| 1 |
Robert Ballagh (b.1943)
'Oh Mona'
Oileograph on canvas, 30 x 22.5cm (11.75 x 9")
Signed and dated 1977 and numbered 3 out of an edition of 10 verso
Exhibited: The Hendriks Gallery, October 1977 where purchased by current owner.
Sold for €2800
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| 2 |
Robert Ballagh (b.1943)
Tom Wesselman Box, 31 x 41cm (12 x 16")
Mixed media with acrylic on canvas
Exhibited: The Hendriks Gallery, March 1974 where purchased by current owner.
Sold for €9700
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| 3 |
Sean Scully, (b.1945)
Coloured Wall
Lithograph, 30 x 23cm, (11.75 x 9")
Signed, inscribed and numbered 95/150
Sold for €4600
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| 4 |
Mark O'Neill (b.1963)
Winter Feeding
Oil on board, 40 x 53cm (15.75 x 21")
Signed and dated 2005
Sold for €6000
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| 5 |
Mark O'Neill (b.1963)
The Back Door
Oil on board, 35 x 25cm (13.75 x 10")
Signed and dated 2004
Provenance: Exhibited at the Frederick Gallery 'Mark O'Neill' Exhibition 2004, Cat No. where purchased by current owner, illustrated in catalogue page.
Sold for €12500
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| 6 |
Mark O'Neill (b.1963)
The Grass Bank
Oil on board, 71 x 101.5cm (28 x 40")
Signed and dated 2006
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| 7 |
Mark O'Neill (b.1963)
A Final Brush
Oil on board, 66 x 94cm (26 x 37")
Signed and dated 2006
Sold for €12000
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| 8 |
Mark O'Neill (b.1963)
The Jug and Pink Peonies
Oil on board, 32 x 40.5cm (12.5 x 16")
Signed and dated 2006
Sold for €8500
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| 9 |
Mark O'Neill (b.1963)
The Costelloe Jug and Bottles
Oil on board, 56 x 46cm (22 x 18")
Signed and dated 2006
Sold for €9500
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| 10 |
Martin Mooney (b.1960)
O'Connell Bridge, The Liffey
Oil on canvas, 31 x 61.5cm (12.25 x 24.25")
Signed and dated 2005
Sold for €10500
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| 11 |
Martin Mooney
Still Life with Gold and Red Cloth
Oil on canvas, 114 x 87cm (45 x 34.25")
Signed
Exhibited: The Frederick Gallery where purchased by current owner.
Sold for €15000
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| 12 |
Donald Teskey (b.1956)
Jingle Jangle
Oil on paper, 58 x 78cm, (22.8 x 30.25")
Signed and dated '97
Provenance: with Connaught Brown, London, March 1998, where purchased by the present owner
Donald Teskey was born in Rathkeale, Co. Limerick in 1956.He studied art at the Limerick School of Art. He was a prizewinner at the EV + A exhibition in 1983 and since then hasexhibited extensively throughout Ireland.He has been living in Dublin for over 20 years . He has developeda very distinctive expressionist style using a limited palette range.Interest in Teskey has intensified over the last two years followingAdams achieving a world record price for his work "Bank HolidayMonday" from the Smurfit Collection which made €42,000 in our Christmas Sale December 2004.His work is included in many prominent public and private collectionsin Ireland and worldwide. Among the public /corporate collections hiswork is to be found in The Arts Council, the AIB Collection, OPW, ESB,the University of Limerick and Irish Life Assurance to name but a few.
