2 October 2017

  Records 1 to 33 of 33    

DONEGAL LANDSCAPE
DONEGAL LANDSCAPE
William Conor OBE RHA RUA ROI (1881-1968)

Auction Date / Lot No.: 2 October 2017 / 13

Reserve: €3000

  • Signature: signed lower left; inscribed [Donegall] on reverse
  • Medium: crayon on paper
  • Dimensions: 18 x 23in. (45.72 x 58.42cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
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INA CORMAC'S BRIDGE, CUSHENDUN, COUNTY ANTRIM, c.1925
INA CORMAC'S BRIDGE, CUSHENDUN, COUNTY ANTRIM, c.1925
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 2 October 2017 / 18

Reserve: €2000


IRISH COASTLINE, A SUMMER'S DAY
IRISH COASTLINE, A SUMMER'S DAY
James le Jeune RHA (1910-1983)

Auction Date / Lot No.: 2 October 2017 / 19

Reserve: €2000


ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD, ACT 1, 'RISING UP IN THE RED DAWN...' 1922
ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD, ACT 1, 'RISING UP IN THE RED DAWN...' 1922
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 2 October 2017 / 23

Reserve: €10000

  • Signature: signed in Irish lower right; signed again and dated Aibrean [April] on reverse
  • Medium: oil on canvas
  • Dimensions: 30 x 25in. (76.20 x 63½cm)
  • Provenance: Acquired at the Dawson Gallery, Dublin, early 1950s; Thence by family descent to the previous owner; Whyte's, 30 April 2007, lot 90; Private collection; Whyte's, 30 May 2011, lot 37; Private collection
  • Exhibited
  • Literature: Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
  • In 1922 Keating was commissioned by Synge's nephew, Edward Hutchinson Synge, otherwise 'Hutchie', to undertake a series of colour illustrations for a forthcoming, large format publication of The Playboy of the Western World. He must have attended productions of the play in the early 1920s because several of the actors appear throughout the series of illustrations. So it is that Abbey Theatre actress, Eileen Crowe, makes an entrance as Pegeen in Helen and the Holy Prophets (lot 24). It is a moment in the play when the protagonist, Christy Mahon, who is practising his 'eloquence', compares Pegeen to the beautiful Helen of Troy 'pacing back and forward, with a nosegay on her shawl' while 'the holy prophets do be straining the bars of Paradise to lay eyes on her'. Crowe went on to play the role of Pegeen for about ten years between 1926 and 1936. While the troupe of 'mystics' 'straining through the bars of paradise' in Keating's Helen and the Holy Prophets includes a portrait of the artist on the left, he is also cast in a central role throughout the illustrations. Keating is Christy Mahon's unfortunate father, Old Mahon, seen for example, in Rising up in the Red Dawn (lot 23). The painting shows a moment during the first act of the play in which Christy suggests to Pegeen that his father was a violent man, who, full of rage after weeks of binge drinking, might strip off and fight anything, including the rising dawn. While the image shows Old Mahon naked and as much an animal as the huge pigs he is pictured with, in reality, nothing could have been further from the truth. The book for which these illustrations were made was published as a de lux collector's edition by George Allen and Unwin Ltd, London, in 1927. Keating, well-known for his paintings of the Aran Islands, then became associated with Synge's work, so much so that in the early 1940s, and again in the 1950s, the artist was commissioned to design costumes and stage settings for productions of The Well of the Saints and The Playboy of the Western World for the Abbey Theatre, and after the fire that destroyed the original building in July 1951, at the Queen's Theatre, Pearse Street, Dublin, which was to be home to the troupe until the new Abbey Theatre opened in 1966. Dr Éimear O'Connor HRHA August 2017 Author of Seán Keating: Art, Politics and Building the Irish Nation (Kildare: Irish Academic Press, 2013)

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ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - 'HELEN AND THE HOLY PROPHETS'
ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - 'HELEN AND THE HOLY PROPHETS'
Seán Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 2 October 2017 / 24

