26 May 2014

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RECLINING WOMAN
RECLINING WOMAN
Stella Steyn (1907-1987)

Auction Date / Lot No.: 26 May 2014 / 50

Published Estimate: €€1000-€1500

Price Realised: €950


TWO WOMEN IN A VILLAGE
TWO WOMEN IN A VILLAGE
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 26 May 2014 / 51

Published Estimate: €€6000-€8000

Price Realised: €9500

  • Signature: with typed Pyms Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 17 by 21in., 42.5 by 52.5cm.
  • Provenance: The Artist's Estate;Pyms Gallery, London;Private collection;deVere's, 6 March 2001, lot 129Private collection
  • Exhibited: 'Mary Swanzy HRHA (1882-1978)' Pyms Gallery, London, 6-29 May 1998, catalogue no. 16 (illustrated in catalogue)
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PAINTING, 1930
PAINTING, 1930
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 26 May 2014 / 52

Published Estimate: €€20000-€30000

Price Realised: €0

  • Signature: signed and dated lower right; with small hand-written label on reverse; with Irish Art Exhibition [Brussels] label inscribed with artist's name, address [36 Fitzwilliam Sq., Dublin] and title; with Corporation of Dublin exhibition label on reverse; also w
  • Medium: oil on canvas
  • Dimensions: 30 by 36in., 75 by 90cm.
  • Provenance: Mr & Mrs James Creed Meredith K.C., LL.D. (1875-1942);Thence by descent to the present owner
  • Exhibited: Irish Art Exhibition, Brussels, May 1930;'Mainie Jellett Retrospective Exhibition', Hugh Lane Gallery Dublin, July - October 1962, catalogue no. 3;
  • Handwritten label verso reads: 34. / oil / 30 x 36 / A054 / Painting Brussels / Ref Abstract.In 1921 the young Irish artists Mainie Jellett and Evie Hone arrived in Paris to study with the Cubist master André Lhote. Jellett and Hone had studied in London under Walter Sickert where they absorbed important lessons in anatomy and classical portraiture, but this wasn't enough, they wanted to be 'modern' and in the early 1920s the terms 'Modern' and 'Cubist' were synonymous. Lhote was one of the first generation of Cubists, having shown in the second public exhibition of Cubism at the Salon des Indépendents of 1912. Following the Armistice in late 1918, cultural activity was renewed in Paris and Lhote opened an academy where a significant number of Irish artists were taught to paint along cubist principles. From work produced by Jellett at this time, we know that working from the nude model, seated portraits, and still-lifes were central to the curriculum. For Jellett and Hone this was too similar to the training they had received in London, so in 1922 they famously asked to be taken on as students by the painter Albert Gleizes, who had neither an academy nor an open studio. Gleizes had been developing a form of Cubist abstraction more in tune with Mondrian than Picasso and in 1920 published 'Du Cubisme et les moyens de le comprendre'(1), arguing that Cubism had been a search for a precise scientific method to replace the old scientific method of single point perspective, and that the essential elements of this new method are now known" .(2)Working together, the artists developed a system of 'translation and rotation' the early result of which, Jellett's Painting, 1923 (National GalIery of Ireland) was shown at the Dublin Painters Gallery that year to critical derision. Although on first glance Painting, 1923 is abstract, closer inspection of the format, composition, medium, and patterning relate it directly to early Renaissance religions icons like Cimabue's Maestà (c.1280). This was not co-incidental. Although much of the modern movement was fiercely secular, Gleizes, Jellett and Hone maintained a deeply Christian faith and sought to integrate Christian imagery into their modern vision. Through the mid-20s they worked on a series of 'Elements' paintings - largely abstract exercises in colour and form. In 1927-28 Jellett produced her major work Homage to Fra Angelico, a cubist interpretation of Angelico's Coronation of the Virgin (c.1435, Louvre, Paris). This is a mature work in Jellett's oeuvre demonstrating the successful cubist reduction of a form with traditional religious content, something we also see in the present work Painting,1930. An unusual feature of Homage to Fra Angelico and Painting, 1930 is the colour palette. In the case of Homage the colours range from mustard-green through to taupe and similarly Painting, 1930 utilises ochres and umbers reminiscent of brick burned by the sun. It is likely that the 'L'Exposition des Arts Décoratifs' in Paris in 1925 may have influenced this. This major exhibition of Art Deco included pavilions from around the Francophone world such as the colonies Tunisia, Morocco and Algeria and so the colours and light of North Africa would have permeated the visual plane. The source of the vertical, tripartite composition of Painting, 1930 can be compared to a typical quattrocento painting like Perugino's Madonna and Child with St John the Baptist and St Sebastian (1493) which could be considered an evolution from the earlier work by Cimabue. Certainly the composition of Painting, 1930 reflects the architectural setting within a vaulted space, with the Virgin and Child seated on a dais. Jellett would go on to further simplify this composition in one of her most important works The Madonna of Éire (1943, NGI) in which Saints Patrick and Brigid are seen either side of the Virgin. In these late works, Jellett combines influences from Celtic art and familiar images of the Virgin but produces a resolutely 'modern' image thereby making cubism and abstraction more palatable to a conservative audience. Seán Kissane, Curator, IMMAApril 2014Author & Curator: 'Analysing Cubism', Irish Museum of Modern Art, Dublin and Crawford Municipal Gallery, Cork, 20131 On Cubism and the means to understand it. 2 Peter Brooke, Albert Gleizes, Chronology of his life, 1881-1953. http://www.peterbrooke.org.uk/a&r/chronology"

