1 October 2012

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STILL LIFE WITH BLACK PARAFFIN HEATER, 1967
STILL LIFE WITH BLACK PARAFFIN HEATER, 1967
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 1 October 2012 / 51

Published Estimate: €6000-8000

Price Realised: €6000

  • Signature: signed lower left; inscribed with title on reverse; also with typed Ritchie Hendriks Gallery exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 30 by 20in., 76 by 51cm.
  • Provenance: Ritchie Hendriks Gallery, Dublin; Private collection
  • Exhibited: 'George Campbell', Ritchie Hendriks Gallery, Dublin, August to 19 September, 1967, catalogue no. 8 [110 gns]
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SEDATE FORMS
SEDATE FORMS
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 1 October 2012 / 52

Published Estimate: €3000-4000

Price Realised: 


RUSH HARBOUR, 1963
RUSH HARBOUR, 1963
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 1 October 2012 / 53

Published Estimate: €3000-4000

Price Realised: €3000


SEAGULLS
SEAGULLS
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 1 October 2012 / 54

Published Estimate: €2000-3000

Price Realised: 

  • Signature: signed lower right; with partial David Hendriks exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 13.5 by 18.5in., 34 by 47cm.
  • Provenance: David Hendriks Gallery, Dublin; Private collection
  • Exhibited: 'George Campbell', David Hendriks Gallery, Dublin (catalogue untraced)
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BRIGID, 1960
BRIGID, 1960
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 1 October 2012 / 55

Published Estimate: €20000-30000

Price Realised: €37000

  • Signature: signed lower right; inscribed with title on reverse
  • Medium: oil on board
  • Dimensions: 23.5 by 17.5in., 60 by 44cm.
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Exhibited: 'Daniel O'Neill', Dawson Gallery, Dublin, November 1960, catalogue no. 17, as Bridgid [£80-0-0]
  • Daniel O'Neill exhibited at the Waddington Galleries between 1946 and 1955. After leaving Ireland in 1958 to move to London he exhibited with the Waddington Gallery in Montreal, Canada. During this period he also exhibited in New York (1947), in Beverly Hills, California (1948) and in a group show in Amsterdam. Ken Jamison writing in 1971 about the artist and referring to the period of his work circa 1949 could say: 'His work then had all the trappings of high romanticism - spatial ambiguity, mannerist proportions, emotive power, dramatic impasto' By 1960 he was living in London where he painted Brigid using a palette knife to build up a rich texture to create a dark demure presence in restricted colours, mainly tones of blue. Portraits of women, at times with first name titles, always remained an important subject for the artist. Here he chooses to position the sitter in a frontal pose rather an in a three quarter turn which contributes to the primitive directness of the painting - 'the emotive power' to which Jamison refers. One of the impressive characteristics of this painting is its luminous quality. With O'Neill light often acts as a revealing protagonist. Brigid is a fine example of his work of this period. Prof. Liam Kelly, May 2012 Also shown in this 1960 show were Miriam (exhibition no. 2), Kitty (no. 4), Country Girl (no. 8), Martha (no. 11), Bridgid (no. 17), Girl in Blue Shawl (no. 18), Mother and Daughter (no. 19), Figure and Flowers (no. 26). Total exhibits included in the show were twenty-eight.

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THE LITTLE HAYFIELD
THE LITTLE HAYFIELD
Norah McGuinness HRHA (1901-1980)

Auction Date / Lot No.: 1 October 2012 / 56

Published Estimate: €5000-7000

Price Realised: €5000

  • Signature: signed lower right; with title inscribed on Dawson Gallery label on reverse; numbered [14] on reverse; with Dawson Gallery framing label on reverse
  • Medium: oil on canvas
  • Dimensions: 16 by 20in., 41 by 51cm.
  • Provenance: Dawson Gallery, Dublin; Private collection; Adam's, 29 September 1999 , lot 26; Private collection
  • Exhibited: 'Norah McGuinness', Dawson Gallery, Dublin, 10-27 September, 1975, catalogue no. 16
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ENTERING THE OLD CITY
ENTERING THE OLD CITY
Markey Robinson (1918-1999)

Auction Date / Lot No.: 1 October 2012 / 57

Published Estimate: €6000-8000

Price Realised: 


AUTUMN PROMENADE, 1948 [DARTRY, DUBLIN]
AUTUMN PROMENADE, 1948 [DARTRY, DUBLIN]
Norah McGuinness HRHA (1901-1980)

Auction Date / Lot No.: 1 October 2012 / 58

Published Estimate: €15000-20000

Price Realised: €20000

  • Signature: signed and dated lower right; with original label on reverse
  • Medium: oil on board
  • Dimensions: 20 by 26in., 51 by 66cm.
  • Provenance: Adam's, 28 March 2007, lot 102; Private collection;
  • Exhibited: 'Recent Paintings by Norah McGuinness', Victor Waddington Galleries, Dublin, catalogue no. 5
  • Contained in original hand carved Victor Waddington frame. The present scene shows what was a cloth mill in the 19th century and later became the Dartry Dye Works. The red bridge visible in the painting still exists today as do the houses on the left. The tall mill is no longer on this site. We are grateful to John G. Lennon of the Dundrum Historical Society for this additional information. The sheer exuberance of the colour is what first strikes one on viewing this painting by Norah McGuinness. The rich colours of autumn are feast enough but Norah adds to the mix the artificial colours emanating from the Dartry Dye Works on the River Dodder. She places the vivid manufactured colours centre stage as though the principal character of a play. Indeed, the iron bridge serves as the proscenium arch whilst the swaying trees take on the character of swishing stage-curtains. The eye is led along the river to this rainbow of colours and is the girl in white gesturing us to look at them? Like Norah herself, the girl is excited by the vibrancy and possibilities of these new methods of colour manufacture. She looks to the future whilst the darker, older sons of the church on the left, dressed in black and depending on walking-sticks, turn their backs to the future and walk away into the shadows. The right-hand side of the composition is all nature and light whilst the left is industry and darkness. Not quite Blake's 'dark Satanic mills' but a nod to the blight of industrialisation. If Norah were to visit the same location today, sixty-five years on, she would doubtless be pleased to see that nature came out the victor. In the sinuosity of the footpath and the river we see the origins of her later sensual style. The black bird-like figures presage her trademark waterbirds, so elegant and stylised. There is even a hint of her later bird's-eye view in the sweep of the footpath as it disappears into the foreground. Whilst the softness of the foliage harks back to her early romantic, even illustrative, phase, the harsher more defined blocks of colour which constitute the buildings look forward to her strong, stylised works of the 'seventies. It is this juxtaposition of the sensual with the angular, this vertical/horizontal, masculine/feminine divide which lends the work its powerful dynamic. It is a dynamism which was to characterise her future work into the 'sixties and 'seventies. Síle Connaughton-Deeny September 2012

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WHISKEY ROW, RINGSEND
WHISKEY ROW, RINGSEND
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 1 October 2012 / 59

Published Estimate: €10000-15000

Price Realised: €11000

  • Signature: signed lower right
  • Medium: watercolour
  • Dimensions: 9 by 12.75in., 23 by 32cm.
  • Provenance: The White Gallery Ltd., London; Private collection; Sotheby's, 13 May, 2005, lot 110; Private collection
  • Exhibited: 'Harry Kernoff, RHA Exhibition of Water Colours', The White Gallery Ltd., 2 New Burlington Street, London, 9-19 May, 1938, catalogue no. 13 [£13-10-0]
  • By the 1840s Ringsend had lost its importance as a maritime centre and is described in Thom's Almanac of 1848 as having 150 houses, with a population of 1,755. It consisted of several streets of irregularly built houses, most in ramshackle condition as evidenced in this watercolour. Among the street names which occur include "Quality Row" and "Whiskey Row", an indication of class distinctions and commercial activities in the area at the time. The present work depicts the latter and forms part of an important visual record of old Dublin. Kernoff's other views of Ringsend show the ship and boat building industry as seen in his watercolour Boats, Ringsend shown at the Watercolour Society of Ireland exhibition in 1932, catalogue no. 15.