Reserve: €15000

  • Signature: signed lower right; numbered [5] on reverse
  • Medium: oil on panel
  • Dimensions: 36 x 29½in. (91.44 x 74.93cm)
  • Provenance: Acquired at the Dawson Gallery, Dublin, early 1950s; Thence by family descent to the previous owner; Whyte's, 30 April 2007, lot 90; Private collection; Whyte's, 30 May 2011, lot 35; Private collection
  • Exhibited
  • Literature: Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
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OLD TOMBSTONE, WEST CORK
OLD TOMBSTONE, WEST CORK
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 2 October 2017 / 26

Reserve: €1500

  • Signature: with labels detailing title and provenance on reverse
  • Medium: gouache
  • Dimensions: 14½ x 17in. (36.83 x 43.18cm)
  • Provenance: Collection of Miss Celia Shaw [5, Seaview Terrace]; From whom donated to Bishop Carroll; From whom bequeath to Parochial House, Donnybrook, October 1978; Adam's, 13 May 1992, lot 13; Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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JAMES JOYCE
JAMES JOYCE
Berenice Abbott (1898-1991)

Auction Date / Lot No.: 2 October 2017 / 32

Reserve: €4000

  • Signature: signed and numbered in pencil in the margin; signed and editioned recto with artist's Abbott, Maine stamp verso
  • Medium: gelatin silver print; (no. 78 from an edition of 100)
  • Dimensions: 14 x 11in. (35.56 x 27.94cm)
  • Provenance: Purchased by present owner from Catherine Couturier Gallery, Houston, Texas (formerly John Cleary Gallery)
  • Exhibited
  • Literature
  • Abbott photographed James Joyce in Paris in the 1920s. During the first few years of the decade she worked as an assistant to Man Ray (1923-25) before opening her own studio on Rue du Bac in 1926. This version of the Joyce portrait dates to the final printing of the image in the 1980s in a limited edition of 100.

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THE VILLAGE STREET, RUSH & LUSK, COUNTY DUBLIN, c.1898
THE VILLAGE STREET, RUSH & LUSK, COUNTY DUBLIN, c.1898
Walter Frederick Osborne RHA ROI (1859-1903)

Auction Date / Lot No.: 2 October 2017 / 36

Reserve: €25000

  • Signature: signed lower left
  • Medium: oil on canvas laid on board
  • Dimensions: 7¼ x 10¾in. (18.42 x 27.31cm)
  • Provenance: Collection of Sir George F. Brooke, Bart; Thence by descent to Lady Brooke; with Mealy's, Castlecomer, May 1991, lot 1028; Private collection; Whyte's, 25 November 2013, lot 29; Private collection
  • Exhibited
  • Literature: Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, p.144, catalogue no. 498 (listed)
  • Walter Osborne's passion for painting en plein air is thought to have been the cause of his premature death in an unusually cold April in 1903. He was forty-three and at the height of his artistic powers. The present work, which dates to the most prolific period in his oeuvre, is testament to this passion and captures the rustic charm of a village street in half-light in North County Dublin. The scene is an intimate view of an ordinary street where the everyday humdrum of village life is taking place. Fowl peck at the dirt in the centre of the road by a water pump while a figure with a cart stops and engages with another in a doorway on the left. This scene appears to repeat itself further down the street on the opposite side of the road where hints of figures and animals are suggested. Osborne elevates the routine happenings of village life to the level of the extraordinary by seeing beauty in its simplicity and communicating this to the viewer in an honest vocabulary that draws on the Realist's in subject, tone and palette and the Impressionist's in execution and responsiveness to light. Osborne's brushstrokes are deceptively simple. The fowl in the centre are delivered to the viewer by a mere dab of the paint-brush; a single, fluid and bold movement that is unassumingly brilliant. They lift out of the canvas in delicate impasto that invite the eye into the composition. The flatter façades of the buildings lining the street draw the viewer towards the brightest corner of the street, treating us to insights into village life on route. The glow that radiates from this point touches road and wall until resting back in the foreground in the fowl's plumage. A charged, powerful and unpretentious painting, The Village Street, Rush & Lusk formed part of a large memorial exhibition held at the RHA, Dublin after Osborne's death. It was one of 270 paintings and drawings loaned mostly from private collections. The present example was owned at that time by a wine merchant based on Gardiner's Row, Dublin. 1 Footnote: 1. Brooke, George F., 1 Gardiner's Row (wine merchant) [ex Dublin City Directory 1850]