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CARTOON FOR STAINED GLASS WINDOW SHOWING ST JOHN THE EVANGELIST
CARTOON FOR STAINED GLASS WINDOW SHOWING ST JOHN THE EVANGELIST
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 26 May 2014 / 53

Published Estimate: €€1200-€1500

Price Realised: €0


MADONNA AND CHILD
MADONNA AND CHILD
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 26 May 2014 / 54

Published Estimate: €€1200-€1500

Price Realised: €1600

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 17.5 by 13.75in., 43.75 by 34.375cm.
  • Provenance: Whyte's, 25 April 2006, lot 49;The Collection of Jill Cox;Her sale, Adam's, 7 September 2011, lot 707;Private collection
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(TONE) STUDY FOR CLASSICAL THEME 3, 1944
(TONE) STUDY FOR CLASSICAL THEME 3, 1944
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 26 May 2014 / 55

Published Estimate: €€6000-€8000

Price Realised: €0

  • Signature: signed and dated [January] lower right; signed, inscribed and dated on reverse
  • Medium: pencil, pastel and watercolour
  • Dimensions: 7.5 by 5in., 18.75 by 12.5cm.
  • Provenance: Frederick Gallery, Dublin; Private collection
  • Exhibited: 'Irish Art', Frederick Gallery, Dublin, 29 May to 26 June 1995, catalogue no.19 (illustrated in catalogue)
  • Inscription verso states (in the artist's hand) that the present work is a study for an oil painting on canvas 6ft x 4ft". This larger work the artist refers to - Classical Theme 3 - was exhibited at the Irish Exhibition of Living Art, 1944, catalogue no. 16. "

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HOUSES NEAR SERRIÈRES, FRANCE
HOUSES NEAR SERRIÈRES, FRANCE
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 26 May 2014 / 56

Published Estimate: €€800-€1000

Price Realised: €1600

  • Signature: signed lower right; with inscribed Dawson Gallery label on reverse
  • Medium: pastel on tinted paper
  • Dimensions: 10.5 by 14.5in., 26.25 by 36.25cm.
  • Provenance: Dawson Gallery, Dublin;Collection of artists William Carron and Barbara Warren
  • Contained in original Dawson Gallery frame.

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HORSEMAN, ARAN HARBOUR and EARLY MORNING, ARAN ISLANDS (A PAIR)
HORSEMAN, ARAN HARBOUR and EARLY MORNING, ARAN ISLANDS (A PAIR)
Elizabeth Rivers (1903-1964)

Auction Date / Lot No.: 26 May 2014 / 57

Published Estimate: €€600-€800

Price Realised: €0

  • Signature: oil, signed left of centre, signed again and titled on reverse; engraving, signed, numbered and titled in the lower margin
  • Medium: oil on canvas; (1); wood engraving; (no. 6 from an edition of 50)
  • Dimensions: 8 by 12in., 20 by 30cm.
  • Provenance: Collection of artists William Carron and Barbara Warren
  • Dimensions, Early Morning, Aran Islands, 8 by 6in. (framed).

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ABSTRACT IN BLACK, RED AND YELLOW
ABSTRACT IN BLACK, RED AND YELLOW
Anne Yeats (1919-2001)

Auction Date / Lot No.: 26 May 2014 / 58

Published Estimate: €€600-€800

Price Realised: €0


ORANGE SHAPES, c.1970
ORANGE SHAPES, c.1970
Norah McGuinness HRHA (1901-1980)

Auction Date / Lot No.: 26 May 2014 / 59

Published Estimate: €€6000-€8000

Price Realised: €0

  • Signature: signed lower right; titled on handwritten label on reverse; also with inscribed Dawson Gallery label and typed Keys Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 16 by 22in., 40 by 55cm.
  • Provenance: Dawson Gallery, Dublin;Private collection;with Keys Gallery, Londonderry, 1976;Private collection
  • Exhibited: ’Norah McGuinness’, Dawson Gallery, Dublin, 9-30 April 1970 catalogue no. 27;’Norah McGuinness’, Keys Gallery, Londonderry, June 1976, catalogue no. 2
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SALMON FISHING ON THE BOYNE, c.1950
SALMON FISHING ON THE BOYNE, c.1950
Nano Reid (1900-1981)

