21 May 2012

First 20 results Previous 20 results   Records 51 to 100 of 211     Next 20 results Last results

THE TÁIN. THE LION, 1969
THE TÁIN. THE LION, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 51

Published Estimate: €800-1000

Price Realised: €1250

  • Signature: signed, numbered, dated and with edition number in pencil in the margin lower right
  • Medium: lithographic brush drawing (no. 68 from an edition of 70)
  • Dimensions: 15 by 21.5in., 38.1 by 54.61cm.
  • Provenance: Taylor Galleries, Dublin; Private Collection
  • Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 34 in the series from Portfolio 3.

  • Have one to sell? Interested in Similar Items?


THE TÁIN. A FLOCK OF BIRDS, 1969
THE TÁIN. A FLOCK OF BIRDS, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 52

Published Estimate: €800-1000

Price Realised: €1900

  • Signature: signed, numbered, dated and with edition number in pencil in the margin lower left
  • Medium: lithographic brush drawing (no. 68 from an edition of 70)
  • Dimensions: 15 by 21.25in., 38.1 by 53.975cm.
  • Provenance: Taylor Galleries, Dublin; Private Collection
  • Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 27 in the series from portfolio 3.

  • Have one to sell? Interested in Similar Items?


THE TÁIN. COW AND CALF, 1969
THE TÁIN. COW AND CALF, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 53

Published Estimate: €800-1000

Price Realised: €1500

  • Signature: signed, numbered, dated and with edition number in pencil in the margin lower right
  • Medium: lithographic brush drawing (no. 68 from an edition of 70)
  • Dimensions: 15 by 21.5in., 38.1 by 54.61cm.
  • Provenance: Taylor Galleries, Dublin; Private Collection
  • Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 32 in the series from portfolio 3.

  • Have one to sell? Interested in Similar Items?


THE TÁIN. SWORDSMAN, 1969
THE TÁIN. SWORDSMAN, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 54

Published Estimate: €1000-1500

Price Realised: €1600

  • Signature: signed, numbered and dated lower right; with Peppercanister Gallery label on reverse
  • Medium: lithographic brush drawing (no. 38 from an edition of 70)
  • Dimensions: 21 by 14.75in., 53.34 by 37.465cm.
  • Provenance: Peppercanister Gallery, Dublin; Private collection
  • Printed by Frank O'Reilly, Dublin as part of The Tain Portfolio, which contained different prints or "lithographic brush drawings", illustrating the epic Ulster cycle of heroic tales. No. 17 in the series from Portfolio 2.

  • Have one to sell? Interested in Similar Items?


ST. CANICE'S, KILKENNY, 1974
ST. CANICE'S, KILKENNY, 1974
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 21 May 2012 / 55

Published Estimate: €800-1000

Price Realised: €1050

  • Signature: signed with initials twice lower left, with title lower left and lower right; dated [August '74] lower left
  • Medium: ink and oil pastel
  • Dimensions: 15.75 by 11.5in., 40.005 by 29.21cm.
  • Have one to sell? Interested in Similar Items?


EIGHT PORTRAITS IN WORDS AND WATERCOLOUR, 1990
EIGHT PORTRAITS IN WORDS AND WATERCOLOUR, 1990
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 21 May 2012 / 56

Published Estimate: €800-1000

Price Realised: €1300

  • Signature: signed and numbered on the colophon
  • Medium: off-set lithograph print (no. 0091 from an edition of 1000)
  • Dimensions: 10.5 by 9in., 26.67 by 22.86cm.
  • Commissioned by Marie Donnelly on behalf of the Irish Hospice Foundation. Each print is loosely inserted in a glassine sleeve on which is printed a written profile of the sitter. The 8 Irish art collectors featured in the set include; Dermot Desmond, Vincent Ferguson, Charles Haughey, Paul McGuinness, Martin Naughton, Vincent O'Brien, Tony O’Reilly and Michael Smurfit. The entire set is presented in a folding case of black linen and papered boards with a matching slipcase. A very fine production.

  • Have one to sell? Interested in Similar Items?


OWENNAMARVE, COUNTY DONEGAL,1976
OWENNAMARVE, COUNTY DONEGAL,1976
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 21 May 2012 / 57

Published Estimate: €5000-6000

Price Realised: €0

  • Signature: signed in monogram lower right; titled and signed [Colin] and with monogram again on reverse; also with typed David Hendriks Gallery exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 24 by 24in., 60.96 by 60.96cm.
  • Provenance: David Hendriks Gallery, Dublin; Whence purchased by the previous owner; From whom acquired by the present owner
  • Exhibited: 'Group Show', David Hendriks Gallery, Dublin, January 1976
  • During the period of the mid-1970s Middleton was sixty-six and at the peak of his career. The year this work was painted he was the subject of a major retrospective exhibition at Ulster Museum, Belfast and Municipal Gallery of Modern Art, Dublin hosted by the Arts Council.

    The Owennamarve River drains a dozen small loughs into the sea south of Dungloe.

  • Have one to sell? Interested in Similar Items?


DARK COMPOSITION, 2, 1964
DARK COMPOSITION, 2, 1964
Anna Ritchie (1937-2010)

Auction Date / Lot No.: 21 May 2012 / 58

Published Estimate: €500-700

Price Realised: €0

  • Signature: signed in pencil lower right; with typed Ritchie Hendriks Gallery label on reverse; inscribed in pencil on reverse
  • Medium: oil on canvas
  • Dimensions: 36 by 32in., 91.44 by 81.28cm.
  • Provenance: Ritchie Hendriks Gallery, Dublin; Where purchased by Miss Hilary Herron (Sculptress), 1964; From whom gifted to the present owner
  • Exhibited: 'Anna Ritchie', Ritchie Hendriks Gallery, Dublin, May 1964, catalogue no. 4
  • Anna Ritchie studied art at the Melbourne National Gallery in her native Australia before moving to England to pursue further studies. Her work had figurative beginnings in her early years but later developed a more abstract approach much like her husband Basil Blackshaw whom she met in Ireland after a period of travel on the Continent. Their marriage broke up by the 1970s. During her career she held solo shows at the Ritchie Hendriks Gallery, Dublin, Arts Council Gallery and Queens University, Belfast among other venue in Ireland and abroad. Her work is represented in the Ulster Museum, the Arts Council of Ireland and Northern Ireland, Trinity College Dublin as well as other public and private collections in Ireland and Britain.

  • Have one to sell? Interested in Similar Items?


THE MALL, WESTPORT, COUNTY MAYO, c.1960s
THE MALL, WESTPORT, COUNTY MAYO, c.1960s
Kitty Wilmer O'Brien RHA PWCSI (1910-1982)

Auction Date / Lot No.: 21 May 2012 / 59

Published Estimate: €2500-3500

Price Realised: €4000

  • Medium: oil on board
  • Dimensions: 18 by 24in., 45.72 by 60.96cm.
  • Provenance: Collection of the artist's family; Private collection
  • Letter of authenticity from the artist's family included with this lot.

    Kitty Wilmer O’Brien was a well-known and respected exhibitor in Dublin art circles for over fifty years. She entered the RHA schools in 1926 and distinguished herself there by winning prizes for drawing and painting. In 1933 she won the coveted Taylor Scholarship, which enabled her to go to London to study at the Slade. Three years later she married surgeon Dr Brendan O’Brien, son of her former mentor, Dermod O’Brien PRHA. After a period spent abroad they settled in Dublin, at 65 Fitzwilliam Square, from where she submitted works to the Society of Dublin Painters, the RHA and the WCSI, of which she was President from 1962 to 1981.

  • Have one to sell? Interested in Similar Items?


