14 March 2011

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THE STRAND RACES THE FINISH
THE STRAND RACES THE FINISH
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 14 March 2011 / 101

Published Estimate: €400-600

Price Realised: €650

  • Signature: signed in the plate lower left
  • Medium: hand-coloured Cuala Press print
  • Dimensions: 14 by 43cm., 5.5 by 17in.
  • Literature: Literature:Pyle, Hilary, The Different Worlds of Jack B Yeats: His Cartoons and Illustrations, p.283, catalogue no. 2016 (illustrated in colour, plate 18)
  • The original ink and watercolour drawings for this print dates to c.1906 and were exhibited in London in 1913. It was later reproduced in the Dun Emer catalogue October 1907 and prospectus, May 1908.

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JACK B. YEATS: A CATALOGUE RAISONNE OF THE OIL PAINTINGS by HILARY PYLE HRHA
JACK B. YEATS: A CATALOGUE RAISONNE OF THE OIL PAINTINGS by HILARY PYLE HRHA
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 14 March 2011 / 102

Published Estimate: €700-900

Price Realised: €1000

  • Signature: numbered [593] on editions page vol. I
  • Dimensions: 29 by 23cm., 11.2 5 by 9in.
  • Published by Andre Deutsche, London, 1992. Limited edition of 1550 copies, of which this is number 593. Three volumes set in dark green cloth stamped in gilt and in matching slip case as issued. The definitive listing of Yeats' oil paintings, with numerous illustrations. An invaluable resource for any Yeats aficionado.

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THREE CHILDREN PLAYING IN THE SAND DUNES
THREE CHILDREN PLAYING IN THE SAND DUNES
George Russell "AE" (1867-1935)

Auction Date / Lot No.: 14 March 2011 / 103

Published Estimate: €8000-10000

Price Realised: €10500

  • Signature: signed in monogram lower right
  • Medium: oil on canvas
  • Dimensions: 41 by 53cm., 16 by 21in.
  • Provenance: Provenance:Acquired from the artist c.1930 by the previous owner's father, who was Russell's physician' de Vere's, 30 March 2004, Acquired from the artist c.1930 by the previous owner's father, who was Russell's physician; de Vere's, 30 March, 2004, l
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THE CORONATION COACH, 1937
THE CORONATION COACH, 1937
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 14 March 2011 / 104

Published Estimate: €4000-6000

Price Realised: €4800

  • Signature: with typed label on reverse; with Spink's Fine Art [King Street, St. James', London SW1] label and Reeves & Sons, Ltd., [187 High Street, Kensington] label also on reverse
  • Medium: oil on board
  • Dimensions: 51 by 50cm., 20 by 19.7 5in.
  • Provenance: Provenance:Whyte's, 19 September 2006, lot 129; Private collection.
  • A study for Piccadilly, 12th May 1937 (London Museum; reproduced plate 240 in McConkey’s monograph on Lavery), which was painted to mark the coronation of King George VI. McConkey records that “Lavery set out to record the procession as it passed down Piccadilly and to do so, positioned himself up on a balcony overlooking the road ... and executed numerous rapid sketches of guards and footmen in their processional regalia” (McConkey, p.200).

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 PORTRAIT OF A LADY WITH A HAT
PORTRAIT OF A LADY WITH A HAT
Sarah Henrietta Purser HRHA (1848-1943)

Auction Date / Lot No.: 14 March 2011 / 105

Published Estimate: €1500-2000

Price Realised: €1500

  • Signature: signed with initials lower right
  • Medium: pencil on grey paper
  • Dimensions: 58 by 44cm., 23 by 17.5in.
  • The artist's signature appears with her initials in one of their early formats, the lower curve of the "S" doubling as the bowl of the "P". We are grateful to Dr. John O'Grady for his assistance in cataloguing this lot.

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MISS KATE GENTLES, 1889
MISS KATE GENTLES, 1889
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 14 March 2011 / 106

Published Estimate: €12000-15000

Price Realised: €21000

  • Signature: signed and dated lower left
  • Medium: oil on canvas
  • Dimensions: 61 by 41cm., 24 by 16.2 5in.
  • Provenance: Provenance:Christies, Scotland, 9 December 1993
  • Early in his career, Lavery realized that portraiture would be his strong suit. Shortly after his return from Grez-sur-Loing, commissioned by the MacKeans, the Clarks, the Fultons and others, he became court painter to the inner circle of Paisley’s wealthy middle classes.(footnote 5) In the late nineteenth century, its wool and thread trades created a boomtown adjacent to Glasgow – itself a burgeoning metropolis frequently characterised as the second city of the Empire. Unlike his Glasgow School contemporaries, for a young Irish expatriate with no family connections, this patronage was essential.(footnote 6) Many of the portraits he painted in the late 1880s which have passed down through families, are gradually coming to light and those like the portrait of Miss Kate Gentles (fig 1), that have been known, still remain obscure.(footnote 7) Miss Gentles’ portrait was painted during a year of intense activity when Lavery’s studio was visited by many of the 253 guests who had attended the State Visit of Queen Victoria to the Glasgow International Exhibition. At the end of 1888, the painter had been contracted by the city’s corporation to produce a large memorial canvas portraying this event (Glasgow Museums). The task, which involved visits to Windsor and Darmstadt to paint members of the royal household, was daunting. Miss Kate Gentles, larger than the numerous Glasgow International sketches, is apparently unrelated to this major project, although it shared some of the characteristics of the suite - the subject being shown in profile, in outdoor clothing, wearing a hat and face veil. Lavery found face-veils of the period especially alluring, and during the following six years he was to paint many portraits in which the eyes of the sitter are seen through a film of gauze attached to what was little more than a corsage of imitation flowers. The most important of these, Princess Alix of Hesse, (Private Collection) was highly praised at the Grosvenor Gallery in 1889. At the same time, An Irish Girl 1890 (Private Collection) commemorates his whirlwind romance with the flower-seller, Kathleen McDermott, whom he met in London while painting the royal retinue. It was around this time in 1890, that the Glasgow dealer, Thomas Lawrie, conceived the idea of an exhibition devoted exclusively to ‘A Dream of Fair Women’ – a Tennyson-ian title that, in Lavery’s hands, stressed modernity, rather than the flimsy romanticism of the Pre-Raphaelites.(footnote 8)