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THE TWELVE PINS, RENVYLE, CONNEMARA
THE TWELVE PINS, RENVYLE, CONNEMARA
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 1 October 2012 / 60

Published Estimate: €8000-10000

Price Realised: €8000

  • Signature: signed lower right; with title inscribed on original label on reverse; with Victor Waddington Galleries label also on reverse
  • Medium: oil on board
  • Dimensions: 12 by 16in., 30 by 41cm.
  • Exhibited: possibly exhibited at 'Recent work by Harry Kernoff, RHA', Victor Waddington Galleries, Dublin, 11-19 June, 1940, as Twelve Pins and a Cottage, Renvyle, catalogue no. 32 [price £12-12-0]
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DAVY BYRNE'S PUB, DUKE STREET, FROM THE BAILEY, DUBLIN, 1941
DAVY BYRNE'S PUB, DUKE STREET, FROM THE BAILEY, DUBLIN, 1941
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 1 October 2012 / 61

Published Estimate: €30000-35000

Price Realised: €29000

  • Signature: signed and dated lower left beneath the bar counter; also dated within the Abbey Theatre flyer [31 May 1941] upper right
  • Medium: watercolour
  • Dimensions: 21.5 by 18.75in., 55 by 48cm.
  • It is fitting that Kernoff should choose Davy Byrne's on Duke Street and its neighbouring establishment, The Bailey, as the subject for a major painting. Both pubs, particularly Byrne's, were regular haunts of political and literary types; James Joyce cites both place and proprietor in Ulysses and makes reference to it also in the Dubliners. The present work is rooted in time by the flyers posted to the bar walls. On the far left wall The Gate's production of Romeo and Juliet, presented by Hilton Edwards and Mícheál MacLíammóir features, while top right the Abbey's Look at the Heffernan's!, 1941 by Brinsley MacNamara is advertised. The almost ubiquitous self-portrait shows Kernoff dressed in his trilby and glasses seated at the bar, his reflection seen in the mirror backed shelf facing him. Before him and in the foreground of the painting is the Bailey bar menu and a place setting for one. In 2000 the National Gallery of Ireland acquired the oil (NGI 4677) based on the present watercolour for €130,000. But for the difference in medium, there are few disparities between the two works.

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PORTRAIT OF GINGER
PORTRAIT OF GINGER
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 1 October 2012 / 62

Published Estimate: €1500-2000

Price Realised: 

  • Signature: signed lower right; with sitter's name lower left
  • Medium: charcoal and pastel over pencil
  • Dimensions: 14 by 10.75in., 36 by 27cm.
  • The Irish Societies and Sketching Clubs Index of Exhibitors lists a watercolour by Kernoff of Ginger - Buachaill Nuachtan [price £25-0-0], catalogue no. 24 shown at the Oireachtas Art Exhibition in 1950. It is possible this is a study for that work.

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INTERVAL
INTERVAL
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 1 October 2012 / 63

Published Estimate: €1500-2000

Price Realised: €1700

  • Signature: signed upper right; with original inscribed label preserved on reverse detailing titled, price [£25] and artist's address [Stamer Street, Dublin 8]
  • Medium: oil on board
  • Dimensions: 8 by 5.75in., 20 by 15cm.
  • Provenance: Acquired directly from the artist; Thence by descent to the present owner
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LIBERTY HALL, DUBLIN (NIGHT), 1934
LIBERTY HALL, DUBLIN (NIGHT), 1934
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 1 October 2012 / 64

Published Estimate: €25000-30000

Price Realised: 

  • Signature: signed and dated lower right; with original inscribed label detailing title and artist's address [13 Stamer Street, Dublin] on reverse
  • Medium: watercolour
  • Dimensions: 18 by 21.5in., 46 by 55cm.
  • Provenance: Adam's, Dublin, 29 March 2000, lot 23; Private collection
  • Liberty Hall was a subject which the artist exhibited twice with the RHA, first in 1927, Liberty Hall, Night (no. 79, price £6-6-0) and again in 1960, Liberty Hall, Dublin, (cir. 1928, a watercolour, price £50-0-0). Liberty Hall also featured in the background of a woodcut by the artist of James Connolly. The building as it appears in Kernoff's watercolour was completely demolished by British artillery during the 1916 Rising, but later restored after the rebellion. The current building was constructed between 1961 and 1965 and became the headquarters of SIPTU. In spring of this year Dublin City Council granted planning permission to demolish the present structure to be replaced at a future date by a theatre and heritage centre.

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CROSSING THE CITY, 1929
CROSSING THE CITY, 1929
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 65

Published Estimate: €100000-150000

Price Realised: €98000

  • Signature: signed lower left; with partial typed exhibition labels of the Waddington Galleries [London] and New Grafton Gallery, London [SW13] on reverse
  • Medium: oil on canvas
  • Dimensions: 14 by 18in., 36 by 46cm.
  • Provenance: Maurice Collis, 1945; with Waddington, London; Mrs Iris Winthrop, Ipswich, Mass., (later Mrs Freeman); New Grafton Gallery from where bought by Sir Andrew Carnwath in 1971; Private collection, Dublin
  • Exhibited: Contemporary Picture Galleries, Dublin, October - November 1940, catalogue no. 16; Wildstein, London, February - March 1946, catalogue no. 16; label verso indicates inclusion in another show on 19 November 1971, catalogue no. 84 (partial label reads, "Edw
  • Literature: Pyle, Hilary, Jack B. Yeats A Catalogue Raisonné of the Oil Paintings, p.347, no. 380 (illustrated, Vol. III, p.164)
  • The painting shows an unusual view of Dublin's city centre looking south diagonally from O'Connell Bridge down D'Olier Street with a view of the grey edifices of Trinity College on the horizon. The foreground of the vista is dominated by the large blue form of a sculpture on a plinth. This is a mannered representation of Thomas Farrell's statue of William Smith O'Brien which was erected on this spot in the 1870s and moved to its current location on O'Connell Street in 1929, the year this work was painted. The low viewpoint sets the trams and moving figures directly against the height of the surrounding buildings which appear tall and imposing from this angle. The muddy tones of grey and brown used in this painting are typical of Yeats' work of this period. They are heightened by touches of bright yellow, blue and red put on with the tip of the brush to create a swirling texture. During the late 1920s Yeats' style was developing dramatically and moving from his more realist early work to the fragmented avant-garde methods of his later painting. A small group of paintings including this work, Going to Wolfe Tone's Grave, 1929, and Jazz Babies, 1929, rely on opaque dark colours applied in a wide range of textures. Their muted tonalities, as in Crossing the City, are suited to the urban nature of their subject matter which focuses on post-independence Dublin. While trams, crowded with passengers, pass at speed along Burgh Quay a figure on a bicycle whizzes along in the middle foreground. Our attention is focused on the rearing head of a horse in the right foreground, perhaps frightened by the bustle and noise of the traffic. A young man in a peaked cap gently tries to calm him down. This well observed vignette is reminiscent of some of Yeats' West of Ireland paintings of horse fairs and races. Both the figures of the horse and the boy are sculpted out of oil pigment. The shape of the animal's head and ears are gracefully constructed out of black impasto paint. A slight blurring of the left hand side of the horse's head suggests movement, as if captured by a slow speed camera. A fashionable lady watches the man and the steed with aloofness. Her pale make-up, bright red lipstick and stylish cloche hat introduce a counterpoint of modernity to the scene. The excitement of the crowds as they move through the city may be connected to such events as the Catholic Emancipation Centenary celebrations which took place in 1929. These temporarily transformed the city into a display of national and religious fervour. A small structure in the middle left foreground appears to be a religious statue consisting of a black gothic casing that contains a kneeling figure in blue. This devotion was to be even more forcibly expressed three years later at the Eucharistic Congress. The title 'Crossing the City' may even be a humorous pun and allusion to the newly independent state's enthusiastic embrace of Catholicism. Such a droll use of language is often found in Yeats' cartoons which frequently comment on the absurdity of modern life. Its more obvious meaning alludes to the busy thoroughfare of O'Connell Bridge, the centre of the city and its transport network. The painting provides a rare example of expressionism in Irish art in its strong individual application of form and colour to a contemporary subject - the city. It was exhibited in London rather than Dublin when first painted. Its first owner was the author of the controversial Trials of Burma, (1937), Maurice Collis who through his long sojourn in India may well have recognised within it the tension between the traditional and local and a delight in the pleasures and spectacle of metropolitan life. Dr. Róisín KennedyDublin, March 2012i. I am grateful to Dr. Paula Murphy for identifying the sculpture.