OLD MILL, MIDHURST, SUSSEX
OLD MILL, MIDHURST, SUSSEX
Moila Powell (1895-1994)

Auction Date / Lot No.: 21 May 2012 / 60

Published Estimate: €1500-1800

Price Realised: €1800

  • Signature: signed with initials lower right; with title inscribed on studio label with Atelier stamp on reverse
  • Medium: gouache on paper
  • Dimensions: 14 by 19in., 35.56 by 48.26cm.
  • Provenance: Estate of the artist; Duncalfe Galleries, Harrogate; Private collection; Whyte's, 9 October 2001, lot 132; Where purchased by the present owner
  • This might be the work of Norah McGuinness as Moila Powell painted with her in both England and Ireland and they were great friends. McGuinness left many paintings and drawings in Moila Powell's studio, some of which were, according to her daughter, accidentally initialled by Powell when preparing for an exhibition in The Harborough Gallery, Leicester.

  • Have one to sell? Interested in Similar Items?


THREE FIGURES
THREE FIGURES
Markey Robinson (1918-1999)

Auction Date / Lot No.: 21 May 2012 / 61

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: signed with initials lower right; with inscribed Caldwell Galleries label on reverse
  • Medium: oil on paper
  • Dimensions: 8 by 11in., 20.32 by 27.94cm.
  • Provenance: Caldwell Galleries, Dublin; Private collection
  • A rare early work probably from the 1950s.

  • Have one to sell? Interested in Similar Items?


FLORENCE
FLORENCE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 21 May 2012 / 62

Published Estimate: €25000-35000

Price Realised: €41000

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 24.5 by 18.5in., 62.23 by 46.99cm.
  • Dan O'Neill was born in Belfast in 1920. He was one of a small group of talented Ulster painters which included Colin Middleton, George Campbell and Gerard Dillon who were largely self-taught and who absorbed in differing ways and to varying degrees aspects of European mainstream modernism. His first exhibition was a joint show with Gerard Dillon in 1946 and his first one man exhibition was at the Waddington Galleries, Dublin in 1946. Around that time he gave up his job as an electrician to devote his time to painting. He visited Paris in 1949 and one can detect influences from Vlaminck and other French artists in his work. He lived in London from 1958 to1971.

    O'Neill painted still lives, landscapes, religious pictures and many figure studies. Whether in the guise of the bride, the actress or the muse - portraits of women remained a constant theme. His women, brooding and often taken out of time, could be hauntingly archetypal and melancholic; at other times dressed theatrically in historical costume. In some works his figures register correspondences with the sky or the moon. In his painting Florence, however the background is neutralised so as to focus on the subject. The face is stylised and her 'Picasso' eyes seem to stare into the distance. O'Neill's love of depicting pattern can be seen in his simplified treatment of the necklace; while the swirling brush stokes of the cuffs and collar of her dress underline the importance of texture for him. Blue, a favourite choice, is the unifying dominant colour, linking backdrop and figure and recalling the decorative aspects of Renoir.

    Collections:
    He is represented in private collections in Ireland, England ,France, Holland, Sweden, USA, Canada and Israel. His work is also included in the following public collections; Hugh Lane Municipal Gallery, Dublin, The Arts Councils of Ireland, The Municipal Gallery, Cork, The National Gallery, Melbourne and The Herbert Gallery, Coventry.

    Prof, Liam Kelly
    April, 2012

  • Have one to sell? Interested in Similar Items?


THE PONTOON, 1947
THE PONTOON, 1947
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 21 May 2012 / 63

Published Estimate: €50000-70000

Price Realised: €49000

  • Signature: signed lower right; with typed Waddington Galleries, London, label on reverse
  • Medium: oil on board
  • Dimensions: 9 by 14in., 22.86 by 35.56cm.
  • Provenance: Waddington Galleries, London where sold in 1947 to an unknown collector; Sotheby's, 11 May 2006, lot 70; Private collection
  • Exhibited: Waddington Galleries, London, 1947
  • Literature: Pyle, Hilary, Jack B. Yeats A Catalogue Raisonné of the Oil Paintings, Vol. II, p.775, no. 861
  • The painting depicts a pontoon or temporary floating platform at the edge of a quayside. The background is dominated by grey industrial buildings which Yeats has created by leaving the canvas unpainted. The red of the metal gangway is echoed across the composition, in the structure of the shelter, an archway in a warehouse wall and in the rosy tones of morning sunlight reflected on the standing figure and the pontoon itself. Blues and greens predominate. Their varied hues and textures evoke the movement of the water, the coldness of the dawn light against the stone buildings and the murky shadows beneath the gangway.

    The two figures on the pontoon, one old and one young, are carefully observed. They wait separately for the day's work to begin and the next boat to arrive. A suggestion of other figures is evident in the dark forms in the interior of the structure. The boy stands shivering, his arms crossed in a pose suggestive of tension and eagerness while the older man sits against the shelter of the hut. His face, lost in contemplation, looks out of the painting. This subtle contrast of youth and age is a recurring theme in Yeats' later work as he recognised the changing perspectives of age. (He was in his seventies when he painted this). It adds a note of poignancy to the painting elevating the subject to a philosophical comment on human nature while providing a remarkable vignette into the transient world of the river and its workers.

    Dr. Róisín Kennedy
    April 2012

  • Have one to sell? Interested in Similar Items?


FROM THE MOAT, DONAGHADEE, COUNTY DOWN, c.1920
FROM THE MOAT, DONAGHADEE, COUNTY DOWN, c.1920
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 21 May 2012 / 64

Published Estimate: €3000-5000

Price Realised: €2800

  • Signature: signed lower left; with title inscribed on card preserved on reverse
  • Medium: gouache over pencil
  • Dimensions: 11.25 by 15.75in., 28.575 by 40.005cm.
  • Provenance: McClelland Galleries, Belfast; Private collection
  • Exhibited: 'William Conor, Children of Ulster', McClelland Galleries, Belfast, 1969, no. 17 (illustrated on p.19 of exhibition catalogue)
  • Have one to sell? Interested in Similar Items?


CHILDHOOD
CHILDHOOD
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 21 May 2012 / 65

Published Estimate: €3000-4000

Price Realised: €4800

  • Signature: signed upper left and upper right beneath the mount
  • Medium: crayon and oil pastel on buff-coloured paper
  • Dimensions: 19 by 14in., 48.26 by 35.56cm.
  • Provenance: Kenny Gallery, Galway; Where purchased by the present owner
  • Have one to sell? Interested in Similar Items?


DOCKERS, c.1920s
DOCKERS, c.1920s
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 21 May 2012 / 66

Published Estimate: €25000-35000

Price Realised: €0

  • Signature: signed lower right
  • Medium: crayon and pastel on buff-coloured card
  • Dimensions: 22 by 27in., 55.88 by 68.58cm.
  • Provenance: Emer Gallery, Belfast; Where purchased by the present owner
  • In the 1920s William Conor was a member of the Dublin Painters' Society and held one-man shows there in 1924 and 1925. This picture, with its prominent tricolour flag flying in the background, may date from those years. Certainly the subject matter and its handling, with its evident debt to Conor's early work as a lithographer in David Allen & Sons in Belfast, are characteristic of the artist's mature style, which compels one to read the image in almost purely malerisch terms. Conor's view of art was that the artist should interpret 'his own epoch and give expression to that which is happening around him', as Máirín Allen recorded ('Contemporary Irish Artists XIV, William Conor', Father Mathew Record, October 1942).
    Some years later, writing in the catalogue of Conor's retrospective exhibition at the Belfast Museum & Art Gallery (later Ulster Museum) in 1957, John Hewitt, who at the time was Keeper of Art at the Museum, saw Conor 'placed with Paul Henry and Jack B. Yeats, as one of the first to record the life of the people in painterly terms, without the trappings of stage-Irishry.' George Russell (Æ) in the 1920s also saw him as 'a Belfast counterpart to Jack Yeats' (Irish Statesman, 3 May 1924, p. 242). Conor, Hewitt noted, 'was the first exponent of the same kind of material Sean O'Casey used in his Juno period; without the political passion or the tragic sense, but with as warm a humanity and as kindly an eye.' As Hewitt detected, Dockers is rich in its suggestion of observation, character and dialogue among those depicted drinking by the Dublin docks. Yet, too, as with O'Casey there is in their jollity a sense of the tragic stasis of the times in Ireland. Commenting on the characteristics of art such as Conor's, Kenneth Clark said that it always 'tells a story, takes pleasure in facts, is lyrical and achieves a visionary intensity.' Dockers well illustrates his thoughts.

