4 March 2013

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YACHTS AT SUNSET, FRANCE
YACHTS AT SUNSET, FRANCE
Aloysius C. O’Kelly (1853-1936)

Auction Date / Lot No.: 4 March 2013 / 52

Published Estimate: €1000-1500

Price Realised: €1900

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 4.5 by 5.75in., 11.25 by 14.375cm.
  • Provenance: The Collection of Mervyn & Pat Solomon
  • Aloysius O'Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O'. O'Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O'Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell's agreement for the New Departure. The most radical Irish artist of his era, O'Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O'Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O'Kelly returned to Ireland in the early 1880s, as 'Special Artist' to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman's Journal declared him 'the most important of modern artists', and of 'exceptionally high rank' (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O'Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O'Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O'Donovan as an Orientalist (lot 49), is thus an important political painting.O'Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O'SullivanFebruary 2013Aloysius O'Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.

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FIGURES LOADING HAY, 1920
FIGURES LOADING HAY, 1920
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 4 March 2013 / 53

Published Estimate: €1000-1500

Price Realised: €1250

  • Signature: signed and dated lower left; with St. Anne's Art Gallery, Belfast label on reverse
  • Medium: watercolour
  • Dimensions: 10 by 14in., 25 by 35cm.
  • Provenance: St. Anne's Art Gallery [W.J. Irvine] Belfast;The Collection of Mervyn & Pat Solomon
  • Frank McKelvey exhibited sporadically with the watercolour society in 1919 (5); 1921 (3); 1922 (3); 1930 (2) and 1962 (2). The present work being an accomplished early example by him.

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FÊTES DE JEANNE D'ARC, RELIGIOUS PROCESSION ORLÉANS, FRANCE
FÊTES DE JEANNE D'ARC, RELIGIOUS PROCESSION ORLÉANS, FRANCE
Aloysius C. O’Kelly (1853-1936)

Auction Date / Lot No.: 4 March 2013 / 54

Published Estimate: €2500-3500

Price Realised: €0

  • Signature: signed lower right
  • Medium: pastel on buff-coloured paper
  • Dimensions: 19 by 25in., 47.5 by 62.5cm.
  • The Fêtes de Jeanne d'Arc in early May celebrates the 'Maid of Orléans' with a parade, religious procession, medieval fair and re-enactment of the siege.Aloysius O'Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O'. O'Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O'Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell's agreement for the New Departure. The most radical Irish artist of his era, O'Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O'Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O'Kelly returned to Ireland in the early 1880s, as 'Special Artist' to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman's Journal declared him 'the most important of modern artists', and of 'exceptionally high rank' (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O'Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O'Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O'Donovan as an Orientalist (lot 49), is thus an important political painting.O'Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O'SullivanFebruary 2013Aloysius O'Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.

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SHEEPSHAVEN, COUNTY DONEGAL
SHEEPSHAVEN, COUNTY DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 4 March 2013 / 55

Published Estimate: €4000-6000

Price Realised: €3800

  • Signature: signed lower right; signed and titled on reverse; with original inscribed label on reverse; also with John Magee [Belfast] label on reverse
  • Medium: oil on board
  • Dimensions: 12 by 16in., 30 by 40cm.
  • Provenance: with John Magee, Belfast, October 1948;Private collection
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TORR HEAD, COUNTY ANTRIM
TORR HEAD, COUNTY ANTRIM
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 4 March 2013 / 56

Published Estimate: €3000-4000

Price Realised: €3000


THE TOPS OF GLENDUN, COUNTY ANTRIM
THE TOPS OF GLENDUN, COUNTY ANTRIM
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 4 March 2013 / 57

Published Estimate: €5000-7000

Price Realised: €42000


ERRIGAL FROM THE ROSSES, COUNTY DONEGAL
ERRIGAL FROM THE ROSSES, COUNTY DONEGAL
Maurice Canning Wilks RUA ARHA (1910-1984)

Auction Date / Lot No.: 4 March 2013 / 58

Published Estimate: €2500-3500

Price Realised: €2500


SAN PIETRO DI CASTELLO, VENICE
SAN PIETRO DI CASTELLO, VENICE
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 4 March 2013 / 59

Published Estimate: €3000-5000

Price Realised: €3200

  • Signature: signed with initials lower left; inscribed with title on reverse
  • Medium: oil on board
  • Dimensions: 15 by 19in., 37.5 by 47.5cm.
  • Provenance: A gift from the artist to the present owner
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YORK MINSTER CATHEDRAL
YORK MINSTER CATHEDRAL
Letitia Marion Hamilton RHA (1878-1964)

Auction Date / Lot No.: 4 March 2013 / 60

Published Estimate: €3000-4000

Price Realised: €0

  • Signature: signed with initials lower left
  • Medium: oil on board
  • Dimensions: 13 by 15.5in., 32.5 by 38.75cm.
  • Provenance: Whyte's, 12 June 2001, lot 101;Whence purchased by the present owner
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THE LAKE, REGENT'S PARK, LONDON
THE LAKE, REGENT'S PARK, LONDON
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 4 March 2013 / 61

Published Estimate: €15000-20000

Price Realised: €24000

  • Signature: signed lower left; with inscribed Dawson Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 20 by 24in., 50 by 60cm.
  • Provenance: Purchased by the present owner's mother from Leo Smith, Dawson Gallery, Dublin;Thence by descent
  • Literature: Denson, Alan, W. J. Leech RHA (1881-1968) Vol. 2 His Life Work, A Catalogue (Part I), Kendal, 1969, catalogue no. 48 (Sketch for The Lake, Regent's Park, London)
  • Leo Smith... the man to whom Mr. Leech bequeathed the majority of his pictures in the confident and well-founded belief the Mr Smith would ensure their wise distribution and preservation for prosperity. " p.114 (Denson)Leo Smith met the artist first in 1944 and he became his advocate and sole agent, showing his work from this period and hosting solo exhibitions in 1945, 1947and 1951. After 1916 Leech settled first in London and later the south of England. Royal Academy records his address in 1934 as 4 Steele's Studios, Haverstock Hill, London, NW3 and it is from this address that the present work was executed. The subject of Regent's Park is recorded variously by Leech biographers and other examples include, In Regent's Park in 1960 by Thomas Haverty Trust to the Hugh Lane Gallery, Dublin. York Bridge, Regent's Park, London and The Bridge, Regent's Park, London shown with the RHA, 1935, no. 4 [£5-0-0]. The park, a short walk from his studio, was a place of solace for Leech. There he could retreat from the rapidly changing capital. The light palette and buttery impasto recalls the foreground of the artist's masterpiece Convent Garden, Brittany (NGI, Dublin) but instead of breaking the dizzying trance of brushstrokes with a figure or lake boat, here the artist submerges the viewer into a thick web of colour and paint to be consumed by the power of this urban sanctuary. The impression left by Paris and later Brittany can still be felt in this English subject. The handling of the paint, treatment of light - the reflections on the water - and the sense of a fleeting moment passing are all captured here in this en plein air oil. Leech would later escape the urban jungle entirely to a cottage in West Clandon, near Guildford, Surrey with second wife May Bottrell circa 1940. The present work has been in the same family since it was wisely purchased from their family friend, Leo Smith, Director of the Dawson Gallery, after the artist's death."

