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| 1 |
Paul Kelly (b.1968)
Flowers in a Glass
Oil on board, 40 x 35cm (15.75 x 13.75")
Signed & dated 1992
Exhibited: "The Paul Kelly Exhibition", The Gorry Gallery, September 1992, Catalogue No. 56 where purchased.
Sold for €1900
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| 2 |
Mark O'Neill (b.1963)
Garden Pink
Oil on board, 44.5 x 33cm, (17.5 x 13")
Signed and dated 2000
Exhibited: 'Mark O'Neill Exhibition', The Frederick Gallery, November 2000, where purchased by current owner.
Sold for €8700
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| 3 |
Mark O'Neill (b.1963)
Rolling Bales
Oil on board, 30.5 x 51cm, (12 x 20")
Signed and dated 2003
Exhibited: 'Mark O'Neill Exhibition', The Sand House Hotel, Rossnowlagh, Co Donegal organised by The Frederick Gallery, July 2003 where purchased by current vendor
Sold for €6500
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| 4 |
Mark O'Neill (b.1963)
Dargan Pink
Oil on board, 56 x 71cm (22 x 28")
Signed and dated 2003
Exhibited: "Mark O'Neill Exhibition", The Frederick Gallery, May/June 2003, Cat. No. 5 where purchased by the present vendor
Sold for €10000
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| 5 |
Mark O'Neill (b.1963)
Towards Julia Bonaparte
Oil on board, 46 x 61cm (18 x 24")
Signed and dated 2003
Exhibited: "Mark O'Neill Exhibition", The Frederick Gallery, May/June 2003, Cat. No. 4 where purchased by the present vendor
Sold for €10000
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| 6 |
Mark O'Neill (b.1953)
Abandoned cottage
Oil on board, 35.5 x 39cm (14 x 15.25")
Signed and dated 1999
Sold for €4000
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| 7 |
Mark O'Neill (b.1953)
Back Garden Bench
Oil on board, 44 x 40cm (17.25 x 15.75")
Signed and dated 1998
Sold for €9000
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| 8 |
Brian Ballard (b.1943)
Bowl of Fruit against Sea
Oil on canvas, 76.2 x 61cm, (30 x 24")
Signed and dated '95, also signed and inscribed verso
Sold for €6000
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| 9 |
Brian Ballard (b.1943)
Lemons & Jug
Oil on canvas, 40.5 x 51cm, (16 x 20")
Signed and dated 2001, also signed, inscribed and dated verso
Sold for €6500
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| 10 |
Tom Carr HRHA (1909-1999)
Lakeside
Watercolour, 58.5 x 77cm, (23 x 30.5")
Signed, inscribed with title verso
(unframed)
Sold for €2600
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| 11 |
Tom Carr HRHA (1909-1999)
Wateresk
Watercolour, 58.5 x 77.5cm (19.8 x 30.5")
Signed, inscribed with title verso
(unframed)
Wateresk is in Co. Down.
Sold for €3800
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| 12 |
Tom Carr HRHA (1909-1999)
Crossgar River, The Bonfire
Watercolour, 56 x 76 cm, (22 x 30")
Signed, inscribed with title verso
(unframed)
Crossgar is in Co. Down.
Sold for €4000
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| 13 |
Niccolo Caracciolo RHA (1941-1989)
Irishtown 1989
Oil on board, 16 X 23.5cm (6.25 x 9.25")
Signed
Solomon Gallery Label verso
Sold for €5200
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| 14 |
Niccolo d'ardia Caracciolo RHA (1941-1989)
Celbridge
Oil on board, 25.5 x 38cm (10 x 15")
Signed
King Street Galleries exhibition label verso with date 4/07/'84
Sold for €4800
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| 15 |
George Campbell RHA (1917-1979)
Holy Week Procession, Malaga
Oil on board, 76.5 x 63.5cm (30 x 25")
Signed, also signed and inscribed verso
It is not surprising that George Campbell felt compelled to depict the Semana Santa, Malaga's historical Easter celebrations; all that he loved about Spain is contained in this annual fiesta. Colour and sound are the chief protagonists in this baroque extravaganza. The colours of the tunics, hoods, ensigns and banners combined with the slow rhythmic beating of the drums would have sufficed to attract George. Add to this the poignant wailing of the saeta, a sacred, flamenco-like song, and he would have been well and truly hooked. Even before his first visit to Spain in 1951, he had lost his heart to the sounds and the colours of Spain when he saw the Carmen Amaya troupe of dancers at London's Princess Theatre in the late forties. With George everything came back to music, to rhythm. As he said in a 1964 interview : 'I was in Spain at the heart of the very best flamenco and it started to run parallel with my painting'. Arland Ussher, in his book, Spanish Mercy, devotes a chapter to flamenco which is based on a conversation with Campbell. He speaks of the artist's obsession with Spain in general and with flamenco in particular. 'Flamenco', George said, 'has to come - to burst out of unseen bounds - to become levitated, so to speak. To the uninitiated it may remain nothing more than noisy or wild but believe me there is only room for uncontrol when the dancer or singer has learnt enough to be able to forget technique'. He talks movingly of this living voice of the Spanish people, its rhythm and mood, its being there. He sees humour in the saddest flamenco and tragedy in the most humorous. He quotes a flamenco lyricist's words : 'I tell my sorrows singing because to sing is to cry. I tell my joys dancing because to dance is to laugh.'