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SAINT COLUMBANUS, c.1903
SAINT COLUMBANUS, c.1903
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 66

Published Estimate: €6000-8000

Price Realised: 

  • Signature: signed in monogram lower right; with title inscribed on card preserved on reverse; with David Hendriks Gallery framing label on reverse
  • Medium: gouache on card
  • Dimensions: 32 by 20in., 81 by 51cm.
  • Provenance: Miss Lily Yeats; Miss Hyland; Purchased by Thomas MacGreevy, c.1958 (former Director of the National Gallery of Ireland, 1950-1963); The Collection of James White (former Director of the National Gallery, 1964-1980); Private collection
  • Contained in its original Hendriks Gallery frame. This gouache was intended as a design for an embroidered sodality banner for Loughrea Cathedral, Co. Galway. It was executed in 1903 as part of a commission awarded to the fledgling Dún Emer Guild, which was founded in 1902 by Evelyn Gleeson. Her two principal partners in the venture were Jack Yeats’ sisters, Susan and Elizabeth (or Lily and Lolly as they were known to family and friends). When the Guild received this prestigious commission, they invited Jack and his wife Mary (known as Cottie) to supply designs for the banners. Jack designed the Sacred Heart banner and the banners for all the male saints bar two (these were designed by George Russell "Æ"), whilst Cottie supplied designs for nearly all of the female saints. In all, twenty-nine banners were completed, with a further four designs being executed but ultimately not used. In the present work Yeats depicts St. Columbanus, the Irish missionary notable for founding a number of monasteries on the Continent from around the year 590. In common with other Loughrea designs, the figure is drawn in heavy black outline. At the time of the commission, The Irish Homestead described the banners as displaying “freshness and quaint naturalness”, combined with “sympathy and native feeling” and hailed them as the start “of a new epoch in art work of this kind, wherein originality of design shall replace vulgarity and simple beauty replace tawdriness” (13 February 1904, p. 134).

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SAINT BRENDAN, c.1903
SAINT BRENDAN, c.1903
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 67

Published Estimate: €6000-8000

Price Realised: 

  • Signature: signed in monogram lower right; with title inscribed on card preserved on reverse; with David Hendriks Gallery framing label on reverse
  • Medium: gouache on card
  • Dimensions: 32 by 20in., 81 by 51cm.
  • Provenance: Miss Lily Yeats; Miss Hyland; Purchased by Thomas MacGreevy c.1958; The Collection of James White (former Director of the National Gallery); Private collection
  • Contained in its original Hendrik's Gallery frame. This gouache was intended as a design for an embroidered sodality banner for Loughrea Cathedral, Co. Galway. It was executed in 1903 as part of a commission awarded to the fledgling Dún Emer Guild, which was founded in 1902 by Evelyn Gleeson. Her two principal partners in the venture were Jack Yeats’ sisters, Susan and Elizabeth (or Lily and Lolly as they were known to family and friends). When the Guild received this prestigious commission, they invited Jack and his wife Mary (known as Cottie) to supply designs for the banners. Jack designed the Sacred Heart banner and the banners for all the male saints bar two (these were designed by George Russell "Æ"), whilst Cottie supplied designs for nearly all of the female saints. In all, twenty-nine banners were completed, with a further four designs being executed but ultimately not used. In the present work Yeats depicts St. Brendan, called "the Navigator", one of the early Irish monastic saints chiefly renowned for his legendary quest to the "Isle of the Blessed," also called St. Brendan's Island and interpreted by some to be America. In common with other Loughrea designs, the figure is drawn in heavy black outline. At the time of the commission, The Irish Homestead described the banners as displaying “freshness and quaint naturalness”, combined with “sympathy and native feeling” and hailed them as the start “of a new epoch in art work of this kind, wherein originality of design shall replace vulgarity and simple beauty replace tawdriness” (13 February 1904, p. 134).

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SAINT JARLETH, c.1903
SAINT JARLETH, c.1903
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 68

Published Estimate: €5000-7000

Price Realised: 

  • Signature: signed in monogram lower right; with title inscribed in pencil on reverse; with gilt plaque affixed lower centre detailing title and artist's name
  • Medium: gouache on card
  • Dimensions: 33 by 20in., 84 by 51cm.
  • Provenance: Miss Lily Yeats; Miss Hyland; Purchased by Thomas MacGreevy c.1958; The Collection of James White (former Director of the National Gallery of Ireland); Private collection; de Vere's, Spring 2012, lot 136
  • This gouache was intended as a design for an embroidered sodality banner for Loughrea Cathedral, Co. Galway. It was executed in 1903 as part of a commission awarded to the fledgling Dún Emer Guild, which was founded in 1902 by Evelyn Gleeson. Her two principal partners in the venture were Jack Yeats' sisters, Susan and Elizabeth (or Lily and Lolly as they were known to family and friends). When the Guild received this prestigious commission, they invited Jack and his wife Mary (known as Cottie) to supply designs for the banners. Jack designed the Sacred Heart banner and the banners for all the male saints bar two (these were designed by George Russell "Æ"), whilst Cottie supplied designs for nearly all of the female saints. In all, twenty-nine banners were completed, with a further four designs being executed but ultimately not used. In the present work Yeats depicts St. Jarleth, regarded as the founder and principle patron of the Archdiocese of Tuam. Jarleth was a member of the well-known Conmaicne family, influential in Galway during that period. He was ordained a priest and founded the monastery of Cloonfush, outside Tuam. He later presided over that monastery as abbot-bishop and opened what became a celebrated school alongside. In common with other Loughrea designs, the figure is drawn in heavy black outline. At the time of the commission, The Irish Homestead described the banners as displaying "freshness and quaint naturalness", combined with "sympathy and native feeling" and hailed them as the start "of a new epoch in art work of this kind, wherein originality of design shall replace vulgarity and simple beauty replace tawdriness" (13 February 1904, p. 134).

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DOVES WITH TONGUES OF FIRE, CARTOON FOR STAINED GLASS WINDOW, ALL HALLOWS CHURCH, WELLINGBOROUGH, NORTHAMPTONSHIRE
DOVES WITH TONGUES OF FIRE, CARTOON FOR STAINED GLASS WINDOW, ALL HALLOWS CHURCH, WELLINGBOROUGH, NORTHAMPTONSHIRE
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 1 October 2012 / 69

Published Estimate: €1500-1800

Price Realised: 

  • Signature: with '"Wellingborough" inscribed in pencil upper right; signed and inscribed on reverse with images of same affixed to reverse of frame
  • Medium: watercolour with gouache
  • Dimensions: 60 by 24in., 152 by 61cm.
  • During her life time Evie Hone recevied more than 50 commissions for stained glass in Ireland and abroad. Her stained glass designs were shown at the RHA between 1931-1937 and in 1930 at the Irish Exhibition in Brussells.