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KEEL VILLAGE, ACHILL ISLAND, 1911
KEEL VILLAGE, ACHILL ISLAND, 1911
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 4 March 2013 / 62

Published Estimate: €50000-70000

Price Realised: €49000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 18 by 20in., 45 by 50cm.
  • Provenance: Private collection;Adam's, 28 May 2003, lot 86;Whence purchased by the present owner
  • Exhibited: 'Paintings by Mrs. Frances Baker, Grace Henry, Paul Henry, Casimir Dunin-Markiewicz and George Russell (AE), Leinster Hall, Dublin, 16-21 October, 1911, catalogue no. 35 or 36
  • Literature: Kennedy, S.B., Paul Henry, Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, catalogue no. 342, p.162 (illustrated)
  • In original Waddington frame.The form of the signature, with dots between the two words of the artist's name and after the word Henry, signify that this composition must have been painted shortly after the artist arrived on Achill Island in August 1911. The village of Keel, where in his autobiography, An Irish Portrait (1951), he tells us he settled, is seen from the high ground to the north-west, the long and graceful sweep of Trawmore Strand dominating the middle distance. The scene has been rendered with remarkable economy of means, there being only moderate impasto, but a great sense of fluidity, in the handling of the paint. As is characteristic of Henry's painting at this time the brushwork is rigorously descriptive of form and structure and the use of subtle blues and greys to emphasise the recession of the landscape is a foretaste of the strong Whistlerian influence that would soon emerge in his painting. The use of upright brushstrokes, as seen in the near foreground, is characteristic of other Henry pictures of this time. There is an almost identical, but smaller, composition of the same title and period to this in the Ulster Museum, Belfast. Nowadays the village of Keel is larger, although not substantially so, so that the main thrust of the landscape can clearly be seen. Henry's excitement at his new-found surroundings is also evident in his rendering of the landscape.Dr SB KennedyFebruary 2013

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THE FORESTER, 1913
THE FORESTER, 1913
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 4 March 2013 / 63

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., 23.75 by 16.875cm.
  • 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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THE PLAYBILL, 1900
THE PLAYBILL, 1900
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 4 March 2013 / 64

Published Estimate: €12000-15000

Price Realised: €0

  • Signature: signed lower left; titled on reverse; also with artist's instructions for framing inscribed on reverse
  • Medium: pencil, watercolour and pastel on paper
  • Dimensions: 13.75 by 6.25in., 34.375 by 15.625cm.
  • Provenance: Purchased at Egan's Gallery, Dublin, c.1920 and presented to P.F. O'Brien, Long Hall Bar, Dublin;Purchased by Mr & Mrs Gerald Murphy, Dublin at the auction of the Long Hall Bar, March, 1972;James Adam, 29 May 1991, lot 89;Whence purchased by the present o
  • Exhibited: 'Sketches of Life in the West of Ireland and elsewhere', Leinster Hall, Dublin, March 1900, catalogue no. 4; 'Sketches of Life in the West of Ireland', Clarendon Hotel, Oxford, 24-29 October, 1900; 'Sketches of Life in the West of Ireland and elsewhere',
  • Literature: Pyle, Hilary, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, p.98, catalogue no. 297
  • Pyle describes the present work thus:A boy wearing a cap looks into a shop window, which along with posters advertising shipping lines, has a play bill announcing the production of The Corsican Brothers." The proprietor of the shop reads, "C Nulty" or "Mc Nulty" Grocer with advertisements for sailings to New York along with the poster for the aforementioned play. A grocer and spirit merchant by the name McNulty is recorded on the 1911 census with an address at 32 Knox Street (Ballina Urban, Mayo)."

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BRIDGE, ALGIERS, 1926
BRIDGE, ALGIERS, 1926
Rudolph Ihlee (1883-1968)

Auction Date / Lot No.: 4 March 2013 / 65

Published Estimate: €1000-1500

Price Realised: €1800

  • Signature: signed and dated lower left; numbered 2604 on reverse; with James Bourlet & Sons [Nassau St., Dublin] also on reverse
  • Medium: oil on canvas
  • Dimensions: 24.5 by 29.25in., 61.25 by 73.125cm.
  • Provenance: A gift from the artist to the present owner's family, Co. Wexford c. late 1930s;Thence by descent to the present owner
  • A graduate of the Slade School of Fine Art, London born Rudolph Ihlee formed part of an innovative group of artists in the first decade of the 1900s which included Augustus John, William Crampton Gore, Stanley Spence, Henry Tonks, John Currie and William Orpen. Ihlee left Slade School in 1910 and exhibited with the New English Art Club that year, becoming a member nine years later. He showed at the Royal Scottish Academy and with the Royal Society of British Artists two years later. Two solo exhibitions at the Carfax Gallery followed in 1914. After the First World War Ihlee painted in Brittany and later settled in the medieval artists' hub, Collioure, on the French border with Spain. In the 1920s he painted in Spain and in North Africa. The present works record his time in Algiers. Ihlee later returned to England settling in Peterborough. In 1926 he had a solo show at Chenil Galleries, Chelsea (a gallery established by Orpen's brother in-law). Rudolph Ihlee died in 1968 and ten years later a retrospective exhibition of his work was hosted by the Graves Art Gallery and the Belgrave Gallery, London. His work can be found in the Victoria & Albert Museum, Manchester City Art Gallery, the British Government Art Collection among others. The Kernoff-esque treatment of the composition and flattened space of these north African scenes recall the Irishman's take on Dublin, while the depiction of light echoes the obsessions of Lavery during his time in this exotic part of the world. The present works have been in a single private collection in Wexford, where Rudolph Ihlee stayed for a period during the late 1930s. His time in Ireland does not appear to be recorded but for the interesting provenance provided here.