Auction Date / Lot No.: 26 May 2014 / 60

Published Estimate: €€25000-€35000

Price Realised: €24000

  • Signature: signed lower left; with exhibition label affixed on reverse
  • Medium: oil on panel
  • Dimensions: 24 by 48in., 60 by 120cm.
  • Provenance: James Adam & Sons, 29 March 1995, lot 36 as Fishermen;Private collection
  • Exhibited: 'Nano Reid and Gerard Dillon', Highlanes Gallery, Drogheda, 6 November to 10 January 2009 (loaned by present owner)
  • Literature: Ed., Coulter, Dr. Riann and NicGhabhann, Niamh, Nano Reid and Gerard Dillon Curated by Riann Coulter, Highlanes Gallery, Drogheda, 2009 (edition of 1,000), p.16-17 (illustrated)
  • Salmon Fishing on the Boyne is an extremely important work within Nano Reid's oeuvre. It is both a scene of everyday life in mid-century Ireland and a valuable historical record of a particular time and place. Born in Drogheda in 1905, Nano Reid studied and worked in Dublin, London and Paris before she eventually settled back in her home town. During the 1950s Reid painted several works inspired by Drogheda including Where the Ships Unload, Old Town by the River and the large mural she painted for her family's pub. That mural, now in the Drogheda Municipal Collection and on display in the Highlanes Gallery, is stylistically similar to Salmon Fishing on the Boyne and dates from the same period c. 1950.Although Salmon Fishing on the Boyne was not intended to be documentary and includes the Modernist distortions of scale and perspective that were typical of Reid's work in this period, it still constitutes a valuable record of a traditional way of life. For centuries salmon fishing was an important source of food and revenue for those who lived along the Boyne. There were around forteen fishing stations on the river and while it is difficult to identify the exact location of this scene, it may be an area of the river bank close to the town centre, which is known as The Ramparts. According to Leo Boyle, Boyne salmon fishermen had a particular method of working which involved two men. One man stayed on shore holding a rope attached to the net, while the other rowed out into the river with the other end of the net. Once the whole net was spread out, the boatman rowed back to shore and the two men pulled the net to shore, trapping fish as it went.(1) In Reid's painting the catch has been hauled in. Two fishermen are inspecting (or mending) the net, while a third man pulls a rope through the water. Two small row boats are moored nearby and more can be seen across the river. The chimney-like structures on the far shore resemble the lime kilns that were a historic feature of this area. Despite the years that she spent in Dublin, Reid always attributed her initial interest in art to Drogheda and the Boyne. In 1974 she told the journalist Martin Dillon, What started me off was an interest in the prehistoric Irish remains. An interest grew up around all that and the natural thing was to paint it. ... I looked around me more and painted what appealed to me in an emotional way. The thing is I have to have a subject that I feel about and the only ones I feel about are those places (Boyne Valley). There is no use in trying to paint a place I have no feeling for. The essence of a place is very important to me.(2) In addition to its subject matter, Salmon Fishing on the Boyne is successful in purely formal terms. The composition is unusual but balanced and there are notable formal elements such as the group of swans, whose dynamic bobbing is echoed and emphasised through the reflections in the river and the hatching of the fishing net. Curves flow through the composition from the outline of the shore to the boats, nets, rope and men's baggy trousers. The shape of the boats echoes the fish and the fishermen's flat caps. The warm palette dominated by yellows, pinks and blues, contradicts those critics who have condemned Reid's use of earthy greens and browns in later paintings including Cave of the Firbolg (Collection Arts Council of Ireland). Ultimately, Salmon Fishing on the Boyne proves that, despite being so firmly rooted in a particular place, Reid could produce work of universal appeal.Dr Riann CoulterApril 20141 Leo Boyle, Salmon Fishing on the Boyne River, A Brief Synopsis of the Boyne River Salmon Fishery, www.patburnsphotography.net, accessed 16/4/2014.2 Nano Reid interviewed by Martin Dillon, BBC Northern Ireland, 1974. Transcript, Reid Archive, Highlanes Gallery, Drogheda.

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BOATS AT CLOGHERHEAD, c.1933
BOATS AT CLOGHERHEAD, c.1933
Nano Reid (1900-1981)

Auction Date / Lot No.: 26 May 2014 / 61

Published Estimate: €€1000-€1500

Price Realised: €1500

  • Signature: signed lower right beneath the mount; with typed Arts Council exhibition label on reverse
  • Medium: watercolour
  • Dimensions: 8.75 by 11.25in., 21.875 by 28.125cm.
  • Provenance: Acquired directly from the artist by the present owner's mother;Thence by descent
  • Exhibited: 'Nano Reid Retrospective', Hugh Lane Municipal Gallery of Modern Art, Dublin, and the Ulster Museum, Belfast, from 27 November 1974 to February 1975, catalogue no. 6 (lent by the present owner);'Camille Souter / Nano Reid’, Droichead Arts Centre, Drogheda and Linenhall Arts Centre, Mayo, 5 May to 26 June, 1999, catalogue no. 55
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THE HEAD AT CLOGHERHEAD, c.1940
THE HEAD AT CLOGHERHEAD, c.1940
Nano Reid (1900-1981)

Auction Date / Lot No.: 26 May 2014 / 62

Published Estimate: €€700-€900

Price Realised: €1500

  • Signature: signed lower left; with exhibition label affixed to glass (recto); with note on provenance hand-written on reverse
  • Medium: watercolour
  • Dimensions: 8.5 by 11in., 21.25 by 27.5cm.
  • Provenance: Given as payment by Nano Reid to a taxi driver, 1979;Private collection
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BATHERS AT MORNINGTON, c.1945
BATHERS AT MORNINGTON, c.1945
Nano Reid (1900-1981)

