27 November 2017

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CATTLE IN WINTER
CATTLE IN WINTER
Liam Treacy (1934-2004)

Auction Date / Lot No.: 27 November 2017 / 1

Published Estimate: €600-800

Price Realised: €600


NEAR CAPPAGH, COUNTY WATERFORD, 1923
NEAR CAPPAGH, COUNTY WATERFORD, 1923
Charles Vincent Lamb RHA RUA (1893-1964)

Auction Date / Lot No.: 27 November 2017 / 2

Published Estimate: €1,500-2,000

Price Realised: €1700

  • Signature: signed lower right; signed, dated and inscribed [sketch painted in Co. Waterford along a road three miles from Cappagh] on reverse
  • Medium: oil on board
  • Dimensions: 8¾ x 11½in. (22.23 x 29.21cm)
  • Provenance
  • Exhibited
  • Literature
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ARKLOW HARBOUR, COUNTY WICKLOW
ARKLOW HARBOUR, COUNTY WICKLOW
Liam Treacy (1934-2004)

Auction Date / Lot No.: 27 November 2017 / 3

Published Estimate: €1,500-2,000

Price Realised: €2000


NEAR BAGGOT STREET, DUBLIN
NEAR BAGGOT STREET, DUBLIN
Liam Treacy (1934-2004)

Auction Date / Lot No.: 27 November 2017 / 4

Published Estimate: €800-1,200

Price Realised: €1200


NEAR DUNFANAGHY, COUNTY DONEGAL
NEAR DUNFANAGHY, COUNTY DONEGAL
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 27 November 2017 / 5

Published Estimate: €3,000-5,000

Price Realised: €3600

  • Signature: signed lower left; with Oisín Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 29½ x 39½in. (74.93 x 100.33cm)
  • Provenance
  • Exhibited
  • Literature
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NEAR RENVYLE, CONNEMARA
NEAR RENVYLE, CONNEMARA
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 27 November 2017 / 6

Published Estimate: €2,000-3,000

Price Realised: €1700


NEAR MULROY BAY, COUNTY DONEGAL
NEAR MULROY BAY, COUNTY DONEGAL
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 27 November 2017 / 8

Published Estimate: €2,000-3,000

Price Realised: €1400


COUNTY DOWN LANDSCAPE
COUNTY DOWN LANDSCAPE
Frank McKelvey RHA RUA (1895-1974)

Auction Date / Lot No.: 27 November 2017 / 9

Published Estimate: €4,000-6,000

Price Realised: €4000

  • Signature: signed lower left; titled on Combridge Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 15 x 20in. (38.10 x 50.80cm)
  • Provenance: Gorry Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • The Gorry Gallery exhibition catalogue accompanies this lot.

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

Auction Date / Lot No.: 27 November 2017 / 10

Published Estimate: €4,000-6,000

Price Realised: €3250

  • Signature: signed lower right; titled on reverse; with Harris & Sons [Plymouth] label on reverse
  • Medium: oil on board
  • Dimensions: 13¼ x 17¼in. (33.66 x 43.82cm)
  • Provenance
  • Exhibited
  • Literature
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COOMASAHARN, COUNTY KERRY, 1930-1935
COOMASAHARN, COUNTY KERRY, 1930-1935
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 27 November 2017 / 11

Published Estimate: €50,000-70,000

Price Realised: €52000

  • Signature: signed lower left; titled on reverse; also with Jorgensen Fine Art label on reverse
  • Medium: oil on board
  • Dimensions: 12 x 14in. (30.48 x 35.56cm)
  • Provenance: Private collection, USA; Collection of Paul Harris, Glasgow; Adams, 14 December 1994, lot 24; Jorgensen Fine Art, Dublin; Private collection
  • Exhibited
  • Literature: Kennedy, S. B., Paul Henry: with a Catalogue of the Paintings, Drawings, Illustrations, New Haven and London, Yale University Press, 2007, catalogue no. 867, p.272 (illustrated)
  • This work was probably painted during or shortly after Henry's visit to County Kerry in 1934 and is dated 1930-1935 on stylistic grounds. The real subject matter of the scene is the weather, which falls over the hills in the background. Otherwise it is a typical Paul Henry landscape, but a very fine one. The mountain, which halts the eye's recession, also provides for the clouds which tumble and fall on the scene. The cottages are grouped together and, apart from their connection, there is no human habitation to be seen. The cottages look out on the expected warmth of the turf stacks in typical Henry fashion. This picture is numbered 867 in the catalogue raisonné of Henry's oeuvre. Dr SB Kennedy HRHA October 2017

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FOUR MEN AND A CAT, c.1970s
FOUR MEN AND A CAT, c.1970s
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 27 November 2017 / 12

Published Estimate: €4,000-6,000

Price Realised: €7500

  • Signature: signed lower right
  • Medium: charcoal and white chalk
  • Dimensions: 20½ x 28½in. (52.07 x 72.39cm)
  • Provenance: Kenny Gallery, Galway; Where purchased by the present owner
  • Exhibited
  • Literature
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BOATMEN OF THE ARAN ISLANDS
BOATMEN OF THE ARAN ISLANDS
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 27 November 2017 / 13

Published Estimate: €15,000-20,000

Price Realised: €0

  • Signature: signed lower right
  • Medium: charcoal
  • Dimensions: 20¾ x 29¼in. (52.71 x 74.30cm)
  • Provenance: Christie's, 17 May 2002, lot 207; Private collection; Sotheby's, 6 May 2010, lot 51; Private collection
  • Exhibited
  • Literature
  • The present work is likely to date to post 1960 and may have been composed by Keating using photographs as an aid memoir. It is a work typical of this period when he had many buyers looking for Aran Island scenes. It may have been exhibited in one of his several exhibitions at the Kenny Gallery in Galway. We are grateful to Dr Éimear O'Connor for her kind assistance in cataloguing this lot.