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WORKERS, ALGIERS, 1924
WORKERS, ALGIERS, 1924
Rudolph Ihlee (1883-1968)

Auction Date / Lot No.: 4 March 2013 / 66

Published Estimate: €700-900

Price Realised: €3200

  • Signature: signed and dated lower left; numbered [2408] on reverse
  • Medium: oil on canvas
  • Dimensions: 24.5 by 29.25in., 61.25 by 73.125cm.
  • Provenance: A gift from the artist to the present owner's family, Co. Wexford c. late 1930s;Thence by descent to the present owner
  • A graduate of the Slade School of Fine Art, London born Rudolph Ihlee formed part of an innovative group of artists in the first decade of the 1900s which included Augustus John, William Crampton Gore, Stanley Spence, Henry Tonks, John Currie and William Orpen. Ihlee left Slade School in 1910 and exhibited with the New English Art Club that year, becoming a member nine years later. He showed at the Royal Scottish Academy and with the Royal Society of British Artists two years later. Two solo exhibitions at the Carfax Gallery followed in 1914. After the First World War Ihlee painted in Brittany and later settled in the medieval artists' hub, Collioure, on the French border with Spain. In the 1920s he painted in Spain and in North Africa. The present works record his time in Algiers. Ihlee later returned to England settling in Peterborough. In 1926 he had a solo show at Chenil Galleries, Chelsea (a gallery established by Orpen's brother in-law). Rudolph Ihlee died in 1968 and ten years later a retrospective exhibition of his work was hosted by the Graves Art Gallery and the Belgrave Gallery, London. His work can be found in the Victoria & Albert Museum, Manchester City Art Gallery, the British Government Art Collection among others. The Kernoff-esque treatment of the composition and flattened space of these north African scenes recall the Irishman's take on Dublin, while the depiction of light echoes the obsessions of Lavery during his time in this exotic part of the world. The present works have been in a single private collection in Wexford, where Rudolph Ihlee stayed for a period during the late 1930s. His time in Ireland does not appear to be recorded but for the interesting provenance provided here.

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COMPLETE COLLECTION OF 84 BROADSIDES [1908-1915]
COMPLETE COLLECTION OF 84 BROADSIDES [1908-1915]
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 4 March 2013 / 67

Published Estimate: €5000-7000

Price Realised: €5000

  • Medium: hand-coloured; (from a limited edition of 300)
  • Dimensions: 11 by 7.5in., 27.5 by 18.75cm.
  • A Broadside was published in a folio format, on special paper made at the Saggart Mills in Dublin, with typeface selected by the artist's sister Lily and printed on an Albion hand press built in 1853. A Broadside was published in an edition of 300 copies. An annual subscription cost 12 shillings. Jack illustrated the complete first series (84 issues) totalling 252 drawings and had exclusive editorial control for the first series with W.B. assuming the role for the subsequent second and third. The present example is a highly desirable, complete compilation in superb condition, housed within two original blue linen portfolios each with Yeats' hand-coloured labels of a pirate playing a mandolin.

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THE STRAND RACES: THE START AND THE FINISH (A PAIR)
THE STRAND RACES: THE START AND THE FINISH (A PAIR)
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 4 March 2013 / 68

Published Estimate: €400-600

Price Realised: €850

  • Signature: each signed in the plate lower left
  • Medium: hand-coloured Cuala Press print; (2); (framed uniformly)
  • Dimensions: 5.5 by 17.5in., 13.75 by 43.75cm.
  • Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats, Irish Academic Press, Dublin, 1994, p.283/4, cat nos. 2015-2016
  • The original ink and watercolour drawings for these prints date to c.1906 and were exhibited in London in 1913. They were later reproduced in the Dún Emer catalogue, October 1907 and prospectus, May 1908: Cuala Print (4).

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PORTRAIT OF A LADY [THOUGHT TO BE MARGRIT HÖLLRIGL]
PORTRAIT OF A LADY [THOUGHT TO BE MARGRIT HÖLLRIGL]
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 4 March 2013 / 69