    The suave distinction of Miss Kate Gentles paved the way for a cavalcade of portrait studies in the early 1890s such as Lady with a Face Veil 1892 and ‘Millie the Model’ 1894 (Private Collections), both likely to have been shown in Lawrie’s exhibitions.(footnote 9) These marked out the territory of a painter who, in representing women dressed for the city street, avoided pretty ball gowns and extravagant coiffure in his unsentimental rendering of the modern woman.

    Prof. Kenneth McConkey

    Northumberland, February, 2011

    5. Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Atelier Books), pp. 31-7. 6. For further reference see Roger Billcliffe et at, Pioneering Painters:The Glasgow Boys, 2010 (exhibition catalogue, Glasgow Museums). 7. Is seems likely that Miss Gentles was a relative, possibly a daughter, of Thomas Adam Gentles (d. 1911), a paper-hangings manufacturer, who worked for the family firm of William Gentles & Co, importers of picture frames and decorative mouldings etc., brush and glass merchants, dealers in paintings, oleographs and chromos, with premises at 38 Sauchiehall Street, Glasgow. Gentles and Lavery were both members of Glasgow Art Club and both signatories to the petition to Glasgow Corporation in 1891, requesting the purchase of Whistler’s portrait of Thomas Carlyle. 8. See Kenneth McConkey, ‘The Glasgow Boys in the 1890s’, in Billcliffe et al, 2010, pp. 108-9. 9. Catalogues for these shows appear not to have survived.

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THE FINISHING TOUCH, 1876
THE FINISHING TOUCH, 1876
James Brenan RHA (1837-1907)

Auction Date / Lot No.: 14 March 2011 / 107

Published Estimate: €15000-20000

Price Realised: €22000

  • Signature: signed and dated with usual monogram '19JB01' lower left; with inscribed exhibition label on reverse detailing artist's name, title, address [Buckston Hill, Sundays Well, Cork] and price [£35-0-0]
  • Medium: oil on canvas
  • Dimensions: 64 by 76cm., 25 by 30in.
  • Exhibited: Exhibited:RHA, 1876 exhibition no. 27 [£35-0-0]
  • Literature: Literature:Stewart, Ann M., Royal Hibernian Academy of Arts Index of Exhibitors & Their Works 1826-1979, Vol. 1, A-G (Manton, 1985), p.75.
  • James Brenan was one of the foremost painters of genre and narrative works of his time in Ireland. When he exhibited this work in Dublin, he was Headmaster of the School of Art in Cork. Such salaried work allowed him the freedom to paint what he liked, rather than what could have been more overtly commercial. This is one of the first of several important paintings where he focused his brush directly on the tragedy of poverty and emigration from rural Ireland. It was not only the Great Famine of the 1840’s that forced millions to leave old Ireland for the ‘New Worlds’ of America, Canada and Australia, but recurring failures of the potato crop, and crises in the coastal fishing or mining industries, compelled people to leave and search for work abroad. Usually it was the young, and even children, who had to go. Their parents and grandparents and youngest siblings, without job prospects or the means to travel or resettle, were forced to stay behind. It is typical of Brenan that he should portray this poignant gathering within the heart of the farmhouse. Other artists described the scene on the quayside or station platform (Erskine Nicol’s, Outward Bound,[i] of 1852 and The Emigrants, of 1864[ii]). It is no coincidence that so many of these artists, like Brenan, originated from Munster, which lost 23% of its population through death and emigration (G.M.W. Atkinson, Emigrants at Cork, c.1840, Robert R. Scanlon, Emigrants Awaiting Embarkation, West Cork, 1852, and C.H. Cook, Awaiting the Emigrant Ship, 1867).[iii].

    Most of Brenan’s best work was set in cabins or farmhouses, where he returned repeatedly to fraternise with farmers, weavers and fishermen, use them as his models and their homes as his backdrops. His involvement with The Great Exhibition (of arts and manufacturing) in London in the 1850’s, and his subsequent promotion of lace-making as a cottage industry in Ireland, shows how genuinely concerned he was with Ireland’s rural poor.

    This narrative scene is unveiled like the central act of a play. Such ‘conversation pieces’ invited the well-educated Dublin audience to decipher the topical message leading up to this point, and the consequences. They would have been expected to read the symbolism like text. The story is of a young woman on the eve of departure to America, her father takes centre stage, and Brenan’s title The Finishing Touch refers not only to his hand on the emigrant’s box, but also to the work of the painter, who is completing the words on the green box. The green is of course symbolic of Ireland. Brenan was also concerned with the poor state of Irish schools (another topic that he addressed through his art) and the sign-writer, seated on a four legged creepie stool, has struggled to form the letters of the girl’s name O’Connor, New York. His pot of paint is in the foreground.