  • Have one to sell? Interested in Similar Items?


PORTRAIT OF 'OLD JOE', late 1920s - mid-1930s
PORTRAIT OF 'OLD JOE', late 1920s - mid-1930s
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 21 May 2012 / 67

Published Estimate: €3000-4000

Price Realised: €3000

  • Signature: signed lower right
  • Medium: charcoal and pencil on paper
  • Dimensions: 12 by 12in., 30.48 by 30.48cm.
  • The man shown here is 'Old Joe' who Keating used as a model in the late 1920s to mid 1930s.
    We are grateful to Dr. Éimear O'Connor HRHA for her assistance in cataloguing this lot.

  • Have one to sell? Interested in Similar Items?


PORTRAIT OF A WOMAN, c.1930s
PORTRAIT OF A WOMAN, c.1930s
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 21 May 2012 / 68

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed lower right
  • Medium: charcoal with pencil on paper
  • Dimensions: 12.5 by 10in., 31.75 by 25.4cm.
  • This is a later example than Portrait of 'Old Joe'. The sitter is possibly a model from the School of Art.
    We are grateful to Dr. Éimear O'Connor HRHA for her assistance in cataloguing this lot.

  • Have one to sell? Interested in Similar Items?


PAST DEFINITE, FUTURE PERFECT, 1928
PAST DEFINITE, FUTURE PERFECT, 1928
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 21 May 2012 / 69

Published Estimate: €25000-35000

Price Realised: €42000

  • Signature: signed lower right; inscribed [A.M.D.G.] lower left; inscribed with title, artist's name, price [£100] on label on reverse; also with framing label of the Bregazzi & Sons on reverse
  • Medium: oil on canvas
  • Dimensions: 25 by 30in., 63.5 by 76.2cm.
  • Provenance: Royal Academy, London; Where purchased by the previous owner
  • Exhibited: Royal Academy, London,1928
  • Well-known for his use of allegory as a method by which to reflect on political issues in Irish society, and evident in images such as An Allegory (1924) and Night's Candles are Burnt Out (1929), Seán Keating was equally well-capable of utilising those skills to focus attention on the greater significance of the simple things in life.
    The older woman in Past Definite, Future Perfectis reading the cards. She holds the five of hearts and points to another card from the same suit lying on the table. Her young companion watches attentively, her hands clasped to one side so that she can see everything of the procedure. Both women are focused on the cards, but entirely absorbed in their own thoughts. At first glance, the picture presents a quiet moment between, perhaps, a mother and daughter. The only movement is in the old woman's gnarled hands and in the swirl of light and dark tones in the background. Yet the imagery and the artist's title suggest that this is more than a simple depiction of a fortune-telling session. The painting abounds with symbolism: old age presented as the past, beside youth as representative of the future. The manner in which the old woman concentrates on the suit of hearts suggests that she is thinking about her own past loves. The young woman, perhaps unaware that nothing is perfect, may be hoping for a definite answer about love in the future. The overarching message is that the gaiety and hope of youth leads inexorably towards the wisdom and experience of old age.
    Keating painted Past Definite, Future Perfect in 1928, having recently completed his series of paintings of the 'Shannon Scheme' at Ardnacrusha. The association between this work and the 'Shannon Scheme' might first appear incongruous; but physically and metaphorically, the project gave the artist hope for the future, and made him focus on the importance of older people in newly modernized Ireland. The theme appears to have been very much on his mind in 1928, a year in which he painted several images of old age including The Turf Buyer, Old Kitty and Good Old Stuff. Added to this, his mother Annie (née Hannan), had been suffering from an unspecified illness for a long number of years; she was nearing the end of her life in 1928. Keating credited his mother for having the foresight to send him to art school in Limerick many years previously. While this is not a portrait of Annie, it is a homage painting made in deference to women and to the wisdom of old age.
    Past Definite, Future Perfect was not a commission; Keating made it for public exhibition. The lettering to the bottom left of the image 'AMDG' appears to represent the Jesuit motto 'for the greater glory of God.' In other words, no matter what the cards supposedly say, life will be as it will be. On a more pragmatic note: the artist was in the habit of collecting disused frames; it may be that this unusual example came from a Jesuit house.
    Past Definite, Future Perfect was shown, along with Good Old Stuff, in the Royal Academy in London in 1928. A reviewer commented at the time on the 'marvellous' portrait of the old woman which had the 'conviction of a great old age.' It was purchased from the exhibition for a private collection at the time and has not been publicly exhibited since. When Keating was nearing the end of his own life he returned yet again to the themes in this work. He exhibited a watercolour with the same title, but painted in 1971, in the RHA that same year.
    Dr Éimear O'Connor HRHA Research Associate TRIARC-Irish Art Research Centre Trinity College Dublin
    April 2012

  • Have one to sell? Interested in Similar Items?


EVENING IN ACHILL, 1930-1938
EVENING IN ACHILL, 1930-1938
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 21 May 2012 / 70

Published Estimate: €90000-120000

Price Realised: €0

  • Signature: signed lower left; with faint inscriptions in pencil on board on reverse detailing title ["Village by the Lake, Achill"] and price [£21-0-0]; also with newspaper cutting and inscribed label with title [Achill] and artist's name preserved on reverse
  • Medium: oil on canvas
  • Dimensions: 19 by 23in., 48.26 by 58.42cm.
  • Provenance: Gorry Gallery, Dublin; From whom acquired by Mrs Anne Ledwith, 1957; Thence by descent; Adam's, 23 March 2003, lot 26; Private collection
  • Literature: Kennedy, S.B., Paul Henry, Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, catalogue no. 772, p.253 (illustrated)
  • This quintessential western landscape is one of several compositions (cf. The Village by the Lake, 1924-5, West of Ireland Landscape with Cottages, 1924-5, The Village by the Lake, 1925-30 and Connemara Scene, 1935-40, Kennedy, 2007, catalogue numbers 613, 614, 632 and 933 respectively) painted by Henry in the mid-1920s and 1930s. In each case the setting is the same and although it cannot be identified with certainty it is clearly Connemara. The treatment of the terrain is characteristic of Henry's mature style as it had evolved by the 1930s. The handling of the strip of land in the middle distance, with its tiny habitation, is masterly, as is the almost minimalist treatment of the foreground. As with many of Henry's compositions, the true glory of the picture is in the sky, with its menacing cumulus clouds. Moderate impasto has been employed throughout.