Published Estimate: €10000-15000

Price Realised: €14000

  • Signature: signed lower right; with stamp of Reeves & Son's London on reverse; also indistinctly inscribed V. Hollrigel?" in pencil on reverse (1)"
  • Medium: oil on board
  • Dimensions: 14 by 9.75in., 35 by 24.375cm.
  • Before embarking on a large canvas, John Lavery would often plan his composition on a standard 14 by 10 inch canvas board of the type manufactured by Reeves and Sons or Winsor and Newton. These travelled with him as part of his painting kit and often, when used for portraits, they were inscribed, dedicated and presented to a sitter at the conclusion of sittings. (2) In many cases the informality and experimental nature of these 'souvenirs' adds to their charm. Lavery would respond to the flash of personality or, as in the present instance, the visual drama of a striking coat, dress or hat. He was, as he told a reporter in 1912, an admirer of modern dress design. It contained 'many attractive features from an artist's point of view and … [presented] opportunities for artistic treatment that have been equaled by few periods of fashion'. The comparisons he was asked to make were with Titian, Velázquez, Van Dyck and Gainsborough. (3) The present work, which first appeared in Germany, may represent one of Lavery's Berlin subjects. Around 1900 the artist was working for extended winter periods in the German capital, having secured introductions from August Neven du Mont, a wealthy expatriate painter who lived close to him in Cromwell Road, London (3). He was, as he later remarked, 'anglicizing the German Frau … a popular accomplishment to possess', and one that was only arrested by the Boer War and the emerging conflict between German and British Imperial ambitions in Africa (4). Nevertheless such was the volume of work produced during these sojourns that the painter was able to stage three exhibitions at Schulte's Gallery, Berlin, in 1899, 1902 and 1904. Many of the paintings shown in these exhibitions have disappeared. One notable survivor is however, La Dame aux Perles, (See fig 1., La Dame aux Perles, Collection of the Hugh Lane Gallery, Dublin) a picture which, despite its French title, represents a Hungarian salon hostess, Margrit Höllrigl (later Gräfin/Countess Margit Bubna-Litic).Although she came from a lowly background in Budapest, Höllrigl presented herself to Berlin society at the turn of the twentieth century as an Austrian Baroness (5). Studies for her portrait have not survived, although given the relative prestige of the subject, and the picture's subsequent importance in the Lavery oeuvre, it seems inconceivable that no sketches of Höllrigl were made (6). It is just possible that the present 'souvenir', along with one other, now known Lady in a Green Coat (Private Collection), fill this gap in our knowledge - although this remains to be proven.Prof Kenneth McConkeyFebruary 2013Footnotes:1. Various readings of this inscription are possible. It appears not to be in the artist's hand.2. Although clearly autograph, the present picture is not inscribed with a dedication, and it seems unlikely that it comes as part of a commission. We cannot however be certain that the practice of dedicating sketches was adopted when the painter was working in Germany. 3. Anon, 'Artists' Opinions on Ladies' Dress', The Strand Magazine, August 1912, p. 188. 4. August Neven du Mont , the Anglophile painter, was the son of a newspaper proprietor who married into the von Guilleaume dynasty of Cologne industrialists - who in turn provided Lavery with a number of commissions during his German seasons. 5. Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Atelier Books), pp. 74-6. 6. Margrit Höllrigl first moved to Vienna in the 1890s where she appears to have worked initially as an actress. Adding the aristocratic 'von' to her name, and trading on her looks and magnetic personality, she moved to Berlin where she secured the patronage of Adolph Friedrich, Grand Duke of Mecklenburg and other wealthy aristocratic male admirers, living in style up to the Great War on the proceeds of blackmail. During the twenties she moved to America, where all records of her disappear. I am grateful to Andreas Frost for this information. 7. Walter Shaw Sparrow, John Lavery and his Work, n.d., [1912], p. 134; McConkey 2010, pp. 174-6.

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FRIEND OR FOE?
FRIEND OR FOE?
Charles Burton Barber (1845-1894)

Auction Date / Lot No.: 4 March 2013 / 70

Published Estimate: €25000-35000

Price Realised: €19500

  • Signature: signed lower left; with faint inscription of artist's name and indistinct title on stretcher on reverse; with Coolings Galleries, London label on reverse
  • Medium: oil on canvas
  • Dimensions: 18 by 24in., 45 by 60cm.
  • Provenance: Cooling Galleries, London;Private collection
  • Literature: Furniss, H., The Works of Charles Burton Barber, Cassell & Co. Ltd., London, Paris and Melbourne, 1896, (illustrated p.53)
  • Friend or Foe? is documented in the 1896 text by Harry Furniss, the artist's neighbour and biographer who remembers the painter as …the gentlest and truest of friends, and the sweetest-natured man that ever held a brush". It forms part of a much-admired body of work comprising child subject genre pieces, animal and sporting pictures. The present work shows the recurrence of three characters familiar in his paintings of the 1880s, the little blond model, a Jack Russell and kitten. However, the scene before us is set outdoors focusing solely on nature and the wonder it has inspired in three companions. The little girl is caught away from parental eyes and those constraints imposed on a child from an affluent Victorian home. Capturing the attention of the three is a frog and a wasp facing-off in the foreground of the composition. Their audience's curiosity can be seen in the intense gazes, the girl's outstretched arms and spread fingers, the tension in the animals' paws and their pricked ears, each depicted with exquisite precision, attention to detail and reverence to the subject.Burton Barber died at the premature age of 49. He was prize-winner with the Royal Academy where he showed 13 works throughout his career. He also showed at the Royal Institute of Oil Painters, the Fine Art Society, Grosvenor, Walker and Arthur Tooth & Sons Galleries among others. Recognition came through Royal patronage in 1873 with Queen Victoria commissioning him as court painter upon the death of Sir Edwin Landseer, whom Burton Barber much admired. Among the paintings executed include a portrait of the Queen on horseback with John Brown holding the reins. The artist's last work was for the Queen, which he painted in the summer of 1894; it depicts the Queen in her pony carriage with the Prince and Princess Henry of Battenberg in the foreground at Osborne.The appeal of Burton Barber's paintings was not lost on the advertising world. A. & F. Pears soap acquired a number of works which they later employed to sell their product. Other examples were engraved or reproduced as chromolithographs."

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GYPSY GIRLS AND DOG
GYPSY GIRLS AND DOG
Francis William Topham RA OWS (1808-1877)

Auction Date / Lot No.: 4 March 2013 / 71

Published Estimate: €1000-1500

Price Realised: €0


FEEDING THE CHICKENS
FEEDING THE CHICKENS
Ernest Charles Walbourn (1872-1927)

Auction Date / Lot No.: 4 March 2013 / 72

Published Estimate: €2000-3000

Price Realised: €0


THE GOSSIPS, 1846
THE GOSSIPS, 1846
David Cox Snr. (1783-1859)

Auction Date / Lot No.: 4 March 2013 / 73

Published Estimate: €1500-1800

Price Realised: €0

  • Signature: signed and dated lower left; with title and artist's dates printed in the mount
  • Medium: watercolour on wove paper heightened with bodycolour
  • Dimensions: 10 by 13.5in., 25 by 33.75cm.
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THE GOSSIPS
THE GOSSIPS
William Teulon Blandford Fletcher (1858-1936)

