26 November 2012

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BRETON SCENE, c.1926-1929
BRETON SCENE, c.1926-1929
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 26 November 2012 / 48

Published Estimate: €2500-3500

Price Realised: €6000

  • Signature: signed lower left; with Hendriks framing label on reverse
  • Medium: oil on canvas
  • Dimensions: 12.5 by 16in., 31.75 by 40.64cm.
  • Provenance: Purchased directly from the artist's widow by the present owner's family; Thence by descent
  • A receipt of sale from the artist's widow to the previous owner notes that the work was "painted 1926-1929 in Brittany, probably Pont-Croix".

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BRINGING HOME THE TURF
BRINGING HOME THE TURF
Lilian Lucy Davidson ARHA (1893-1954)

Auction Date / Lot No.: 26 November 2012 / 49

Published Estimate: €18000-22000

Price Realised: €0

  • Signature: signed with initials lower left partially hidden by the slip; also inscribed [AA 239] on reverse
  • Medium: oil on canvas
  • Dimensions: 22.5 by 29in., 57.15 by 73.66cm.
  • Provenance: Purchased from an exhibition (date unknown) of Davidson's work by the present owner's parents; Thence by descent
  • Lilian Davidson came from humble beginnings in Bray, Co. Wicklow where she was educated privately before attending the Dublin Metropolitan School of Art. She was closely associated with the Watercolour Society of Ireland with whom she exhibited from 1912 until 1953 and with the RHA which exhibited 135 works by the artist over a forty year period from 1914. From an address in Rathmines Dublin, Davidson exhibited widely with the Dublin Painters' exhibitions, the Oireachtas and in 1920 in a joint show with Mainie Jellett. She is also recorded as exhibiting abroad in the 1930s in London, Amsterdam, Chicago and at the Salon de la Société Nationale in Paris (1924 and 1930). A solo show in Dublin was held in 1936 which comprised 36 works in oil and watercolour, among them a portrait of George Russell (Æ). In 1940 she was made an Associate to the RHA. Davidson set up a studio and taught in Earlsfort Terrace, Dublin where she counted among her protégés; Bea Orpen, Kitty Wilmer O'Brien and Lillias Mitchell. She was closely associated with theatre in Dublin and she counted among her friends Hilton Edwards and Mícheál MacLíammóir. She designed sets, wrote plays and painted scenery for the Torch Theatre which she helped found in the 1930s. The present work depicting rural life in Ireland and is comparable with the artist's deeply empathetic works from the 1930s such as Cottages, Keel, Achill, 1938 (Private collection) shown at the RHA that year. The composition has a theatrical feel with its dynamic figures in the foreground and steep mountain range in the distance. The palette of mauve and earthy brown tones evoke the West in a deeply personal manner that is romantic and at the same time sympathetic. The influence of Jack B. Yeats can be seen in her choice of subject and although more sombre in palette , her use of mass and space are strongly influenced by him.1 Their relationship is recorded in canvas in her portrait of Yeats from 1938 which she bequeathed to the National Gallery in 1955 [NGI.1289] Although Davidson would have been exposed to more avant-garde trends during her lifetime her approach faithful to Naturalism and the influence of French Impressionism which she was exposed to while in France in the 1920s. In 2003 the National Gallery of Ireland acquired Fashions at the Fair, c.1940s [NGI.4719] underpinning her importance in the context of Irish art. Footnotes: 1. Cahill, Katherine, 'In the Mainstream of Irish Naturalism, The Art of Lilian Lucy Davidson, 1879-1954', Irish Arts Review Yearbook, Vol. 15, 1999, p.36 2. Ibid., p.44

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THE RISING MOON, TANGIER, 1912
THE RISING MOON, TANGIER, 1912
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 26 November 2012 / 50