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MOUNTAINOUS LANDSCAPE, WEST OF IRELAND, 1913-1914
MOUNTAINOUS LANDSCAPE, WEST OF IRELAND, 1913-1914
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 27 November 2017 / 14

Published Estimate: €50,000-60,000

Price Realised: €0

  • Signature: signed lower right; with Bell Gallery label on reverse; with inscription in pencil on reverse of board indicating possibly original owner and framing instructions [Mrs Laurel (?) / 3 Glandore Park / Blk as last / No slip]
  • Medium: oil on panel
  • Dimensions: 13 x 16in. (33.02 x 40.64cm)
  • Provenance: Weschler's, Washington DC, USA, 2 December 2006, lot 540; Private collection
  • Exhibited
  • Literature
  • This picture is almost certainly the view, looking eastwards, from Rosroe in County Mayo where Henry was living, at Aasleagh, near Leenane, at the time. In its review of the exhibition in 1914 Belfast's Northern Whig commented that the landscape 'Between Giant Hills' was painted with the breadth and simplicity that marks Mr. Henry's work at its best. The picture is numbered 1332 in S. B. Kennedy's on-going cataloguing of Paul Henry's oeuvre. Dr SB Kennedy HRHA October 2017

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WITHIN THE LAMPS OF BELFAST, 1908
WITHIN THE LAMPS OF BELFAST, 1908
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 27 November 2017 / 15

Published Estimate: €1,500-2,000

Price Realised: €1400

  • Signature: signed lower right; with title in pencil and dated from lower left; also titled on various labels on reverse including The Eakin gallery
  • Medium: watercolour and ink
  • Dimensions: 13 x 10in. (33.02 x 25.40cm)
  • Provenance: Eakin Gallery, Belfast; Private collection
  • Exhibited
  • Literature
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CHILD EATING BREAD
CHILD EATING BREAD
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 27 November 2017 / 16

Published Estimate: €2,000-4,000

Price Realised: €1900

  • Signature: signed upper left; titled on reverse; also numbered [42] on reverse
  • Medium: oil on board
  • Dimensions: 10½ x 8¼in. (26.67 x 20.96cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • A copy of the illustrated McClelland exhibition catalogue accompanies this lot.

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STUDY FOR "BLACK SLIPPERS", c.1930
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 27 November 2017 / 17

Published Estimate: €1,500-2,000

Price Realised: €1600

  • Signature: signed lower right; inscribed with title on Dawson Gallery label on reverse
  • Medium: pencil
  • Dimensions: 22 x 15in. (55.88 x 38.10cm)
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • The oil on which the present study was based was exhibited in the RHA, Dublin in 1930 (no. 1, 25gns) and measured 30 by 24ins. It was painted by the artist in his 4 Steele's Studios, Haverstock Hill address. Black Slippers is recorded as number 83 (p.246) in Denise Ferran's text William John Leech - An Irish Painter Abroad.

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VENICE, 1925
VENICE, 1925
Eileen Reid (1894-1981)

Auction Date / Lot No.: 27 November 2017 / 18

Published Estimate: €1,000-1,500

Price Realised: €1500

  • Signature: signed under her maiden name [Oulton] and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 18 x 14in. (45.72 x 35.56cm)
  • Provenance
  • Exhibited
  • Literature
  • Born Eileen Oulton, she lived most of her life at 19 Upper Mount Street, Dublin. Interested in both art and music, she studied first at the Royal Irish Academy of Music and later at the RA School of Art in London. Her early paintings show the influence of Sir William Orpen who was a friend of the family. She married Harry Reid in 1923 but was widowed within a year, and soon afterwards abandoned oil painting in favour of watercolours. She was secretary of the WCSI for over 30 years, allowing administrative work to come before her own art. A retrospective of works remaining in her studio was held after her death in 1984.

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ST. GILES, HOLBORN, FROM CHARING CROSS ROAD, LONDON
ST. GILES, HOLBORN, FROM CHARING CROSS ROAD, LONDON
William John Leech RHA ROI (1881-1968)

Auction Date / Lot No.: 27 November 2017 / 19

Published Estimate: €10,000-12,000

Price Realised: €10000

  • Signature: signed lower right
  • Medium: oil on board
  • Dimensions: 18 x 14in. (45.72 x 35.56cm)
  • Provenance: Whyte's, 26 April 2005, lot 129; Private collection
  • Exhibited
  • Literature: CHECK FERRAN BOOK
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EVENING, MONTREUX
EVENING, MONTREUX
Sir John Lavery RA RSA RHA (1856-1941)