Sold for €25000
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| 13 |
Donald Teskey RHA (b.1956)
Bushy Park (1999)
Oil on board, 41 x 46cm (16 x 18")
Signed, signed, inscribed and dated verso
Rubicon Gallery label verso
Sold for €12500
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| 14 |
Donald Teskey RHA (b.1956)
Railway Bridge
Oil on canvas, 46 x 58.5cm (18 x 23")
Signed, signed, inscribed with title and dated 1999 verso
Sold for €30000
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| 15 |
Wycliffe Eggington R.I., R.C.A. (Irish, 1875-1951)
Horse and Rider Crossing the Moor
Watercolour, 35.6 x 52 cm, (14.25 x 20.5")
Signed
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| 16 |
Wycliffe Egginton R.I., R.C.A. (1875-1951)
On the moors
Watercolour, 25.4 x 35 cm, (10 x 13.75")
Signed
Sold for €1100
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| 17 |
Wycliffe Egginton R.I., R.C.A., (1875-1951)
Returning from market
Watercolour, 35.5 x 52.1 cm, (14 x 20.5".)
Signed
Sold for €2700
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| 18 |
Wycliffe Egginton (1875-1951)
Ponies Grazing in Moorland
Watercolour, (35.6 x 61cm), 14 x 24"
Signed and dated 2 3 24
Sold for €1900
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| 19 |
Frank Egginton RCA FIAL (1908-1990)
Errisbeg, Connemara
Watercolour, 36.5 x 51.5cm, (14.5 x 20.25")
Signed
Sold for €1300
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| 20 |
Frank Egginton RCA (1908-1990)
Crookhaven from Hook Head, Co Donegal
Watercolour, 37 x 52.5cm (14.5 x 20.75")
Signed bottom right
Sold for €2200
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| 21 |
George Campbell RHA (1917-1979)
Connemara Island Man
Oil on board, 61 x 50.4cm, (24 x 19.75")
Signed, inscribed verso
Provenance: Tom Caldwell Gallery label verso
The Islander depicted is one of those lantern jawed raw boned men so typical of Connemara, the Islands and from the Maam Valley, rendered by the artist through a prism of Cubist hue and using the Cubist playing card system as a construct, which like Mainie Jellett, Evie Hone and Norah McGuinness he adapted to his own painting needs. This figure is of a mountainy man well used to peering into harsh winds, and using his stick which is a Sheppard's crook for support and gathering in recalcitrant sheep off a mountain, it is a powerful work indeed.
Born in Arklow, Co.Wicklow to a Belfast mother, Gretta Bowen, who was herself a painter in the Naïve tradition he grew up in Northern Ireland and began exhibiting in Belfast in 1941. By 1944 he was exhibiting alongside his lifelong friends Gerard Dillon and James McIntyre and later with Arthur Armstrong.
A cubist by choice he saw in Cubism a way of describing things and people in nature which suited his decorative pictorial purposes. Gerard Dillon adapted a more Faux Naïve approach and Arthur Armstrong a more atmospheric form of picture marking. What they all had in common technically was their ability to use forms of synthetic cubism and mould it to their picture making needs. Norah McGuinness another Northern artist also used forms of synthetic cubism for many of her middle period and later works in a more frenchified way. She took the playing card idea of cubism and used it in a deliberately one dimensional way modified by strong colour which came to her probably naturally but amplified by her experience of Stained Glass through her early teacher Harry Clark; Campbell on the other hand took the idea of stained glass and mosaic tesserae to give his compositions the same playing card idea derived from Cubism but with scumbled colour as might be found in painted glass he developed the forms, human and landscape, to give a sense of recession not through skewed perspective like McGuinness but through the sensibilità of colour in the form. The human figure as described by Campbell is also a series of planes and arcs partly described as in the cut line for stained glass but which also gives him the opportunity to create a sense of modelling without resorting to academic processes of rendering, rather relying instead on a vigorous application of his colour palette to the subject.
In the Spring and Summer of 1951 Campbell, Armstrong, Dillon and McIntyre stayed in a cottage on the Island of Inishlacken off Roundstone in Connemara and over the next 17 years made many return visits to the area as they had jointly but differently found a solution to their problems of pictorial resolution especially in the matter of the foreground. Campbell found that the rock and bog formations could be adapted to his compositional purposes, and in that context the large mountainy men of Connemara suited his work, long limbed bodies, fleshless almost with large heads and hands a feature which also figures in the works by his friend the artist Maurice MacGonigal and earlier by Jack B.Yeats. The raw-boned Connemara Men and ample women were ideal for a painter of cubist inclinations. Also the boggy formations and its colour suited Campbell's Spanish orientated palette, so that he was at home in either landscape.