Just as Campbell empathises with the spirit of the flamenco he is alive to the power of the conviction which, to this day, spurs on some two thousand members of religious fraternities to process through the streets of Málaga, some shouldering heavy tronos bearing images of Christ and the Virgin. In Holy Week Procession, Málaga we see his love of the Spanish people and his awe at their steadfast upholding of religious values and traditions. In an interview with BBC Northern Ireland, recorded the year before his death, George spoke at length of his love for Spain and its people. He had given himself over totally to the Spain 'of the ethereal light and the mysterious nights; its introverted, extroverted people; its song and dance; its rugged terrains and lace shapes'. This painting expresses all those elements of Spanish life which he so admired. There is the grandeur, the devotion, the noise, the togetherness and most of all the movement of the procession as the thousands of penitents snake their way through the streets. This is a good example of his 'less is more' style where he makes fewer marks to more effect; the sense of movement and energy is achieved more by what he omits than by what he includes in the composition. George liked to depict people absorbed in what they were doing and unaware of the world around them; these figures, even the onlookers on the balcony, are so totally in the moment that, as the procession sweeps us in and up into the throng, we can almost smell the incense and hear the beating of the drums.
Síle Connaughton-Deeny, May 2007
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| 16 |
George Campbell RHA (1917-1974)
Abstract composition with a glass
Pastel and ink over a photographic base, 29 x 24cm, (11.4 x 9.5")
Signed and dated '60
Provenance: Acquired directly from the artist by the family of the present owner
Sold for €4000
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| 17 |
George Campbell RHA (1917-1974)
Seated Nude
Mixed media on paper, 37.5 x 20.5cm, (14.75 x 8.15")
Signed
Provenance: Acquired directly from the artist by the family of the present owner
Sold for €3600
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| 18 |
George Campbell RHA (1917-1974)
Malaga at Night
Watercolour and pastel, 17.2 x 24.8cm, (6.75 x 9.75")
Signed
Provenance: Acquired directly from the artist by the family of the present owner
Sold for €6000
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| 19 |
George Campbell RHA (1917-1974)
Farms, Malaga, Night
Pastel and ink on paper, 26 x 38.3cm, (10.25 x 15.15")
Signed, inscribed with title and numbered 20 verso
Provenance: Acquired directly from the artist by the family of the present owner
Sold for €4300
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| 20 |
George Campbell RHA (1917-1979)
Errigal, Autumn
Oil on board, 49.5 x 65cm (18 x 24")
Signed, inscribed with title verso
Whilst artists have long been attracted to the grandeur of the Donegal landscape, few have depicted it with the sensitivity of George Campbell. Due in large part to his innate sense of rhythm, he was able to imbue his line with a life of its own; he spoke of it the way an author would speak of his characters : 'incised lines, rough lines, nervous lines, architectural lines, depending on what I expect them to do for me.' In Errigal Autumn he expects his lines to snake sensuously around the foothills of Errigal almost in obeisance to its cold grandeur; and they do not disappoint him. The foreground, softly coloured in its autumn best, is a perfect foil for the harsher, scree-covered peak. Campbell's appetite for knowledge being what it was, we appreciate his fascination with the geology of the area, with the underlying patterns and rhythms - that word again! Rocks and mountains are seen in planes of colour rather as a geological map would depict them. The landscape is broken down, analysed, reassembled and represented to us.
The bleak, desolate terrain of the west coast of Ireland entranced him. He was particularly sensitive to the poetry of Donegal, referring to his 'Donegal-tweed' landscapes with the warp and weft of their soft colours, the 'blacks and browns against pinks and yellows that leap at you'. In using paint intuitively, he was able to recreate the sharp contrast between rough-textured areas of rock and the smoother areas of sky and water. There is a stillness and a spirituality about his Donegal landscapes in particular which render them very close to the artist and of special interest to admirers of his work.