Auction Date / Lot No.: 27 November 2017 / 20

Published Estimate: €80,000-100,000

Price Realised: €90000

  • Signature: signed lower right; signed again and titled [Evening] on reverse; with typed exhibition label of Romney Galleries, Bradford on reverse; also with inscribed artist's label on reverse
  • Medium: oil on canvas board
  • Dimensions: 20 x 24in. (50.80 x 60.96cm)
  • Provenance: with Romney Galleries, Bradford; Anonymous sale; Phillips, London, 8 June 1999, lot 92; Private collection
  • Exhibited
  • Literature: Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 163, 164 (illustrated)
  • Having had a memorable winter stay at Wengen in 1912-1913, the Laverys were keen to return to the Swiss Alps after the Great War. Accordingly, on 12 December 1923 they arrived in Montreux and checked-in at the Palace Hotel. As always on 'holidays', the painter packed his painting kit and, liberated from the studio, with great gusto, produced landscapes of the spa and its immediate environs. The present view of the Lake of Geneva (Lac Léman), with the twinkling lights of the town off to the left, justly represents the exceptional character of the setting. Elsewhere, in Twilight, Lake of Geneva, 1924 (fig 1), Lavery was to abandon the town entirely for an aerial view of the lake and mountains looking towards the mouth of the Rhône and rising foothills of Mont Blanc. Sheltered from the cold Rise, or north wind, the town was commended by Baedeker to 'persons with delicate lungs' as a winter residence. In a diary given to him as a Christmas present by his wife, Hazel, he notes that he was instructed by his doctor not to climb above 3,000 feet because it would be 'too much' for his blood pressure. He ignored the advice and every other day went up to Caux to paint what he described as 'the airman's view'. Lavery's interest in getting above the clouds was the after-effect of several momentous flights he took as an Official War Artist. On one occasion in Switzerland, the Laverys were joined by his daughter Eileen, and her husband, the Master of Sempill. With Lord Sempill, a skilled aviator, Lavery took to the air and flew over the mountains and the lake, commemorating the event in a small canvas (Private Collection). Montreux, which from the time of Byron and Shelley attracted writers and artists, in the inter-war period boasted Hemingway, Scott Fitzgerald, Joyce and Anna de Noailles amongst its visitors. In the aftermath of war, its sanatoria, perched on the hills at Glion and Caux, practising avant-garde health-cures were also popular. With its casino, the first in Switzerland, and its splendid location at the eastern extremity of Lake Geneva, it lay at the centre of what became known as the 'Swiss Riviera'. Reviewed by Kenneth McConkey on behalf of Fighting Words October 2017

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COWS IN PASTURE
COWS IN PASTURE
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 27 November 2017 / 21

Published Estimate: €2,500-3,500

Price Realised: €3400

  • Signature: signed with initials lower right; with original framing label on reverse
  • Medium: watercolour over pencil heightened with white
  • Dimensions: 10¼ x 14in. (26.04 x 35.56cm)
  • Provenance: Whyte's 28 November 2006, lot 94; Private collection
  • Exhibited
  • Literature
  • In original frame of Rowley & Co., Manchester.

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GARDEN AT KILMURRY, COUNTY KILKENNY, 1901
GARDEN AT KILMURRY, COUNTY KILKENNY, 1901
Mildred Anne Butler RWS (1858-1941)

Auction Date / Lot No.: 27 November 2017 / 23

Published Estimate: €3,500-4,500

Price Realised: €4400


THE DODDER IN FLOOD, BALLSBRIDGE, DUBLIN, 1929
THE DODDER IN FLOOD, BALLSBRIDGE, DUBLIN, 1929
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 27 November 2017 / 24

Published Estimate: €30,000-40,000

Price Realised: €33000

  • Signature: signed lower left; titled on reverse
  • Medium: oil on panel
  • Dimensions: 9 x 14in. (22.86 x 35.56cm)
  • Provenance: Mrs Bernard Shaw (purchased at the Alpine Club Gallery exhibition, 1929); Acquired by Alice Bernrard (née McKay), Dublin; Sotheby's, 21 October 2015, lot 42; Private collection
  • Exhibited
  • Literature: Hilary Pyle, Jack Butler Yeats, A Catalogue Raisonné of the Oil Paintings, Vol. I., Andre Deutsch, London, 1992, no.385, p.352 (incorrectly illustrated)
  • Jack Yeats painted the Dodder in Flood in 1929, the period in which his style was changing from its early Realist mode to the later more experimental approach. This transitional work belongs firmly to the later style. The artist had first painted the subject of the Dodder in flood in 1920, (A Yellow Flood, Clonskea, 1920). In 1923 he painted two other views of the weir on the river at Clonskeagh when he lived nearby on Marlborough Road in Donnybrook. Dodder in Flood, painted in the year that Yeats reluctantly moved to Fitzwilliam Square, is a view of the river from Ballsbridge according to an inscription on the rear of the frame. Dodder in Flood takes a different perspective from the earlier more conventional views of the river that include buildings and landmarks on its banks. This painting must be based on a view from a bridge over the torrent looking westwards as it races towards the sea. Unlike the diagonals and subtle connections that Yeats provides in many of his other landscape compositions, the foreground of Dodder in Flood is left open so that the water appears to flow directly out into the space of the viewer. A dramatic scene is made from what is a comparatively modest body of water but as Dubliners are aware the Dodder can be treacherous during winter storms and floods. Steep inhospitable banks enclose its sides. Their stony barren surfaces are conveyed through the application of thick grey and white paint in a variety of incongruous brushstrokes that create a rough dynamic texture, particularly on the exposed bank on the right-hand side. The sky is completely overcast with a dark stormy hue. The thick debris filled currents are painted in strong impasto brushstrokes that contain blues, pinks, yellows and reds. Elsewhere the paint is thinly applied and parts of the underlying surface of the board are visible. On the left-hand bank warm greens and reds suggest foliage and provide a glimmer of light in the painting. Although rivers and fast flowing currents feature prominently in many of Yeats' paintings the Spartan nature of this composition with its concentration on the bare elements of banks, river and sky is unusual in his oeuvre. The work approaches pure abstraction is its prioritising of paint and form. The painting was exhibited at Yeats' one-man show at the Alpine Club Gallery in London in 1929 when it was purchased by Mrs George Bernard Shaw. Yeats told Lady Gregory that Mrs Shaw had thought he had 'gone mad' when she saw his work the previous year but now retracted her statement. Her husband, George Bernard Shaw, and T.E. Lawrence (of Arabia), also visited the exhibition. (1) Arguably London audiences were more receptive to Yeats' late style of painting although the Dublin public would soon come to admire his pioneering attitude towards his craft and its ability to transform familiar sights into challenging works of art. We are also grateful to Dr. Hilary Pyle HRHA for her assistance in cataloguing this work. 1. Hilary Pyle, Jack B. Yeats. A Biography, Routledge and Kegan Paul, London, 1970, p.137. Dr Róisín Kennedy October 2017