    An inscription in pencil on the reverse reads 'Village by the Lake, Achill' with a price of £21.0.0. There is also on the reverse an unidentified newspaper cutting referring to Henry's eightieth birthday exhibition held at the Ritchie Hendrik's Gallery, Dublin, in 1957. Writing in the catalogue of that show, Arthur Power said that Henry, notwithstanding his Parisian training, was 'a classicist' for whom 'the thing seen' was of prime importance. 'But perhaps it was the loneliness of the West which appealed to him most,' he went on, 'that country which to the imagination seems to contain so much secret presence, whose silence is more impressive than any sound,' qualities that are so strongly expressed in this picture. Also on the reverse is a label reading 'Achill' and with the artist's name. Evening in Achill is dated 1930-1938 on stylistic grounds.
    Dr. S.B. Kennedy April 2012

  • Have one to sell? Interested in Similar Items?


VIEW OF CUSHENDALL, COUNTY ANTRIM
VIEW OF CUSHENDALL, COUNTY ANTRIM
Hans Iten RHA (1874-1930)

Auction Date / Lot No.: 21 May 2012 / 71

Published Estimate: €1000-1500

Price Realised: €2000

  • Signature: signed lower right; with indistinct inscription [Mr Oscar ?] on reverse; also with David & Gray picture framers [Belfast] label on reverse
  • Medium: oil on board
  • Dimensions: 13 by 16in., 33.02 by 40.64cm.
  • Contained in its original frame.

  • Have one to sell? Interested in Similar Items?


IN THE WEST OF IRELAND
IN THE WEST OF IRELAND
Mabel Young (1889-1974)

Auction Date / Lot No.: 21 May 2012 / 72

Published Estimate: €1500-2000

Price Realised: €2100

  • Signature: signed lower right; with title on reverse; with partial Dawson Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 20 by 24in., 50.8 by 60.96cm.
  • Provenance: Kenny Gallery, Galway; Where purchased by the present owner
  • Have one to sell? Interested in Similar Items?


THE GWEEBARRA RIVER, COUNTY DONEGAL
THE GWEEBARRA RIVER, COUNTY DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 21 May 2012 / 73

Published Estimate: €2000-3000

Price Realised: €2100


MARBLE HILL STRAND, SHEEPHAVEN, WITH ROSAPENNA AND ROSGUILL PROMONTORY IN THE DISTANCE, AUGUST, 1919
MARBLE HILL STRAND, SHEEPHAVEN, WITH ROSAPENNA AND ROSGUILL PROMONTORY IN THE DISTANCE, AUGUST, 1919
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 21 May 2012 / 74

Published Estimate: €6000-8000

Price Realised: €7000

  • Signature: signed lower left; with title inscribed on label preserved on reverse; with original Hurst & Co., Belfast framing label on reverse
  • Medium: oil on board
  • Dimensions: 17 by 22.5in., 43.18 by 57.15cm.
  • Have one to sell? Interested in Similar Items?


FIGURES ON THE SHORE GATHERING KELP
FIGURES ON THE SHORE GATHERING KELP
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 21 May 2012 / 75

Published Estimate: €3000-4000

Price Realised: €3000

  • Signature: signed lower left; with partial label on reverse and Dawson framing label on reverse
  • Medium: oil on board
  • Dimensions: 13 by 16in., 33.02 by 40.64cm.
  • Provenance: Adam's & Bonhams, Dublin, 31 May 2006, lot 28; Private collection
  • Contained in original Dawson Gallery frame.

  • Have one to sell? Interested in Similar Items?


COTTAGES, WEST OF IRELAND
COTTAGES, WEST OF IRELAND
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 21 May 2012 / 76

Published Estimate: €60000-80000

Price Realised: €56000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 21.5 by 25.5in., 54.61 by 64.77cm.
  • Provenance: Mervyn Solomon, Belfast; Private collection; 'The Irish Sale', Christie's, London, 20 May 1999, lot 211; 'The Irish Sale', Sotheby's, London, 13 May 2005, lot 74; Where purchased by the present owner
  • Literature: Kennedy, S. B., Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, New Haven and London, Yale University Press, 2007, catalogue no. 689, p. 240 (illustrated)
  • As was often the case with Paul Henry's compositions, this picture was almost certainly made from sketches done much earlier. The somewhat heavy layering of the paint and the gentle stylisation of the subject matter, are characteristics of Henry's work in the late 1920s, a time when he had both domestic and other personal problems. His mood is thus reflected in his palette and his handling of paint. The mountains may be the Maamturks, viewed from the eastern end of Kylemore Lough, County Galway, but of this one cannot be certain. Dated 1928-30 on stylistic grounds.

    Dr. S.B. Kennedy
    April 2012

  • Have one to sell? Interested in Similar Items?


DOOGORT FROM SLIEVEMORE, ACHILL, 1919-1920
DOOGORT FROM SLIEVEMORE, ACHILL, 1919-1920
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 21 May 2012 / 77

Published Estimate: €6000-8000

Price Realised: €8500

  • Signature: with label of Reeves & Sons, Ltd, London sketching tablet on reverse
  • Medium: oil on canvas board
  • Dimensions: 7.5 by 10.5in., 19.05 by 26.67cm.
  • Provenance: The collection of Mrs. Barrett, Bervie Guest House, Achill Island; Christie's, 'Fine Irish Paintings and Drawings', 26 May 1989, lot 281; Private collection; Adam's, 26 February 1990, lot 87, as The Sandy Shore; Private collection
  • Literature: Kennedy, S.B., Paul Henry Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, p.211, catalogue no. 538 (illustrated)
  • When Paul Henry first arrived on Achill Island he lodged with John and Eliza Barrett, who ran the post office in the village of Keel. 'To this day,' he wrote late in life, 'I have a warm feeling of gratitude to John and Eliza Barrett,' who in due course gave him 'infinite and ungrudging' hospitality (Henry, An Irish Portrait, London, 1951, p. 4). The Barrett's granddaughter, who today with her husband runs The Bervie Guesthouse at Keel, later owned the picture. The strand in the foreground is the beach at Doogort and the road on the right hand side still winds its way through the tiny hamlet, which is little changed from Henry's time. The distant mountains are on the mainland of Co. Mayo, just north of Mallaranny. The fluid handling of the paint, with moderate impasto, is characteristic of Henry's later Achill period and thus suggests a date of execution of around 1919-20.

    Dr. S.B. Kennedy
    April 2012

  • Have one to sell? Interested in Similar Items?


GETTING TO BANGOR, COUNTY DOWN
GETTING TO BANGOR, COUNTY DOWN
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 21 May 2012 / 78

Published Estimate: €3000-5000

Price Realised: €4600

  • Signature: signed lower left; signed and with title inscribed on original label on reverse
  • Medium: oil on canvas board
  • Dimensions: 9.5 by 13.5in., 24.13 by 34.29cm.
  • Provenance: Collection of Belfast watercolourist Mrs Margaret Rutherford (1889-1968); Thence by descent to the previous owner; Whyte's, 27 April 2004, lot 210; Whence purchased by the present owner
  • This charming plein airoil sketch with its unusual and most probably early signature, was formerly in the collection of Margaret Rutherford, who was herself an artist, friendly with many of the Northern Irish artists such as Craig and J. W. Carey whose works she collected. Rutherford studied at the Slade at the turn of the last century and exhibited with the Belfast Art Society (later the RUA) between the years 1926-1938.

  • Have one to sell? Interested in Similar Items?