Auction Date / Lot No.: 4 March 2013 / 74

Published Estimate: €5000-7000

Price Realised: €4900

  • Signature: signed lower left; with inscribed artist's label on reverse detailing title, artist's address [Old Park Road, Enfield] and number [2]
  • Medium: oil on canvas
  • Dimensions: 19 by 29in., 47.5 by 72.5cm.
  • Provenance: Martin Winter Esq., London, until 1911
  • Exhibited: 'An Exhibition of 18th-21st Century Irish Paintings', Gorry Gallery, Dublin, 20 May to 2 June 2012, catalogue no.28 (illustrated, p.19)
  • Although not an Irish artist, William Teulon Blandford Fletcher was one of a generation of distinctive British and Irish naturalist painters active in the 1880s amongst whom can be counted Walter Osborne, Stanhope Forbes, Sir John Lavery, Joseph Malachy Kavanagh, Frank O'Meara and Nathaniel Hill.Born to a solidly middle-class family in Hampstead, London, Fletcher battled parental opposition to train as an artist, enrolling in the South Kensington School of Art at the age of 16. During his four years there, he made a trip to Brittany where many artists such as Stanhope Forbes had rejected the British studio painting tradition in favour of European plein air realism. Inspired by these Breton experiences Fletcher enrolled at Varlat's Academie Royal des Beaux Arts in Antwerp where he met and became a close friend of fellow student Walter Osborne whom he subsequently accompanied on a number of trips to Brittany. They are known to have painted together in Pont-Aven, Quimperlé and possibly Dinan. In later years they met again to paint together in the Thames Valley villages of Oxfordshire. The similarity of their training and proximity on these trips is reflected in their artistic output both in terms of composition and execution.In The Gossips, the two women, traditionally dressed in white Breton bonnets and wooden clogs, as well as chatting are both engaged in the day's laundry. The distant figure has laid out white linen sheets to dry in the gated orchard. There is a similar image of a girl amongst laid white sheets in an orchard entitled Laundry Day by Louis Welden Hawkins (Private Collection, Ireland), another expatriate who made the artists pilgrimage to the wild north west of France. The figure closer to us leaning against the richly textured and weathered wall also has white linen in the basket at her feet, which judging from it's unfolded state, is probably destined for the river for cleaning. The buildings to the right of this composition are distinctly Breton and it is interesting to note that the overshot watermill on the far right has three wheels powering what must have been a substantial enterprise.Fletcher went on to live and paint in the artist's colony of Newlyn in Cornwall and ultimately in Abingdon in Oxfordshire where he died in 1936.We are grateful to the Gorry Gallery for its kind permission to reproduce this note.

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AUGHRIM RIVER, COUNTY WICKLOW
AUGHRIM RIVER, COUNTY WICKLOW
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 4 March 2013 / 75

Published Estimate: €6000-8000

Price Realised: €5000

  • Signature: signed with initials lower right; signed M.A. Butler / Kilmurry, Thomastown" and titled on reverse"
  • Medium: watercolour
  • Dimensions: 13.5 by 20in., 33.75 by 50cm.
  • Exhibited: possibly exhibited as The River Aughrim, WCSI, 1892, catalogue no. 247
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CATS BENEATH A WALL
CATS BENEATH A WALL
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 4 March 2013 / 76

Published Estimate: €1500-1800

Price Realised: €1400

  • Medium: watercolour heightened with white
  • Dimensions: 7.75 by 10.25in., 19.375 by 25.625cm.
  • Provenance: From the Estate of Mrs Doreen Archer-Houblon and Her Sale of Watercolours by Mildred Anne Butler, Christie's, London, 13 October, 1981, ex lot 142; James Adam & Bonhams, 10 June 2009, lot 134;Private collection
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FAR O’ER THE MOORS THE LAKELETS LIE ADREAM, THE PAINTER’S VISION AND THE POET'S THEME, 1896
FAR O’ER THE MOORS THE LAKELETS LIE ADREAM, THE PAINTER’S VISION AND THE POET'S THEME, 1896
William Percy French (1854-1920)

Auction Date / Lot No.: 4 March 2013 / 77

Published Estimate: €10000-15000

Price Realised: €9500

  • Signature: signed and dated lower right; with original label on reverse inscribed with title, price and artist's address [35 Mespil Road, Dublin]
  • Medium: watercolour
  • Dimensions: 15.75 by 23in., 39.375 by 57.5cm.
  • Provenance: A gift to the previous owner's uncle c.1960;Whyte's, 26 November 2007, lot 92;Whence purchased by the present
  • Exhibited: Belfast Art Society, 1896, catalogue no. 95
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TOPSAIL KETCH ON THE CLYDE SAILING PAST THE CLOCH LIGHTHOUSE, SCOTLAND, 1865
TOPSAIL KETCH ON THE CLYDE SAILING PAST THE CLOCH LIGHTHOUSE, SCOTLAND, 1865
William Clarke (1803-1883)

Auction Date / Lot No.: 4 March 2013 / 78

Published Estimate: €3000-4000

Price Realised: €2700

  • Signature: inscribed [Painted by W Clarke 1865 / From a sketch by ___ Christie 1776"] on reverse; with title and artist's dates on plaque affixed to frame lower centre"
  • Medium: oil on canvas
  • Dimensions: 23.5 by 35.5in., 58.75 by 88.75cm.
  • Provenance: Christie's, 25 May 2005, lot 520;Private collection
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STORMY WEATHER OFF THE ROCKS, HOWTH, COUNTY DUBLIN, c.1860s
STORMY WEATHER OFF THE ROCKS, HOWTH, COUNTY DUBLIN, c.1860s
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 4 March 2013 / 79

Published Estimate: €2500-3500

Price Realised: €2500

  • Signature: faintly signed and indistinctly dated [1861?] lower left; inscribed with title and numbered [1] on original label on reverse; signed on backing board also
  • Medium: watercolour
  • Dimensions: 8.5 by 19in., 21.25 by 47.5cm.
  • Provenance: James Adam & Bonhams, 26 May 1999, lot 166;Private collection;Adam's, Dublin, 26 March 2003, lot 3;Private collection
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IRISH TRAWLERS IN DUBLIN BAY
IRISH TRAWLERS IN DUBLIN BAY
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 4 March 2013 / 80

Published Estimate: €20000-30000

Price Realised: €28000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 29 by 48in., 72.5 by 120cm.
  • Provenance: Christie's, King Street, London, 15 November 1968, lot 27; Whence purchased by the previous owner;Whyte's, 26 April 2005, lot 116;Whence purchased by the present owner
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VIEW OF DUBLIN ALONG THE LIFFEY FROM VICTORIA QUAY, DEPICTING THE WATLING STREET AND QUEEN STREET BRIDGES AND THE FOUR COURTS BEYOND
VIEW OF DUBLIN ALONG THE LIFFEY FROM VICTORIA QUAY, DEPICTING THE WATLING STREET AND QUEEN STREET BRIDGES AND THE FOUR COURTS BEYOND
 Irish School, early 19th Century 