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SKETCH OF DAN BREEN, 1958
SKETCH OF DAN BREEN, 1958
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 27 November 2017 / 25

Published Estimate: €1,500-2,000

Price Realised: €0

  • Signature: signed lower right
  • Medium: charcoal and pastel heightened with white chalk on tinted paper
  • Dimensions: 19¾ x 17in. (50.17 x 43.18cm)
  • Provenance: Collection of Justin Keating (the artist's son) and former Minister for Industry and Commerce (1973-1977); By whom donated to an RHA fundraising auction, Dublin c. late 1970s; Private collection; Whyte's, 27 May 2013, lot 36; Private collection
  • Exhibited
  • Literature
  • The commission to paint a portrait of Dan Breen was given to Seán Keating by Todd Andrews, Managing Director of Bord na Móna, and veteran of the War of Independence, in the spring of 1958. The two men got on extremely well, and Keating found Breen to be an excellent model, very talkative and very interesting. The artist tended to make many sketches before he began to work on canvas, as exemplified in this fine example. Keating completed the oil painting of Breen in the summer of 1958. It was exhibited in the RHA in 1959 and in the major retrospective of the artist's work at the Hugh Lane Municipal Gallery in 1963. Dr Éimear O'Connor HRHA

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SELF PORTRAIT, 1938
SELF PORTRAIT, 1938
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 27 November 2017 / 26

Published Estimate: €1,000-1,500

Price Realised: €0

  • Signature: signed and dated [26-10-38] in pencil lower right; with note verso [To Maureen / With hopes to come. / Harry]
  • Medium: conte and pastel
  • Dimensions: 16¼ x 13¼in. (41.28 x 33.66cm)
  • Provenance: A gift from the artist to the original owner; Thence by descent, and later, bequeathed to the present owner
  • Exhibited
  • Literature
  • The Maureen referred to in the dedication is a Maureen "Mo" Sheehy.

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CHURCH STREET, DUBLIN, OCTOBER 1948
CHURCH STREET, DUBLIN, OCTOBER 1948
Patrick Swift (1927-1983)

Auction Date / Lot No.: 27 November 2017 / 27

Published Estimate: €1,200-1,500

Price Realised: €1700

  • Signature: signed and dated lower left
  • Medium: watercolour with annotations in pencil
  • Dimensions: 13½ x 9½in. (34.29 x 24.13cm)
  • Provenance: Gift from a brother of Patrick Swift to the father of the present owner
  • Exhibited
  • Literature
  • This view of Church Street in 1948 shows the gateway to St. Michan's Church, a row of houses and shops, and the Capuchin Brothers' Church of St Mary of The Angels. The street was widened to a 4-lane carriageway in the 1960s and, in the 1970s, most of the row of houses was replaced by an office and warehouse. More recently all the buildings between St. Michan's and St. Mary's were replaced by the King's Building office block. The painting was a gift from a brother of Patrick Swift's to the father of the present owner. The picture was requested for the Patrick Swift Retrospective Exhibition in 1993 but was not actually shown there.

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NORTH STRAND, BRAY, COUNTY WICKLOW, 1932
NORTH STRAND, BRAY, COUNTY WICKLOW, 1932
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 27 November 2017 / 28

Published Estimate: €1,500-2,000

Price Realised: €0


PALM TREE, NICE
PALM TREE, NICE
Father Jack P. Hanlon (1913-1968)

Auction Date / Lot No.: 27 November 2017 / 29

Published Estimate: €1,000-1,500

Price Realised: €0

  • Signature: signed lower left; inscribed with title on Dawson Gallery label on reverse
  • Medium: watercolour
  • Dimensions: 16 x 12in. (40.64 x 30.48cm)
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Exhibited
  • Literature
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YOUGHAL, COUNTY CORK
YOUGHAL, COUNTY CORK
Mainie Jellett (1897-1944)

Auction Date / Lot No.: 27 November 2017 / 30

Published Estimate: €2,000-3,000

Price Realised: €1600

  • Signature: inscribed on Dawson Gallery label on reverse
  • Medium: gouache
  • Dimensions: 16 x 19½in. (40.64 x 49.53cm)
  • Provenance: Dawson Gallery, Dublin; Private collection
  • Exhibited
  • Literature
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NUDE, 1951
NUDE, 1951
Rosaleen Brigid Ganly HRHA (1909-2002)