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GIRL FEEDING CALVES
GIRL FEEDING CALVES
Walter Frederick Osborne RHA ROI (1859-1903)

Auction Date / Lot No.: 2 October 2017 / 43

Reserve: €18000

  • Signature
  • Medium: oil on canvas laid on board
  • Dimensions: 9½ x 13¾in. (24.13 x 34.93cm)
  • Provenance: Collection of Mr & Mrs Oísín Kelly RHA (1916-1971); James Adam Salesroom, Dublin, December 1989, lot 111; Collection of Ian Stuart, sculptor (1926-2013); Whyte's, 26 April 2005, lot 105; Private collection; Whyte's, 26 September 2016, lot 81; Private collection
  • Exhibited
  • Literature
  • Walter Osborne's small painting of a girl feeding calves by hand has a simplicity and intimacy to it. Being the son of an animal painter, William Osborne, Walter had an affection for animals, both domestic and farm animals, and pets, and these, often in the company of children, featured in many paintings throughout his career, for example, in Grey Morning in a Breton Farmyard, 1883, where there is a calf with children, and Milking Time and its attendant pictures, set at Portmarnock. In Girl Feeding Calves, the figure and animals are shown in a small field or paddock, surrounded by stone walls and trees, indicated in blurred brushstrokes, to give a protective feel. The girl holds out a pan from which the calves feed. It is as if Osborne has come across this gentle scene, or glimpsed it from a window, and captured it swiftly in paint. He employs off-whites, warm browns and siennas, olives and yellow greens, in some places working over the colours or blurring the brushstrokes to capture the scene quickly. Dr. Julian Campbell

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KNIGHT VI
KNIGHT VI
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 2 October 2017 / 54

Reserve: €8000

  • Signature: signed lower left; signed and titled on reverse
  • Medium: oil on board
  • Dimensions: 35 x 23in. (88.90 x 58.42cm)
  • Provenance: Thomas P. Adams & Co., Blackrock, 21 March 1994, lot 24; Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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COMPOSITION
COMPOSITION
Gustave Singier (Belgian, 1909-1984)

Auction Date / Lot No.: 2 October 2017 / 55

Reserve: €800


ABSTRACT E, 1972
ABSTRACT E, 1972
Nevill Johnson (1911-1999)

Auction Date / Lot No.: 2 October 2017 / 58

Reserve: €1500

  • Signature: signed and dated upper left; signed and dated on reverse (now obscured); accompanied by J. P. Lehman Gallery label inscribed with artist name and title
  • Medium: mixed media on board
  • Dimensions: 27 x 21½in. (68.58 x 54.61cm)
  • Provenance: J. P. Lehman Gallery, 23 Grafton Street, London [£70]; Collection of the Noel Sheridan; Whyte's, 19 February 2007, lot 211; Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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STILL LIFE (TABLE WITH BREAD AND FRUIT), 1975
STILL LIFE (TABLE WITH BREAD AND FRUIT), 1975
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 2 October 2017 / 61

Reserve: €12000

  • Signature: signed and dated lower right
  • Medium: oil on canvas
  • Dimensions: 24 x 27in. (60.96 x 68.58cm)
  • Provenance: Northern Bank collection; Private collection
  • Exhibited
  • Literature
  • Collins had brief stays in France but in 1971, wanting to get away from the claustrophobic atmosphere of the art scene in Ireland, he moved to France, where he lived until 1976. He initially stayed in Paris where finances were so stretched that he was often on the point of starvation. Collins stayed in hotel rooms, slept on people's floors and even slept rough, so it is not surprising that his artistic output was low. Things changed significantly when he moved to Orne, Normandy, in 1973, living in a secluded farmhouse with a stable, where he could paint. Still Life (Table with Bread and Fruit) was made during this period of stability in his life, where France begins to take hold. This painting has a warmth and airy lightness, Collins discarding the brooding atmosphere of his earlier Irish pictures. The mist has evaporated under a fresh, bright light, with colours now having a lively intensity. The yellow of the dish and the orange accents provided by the fruit and bread are deliciously appealing. Still Life has elements which are characteristic of the best of his work. The table is flattened so that its blue edge becomes a frame within a frame, separating art from reality and, compositionally, creating visual tension between edge and centre. The knife draws our eye toward the left edge while the bread pulls to the right, giving the composition a rotating movement that pivots around the central disc shape. We can also see how light emanates from the empty spaces around objects, so that the entire surface pulsates with energy. This period in France had a permanent effect so that, even when Collins came back to live in Ireland, the heavy fog of the late 'sixties never returned and his paintings continued to embrace the clarity and definition that can be seen in Still Life. Frances Ruane, HRHA September 2017