Síle Connaughton-Deeny, May 2007
Sold for €6000
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| 21 |
George Campbell RHA (1917-1979)
The Last Farewell
Oil on board, 27 x 36cm (10.5 x 14.25")
Signed
Much of the poignancy of this scene is rendered by the softness of the landscape which enfolds the grieving mourners. Everything pulls the eye towards the burial, the gently undulating mountains cradle the graveyard, the valley meanders towards the group, the figures lean in to comfort each other and especially the child who is the focus of the whole composition. As always, Campbell's sense of rhythm is uppermost; everything flows and interlocks. No hard edge is allowed to upset the sense of an organic whole. There is a sense of nature taking back its own. It is an old graveyard as we see from the weatherworn headstones and yet not nearly so old as the smoothly eroded mountains. The composition is beautifully balanced, the rounded slopes echoed in the rounded figures and headstones, the crucifixes echoing the trees.
Síle Connaughton-Deeny, May 2007
Sold for €5500
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| 22 |
Harry Kernoff RHA (1900-1974)
Funeral in Mayo, 1947
Watercolour, 43 x 56cm (17 x 22")
Signed and dated 1947
Exhibited: Dublin National Gallery of Ireland 'A Time and a Place', October 2006-January 2007.
Harry Kernoff's preference for depicting the colour and activities of urban life was in evidence throughout his career, as he captured the city of Dublin and its varied inhabitants. While many of these citizens were friends and acquaintances of the artist, observed in their regular haunts, most were random people. Portraying them at work or socialising in the shops, bars, parks, back alleys and beaches of the city, Kernoff provided a wonderful record of Dublin during his life time. He also looked beyond the capital for inspiration, however, and from about 1934 onwards made regular painting trips to Kerry and the west of Ireland. Attracted by Mayo in particular, he visited Castlebar and the coastal town of Westport on a number of occasions.56
The setting for Kernoff's painting A Funeral in Mayo is easily identifiable by the ridge formation and triangular profile of Croagh Patrick in the background. Famous as a site of pilgrimage, in the course of which thousands of people climb to its summit each year, the mountain slopes steeply into Clew Bay, just south of Westport. In the foreground of Kernoff's painting a funeral party makes its way along an uneven road. The coffin, borne on the shoulders of six men, is accompanied by just a small gathering of people, suggesting the remote and relatively sparsely populated area in which the funeral takes place. The prominence of a pub or shop in the middle ground - one can make out the name of the proprietor on a sign above the door - is appropriate to both the social and commercial importance of such premises in rural areas. Shops of this kind, found throughout Ireland, were known to host numerous businesses including drapers, general stores, grocers, butchers, and even, in more isolated areas, undertaking. 57 Under the Coroners Act of 1846, a coroner could direct that a dead body be brought to the nearest 'tavern, public house or house licensed for the sale of spirits' and require the owner or occupier of such a place to allow the body to be kept there until an inquest had taken place. 58 Before the age of the motorised ambulance and hearse, this provision made good sense as publicans usually had cool store rooms in which bodies could be kept from decomposing.
Kernoff counters the looming presence of the mountain and tempers the maudlin subject through the use of bright colour and the slightly caricatured portrayal of the figures in the foreground. He attended the Metropolitan School of Art during a period that promoted an academic tradition to which figurative drawing was central, and was, an accomplished draughtsman.59 His naive and often awkward depiction of the figure, therefore, was a deliberate subversion of this academic tradition. It has been observed that Kernoff's compassionate and personal approach 'reflected his own gentle consideration for his subject'. 60 His work was admired and when he began to exhibit at the RHA his paintings of Mayo, the settings for which were vastly different from those of his Dublin scenes, it would appear they were received equally well, one critic making the astute observation that:
Harry Kemoff has gone west and brought with him the vivid eye and quaint technique that enabled him to record the subtle moods of the Dublin scene. In his paintings of the Mayo mountains he has given a new twist to the Irish Landscape. 61
The painting, executed in watercolour, reminds one of Kernoff's graphic wood-cuts, which were executed in a clear, linear style and were often theatrical in nature. This graphic style accommodated the attention to detail that Kernoff displayed but was neglected by many of his contemporaries in favour of painterly effects and atmosphere. Details such as the name above a shop, merchandise on sale, individual bottles on the shelf of a bar, or the fruit and vegetables of a roadside grocer characterized his work in various media. Essential but banal, such details were always of interest to Kernoff and afforded his work a notable local quality.