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ENTRANCE TO THE BOXING SHOW
ENTRANCE TO THE BOXING SHOW
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 70

Published Estimate: €4000-6000

Price Realised: 

  • Signature: signed in monogram lower left; with inscribed Dawson Gallery label on reverse; with Dawson Gallery framing label on reverse; with "The New Corinthians'", an illustration of a man smoking a pipe and the title written in pencil all visible beneath the mount
  • Medium: Indian ink on card
  • Dimensions: 6.5 by 6.25in., 17 by 16cm.
  • Provenance: Dawson Gallery, Dublin; Where purchased by Dr. Karl Mullen; Adams & Bonhams, Dublin, 5 December 2001, lot 88; Private collection
  • The term "Corinthian" is employed to describe Regency rakes or men-about-town and Jack referred to them as "noble supporters of the ring" - (Hilary Pyle p.729). This is most probably a London scene. We are grateful to Patrick Hawe for his assistance in cataloguing this lot.

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PORTRAIT OF A LADY
PORTRAIT OF A LADY
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 1 October 2012 / 71

Published Estimate: €2000-3000

Price Realised: €2600

  • Signature: signed lower left; with blind stamp and letterhead in upper margin; with Ferguson Gallery [Ramelton, Donegal] label on reverse
  • Medium: pen and ink on Metropolitan School of Art [Kildare St., Dublin] headed paper
  • Dimensions: 7.25 by 4.75in., 18 by 12cm.
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THE FORESTER, 1913
THE FORESTER, 1913
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 72

Published Estimate: €8000-10000

Price Realised: €7500

  • Signature: signed lower right; titled lower left; signed and titled on reverse
  • Medium: Indian Ink with watercolour
  • Dimensions: 9.5 by 6.75in., 24 by 17cm.
  • Provenance: Sold to H.T. de V. Clifton 1935, who gave it to Lady Emily Hemphill [See Pyle]; Purchased by the present owner's family c.1940
  • Exhibited: 'Drawings and Pictures of Life in the West of Ireland', Mills Hall, Dublin, 8-22 April 1920, no. 24
  • Literature: Pyle, Hilary, The Different Worlds of Jack B. Yeats. His Cartoons and Illustrations, Irish Academic Press, 1994, p.265 (catalogue no. 1913)
  • Reproduced in A Broadside no. 9 fifth year (February, 1913). Contained in its original 1940s frame. In her text Jack B. Yeats His Watercolours, Drawings and Pastels, Hilary Pyle describes an earlier watercolour by Yeats entitled A Political Meeting, County Sligo, 1905 [catalogue no. 517, p.135] of the same subject matter. The earlier work "depicts the 1905 annual reunion in Sligo of the local branch of the Irish National Foresters, which included nearly all the prominent members of the Catholic and Nationalist Party in the locality. The wearing of sashes denotes their close affiliation with the Ancient Order of Hibernians, a Catholic organisation akin to Orangeism in its intensity, from whom the Foresters had originally separated, and who had recently been released from a clerical ban. The meeting [illustrated in A Political Meeting, County Sligo, 1905] on 11 February 1905, was the occasion of the Lily of Lough Gill Branch of the INF welcoming of the Lord Mayor of Dublin - the General Secretary of the Irish National Foresters Association in Ireland and the only surviving member of those who had initiated the order in Ireland - to their reunion. The event began with a torchlight procession to the Imperial Hotel, where he spent the night, followed the next day by a meeting at Sligo Town Hall, where he addressed the branch on the evils of emigration. " Yeats was in London in February 1905 and Pyle notes he must have recorded the scene from photographs. Pyle continues, "For Yeats the Robert Emmet banners [seen in the 1905 work] with the Irish harp were redolent of the 1898 procession and celebrations in Sligo, which had awakened his own national consciousness. In a letter to John Quinn (5 April 1909, New York Public Library) who had bought the picture as soon as it was exhibited, Yeats said he regarded A Political Meeting as one of the best works he had done." The present work dates to 1913 and may have been based on the earlier 1905 watercolour which the artist was clearly pleased with. Yeats regularly revisited his sketchbooks and drawings throughout his career basing many of his later more abstracted canvases on scenes recorded several years previous.

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COLLECTION OF CORRESPONDENCE BETWEEN THE ARTIST AND MR. P. CROWE, MONUMENTAL SCULPTOR, APRIL 1949-1954
COLLECTION OF CORRESPONDENCE BETWEEN THE ARTIST AND MR. P. CROWE, MONUMENTAL SCULPTOR, APRIL 1949-1954
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 73

Published Estimate: €800-1200

Price Realised: €1250

  • Signature: variously signed and dated; three envelopes with artist's monogram
  • Medium: letters on headed paper; (5); stamped and addressed envelopes; (4)
  • Dimensions: 8 by 10in., 20 by 25cm.
  • Provenance: From the family of Mr Crowe
  • Collection comprises 5 letters and 4 accompanying envelopes from Jack B. Yeats on his [18 Fitzwillam Square, Dublin] headed paper to Mr P. Crowe, Monumental Sculptor [10 Emmet Street, Harolds Cross, Dublin] between April 1949 and April 1954. The letters refer to arrangements for the headstone for Yeats' eldest sister and artist Susan Mary Yeats (Lily) (1866 - 1949). Lettering for a gravestone and the artist's wishes regarding the "perpetual care" for same for the future are discussed in the first letter while materials, design and cost are featured in the subsequent. Yeats sketches out his amendments to the sculptor's vision and specifies the language to be used. The final letter dated 5 April 1954 refers to his approval of work on a separate monument at Churchtown cemetery.

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THE BOXER, 1901
THE BOXER, 1901
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 74

Published Estimate: €400-500

Price Realised: €600

  • Signature: image signed in monogram lower left; post-stamped [Dartmouth / 7.30pm Dec 31 / 01]; addressed to H.D. Harvey Esq., [19 Trinity College, Dublin]
  • Medium: pen and ink with gouache on [post] card
  • Dimensions: 5.5 by 3.5in., 14 by 9cm.
  • Provenance: Collection of Thomas Arnold Harvey; Thence by descent
  • Yeats met the clergyman Rev. Thomas Arnold Harvey when Harvey was tutor to Lady Augusta Gregory's son Robert at Coole. Harvey was Rector of Lissadell, in Sligo in 1908. Yeats and his wife Cottie became close friends with Harvey and Hilary Pyle's texts refers to several cartoons and illustrations showing them picnicking in the grounds of Coole Park. Hilary Pyle also records a sketchbook in the artist's collection entitled At Harvey's, 1908 (Her reference 138. [75])Stencil created by the artist on New Year's Eve 1901 to wish his friend Thomas Harvey a prosperous New Year. Shows a full-length profile stencil of a boxer in the ring. Hilary Pyle records a number of stencils made by the artist at this time, one of which, The Ring Master was presented to the Victoria and Albert Museum. See Pyle, Jack B. Yeats His Watercolours, Drawings and Pastels, p.104 catalogue no. 344.