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THE LAKE, 1961
THE LAKE, 1961
Patrick Scott HRHA (1921-2014)

Auction Date / Lot No.: 2 October 2017 / 64

Reserve: €3000

  • Signature: signed and dated lower right; inscribed on reverse and with original exhibition label on reverse
  • Medium: tempera on unprimed canvas
  • Dimensions: 12 x 14in. (30.48 x 35.56cm)
  • Provenance: Dawson Gallery, Dublin; Whence purchased by the actor Arthur Kennedy (1914-1990); By whom bequeathed to the Glynn Art Association, Georgia; Whyte's, 26 April 2005, lot 2; Private collection
  • Exhibited
  • Literature
  • The former owner of this work, Arthur Kennedy, was an American stage and screen actor who won a Tony award for his role in the original Broadway production of Arthur Miller's Death of a Salesman, as well as five Academy Award nominations. His career spanned half a century, during which he starred in over eighty films including Bright Victory (1951) and Lawrence of Arabia (1962). He became acquainted with the Glynn Art Association, a non-profit organisation which runs community art workshops, whilst holidaying nearby on Jekyll Island, Georgia.

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FRAGMENT
FRAGMENT
Patrick Collins HRHA (1910-1994)

Auction Date / Lot No.: 2 October 2017 / 66

Reserve: €3000

  • Signature: signed lower right
  • Medium: oil on canvas
  • Dimensions: 25 x 25in. (63½ x 63½cm)
  • Provenance: Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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EMERGING, c.1965
EMERGING, c.1965
Cecil King (1921-1986)

Auction Date / Lot No.: 2 October 2017 / 67

Reserve: €1500

  • Signature: signed lower right; titled on reverse
  • Medium: oil on board
  • Dimensions: 12 x 7in. (30.48 x 17.78cm)
  • Provenance: Hendriks Gallery, Dublin; Private collection; Whyte's, 29 September 2008, lot 72; Estate of Judge Desmond Windle
  • Exhibited
  • Literature
  • Presented in original frame. The Art Collection of Desmond P.H. Windle (1933-2014) Whyte’s are proud to present the collection of pictures and sculpture formed by Desmond Windle, a distinguished lawyer and art lover. Desmond’s life-long interest in art developed as a young solicitor in 1950s Dublin, inspired by his aunt’s (Molly Matthews) love of art. A regular attendee at galleries and studios, he collected modern and contemporary Irish art for over 60 years. He supported many young emerging artists and, in the early days, acquired some paintings by way of barter in exchange for legal advice to the frequently impecunious artists being threatened with eviction. Invariably their tenancy was secured. He never stopped collecting and decorated all available wall space in his home with a diverse collection of works and, thereafter, most available floor space. Favourites included works by Patrick Collins, John Behan, Michael Kane, Gerald Davis, Felim Egan, Robert Ballagh, Charles Brady, Charles Harper, George Campbell, Bernadette Madden and Seán McSweeney. Works from this wonderful collection, included in this 2 October 2017 sale, are lots 2, 5, 10, 15, 20, 26, 35, 48, 50, 53, 54, 56, 58, 59, 62, 66, 67, 91, 92, 94, 102, 103, 111, 112, 116, 120, 121, 122, 124 and 169. Further selections from this extensive collection will be offered in future auctions at Whyte’s.