Auction Date / Lot No.: 4 March 2013 / 81

Published Estimate: €2000-3000

Price Realised: €2000

  • Medium: oil on canvas
  • Dimensions: 12 by 14in., 30 by 35cm.
  • Provenance: Whyte's, 18 November 2003, lot 116;Private collection
  • The present view is an exact replica of the engraving of Petrie's View for the Excursions Through Ireland, titled Barracks & Queen's Bridge, Dublin, engraved by T. Barber, published by Longman's & Co., London.In this journeyman artist’s rendering of the view along Dublin’s Liffey from the westernmost extremity of the Liffey quays - the site of the Guinness Brewery - we have a charming and historically interesting work. The large mock-medieval gateway - at the southern foot of the Watling Street Bridge - was erected in 1812. Designed by Francis Johnson, it was known as the Richmond Tower, after the Duke of Richmond. By the mid 1840s however, when the new railway station opened at King’s Bridge (now Heuston Station), traffic along the quays increased and the tower gate was deemed an obstruction. Thus it was moved circa 1846 to its present location at the western entrance to the Royal Hospital at Kilmainham. Also visible in the painting is an early version of Watling Street Bridge (later replaced with a flat bridge to accommodate traffic) and the elegantly curved, three-arched Queen Street bridge, with its distinctive balustraded parapet and granite niches, still in evidence today. In the foreground a barge pushes off shore, laden with barrels which are more than likely from the Guinness brewery and would have been floated downstream to be loaded onto larger ships.

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PORTRAIT OF THE 1ST PRESIDENT OF ROYAL COLLEGE OF SURGEONS, SAMUEL CROKER-KING (1728-1817)
PORTRAIT OF THE 1ST PRESIDENT OF ROYAL COLLEGE OF SURGEONS, SAMUEL CROKER-KING (1728-1817)
 Irish School,18th/19th Century 

Auction Date / Lot No.: 4 March 2013 / 82

Published Estimate: €3000-4000

Price Realised: €2900

  • Medium: oil on canvas laid on board
  • Dimensions: 33.75 by 27in., 84.375 by 67.5cm.
  • Provenance: The Collection of the Pytts Family, Kyre Park, Worcestershire, England;Thence descent;Private collection
  • An unsigned portrait of the sitter can be found in the Collection of the RCSI, Stephen's Green, Dublin and is reproduced in an article, O'Brien, Eoin, 'The Royal College of Surgeons in Ireland: Bicentennial Tribute', Journal of the Irish Colleges of Physicians and Surgeons, Vol. 13, No. 1, January 1984, p.30.

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MUSIDORA BATHING HER FEET
MUSIDORA BATHING HER FEET
Attributed to John Glover (1767-1849)

Auction Date / Lot No.: 4 March 2013 / 83

Published Estimate: €6000-8000

Price Realised: €0

  • Signature: with inscription on label affixed on reverse, which reads 'This cool retreat his Musidora sought; Warm in her cheek the sultry season glowed, And, robed in loose array, she came to bathe, Her fervent limbs in the refreshing stream'. bide Thomson's Seasons
  • Medium: oil on canvas
  • Dimensions: 34 by 34in., 85 by 85cm.
  • Provenance: Purchased by the previous owner at the Contents Sale, Staleen House, Donore, Co. Meath, c/o Alain, Chawner Ltd., 29 July 1986, lot 243 (illustrated p.14);Private collection
  • This subject was also painted by Thomas Gainsborough among others.Staleen House was owned by Thomas Gerard Du Buisson (b. 1892, Betchworth, Surrey). He served with the Royal Horse Artillery on the Western Front during WWI from August 1914. He was Secretary of the Grafton Hunt and lived between England and Ireland with his wife, Sylvia Grace (née Portman). He died aged 97 in Suffolk.

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THE PIRATE'S TRIBUNE, 1900
THE PIRATE'S TRIBUNE, 1900
Arthur David McCormick RBA RI ROI (1860-1943)

Auction Date / Lot No.: 4 March 2013 / 84

Published Estimate: €1500-2000

Price Realised: €1400

  • Signature: signed and dated lower right; with the artist's address [St. John's Wood] inscribed on stretcher on reverse
  • Medium: oil on canvas
  • Dimensions: 18 by 24in., 45 by 60cm.
  • Provenance: Christie's, London, 23 January 2003, lot 226;Private collection;with The Frederick Gallery, Dublin, April 2004;Private collection
  • Exhibited: 'Spring Exhibition of Irish Art', The Frederick Gallery, Dublin, 3-23 April 2004, catalogue no. 3 (illustrated)
  • McCormick was born in Coleraine and studied at the Government School of Design, Belfast. He later travelled to London working with the Illustrated London News among other publications. In 1889, from Trafalgar Studios, McCormick exhibited for the first time with the Royal Academy, London. This would be the beginning of a 30 year relationship with the institution. Snoddy records the artist's address from 1895 as 58 Queen's Road, St. John's Wood [as per the reverse of the present work]; the artist resided at this address for over 40 years. The theme of pirates began to appear in the oeuvre at the turn of the century and the RA index of exhibitors lists two such works shown with them in 1903 and 1904. Among the artist's best known commissions was the iconic sailor's head and shoulders on the cigarette packets for tobacco manufacturers, John Player & Son in 1927. His works can be found in the Victoria & Albert Museum, Imperial War Museum and the Borough Council, Coleraine among others. For further reading see Snoddy p.370-372.

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STUDY OF A YOUNG WOMAN SEEN IN THREE QUARTER PROFILE FROM BEHIND
STUDY OF A YOUNG WOMAN SEEN IN THREE QUARTER PROFILE FROM BEHIND
Thomas Hovenden (1840-1895)

Auction Date / Lot No.: 4 March 2013 / 85

Published Estimate: €1000-1500

Price Realised: €950

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 22 by 18in., 55 by 45cm.
  • Provenance: Whyte's, 18 February 2003, lot 75;Whence purchased by the present owner
  • Born in Dunmanway, Co. Cork, Hovenden was orphaned at the age of six and thus reared in a local orphanage. At 14 years of age he was apprenticed to a Cork frame-maker by the name of Tolerton, for whom, according to Strickland, he served seven years and afterwards served worked as a journeyman." His artistic training began at the School of Art in Cork, where he was an acclaimed early student of James Brenan, and was furthered from 1863 to c.1875 at the prestigious National Academy of Design in New York. By 1875 he had left America in preference for France, settling in the flourishing artist's community at Pon Avon, Brittany. Whilst his work was omitted from the seminal Irish Impressionism exhibition of 1984, Anne Crookshank and the Knight of Glin have surmised that he probably spent time in contact with Aloysius O'Kelly and Augustus Nicholas Burke (Ireland's Painters 1600-1940, p.260). His work may be found in the Philadelphia Museum of Art and the Metropolitan Museum, New York. See Strickland, Vol. I, p.528. For further reading see: A. G. Terhune, P. Smith Scanlan, Thomas Hovenden; His Life and Art (2006)"