Published Estimate: €80000-120000

Price Realised: €80000

  • Signature: signed lower left; with title [THE RISING MOON/ TANGIER BAY/BY/JOHN LAVERY/ 5. CROMWELL PL:/ LONDON/1912] (in a later hand) on reverse
  • Medium: oil on canvas
  • Dimensions: 40 by 49.5in., 101.6 by 125.73cm.
  • Provenance: The artist; Thence by descent to Mrs J. McEnery; Her sale, Adam's, 11 December 1990, lot 93; Private collection Christie's 20 May 1999, lot 51; Private collection Adam's 25 May 2005, lot 81
  • Literature: Mallie, Eamonn (ed.), One Hundred Years of Irish Art, 2000, p.186
  • Following their marriage in July 1909, Lavery's wife, Hazel and stepdaughter, Alice, joined his entourage on regular winter sojourns in Tangier. Since 1891, the year of his first visit, Lavery had been captivated by 'the White City' and in 1903 had secured a house on Mount Washington overlooking the Straits of Gibraltar. Here the wealthy members of the international community had built themselves secluded villas at a discreet distance from the souk and the kasbah. Whilst it was not palatial, Lavery's retreat, Dar-el-Midfah, 'the House of Cannon', had a sumptuous terraced garden where rambling bougainvillea led the visitor down the hillside towards the sea. This became his winter studio for the first four months of each year, and the place where some of his most memorable canvases were painted. After 1910, Hazel and Alice brought a new dimension to the painter's Tangier studies. Mother and daughter were glimpsed on the beach, on the hilltop paths and entertaining at alfresco breakfasts on the veranda and in the garden. Their presence on these occasions was often a foil to the resplendent vistas provided by a series of headlands known as the Pillars of Hercules that, for the traveller, formed 'the gateway of a world of wonder'. 'Nothing in Tangier' wrote HD Traill, 'will compare with the approach to it by its incomparable bay'. Looking eastward, it is this sequence of inlets leading to the great sweeping bay that we see in the present work. The city is tucked behind the hill on the right. This particular view was one that Lavery painted on many occasions in small 10 by 14 inch studies, one of which was presented to the Scots adventurer, RB Cunninghame Graham (Fig 1. Moonrise, Tangier, c.1912, Private collection). However in 1912, the painter took up this 40 by 50 inch canvas to do full justice to the spectacle. The idyllic world was nevertheless fraught with danger: several of Lavery's neighbours had been kidnapped by local brigands and Hazel, fearful for her daughter's safety, accompanied her everywhere. The Sultan was weak, his police, ineffectual, and his local administrators, corrupt. Such was the growing lawlessness in Morocco that in March 1912, the French army, stationed across the border in Algeria, invaded. Tangier was momentarily quiet, save for the social event of the season, the marriage of Eileen Lavery, the painter's daughter, to James Dickinson, a Liverpool solicitor. Planning for this event did not deter the painter as he embarked on one of his most productive Tangier seasons. In the present canvas Alice, now aged eight, wearing her favourite bandana (Fig 2. Miss Alice Trudeau, 1912, Private Collection), takes centre stage. A second figure, probably her mother, sits overlooking the scene. Lavery may have wished to include others in the composition but in the end an empty chair and table were sufficient to indicate that at moonrise the guests have gone. The last rays of the sun, sinking behind the painter as his works, pick out tiny white buildings perched on the edge of the citadel in the distance. The romance however was not to last. After 1914 travel was restricted and only one further visit was made in 1920. Thereafter, attention shifted to the Riviera and the House of the Cannon was sold in 1923. Ten years later, on a Mediterranean cruise the Laverys passed the Pillars of Hercules without disembarking and the painter looked out upon the White City for the last time. 'I feel quite sad remembering the past' he wrote to his old friend and fellow expatriate 'Tangerine', Cunninghame Graham. Prof Kenneth McConkey November, 2012 Footnotes: 1. Alice, later Mrs J McEnery, was Hazel Lavery's daughter by her first marriage to Dr Edward Livingston Trudeau Jnr. 2. Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Atelier Books), pp. 54-6, 95-105. 3. HD Traill, 'The Pillars of Hercules' in The Picturesque Mediterranean, its Cities, Shores and Islands, n.d. [c.1890], (Cassell Publishing Company), pp. 2,6. 4. McConkey 2010, p. 116 5. Since the picture does not appear in the probate valuation of the contents of Lavery's studio made shortly after his death, we may assume that it was already assigned to Mrs McEnery, later Mrs Stephen Gwynn. This would be logical since she is the child represented. Close examination of the paint surface indicates that since it left Mrs Gwynn's possession in 1990 the picture has been re-stretched and re-lined to restore Lavery's original composition.

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LOADING AND UNLOADING TURF BOATS, CONNEMARA, c.1940s
LOADING AND UNLOADING TURF BOATS, CONNEMARA, c.1940s
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 26 November 2012 / 51

Published Estimate: €20000-30000

Price Realised: €0

  • Signature: signed lower right; with Victor Waddington Galleries label on reverse
  • Medium: oil on board
  • Dimensions: 19 by 20.25in., 48.26 by 51.435cm.
  • Provenance: Private collection since early 1940s
  • This example of Seán Keating's work, which is known as Loading and Unloading the Turf Boats, Connemara (c.1939-46) is one of a series of studies and paintings of the western seaboard of Ireland and the Aran Islands that the artist began in c.1939 and concluded in the late 1940s. There was no indigenous turf on the Aran Islands, so it was necessary to have the fuel brought over from the mainland on boats that looked like currachs, but were larger versions called bád iomartha. Keating's image shows the boats being loaded with turf in Connemara. There are three bád iomartha in the little harbour; two masts are visible and one is anchored in view in the shallow waters. In the background, another bád iomartha is at full sail and headed west across the North Atlantic sea towards one of the Aran Islands. Two older men sit and watch as the others work hard to load the rest of the turf onto the boats before night falls, or the brooding storm, evident in the dark clouds beyond, intensifies enough to put a halt to the day's work. In the background, the sun has parted the skies to illuminate the tiny whitewashed and thatched cottages that dotted the coastline between Spiddal and Carraroe. The arrangement of the pictorial elements in this study is demonstrative of the artist's concern with the use of photography and cine-film footage as a means to construct his compositions. Indeed, as a result of his interest in such technology Loading and Unloading the Turf Boats, Connemara has a lot in common in terms of composition with another example by the artist, Loading the Turf Cart, The Quay, Kilmurvey (c. 1940), which was sold in Dublin in 2006. The two men in the red cart drawn by a white horse in the background, and the bád iomartha anchored in the shallow harbour, make an appearance in both images. Such repetition was not unusual for Keating at that time. His paintings of the western seaboard and the Aran Islands were enduringly popular. The re-use of certain vignettes and compositional elements helped to create a readily recognisable body of work on the topic, while at the same time, his artistic familiarity with the material allowed the artist time to complete several studies and commissioned paintings featuring the traditional ways of life which were then still evident. Furthermore, Keating's use of a camera and cine-camera to capture the habitual routines of the west of Ireland people, which he then transferred to canvas or paper, gave a sense of validity and authenticity to his work. As a result, images such as Loading and Unloading the Turf Boats, Connemara, although composed from individual vignettes, are studies of contemporary history, and as such, they are important visual documentary evidence of a traditional way of life now lost to modernity. Keating exhibited with the Victor Waddington Gallery in Dublin, and he also had his work framed there throughout the 1940s. It is of significance to note that Loading and Unloading the Turf Boats, Connemara is still in its original Victor Waddington frame. An uncommon find, the original frame and Waddington label are important and integral components of the work. Significantly, the frame is a little more decorative than the artist could have afforded to use. Hence, it seems reasonable to assume that the artist either sold or, as seems more likely, gifted the work to the owner, who then brought it, on Keating's advice, to Waddington to be suitably framed. The painting has remained in the same private collection since, a fact that explains the survival of the frame. The subject of Loading and Unloading the Turf Boats, Connemara seems to be related to a painting by the artist titled Turf Boats, Connemara (1946) which entered a private collection at that time and has not been seen in public since. Dr Éimear O'Connor HRHA Author and Research Associate-TRIARC Irish Art Research Centre, TCD October 2012