    The father’s pain at the impending loss of his daughter is exemplified by his sad expression and stooping stance, as he leans on a stick. The box was typically small enough to be carried under one arm, and to contain only the meagre possessions essential for the hazardous journey on a ‘coffin ship’. To the right, the youngest brother carries turf into the kitchen, in a creel on his back. He is likely to be the next one to emigrate. The shadowy figure behind him, contemplating the scene, reappears in Brenan’s News from America (1875, Crawford Municipal Art Gallery Collection), which might easily be the subsequent scene of this drama.[iv] A hatbox is open on the settle. The daughter is adjusting her hat using a hand mirror lit by the window, while her mother looks on. On the cabin wall is a picture within a picture; a device frequently used by the earlier and strongly influential Dutch genre painters, to echo the main narrative. It shows a Madonna and child, in an unframed broadsheet surrounded by further tiny images. So many left for America that a tradition known as the ‘American Wake’ was a gathering for friends, family and neighbours, on an emigrant’s departure. It was a wake for the living rather than the dead, people were brought in to keen, and such sad affairs lacked the carousing and dancing that wakes for the dead often included.

    This painting would have roused emotions when exhibited in Dublin’s Royal Hibernian Academy, as well as influencing other painters. A most notable example is Breaking Home Ties, that shows the same juxtaposition of a mother’s farewell to her son, but in an American kitchen. Painted by Thomas Hovenden, an acclaimed early student of Brenan’s from the Cork School of Art, himself a County Cork orphan who emigrated to New York in 1863.[v] The year Hovenden arrived, he was only one of well over one hundred and fifty thousand County Cork immigrants who had arrived in Manhattan. More people than made up all of the city of Cork[vi], which demonstrates the importance of Brenan’s painted message.

    This work appears to be contained in its original gilt frame.

    Dr. Claudia Kinmonth

    Cork, February 2011.

    Footnotes:

    [i] C. Kinmonth in P. Murray ed., Whipping the Herring (Crawford Gallery Exhibition Catalogue, Cork, 2006), p.108, fig. 109. [ii] B. Arnold, Irish Art (Thames & Hudson, 1977), p.127, fig. 121. [iii] P. Murray ed., Whipping the Herring (Crawford Gallery Exhibition Catalogue, Cork, 2006), p.124-129, 238. [iv] C. Kinmonth, Irish Rural Interiors in Art (Yale University Press, 2006), fig. 248, p. 255. [v] P. Murray, Whipping the Herring., fig.2, p.13. [vi] A. G. Terhune, P. Smith Scanlan, Thomas Hovenden; His Life and Art (Pennsylvania, 2006), 3

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CHILDREN WITH SAILBOAT, 1897
CHILDREN WITH SAILBOAT, 1897
Charles Napier Henry RA RWS (English, 1841-1917)

Auction Date / Lot No.: 14 March 2011 / 108

Published Estimate: €4000-6000

Price Realised: €4000

  • Signature: signed and dated lower left; with artist's name printed on plaque affixed to frame lower centre
  • Medium: oil on canvas
  • Dimensions: 41 by 66cm., 16 by 26in.
  • Charles Napier Henry exhibited almost annually from 1865 to 1904 with the Royal Academy where coastal scenes dominated among the works exhibited.

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HAULING NETS AT DUSK
HAULING NETS AT DUSK
William Henry Bartlett (1809-1854)

Auction Date / Lot No.: 14 March 2011 / 109

Published Estimate: €3000-4000

Price Realised: €4000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 61 by 89cm., 24 by 35in.
  • Provenance: Provenance:Sotheby's, 21 May 1998, lot 260 (as Fishing off The Connemara Coast); Private collection
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 IRISH COTTAGE INTERIOR
IRISH COTTAGE INTERIOR
Frances William Topham RA OWS (1808-1877)  

Auction Date / Lot No.: 14 March 2011 / 110

Published Estimate: €3000-4000

Price Realised: €3000

  • Signature: with artist's name printed in the mount lower centre
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 30 by 42cm., 11.7 5 by 16.5in.
  • This distinctly Irish scene shows a peasant family gathered around the hearth, which was the heart of the Irish home, providing heat, light and warmth. The father sits with his back to us on the right, facing the raised grate, which was built to burn coal rather than turf. Above the glowing coals hangs the ubiquitous three-legged pot, suspended by a pair of adjustable pot hangers from the vertical crook. The wrought iron crook, with its interlocking hooks, hung down the chimney and enabled the cook to adjust the height of the pot, and therefore the distance from the heat of the fire. The young woman on the left may be a daughter (if it was the mother we would expect her to be wearing a white bonnet or scarf), with a younger child resting his head on her knee. On either side of the hearth is a stone hob, that doubled as a seat, and a boy sits on this on the left. He and his father, both wear the characteristic felt or Caroline hats that were customary in the 1840s. [i] On the far left, is a heap of horse harness; a wooden straddle with straw ropes, indicates that they use a working horse on the land. The same arrangement occurs in another of Topham’s Irish watercolours, from the 1840s, entitled The First Born. The cradle on the right is the most substantial item of furniture that he includes. It has rockers and panelled sides, and the baby’s head is lit by the rays of sunlight emanating from the broken front window. Hanging in the window reveal is the characteristic slope-lidded slat box. [ii] Salt was a precious commodity, used for preserving fish and meat, as well as providing flavour or ‘kitchen’ for food. Over the childrens’ heads the half loft was often used as a sleeping place, capturing some heat from the fire beneath. Topham provides us with a rare view of how the outer edges of this loft had special rails presumably to prevent people falling off the edge. It was also useful dry storage for potatoes, or anything that needed to be kept dry and away from the damp earthen floor. The underside of the thatch can be seen on the top right, with no lining, [iii] a further indication of poverty, which is already indicated in this pre-famine scene, by the slightly sad demeanour the family. Dr. Claudia Kinmonth Cork, February 2011. Footnotes: [i] Mairead Dunlevy, Dress in Ireland (Batsford, 1989), 100, 123, 143, 165. [ii] C. Kinmonth, Irish Country Furniture, 1700-1950 (Yale University Press, 1993), 126-7. [iii] Kinmonth, Irish Country Furniture… p. 194.