Auction Date / Lot No.: 26 May 2014 / 63

Published Estimate: €€4000-€6000

Price Realised: €12000

  • Signature: signed lower left; with title in pencil and date [1948] on reverse; also with exhibition labels on reverse
  • Medium: oil on panel
  • Dimensions: 14 by 20in., 35 by 50cm.
  • Provenance: Purchased directly from the artist c.1940s
  • Exhibited: 'Camille Souter / Nano Reid’, Droichead Arts Centre, Drogheda and Linenhall Arts Centre, Mayo, 5 May to 26 June, 1999, catalogue no. 1 (Bathers at Mornington, 1945);'Nano Reid: A Retrospective Exhibition', Droichead Arts Centre, Drogheda, 5 April to 31 May 1991, catalogue no. 10 (illustrated on front cover of catalogue)'Nano Reid and Gerard Dillon', Highlanes Gallery, Drogheda, 6 November to 10 January 2009 (loaned by present owner)
  • Literature: Mallon, Declan, Nano Reid 1900 - 1981, Sunnyside Publications, Drogheda, 1994, plate no. 5 (illustrated on p. 57 and on dust-jacket);Ed., O'Connor, Éimear, Irish Women Artists 1800-2009, Familiar but Unknown, Four Courts Press, Dublin, 2010
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ANY OLD TOWN
ANY OLD TOWN
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 May 2014 / 64

Published Estimate: €€3000-€4000

Price Realised: €3000

  • Signature: signed lower right; with Taylor Galleries label on reverse
  • Medium: oil pastel with mixed media
  • Dimensions: 15 by 22in., 37.5 by 55cm.
  • Provenance: Taylor Galleries, Dublin;The Collection of Jim O'Driscoll SC
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ISLAND DWELLERS
ISLAND DWELLERS
Nano Reid (1900-1981)

Auction Date / Lot No.: 26 May 2014 / 65

Published Estimate: €€2000-€3000

Price Realised: €4000

  • Signature: signed lower left; with title inscribed on original label on reverse
  • Medium: oil on canvas
  • Dimensions: 14 by 21in., 35 by 52.5cm.
  • This scene depicts the distinctive Dunquin Pier at the western tip of the Dingle Peninsula, overlooking the Blasket Islands.

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HOME WITH THE CATCH
HOME WITH THE CATCH
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 May 2014 / 66

Published Estimate: €€60000-€80000

Price Realised: €60000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 23 by 23.5in., 57.5 by 58.75cm.
  • Provenance: Waddington Galleries, Dublin;Where purchased by the present owner's father
  • Exhibited: 'Four Ulster Painters', Victor Waddington Galleries, Dublin, September, 1947;'Four Ulster Painters', Heals Mansard Gallery, London, May to June 1948, catalogue no. 36 (a joint exhibition with Daniel O'Neill, George Campbell and Neville Johnson);'Gerard Dillon, Art and Friendship Summer Loan Exhibition', Adam's, Dublin, 2-26 July 2013 (travelled to Ava Gallery, Clandeboye, 1-29 August 2013) catalogue no. 39
  • Literature: 'Gerard Dillon, Art and Friendship Summer Loan Exhibition', Adam's, Dublin, 2013, catalogue no. 39, p.41 (illustrated)
  • Gerard Dillon was born in West Belfast in 1916 but spent much of his life in London where he earned a living as a painter and decorator. Many of his most popular, and important, paintings depict scenes of everyday life on the west coast of Ireland. He first visited the west in 1939 and became enchanted with the landscape and the people, making them the major theme of his work throughout the 1940s and 1950s. Home with the Catch is a western scene where a young family make their way through the village with their daily catch of fish. Fish were both a staple of their diet and a commodity that they could trade. Their clothing is recognisable as the traditional dress once common in Connemara and the Aran Islands. The woman's red skirt and white woollen jumper along with the man's baggy woollen trousers and waistcoat and their simple leather shoes, known as pampooties, locate this image in a particular time and place. Stylistically similar to Irish Peasant Children (c.1949), this work also resembles the young couple carrying fish depicted in Dillon's textile work Gentle Breeze, which he hand stitched in 1952. Recalling his first experience of the western seaboard, Dillon wrote that the west was 'a great strange land of wonder to the visitor from the red-brick city'.(1) Like many artists and writers before him, he held a romantic view of the west as both the locus of an authentic Irish culture and a 'primitive' place, free from many of the restraints of wider Irish society. Writing in 1955, he claimed that Connemara is 'the place for a painter' and eulogising about the variety of the rugged landscape, the quality of the light and the simplicity of daily life, concluded: 'one could live here forever but being neither a fisherman nor farmer, but only a painter, I'm forced to come back to city life to sell work - and hope to save enough to come back to Connemara'.(2) Although Dillon recognised that he was an outsider in Connemara, during the period he spent living on Inishlacken in 1950, he adopted elements of traditional dress, travelled back and forth to the mainland in a currach and embraced the way of life wholeheartedly. As James White pointed out: 'For a nationalist Catholic like Gerard Dillon, living in London and desperately wanted to belong to a Republican nation called Ireland ... Connemara with its remoteness, its delightful stonewall fields, mountains, lakes and seacoast and above all islands like Inishlacken where he could cut himself off for a spell and live in a tiny cottage, with no social life to speak of and a boat journey away from barracks, church or pub - all this gave him the feeling of having found a land free of all the restrictions of oppression which he had come to accept as being there to offend him'.(3) Dillon's initial interest in painting the west and its inhabitants was sparked by Seán Keating's illustrations for Playboy of the Western World. William Conor's focus on the daily lives of working people in Ulster was another early influence. In Home with the Catch, Dillon brings these influences together to create an original vision of the west which combines romance and realism. Dr Riann CoulterApril 20141 Gerard Dillon, 'The Artist Speaks', Envoy, 4 February, 1951, p.39.2 Gerard Dillon, 'Dear Tourist', Ireland of the Welcomes, Bord Fáilte, Dublin, May/June, 1955, p.30.3 White, James, Gerard Dillon: An Illustrated Biography, Dublin: Wolfhound Press, 1994, p.10.