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GRAVE DIGGER, 1865
GRAVE DIGGER, 1865
Erskine Nicol ARA RSA (1825-1904)

Auction Date / Lot No.: 4 March 2013 / 86

Published Estimate: €2000-3000

Price Realised: €3800

  • Signature: signed and dated lower right; with artist's name on stretcher verso
  • Medium: oil on canvas
  • Dimensions: 13 by 10.5in., 32.5 by 26.25cm.
  • In 1865 the artist was showing with the Royal Academy in London, where his address is recorded as 24 Dawson Place, Pembridge Square, London.""

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LES DÉLICES DES YEUX ET DE L'ESPIRIT, OU COLLECTION GENERALE DES DIFFERENTES ESPÈCES DE COQUILLAGES (1764-73) (SET OF 7)
LES DÉLICES DES YEUX ET DE L'ESPIRIT, OU COLLECTION GENERALE DES DIFFERENTES ESPÈCES DE COQUILLAGES (1764-73) (SET OF 7)
After Georg Wolfgang Knorr (1705-1761)

Auction Date / Lot No.: 4 March 2013 / 87

Published Estimate: €3000-4000

Price Realised: €0

  • Signature: each numbered in the upper corners; with engraver's name lower right and Museum details, centre
  • Medium: hand-coloured engraving; (7)
  • Dimensions: 7.5 by 6in., 18.75 by 15cm.
  • Provenance: with Bernard Quaritch, London in 1981;Private collection
  • All framed and mounted uniformly. Engravings of shells by A. Hoffer, J.A. Eisenmann, G.P. Trautner and, others after drawings by G. W. Knorr. (7 Works total).

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RIVER LANDSCAPE, 1904
RIVER LANDSCAPE, 1904
William Percy French (1854-1920)

Auction Date / Lot No.: 4 March 2013 / 88

Published Estimate: €1000-1500

Price Realised: €1600


SCHEVENINGEN BEACH, HOLLAND, 1874
SCHEVENINGEN BEACH, HOLLAND, 1874
Edwin Hayes RHA RI ROI (1819-1904)

Auction Date / Lot No.: 4 March 2013 / 89

Published Estimate: €500-700

Price Realised: €640


LLANSTEFFAN CASTLE, SOUTH WALES
LLANSTEFFAN CASTLE, SOUTH WALES
In the style of William Shayer I (1788-1879)

Auction Date / Lot No.: 4 March 2013 / 90

Published Estimate: €500-700

Price Realised: €680


PORTRAIT OF ELIZABETH ROSE AND HER DAUGHTER MURIEL LISA BROWN OF DUBLIN, 1899
PORTRAIT OF ELIZABETH ROSE AND HER DAUGHTER MURIEL LISA BROWN OF DUBLIN, 1899
Joseph Poole Addey (1852-1922)

Auction Date / Lot No.: 4 March 2013 / 91

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: signed and dated lower left; with ornate label of J.D. Spence [Print Seller & Fine Art Dealer, 38 Westmoreland Street, Dublin] on reverse
  • Medium: watercolour with gouache
  • Dimensions: 29.25 by 21.25in., 73.125 by 53.125cm.
  • Provenance: Family of the sitters;Thence by descent
  • Exhibited: RHA, Dublin, catalogue no. 195 [NFS] as Mrs. H. Brown and her daughter Muriel
  • The present work was one of four shown by the artist in the RHA in 1900. The Index of Exhibitors records Poole Addey's address at this juncture as 10 Dunville Avenue, Rathmines, Dublin. The sitters are Muriel Lisa Sandes Brown aged 5 years and Elizabeth Rose Brown aged 35, married to William Herbert (barrister) of Burlington Road (Pembroke West, Dublin).

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SUMMER EVENING
SUMMER EVENING
William Gibbes MacKenzie ARHA (1857-1924)

Auction Date / Lot No.: 4 March 2013 / 92

Published Estimate: €300-500

Price Realised: €300

  • Signature: signed lower right; original inscribed label on reverse
  • Medium: oil on board
  • Dimensions: 14 by 10in., 35 by 25cm.
  • Provenance: Whyte's, 30 November 2009, lot 234; Private collection
  • Exhibited: Belfast Ramblers Sketching Club, 1924, catalogue no. 254
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PORTRAIT OF MR. GEORGE HILL TULLOCH [FORMER DIRECTOR OF BANK OF IRELAND]
PORTRAIT OF MR. GEORGE HILL TULLOCH [FORMER DIRECTOR OF BANK OF IRELAND]
Leo Whelan RHA (1892-1956)

Auction Date / Lot No.: 4 March 2013 / 93

Published Estimate: €800-1000

Price Realised: €1300

  • Signature: signed upper left
  • Medium: oil on canvas
  • Dimensions: 30 by 25in., 75 by 62.5cm.
  • Exhibited: RHA, Dublin, 1950, catalogue no. 150 [George Hill Tulloch, Esq. NFS]
  • This lot is accompanied by a small Irish Times article announcing Mr Tulloch's [of Bushy Park Rd., Terenure] appointment to the position of Director with the bank. It notes his previous training and employment as partner with Messrs. Craig Gardner & Co. Accountants [Dame St.] (Price Waterhouse Coopers). The sitter was also in charge of the finances records of the Abbey Theatre from 1923 to the 1930s.