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THE STREET POET ZOZIMUS IN 1838
THE STREET POET ZOZIMUS IN 1838
Henry M. McManus RHA (fl.1835-1877)

Auction Date / Lot No.: 14 March 2011 / 111

Published Estimate: €1200-1500

Price Realised: €1500

  • Medium: oil on canvas
  • Dimensions: 41 by 30cm., 16 by 12in.
  • Provenance: Provenance:
  • Bearing inscription on reverse of canvas which reads, "The Street Poet Zozimus in 1838 painted from memory by Henry Macmanus [sic] RHA and presented to Alexander Patten Esq. MD.”

    Michael J. Moran (1794-1846), popularly known as Zozimus, also known as the "Blind Bard of the Liberties" and the "Last of the Gleemen" was a Dublin street entertainer. As a child he was blinded by illness. However, he developed an astounding memory for verse and he made his living reciting poems, many of which he had composed himself, in his own lively, though semi-literate, manner. He began each oration with the verse: Ye sons and daughters of Erin, Gather round poor Zozimus, yer friend; Listen boys, until yez hear My charming song so dear Later in the 19th century an Irish satirical magazine was named Zozimus after the street rhymer. It was published from 1870 to 1872 by A. M. Sullivan, and a later Irish comic magazine, published by AP Swan from 1876 to 1877, was called Zoz, also honouring the memory of this popular entertainer.

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PORTRAIT OF LAURA REDDEN SEARING IN THE STUDIO, 1867
PORTRAIT OF LAURA REDDEN SEARING IN THE STUDIO, 1867
Michael George Brennan (1839-1871)

Auction Date / Lot No.: 14 March 2011 / 112

Published Estimate: €15000-20000

Price Realised: €0

  • Signature: faintly inscribed and dated on the stretcher
  • Medium: oil on canvas
  • Dimensions: 64 by 46cm., 25 by 18in.
  • Michael George Brennan, subject and landscape painter, was born and educated in Castlebar Co. Mayo where his talents were noted by Charles O’Donal, afterwards a police magistrate in Dublin (Strickland, p.83). Aged fifteen he was sent to the Dublin Society’s School and later the Royal Hibernian Academy where his skills where honed. He later travelled to London, working on several publications there, including Fun, a rival to Punch. Ill health in the form of typhoid fever led Brennan back to Ireland and later prompted a further relocation to the warmer climes of Italy. Settling first in Rome, Brennan continued to send back paintings for exhibition in the Royal Academy between the years 1865-1878. Strickland describes how his works were “warmly praised as admirably painted, harmonious in colour, and full of character and feeling.” Brennan’s deteriorating condition provoked later trips to Capri and it was here that he came in contact with the subject of this work, Miss Laura Catherine Redden a celebrated deaf American poet, journalist and author. The pair were engaged within ten days of meeting and while they discussed their future wedding plans the engagement was ultimately broken off, the reasons for which are unknown. One rumoured explanation was that Redden was not willing to forego her flourishing career. Brennan died from a fall in 1871.

    Laura Catherine Redden (1839-1923) was born in Maryland in the United States. Having lost her hearing at the age eleven she enrolled in the Missouri School for the Deaf (MSD) and later developed the skill of sign language and the American Manual Alphabet. Upon graduation in 1859 Redden was unable to enrol in college because of her disability; thus to supplement her education she travelled to Europe between 1865-1896 where she studied several languages. When she met Brennan she was already a published writer with articles in Harper’s Magazine and American Annals of the Deaf where she championed the struggles of the deaf community. Earlier in 1860, she became the editorialist for the St. Louis Republican and officially adopted the pseudonym Howard Glyndon. In 1861, she was sent by the St. Louis Republican to Washington D.C. report on the American Civil War. She was a pro-Union loyalist and wrote poems about the experiences and human interests of the battle field. Redden also wrote to Abraham Lincoln and Ulysses S. Grant during the war period and it was with this wealth of experience that she later travelled to Europe between 1865-1869 to become a correspondent for The New York Times.

    After the engagement to Brennan was called off Redded returned to America and in 1876 married Edward Whelan Searing, a lawyer, with whom she had one child. By 1870, she returned to New York and Boston and was a staff writer for the New York Evening Mail and contributed to Galaxy, Harper's Magazine, and the Tribune. The marriage did not last and they divorced in 1894. Laura Redden Searing died in 1923 and was buried in Colma, California. She is remembered as a pioneer within the deaf community and is pictured here as a sensual muse of a former lover in the prime of her life.