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SEATED FIGURE: 6.72 [1972]
SEATED FIGURE: 6.72 [1972]
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 May 2014 / 67

Published Estimate: €€25000-€35000

Price Realised: €25000

  • Signature: signed in monogram lower right; signed again on reverse and inscribed with title [Seated Figure: 6.72]; with inscribed Arts Council of Northern Ireland label on reverse; also with [1985] Studio stamp on reverse
  • Medium: oil on gesso-prepared board
  • Dimensions: 36 by 36in., 90 by 90cm.
  • Provenance: Collection of the artist;His sale, Christie's, London, 4 October 1985, lot 177 (full colour illustration in catalogue); with Jorgensen Fine Art, Dublin;Where purchased by the previous owner;Thence by descent
  • Exhibited: 'Colin Middleton', David Hendriks Gallery, Dublin, January to February 1973, catalogue no. 3;'Colin Middleton', David Hendriks at the Cork Arts Society Gallery, Cork, until 21 July 1973, catalogue no. 2;’Colin Middleton Retrospective’, Arts Council exhibition, Ulster Museum, Belfast, and Municipal Gallery of Modern Art, Dublin, 1976, catalogue no. 173 (loaned from the collection of the artist);
  • Seated Figure 6.72 is part of an ambitious series of large paintings of the female nude that Colin Middleton completed in the early 1970s. While the female figure occurred frequently in his work from previous decades it was often seen in a more narrative or symbolic context. These paintings depict a female figure, highly abstracted and depersonalised, with no setting or attributes that identify her. Even the titles of the works refrain from any detail, conceding only the most basic details of the subject and the date of its production. It is interesting to compare the series of work to which Seated Figure 6.72 belongs to the single figure paintings of the early 1950s, such as Gypsy, Ardglass or Teresa, both of which remove all context from the actual painting and concentrate almost entirely on the sitter, but also suggest a specific identity, place or narrative in the title.Seated Figure 6.72 is more schematised than these in its treatment of the female figure, although it retains the strong sense of physical presence that these earlier works share. The figure is sexualised but not eroticised and the interlocked hands evoke a more awkward presence and a suggestion of tension. While many of the Seated Figure group use an extremely reduced palette there is a much stronger and wider range of colour in the present painting. Rather than looking back at the formalised synthesis of nude with landscape that Middleton experimented with in the 1960s Seated Figure 6.72, in its palette and stronger forms, seems to look forward to the often vibrantly colourful and more geometric female figures of Middleton's late Spanish paintings.Blocks of flat colour and shape reiterate the flatness of the picture plane and contrast with the volumetric female form. The physical surface of the prepared board is also noticeable across the work, maintaining the sense of controlled design. The repeated vertical strokes of various scales that run throughout the work recall Middleton's landscapes of the period, suggesting spatial depth, but ultimately the isolation of the figure is deliberate and adds to the focus on the formal construction of the work. Clearly Middleton felt that this group of female nudes was at the heart of his work at this time, as the earlier Seated Figure K.371.1 was selected to represent him in the 1971 publication Causeway. In addition, Middleton selected the present work to be included in the Arts Council's 1976 touring retrospective of his work. Dickon HallApril 2014

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OISÍN OF THE BIRDS, c.1950s
OISÍN OF THE BIRDS, c.1950s
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 26 May 2014 / 68

Published Estimate: €€2000-€3000

Price Realised: €3200

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 16 by 14.5in., 40 by 36.25cm.
  • Provenance: Hendriks Gallery, Dublin late 1950s; Collection of artists William Carron and Barbara Warren
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UNTITLED ABSTRACT
UNTITLED ABSTRACT
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 May 2014 / 69

Published Estimate: €€1000-€1500

Price Realised: €1600

  • Signature: signed in monogram lower left; signed on reverse; with studio stamp also on reverse
  • Medium: oil on masonite board
  • Dimensions: 18 by 23.5in., 45 by 58.75cm.
  • Provenance: 'The Colin Middleton Studio Sale', Christie's, 4 October 1985;Private collection
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CELTIC ICON, c.1963
CELTIC ICON, c.1963
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 May 2014 / 70