Ciarán MacGonigalNovember 2006.
Sold for €34000
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| 22 |
Gerard Dillon (1916-1971)
'Pub Group - Connemara'
Oil on board
Exhibited:
* 'Gerard Dillon' exhibition, The Dawson Gallery, where purchased by current owner (original exhibition label verso).
* 'Gerard Dillon Retrospective Exhibition', Ulster Museum, Nov-Dec 1972, Cat No. 58; Hugh Lane Gallery, Dublin, Jan-Feb 1973, Cat No. 58.
This is an arresting and most unusual work by the artist but full of his awareness of the vagaries of the human condition especially as seen in pubs and drinking places.
The artist was a very convivial and highly sociable person and was noted in his London days for bringing his pint glass from pub to pub so as to be in the swing of things immediately without the rubric of having to go and order his drink thus losing contact with his fellow men or a moment's company.
In attempting to set down some painting structure or formula for himself he tried many technical routes including sgraffitto, using objets trouves, collage and a very deliberate faux naïve style to obtain what was for him a satisfactory pictorial resolution. He was by instinct a figurative painter or perhaps a painter of the figure as it exemplified and represented the human condition.
In this work we see a group of drinkers gathered possibly in a pool hall and he uses a device of linear enclosure of the painted forms to give each figure it's distinctive character. His partial interest in cubism gives the work it's frieze like composition, so that it is more like a tableau vivant than it is a typical pub interior.
His long friendship with Nano Reid, as they had lived together on the Island of Inishlacken in the 1950s producing work for the great Dublin Art Dealer Victor Waddington at the stipend of £1-10 a week, obviously impacted on this kind of work, in that the linear quality of Reid is used to great effect here, but Dillon changes the direction of the viewer's gaze by leaving the men in the foreground "en grisille" and using the flesh tones of the figure in the middle distance to bring one's eye into the composition. The artist also makes a play on the kind of pullover argyle pattern pullover on the centre figure and the "fag" in his mouth and the cut of the suits to keep the viewers attention. The work whilst upright in formal structure is kept in a linear format and apart from the seated men on stools in the background there are no other distractions in the background.
Ciarán MacGonigal
November 2006
Sold for €75000
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| 23 |
Frank McKelvey RHA RUA (1895-1974)
A Fair Day, Donegal
Oil on canvas, 51 x 68.5cm (20 x 27")
Signed
This characteristic McKelvey composition conveys all the excitement and atmosphere of a country fair. The artist told a previous owner of the picture (letter of 9 January 1969) that it was 'probably painted in Donegal, one of the few places left where one can happily see this kind of life.' He continued, saying that the location 'may not be topographical', as he considered it more important that the design or composition should conform to that which he had in mind at the time. The figure groups, he said, were made from sketches done on the spot together with colour notes 'or anything helpful in capturing the spirit of the scene.' 'I am happy to know that the picture is giving pleasure,' he concluded.
The clear division of the composition into distinct areas of recession - the foreground, containing the narrative and darker in tone, contrasting with the sunlit middle distance and the greys and blues of the landscape and hills beyond - is also characteristic of McKelvey's precisely considered compositional technique in which nothing was left to chance. The handling of the paint, with light, but assured flicks of the brush-note, for example, the foliage of the tree at the left hand side and the grass of the foreground - and the subtle, but theatrical use of chiaroscuro, show McKelvey's debt to Impressionism. Moderate impasto has been used throughout. The picture represents an event which, alas, has all but disappeared from the Irish scene.