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CUNARD SAILOR, BELFAST, 1927
CUNARD SAILOR, BELFAST, 1927
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 November 2012 / 52

Published Estimate: €800-1000

Price Realised: €750


BELFAST DOCKS
BELFAST DOCKS
Hans Iten RHA (1874-1930)

Auction Date / Lot No.: 26 November 2012 / 53

Published Estimate: €800-1000

Price Realised: €0


DOCKLAND SCENE WITH CRANES AND FIGURES
DOCKLAND SCENE WITH CRANES AND FIGURES
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 November 2012 / 54

Published Estimate: €800-1000

Price Realised: €0


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

Auction Date / Lot No.: 26 November 2012 / 55

Published Estimate: €12000-15000

Price Realised: €20000

  • Signature: signed lower left; inscribed with title in another hand on reverse; with Oriel Gallery label also on reverse
  • Medium: wax crayon on card
  • Dimensions: 18 by 14in., 45.72 by 35.56cm.
  • Provenance: Oriel Gallery, Dublin; Private collection
  • Exhibited: 'One Hundred Years of Irish Art', Oriel Gallery, Dublin, April 1994, (an exhibition to coincide with the launch of the book of the same name), illustrated on exhibition invitation
  • Literature: Nulty, Oliver (Ed.), 100 Years of Irish Art, The Oriel Gallery Silver Jubilee (1968-1993), Nicholson & Bass, Dublin, 1993 (illustrated on dust jacket)
  • A copy of the exhibition invitation preserved on reverse.

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"THE PROUD AND CARELESS NOTES LIVE ON BUT BLESS OUR HANDS THAT EBB AWAY" c.1919-1921
Susan Mary ('Lily') Yeats  (1866-1949) and R. Brigid Ganly (neé O'Brien) HRHA (1909-2002)

Auction Date / Lot No.: 26 November 2012 / 56

Published Estimate: €2500-3500

Price Realised: €2500

  • Signature: signed by Yeats within the design lower right; signed "B. O'Brien" lower left
  • Medium: embroidered threads on green silk; (framed)
  • Dimensions: 11.5 by 14.5in., 29.21 by 36.83cm.
  • This extremely rare, well preserved embroidered panel illustrates the final refrain intoned by the Three Voices in unison at the end of W.B. Yeats' poem entitled The Players ask for a Blessing on the Psalteries and themselves from his collection of lyrical poems, In the Seven Woods: being Poems chiefly of the Irish Heroic Age, which his sister Elizabeth had published as her first Dún Emer Press hand-printed volume in 1903. In 1902, Elizabeth Yeats and her elder sister Lily had returned to Ireland from London at the invitation of Evelyn Gleeson, to set up workshops in the Arts and Crafts venture Gleeson was establishing at Dún Emer, a large house in Dundrum, south of Dublin. While Elizabeth Yeats set up a handpress and began printing and binding books advised by her literary brother, William Butler Yeats, Lily Yeats, a skilled needlewoman (who had been trained by William Morris' daughter, May), focussed on embroidery, often designed by their younger artistic brother, Jack Butler Yeats. By 1904, she had seven girls working with her. In 1908, the sisters seceded from Dún Emer and set up their own Cuala Industries nearby, where Lily Yeats continued to run her embroidery workshop, often adapting the designs of other artists, and producing a wide range of embroidered domestic and autonomous panels. After continual ill health, she became so ill that production was considerably diminished in the mid 1920s. The last sale of embroidery under her direction was held in 1931, under great financial duress, and in 1932 the Cuala embroidery department wound down in its Baggot Street home. This panel (described by Lily Yeats as one of her 'needle pictures') was designed by Brigid O'Brien, daughter of the painter Dermod O'Brien, who was trained at the Dublin Metropolitan School of Art, under Oliver Sheppard, Seán Keating, Patrick Tuohy and Oswald Reeves, and at the RHA Schools. In 1928, she was elected an ARHA. Barbara Dawson has noted her willingness to apply her training to various projects and media, including caricature and book illustration. Joseph McBrinn records that she won the Taylor Scholarship in 1929 and in 1930 while she was completing her first mural illustrating St. Patrick, for the Presentation Convent school on George's Hill, Dublin. Her first major commission, completed in 1930, was for a painted frieze over 120 feet long illustrating James Stephens' version of The Boyhood of Fionn (published with Arthur Rackham's illustrations in 1924) for the Carnegie Trust's Child Welfare Centre on Cork Hill, Dublin. Although this major work is now no longer visible, having been vandalised by being over-painted, it is directly analogous with this fine little tableau. A later, primitivistly stylised, predominantly black and white embroidered version (unsigned by O'Brien) illustrating the same lines from Yeats' poem was dated by the artist to 1935 in the Hugh Lane exhibition catalogue (p.8). The Yeats' were neighbours of the O'Briens, who lived in Fitzwilliam Square, and frequented the nearby United Arts Club, where the paths of W.B.Yeats and Brigid O'Brien's father, the painter Dermod, often crossed. In 1929, W.B. Yeats had commissioned the young painter to try and boost his sister Lily's precarious income by designing Stations of the Cross for her to embroider on Irish silk poplin. What is unusual about this very beautifully worked panel is the delicate fineness of the pale green silk ground and the lively, evocative portrayal of each of the three figures depicted between the two scrolls bearing the text they illustrate. There is much more attention to narrative detail and to the range and application of stitches carefully chosen than in any other Cuala embroidery of this late period. Not since the embroidered sodality banners of 1902-3 for Loughrea Cathedral had Lily Yeats produced such successful and expressive figurative work. Although the scale is small, close attention reveals the variety of couched and stemmed stitches used to outline and fill in the costumes, hands and features (particularly expressive), hair and musical instruments of the imaginatively dressed, lamenting musicians. The direction the stitches follow is an intrinsic part of the success of this panel's design, as they emphasize the volume of the surface they are describing, and draw the viewer's attention to the positions of the hands plucking the chords on each musical instrument. Despite the obvious graphic influences of Beatrice Elvery, Mary Cottenham Yeats and Wilhelmina Geddes (particularly the latter's St. Brendan embroidered panel of 1924) and that of Jack Yeats in his early predilection for figures standing high above a low, recognisably Irish, horizon, this design is strikingly original. The colours are distinctive with their soft pinks, turquoise, jade and gold, even though there may be some fading on the golden-haired girl player's delicately worked spotted dress, flouncy petticoat and slippers. The welcome appearance of this panel makes it all the more important that others, such as Tobias and the Angel, similarly designed by O'Brien and worked by Lily Yeats, be traced and documented. Dr Nicola Gordon Bowe November 2012 Literature: R. Brigid Ganly, H.R.H.A.: born 1909: retrospective exhibition, Gorry Gallery, Dublin December 4th -17th 1987; Maureen Murphy (ed.), I call to the Eye of the Mind: A Memoir by Sara Hyland (Dublin 1995); Nicola Gordon Bowe and Elizabeth S. Cumming, The Arts and Crafts Movements in Dublin and Edinburgh 1885 - 19325 (Dublin 1998); Barbara Dawson in Christina Kennedy & Maime Winters (eds.), Brigid Ganly retrospective: catalogue of an exhibition at the Hugh Lane Municipal Gallery of Modern Art, Dublin 1998; Joseph McBrinn, Mural Painting in Ireland 1855-1959, unpublished Ph.D. thesis, Volume II, N.C.A.D. (N.U.I.), Dublin 2007