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ST. MARY'S, NEW ROSS AND OTHER VIEWS OF COUNTY WEXFORD AND ELSEWHERE (SEVEN WORKS)
ST. MARY'S, NEW ROSS AND OTHER VIEWS OF COUNTY WEXFORD AND ELSEWHERE (SEVEN WORKS)
John Henry Campbell (1757-1828)

Auction Date / Lot No.: 14 March 2011 / 113

Published Estimate: €1000-1500

Price Realised: €0

  • Signature: variously signed lower left; one inscribed "St. Mary's" lower right; one with blind stamp of Turnbull Superfine London Board lower right
  • Medium: pencil on card (5); pencil on paper (1); watercolour on paper (1); (all unframed)
  • Dimensions: 22 by 26cm., 8.5 by 10.2 5in.
  • Dimensions of largest, 9.25 by 12.5ins and smallest, 5.75 by 8.75ins.

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ANTRIM COASTLINE
ANTRIM COASTLINE
William Nicholl (1794-1840)

Auction Date / Lot No.: 14 March 2011 / 114

Published Estimate: €300-400

Price Realised: €250

  • Medium: watercolour
  • Dimensions: 25 by 42cm., 10 by 16.5in.
  • Provenance: Provenance:By descent from the artist's brother Andrew Nicholl RHA, to the previous owner; Private collection
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CONNEMARA LANDSCAPE
CONNEMARA LANDSCAPE
Douglas Alexander (1871-1945)

Auction Date / Lot No.: 14 March 2011 / 115

Published Estimate: €400-500

Price Realised: €0


ONCOMING STORM, 1832
ONCOMING STORM, 1832
James Arthur O'Connor (1792-1841)

Auction Date / Lot No.: 14 March 2011 / 116

Published Estimate: €8000-10000

Price Realised: €15000

  • Signature: signed and dated lower centre; inscribed on reverse; also with original labels affixed on reverse
  • Medium: oil on board
  • Dimensions: 28 by 33cm., 11 by 13in.
  • With original label of panel and millboard manufacturer R. Davy, Newman Street, London and small handwritten label with the date 1858.

    Probably a view of Co. Wicklow, one of O'Connor's favoured locations at this time.

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ROCKY HEADLAND, COUNTY MAYO
ROCKY HEADLAND, COUNTY MAYO
John Faulkner RHA RI (1835-1894)

Auction Date / Lot No.: 14 March 2011 / 117

Published Estimate: €1500-1800

Price Realised: €0


SEASCAPE
SEASCAPE
Helen O'Hara (1846-1920)

Auction Date / Lot No.: 14 March 2011 / 118

Published Estimate: €800-1000

Price Realised: €850


SEAGULLS ON ROCKS, PORTRUSH
SEAGULLS ON ROCKS, PORTRUSH
Helen O'Hara (1846-1920)

Auction Date / Lot No.: 14 March 2011 / 119

Published Estimate: €800-1000

Price Realised: €0


COASTAL LANDSCAPES (A PAIR)
COASTAL LANDSCAPES (A PAIR)
Henry Albert Hartland (1840-1893)

Auction Date / Lot No.: 14 March 2011 / 120

Published Estimate: €500-700

Price Realised: €350


SKETCH FOR A CRUCIFIXION
SKETCH FOR A CRUCIFIXION
17th Century Flemish School  

Auction Date / Lot No.: 14 March 2011 / 121

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: inscribed [van Dyke] in a later hand on reverse; also with wax seal on reverse
  • Medium: oil on canvas laid on oak panel
  • Dimensions: 46 by 30cm., 18.2 5 by 11.7 5in.
  • Provenance: Provenance:Sage Family, Antique Dealers, Co. Waterford since c.1960s
  • Thought to be executed by a follower of Sir Anthony van Dyke (1599-1641).

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OLIVER GOLDSMITH, 1861
OLIVER GOLDSMITH, 1861
John Foley RA RHA (1818-1874)

Auction Date / Lot No.: 14 March 2011 / 122

Published Estimate: €4000-6000

Price Realised: €4200

  • Signature: stamped with artist's name on right hand side of base; with the Elkington & Co. Foundry stamp on the opposite side of base
  • Medium: electroplated bronze
  • Dimensions: 52 cm., 20.5 in. high
  • Dimensions of base: 6.5 by 6.5ins. Maquette for the life-size bronze erected in 1863 at the front gates to Trinity College Dublin. The original plaster model is in the Birmingham City Art Gallery.

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EXTENSIVE LANDSCAPE WITH RIDER AND HOUNDS
EXTENSIVE LANDSCAPE WITH RIDER AND HOUNDS
Claude Hayes RI ROI (1852-1922)

Auction Date / Lot No.: 14 March 2011 / 123

Published Estimate: €800-1200

Price Realised: €0


BELTRA, COUNTY SLIGO, 1948
BELTRA, COUNTY SLIGO, 1948
Frank Eggington RCA (1908-1990)

Auction Date / Lot No.: 14 March 2011 / 124

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: signed lower left; with inscribed Fine Art Society [148 New Bond Street, London] label on reverse
  • Medium: watercolour
  • Dimensions: 36 by 53cm., 14 by 20.7 5in.
  • Exhibited: Exhibited:The Fine Art Society, London, March 1948
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KILLARY BAY, CONNEMARA
KILLARY BAY, CONNEMARA
Alexander Williams RHA (1846-1930)

Auction Date / Lot No.: 14 March 2011 / 125

Published Estimate: €400-600

Price Realised: €350

  • Signature: signed lower right; with title lower left; signed again and with artist's address [4 Hatch Street, Dublin] exposed on reverse
  • Medium: watercolour
  • Dimensions: 19 by 36cm., 7.5 by 14in.
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COTTAGES, WEST OF IRELAND
COTTAGES, WEST OF IRELAND
Michael Augustine Power O'Malley (1870-1946)