MAAM VALLEY, CONNEMARA
MAAM VALLEY, CONNEMARA
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 21 May 2012 / 79

Published Estimate: €20000-25000

Price Realised: €27000

  • Signature: signed lower left; with faint inscription ["Lady Mrs Power Conn? Glen?" and framing instructions] in pencil on reverse; with label of C.D. Soar & Son [Kensington] also on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 11.25 by 13in., 28.575 by 33.02cm.
  • Provenance: Artist's studio till 1956; Where acquired by P. R. Jennings, Esq.; Adam's & Bonhams, Dublin, 8 December 2004, lot 162; Whence purchased by the present owner
  • Exhibited: 'Paintings by Paul Henry, R.H.A.', Combridge's Gallery, Dublin, 23 October- 6 November 1945, catalogue no. 5; 'Pictures by Paul Henry, RHA', Heal & Son, Tottenham Court Road, London, from 14 January 1946, no. 3; 'Paintings and Charcoals: Paul Henry RHA', Waddington Galleries, Dublin, 21 February - 3 March 1952 (no. 3, as The Maam Valley); RHA, Annual Exhibition, Dublin, Spring 1953, no. 28; 'Paintings and Drawings by Paul Henry', The Studio, Sidmonton Square, Bray, until 8 November 1956, no. 12 (probably acquired by P. R. Jennings); 'Paul Henry: Retrospective Exhibition', Ritchie Hendriks Gallery, St. Stephen's Green, Dublin, and Belfast Museum & Art Gallery, Belfast, May-July 1957, no. 58 (Lent by P. R. Jennings).
  • Literature: Stewart, Anne M. (ed.), Royal Hibernian Academy of Arts: Index of Exhibitors and their Works 1826-1979, Dublin, Manton Publishing, 1985, vol. 2, p.82; Kennedy, S. B., Paul Henry, New Haven and London, Yale University Press, 2000, p.135; Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale, 2007, catalogue no. 1035, p.303 (illustrated)
  • Painted in June or July 1942 when Henry visited Maam. The light palette and the bravura of the brushwork throughout, and notably in the foreground, are characteristic of his work at this time. As often with Henry, little artistic license has been taken with his interpretation of the landscape, which represents the view westwards on the road north from Maam Cross in County Galway, near the junction with the Leenane to Cong road at Feernakill Bridge. The river in the foreground is the Failmore River and the mountains beyond, which arrest the eye's recession, are the Maamturks and the hills of Joyce's Country.
    Dr. S.B. Kennedy
    April 2012

  • Have one to sell? Interested in Similar Items?


THE WEE SHOP
THE WEE SHOP
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 21 May 2012 / 80

Published Estimate: €5000-6000

Price Realised: €4600

  • Signature: signed and dated lower left; title printed in the mount lower left; with inscribed William Rodman & Co., Belfast, label on reverse
  • Medium: watercolour
  • Dimensions: 10.75 by 14.25in., 27.305 by 36.195cm.
  • Provenance: William Rodman & Co., Belfast; Private collection; Whyte's, 28 September 2009, lot 58; Whence purchased by the present owner
  • Have one to sell? Interested in Similar Items?


PASTORAL [CHILDREN ON THE RIVER LAGAN, COUNTY ANTRIM]
PASTORAL [CHILDREN ON THE RIVER LAGAN, COUNTY ANTRIM]
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 21 May 2012 / 81

Published Estimate: €4000-6000

Price Realised: €5000

  • Signature: signed lower left; with title ["Pastoral"] and price [£28-0-0] inscribed in pencil on stretcher on reverse
  • Medium: oil on canvas
  • Dimensions: 20.5 by 27.5in., 52.07 by 69.85cm.
  • Have one to sell? Interested in Similar Items?


SWANS ON THE LAGAN, COUNTY ANTRIM
SWANS ON THE LAGAN, COUNTY ANTRIM
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 21 May 2012 / 82

Published Estimate: €20000-25000

Price Realised: €35000

  • Signature: signed lower left;
  • Medium: oil on canvas
  • Dimensions: 20 by 27in., 50.8 by 68.58cm.
  • Provenance: 'Irish Paintings', James Adam Salerooms in association with Bonhams, Dublin, 1 June 1989, lot 119; Private collection, Surrey; Whyte's, 27 April 2004, lot 55; Whence purchased by the present owner
  • Exhibited: RHA, Dublin, 1945, catalogue no. 3 (£52-10-0)
  • Frank McKelvey was a pragmatic painter, reacting to things as they happened, not bothered by theory or dogma. For him painting represented a sense of discovery, similar to that of the children in this composition, superbly observed and depicted as they play with the swans. Writing in 1925 the English critic J. B. Meehan commented that McKelvey’s views and conversation were “as fresh and bright as his pictures” 1. In the artist’s own words, he said, “painting is all great fun”2. Both comments are applicable to McKelvey’s whole career and ably describe the mood in Swans on the Lagan. The picture is similar to a number of others on this theme which McKelvey painted at different times in his career, the setting often being the pond at Woodvale Park, near to where he grew up, the lake at Hillsborough, the pond in St. Stephen’s Green, Dublin, or, as here, the river Lagan and its environs. The handling of paint in this work and the slightly dramatic quality of the light, suggest a date of execution of around 1944-1945. It is almost certainly, therefore, the picture of this title that McKelvey exhibited at the RHA in 1945.
    1. Quoted in J. B. Meehan, Two Ulster Artists, Colour, December 1925, p. 12 (Meehan’s other subject in this article was James Humbert Craig)
    2. Ibid.

    Dr S.B. Kennedy,
    Belfast, 2004

  • Have one to sell? Interested in Similar Items?


A MISTY DAY COUNTY TYRONE
A MISTY DAY COUNTY TYRONE
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 21 May 2012 / 83

Published Estimate: €1200-1500

Price Realised: €1500

  • Signature: signed lower right; with title and archival number [12054] inscribed on William Rodman label on reverse
  • Medium: watercolour
  • Dimensions: 20.5 by 29.25in., 52.07 by 74.295cm.
  • Provenance: William Rodman & Co., Belfast; Private collection
  • Have one to sell? Interested in Similar Items?


A MOUNTAIN ROAD, COUNTY DONEGAL
A MOUNTAIN ROAD, COUNTY DONEGAL
Frank Egginton RCA (1908-1990)

Auction Date / Lot No.: 21 May 2012 / 84

Published Estimate: €1500-1800

Price Realised: €1500


BEACH, COUNTY DONEGAL
BEACH, COUNTY DONEGAL
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 21 May 2012 / 85

Published Estimate: €1200-1500

Price Realised: €1200


ON THE RIVER BANN, COUNTY ANTRIM
ON THE RIVER BANN, COUNTY ANTRIM
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 21 May 2012 / 86

Published Estimate: €10000-15000

Price Realised: €10000

  • Signature: signed lower left; with inscribed John Magee Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 15 by 20in., 38.1 by 50.8cm.
  • Provenance: John Magee Gallery, Belfast; Private collection; Christie's-Hamilton Osborne King, Dublin, 26 May 1993, lot 158; Private collection; Sotheby's, 13 May 2005, lot 57; Whence purchased by the present owner
  • Exhibited: possibly exhibited in the RHA, Dublin 1962, catalogue no. 128 [£150-0-0]
  • Have one to sell? Interested in Similar Items?


MISTY MORNING, c.1946-1949
MISTY MORNING, c.1946-1949
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 21 May 2012 / 87

Published Estimate: €4000-6000

Price Realised: €5200

  • Signature: signed lower right; with inscribed label detailing title, number [2] and artist's address [Castle-Park, Cushendun, Co. Antrim] on reverse
  • Medium: oil on canvas
  • Dimensions: 20 by 24in., 50.8 by 60.96cm.
  • Provenance: Sotheby's, 13 May 2004, lot 91; Whence purchased by the present owner
  • The RHA Index of Exhibitors records the artist's address at "Castle-Park, Cushendun" between 1946 and 1949.

  • Have one to sell? Interested in Similar Items?