Published Estimate: €€3000-€5000

Price Realised: €3800

  • Signature: signed in monogram lower right; titled and numbered [39] on reverse; also with Oriel Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 12 by 12in., 30 by 30cm.
  • Provenance: Magee Gallery, Belfast;Private collection;'Modern British Paintings, Watercolours and Drawings', Phillips, London, 8 March 1988, lot 69;with Oriel Gallery, Dublin;Where purchased by the present owner
  • Exhibited: 'Colin Middleton', Magee Gallery, Belfast, 25 October to 9 November 1963, catalogue no. 39;'Colin Middleton', Oriel Gallery, Dublin, 29 March to 15 April 1995, catalogue no. 27 (illustrated on exhibition invitation card)
  • Literature: Nulty, Oliver (ed.), 100 Years of Irish Art, Oriel Gallery, Silver Jubilee (1968-1993), Nicholson & Bass Ltd., Dublin, 1993, p.88 (illustrated)
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CASTLE ARCHDALE [FERMANAGH] and WOMAN AND BIRD [BARCELONA] c.1970s (A PAIR)
CASTLE ARCHDALE [FERMANAGH] and WOMAN AND BIRD [BARCELONA] c.1970s (A PAIR)
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 26 May 2014 / 71

Published Estimate: €€400-€600

Price Realised: €380

  • Signature: the first signed in monogram lower right and titled lower left
  • Medium: pencil on paper
  • Dimensions: 4 by 4in., 10 by 10cm.
  • Of equal size; framed and mounted uniformly.

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GOSSIP & SCANDAL, 1943
GOSSIP & SCANDAL, 1943
Anne Yeats (1919-2001)

Auction Date / Lot No.: 26 May 2014 / 72

Published Estimate: €€800-€1000

Price Realised: €750

  • Signature: titled and dated [July] on reverse; further inscribed [... street by night / March '43] on tacky margin on reverse
  • Medium: oil on canvas
  • Dimensions: 12 by 9.5in., 30 by 23.75cm.
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FIGURE IN A LANDSCAPE
FIGURE IN A LANDSCAPE
Daniel O’Neill (1920-1974)

Auction Date / Lot No.: 26 May 2014 / 73

Published Estimate: €€2000-€2500

Price Realised: €0


ABSTRACT COMPOSITION
ABSTRACT COMPOSITION
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 26 May 2014 / 74

Published Estimate: €€1000-€1500

Price Realised: €2200

  • Signature: inscribed with title and artist's name on reverse; with Arthur Armstrong Studio stamp on reverse
  • Medium: oil and sand on board
  • Dimensions: 20 by 19in., 50 by 47.5cm.
  • Provenance: The Collection of Arthur Armstrong;His studio sale, de Vere's, 3 February, 1998;Private collection;with Garrett O'Connor & Associates, 12 September 2005, lot 163;Private collection
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MAN SEA AND SKY, c.1951-1953
MAN SEA AND SKY, c.1951-1953
Deborah Brown HRUA (b.1927)

Auction Date / Lot No.: 26 May 2014 / 75

Published Estimate: €€1200-€1500

Price Realised: €3200

  • Signature: signed lower right; titled on original label on reverse
  • Medium: oil on board
  • Dimensions: 18 by 22in., 45 by 55cm.
  • Provenance: Collection of Vincent Ferguson; Whyte's, 18 November 2003, lot 63;Private collection
  • Painted circa 1951-1953, Man Sea and Sky is an extremely early example of Deborah Brown's work, predating her move into abstract painting and later sculpture. Born in Belfast, she enrolled at the Belfast College of Art in 1946, spending only twelve months there before switching to the National College of Art in Dublin. Upon completing her formal studies in 1950 she went to Paris for a year, absorbing the lessons of the Old Masters whilst simultaneously stimulated by contemporary trends in art. Upon returning to Belfast in 1951 she met with great success when the Arts Council of Northern Ireland gave her a solo show in their gallery at Donegall Place. Anne Crookshank has noted of Brown's work of this period: her painting was still realist, if already notably simplified, and great attention was focused on the forms created by the brushstrokes". (1)In this sense it was typical of much of the best work being produced in Belfast at the time by artists such as Basil Blackshaw and T. P. Flanagan, who in turn were influenced by the slightly older generation of artists who had styled themselves in the thirties as the Ulster Unit. Indeed, Man Sea and Sky bears comparison with both Blackshaw's similarly titled Men, Sea and Moon of 1952, and with Daniel O'Neill and Colin Middleton's work of the late forties and early fifties in which figures are pressed up close to the picture plane and brooding dark colours lend the scenes a poetic romanticism. 1 Deborah Brown: A Selected Exhibition of Works Completed Between 1947 - 1982, Arts Council of Northern Ireland, Belfast, 1982, unpaginated"

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THEATRE SCENE
THEATRE SCENE
Anne Yeats (1919-2001)

Auction Date / Lot No.: 26 May 2014 / 76

Published Estimate: €€800-€1000

Price Realised: €850


MOTHER AND DAUGHTER, 1987
MOTHER AND DAUGHTER, 1987
Brian Bourke HRHA (b.1936)

Auction Date / Lot No.: 26 May 2014 / 77

Published Estimate: €€1000-€1500

Price Realised: €0

  • Signature: signed, titled and dated [July] lower left; with Taylor Galleries exhibition label on reverse ; second work signed and dated lower left; titled on original label on reverse
  • Medium: watercolour and coloured pencil; (1); pastel with mixed media on paper; (1)
  • Dimensions: 22 by 14.75in., 55 by 36.875cm.
  • Provenance: Taylor Galleries, Dublin;Whence purchased by the present owner
  • Exhibited: 'Brian Bourke', Taylor Galleries, Dublin,1987, catalogue no. 25
  • Also with this lot, Daughter, Daughter, 1989/90 by Jay Murphy, dimensions 25 by 20ins.(2 Works total).