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THREE TREES
THREE TREES
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 2 October 2017 / 70

Reserve: €4000

  • Signature: signed lower
  • Medium: oil on board
  • Dimensions: 16½ x 13in. (41.91 x 33.02cm)
  • Provenance
  • Exhibited
  • Literature
  • With a letter of provenance from Paul Yates, publishing collaborator of Basil Blackshaw.

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STUDIES FOR WOMEN OF BELFAST SERIES (SET OF FIVE) 1973
STUDIES FOR WOMEN OF BELFAST SERIES (SET OF FIVE) 1973
Frederick Edward McWilliam RA HRUA (1909-1992)

Auction Date / Lot No.: 2 October 2017 / 74

Reserve: €5000

  • Signature: each signed and dated lower right
  • Medium: ink and watercolour; (5); (two of three framed uniformly)
  • Dimensions: 11 x 15½in. (27.94 x 39.37cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature: The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.114 (similiar studies from this series)
  • Dimensions of framed examples given. Sizes of other works: 11.75 by 16.5in, 8.25 by 11in. and 7.75 by 11in.

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WOMAN STANDING [ELONGATED FIGURE], 1955
WOMAN STANDING [ELONGATED FIGURE], 1955
Frederick Edward McWilliam RA HRUA (1909-1992)

Auction Date / Lot No.: 2 October 2017 / 76

Reserve: €20000

  • Signature: signed with initials on base
  • Medium: bronze; (unique)
  • Dimensions: 23¾ x 6 x 4in. (60.33 x 15.24 x 10.16cm)
  • Provenance: Collection of Peter Barker Mill; Grosvenor Gallery, London; Private collection
  • Exhibited
  • Literature: Denise Ferran, F.E. McWilliam at Banbridge, F.E. McWilliam Gallery, Banbridge, 2008, p.50 (illustrated)
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JOHN MILLINGTON SYNGE, 1981
JOHN MILLINGTON SYNGE, 1981
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 2 October 2017 / 82

Reserve: €1000

  • Signature: signed and numbered lower right
  • Medium: collotype lithograph on Rives paper (no. 1 from an Hors d'Commerce edition of 25)
  • Dimensions: 12½ x 10½in. (31¾ x 26.67cm)
  • Provenance
  • Exhibited
  • Literature
  • Printed in 1981 at the Imprimerie Arte, Paris, as part of a series titled Eight Irish Writers. The series was published in a boxed set of eight loose-leaf prints with a preface by Seamus Heaney, in a limited edition of 100 with an extra 25 hors d'Commerce.

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URBAN SCARECROW, WHITE MOON
URBAN SCARECROW, WHITE MOON
John Shinnors (b.1950)

Auction Date / Lot No.: 2 October 2017 / 90

Reserve: €15000

  • Signature: signed lower right; with Taylor Galleries label on reverse
  • Medium: oil on canvas
  • Dimensions: 29 x 41in. (73.66 x 104.14cm)
  • Provenance: Taylor Galleries, Dublin; Private collection
  • Exhibited
  • Literature
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WARMING MY FOOT, 1973
WARMING MY FOOT, 1973
Pauline Bewick RHA (b.1935)

Auction Date / Lot No.: 2 October 2017 / 118

Reserve: €2000


COLLECTION OF PORTRAIT MINIATURES AND VICTORIAN PHOTOGRAPHS RELATING TO THE SWETE FAMILY, CORK
COLLECTION OF PORTRAIT MINIATURES AND VICTORIAN PHOTOGRAPHS RELATING TO THE SWETE FAMILY, CORK
Henry Kirchhoffer RHA (1781-1860) and Attributed to Frederick Buck (1771-1839)