Auction Date / Lot No.: 27 November 2017 / 31

Published Estimate: €2,000-3,000

Price Realised: €12000

  • Signature: signed in monogram and dated lower right; with inscribed artist's label on reverse; also with artist's retrospective exhibition label on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 21 x 18in. (53.34 x 45.72cm)
  • Provenance: Collection of a Ms Elizabeth Guinness, 1986; Private collection
  • Exhibited
  • Literature: Eds. Christina Kennedy and Mamie Winters, 'Brigid Ganly Retrospective Exhibition', Hugh Lane Municipal Gallery of Modern Art, Dublin, 1998, p.21 (illustrated)
  • The Gorry Gallery hosted a retrospective of the artist's work in 1987 and later there followed a retrospective in the Hugh Lane Municipal Gallery in 1998. Brigid Ganly (neé O'Brien) was the daughter of RHA past president Dermod O'Brien and sister-in-law to Kitty Wilmer O'Brien. Born in Limerick but raised in Fitzwilliam Square, Dublin, Ganly entered the Metropolitan School of Art in 1925 where she studied painting under Seán Keating and Patrick Tuohy and sculpture under Oliver Sheppard. Her first exhibit with the RHA was in 1928 and she was elected Associate of the RHA the same year. Although she was an accomplished sculptor (she won the California Gold Medal for the Taylor Scholarship in 1929) it was in painting where she focused her talents. In 1930 she won the Taylor Scholarship and three years later travelled to Italy taking a studio in Florence for six months. In 1935 Ganly had her first solo show with the Dublin Painters Gallery, was elected a full member of the RHA and completed her first commission for All Saints Church, Blackrock. The following year she married Andrew Ganly, B.D.S. The period between the mid 1940s and early 1950s Ganly exhibited with Kitty Wilmer in Dublin, travelled to America to execute portrait commissions and represented Ireland in an Exhibition of Contemporary Irish Painting. Later she travelled to Paris to study briefly under André Lhote. On return to Ireland a solo show took place at the Dawson Gallery (1965) and by the late 1960s her conflicting attitudes with RHA on the matter of the Modern school of painting and the 'Living Art' group of artists" led to her resignation from the Academy (1969). She was made an Honorary member of the RHA in 1972. Ganly continued to show work nationally during the 1970s and 1980s and a retrospective exhibition was held in the Gorry Gallery, Dublin in 1987 and later at the Hugh Lane Municipal Gallery in 1998. Her work can be found in the collection of the Hugh Lane, Crawford Gallery, Cork and the National Self Portrait Collection among others.

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BATTERSEA, LONDON, 1937
BATTERSEA, LONDON, 1937
Kenneth Hall (1913-1946)

Auction Date / Lot No.: 27 November 2017 / 32

Published Estimate: €500-700

Price Realised: €750

  • Signature: signed lower left; inscribed with title and dated [12.7.'37] verso; with Frederick Gallery exhibition label and copy of a letter [To my very dear Lucy... from your dearest friend, Kenneth] on reverse
  • Medium: watercolour over ink
  • Dimensions: 5 x 7in. (12.70 x 17.78cm)
  • Provenance: Frederick Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • The 'Lucy' mentioned in the copy of the letter on reverse is most likely to be Lucy Carrington Wertheim (1883–1971), the British gallerist who was hugely influencial in Hall's career as well as Basil Rákóczi among many others.

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RECLINING FIGURE, c.1942
RECLINING FIGURE, c.1942
Basil Ivan Rákóczi (1908-1979)

Auction Date / Lot No.: 27 November 2017 / 33

Published Estimate: €1,000-1,500

Price Realised: €800

  • Signature: signed lower right; with copy of inscription affixed on reverse [To Dan / for Xmas 1942 / Bas]
  • Medium: ink and watercolour
  • Dimensions: 6 x 13in. (15.24 x 33.02cm)
  • Provenance
  • Exhibited
  • Literature
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FARMHOUSE, BALLYAGHAGAN, 1940
FARMHOUSE, BALLYAGHAGAN, 1940
John Luke RUA (1906-1975)

Auction Date / Lot No.: 27 November 2017 / 34

Published Estimate: €2,000-3,000

Price Realised: €4800

  • Signature: two signed in pencil in the margin lower right; one with title faintly printed in margin lower left
  • Medium: woodblock in colours and trial proofs; (9); (unframed)
  • Dimensions: 5 x 7in. (12.70 x 17.78cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Sheet size: 6.5 by 8.5in. In 1946 Luke painted a version of this composition in mirror image and with the addition of some animals and figures in the foreground. An example of the print can be found in The Ulster Museum and an example from the McClelland collection was also loaned to IMMA.