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SELF PORTRAIT [<i>AN ONLOOKER IN FRANCE 1917-1919</I>]
SELF PORTRAIT [AN ONLOOKER IN FRANCE 1917-1919]
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 26 November 2012 / 57

Published Estimate: €800-1000

Price Realised: €1300

  • Signature: signed, inscribed, illustrated and dated [1921] on page before title page
  • Medium: ink drawing within first edition book
  • Dimensions: 10.5 by 8.5in., 26.67 by 21.59cm.
  • First edition, London, 1921. In original green boards with gilt titled spine.

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ILLUSTRATION TO "...AND SHE FOLLOWED THE DARK-EYED GYPSEY O", 1903
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 November 2012 / 58

Published Estimate: €8000-10000

Price Realised: €8500

  • Signature: signed lower left; with title printed in the mount
  • Medium: Indian ink with watercolour
  • Dimensions: 5 by 11in., 12.7 by 27.94cm.
  • Provenance: Sold to C.F. McLoughlin, United Arts Club, Dublin, 1933; Christie's, 4 November 1983, lot 55; Private collection; Christie's, 9 June 1989, lot 329; Private collection; deVere's, 22 April 1998, lot 100; Private collection
  • Exhibited: 'Drawings and Pictures of Life in the West of Ireland', Stephen's Green Gallery, Dublin, 19 February to 4 March, 1921, catalogue no. 33
  • LiteratureA Broad Sheet, No. 18 (June 1903); Pyle, Hilary, The Different Worlds of Jack B. Yeats. His Cartoons and Illustrations, Irish Academic Press, 1994, p.239 (catalogue no. 1719), p.240 (illustrated)
  • Illustration for a ballad entitled Seven Gypsies.

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LIFE IN THE WEST OF IRELAND, DRAWN AND PAINTED BY JACK B. YEATS, 1912
LIFE IN THE WEST OF IRELAND, DRAWN AND PAINTED BY JACK B. YEATS, 1912
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 26 November 2012 / 59

Published Estimate: €600-800

Price Realised: €900

  • Medium: first edition book
  • Dimensions: 10 by 7.25in., 25.4 by 18.415cm.
  • First edition, Maunsel & Company Ltd., Dublin and London, 1912. In original navy blue boards with gilt titled upper and spine. Contains eight colour plates, thirty-two line drawings and sixteen reproductions from paintings.

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LIGHT THROUGH BREAKING CLOUDS ON BOGLAND WITH MOUNTAINS IN THE DISTANCE
LIGHT THROUGH BREAKING CLOUDS ON BOGLAND WITH MOUNTAINS IN THE DISTANCE
William Percy French (1854-1920)

Auction Date / Lot No.: 26 November 2012 / 60

Published Estimate: €2500-3500

Price Realised: €2000


A BOG LAKE, ACHILL
A BOG LAKE, ACHILL
William Percy French (1854-1920)

Auction Date / Lot No.: 26 November 2012 / 61

Published Estimate: €2500-3500

Price Realised: €2500

  • Signature: signed lower left; also inscribed [Dugort Achill] upside-down lower centre
  • Medium: watercolour
  • Dimensions: 7 by 9.75in., 17.78 by 24.765cm.
  • Provenance: Whyte's, 28 April 2008, lot 123; Whence purchased by the present owner
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THE JUNGFRAU FROM WENGEN
THE JUNGFRAU FROM WENGEN
William Percy French (1854-1920)

Auction Date / Lot No.: 26 November 2012 / 62

Published Estimate: €1800-2200

Price Realised: €4200

  • Signature: signed lower right; inscribed with title in another hand on reverse; with Oriel Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 10 by 13.5in., 25.4 by 34.29cm.
  • Provenance: Oriel Gallery, Dublin; Private collection
  • The Jungfrau is one of the main summits in the Bernese Alps, situated between the cantons of Valais and Bern in Switzerland. It forms a massive wall overlooking the Bernese Oberland and is considered one of the most emblematic sights of the Swiss Alps.