EVENING, ROCKPORT, CUSHENDUN, COUNTY ANTRIM
EVENING, ROCKPORT, CUSHENDUN, COUNTY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 21 May 2012 / 88

Published Estimate: €2000-3000

Price Realised: €2000


LIVERPOOL DOCKS
LIVERPOOL DOCKS
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 21 May 2012 / 89

Published Estimate: €4000-6000

Price Realised: €6200

  • Signature: signed lower left; with original label inscribed with exhibition number [52] and price [£30-0-0] on reverse
  • Medium: oil on board
  • Dimensions: 11.5 by 17in., 29.21 by 43.18cm.
  • Provenance: Whyte's, 25 April 2006, lot 57; Whence purchased by the present owner
  • With a preparatory pencil sketch of men in a boat on reverse.

    Craig’s enthusiasm for boats extended to a keen interest in busy city ports and steam ships. He painted a number of shipping scenes in Belfast Harbour, including Clarendon Dock, Belfast and Leaving Belfast (both illustrated in George A. Connell, James Humbert Craig: The People’s Artist, 1988, pages 119 and 75 respectively). The present view of the Liverpool Docks was painted during the 1930s, at a time when thousands of Irish went to England in search of work. For many of these, Liverpool was their first port of entry. In the foreground a barefoot urchin rushes through the crowd, a horse and dray await unloading, a shawled woman and child stand at the left, balanced by a second family group at the right, standing by their cases, looking on at the busy scene. Beyond them, through the funnels of the docked ship, can be seen the copper cupola of the Royal Liver Insurance Building.

  • Have one to sell? Interested in Similar Items?


LEAVING PORT, BELFAST
LEAVING PORT, BELFAST
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 21 May 2012 / 90

Published Estimate: €5000-7000

Price Realised: €5600

  • Signature: signed lower left; with title in pencil on reverse; with Wellington Gallery [Antrim] label on reverse
  • Medium: oil on board
  • Dimensions: 14.5 by 19.5in., 36.83 by 49.53cm.
  • Have one to sell? Interested in Similar Items?


RIVERSIDE LANDSCAPE
RIVERSIDE LANDSCAPE
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 21 May 2012 / 91

Published Estimate: €4000-5000

Price Realised: €7200

  • Signature: signed with initials lower right
  • Medium: oil on board
  • Dimensions: 13.5 by 18in., 34.29 by 45.72cm.
  • Provenance: Whyte's, 18 February 2003, lot 18; Private collection
  • Have one to sell? Interested in Similar Items?


ST. EDMUNDSBURY ON THE LIFFEY AT LUCAN, COUNTY DUBLIN
ST. EDMUNDSBURY ON THE LIFFEY AT LUCAN, COUNTY DUBLIN
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 21 May 2012 / 92

Published Estimate: €4000-5000

Price Realised: €4800

  • Medium: oil on Windsor and Newton "Rathbone" canvas board
  • Dimensions: 12 by 16in., 30.48 by 40.64cm.
  • Provenance: Gift from the artist to Mrs Fitzherbert; Thence by descent to a private collector in Navan, Co. Meath; HOK Fine Art, Dublin; Private collection, Belfast (with a letter of provenance from HOK on reverse); Whyte's, 21 September 2004, lot 95; Private collection
  • Built early in the 19th century as the seat of Thomas Needham, St Edmundsbury was later sold to one William Moran, who added the balustraded roof parapet and double storey oriental style wings. At the end of the 19th century it was purchased by Dean Swift’s St Patrick’s Hospital and was converted by them into a convalescent home.

  • Have one to sell? Interested in Similar Items?


PAINTING IN A GARDEN
PAINTING IN A GARDEN
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 21 May 2012 / 93

Published Estimate: €20000-30000

Price Realised: €0

  • Signature: signed lower left; original inscribed label on reverse
  • Medium: oil on canvas
  • Dimensions: 27 by 21in., 68.58 by 53.34cm.
  • Provenance: Dawson Gallery, Dublin; Private collection, Dublin; Whyte's, 16 September 2003, lot 87; Private collection
  • Exhibited: RHA, 1955, catalogue no. 85 (Where it was priced at £219-0-0, making it the most expensively priced painting Leech ever exhibited at the RHA, up until his final year of exhibiting there, in 1967)
  • Painting in a Garden is one of a series of self portraits that Leech painted from the 1920s until his death in 1968. Inscribed in Leech’s handwriting on the reverse of this work is “No. 3 Painting in a Garden, W. J. Leech 20 Abbey Road, London, NW8”. This was the address of the fifth floor apartment that his future wife, Mrs May Botterell, had rented in Hampstead from 1938. Leech based himself in the apartment after his own studio space at Steele’s Studios was bombed in 1941. Even after Steele’s Studio was partially patched up, he remained at 20 Abbey Road, until 1958 when he and May moved to West Clandon, outside Guildford in Surrey. Painting in a Garden was thus probably painted during the 1940s when Leech was in his sixties. His annual extended trips to France were no longer possible and his subject matter focused on still-life, flower studies, portraits of his family and friends and his self portraits, which were painted outside in the sunlit garden of his studio. In this portrait Leech’s personality is portrayed in his attention to detail in his dress: his polished shoes, ironed trousers and white shirt – similar clothes to those he is wearing in Self Portrait (Painting in a Garden)1. However, in the present work, Leech has his shirt sleeves rolled up, he is tieless and hatless and his gaze is focusing on the canvas instead of looking out at his reflection in the mirror. In most of his self portraits Leech is formally dressed and in the series he painted in the last ten years of his life he is wearing his overcoat over his open necked white shirt. This work is similar in pose to his Self Portrait, painted in Steele’s Studios on the back of the canvas, Flowers in a Vase, except for the fact that there Leech is wearing a black jacket, a handkerchief in his top pocket, white shirt and tie and holding additional paint brushes in his left hand. In Painting in a Garden he adopts a happier, more relaxed pose as he leans towards his canvas, his right arm extended and his left arm loosely dropped at his side. He captures the sunlight on the grass in vivid greens and yellows framed by the frieze of darker trees in the top one third of the picture. The canvas deckchair, with stripes in Indian red, echoes the diagonal of Leech’s body and is the same deckchair seen in Steps to the Studio, painted outside his studio at Candy Cottage, West Clandon, Surrey, where he spent the final ten years of his life.

    1. Illustrated on page 235 of Denise Ferran, William John Leech: An Irish Painter Abroad, National Gallery of Ireland, Dublin, 1996, pp.234-235.

    Denise Ferran

  • Have one to sell? Interested in Similar Items?