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BAPTISM OF CHRIST [STUDY FOR STAINED GLASS WINDOW, OUR LADY OF THE ROSARY CHURCH, ENNIS ROAD, LIMERICK] 1950
BAPTISM OF CHRIST [STUDY FOR STAINED GLASS WINDOW, OUR LADY OF THE ROSARY CHURCH, ENNIS ROAD, LIMERICK] 1950
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 27 November 2017 / 35

Published Estimate: €1,000-1,500

Price Realised: €0

  • Signature: titled and with provenance details on reverse
  • Medium: gouache and chalk on buff-coloured paper; (pentagonal)
  • Dimensions: 31½ x 7½in. (80.01 x 19.05cm)
  • Provenance: Formerly in the Collection of Leo Smith; Private collection
  • Exhibited
  • Literature
  • The present cartoon is for a triptych stained glass window by Hone of the Baptism of Christ - the centrepiece of the Baptistery - in Our Lady of the Rosary Church, Limerick. The baptismal font there includes a depiction of John the Evangelist by Oisín Kelly and artworks by Fr Jack Hanlon, among others, are included in the church's impressive collection.

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DESIGN FOR STAINED GLASS
DESIGN FOR STAINED GLASS
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 27 November 2017 / 36

Published Estimate: €800-1,200

Price Realised: €850

  • Signature
  • Medium: oil; monotype
  • Dimensions: 15 x 4in. (38.10 x 10.16cm)
  • Provenance: Taylor deVeres, 8 December 1992, lot 113; Private collection
  • Exhibited
  • Literature
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FLOWER SELLER, ANN STREET, DUBLIN, CHRISTMAS EVE, 1944
FLOWER SELLER, ANN STREET, DUBLIN, CHRISTMAS EVE, 1944
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 November 2017 / 37

Published Estimate: €6,000-8,000

Price Realised: €0

  • Signature: signed, titled and dated upper right
  • Medium: charcoal and coloured chalk
  • Dimensions: 7¼ x 6½in. (18.42 x 16.51cm)
  • Provenance: Adam's, 28 March 2007, lot 97; Private collection
  • Exhibited
  • Literature
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COW AND COTTAGES, WEST OF IRELAND
COW AND COTTAGES, WEST OF IRELAND
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 27 November 2017 / 38

Published Estimate: €800-1,200

Price Realised: €1050


RUINED COTTAGES WITH DONKEYS AND DOG
RUINED COTTAGES WITH DONKEYS AND DOG
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 27 November 2017 / 39

Published Estimate: €600-800

Price Realised: €1150


MOONLIGHT SCENE, WEST OF IRELAND
MOONLIGHT SCENE, WEST OF IRELAND
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 27 November 2017 / 40

Published Estimate: €10,000-15,000

Price Realised: €9500

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 12 x 16in. (30.48 x 40.64cm)
  • Provenance: Acquired directly from the artist by Ms Sally Devlin, friend of the artist; Private collection
  • Exhibited
  • Literature
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ITALIAN WITH FOWL, 1948
ITALIAN WITH FOWL, 1948
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 27 November 2017 / 41

Published Estimate: €50,000-70,000

Price Realised: €48000

  • Signature: signed lower left; titled on reverse; with Irish Exhibition of Living Art label on reverse
  • Medium: oil on board
  • Dimensions: 24 x 20in. (60.96 x 50.80cm)
  • Provenance: Purchased directly from the artist; Private collection; Adam's, 1 June 2011, lot 80; Private collection
  • Exhibited
  • Literature
  • The inspiration for Italian with Fowl is Gerard Dillon's visit to Italy in the summer of 1947. Travelling with his friend Pino Saglietti, who had family in Borgotaro in Northern Italy, Dillon visited Florence, Lucca and Parma where he saw some of the highlights of Italian art and architecture. Much to Pino's chagrin, Dillon was not impressed by the wonders of Italian art history and reputedly told his friend, 'I can't be bothered with all those old things. I am only interested in the world around me and the people in it. Anyhow I can't paint in Italy, everything is too bright and gleaming'. 1. Despite this statement, Dillon found that he could work once they returned to the country. He found the rustic way of life there much more interesting and inspiring than the grandeur of Italian history and joked to Pino that Borgotaro was not Italy but 'Ireland up the hills'. 2. Dillon exhibited three paintings inspired by his time in Italy in the Exhibition of Living Art in 1949. Italian Washerwoman, Memory Pool and Italian with Fowl, all depict ordinary villagers going about their daily work. In Memory Pool a woman imagines a young, handsome man whose image appears in the pool. The boy's reflection is reminiscent of the figure in Italian with Fowl and both share the dark good looks that Dillon admired in his friends Dan O'Neill and Tom Davidson. If we compare Italian with Fowl with contemporary images that Dillon painted in the west of Ireland it is only the characteristic shape of Cypress trees and the architecture of the church that suggest the Italian setting. It is tempting to read some cultural significance into the black and white hens, though whether they are being prepared for sport or for slaughter is unclear. Arguably, if it were not for the title, it would be possible to situate this image in the west of Ireland where Dillon found so much of his inspiration. Dr Riann Coulter October 2017 1. Gerard Dillon, quoted in Gerard Dillon: An Illustrated Biography, James White, Wolfhound Press, Dublin, 1994, p. 58. 2. Ibid.

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STILL LIFE, OPEN DOOR, 1969
STILL LIFE, OPEN DOOR, 1969
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 27 November 2017 / 42

Published Estimate: €5,000-7,000

Price Realised: €4800

  • Signature: signed lower right; titled on Ritchie Hendriks Gallery label on reverse; also inscribed "Gypsy Quarter Malaga" on reverse
  • Medium: oil on board
  • Dimensions: 20 x 16in. (50.80 x 40.64cm)
  • Provenance: Ritchie Hendriks Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • Presented in original Ritchie Hendriks frame.