Auction Date / Lot No.: 2 October 2017 / 127

Reserve: €5400

  • Signature: portrait of a girl with short hair against a dark background is signed "Kirchhoffer" lower right and dated 1804 lower left
  • Medium: oval shaped portrait miniatures; (12); photographs; (5)
  • Dimensions
  • Provenance: Collection of the Swete Family; Thence by family descent to the present owner
  • Exhibited
  • Literature
  • Both Henry Kirchhoffer and Frederick Buck lived and worked as miniaturists in Cork. Kirchhoffer from c.1802 to 1815 and Buck, a native of the city, from 1787. Henry Kirchhoffer was descended from a Swiss surgeon who served in Ireland under William III. He entered the Dublin Society's Schools in 1797, and in 1801 he exhibited two portrait drawings in the Parliament House. For some years afterwards he resided in Cork, where he practised as a miniature painter, and from there, in 1802, he sent five miniatures to the exhibition held that year in the Parliament House. Twenty-four works by him were in the First Munster Exhibition held in Cork in 1815. He returned to Dublin in 1816 and sent a number of drawings to the exhibitions held in the Dublin Society's House in Hawkins Street in 1817 and 1819. He also exhibited in 1821, and contributed a "Portrait of Charles Robertson," the miniature painter, to the water-colour exhibition held in 1823. This portrait was presented by Mr E.S. Robertson to the National Gallery of Ireland in 1903 [NGI.2523]. Kirchhoffer was one of the original Associates of the RHA, and was elected a Member in 1826. He was an exhibitor from 1826 to 1834, chiefly of landscapes and portraits in water-colour, and also of miniatures and figure subjects. In 1835 he settled in London and exhibited at the Royal Academy and elsewhere from 1837 to 1843 chiefly portraits. After 1843 little is known of him as an artist. He lived in Brighton for some years, and returning to London he died at 71 St. John's Wood Terrace aged 79. Younger brother of Adam Buck (1759-1833 also a miniaturist), Frederick, was born in Cork in 1771. He was, perhaps, the Frederick Buck admitted as a pupil to the Dublin Society's drawing school in 1783. He practised as a miniature painter in Cork for a long period. In 1787 he was living at Fen's Quay; in 1795 in Mardyke Street; in 1810 and for some years after, in George's Quay, and later in Buckingham Square. During the Peninsula war, when Cork was a busy port of embarkation of troops, Buck had so many orders for portraits of officers and others going to the seat of war that he kept a supply of partly-painted ivories to which he added the heads and the regimental facings, etc., when his customers gave him hurried sittings. His miniatures are numerous. Buck was successful in his profession and was enabled to retire some years before his death, which took place about 1839 or 1840. For further reading on both artists see Strickland Vol I. p.581-582 (Kirchhoffer) and p.123 (Buck, F.) Henry Kirchhoffer was descended from a Swiss surgeon who served in Ireland under William III. He entered the Dublin Society's Schools in 1797, and in 1801 he exhibited two portrait drawings in the Parliament House. For some years afterwards he resided in Cork, where he practised as a miniature painter, and from there, in 1802, he sent five miniatures to the exhibition held that year in the Parliament House. Twenty-four works by him were in the First Munster Exhibition held in Cork in 1815. He returned to Dublin in 1816 and sent a number of drawings to the exhibitions held in the Dublin Society's House in Hawkins Street in 1817 and 1819. He also exhibited in 1821, and contributed a "Portrait of Charles Robertson," the miniature painter, to the water-colour exhibition held in 1823. This portrait was presented by Mr E.S. Robertson to the National Gallery of Ireland in 1903 [NGI.2523]. Kirchhoffer was one of the original Associates of the RHA, and was elected a Member in 1826. He was an exhibitor from 1826 to 1834, chiefly of landscapes and portraits in water-colour, and also of miniatures and figure subjects. In 1835 he settled in London and exhibited at the Royal Academy and elsewhere from 1837 to 1843 chiefly portraits. After 1843 little is known of him as an artist. He lived in Brighton for some years, and returning to London he died at 71 St. John's Wood Terrace aged 79. Younger brother of Adam Buck (1759-1833 also a miniaturist), Frederick, was born in Cork in 1771. He was, perhaps, the Frederick Buck admitted as a pupil to the Dublin Society's drawing school in 1783. He practised as a miniature painter in Cork for a long period. In 1787 he was living at Fen's Quay; in 1795 in Mardyke Street; in 1810 and for some years after, in George's Quay, and later in Buckingham Square. During the Peninsula war, when Cork was a busy port of embarkation of troops, Buck had so many orders for portraits of officers and others going to the seat of war that he kept a supply of partly-painted ivories to which he added the heads and the regimental facings, etc., when his customers gave him hurried sittings. His miniatures are numerous. Buck was successful in his profession and was enabled to retire some years before his death, which took place about 1839 or 1840. For further reading on both artists see Strickland Vol I. p.581-582 (Kirchhoffer) and p.123 (Buck, F.)