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ILLUSTRATED LETTER FROM JACK BUTLER YEATS TO THOMAS ARNOLD HARVEY, 10 OCTOBER, c.1903
ILLUSTRATED LETTER FROM JACK BUTLER YEATS TO THOMAS ARNOLD HARVEY, 10 OCTOBER, c.1903
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 75

Published Estimate: €400-600

Price Realised: €750

  • Signature: signed, dated and with artist's address [Cashlauna Shelmiddy, Strete, Dartmouth, Devon]
  • Medium: ink with some illustration in watercolour
  • Dimensions: 8.25 by 10.75in., 21 by 27cm.
  • Provenance: Collection of Thomas Arnold Harvey; Thence by descent
  • Yeats met the clergyman Rev. Thomas Arnold Harvey when Harvey was tutor to Lady Augusta Gregory's son Robert at Coole. Harvey was Rector of Lissadell, in Sligo in 1908. Yeats and his wife Cottie became close friends with Harvey and Hilary Pyle's texts refers to several cartoons and illustrations showing them picnicking in the grounds of Coole Park. Hilary Pyle also records a sketchbook in the artist's collection entitled At Harvey's, 1908 (Her reference 138. [75])

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ILLUSTRATED LETTER FROM YEATS AT ROGER'S HOTEL, KILLYBEGS, COUNTY DONEGAL TO THOMAS ARNOLD HARVEY
ILLUSTRATED LETTER FROM YEATS AT ROGER'S HOTEL, KILLYBEGS, COUNTY DONEGAL TO THOMAS ARNOLD HARVEY
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 76

Published Estimate: €400-500

Price Realised: €1100

  • Signature: signed and illustrated; with location inscribed top centre
  • Medium: ink on buff-coloured paper; (2)
  • Dimensions: 6.75 by 4.5in., 17 by 11cm.
  • Provenance: Collection of Thomas Arnold Harvey; Thence by descent
  • Yeats met the clergyman Rev. Thomas Arnold Harvey when Harvey was tutor to Lady Augusta Gregory's son Robert at Coole. Harvey was Rector of Lissadell, in Sligo in 1908. Yeats and his wife Cottie became close friends with Harvey and Hilary Pyle's texts refers to several cartoons and illustrations showing them picnicking in the grounds of Coole Park. Hilary Pyle also records a sketchbook in the artist's collection entitled At Harvey's, 1908 (Her reference 138. [75]) Yeats includes an illustration of Killybegs for his friend and describes the town as a "delightful little land locked bay" in contrast to the "...great expanses like Connemara".

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TWO ILLUSTRATED LETTERS WITH STENCILLING FROM JACK BUTLER YEATS TO THOMAS ARNOLD HARVEY, 10 JANUARY 1904 (A PAIR)
TWO ILLUSTRATED LETTERS WITH STENCILLING FROM JACK BUTLER YEATS TO THOMAS ARNOLD HARVEY, 10 JANUARY 1904 (A PAIR)
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 77

Published Estimate: €400-500

Price Realised: €700

  • Signature: dated, illustrated and with artist's [Devon] address printed (1) and embossed (1)
  • Medium: ink on buff-coloured paper with stencil and watercolour; (2)
  • Dimensions: 10.25 by 7.5in., 26 by 19cm.
  • Provenance: Collection of Thomas Arnold Harvey; Thence by descent
  • Yeats met the clergyman Rev. Thomas Arnold Harvey when Harvey was tutor to Lady Augusta Gregory's son Robert at Coole. Harvey was Rector of Lissadell, in Sligo in 1908. Yeats and his wife Cottie became close friends with Harvey and Hilary Pyle's texts refers to several cartoons and illustrations showing them picnicking in the grounds of Coole Park. Hilary Pyle also records a sketchbook in the artist's collection entitled At Harvey's, 1908 (Her reference 138. [75]) Dimensions of second folio 9 by 7ins. Letter tells of the artist's Christmas and New Year celebrations, his theatre performances for local children and includes stencils of pirates and a poem.

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ILLUSTRATED ENVELOPE FROM JACK B. YEATS TO REV. T.A. HARVEY, SHOWING CHART OF PIRATE ISLAND, 1904
ILLUSTRATED ENVELOPE FROM JACK B. YEATS TO REV. T.A. HARVEY, SHOWING CHART OF PIRATE ISLAND, 1904
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 78

Published Estimate: €300-400

Price Realised: €680

  • Signature: illustrated and inscribed; postmarked on both sides
  • Medium: pen and ink with watercolour
  • Dimensions: 4.75 by 3.75in., 12 by 10cm.
  • Provenance: Collection of Thomas Arnold Harvey; Thence by descent
  • Yeats met the clergyman Rev. Thomas Arnold Harvey when Harvey was tutor to Lady Augusta Gregory's son Robert at Coole. Harvey was Rector of Lissadell, in Sligo in 1908. Yeats and his wife Cottie became close friends with Harvey and Hilary Pyle's texts refers to several cartoons and illustrations showing them picnicking in the grounds of Coole Park. Hilary Pyle also records a sketchbook in the artist's collection entitled At Harvey's, 1908 (Her reference 138. [75]) Although the present illustration is earlier, it is reminiscent of Yeats' small pamphlet, Jack B. Yeats: His Pictorial and Dramatic Art, which was published by Elkin Mathews, London, [1911]. The book itself, in printed blue wrappers sewn at spine and was accompanied by a ’ fold-out ‘Chart of Pirate Island’.

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ILLUSTRATED HALF LETTER FROM JACK BUTLER YEATS TO THOMAS ARNOLD HARVEY, 27 JANUARY
ILLUSTRATED HALF LETTER FROM JACK BUTLER YEATS TO THOMAS ARNOLD HARVEY, 27 JANUARY
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 79

Published Estimate: €250-350

Price Realised: €360

  • Signature: signed, illustrated and dated; with artist's address [Cashlauna Shelmiddy, Strete, Dartmouth, Devon] embossed top centre
  • Medium: ink on embossed letterhead
  • Dimensions: 9 by 7in., 23 by 18cm.
  • Provenance: Collection of Thomas Arnold Harvey; Thence by descent
  • Letter refers to forthcoming trip to London where he will be staying with Miss Jowett/ 62 Longridge Road/ Earls Court/ London. Shows illustration of "Walt Playing with the Birds" on reverse. Yeats met the clergyman Rev. Thomas Arnold Harvey when Harvey was tutor to Lady Augusta Gregory's son Robert at Coole. Harvey was Rector of Lissadell, in Sligo in 1908. Yeats and his wife Cottie became close friends with Harvey and Hilary Pyle's texts refers to several cartoons and illustrations showing them picnicking in the grounds of Coole Park. Hilary Pyle also records a sketchbook in the artist's collection entitled At Harvey's, 1908 (Her reference 138. [75])

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ILLUSTRATED HALF LETTER FROM JACK BUTLER YEATS TO THOMAS ARNOLD HARVEY
ILLUSTRATED HALF LETTER FROM JACK BUTLER YEATS TO THOMAS ARNOLD HARVEY
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 80

Published Estimate: €200-300

Price Realised: €660

  • Signature: signed and illustrated
  • Medium: ink
  • Dimensions: 7 by 4.5in., 18 by 11cm.
  • Provenance: Collection of Thomas Arnold Harvey; Thence by descent
  • Letter tells of a boat in Sligo harbour which Yeats can see from his window and also details a map overleaf showing the artist's residence and way to the golf club. Yeats met the clergyman Rev. Thomas Arnold Harvey when Harvey was tutor to Lady Augusta Gregory's son Robert at Coole. Harvey was Rector of Lissadell, in Sligo in 1908. Yeats and his wife Cottie became close friends with Harvey and Hilary Pyle's texts refers to several cartoons and illustrations showing them picnicking in the grounds of Coole Park. Hilary Pyle also records a sketchbook in the artist's collection entitled At Harvey's, 1908 (Her reference 138. [75])

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ILLUSTRATED LETTER FROM JACK BUTLER YEATS TO THOMAS ARNOLD HARVEY, 16 NOVEMBER 1904
ILLUSTRATED LETTER FROM JACK BUTLER YEATS TO THOMAS ARNOLD HARVEY, 16 NOVEMBER 1904
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 81