Auction Date / Lot No.: 14 March 2011 / 126

Published Estimate: €1500-2000

Price Realised: €0


SHEEP IN MOONLIGHT
SHEEP IN MOONLIGHT
William Percy French (1854-1920)

Auction Date / Lot No.: 14 March 2011 / 127

Published Estimate: €1500-1800

Price Realised: €2500


STILL LIFE WITH FRUIT AND FLOWERS, 1959
STILL LIFE WITH FRUIT AND FLOWERS, 1959
Geraldine M. O'Brien (b.1922)

Auction Date / Lot No.: 14 March 2011 / 128

Published Estimate: €1500-2000

Price Realised: €2600


KILMURRY GARDEN
KILMURRY GARDEN
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 14 March 2011 / 129

Published Estimate: €3000-4000

Price Realised: €0


IRISH CAILIN
IRISH CAILIN
Maynard Brown (fl. 1878-1902)

Auction Date / Lot No.: 14 March 2011 / 130

Published Estimate: €1000-1500

Price Realised: €0

  • Signature: signed lower left; with stamp of L. Cornelissen's & Son [22 Great Queen Street, London] on reverse
  • Medium: oil on canvas
  • Dimensions: 76 by 53cm., 30 by 21in.
  • Since the early 1980s ten works by this artist have been recorded at auction mostly depicting idolised female subjects, most in allegorical poses. The stamp on reverse refers to the London based art materials dealer in operation under 'L. Cornelissen & Son' from 1884 at 22 Great Queen Street. Known as a lithographic colour maker (1862-1922), “artist's colourman” (from 1881) Cornelissen provided marked canvases and stretchers for works by various artists including Whistler, Bone and Clausen.

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FLOWERS IN A VASE (HYDRANGEA AND DAHLIAS), c.1949
FLOWERS IN A VASE (HYDRANGEA AND DAHLIAS), c.1949
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 14 March 2011 / 131

Published Estimate: €1200-1500

Price Realised: €0

  • Signature: signed lower right; inscribed with title on reverse
  • Medium: oil on canvas
  • Dimensions: 61 by 51cm., 24 by 20in.
  • Provenance: Provenance:Collection of George McClelland; Private Collection
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STILL LIFE WITH ORANGE-PATTERN CLOTH
STILL LIFE WITH ORANGE-PATTERN CLOTH
John Luke RUA (1906-1975)

Auction Date / Lot No.: 14 March 2011 / 132

Published Estimate: €1500-2000

Price Realised: €2300


VIEW OF AN ORNATE PORTICO
VIEW OF AN ORNATE PORTICO
James le Jeune RHA (1910-1983)

Auction Date / Lot No.: 14 March 2011 / 133

Published Estimate: €600-800

Price Realised: €0


AMONG THE TREES
AMONG THE TREES
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 14 March 2011 / 134

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: signed in pencil lower right; inscribed on reverse
  • Medium: gouache over pencil on tinted board
  • Dimensions: 66 by 44cm., 26 by 17.5in.
  • Provenance: Provenance:Fr. OLoideain, (Leyden), Mission Antiques, Clarendon St., Dublin; Private collection
  • Inscription on reverse reads: "Among The Trees by Evie Hone, Unfinished".

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SUITED GENTLEMAN CYCLING BY NIGHT
SUITED GENTLEMAN CYCLING BY NIGHT
Jean-Jaques Sempe (French, b.1932)

Auction Date / Lot No.: 14 March 2011 / 135

Published Estimate: €800-1200

Price Realised: €2600

  • Signature: signed lower right
  • Medium: ink on paper
  • Dimensions: 51 by 30cm., 20 by 11.7 5in.
  • French cartoonist Jean-Jacques Sempé, known simply as Sempé, was born in Bordeaux and began his artistic career working in the Saint-Germain-des-Prés, district in Paris with René Goscinny creator of the comic book Asterix. Sempé received accolades for his work from as early as 1952 and became renowned at this juncture in his career for his creation of a character named Nicolas in his cartoons for the comic book Le Moustique. In 1960, Nicolas became a central figure in Sempé's oeuvre and the comic Le Petit Nicolas was published. Full page cartoons by the artist have appeared in Paris Match for many years as well as on the cover of The New Yorker magazine.

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CUBIST COMPOSITION
CUBIST COMPOSITION
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 14 March 2011 / 136

Published Estimate: €1500-2000

Price Realised: €2400


SEATED FEMALE NUDE and STANDING MALE NUDE (A PAIR)
SEATED FEMALE NUDE and STANDING MALE NUDE (A PAIR)
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 14 March 2011 / 137

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: each with artist's name and date printed in the mount lower centre.
  • Medium: pencil on paper
  • Dimensions: 50 by 32cm., 19.5 by 12.7 5in.
  • Provenance: Provenance:
  • Dimensions of second title; 21 by 13.25ins

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EVENING MOUNTAINS
EVENING MOUNTAINS
Nancy Wynne Jones HRHA (1922-2006)

Auction Date / Lot No.: 14 March 2011 / 138

Published Estimate: €500-700

Price Realised: €0

  • Signature: with typed Taylor Galleries label on reverse
  • Medium: acrylic on paper
  • Dimensions: 30 by 41cm., 11.7 5 by 16.2 5in.
  • Provenance: Provenance:Taylor Galleries, Dublin; Private collection
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HEAD
HEAD
John Kingerlee (b.1936)

Auction Date / Lot No.: 14 March 2011 / 139

Published Estimate: €600-800

Price Realised: €1050


UNTITLED and FLOWER, 2001 (A PAIR)
UNTITLED and FLOWER, 2001 (A PAIR)
Michael Mulcahy (b.1952)

Auction Date / Lot No.: 14 March 2011 / 140

Published Estimate: €800-1200

Price Realised: €750

  • Signature: signed lower right; both dated on reverse; the second with title on reverse
  • Medium: oil on canvas
  • Dimensions: 38 by 46cm., 15 by 18in.
  • Dimensions of second work, 20.5 by 24.5ins.

