LIGHTENINGS III
LIGHTENINGS III
Felim Egan (b.1952)

Auction Date / Lot No.: 29 November 2010 / 79

Published Estimate: €3000-4000

Price Realised: €0


TABLE AND CHAIR IN THE SNOW
TABLE AND CHAIR IN THE SNOW
Anne Yeats (1919-2001)

Auction Date / Lot No.: 29 November 2010 / 80

Published Estimate: €800-1200

Price Realised: €750

  • Signature: signed lower right; with title and Dawson Gallery framing label on reverse
  • Medium: monotype (oil on paper)
  • Dimensions: 53 by 34cm., 21 by 13.5in.
  • In original frame of the Dawson Gallery, Dublin.

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DISCARDED DISHCLOTH, 1974
DISCARDED DISHCLOTH, 1974
Anne Yeats (1919-2001)

Auction Date / Lot No.: 29 November 2010 / 81

Published Estimate: €800-1200

Price Realised: €0

  • Signature: signed lower right; inscribed with title and date on reverse
  • Medium: oil on board
  • Dimensions: 36 by 46cm., 14 by 18in.
  • Provenance: Provenance:Purchased directly from the artist by the present owner
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W.B. YEATS STUDY IN PURPLE 1991
W.B. YEATS STUDY IN PURPLE 1991
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 29 November 2010 / 82

Published Estimate: €1000-1500

Price Realised: €1400

  • Signature: signed, dated and numbered lower right
  • Medium: aquatint on wove paper (no. 21 from an edition of 35)
  • Dimensions: 57 by 42cm., 22.5 by 16.5in.
  • Sheet size: 20 by 22.25ins.

    These studies were later used for a medal design commissioned in 2006 by The Cultural Collection of Ireland, a jewellery manufacturer in Dublin. This image of Yeats, as it appears on the obverse of the medallion, formed part of a retrospective exhibition of the artist’s work in Kamakura, Osaka and Hiroshima, Japan, in 1991. The figure of W.B. Yeats; man and personality, have always inspired le Brocquy and have become a recurring theme throughout his body of work to date. The reverse of the medal displays another reference to Yeats, that of the horseman, and includes an appropriate citation from his self-composed epitaph.

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W.B. YEATS STUDY IN GREEN, 1991
W.B. YEATS STUDY IN GREEN, 1991
Louis le Brocquy HRHA (b.1916)

Auction Date / Lot No.: 29 November 2010 / 83

Published Estimate: €1000-1500

Price Realised: €1200

  • Signature: signed, dated and numbered in pencil lower right
  • Medium: aquatint on wove paper (no. 21 from an edition of 35)
  • Dimensions: 57 by 42cm., 22.5 by 16.5in.
  • Sheet size: 30 by 22.25ins.

    These studies were later used for a medal design commissioned in 2006 by The Cultural Collection of Ireland, a jewellery manufacturer in Dublin. This image of Yeats, as it appears on the obverse of the medallion, formed part of a retrospective exhibition of the artist’s work in Kamakura, Osaka and Hiroshima, Japan, in 1991. The figure of W.B. Yeats; man and personality, have always inspired le Brocquy and have become a recurring theme throughout his body of work to date. The reverse of the medal displays another reference to Yeats, that of the horseman, and includes an appropriate citation from his self-composed epitaph.

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CELL WINDOW and MATHERS, 1977 (A PAIR)
CELL WINDOW and MATHERS, 1977 (A PAIR)
Robert Ballagh (b.1943)