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THE RIVER SHANNON AND BRIDGE AT ATHLONE, 1944
THE RIVER SHANNON AND BRIDGE AT ATHLONE, 1944
Countess Lily McCormack (1884-c.1969)

Auction Date / Lot No.: 4 March 2013 / 94

Published Estimate: €300-500

Price Realised: €620

  • Signature: signed and dated lower left; with typed label on reverse reads Painted by Lily McCormack. A present for John. The River Shannon and Bridge at Athlone""
  • Medium: oil on canvas
  • Dimensions: 13.5 by 19in., 33.75 by 47.5cm.
  • Lily McCormack (née Foley) married the famous Irish tenor, Count John McCormack in 1906. Born in Athlone in 1884, McCormack's hometown is seen here from the far side of the Shannon looking over towards the twin towers of St. Peter's and St. Paul's church. By 1944, when the present work was executed, the artist's husband had retired, giving his last public performance in support of the war effort the previous year. He died in Dublin in 1945 and 1949 Lily McCormack published a biography on her late husband entitled, I Hear You Calling Me.

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PORTRAIT OF A GIRL
PORTRAIT OF A GIRL
Lily Williams ARHA (1874-1940)

Auction Date / Lot No.: 4 March 2013 / 95

Published Estimate: €800-1200

Price Realised: €0

  • Signature: with original inscribed ROSC exhibition label preserved verso
  • Medium: pastel on paper
  • Dimensions: 17.25 by 13.25in., 43.125 by 33.125cm.
  • A contemporary of Beatrice Elvery and Estella Solomons, Lily Williams was a Dublin born portrait and figure painter of Unionist and Protestant stock. She exhibited regularly at the RHA from 1904, the Dublin Sketching Club and she was one of the Young Irish Artists who showed in Dublin in 1903. Among her best-known sitters was Arthur Griffith who inspired Williams and other Protestant Sinn Féiners" to learn Irish. Williams designed a Sinn Féin "postage stamp" and Ireland's struggle featured in several forms in her oeuvre; An Irish Volunteer was among her exhibits at the 1916 RHA academy exhibition. From prison in England, 1916-18, Griffith wrote to the artist. In 1921 she presented an oil portrait of him to the Municipal Gallery of Modern Art, Dublin (now housed in Áras An Uachtaráin). Williams designed the Irish Free State Cross of Cong stamp in 1922, a design still in use up to 1968. She was appointed ARHA in 1929. Her work can be found in important public collections including the Abbey Theatre, Civic Museum, Liberty Hall, UCD and the Hugh Lane among others. For further reading see: Snoddy, p.713-715."

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GLENDALOUGH, COUNTY WICKLOW, 1895
GLENDALOUGH, COUNTY WICKLOW, 1895
Constance Gore-Booth, Countess Markievicz (1868-1927)

Auction Date / Lot No.: 4 March 2013 / 96

Published Estimate: €1500-2000

Price Realised: €1800

  • Signature: signed with initials C. G. B." and dated [August] lower left"
  • Medium: watercolour
  • Dimensions: 10 by 14in., 25 by 35cm.
  • Provenance: A gift from the artist to Elizabeth Coventry, North Strand, Dublin; Thence by descent to previous owner;Whyte's, 29 November 2005, lot 155;Private collection
  • The original owner of this work, Elizabeth Coventry, was a relation of Mr Richardson, owner of The Lake Hotel, Glendalough, where Countess Markievicz would occasionally stay in the company of Mrs Coventry and her family.

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NUDE, c.1900
NUDE, c.1900
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 4 March 2013 / 98

Published Estimate: €800-1000

Price Realised: €750

  • Medium: pencil
  • Dimensions: 11 by 8.5in., 27.5 by 21.25cm.
  • Provenance: acquired from the artist c.1901 by Michel Salaman;Thence by descent to Michael Salaman;Private collection, Ireland
  • Exhibited: 'William Orpen: Early Work', Pyms Gallery, London, 20 May to 12 June 1981 (illustrated on final page of catalogue)
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DUBLINERS (A PAIR)
DUBLINERS (A PAIR)
Michael Healy (1873-1941)

Auction Date / Lot No.: 4 March 2013 / 99

Published Estimate: €800-1000

Price Realised: €750

  • Signature: with inscribed Dawson Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 7.5 by 4.75in., 18.75 by 11.875cm.
  • Provenance: Dawson Gallery, Dublin; Whence purchased by the previous owners;Whyte's, 25 February 2008, lot 92;Private collection
  • In the original, uniform frames of the Dawson Gallery, Dublin.

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THREE SHAWLIES, SMITHFIELD, 1908
THREE SHAWLIES, SMITHFIELD, 1908
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 4 March 2013 / 100

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: signed lower left; inscribed with price [6gns] and dated lower right; with provenance inscribed in a later hand on reverse
  • Medium: crayon on paper
  • Dimensions: 11.25 by 9.25in., 28.125 by 23.125cm.
  • Provenance: Purchased from the Bell Gallery, 1968, for 3gns; Later sold back to the Bell Gallery, £300; Whyte's, 29 April 2003, lot 80; Whence re-purchased by the original owner
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THE DUBLIN BOOKSHOP, 32 BACHELORS WALK, 1942
THE DUBLIN BOOKSHOP, 32 BACHELORS WALK, 1942
George Pennefather (1905-1967)

Auction Date / Lot No.: 4 March 2013 / 101

Published Estimate: €300-500

Price Realised: €850

  • Signature: signed and dated lower right
  • Medium: pen and ink with watercolour
  • Dimensions: 10.75 by 14.5in., 26.875 by 36.25cm.
  • The Dublin Bookshop" was part of the Fred Hanna group of bookshops which included George Webb on Aston Quay and the Nassau Street bookshops."

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IRISH HISTORICAL WATERCOLOURS, DRAWINGS AND UNPUBLISHED BIOGRAPHICAL HISTORY ARTICLES
IRISH HISTORICAL WATERCOLOURS, DRAWINGS AND UNPUBLISHED BIOGRAPHICAL HISTORY ARTICLES
Dan Rainey (fl.1930s)

Auction Date / Lot No.: 4 March 2013 / 102

Published Estimate: €1000-1500

Price Realised: €0

  • Dimensions:  by in., 0 by 0cm.
  • A collection of 10 albums. The first 7 containing historical recollections and research by Dan Rainey, 35 watercolours and various photographs and documents. Articles include East Belfast characters, Holidays in Dublin and Portrush, a collected history of Holywood, childhood memories of Ballymacarret in the 1920s, the Connswater Flute Band etc. The final three albums containing a total of 129 watercolours and pen and ink drawings of historical buildings and locations throughout Ireland and also ornithological drawings from the 1930s. A fine collection.Works by Dan Rainey can be found in the National Museums Collection of Northern Ireland.

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