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ST PATRICK AND EMBLEM, STUDY FOR LITTLE POOR BOY and APOSTLES, 1965 (SET OF 3)
ST PATRICK AND EMBLEM, STUDY FOR LITTLE POOR BOY and APOSTLES, 1965 (SET OF 3)
Patrick Pye RHA (b.1929)

Auction Date / Lot No.: 26 May 2014 / 78

Published Estimate: €€1000-€1500

Price Realised: €1100

  • Signature: variously signed, inscribed and dated
  • Medium: pastel on card; (1); oil on card with mixed media; (1); gouache on card; (1)
  • Dimensions: 32 by 7in., 80 by 17.5cm.
  • Provenance: Gifts from the artist to the current owner
  • Contained in originals Hendriks Gallery frames. Dimensions of second and third titles, 8.5 by 4.5in. and 7.5 by 5.5ins., respectively.

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NUDE, 1979
NUDE, 1979
Neil Shawcross RHA RUA (b.1940)

Auction Date / Lot No.: 26 May 2014 / 79

Published Estimate: €€800-€1200

Price Realised: €750


MARINER'S LADY, 1987
MARINER'S LADY, 1987
Nevill Johnson (1911-1999)

Auction Date / Lot No.: 26 May 2014 / 80

Published Estimate: €€1200-€1500

Price Realised: €0


NUDE, 1973
NUDE, 1973
Neil Shawcross RHA RUA (b.1940)

Auction Date / Lot No.: 26 May 2014 / 81

Published Estimate: €€800-€1200

Price Realised: €1250


FOLDED ENVELOPE
FOLDED ENVELOPE
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 26 May 2014 / 82

Published Estimate: €€1800-€2200

Price Realised: €1700

  • Signature: with Solomon Gallery label on reverse; also with card detailing provenance affixed on reverse
  • Medium: oil on paper
  • Dimensions: 11.5 by 8in., 28.75 by 20cm.
  • Provenance: A gift from the artist to Gerald Davis;with Solomon Gallery, Dublin;Private collection
  • Exhibited: 'Collectibles', Solomon Gallery, Dublin, October, 2006
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CHILDREN IN A WOOD II, 1991
CHILDREN IN A WOOD II, 1991
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 26 May 2014 / 83

Published Estimate: €€1500-€2000

Price Realised: €2600

  • Signature: signed and numbered in pencil in the margin lower left
  • Medium: lithograph on handmade Japan paper; (no. 8 from an edition of 75)
  • Dimensions: 20 by 26in., 50 by 65cm.
  • Sheet size: 22.5 by 30in.Printed by the Atelier Chave, Vence, 1991 in an edition of 75 (with 15 Hors de Commerce and 15 Artist's Proofs).

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YELLOW PEARS, 1975
YELLOW PEARS, 1975
William Scott CBE RA (1913-1989)

Auction Date / Lot No.: 26 May 2014 / 84

Published Estimate: €€4000-€5000

Price Realised: €10500

  • Signature: signed and dated lower right; with Dawson Gallery framing label on reverse
  • Medium: watercolour and pencil on paper
  • Dimensions: 11.75 by 15.5in., 29.375 by 38.75cm.
  • Provenance: The Collection of Jim O'Driscoll SC
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GRAPES, 1975
GRAPES, 1975
William Scott CBE RA (1913-1989)

Auction Date / Lot No.: 26 May 2014 / 85

Published Estimate: €€4000-€5000

Price Realised: €4800

  • Signature: signed and dated upper right; with inscribed Taylor Galleries exhibition label on reverse
  • Medium: pencil with watercolour on paper
  • Dimensions: 11.5 by 15.25in., 28.75 by 38.125cm.
  • Provenance: Taylor Galleries, Dublin;Where purchased by the present owner
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SPANISH GATE, GALWAY
SPANISH GATE, GALWAY
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 26 May 2014 / 86

Published Estimate: €€1500-€2000

Price Realised: €3400


LANDSCAPE AFTER RAIN [COTTAGE AT ROUNDSTONE] 1961
LANDSCAPE AFTER RAIN [COTTAGE AT ROUNDSTONE] 1961
Kenneth Webb RWA FRSA RUA (b.1927)

Auction Date / Lot No.: 26 May 2014 / 87

Published Estimate: €€1500-€2000

Price Realised: €3000


WYNDHAMS THEATRE (TRIPTYCH), 1984-85
WYNDHAMS THEATRE (TRIPTYCH), 1984-85
Pauline Bewick RHA (b.1935)