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RIVE GAUCHE, PARIS, 1969
RIVE GAUCHE, PARIS, 1969
Eric Patton RHA (1925-2004)

Auction Date / Lot No.: 14 March 2011 / 141

Published Estimate: €700-900

Price Realised: €1250


PAINTING, 1968
PAINTING, 1968
Cecil King (1921-1986)

Auction Date / Lot No.: 14 March 2011 / 142

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: signed and dated in pencil on reverse; with typed Ritchie Hendriks Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 102 by 76cm., 40 by 30in.
  • Provenance: Provenance:The Ritchie Hendriks Gallery, Dublin; Where purchased in October 1968 by Mr & Mrs Richard Newport White
  • Exhibited: Exhibited:'Cecil King', The Ritchie Hendriks Gallery, (until) 28 October 1968, no. 6 [price 50gns.]
  • The Hendriks Gallery hosted solo shows of King’s work almost biannually from 1959 to 1977. The 1968 solo show comprised forty-one works, fourteen in oil, of which this was one.

    Richard Newport (Dick) White (1924-2010) born in Nenagh, Co. Tipperary was one of the leading figures in Irish aviation during the 20th century. He was awarded a scholarship in 1941 to study Civil Engineering at Cambridge, but withdrew to join the RAF and was trained as a Spitfire pilot. At age 24 he joined Aer Lingus where he quickly ascended the ranks serving as Chief Operating Officer of the company for many years. Significantly, White was also the first chairman of Guinness Peat Aviation and later chairman of Airmotive Ireland.

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CLOWN
CLOWN
Gerald Davis (1938-2005)

Auction Date / Lot No.: 14 March 2011 / 143

Published Estimate: €500-700

Price Realised: €0

  • Signature: with title on reverse; also with Ritchie Hendriks Gallery framing label on reverse
  • Medium: oil on board
  • Dimensions: 46 by 36cm., 18 by 14in.
  • In original Ritchie Hendriks gallery frame.

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UNTITLED (TURQUOISE & BROWN KNOTS), 1998
UNTITLED (TURQUOISE & BROWN KNOTS), 1998
John Noel Smith (b.1952)

Auction Date / Lot No.: 14 March 2011 / 144

Published Estimate: €600-800

Price Realised: €0

  • Signature: signed and dated lower right
  • Medium: pastel on paper
  • Dimensions: 27 by 21cm., 10.5 by 8.25in.
  • Provenance: Provenance:Green on Red Gallery, Dublin; Private collection
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MARCEL MARCEAU FROM THE WINGS (A PAIR)
MARCEL MARCEAU FROM THE WINGS (A PAIR)
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 14 March 2011 / 149

Published Estimate: €400-600

Price Realised: €0

  • Signature: each signed in pencil in the margin lower left; numbered and with blind stamp lower right
  • Medium: lithograph (each no. 6 from an edition of 100)
  • Dimensions: 55 by 36cm., 21.5 by 14in.
  • For another example from this portfolio see lot 147.

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NEW YORK A LA ANGLAISE, 30 NOVEMBER, 1982
NEW YORK A LA ANGLAISE, 30 NOVEMBER, 1982
Micheal Farrell (1940-2000)

Auction Date / Lot No.: 14 March 2011 / 150

Published Estimate: €3500-4500

Price Realised: €0

  • Signature: signed, titled and dated in the margin lower right; titled and dated again upper right
  • Medium: watercolour, pencil and charcoal on paper
  • Dimensions: 75 by 105cm., 29.5 by 41.5in.
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THE TRIAL OF ROBERT TRIMBOLE, 1984/85 (SET OF FIVE)
THE TRIAL OF ROBERT TRIMBOLE, 1984/85 (SET OF FIVE)
Micheal O'Dea RHA (b.1958)

Auction Date / Lot No.: 14 March 2011 / 151

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: variously signed and dated in the lower margin; variously numbered on reverse
  • Medium: coloured pencil on paper
  • Dimensions: 29 by 40cm., 11.2 5 by 15.7 5in.
  • Provenance: Provenance:Taylor Galleries, Dublin; Private collection
  • Dimensions of the first four works (in order of their execution dates, 17/11/84 (2) and 21/11/84 (2) all measure 11.25 by 15.75ins. and are framed uniformly. Each signed in in monogram and dated in the lower margin; numbered, 44, 46, 47 and 48 respectively, on reverse. The fifth and largest work (14 by 17.25in.) is signed in full in the margin lower right; dated [6.1.85] lower left.

    Of Italian descent, Robert Trimbole (1931-1987) was an Australian businessman, drug baron and organised crime boss whose alleged involvement in the disappearance of anti-marijuana campaigner Donald Mackay and involvement in drug trafficking in the Griffith, New South Wales (NSW) area, led to a royal commission, a Coroner's inquest and an international chase by the Australian Government seeking his arrest and capture after his escape to Ireland.