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ROSE PRINCESS, 1855
ROSE PRINCESS, 1855
William Wyld RI (1806-1889)

Auction Date / Lot No.: 2 October 2017 / 128

Reserve: €1500


THE LAKE AT CLANDEBOYE, 2000
THE LAKE AT CLANDEBOYE, 2000
Martin Mooney (b.1960)

Auction Date / Lot No.: 2 October 2017 / 138

Reserve: €800

  • Signature: signed lower right; signed, titled and dated on reverse
  • Medium: oil on board
  • Dimensions: 5½ x 8in. (13.97 x 20.32cm)
  • Provenance: Whyte's, 28 November 2011, lot 134; Private collection
  • Exhibited
  • Literature
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ENTERING A FOREST, 2003
ENTERING A FOREST, 2003
Martin Gale RHA (b.1949)

Auction Date / Lot No.: 2 October 2017 / 143

Reserve: €4000

  • Signature: signed lower left; signed and dated on reverse
  • Medium: oil on canvas
  • Dimensions: 17¼ x 21¼in. (43.82 x 53.98cm)
  • Provenance: Whyte's, 21 September 2004, lot 183; Private collection
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STILL LIFE WITH JUG AND FRUIT
STILL LIFE WITH JUG AND FRUIT
Markey Robinson (1918-1999)

Auction Date / Lot No.: 2 October 2017 / 163

Reserve: €1200


STILL LIFE WITH PALETTE AND BRUSHES
STILL LIFE WITH PALETTE AND BRUSHES
Gladys Maccabe HRUA ROI FRSA (b.1918)

Auction Date / Lot No.: 2 October 2017 / 174

Reserve: €2500


THE FLOWERSELLER
THE FLOWERSELLER
Gladys Maccabe HRUA ROI FRSA (b.1918)

Auction Date / Lot No.: 2 October 2017 / 176

Reserve: €1200


PORTRAIT OF A WOMAN, 1978
PORTRAIT OF A WOMAN, 1978
Brian McCarthy (b.1960)

Auction Date / Lot No.: 2 October 2017 / 180

Reserve: €800


STUDY OF A GENTLEMAN
STUDY OF A GENTLEMAN
Francis O'Toole 

Auction Date / Lot No.: 2 October 2017 / 182

Reserve: €1000

  • Signature: signed with monogram lower right
  • Medium: oil on canvas
  • Dimensions: 13½ x 9¾in. (34.29 x 24.77cm)
  • Provenance
  • Exhibited
  • Literature
  • Francis O'Toole has been awarded the ESB Seán Keating Award for Outstanding Painting, RHA Annual Exhibition, the Royal Ulster Academy Art Collector's Prize and the L. Cornellissen & Son Award, Royal Institute of Oil Painters, London.

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THE SKATERS, 2004
THE SKATERS, 2004
Mark (“Rasher”) Kavanagh (b.1977)

Auction Date / Lot No.: 2 October 2017 / 183

Reserve: €2300

  • Signature: signed and dated lower right; inscribed with title and dated [December 2004] on reverse
  • Medium: oil on canvas
  • Dimensions: 58 x 84in. (147.32 x 213.36cm)
  • Provenance: Whyte's, 29 September 2014, lot 214; Private collection
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RESURGENT ISLE, 2011
RESURGENT ISLE, 2011
Brian McCarthy (b.1960)

Auction Date / Lot No.: 2 October 2017 / 185

Reserve: €1000

  • Signature: signed lower left; signed, titled, dated [11/2011] and with artist's studio label on reverse
  • Medium: oil on canvas
  • Dimensions: 20 x 20in. (50.80 x 50.80cm)
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