Dr. S.B.Kennedy
Sold for €77000
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| 24 |
William Conor RHA RUA (1881-1968)
Granny in Sunday Best
Crayon, 24 x 17.5cm (9.5 x 7")
Signed
Sold for €3200
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| 25 |
William Conor RHA RUA (1881-1968)
'At the Door'
Crayon, 38 x 29cm (15 x 11.5")
Signed
Sold for €17000
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| 26 |
Evie Hone RHA (1894-1955)
Avenue, St Catherine's Park, Leixlip
Gouache, 18.5 x 13.5cm (7.25 x 5.25")
Signed
Sold for €2800
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| 27 |
Evie Hone RHA (1894-1955)
Avenue, St Catherine's Park, Leixlip
Stained glass panel, 35 x 31cm (13.75 x 12.25") within a stained glass border and contained in a light box, electrified.
Exhibited: Contemporary Painters Gallery 1943
Evie Hone Retrospective Exhibition The Great Hall, U.C.D. July-Sept 1958 Cat. No. 76
This panel dates from 1942/3 during the war years when glass was in short supply. It was made for Evie's sister, Nancy Connell who lived at St. Catherine's Park, Leixlip. She was Master of the Meath Hounds.
On Nancy's death in 1957 she left it to Monsignor Pádraig de Brún who was then in Maynooth but later at U.C.G. It was lent by him to the large retrospective exhibition in U.C.D. in 1958. The Monsignor was also a huntsman and rode out with the North Kildares. He left the piece to Mrs. McEntee from whom it was acquired by the current owner at auction.
Sold for €6000
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| 28 |
Mainie Jellett (1897-1944)
Abstract Composition
Oil on canvas, 92 x 73cm (36.25 x 28.75")
Signed
Signed again verso
Mainie Jellett was educated at home at 36 Fitzwilliam Square. She received her first art lessons from Elizabeth Yeats, later studying with Sarah Cecilia Harrison and May Manning.
She first visited France when she was 14 and in 1913 went to Brittany to paint.In 1914 she entered Dublin's Metropolitan School of Art and three years later transferred to the Westminister Schoolof Art in London where she trained under Sickert.
In 1921 she went to Paris to study with Andre Lhote. But she turned to Albert Gleizes, turning up on his doorstep with Evie Hone finding satisfaction at last in her exploration of pure form and colour.
This work dates from this time in the mid 1920's, showing the influence of Gleizes on her work.
Jellett championed the cause of non-representational art in Ireland but was often criticised by the conservative art connoisseurs and critics even from the likes of fellow artist and writer George Russell. He described her as "a victim" of the "artistic malaria" of cubism.
Sold for €92000
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| 29 |
Mary Swanzy HRHA (1882-1978)
'In the Window'
Oil on canvas, 61 x 51cm (24 x 20")
Signed
Exhibited: The Dawson Gallery, original exhibition label verso.
Mary Swanzy was born in Dublin in 1882. She was educated in Paris and Freiburg, Germany before returning to Alexandra College in Dublin. For her art education she attended the well known art classes of Miss Manning, the Dublin School of Art and the RHA School. After that she studied in Paris at the studios of Delecluse, La Gandara, Grande Chaumiere and Colarossi. Her talent was spotted as early as 1906 by George Moore, admiring the quality of her work and by Nathaniel Hone who remarked that one of her portraits was "the best picture painted in Dublin for thirty years".
She travelled extensively throughout the world from the South Seas to Czechoslovakia, absorbing new ideas and influences as she went. She was made HRHA in 1949 and there was a large retrospective of her work at the Hugh Lane Gallery in 1968.
Here she has taken an unusual angle on her very popular cubist landscape by positioning the landscape out the window drawing the viewers eye up to the top right hand side of the painting. A French friend once remarked that Swanzy should be referred to as a "Rondiste" painter rather that a "Cubiste".
She was represented in Ireland by the Dawson Gallery where this lot and the lotfollowing were purchased by the current owner
Sold for €100000
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| 30 |
Mary Swanzy HRHA (1882-1978)
'Fish Dinner'
Oil on canvas, 63.5 x 76cm (25 x 30")
Exhibited: The Dawson Gallery, original exhibition label verso.
(Probably also exhibited 'Mary Swanzy Retrospective Exhibition', Hugh Lane Gallery, June 1968 under title 'A Fish Supper', Cat No. 58.
Sold for €21000
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