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CARMEN AMAYA, FLAMENCO DANCER
CARMEN AMAYA, FLAMENCO DANCER
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 27 November 2017 / 43

Published Estimate: €2,500-3,500

Price Realised: €4000

  • Signature: titled and with Caldwell Gallery exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 19 x 15in. (48.26 x 38.10cm)
  • Provenance: Tom Caldwell Gallery, Belfast; Private collection; de Veres, 27 November 2012, lot 79; Private collection
  • Exhibited
  • Literature
  • The exhibition 'George Campbell - Friends and Acquaintances 1944-1974' travelled from Belfast to Dublin, where it ran until 18 October 1975 in Caldwell's Dublin galleries. Among the other subjects included in the exhibition were fellow artists Daniel O'Neill, Gerard Dillon, Jack B. Yeats and William Conor as well as Paddy Maloney of The Chieftains, Éamon de Valera, poet Brendan Behan, famous Spanish personalities and characters as well as 'Coco' the clown (see lot 49) and the French actor and mime artist Marcel Marceau. The exhibition comprised 94 portraits in total. Carmen Amaya (1918-1963) was a world renowned flamenco dancer and singer of Roman extraction. She was born in the Somerrostro district of Barcelona.

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OCHRE VASE, 1963
OCHRE VASE, 1963
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 27 November 2017 / 44

Published Estimate: €1,000-1,500

Price Realised: €1800

  • Signature: signed lower; titled on Ritchie Hendriks label on reverse
  • Medium: oil on board
  • Dimensions: 9½ x 16½in. (24.13 x 41.91cm)
  • Provenance: Ritchie Hendriks Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • Presented in original Ritchie Hendriks frame. For another work by Armstrong exhibited in the same Hendriks solo show in 1963 see lot XXXXXX Still Life Theme.

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STUDIO STILL LIFE
STUDIO STILL LIFE
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 27 November 2017 / 45

Published Estimate: €3,000-4,000

Price Realised: €2800


THE HOLY ISLAND
THE HOLY ISLAND
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 27 November 2017 / 46

Published Estimate: €30,000-50,000

Price Realised: €0

  • Signature: with exhibition label on reverse
  • Medium: oil and sand on board
  • Dimensions: 36 x 48in. (91.44 x 121.92cm)
  • Provenance: Estate of the artist; Collection of Leo Smith, owner of Dawson Gallery; By whom bequeathed to his brother, Frank Smith; Private collection; Frederick Gallery, Dublin, 1996; Private collection; Whyte's, 28 November 2006, lot 60; Private collection
  • Exhibited
  • Literature
  • Holy Island brings together two of Gerard Dillon’s favourite themes – the landscape of the west of Ireland and Celtic relief sculpture – with the technical innovation of adding sand to oil paint that he developed during the late 1950s. First visiting the west of Ireland in 1939, Dillon made the landscape, people and traditions of the western seaboard reoccurring themes of his art. Like West of Ireland Landscape, circa 1945 (National Gallery of Ireland), and High Cross Panel, circa 1949, Holy Island draws on the Celtic relief sculpture that Dillon had sketched during his visits to Monasterboice and Mellifont Abbey with Nano Reid. Unlike West of Ireland Landscape, where ordinary people go about their business in a landscape populated by standing stones, ancient ruins and Celtic crosses, Holy Island is a fantastical scene where two men dressed in religious robes and a saintlike figure, complete with halo and crucifix, kneel in prayer as a blue goat leaps through the air above them. Reminiscent of Chagall’s dreamlike paintings that incorporate both Christian and Jewish religious imagery, Holy Island mixes Christian and pagan iconography that may relate directly to St Patrick’s Purgatory on Lough Derg, a place of pilgrimage that dates back to the early Irish Church. Although Dillon had become disillusioned with the Catholic Church in which he was raised, like Chagall who combined imagery drawn from Christianity, Judaism and folklore to explore his identity as a Russian Jew, Dillon’s use of iconography from Celtic Christianity can be interpreted as an effort to connect to a particularly Irish tradition. The island setting of Holy Island is also significant because Dillon considered islands as havens from the many social and religious constraints of life in 1950s Ireland. As James White has suggested Dillon’s love of the island of Inishlackan, where he spent the best part of a year in the 1950s, was due to the fact that it was a place 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 and suggestions of oppression which he had come to accept as being there to offend him’.1 While the imagery in Holy Island was drawn from historical sources, Dillon’s medium was experimental. In February 1958 Dillon wrote to James White: ”I’ve discovered a new way, an exciting way to use sand with my painting. Remember when you were a child – maybe you didn’t do it. You found an old glass pane, spat on it and drew with the finger, spreading the spittle, then you poured fine dust or sand over the glass and the dust stuck to the spit-drawing. Well I’ve done that with sand, different coloured sands … I did this with paint – put on with brush, knife, pour the sand over it all, until all is sand, then tilt and let the sand run off and Lo, you have a wonderful exciting picture. It’s the first time I have ever seen anything like it. I know Picasso and Braque used sand but not like this. It’s completely new”.2 Although Dillon’s experiments with sand coincided with his first forays into abstraction in 1957–58, Holy Island proves that he also used sand in figurative works and it is likely that the painting dates to this period of experimentation. 1 White, James, Gerard Dillon: An Illustrated Biography, Wolfhound Press, Dublin, 1994, page 10. 2 Gerard Dillon letter to James White, 20 February 1958, quoted by James White in Gerard Dillon: An Illustrated Biography, page 78. Dr Riann Coulter

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COASTAL VILLAGE, 1966
COASTAL VILLAGE, 1966
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 27 November 2017 / 47

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: signed lower right; with partial Ritchie Hendriks Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 16 x 19½in. (40.64 x 49.53cm)
  • Provenance: Ritchie Hendriks Gallery, Dublin; Private collection
  • Exhibited
  • Literature
  • Presented in original Ritchie Hendriks frame.