    Trimbole ran several businesses in NSW from the 1960s, the first of which ended in bankruptcy. Subsequent ventures however proved financially successful and Trimbole’s wealth grew substantially in tandem with growing suspicions regarding the legality of his activities which had earned him the nickname, “The Godfather.” The disappearance of a local man, Donald Mackay, an anti-drugs campaigner in 1977, sparked a royal commission into drug trafficking in the region on Griffith in NSW. Investigations led to suspicion surrounding Trimbole and his associates who were consequently monitored by the police. In the 1980s, following new developments in the Mackay disappearance, Trimbole fled to the United States, then to France and finally to Ireland. Trimbole was arrested in Ireland and held in custody awaiting extradition but, aided by his legal team, managed to avoid extradition and was released. The Australian government appealed against the decision of the Irish court, but Trimbole regained his freedom largely due to the efforts of Irish constitutional lawyer Patrick MacEntee, who had become famous for defending IRA members.

    The Trimbole extradition case which is reported as "The State (at the prosecution of Robert Trimbole otherwise known as Michael Hanbury) V. The Governor of Mountjoy Prison" occurred in 1985 when on an appeal from the High Court, the Supreme Court reviewed the legality of Trimbole’s detention in custody (previously ordered by Judge Mary Kotsonouris in the District Court) and decided that his detention in Mountjoy was tainted by illegality and he should be released. His Senior Counsel in the Supreme Court were Sean MacBride and Paddy McEntee. The State was represented by T.K. Liston and Eddie Comyn both Senior Counsel.

    Trimbole later escaped Ireland to Spain, where he died in a Spanish hospital on 12 May 1987, at the age of 56. Trimbole has been the subject of much interest in his native Australia where his life was dramatised into a television series entitled, Underbelly: A Tale of Two Cities, a mini-series on the Nine Network.

    These sketches were commissioned by Channel 7 TV in Australia who covered the story in their daily main news bulletin.

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JIM "SPEARS" CARROLL IN PURCELL'S BAR, 1969
John Minihan (b.1946)

Auction Date / Lot No.: 14 March 2011 / 152

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: signed, titled and dated on reverse; with artist's copyright stamps also on reverse
  • Medium: original hand-printed silver gelatin print
  • Dimensions: 44 by 30cm., 17.5 by 12in.
  • Provenance: Provenance:Collection of the artist
  • John Minihan was born in Dublin and raised in Athy, County Kildare and later in London. For thirty years the artist remained in London, returning every year to his hometown of Athy to photograph its people and their daily lives. This intimate body of work is a testament to the artist’s bond with and admiration for the town and is a tribute to its people more than a historical documentation of their evolution. Influenced by the American photographer Edward S. Curtis, who had recorded the decline of the American Indians, Athy became Minihan’s own fertile hunting ground in his effort to capture and preserve the memories and traditions of a community. The Guinness Hopstore, Dublin hosted an exhibition of this series entitled, ‘The Last Wake: The Town and People of Athy 1961-1991’ in which some of these works featured.

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CHILDREN PLAYING OUTSIDE THE BACK OF PLOUGHMAN'S TERRACE, ATHY, COUNTY KILDARE, 1963
CHILDREN PLAYING OUTSIDE THE BACK OF PLOUGHMAN'S TERRACE, ATHY, COUNTY KILDARE, 1963
John Minihan (b.1946)

Auction Date / Lot No.: 14 March 2011 / 153

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: signed in the margin lower right; with title in lower margin; signed, titled and dated again with artist's copyright stamps on reverse
  • Medium: original hand-printed silver gelatin print
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Literature: Literature:Minihan, John and McCabe, Eugene, Shadows From the Pale, Portrait of an Irish Town, Martin Secker & Warburg Limited, London, 1996, p.7 (illustrated)
  • John Minihan was born in Dublin and raised in Athy, County Kildare and later in London. For thirty years the artist remained in London, returning every year to his hometown of Athy to photograph its people and their daily lives. This intimate body of work is a testament to the artist’s bond with and admiration for the town and is a tribute to its people more than a historical documentation of their evolution. Influenced by the American photographer Edward S. Curtis, who had recorded the decline of the American Indians, Athy became Minihan’s own fertile hunting ground in his effort to capture and preserve the memories and traditions of a community. The Guinness Hopstore, Dublin hosted an exhibition of this series entitled, ‘The Last Wake: The Town and People of Athy 1961-1991’ in which some of these works featured.

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DOMINIC MALONEY, JOHN HICKEY AND DUST CART, 1969
DOMINIC MALONEY, JOHN HICKEY AND DUST CART, 1969
John Minihan (b.1946)

Auction Date / Lot No.: 14 March 2011 / 154

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: signed in the margin lower right; titled lower left; signed again, titled and dated on reverse; with artist's copyright stamps also on reverse
  • Medium: original hand-printed silver gelatin print
  • Dimensions: 33 by 45cm., 13 by 17.7 5in.
  • Literature: Literature:Minihan, John and McCabe, Eugene, Shadows From the Pale, Portrait of an Irish Town, Martin Secker & Warburg Limited, London, 1996, p.37 (illustrated)
  • John Minihan was born in Dublin and raised in Athy, County Kildare and later in London. For thirty years the artist remained in London, returning every year to his hometown of Athy to photograph its people and their daily lives. This intimate body of work is a testament to the artist’s bond with and admiration for the town and is a tribute to its people more than a historical documentation of their evolution. Influenced by the American photographer Edward S. Curtis, who had recorded the decline of the American Indians, Athy became Minihan’s own fertile hunting ground in his effort to capture and preserve the memories and traditions of a community. The Guinness Hopstore, Dublin hosted an exhibition of this series entitled, ‘The Last Wake: The Town and People of Athy 1961-1991’ in which some of these works featured.

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