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WEST OF IRELAND LANDSCAPE
WEST OF IRELAND LANDSCAPE
William Percy French (1854-1920)

Auction Date / Lot No.: 26 November 2012 / 63

Published Estimate: €8000-10000

Price Realised: €9500

  • Signature: signed lower right
  • Medium: watercolour
  • Dimensions: 13.25 by 22in., 33.655 by 55.88cm.
  • Provenance: Oriel Gallery, Dublin; Where purchased by the present owners c.1988
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SAILBOAT AT SUNSET [PAINTED PLATE], 1903
SAILBOAT AT SUNSET [PAINTED PLATE], 1903
William Percy French (1854-1920)

Auction Date / Lot No.: 26 November 2012 / 64

Published Estimate: €800-1000

Price Realised: €800


GOSSIPS AT THE HOLY WELL, 1874
GOSSIPS AT THE HOLY WELL, 1874
Francis William Topham RA OWS (1808-1877)

Auction Date / Lot No.: 26 November 2012 / 65

Published Estimate: €1500-2000

Price Realised: €1500

  • Signature: signed and dated lower left;
  • Medium: watercolour
  • Dimensions: 11.75 by 17.75in., 29.845 by 45.085cm.
  • Provenance: Gorry Gallery, Dublin; Where purchased by the present owner
  • Exhibited: 'An Exhibited of 17th - 20th Century Irish Paintings', Gorry Gallery, Dublin, 5-18 December 2010, no. 17
  • Born in Leeds, this skilled watercolourist and genre painter visited Ireland repeatedly from the 1840s onwards, focusing on the peasantry in the Claddagh and around Connemara. Here he shows children gathering water at a well, and characteristically he uses body colour, with some scratching out on the girl's hair in the foreground. Related titles exhibited by Topham include Gossips at a Well (London, Guildhall Art Gallery), The Holy Well (Blackburn Museum and Art Gallery) and At the Holy Well (Glasgow Art Gallery)1. A father of twelve, he often favoured scenes of women and children. His work was often engraved for the Illustrated London News, and he was a member of The Artist's Society in Clipstone Street, devoted to 'The systematic study of veritable rustic figures from the life' (rather than artists' models dressed up). He also painted in Wales, Scotland and Spain, where he died in 1877. Dr Claudia Kinmonth Author: Irish Rural Interiors in Art, Yale University Press, 2006 1. C. Wright, with C. Gordon & M. Peskett Smith, British and Irish Paintings in Public Collections, Yale University Press, 2006, p.772 We are grateful to the Gorry Gallery and the author for their kind permission to reproduce this note.

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THE MILL OF THE PLAINS
THE MILL OF THE PLAINS
John Faulkner RHA (1835-1894)

Auction Date / Lot No.: 26 November 2012 / 66

Published Estimate: €1000-1500

Price Realised: €0

  • Signature: signed and inscribed lower right
  • Medium: watercolour heightened with white
  • Dimensions: 17.25 by 29in., 43.815 by 73.66cm.
  • Provenance: Whyte's, 17 September 2002, lot 124; Whence purchased by the present owner
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SINKING SHIP IN ROUGH WATERS
SINKING SHIP IN ROUGH WATERS
Andrew Nicholl RHA (1804-1886)

Auction Date / Lot No.: 26 November 2012 / 67

Published Estimate: €1200-1500

Price Realised: €0


TASTING THE POITÍN IN IRELAND
TASTING THE POITÍN IN IRELAND
Attributed to Daniel MacDonald (or McDaniel) (1821-1853)

Auction Date / Lot No.: 26 November 2012 / 68

Published Estimate: €5000-7000

Price Realised: €0

  • Medium: oil on canvas
  • Dimensions: 14 by 18in., 35.56 by 45.72cm.
  • Daniel MacDonald showed promise as an artist from a very young age. His father James, whose real name was MacDaniel, was an accomplished artist and musician. Daniel was born in Cork where, like his father, he began to be noticed for sketches and caricatures of local people, which they both published in the same volume of prose. He was only 13 when he produced these illustrative etchings. From his father's Patrick street address in 1842 he sent his first four pictures to Dublin's Royal Hibernian Academy, and subsequently just one to London's Royal Academy. As his life and promising career was cut short by fever (he died in 1853), only a few of this talented artist's pictures survive. His surviving work demonstrates his fascination and concern with local people's lives. His socio-realist and narrative paintings are valuable windows onto Irish material culture. Like contemporary artists such as Topham and Fripp, who pleased the critics with 'truthful' representations, he entices sympathy with the hardships of rural life. His An Irish Peasant Family Discovering the Blight of their Store (fig.1) (Collection of the National folklore Collection, UCD) is one of the only pictures graphically delineating the horror of discovery of the potato blight. Other titles further suggest his concern for the National tragedy of the Great Famine, on a personal level, for example Figures Gathered Round a Coffin (National Gallery of Ireland collection). The covert distillation of whiskey known as "poitín", using potatoes and barley, was widespread in rural Ireland, but highly illegal. MacDonald's depiction of this was perhaps influenced by that of the famous Scottish genre painter Sir David Wilkie who toured Ireland in 1835. Wilkie's huge painting The Irish Whiskey Still (1840) resulted, and was well known. Both artists' paintings include three generations assembled with their typical small pot distilling equipment; a barrel surmounted by a funnel, a worm, earthenware vessel and jug, at the crucial point of tasting. Like Wilkie, MacDonald places his taster standing on the right, facing his ragged children on the left, complete with their Irish wolfhound. Classical training encouraged artists like Wilkie to depict bare limbed figures in specific poses, perhaps more appropriate to the Mediterranean than Ireland. From what is known about Irish stills, MacDonald's version, with his cave-like shelter seems the more realistic, as his still is outside on a mountainside, where smoke was inconspicuous, rather than indoors. The inconspicuous makeshift thatch over MacDonald's hearth, propped between the hillside and a tree, gives just enough shelter to the fire that was essential to the distillation process. MacDonald's style is characterised by his depiction of attenuated, slim family figures, highlighted with areas of red, the women and ragged children usually barefoot (often with a dog), ranged against a background of mountains and troubled skies. Their aspects of despair, invite viewers to sympathise with the families' predicaments. The arrangement with the taster on the right, facing the family to the left, that leads the viewer's eye around in a studied oval composition, is very similar to that in MacDonald's painting of fig. 1. Details such as the father's single brogue, are fascinating, because shoes were indeed a very precious commodity, yet essential for digging turf (the brown fuel heaped in the openwork basket or creel beside the tree). To clarify this, the artist shows him with his foot resting on his turf slean (spade). It's exactly the same type of spade is also painted in fig.1., and the man's leg rests in the same singular pose as that of the father in that painting. Both paintings show a child on the far left with very similar profiles, both include despairing figures (on the right side) with their heads on their arms. So many common characteristics of detail, subject and composition, make it highly likely that this is newly discovered painting can be attributed to Daniel MacDonald. Dr Claudia Kinmonth MA(RCA) November 2012 Further examples: Claudia Kinmonth, Irish Rural Interiors in Art, Yale University Press, 2006, fig.201 Peter Murray ed., Whipping the Herring, Gandon, Cork, 2006, pp.2, 18, 29, 46, 65, 78-9, 98-9, 101-3, 122-3, 134-5, 150-151