Auction Date / Lot No.: 29 November 2010 / 84

Published Estimate: €6000-8000

Price Realised: €0

  • Signature: both with typed David Hendriks Gallery exhibition labels on reverse; the first with second exhibition label affixed on reverse; the second with [Robert Ballagh, Works of Art] blind stamp in the margin lower right
  • Medium: the first, oil on canvas laid on board with mirror and perspex; the second, pencil with collage element on paper
  • Dimensions: 56 by 44cm., 22 by 17.5in.
  • Provenance: Provenance:David Hendriks Gallery, Dublin; Private collection
  • Exhibited: Exhibited:'Paintings by Robert Ballagh', David Hendriks Gallery, Dublin, 19 August -9 September, 1977, exhibition nos. 23 and 27, respectively; 'Robert Ballagh', Art Gallery, Lund Konsthall, 29 January-6 March 1983, catalogue no.30, as Cellfonster [loaned to exhibition]
  • Dimensions of Mathers, 22.25 by 17.75in.

    The Hendriks Gallery exhibition in 1977 contained twenty-eight paintings, ten of which comprised works from ‘The Third Policeman’ series of which these are two. These paintings are based on Myles na gCopaleen’s (Brian O’Nolan, who also wrote as Flann O’Brien) The Third Policeman and reflect the artist’s preoccupation with repetition and images within images. Cell Window was incorporated into the promotional material for this exhibition which, as the artist described himself at the time, was a new departure for him. This work was later loaned by the owner for Ballagh’s solo show in Stockholm in 1983.

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BLACK '47, 1997
BLACK '47, 1997
Micheal Farrell (1940-2000)

Auction Date / Lot No.: 29 November 2010 / 85

Published Estimate: €600-800

Price Realised: €550

  • Signature: signed and dated in the margin lower right; numbered and titled lower left
  • Medium: etching with aquatint (no. 4 from an edition of 33)
  • Dimensions: 65 by 84cm., 25.5 by 33in.
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THE ROUND HALL, FOUR COURTS, DUBLIN, 1999
THE ROUND HALL, FOUR COURTS, DUBLIN, 1999
Robert Ballagh (b.1943)

Auction Date / Lot No.: 29 November 2010 / 86

Published Estimate: €300-500

Price Realised: €650

  • Signature: signed and dated lower right; numbered lower left; with blind stamp lower left; with inscribed Graphic Studio Gallery, Dublin label on reverse
  • Medium: lithograph (number 51 from an edition of 300)
  • Dimensions: 48 by 51cm., 18.7 5 by 20.2 5in.
  • This lithograph is similar to a series of earlier works from the 1980s commissioned by the Irish Architectural Archive.

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MALE TORSO
MALE TORSO
Liam Belton RHA (b.1947)

Auction Date / Lot No.: 29 November 2010 / 87

Published Estimate: €1500-2000

Price Realised: €1700


OEDIPUS AND THE SPHINX AFTER INGRES, 1983/84
OEDIPUS AND THE SPHINX AFTER INGRES, 1983/84
Francis Bacon (1909-1992)

Auction Date / Lot No.: 29 November 2010 / 88

Published Estimate: €5000-7000

Price Realised: €7600

  • Signature: signed in the margin lower right; numbered in the margin lower left; with Oriel Gallery label affixed on reverse
  • Medium: lithograph on Arches paper (no. 42 from an edition of 150)
  • Dimensions: 117 by 85cm., 46 by 33.5in.
  • Folio size: 50 by 35.25in.
    Published by Maeght Editeur, Paris.

    During the last decade of Bacon’s career the artist pared back his visual language drastically reducing the human body to a stump and a pair of legs or simply its remains in the form of blood or residue. His palette became divided into softer paler tones, such as the pink in this work, and intense reds and oranges as evidenced in Study of the Human Body, 1981. Now in his seventies, Bacon’s technique became more refined and he began employing newer mediums such as aerosol spray paints into his canvas. This practice created the unsettling, grainy surfaces which infused his paintings with the pain and trauma suffered by his subjects. The original oil of this lithograph is housed in The Sintra Museum of Modern Art - The Berardo Collection, Lisbon.