Published Estimate: €200-300

Price Realised: €660

  • Signature: signed, addressed [Cashlauna Shelmiddy, Strete, Dartmouth, Devon], illustrated and dated
  • Medium: ink on blue tinted paper
  • Dimensions: 7 by 9in., 18 by 23cm.
  • Provenance: Collection of Thomas Arnold Harvey; Thence by descent
  • Yeats met the clergyman Rev. Thomas Arnold Harvey when Harvey was tutor to Lady Augusta Gregory's son Robert at Coole. Harvey was Rector of Lissadell, in Sligo in 1908. Yeats and his wife Cottie became close friends with Harvey and Hilary Pyle's texts refers to several cartoons and illustrations showing them picnicking in the grounds of Coole Park. Hilary Pyle also records a sketchbook in the artist's collection entitled At Harvey's, 1908 (Her reference 138. [75])

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ILLUSTRATED ENVELOPE FROM JACK B. YEATS TO REV. T.A. HARVEY, 1906
ILLUSTRATED ENVELOPE FROM JACK B. YEATS TO REV. T.A. HARVEY, 1906
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 82

Published Estimate: €150-200

Price Realised: €400

  • Signature: inscribed by the artist and illustrated verso; postmarked [Dartmouth / April 14 / 1906]
  • Medium: ink with watercolour on blue tinted paper
  • Dimensions: 3.75 by 4.75in., 10 by 12cm.
  • Provenance: Collection of Thomas Arnold Harvey; Thence by descent
  • Yeats met the clergyman Rev. Thomas Arnold Harvey when Harvey was tutor to Lady Augusta Gregory's son Robert at Coole. Harvey was Rector of Lissadell, in Sligo in 1908. Yeats and his wife Cottie became close friends with Harvey and Hilary Pyle's texts refers to several cartoons and illustrations showing them picnicking in the grounds of Coole Park. Hilary Pyle also records a sketchbook in the artist's collection entitled At Harvey's, 1908 (Her reference 138. [75])

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THE FIDDLER
THE FIDDLER
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 1 October 2012 / 83

Published Estimate: €300-400

Price Realised: €520

  • Signature: image inscribed and signed in monogram lower right; postmarked [Dartmouth / 7.30pm Dec 29 / 02]; addressed to T.A. Harvey Esq., [19 Trinity College, Dublin (scratched out) Coole Park, Gort, Galway]
  • Medium: pen and ink with gouache on [post] card
  • Dimensions: 5.5 by 3.5in., 14 by 9cm.
  • Provenance: Collection of Thomas Arnold Harvey; Thence by descent
  • With wishes for the New Years from Yeats to Harvey. Yeats met the clergyman Rev. Thomas Arnold Harvey when Harvey was tutor to Lady Augusta Gregory's son Robert at Coole. Harvey was Rector of Lissadell, in Sligo in 1908. Yeats and his wife Cottie became close friends with Harvey and Hilary Pyle's texts refers to several cartoons and illustrations showing them picnicking in the grounds of Coole Park. Hilary Pyle also records a sketchbook in the artist's collection entitled At Harvey's, 1908 (Her reference 138. [75])

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SELF PORTRAIT, c.1930-1940s
SELF PORTRAIT, c.1930-1940s
George Collie RHA (1904-1975)

Auction Date / Lot No.: 1 October 2012 / 84

Published Estimate: €4000-6000

Price Realised: €9000

  • Signature: signed lower left
  • Medium: oil on canvas laid on board
  • Dimensions: 30 by 25in., 76 by 64cm.
  • This enigmatic self-portrait shows Collie hang-up his artist's smock in exchange for alternative attire; a top-hat, tie and overcoat and white gloves. The ten shilling note in his right hand suggests a tip, perhaps for some duties carried out and alluded to in his left arm which holds a bowler hat and a feather duster. Large keys on a chain hang prominently in the top right-hand corner of the canvas suggesting 'The Big House' or perhaps a change of address. George Collie was born in Monaghan and but moved at an early age to Dublin where he was educated first at St. Kevins School, Blackpitts, Dublin and later at the Dublin Metropolitan School of Art. He won the Taylor award in 1927 and travelled to London and Paris. On his return he set up a studio and his own school, behind Whyte's Galleries, in School House Lane off Molesworth Street. Collie was a regular exhibitor with the RHA and garnered important commissions, private, public and ecclesiastical throughout his career. In 2009, The National Gallery of Ireland acquired The Midday Meal, c.1927 by George Collie affirming the artist's importance in the context of Irish art. As with the present work, The Midday Meal captures the character of its aging subject; men at the Dublin Union, and shows the confidence of both the man and the artist. We are grateful to the artist's family for their assistance in cataloguing this lot.

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PORTRAIT OF DESMOND EDMUND CONOR MCGILLYCUDDY, c.mid-1950s
PORTRAIT OF DESMOND EDMUND CONOR MCGILLYCUDDY, c.mid-1950s
Leo Whelan RHA (1892-1956)

Auction Date / Lot No.: 1 October 2012 / 85

Published Estimate: €6000-8000

Price Realised: 

  • Signature: signed lower left; inscribed [Leo Whelan RHA / 65 Eccles St.] on reverse
  • Medium: oil on canvas
  • Dimensions: 38.5 by 42.5in., 98 by 108cm.
  • Provenance: Family of the sitter; Private collection, England
  • Leo Whelan painted the portraits of Dermod McGillycuddy Esq. and Mrs Dermod McGillycuddy and exhibited them at the RHA in Dublin, in 1939, numbers 205 and 210 respectively. The previous year the couple, Patricia Kennedy and Dermot McGillycuddy (son of Senator Lieutenant Colonel The McGillycuddy of the Reeks.), were married and their wedding ceremony is recorded in film and print as a High Society event in Dublin that year. The present work depicts their son born in 1949 at Bishopscourt, Kill, Co. Kildare. He is shown here alongside his Kerry Bog Pony and Jack Russell terrier and holding a Kohler hunting horn. In his latter years Whelan developed a fondness for a more sombre palette as demonstrated in the present work.

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THE MIRROR, 1912
THE MIRROR, 1912
Leo Whelan RHA (1892-1956)