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SAILING SHIP IN DUBLIN BAY WITH HOWTH HEAD IN THE BACKGROUND, 1850
SAILING SHIP IN DUBLIN BAY WITH HOWTH HEAD IN THE BACKGROUND, 1850
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 26 November 2012 / 69

Published Estimate: €10000-15000

Price Realised: €0


FISHING BOAT APPROACHING A PIER IN HEAVY SEAS, 1860
FISHING BOAT APPROACHING A PIER IN HEAVY SEAS, 1860
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 26 November 2012 / 70

Published Estimate: €15000-18000

Price Realised: €0


CONTEMPLATION
CONTEMPLATION
William Percy French (1854-1920)

Auction Date / Lot No.: 26 November 2012 / 71

Published Estimate: €1500-2000

Price Realised: €1400

  • Signature: inscribed on reverse with title and medium; also with Oriel Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 15 by 12in., 38.1 by 30.48cm.
  • Provenance: The Oriel Gallery, Dublin; Private collection
  • Further inscription on reverse reads: "panel from Percy French door". A rare oil by French, best known for his watercolours. This was one of four panels on a door.

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SIDE FACE PORTRAIT OF A WOMAN
SIDE FACE PORTRAIT OF A WOMAN
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 26 November 2012 / 72

Published Estimate: €1500-2000

Price Realised: €0


MY AUNT, 1907
MY AUNT, 1907
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 26 November 2012 / 73

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: signed lower left, with inscribed Leinster Gallery label on reverse
  • Medium: wax crayon and watercolour on paper
  • Dimensions: 9 by 7.5in., 22.86 by 19.05cm.
  • Provenance: Leinster Gallery, Dublin; Private collection
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STUDIES OF A WOMAN WRITING A LETTER and PLAYING A PIANO (A PAIR)
STUDIES OF A WOMAN WRITING A LETTER and PLAYING A PIANO (A PAIR)
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 26 November 2012 / 74

Published Estimate: €1000-1500

Price Realised: €0


RIVER LIFFEY, DUBLIN
RIVER LIFFEY, DUBLIN
Flora H. Mitchell (1890-1973)

Auction Date / Lot No.: 26 November 2012 / 75

Published Estimate: €800-1200

Price Realised: €1250

  • Signature: signed in the margin lower right; titled lower left
  • Medium: pen and ink with watercolour over pencil
  • Dimensions: 6.5 by 10in., 16.51 by 25.4cm.
  • A night scene on the River Liffey looking towards O'Connell Bridge features in the artist's text Vanishing Dublin, p.80.

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H.M. HOME FLEET AT ANCHOR OFF SEACOURT, 10 JULY 1904
H.M. HOME FLEET AT ANCHOR OFF SEACOURT, 10 JULY 1904
Joseph William Carey RUA (1859-1937)

Auction Date / Lot No.: 26 November 2012 / 76

Published Estimate: €800-1200

Price Realised: €0

  • Signature: signed lower left; with typed label on reverse detailing title and ships names; also with William Rodman & Co., Belfast label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 7.25 by 14.75in., 18.415 by 37.465cm.
  • Names of ships reading from left to right are: Juno, Hood, Revenge, Russel, Essex, Royal Sovereign, Exmouth, Ad. Wilson's Flagship and Empress of India.

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HULKS IN PORTSMOUTH HARBOUR
HULKS IN PORTSMOUTH HARBOUR
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 26 November 2012 / 77

Published Estimate: €1500-2000

Price Realised: €0

  • Signature: with typed Fine Art Society, London label on reverse
  • Medium: watercolour over pencil
  • Dimensions: 10 by 13.75in., 25.4 by 34.925cm.
  • Exhibited: Fine Art Society, London, March 1973 [reference no. 9792]
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DONEGAL COAST
DONEGAL COAST
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 26 November 2012 / 78

Published Estimate: €4500-5500

Price Realised: €4400

  • Signature: signed lower left; with original label detailing title on reverse; also with Waddington Galleries framing label on reverse
  • Medium: oil on canvas
  • Dimensions: 16 by 20in., 40.64 by 50.8cm.
  • Provenance: Adam's & Bonhams , 30 May 2007, lot 141; Private collection
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GLENVEAGH HILLS, COUNTY DONEGAL
GLENVEAGH HILLS, COUNTY DONEGAL
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 26 November 2012 / 79

Published Estimate: €3000-4000

Price Realised: €2900

  • Signature: signed lower left; with partially inscribed label on reverse; with title and artist's name and Ulster Arts Club exhibition label [1929] also on reverse
  • Medium: oil on board
  • Dimensions: 11.5 by 16.5in., 29.21 by 41.91cm.
  • Provenance: Ross's, Belfast, 6 October 2010, lot 114; Private collection
  • Exhibited: Ulster Arts Club Exhibition, 15 May to 30 June, 1929, catalogue no. 32
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NEAR TRAMORE, COUNTY DONEGAL
NEAR TRAMORE, COUNTY DONEGAL
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 26 November 2012 / 80