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ACHILL MAN
ACHILL MAN
Charles Harper RHA (b.1943)

Auction Date / Lot No.: 29 November 2010 / 89

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: signed and titled lower right; also with title on reverse
  • Medium: oil on paper
  • Dimensions: 69 by 98cm., 27 by 38.7 5in.
  • In 1980 Kilkenny Castle hosted a retrospective exhibition of Charles Harper’s work. The catalogue essay by Paul O’Reilly aptly likens Harper’s preoccupation with the head to that of the Celts, who saw the human head as a symbol of divinity and natural power, and similarly, with tendencies in Medieval and Romanesque architecture which incorporated the head in many of its designs.

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UNTITLED
UNTITLED
Michael Mulcahy (b.1952)

Auction Date / Lot No.: 29 November 2010 / 90

Published Estimate: €800-1200

Price Realised: €750

  • Signature: signed and dated lower left
  • Medium: acrylic, oil pastel and Indian ink on paper
  • Dimensions: 57 by 76cm., 22.5 by 30in.
  • Provenance: Provenance:A gift from the artist to the present owner
  • The style of this work would suggest that it was a product of one of Mulcahy's many excursions abroad. Africa, Australia, Papua New Guinea and Korea have all heavily influenced his work, which often depicts natural environments and indigenous communities encountered during these sojourns.

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RED SUN AND SEASCAPE
RED SUN AND SEASCAPE
Michael Mulcahy (b.1952)

Auction Date / Lot No.: 29 November 2010 / 91

Published Estimate: €300-500

Price Realised: €1050


SMOKER, 1997
SMOKER, 1997
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 29 November 2010 / 92

Published Estimate: €3000-5000

Price Realised: €2900

  • Signature: signed, titled and dated on reverse; with typed Taylor Galleries label on reverse
  • Medium: oil on canvas
  • Dimensions: 128 by 110cm., 50.5 by 43.5in.
  • Provenance: Provenance:Taylor Galleries, Dublin; Private collection
  • Exhibited: Exhibited:'Dip-Trip-Quadrip-Pentap-Polyp-Tych', RHA Gallagher Gallery, Dublin, 1998
  • We are grateful to the Taylor Gallery for their assistance in cataloguing this lot.

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LIGHT IN THE DARKNESS
LIGHT IN THE DARKNESS
Michael Mulcahy (b.1952)

Auction Date / Lot No.: 29 November 2010 / 93

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: signed and dedicated on reverse
  • Medium: oil on canvas
  • Dimensions: 91 by 100cm., 36 by 39.5in.
  • Provenance: Provenance:A gift from the artist to a friend; Private collection
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UNTITLED ABSTRACT
UNTITLED ABSTRACT
Ciaran Lennon (b.1947)

Auction Date / Lot No.: 29 November 2010 / 94

Published Estimate: €1500-1800

Price Realised: €1150


THE ROOK, 1989
THE ROOK, 1989
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 November 2010 / 95

Published Estimate: €3000-5000

Price Realised: €7100

  • Signature: signed with initials lower right; signed again, titled and dated [July] and with archival number [number 1982] on reverse; also with typed Taylor Galleries label on reverse
  • Medium: oil and collage on board
  • Dimensions: 89 by 17cm., 35 by 6.5in.
  • Provenance: Provenance:Taylor Galleries, Dublin; Private collection
  • Exhibited: Exhibited:’Recent Paintings, Collages & Stoneware Bowls’, Taylor Galleries, Dublin, c.1989, no. 32
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KING'S RIVERSCAPE, 1986
KING'S RIVERSCAPE, 1986
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 29 November 2010 / 96

Published Estimate: €5000-7000

Price Realised: €6400

  • Signature: signed with initials and titled lower left; dated [August] 1986 lower right; with details again on reverse including artist's archival number [No. 1170]; with typed Taylor Galleries label also on reverse
  • Medium: oil on paper
  • Dimensions: 52 by 64cm., 20.5 by 25in.
  • Provenance: Provenance:Taylor Galleries, Dublin; Private collection
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ENTRANCE
ENTRANCE
William Crozier HRHA (b.1930)

Auction Date / Lot No.: 29 November 2010 / 97

Published Estimate: €2500-3500

Price Realised: €0

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 25 by 36cm., 10 by 14in.
  • Provenance: Provenance:Taylor Galleries, Dublin; Private collection
  • Exhibited: Exhibited:'William Crozier', Taylor Galleries, Dublin, 5 March - 3 April 2004, catalogue no. 32
  • We are grateful to Katharine Crouan for her assistance in cataloguing this lot.