Auction Date / Lot No.: 1 October 2012 / 86

Published Estimate: €15000-20000

Price Realised: €24000

  • Signature: signed and dated lower right
  • Medium: oil on canvas
  • Dimensions: 33 by 26in., 84 by 66cm.
  • Provenance: Acquired directly from the artist by the present owner's mother, a student at the Dublin Metropolitan School of Art in the 1930s
  • Exhibited: RHA, Dublin, 1913, exhibition no. 366 [price £15-15-0]
  • This self-portrait, entitled The Mirror was shown at the RHA in Dublin in 1912 (no. 366) (£15-15-0). It shows the young smartly dressed Whelan, leg firmly planted on the easel, palette and brush in hand studying his reflection in a large mirror. The composition with the cascading curtain on the left and the use of the mirror device nods to his academic training at the Metropolitan, where, under Sir William Orpen, he was considered 'a promising youth'. Holding the velvety fabric in place in the left foreground is a maquette depicting an Irish peasant group digging for potatoes (possibly referencing the Famine). A rare subject for sculptural treatment for this period; its inclusion suggests Whelan's interest in Irish rural social subjects, the influence of French social realists like Millet and their unromanticised, realist approach to depicting genre scenes. Whether this maquette references an actual sculpture is unclear. It is possible it was an experimental work made by the artist or a fellow student at the Metropolitan. Like his mentor, Whelan gravitated towards portraiture and was highly sought after from an early age. His first exhibit in the RHA in 1911 was a portrait, Dr O'Connell-Redmond J.P., F.R.C.S.I (no. 347) and during his years showing with the RHA (from 1911 to 1956, 1957 (the late) portraiture would make-up the bulk of his exhibits which totalled 260 works. Unlike Orpen, Whelan based himself in Dublin throughout his career. The RHA records only three Dublin addresses for the artist; one of which was his home address 65 Eccles Street where he lived with his mother (a "Hotel Proprietor"), siblings and two lodgers, a medical student and a draper. Whelan won the Taylor Scholarship in 1916 with The Doctor (now in the collection of the National Gallery of Ireland) and accolades such as this raised the artist's profile and led to important commissions later in his career. Along with Seán Keating and Sean O'Sullivan, Leo Whelan played a critical role in building a visual identity for the newly independent Ireland. Among his numerous portraits were Michael Collins (1922 and 1943) Count John McCormack (1930) The Hon. Ernest Guinness (1932) Sean Lemass (1945) Dr Douglas Hyde (1945, Collection of Áras an Uachtaráin) Eamon De Valera (1955). He was also tasked with painting the G.H.Q Staff of the Pre-Treaty I.R.A., 1922 (unfinished) which portrayed all thirteen figures from life and he designed the first Free State commemorative postal stamp issued in 1929 for the Centenary of Catholic Emancipation. Thomas MacGreevy, Director of the National Gallery of Ireland from 1950 to 1963 said that of all Orpen's pupils "Mr Whelan is perhaps nearest to his master in sheer skill." We are grateful to Dr. Emily Mark-Fitzgerald, UCD for her assistance with this lot.

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COASTAL SCENE, EVENING or TURBULENT SEA , BRITTANY, c.1898-1899
COASTAL SCENE, EVENING or TURBULENT SEA , BRITTANY, c.1898-1899
Roderic O'Conor (1860-1940)

Auction Date / Lot No.: 1 October 2012 / 87

Published Estimate: €15000-20000

Price Realised: €17000

  • Signature: with Atelier stamp lower right; with inscribed Mervyn and Pat Solomon Collection label on reverse; also with Browse & Darby Ltd [London] label on reverse
  • Medium: oil on board
  • Dimensions: 10 by 13.25in., 25 by 34cm.
  • Provenance: Artist's Studio Sale, Hôtel Drouot, Paris, Vente O'Conor, 7 February, 1956; Browse and Darby Gallery, London; Collection Mervyn and Pat Solomon, Belfast; Private collection
  • Exhibited: 'Roderic O'Conor - Shades of a Master', The Hunt Museum, Limerick, 26 June to 31 August 2003, catalogue no. 11
  • Literature: Benington, J., Roderic O'Conor 1860-1940, Dublin 1992, catalogue no. 78 as Coastal Scene, Evening
  • Roderic O'Conor's early love of the sea as subject matter for his paintings was already in evidence before he left Ireland for France in 1886 to further his artistic career in Paris. On a visit to Aberystwyth in Wales circa 1883-85 he produced several paintings in the realist tradition with one in particular, On the Shore, Aberystwyth, featuring waves breaking against foreground rocks. These early Aberystwyth paintings provide us with a valuable reference to his then conservative approach that contrasts with the more subjective, expressionistic, and interpretive seascapes which he painted in Brittany before the end of the 19th Century. Coastal Scene, Evening is a good example of the extent to which his own painting developed in response to the lively exhibition scene and stylistic changes which defined painting in 'fin de siècle' Paris, and which identified the city as the art centre of the world. Within the first year of his arrival in France, O'Conor visited the popular artists' colony in the small town of Pont-Aven in southern Brittany and after several subsequent annual summer visits he took up residence there in 1891. His friendship with Paul Gauguin in Pont-Aven in 1894-95 and his affiliation with Gauguin's circle of artists acted as a catalyst to his artistic development, and he gained the respect of his closest friends who admired the breadth of his knowledge and his considerable skill as a colourist. Coastal Scene, Evening belongs to a period in O'Conor's career when, after Gauguin's final departure from France for the South Seas in1895 and the gradual break-up of his group, he sought a quieter existence and moved to Rochefort-en-Terre in Morbihan. From there he made a visit to the Brittany coast in 1898, favouring that stretch of coastline between le Pouldu and Doëlan to the south of Pont-Aven. From the coastal path he made numerous paintings looking westwards over the rocky foreshore to the surging Atlantic, and in this case a turbulent sea, which stretched before him. These paintings range from the boldly expressive to the refined and detailed, and his marine works include a significant number of small paintings, of which Coastal Scene, Evening is typical. The high horizon line implies an elevated viewing position but the absence of foreground rocks, other than the one which juts into the composition from the left, confirms that the painter was close to the breaking waves, probably standing directly on the rocks rather than on the cliff path. The view is towards the sun but the colour range, with its absence of warm hues, would suggest an early afternoon rather than an evening light. This small and lively painting is spontaneously and boldly executed through O'Conor's typical painting method in similar works in which he used the brush as a drawing tool, leaving some of the ground to show through as he does here in the foreground. Few larger and more finished paintings have been identified which relate directly to O'Conor's numerous small seascapes of this type, leading to the reasonable conclusion that such works were painted primarily as studies or sketches. Roy Johnston August, 2012

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SIR WALTER RALEIGH'S HOUSE, YOUGHAL, COUNTY CORK, 1886
SIR WALTER RALEIGH'S HOUSE, YOUGHAL, COUNTY CORK, 1886
John Armour Haydn LLD (1881-1957)

Auction Date / Lot No.: 1 October 2012 / 89

Published Estimate: €1000-1500

Price Realised: €1000

  • Signature: original inscribed label, signed and dated [July] on reverse
  • Medium: oil on canvas
  • Dimensions: 12 by 16in., 30 by 41cm.
  • Provenance: Presented by the artist to a Miss Brew, according to label on reverse; Private collection;Whyte's, 26 April 2005, lot 121;Whence purchased by the present owner
  • The Venerable J. A. Haydn LL.D was rector of Nantenan, near Rathkeale, Co. Limerick, and later Archdeacon of Limerick. His artistic pursuits are little known compared to those of his only son, also called John Armour Haydn (1881-1957), who was a regular exhibitor with the Dublin Sketching Club during the 1920s-1950s; the son also showed nine works at the RHA (See Snoddy, p.231). Both father and son favoured architectural subjects, typically in Kerry, Limerick, Cork and Dublin. Myrtle Grove is the sixteenth century Tudor manor house of Sir Walter Raleigh, occupied by him when he was Mayor of Youghal in 1558-59. Also visible in Haydn's view is the thirteenth century Collegiate Church, St. Mary's, next door to Myrtle Grove.

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ROSS CASTLE, KILLARNEY, 1907
ROSS CASTLE, KILLARNEY, 1907
Archibald McGoogan (1860-1931)

Auction Date / Lot No.: 1 October 2012 / 90

Published Estimate: €800-1200

Price Realised: €750

  • Signature: signed and dated lower right; with Combridge Fine Art label on reverse
  • Medium: watercolour
  • Dimensions: 8.75 by 12.5in., 22 by 32cm.
  • Provenance: The Collection of Mr E.A. Stone, recorded on 1911 census as a Chemical Analyst of Windsor Avenue, Clontarf, Dublin; Thence by descent
  • 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 Winsor Road, Leinster House Dublin and 8 Ardenta Terrace, Monkstown.