THE SOKO, TANGIER, 1891
THE SOKO, TANGIER, 1891
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 21 May 2012 / 94

Published Estimate: €20000-25000

Price Realised: €29000

  • Signature: signed and dated lower right
  • Medium: oil on canvas
  • Dimensions: 13.75 by 17.25in., 34.925 by 43.815cm.
  • Provenance: Sotheby's, 9 May 2007, lot 70; Whence purchased by the present owner
  • Exhibited: 'Pictures by John Lavery', Goupil Gallery, London, 1891, no. 4 (see footnote no. 1)
  • Literature: McConkey, Kenneth, John Lavery, A Painter and his World, Atelier Books, 2010, p.55 (illustrated in colour)
  • In June 1891 Lavery held his first London solo exhibition of 35 pictures at the Goupil Gallery in New Bond Street. Of these, at least sixteen were canvases recently painted in Tangier, the majority of which were scenes of the busy market place, the Soko. They were examples, according to The Athenaeum, of 'an extremely clever somewhat feverish and voluptuous sort of Impressionism which is rich in tone and soft, is pale in tint and entirely destitute of … surface finish …' 2. The Saturday Review concurred: Lavery's Tangier paintings were 'coarse in texture and rough in surface …' and although 'cleverly painted', revealed a 'considerable leaning to the Impressionist style'. 3. For many critics, Impressionism, the dreaded foreign import, meant sacrificing fine finish to the exigencies of the moment. An artist-reporter like Lavery was caught up in the shifting scene and his picture would lose its vitality if 'perfected' in the studio after the event.
    The 'event', in this case, was of the greatest significance. Although he had spent his student years in Paris and at the artist's colony of Grez-sur-Loing, this was Lavery's first direct contact with the Muslim world. It came after the success of pictures such as The Tennis Party and his residency at the Glasgow International Exhibition of 1888. This had resulted in a commission from the city to paint The State Visit of Queen Victoria ... a work that took two years to complete, and it was only when it received royal approval that in the first week of January 1891, the painter boarded a vessel at Tilbury bound for North Africa.4. Tangier, the 'White City', his destination, came strongly recommended by his Glasgow School friend, Joseph Crawhall, who had been there in 1888, following in the footsteps of Denholm Armour, Alexander Mann and other Scots painters.5. For Lavery it was a life-changing moment; like his predecessors, he was immediately captivated. Although he painted in the Kasbah and on the rooftop of the Continental Hotel, it was the Soko at the eastern gate of the city that claimed most of his attention. He was not alone. Travellers commended this 'big bare area',
    ... filled with a motley assemblage of Tangierines, [sic] country people and visitors, eddying about various centres of interest - the snake charmer with his dishevelled locks and monotonous drum, the Arab reciter, or the gentleman who sells you half a pint of copper coins for sixpence ... 6.
    Yet others went into detail. Here were,
    Crouching camels with their loads of dates, chaffering traders, chattering women, sly and servile looking Jews from the city, fierce-eyed heavily armed children of the desert, rough coated horses, lank-sided mules ... the whole enveloped in a blinding, bewildering, choking cloud of such dust as only Africa, "arida nutrix" can produce ...7.
    The dry, chalky pigment of the present canvas, perfectly expresses the heat and dust of the Soko. It exposes the untruth of those numerous counterfeit Salon Orientalists whose colourful Arab genre scenes were confections of the studio. Here in the market-place, the colours were drab. Where Snake Charmers (fig 1.) provides a glimpse of wayside theatre, The Soko sweeps the crowded space and looks up to the Kasbah, catching sight of the glistening Straits of Gibraltar beyond.
    It was an unforgettable scene to which Lavery would return at regular intervals up until 1920 when this same space was thronged with bystanders as Moroccan troops occupied the German Legation.8. In each of these many instances, Lavery positioned himself on the south-eastern side of the Soko, where, as in the present canvas, the shade from nearby buildings protected him from the sun's glare. Figures, animals, white buildings, picked out in bright light and shade against brilliant blue skies, provided a marquetry of flat shapes that, as Norman Garstin confirmed, charmed the eye of the sketcher.9. Lavery may superficially borrow such effects from the watercolours of Crawhall and Arthur Melville, but he gives them substance in his oil sketches of the Soko.10 John Forbes-White who wrote the introduction to the Goupil exhibition catalogue was particularly enamoured with these swift studies. He wrote that they were 'intensely decorative as well as true … artistic as well as real'
    The numerous studies at Tangier show broadly and simply [that] these truths are felt in the glowing sunshine and cool shade of the narrow streets … However slight it may be the work charms from its freshness and sweetness. If it makes a demand on our intelligence and sympathy, it is a demand, the yielding of which, gives a zest to our enjoyment. 11
    In 1891, in the dusty marketplace, seen for the first time, the 'impression' contained all the 'charm' and 'freshness' of 'truth'.
    Prof. Kenneth McConkey April 2012
    Footnotes: 1. Three of Lavery's Tangier pictures in this show, nos 4, 7 and 13 were general views of the Soko. Of these, no. 4 was simply entitled The Soko - Tangier, while the others were The Little Soko - Tangier and Camels - The Soko respectively. Of these, only the present canvas has come to light. 2. The Athenaeum, 13 June 1891, pp. 772-3. 3. The Saturday Review, 20 June 1891, pp. 742-3. 4. Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Atelier Books), pp. 40-49, 53-4. The State Visit of Queen Victoria to the International Exhibition, Glasgow, 1888, 1890 (Glasgow Museums) was exhibited in Maclean's Gallery in the Haymarket, London. 5. Kenneth McConkey, 'Incongruous Impressions: Scottish Painters' Journeys at the turn of the Twentieth Century', Journal of the Scottish Society for Art History, Vol 14, 2009-10, pp. 78-89. 6. Stanley J Weyman, 'On Muleback in Morocco', English Illustrated Magazine, 1892, p. 614. 7. HD Traill, 'The Pillars of Hercules', in The Picturesque Mediterranean, Its Cities, Shores and Islands, n.d. [c1890], (Cassell and Co), p. 6. 8. McConkey, 2010, p. 147. 9. Norman Garstin, 'Tangier as a Sketching Ground', The Studio, Vol 11, 1897, pp. 177-182. 10. Melville first traveled to the Middle East, visiting Egypt and Persia in 1882 but did not visit southern Spain until 1890 and may not have crossed the Straits until a year later. 11. J F-W, 'Note', Pictures by John Lavery, 1891, (exhibition catalogue, The Goupil Gallery, London), pp.7-8

  • Have one to sell? Interested in Similar Items?


SET OF TWELVE PRINTS ILLUSTRATING THE IRISH LINEN INDUSTRY, 1791
SET OF TWELVE PRINTS ILLUSTRATING THE IRISH LINEN INDUSTRY, 1791
William Hinks (fl.1773-1797)

Auction Date / Lot No.: 21 May 2012 / 95

Published Estimate: €4000-6000

Price Realised: €0

  • Signature: each with artist's name in the plate lower right; with plate number lower left; with title and publisher's details lower centre
  • Medium: hand-coloured and stipple engraving; (contained in leather and cloth bound album)
  • Dimensions: 11.5 by 15.75in., 29.21 by 40.005cm.
  • Sheet size:14.25 by 20.5ins., dimensions of presentation album 18 by 24ins.

    Born in Waterford, Hincks was self taught as an artist, and exhibited at the Society of Artists, Dublin, in the 1780s, as well as at the RA, London. The present series depicts the progress of the Linen Industry in Northern Ireland in all its different stages from sowing the seed to the arrival of the webs at the Linen Hall.

  • Have one to sell? Interested in Similar Items?