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FOREST FIRE, 2005
FOREST FIRE, 2005
Jonathan Hunter (b.1966)

Auction Date / Lot No.: 29 November 2010 / 98

Published Estimate: €4000-6000

Price Realised: €0

  • Signature: signed, titled and dated on reverse; with two inscribed RHA exhibition labels on reverse
  • Medium: oil on canvas
  • Dimensions: 152 by 168cm., 60 by 66in.
  • Provenance: Provenance:RHA, Dublin, 2005; Private collection
  • Exhibited: Exhibited:RHA, 175th Exhibition, Dublin, 17 May-27 June 2005, catalogue no. 206, listed p. 97, illustrated p. 60 of exhibition catalogue
  • Hunter was born in England but completed his MA in Fine Art at NCAD. He has exhibited widely in Dublin including with the Catherine Hammond Gallery (2010), Hillsboro Fine Art (2007 and 2009), The Ashford Gallery and The Kevin Kavanagh Gallery.

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LONG GONE, 1975
LONG GONE, 1975
Gerald Davis (1938-2005)

Auction Date / Lot No.: 29 November 2010 / 99

Published Estimate: €1500-1800

Price Realised: €0

  • Signature: inscribed with the title, signed and dated [16 II '75] on reverse; also with a sketch of three figures on reverse; with David Hendriks Gallery label affixed on reverse
  • Medium: oil on canvas
  • Dimensions: 89 by 121cm., 35 by 47.5in.
  • Provenance: Provenance:Purchased directly from the artist by the present owner
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RATH, 1990-91
RATH, 1990-91
Hughie O'Donoghue (b. 1953)

Auction Date / Lot No.: 29 November 2010 / 100

Published Estimate: €12000-15000

Price Realised: €0

  • Signature: signed, titled and dated on canvas and on stretcher on reverse
  • Medium: oil on canvas
  • Dimensions: 107 by 183cm., 42 by 72in.
  • In May 2009 the Irish Museum of Modern Art hosted, ‘Hughie O’Donoghue: Recent Paintings and Selected Works from the American Ireland Fund Donation’. This was a major exhibition of twenty-seven works by the artist who has now a substantial body of work in the IMMA collection. Since the mid 1980s O’Donoghue has been exhibiting widely in solo and group shows internationally. From 1984-85 he was an artist in residence in the National Gallery in London and in 1991 exhibited there in a group show with nine other artists from the residency programme. That same year O’Donoghue also held two self-titled exhibitions in the Kilkenny People Gallery and at Galerie Helmut Pabst in Frankfurt.

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RED FIGURES, 2002
RED FIGURES, 2002
Brian Ferran HRUA HRHA (b.1940)

Auction Date / Lot No.: 29 November 2010 / 101

Published Estimate: €3000-4000

Price Realised: €0

  • Signature: signed and dated lower right; with inscribed Jorgensen Fine Art exhibition label on reverse
  • Medium: acrylic, gold and metal leaf on canvas
  • Dimensions: 76 by 76cm., 30 by 30in.
  • Provenance: Provenance:Jorgensen Fine Art, Dublin; Private collection
  • Exhibited: Exhibited:'Brian Ferran', Jorgensen Fine Art, March 2003, catalogue no. 8, illustrated on p. 7 of exhibition catalogue
  • A copy of the original exhibition catalogue accompanies this lot.

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