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TALL LANDSCAPE
TALL LANDSCAPE
Jack Cudworth (1930-2010)

Auction Date / Lot No.: 27 November 2017 / 48

Published Estimate: €400-600

Price Realised: €1300

  • Signature: signed lower right; inscribed on Tom Caldwell Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 48 x 24in. (121.92 x 60.96cm)
  • Provenance: Tom Caldwell Gallery, Dublin; Estate of Judge Desmond Windle
  • Exhibited
  • Literature
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COCO THE CLOWN
COCO THE CLOWN
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 27 November 2017 / 49

Published Estimate: €2,000-3,000

Price Realised: €3200

  • Signature: signed with dedication [to Martin] lower right; with Bell Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 22½ x 12¾in. (57.15 x 32.39cm)
  • Provenance: Bell Gallery, Belfast; Private collection; Christie's, 9 May 1996, lot 137; Private collection
  • Exhibited
  • Literature
  • Nicolai Poliakoff (1900-1974) was the creator of Coco the Clown, the most famous circus clown in Britain and Ireland in the mid-20th century, touring mainly with the Bertram Mills Circus. Campbell met Coco in Dublin in 1961 and their meeting inspired a series of works which incorporated the figure of the clown.

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GIRLS AND DOGS
GIRLS AND DOGS
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 27 November 2017 / 50

Published Estimate: €25,000-35,000

Price Realised: €27000

  • Signature: signed lower left; titled on reverse; also numbered [No. 24] on exhibition label on reverse
  • Medium: oil on board
  • Dimensions: 18 x 24in. (45.72 x 60.96cm)
  • Provenance: Waddington Gallery, Dublin, where purchased by the parents of the present owner
  • Exhibited
  • Literature
  • In this vibrantly coloured scene, three girls hold, and interact, with a collection of dogs; from those nestled on their laps or in the crook of their arms, to a larger companion who happily receives a pat on his head. The composition is unified by O'Neill's use of bright, sky and turquoise blues, moving from left to right across the canvas, and repeated on the sleeve, dress, and face of the respective figures. The layered and often thickly applied paint is characteristic of O'Neill's technique. This is particularly noticeable in this canvas through the rendering of the girls' hair, where patches of ochre and gold catch the eye; O'Neill also uses the palette knife to suggest the different materials of the girls' clothes. Writing about the artist in 1946, Cecil Ffrench Salkeld noted that texture was 'one of O'Neill's strongest weapons, and it is a weapon that he uses with great subtlety', and that is certainly evident in this painting. 1 Although ostensibly engaged in movement, there is a sense of stillness to the three figures; their downcast eyes suggest that each is in rapt concentration. The ambiguity of the dogs (are they stuffed toys, or real animals?), and the marionette-like features of the centre and right hand figures lend a somewhat surreal atmosphere to the painting. As O'Neill's art developed from the 1950s onwards, this uncanny air was embraced, finding full expression in his depictions of figures in landscape settings. The subject and colouring of Girls and Dogs is similar to other works exhibited by O'Neill in the mid-1950s, such as Girl Fiesta (AIB Collection). A comparable work by the artist, Three Children (deVeres, 2013), is less finely rendered, but repeats the motif of three children with animals. The hand-carved Waddington frame is a testament to the relationship between O'Neill and the well-known Dublin gallerist and art dealer, Victor Waddington. In 1945, O'Neill was taken on by Waddington, and several solo exhibitions of his work were held there through the 1940s and 1950s. With the income from the Waddington Gallery, O'Neill was able to focus on his painting without distraction; having previously worked as an electrician and housepainter in Belfast and London. In addition to solo exhibitions in Dublin, O'Neill's art was shown in London, Belfast, Montreal and other North American cities. Dr Kathryn Milligan October 2017 1. Cecil Ffrench Salkeld, 'Daniel O'Neill, A Critical Appreciation', Envoy 1:1, December 1949

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NUDE, PARIS, 1931
NUDE, PARIS, 1931
Elizabeth Rivers (1903-1964)

Auction Date / Lot No.: 27 November 2017 / 51

Published Estimate: €800-1,200

Price Realised: €1000

  • Signature: with Artist's Estate label on reverse; also with Frederick Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 11½ x 9in. (29.21 x 22.86cm)
  • Provenance: Artist's Estate; with Frederick Gallery, Dublin; Private collection
  • Exhibited
  • Literature
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BLITZED TREES
BLITZED TREES
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 27 November 2017 / 52

Published Estimate: €1,000-1,500

Price Realised: €0

  • Signature: signed lower right; titled on reverse; also with Lincoln Gallery label on reverse
  • Medium: oil on panel
  • Dimensions: 12½ x 9in. (31¾ x 22.86cm)
  • Provenance: Lincoln Gallery, Dublin; Collection of Judge Desmond Windle
  • Exhibited
  • Literature
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