Auction Date / Lot No.: 26 May 2014 / 88

Published Estimate: €€5000-€7000

Price Realised: €4800

  • Signature: signed, inscribed [Winter] and dated [1984 & 1985] lower right
  • Medium: watercolour with gouache, ink and gold paint on paper
  • Dimensions: 67.5 by 31in., 168.75 by 77.5cm.
  • Provenance: Odette Gilbert Gallery, London;Private collection
  • Exhibited: 'Pauline Bewick, Watercolours and Tapestries', Odette Gilbert Gallery, London, 26 November to 24 December 1987, plate no. 8 in catalogue (full-page illustration); also reproduced as a postcard
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STILL LIFE
STILL LIFE
Comhghall Casey (b.1976)

Auction Date / Lot No.: 26 May 2014 / 89

Published Estimate: €€2500-€3500

Price Realised: €0


ROCK VI, 1999
ROCK VI, 1999
Comhghall Casey (b.1976)

Auction Date / Lot No.: 26 May 2014 / 90

Published Estimate: €€1000-€1500

Price Realised: €0


THREE PINK POTATOES, 2001
THREE PINK POTATOES, 2001
Comhghall Casey (b.1976)

Auction Date / Lot No.: 26 May 2014 / 91

Published Estimate: €€1000-€1500

Price Realised: €1150


HER REST, 1990
HER REST, 1990
Martin Gale RHA (b.1949)

Auction Date / Lot No.: 26 May 2014 / 92

Published Estimate: €€3000-€5000

Price Realised: €0

  • Signature: signed lower left; signed and dated on reverse; with Taylor Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 22 by 22in., 55 by 55cm.
  • Provenance: Taylor Galleries, Dublin;Where purchased by the present owner
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ROSBEG, NO. 5, 1998
ROSBEG, NO. 5, 1998
Comhghall Casey (b.1976)

Auction Date / Lot No.: 26 May 2014 / 93

Published Estimate: €€1500-€1800

Price Realised: €2100


UNTITLED
UNTITLED
Michael Mulcahy (b.1952)

Auction Date / Lot No.: 26 May 2014 / 94

Published Estimate: €€1000-€1500

Price Realised: €1000

  • Signature: signed lower right; signed again on reverse; inscribed [No. 3] on reverse
  • Medium: oil on canvas
  • Dimensions: 29 by 36in., 72.5 by 90cm.
  • Provenance: The Collection of Jim O'Driscoll SC
  • In 1994 Mulcahy held an exhibition entitled, 'Ch'uksoam', with the Taylor Galleries in Dublin. Based on the style of the present work, it is possible that it too belongs to the same series. The Hugh Lane Municipal Gallery, Dublin also played host to a solo exhibition entitled 'Do-Gong Series' that year.

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CHRISTMAS DAY PAINTING, 1992
CHRISTMAS DAY PAINTING, 1992
Jane O'Malley (b.1944)

Auction Date / Lot No.: 26 May 2014 / 95

Published Estimate: €€500-€700

Price Realised: €500

  • Signature: dated [25/12/92] upper right; signed, titled, dated and with archival number [647] on reverse
  • Medium: oil with silver paint and incising on board
  • Dimensions: 20 by 29in., 50 by 72.5cm.
  • Also with this lot, John Kelly RHA (1932-2006) Harlequin, 1974, (etching with aquatint from an edition of 56), dimensions 9.5 by 8.25ins. (2 items total).Proceeds of this sale to go to the Peter McVerry Trust.

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SHINE and BROWN POND, 1997 (A PAIR)
SHINE and BROWN POND, 1997 (A PAIR)
Robert Armstrong (b.1953)

Auction Date / Lot No.: 26 May 2014 / 96

Published Estimate: €€800-€1200

Price Realised: €0

  • Signature: each signed, titled and dated on reverse; also with Hallward Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 14 by 12in., 35 by 30cm.
  • Provenance: Hallward Gallery, Dublin;Private collection
  • Both works of equal dimensions; unframed.

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SIENA, 2000
SIENA, 2000
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 26 May 2014 / 97

Published Estimate: €€6000-€8000

Price Realised: €0

  • Signature: signed with initials lower left; signed with initials, titled, dated and with archival number [No. 6372] on reverse; with Fenton Gallery label also on reverse
  • Medium: oil on board
  • Dimensions: 24 by 36in., 60 by 90cm.
  • Provenance: Fenton Gallery, Cork;The Collection of Jim O'Driscoll SC
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TRAPPED WATER, 1993
TRAPPED WATER, 1993
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 26 May 2014 / 98

Published Estimate: €€2500-€3500

Price Realised: €2800

  • Signature: signed and dated lower left; signed, titled and dated on reverse; also with archival number [94.1] on reverse; with label of Vangard Gallery on reverse
  • Medium: oil on board
  • Dimensions: 23 by 17in., 57.5 by 42.5cm.
  • Provenance: Vangard Gallery, Cork;Private collection
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SHORELINE SLIGO, 1991
SHORELINE SLIGO, 1991
Seán McSweeney HRHA (b.1935)

Auction Date / Lot No.: 26 May 2014 / 99

Published Estimate: €€4000-€6000

Price Realised: €0


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