Published Estimate: €5000-7000

Price Realised: €4800

  • Signature: with title inscribed on reverse; also with "Del (deliver) to 58 Howard St./ 1st Floor" [McKelvey's studio address from c.1936] in pencil on stretcher on reverse
  • Medium: oil on canvas
  • Dimensions: 20.25 by 24.5in., 51.435 by 62.23cm.
  • Exhibited: possibly exhibited as Tramore Bay, Co. Donegal, RHA , Dublin, 1949 catalogue no. 139
  • The setting for this work must be Tramore Strand, near Dunfanaghy, County Donegal, where McKelvey often worked from the mid-1920s onwards. Judged stylistically, however, this painting must date from the mid-to-late 1940s and it may be the Tramore Bay, Co. Donegal composition that was exhibited at the Royal Hibernian Academy in 1949. Prior to the late 1920s and early 1930s McKelvey's style was much more representational, as his Children in a Park, 1922, or Evening, Ballycastle, c. 1924 (Ulster Museum), for example show (see S. B. Kennedy, Frank McKelvey, RHA, RUA: A Painter in his Time, 1993, plates 2 and 5 respectively); but thereafter his loose, Impressionist-derived manner took over (Kennedy, 1993, plate 36, illustrates the point) as can be seen here too. The free brushwork employed in the rendering of the sea, especially where it breaks upon the shore, and in the foreground, well exemplify these developments. The gentle hills and overall calm, fresh mood of the scene are also typical of McKelvey's way of recording the Irish landscape. The title of the picture is inscribed in pencil on the reverse of the canvas along with his studio address [on stretcher]. Dr S.B. Kennedy October, 2012

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FORESHORE, NEAR CUSHENDUN, COUNTY ANTRIM
FORESHORE, NEAR CUSHENDUN, COUNTY ANTRIM
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 26 November 2012 / 81

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: signed lower left; with Pearson & Westergaard Fine Art [Glasgow] label on reverse
  • Medium: oil on board
  • Dimensions: 12 by 16in., 30.48 by 40.64cm.
  • Provenance: Pearson & Westergaard Fine Art, Glasgow; Private collection
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CUSHENDUN VILLAGE, COUNTY ANTRIM
CUSHENDUN VILLAGE, COUNTY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 26 November 2012 / 82

Published Estimate: €1800-2200

Price Realised: €0


MUCKISH MOUNTAIN, COUNTY DONEGAL
MUCKISH MOUNTAIN, COUNTY DONEGAL
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 26 November 2012 / 83

Published Estimate: €1500-2000

Price Realised: €2100

  • Signature: signed lower right; with title inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 16 by 20in., 40.64 by 50.8cm.
  • Provenance: Whyte's, 25 February 2008, lot 145; Whence purchased by the present owner
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MAGHERA CLIFFS, COUNTY DONEGAL
MAGHERA CLIFFS, COUNTY DONEGAL
Robert Taylor Carson HRUA (1919-2008)

Auction Date / Lot No.: 26 November 2012 / 84

Published Estimate: €1000-1500

Price Realised: €1300


NEAR DUNFANAGHY, COUNTY DONEGAL [LANDSCAPE WITH WOMAN HERDING A FLOCK OF TURKEYS, COTTAGE BEYOND]
NEAR DUNFANAGHY, COUNTY DONEGAL [LANDSCAPE WITH WOMAN HERDING A FLOCK OF TURKEYS, COTTAGE BEYOND]
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 26 November 2012 / 85

Published Estimate: €5000-7000

Price Realised: €6200

  • Signature: signed lower right; inscribed with location and provenance in pencil on reverse
  • Medium: oil on board
  • Dimensions: 15 by 20in., 38.1 by 50.8cm.
  • Provenance: The Collection of Con Little, Esq.; Thence by descent to the previous owner; Whyte's, 28 April 2008, lot 157; Whence purchased by the present owner
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THE GLEN BOG, COUNTY DONEGAL
THE GLEN BOG, COUNTY DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 26 November 2012 / 86

Published Estimate: €5000-6000

Price Realised: €4800

  • Signature: signed lower left; with partial inscribed label on reverse, reads [Gl__ Bog, Co. Donegal / £40]
  • Medium: oil on canvas
  • Dimensions: 20 by 26in., 50.8 by 66.04cm.
  • Provenance: Adam's, 1 April, 2009, lot 151 as Donegal Bogland Scene with Figures Building Turf Stacks; Private collection
  • The bog at Glen was the subject of a number of works by J.H. Craig two of which were shown in the RHA in 1919 (no. 19) and later in 1928 (no. 188).

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DESERTED BUILDING, OWER, COUNTY GALWAY (COMMEMORATION OF FAMINE)
DESERTED BUILDING, OWER, COUNTY GALWAY (COMMEMORATION OF FAMINE)
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 26 November 2012 / 87

Published Estimate: €3000-5000

Price Realised: €3800

  • Signature: signed and titled on reverse
  • Medium: oil on canvas
  • Dimensions: 50 by 40in., 127 by 101.6cm.
  • Provenance: McBride Gallery, Kerry; Where purchased by the present owner
  • Exhibited: 'Spring Time', McBride Gallery, Kerry, March - April, 2007
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SCOTS PINE ON LIMESTONE, 2002
SCOTS PINE ON LIMESTONE, 2002
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 26 November 2012 / 88

Published Estimate: €800-1200

Price Realised: €750


THE BLUE ROCK, 1990
THE BLUE ROCK, 1990
William Crozier HRHA (1930-2011)