BEADSMAN
BEADSMAN
Samuel Spode (1798-1872)

Auction Date / Lot No.: 21 May 2012 / 96

Published Estimate: €2000-3000

Price Realised: €2600

  • Signature: signed lower right; inscribed with title lower centre; with typed exhibition card [numbered 18] preserved on reverse; with RSVP card of Lady Davis-Goff [Strand Road, Dublin 4] affixed on reverse
  • Medium: oil on canvas
  • Dimensions: 11 by 14.5in., 27.94 by 36.83cm.
  • Samuel Spode has been the subject of much research by the artist's great great grandson, Peter Roden, who recently compiled a comprehensive biography on this sought-after equestrian artist. Spode appears to have received legal training in his early years and to have married and left England, under a government incentive for settlers, for Van Diemen's Land (later Tasmania). He did not settle there and returned to England in 1826 from which time he begins to establish a career as a painter. Following the death of his first wife Spode re-married, only to become thrice widowed by 1839.
    When Spode returned from Van Diemen's Land he settled with a family member close to the Mason Ironstone Works at Fenton in the Staffordshire Potteries. From here c.1830 he painted numerous works depicting the local landscape as well as horses and members of the equine community. In 1836 Spode visited Ireland to paint racehorses. He painted Birdcatcher also known as Irish Birdcatcher the first major Irish thoroughbred to win the Peel Cup at the Curragh on 21 October 1836 ('Samuel Spode', Antique Collecting, p.13). Records of notable Irish patrons for his works also exist, such as John Dawson Duckett Esq. of Carlow for a painting done in 1856. In the 1860s Spode is recorded as marrying an Irish girl in Dublin (in spite of having a wife still living in England) and from this period Ireland became his base. The artist was in London at the time of the census in 1871 but he died in Dublin the following year. His death was registered by a Teresa Spode. Her connection to the artist has never been defined.
    Peter Roden researcher and writer on the Spode family history and business, notes that Beadsman is among his records of paintings by the artist. Spode in fact painted more than one example of this horse, which was winner of The Derby in 1858 (ridden by John Wells, trained by George Manning and owned by Sir Joseph Hawley). Another example, a larger painting, sold in Adam's, Dublin in 1974. Roden has expanded the history on this artist in his recently published article 'Samuel Spode (1798-1872), Equestrian Artist' for Antique Collecting Incorporating Antique Dealer and Collectors Guide, October 2011 (The Art Issue), pp.10-15.
    We are grateful to Peter Roden for his assistance in cataloguing this lot.

  • Have one to sell? Interested in Similar Items?


THE MARRIAGE AT CANA (AFTER VERONESE)
THE MARRIAGE AT CANA (AFTER VERONESE)
Nathaniel Hone RHA (1831-1917)

Auction Date / Lot No.: 21 May 2012 / 97

Published Estimate: €5000-7000

Price Realised: €6800

  • Signature: with title and artist's name inscribed on reverse; with Victor Waddington framing label on reverse
  • Medium: oil on canvas
  • Dimensions: 27.5 by 40in., 69.85 by 101.6cm.
  • Provenance: Collection of Senator Joseph Brennan; Thence by descent
  • The present work by Nathaniel Hone the Younger is a copy of The Wedding Feast at Cana dating to 1563 by Italian Mannerist Paolo Veronese. The original, measuring 262 by 390 inches, is housed in the Louvre. It was originally commissioned by the Monastery of San Giorgio Maggiore in Venice, where it hung for over two centuries until it formed part of Napoleon's spoils and was brought to Paris in 1797. In the middle of the following century Nathaniel Hone left Dublin for Paris to begin his career as an artist. It would have been here that the artist was exposed to Veronese among others as part of his fundamental training. While in Paris he attended the studio of Adolphe Yvon and Thomas Couture where he was instructed in figure drawing and later travelled to Barbizon to study landscape painting. His time in France developed the artist's feeling for colour and light which he explored in his depictions of the Irish countryside on his return to Ireland some seventeen years later.

  • Have one to sell? Interested in Similar Items?


A STORMY EVENING OFF THE BAILEY, HOWTH, 1889
A STORMY EVENING OFF THE BAILEY, HOWTH, 1889
Archibald McGoogan (1860-1931)

Auction Date / Lot No.: 21 May 2012 / 98

Published Estimate: €500-700

Price Realised: €0

  • Signature: signed and dated lower left; with title inscribed on reverse
  • Medium: watercolour
  • Dimensions: 6.75 by 10.75in., 17.145 by 27.305cm.
  • Provenance: The Collection of Mr E.A. Stone, recorded on 1911 census as a Chemical Analyst of Windsor Avenue, Clontarf, Dublin
  • Archibald McGoogan was the artist responsible for the design of the Great Seal of the Irish Free State (now in the collection of Collins Barracks) and was the first photographer employed by the National Museum of Ireland. He is also attributed to a chromolithographic print entitled After the bombardment. The holocaust of Ireland's greatest thoroughfare, Friday Morning, 29th April, 1916 in the collection of the National Library of Ireland.

    He is listed in the Irish Art Societies and Sketching Clubs Index of Exhibitors 1870-1980 as exhibiting over fifty works between 1892 and 1930, mostly landscapes. The RHA Index of Exhibitors 1826-1979 also lists his contributions (between 1888 and 1929) and notes various addresses for him including, 1 Chester Road, Ranelagh, Dublin; 31 Windsor Road, Leinster House, Dublin and 8 Ardenta Terrace, Monkstown.

  • Have one to sell? Interested in Similar Items?


A BREEZY DAY, SUTTON (HOWTH), 1889
A BREEZY DAY, SUTTON (HOWTH), 1889
Archibald McGoogan (1860-1931)

Auction Date / Lot No.: 21 May 2012 / 99

Published Estimate: €500-700

Price Realised: €0

  • Signature: signed and dated (beneath the mount) lower left; with title inscribed on reverse
  • Medium: watercolour heightened with white
  • Dimensions: 6.5 by 10.5in., 16.51 by 26.67cm.
  • Provenance: RHA, Dublin; Whence purchased by Mr E.A. Stone, recorded on 1911 census as a Chemical Analyst of Windsor Avenue, Clontarf, Dublin
  • Exhibited: RHA, Dublin, 1889 catalogue no. 426 [£1-10-0]
  • Archibald McGoogan was the artist responsible for the design of the Great Seal of the Irish Free State (now in the collection of Collins Barracks) and was the first photographer employed by the National Museum of Ireland. He is also attributed to a chromolithographic print entitled After the bombardment. The holocaust of Ireland's greatest thoroughfare, Friday Morning, 29th April, 1916 in the collection of the National Library of Ireland.

    He is listed in the Irish Art Societies and Sketching Clubs Index of Exhibitors 1870-1980 as exhibiting over fifty works between 1892 and 1930, mostly landscapes. The RHA Index of Exhibitors 1826-1979 also lists his contributions (between 1888 and 1929) and notes various addresses for him including, 1 Chester Road, Ranelagh, Dublin; 31 Windsor Road, Leinster House, Dublin and 8 Ardenta Terrace, Monkstown.

  • Have one to sell? Interested in Similar Items?


PORTLAND BILL, WEYMOUTH, 1880
PORTLAND BILL, WEYMOUTH, 1880
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 21 May 2012 / 100

Published Estimate: €3000-5000

Price Realised: €2200

  • Signature: signed lower right; with title, date and artist's name on gilt plaque affixed to frame lower centre; signed, titled and dated again on reverse; with partial J.G. May Carver & Gilder label on reverse
  • Medium: oil on canvas
  • Dimensions: 10 by 15.75in., 25.4 by 40.005cm.
  • Provenance: Phillips, Bath, Avon, UK, 27 March 2000, lot 163; Private collection
  • Contained in what appears to be its original gilt frame.

  • Have one to sell? Interested in Similar Items?


First 20 results Previous 20 results   Records 51 to 100 of 211     Next 20 results Last results

FREE VALUATIONS: DUBLIN: Informal and confidential advice and valuations for prospective sellers given by appointment at our galleries, 38 Molesworth Street, Dublin 2; Monday to Friday,10am to 5pm. .
ELSEWHERE: send images and details to info@whytes.ie for a free appraisal and advice on selling. We also travel throughout Ireland and Great Britain, and occasionally to the US and elsewhere, to appraise large collections or valuable single items. 
CLICK HERE FOR GUIDE TO SELLING AT WHYTE'S, or watch our video here.

Whyte & Sons Auctioneers Ltd., 38 Molesworth Street, Dublin D02 KF80, Ireland. Tel: +353 (0)1 676 2888 Email: info@whytes.ie
Licensed to conduct auctions by The Property Services Regulatory Authority of Ireland. Licence No. 001759.