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SILENT VALLEY, COUNTY DOWN,1898
SILENT VALLEY, COUNTY DOWN,1898
Joseph William Carey RUA (1859-1937)

Auction Date / Lot No.: 1 October 2012 / 91

Published Estimate: €800-1200

Price Realised: 


THE MIDDAY MEAL [AFTER KAREL FRANS PHILLIPPEAU], 1835
THE MIDDAY MEAL [AFTER KAREL FRANS PHILLIPPEAU], 1835
Robert Mannix (fl. 1858-1911)

Auction Date / Lot No.: 1 October 2012 / 92

Published Estimate: €500-700

Price Realised: €420

  • Signature: signed, dated and with location [Dublin] lower right; with original inscribed label on reverse; also with framing label of Bregazzi & Sons [10 Merrion Row, Dublin] on reverse
  • Medium: oil on canvas
  • Dimensions: 10 by 14in., 25 by 36cm.
  • Label verso reads: "The Midday Meal by Phillppeau. Glasgow / Painted by R Mannix, 1835 Dublin / In sunny Italy the peasant folks live in the open more than we can". Robert Mannix is listed in the RHA Index of Exhibitors with an address in Mount Street, Dublin. He exhibited with RHA between 1858 and 1911..... Glasgow address given later years. The painting The Midday Meal by Karel Frans Phillippeau (Dutch,1825–1897) is now held in the Glasgow Museums.

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TRÄUMEREI, 1909
TRÄUMEREI, 1909
William Wardlaw Laing (act. 1873-1928)

Auction Date / Lot No.: 1 October 2012 / 93

Published Estimate: €2000-3000

Price Realised: €4200

  • Signature: signed and dated lower left; with title and artist's name and address on original label on reverse; also with artist's name and partial address inscribed in pencil on stretcher on reverse
  • Medium: oil on canvas
  • Dimensions: 36 by 24in., 91 by 61cm.
  • William Wardlaw Laing was based in Liverpool during most of his career with an address at 8 & 9 The Temple, Dale Street. Laing variously exhibited throughout his career between 1882-1922 showing at RSA, Walker Art Gallery, Liverpool, Manchester City Art Gallery, The RA (between 1873-98) and The Royal Institute of Painters in Watercolour among others. The present work makes reference to Robert Schumann's musical piece of the same name, often referred to as "Dreaming". The composer himself can be seen in the portrait within the painting; based on a daguerreotype from 1850.

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BOY ON A CHAIR
BOY ON A CHAIR
Sarah Henrietta Purser HRHA (1848-1943)

Auction Date / Lot No.: 1 October 2012 / 94

Published Estimate: €400-600

Price Realised: €400

  • Signature: with sketches of three portraits on reverse
  • Medium: pencil on buff-coloured paper
  • Dimensions: 5 by 3.5in., 13 by 9cm.
  • Provenance: Kenny Gallery, Galway; Private collection
  • Literature: O'Grady, John, The Life and Work of Sarah Purser, Four Courts Press, Dublin, 1996, p. 211 (illustrated)
  • John O'Grady's text records this work as a "...fair haired boy of three or four, near full length, three quarters to right, sitting sideways on a straight chair, his head leaning against the chairback, right hand gripping the front of the seat; in sailor suit with knee breeches and long dark stockings." Image on reverse shows a bearded man and a woman to his left in three quarter length profile. A smaller depiction of what appears to be the same male sitter is seen face on in the corner of the page.

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MARIA GUNNING, LADY COVENTRY
MARIA GUNNING, LADY COVENTRY
Henry Albert Morland (c.1716-1797)

Auction Date / Lot No.: 1 October 2012 / 95

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: original inscribed label on reverse; also with typed label detailing provenance on reverse
  • Medium: watercolour on paper laid on panel
  • Dimensions: 15.5 by 12in., 39 by 30cm.
  • Provenance: A gift from the sitter to her Godchildren, The Blayneys of Coughton Court, Warwickshire; Thence by descent to Mrs. Jane Andrew (née) Blayney of Coughton Court; Bequeathed to Robert Thos. Jackson; His sale at Lynwood, Cookham Dean, October 1922; Where
  • Maria Gunning was the eldest daughter of John Gunning Esq. by his wife Bridget, daughter of Viscount Mayo and sister to the Duchess of Hamilton and Argyle. A famed beauty, Maria Gunning married the Right Hon. George William, Earl of Coventry, Viscount Deerhurst, on 5 March 1752. She died 30 September 1760.

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L'ENFANT A L'ÉPÉE, TOURNÉ À GAUCHE / YOUNG BOY WITH A SWORD (1862)
L'ENFANT A L'ÉPÉE, TOURNÉ À GAUCHE / YOUNG BOY WITH A SWORD (1862)
Édouard Manet (French, 1832–1883)

Auction Date / Lot No.: 1 October 2012 / 96

Published Estimate: €1500-2000

Price Realised: 

  • Signature: signed in the plate lower left
  • Medium: etching and aquatint printed in black
  • Dimensions: 9.5 by 6.25in., 24 by 16cm.
  • The original oil on which this is based can be found in the collection of The Metropolitan Museum of Art, New York.

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CONTINENTAL TOWN SCENE, 1875
CONTINENTAL TOWN SCENE, 1875
Thomas Richard Colman Dibdin (1810-1893)

Auction Date / Lot No.: 1 October 2012 / 99

Published Estimate: €800-1200

Price Realised: €620

  • Signature: signed and dated lower left; with artist's name and date printed in the mount lower left and lower right respectively
  • Medium: watercolour
  • Dimensions: 30 by 21.25in., 76 by 54cm.
  • Possible a view of Rouen Cathedral, France.

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A STREAM IN GLENFINNAN, INVERNESS, SCOTLAND, c.1860s
A STREAM IN GLENFINNAN, INVERNESS, SCOTLAND, c.1860s
John Faulkner RHA (1835-1894)

Auction Date / Lot No.: 1 October 2012 / 100

Published Estimate: €800-1000

Price Realised: €750

  • Signature: signed and inscribed lower left beneath the mount
  • Medium: watercolour
  • Dimensions: 24.5 by 19.5in., 62 by 50cm.
  • Faulkner was a regular exhibitor with the RHA from 1853 to 1887. In 1862 and 1863 he showed two works which depicted the Glenginnan area in particular, however, other locations in Scotland were exhibited with the RHA throughout his career. Faulkner was based in Dublin, with addresses in Rathmines, Rathgar and Henrietta Street but later, in 1880, the Index of Exhibitors records three different addresses in the London area.

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HIS LEGAL ADVISER
HIS LEGAL ADVISER
After Marc Louis Benjamin Vautier (Swiss, 1829-1898)

Auction Date / Lot No.: 1 October 2012 / 101

Published Estimate: €1500-2000

Price Realised: €2500

  • Signature: signed "n. [nach] Vautier"; with partial William Rodman & Co., Belfast label on reverse
  • Medium: oil on canvas
  • Dimensions: 25 by 31in., 64 by 79cm.
  • Provenance: Whyte's, 28 September 2009, lot 85; Private collection
  • An early 20th century copy of a work by Benjamin Vautier I, the well known 19th century Swiss artist. Vautier's early training involved an apprenticeship with an enameller in Geneva. He later took drawing lessons from Jules Hebert (1812-97) and from 1850 to 1853 he lived in Düsseldorf, where he was taught by Carl Ferdinand Sohn and Rudolf Jordan at the Düsseldorf Academy. Vautier's style has been described as naturalistic and discursive. His works generally suggest his keen interest in anthropology and place a strong emphasis on the emotional state of his subjects.

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DUTCH CANAL SCENE
DUTCH CANAL SCENE
Adrianus Jacobus Vrolyk (Dutch, 1834-1862)

Auction Date / Lot No.: 1 October 2012 / 102

Published Estimate: €1500-1800

Price Realised: €1400


COWLEY NEAR UXBRIDGE, c.1890
COWLEY NEAR UXBRIDGE, c.1890
John Faulkner RHA (1835-1894)

Auction Date / Lot No.: 1 October 2012 / 103

Published Estimate: €1500-2000

Price Realised: 


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