Auction Date / Lot No.: 26 November 2012 / 89

Published Estimate: €5000-7000

Price Realised: €3800

  • Signature: signed lower right; signed again, titled and dated on reverse; with Scottish Gallery exhibition label on reverse
  • Medium: oil on canvas
  • Dimensions: 14 by 18in., 35.56 by 45.72cm.
  • Provenance: Scottish Gallery, Edinburgh and London; Private collection
  • Exhibited: 'Malaga to West Cork by William Crozier', Scottish Gallery, London, 4-29 September 1990
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JUNE, 2003
JUNE, 2003
William Crozier HRHA (1930-2011))

Auction Date / Lot No.: 26 November 2012 / 90

Published Estimate: €2000-3000

Price Realised: €3400

  • Signature: signed, titled and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 10 by 14in., 25.4 by 35.56cm.
  • Provenance: Warren Gallery, Castletownsend; Private collection
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MORNING, 1996
MORNING, 1996
William Crozier HRHA (1930-2011))

Auction Date / Lot No.: 26 November 2012 / 91

Published Estimate: €1500-2000

Price Realised: €1500


GOLD PAINTING WITH BLUE CIRCLE AND GREEN
GOLD PAINTING WITH BLUE CIRCLE AND GREEN
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 26 November 2012 / 92

Published Estimate: €5000-7000

Price Realised: €6800

  • Medium: oil with gold leaf on canvas
  • Dimensions: 48 by 48in., 121.92 by 121.92cm.
  • Provenance: The Collection of Liam O'Keeffe-Ayudhkij
  • Whyte's are pleased to offer a further selection from the collection of distinguished businessman and arts patron, Liam O'Keeffe-Ayudhkij. Liam O'Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O'Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott's oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O'Keeffe-Ayudhkij's love of art manifested itself in his support of Asian artists, the setting up of 'Liam's Gallery' in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After travelling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O'Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick's Society among other accolades. Outside of the business arena O'Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, "He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."

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GOLD PAINTING 13, 1965
GOLD PAINTING 13, 1965
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 26 November 2012 / 93

Published Estimate: €2000-3000

Price Realised: €2900

  • Signature: signed and titled on reverse
  • Medium: gold leaf and tempera on canvas
  • Dimensions: 48 by 60in., 121.92 by 152.4cm.
  • Provenance: Dawson Gallery, Dublin; Where purchased by Liam O'Keeffe-Ayudhkij
  • Exhibited: 'Patrick Scott', Dawson Gallery, Dublin, 3-24 June, 1965, catalogue no. 6
  • Whyte's are pleased to offer a further selection from the collection of distinguished businessman and arts patron, Liam O'Keeffe-Ayudhkij. Liam O'Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O'Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott's oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O'Keeffe-Ayudhkij's love of art manifested itself in his support of Asian artists, the setting up of 'Liam's Gallery' in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After travelling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O'Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick's Society among other accolades. Outside of the business arena O'Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, "He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."

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GOLD PAINTING, 64
GOLD PAINTING, 64
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 26 November 2012 / 94

Published Estimate: €5000-7000

Price Realised: €5600

  • Signature: signed and titled on reverse
  • Medium: oil with gold leaf on canvas
  • Dimensions: 46 by 50in., 116.84 by 127cm.
  • Provenance: The Collection of Liam O'Keeffe-Ayudhkij
  • Whyte's are pleased to offer a further selection from the collection of distinguished businessman and arts patron, Liam O'Keeffe-Ayudhkij. Liam O'Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O'Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott's oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O'Keeffe-Ayudhkij's love of art manifested itself in his support of Asian artists, the setting up of 'Liam's Gallery' in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After travelling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O'Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick's Society among other accolades. Outside of the business arena O'Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, "He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."

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WOODLAND, 1962
WOODLAND, 1962
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 26 November 2012 / 95

Published Estimate: €3000-4000

Price Realised: €2800

  • Signature: with artist's name, title and date on reverse
  • Medium: oil on canvas
  • Dimensions: 34 by 46in., 86.36 by 116.84cm.
  • Provenance: The Collection of Liam O'Keeffe-Ayudhkij
  • Whyte's are pleased to offer a further selection from the collection of distinguished businessman and arts patron, Liam O'Keeffe-Ayudhkij. Liam O'Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O'Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott's oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O'Keeffe-Ayudhkij's love of art manifested itself in his support of Asian artists, the setting up of 'Liam's Gallery' in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After travelling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O'Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick's Society among other accolades. Outside of the business arena O'Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, "He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."

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FUJI AFTER RAIN
FUJI AFTER RAIN
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 26 November 2012 / 96

Published Estimate: €2000-3000

Price Realised: €3000

  • Signature: signed and inscribed beneath the frame, verso; with artist's name and title printed in pencil on reverse
  • Medium: oil on canvas
  • Dimensions: 24 by 24in., 60.96 by 60.96cm.
  • Provenance: The Collection of Liam O'Keeffe-Ayudhkij
  • Whyte's are pleased to offer a further selection from the collection of distinguished businessman and arts patron, Liam O'Keeffe-Ayudhkij. Liam O'Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O'Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott's oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O'Keeffe-Ayudhkij's love of art manifested itself in his support of Asian artists, the setting up of 'Liam's Gallery' in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After travelling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O'Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick's Society among other accolades. Outside of the business arena O'Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, "He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."

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PYRE 5, 1982
PYRE 5, 1982
Patrick Scott HRHA (b.1921)

Auction Date / Lot No.: 26 November 2012 / 97

Published Estimate: €2000-3000

Price Realised: €3600

  • Signature: signed, titled and dated on reverse
  • Medium: oil on unprimed canvas with silver leaf
  • Dimensions: 32 by 32in., 81.28 by 81.28cm.
  • Provenance: The Collection of Liam O'Keeffe-Ayudhkij
  • Whyte's are pleased to offer a further selection from the collection of distinguished businessman and arts patron, Liam O'Keeffe-Ayudhkij. Liam O'Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O'Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott's oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O'Keeffe-Ayudhkij's love of art manifested itself in his support of Asian artists, the setting up of 'Liam's Gallery' in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After travelling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O'Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick's Society among other accolades. Outside of the business arena O'Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, "He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."

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