This interest in the minutiae of his subjects may be attributable to Kernoff's work in theatre set design, a practice that also seems to have informed the narrative and dramatic quality of his work. In A Funeral in Mayo, the figures appear to stumble in from 'right of stage' and the landscape in the background, thinly painted, serves as a scenic backdrop. The grazing cow, meanwhile, presented in profile and painted in flat colour, seems more like a stage prop than a living animal. Kernoff was a member of a dynamic social group that included artistic, literary and theatrical figures. He drew and painted many of them and designed sets and costumes for theatrical productions, including some at the Gate Theatre, where he worked alongside Martin Murphy, a figure who appears in his In Davy's Parlour Snug (cat.72). 62
Writer: Donal Maguire
56 Kernoff exhibited a number of his paintings of Castlebar and Westport at the RHA between, 1945 and 1955.
57 Kearns 1996, p.53.
58 This legal provision was not removed until 1962.
59 He studied under Harry Clarke, Patrick Tuohy and Sean Keating.
60 McAuley 2003, p.111.
61 Irish Independent, 25 April 1949.
62 MacGonigal 1976, p.4
Reproduced by kind permission of Dr. Brendan Rooney editor "A Time and a Place"
National Gallery of Ireland.
Sold for €21000
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| 23 |
Harry Kernoff RHA (1900-1974)
A Dublin Character
Pencil and coloured chalks, 39.5 x 29.5cm, (15.5 x 11.6")
Signed and dated '55
Sold for €3000
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| 24 |
Harry Kernoff RHA (1900-1974)
Kevin Morravin
Pastel, 49 x 35.5cm (19.5 x 14")
Signed and dated '47
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| 25 |
Harry Kernoff RHA (1900-1974)
Spud Murphy
Pastel, 35 x 27.5cm (13.75 x 10.75")
Signed and dated '58
Provenance: From Ernie's Restaurant Collection and their sale in these rooms, Dec. 2005 where purchased by present owner. Remains of a study of a hurler verso
Sold for €3500
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| 26 |
Frank McKelvey RHA RUA (1895-1974)
Woman and Children with Chickens (1921)
Oil on canvas, 44 x 54.5cm, (17 X 21.5")
Signed and dated 1921
Provenance: Private collection, Northern Ireland
A good deal of Frank McKelvey's art may be said to embody a love of life-scenes of children playing, country markets, animals grazing on a summer's day, chickens picking for food in a farmyard-are amongst his favourite topics. For a city dweller by birth and upbringing, McKelvey's heart was in the country and it is not surprising that as a young man he set up home in the country, at the Maze in County Down, and there he developed an art that, like his own personality, was quiet, self-contained, unostentatious.
Woman and Children with Chickens well illustrates these qualities. The setting may be the home of the artist's in-laws at Bessbrook in County Armagh, but of this one cannot be certain. But the subject matter, 'in which I have always been deeply interested', as he once wrote, is one to which he returned time and time again. The simple structure of the composition, with the farm house and nearby trees in shade, the rest of the scene bathed in sunshine and the chickens-the real subject of the picture-linking these two areas, is typical of McKelvey's approach to landscape and is a device that appears frequently in his work. As Máirín Allen once commented (Father Mathew Record, January 1942), there is in McKelvey's treatment of country scenes much of what she saw as the 'poetic and romantic reaction of the city dweller', an observation that rings true of this work.
S.B. Kennedy, May 2007
Sold for €39000
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| 27 |
Frank McKelvey RHA RUA (1895-1974)
Feeding chickens
Pencil, watercolour and pastel, 26 x 36cm, (10.25 x 14.2")
Signed
It is likely that the present work dates to the 1920s, when Frank McKelvey lived at the Maze, Co. Down. Whilst living there he kept a flock of sixty hens and regularly sketched them. He also frequently drew the hens at his wife's family home in Co. Armagh.
He commented "...I was able to study poultry in all effects of sunlight - a subject in which I have always been deeply interested" (S.B. Kennedy, Frank McKelvey RHA RUA, A Painter in his Time, Irish Academic Press, 1993, p.21).
Feeding chickens is idyllic in its rural simplicity. A young girl hands out seed to a cluster of hens while a relaxed figure looks on from the background. The scene is bathed in dappled sunlight and the atmosphere is one of tranquility and contentment. The technical fluency with which the artist creates this peaceful ambience is evident throughout his oeuvre, in watercolour and in oil, in farmyard scenes and in landscape.
Sold for €10000
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| 28 |
Frank McKelvey RHA RUA (1895-1974)
Age & Youth
Watercolour, 34.5 x 23.5cm (13.5 x 9.25")
Signed
John Magee Gallery label verso
Sold for €25000
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| 29 |
William Conor RHA RUA (1881-1968)
On the road
Oil on canvas, 40.5 x 51cm, (16 x 20")
Signed
Provenance: with John Magee, Belfast, February 1948
Known as 'the people's painter', the present work epitomises the genre paintings on which Conor's reputation as an artist is founded. It is Conor's depiction of the northern working classes that have secured him a firm place among the leaders of 20th Century Irish Art. Indeed, it is the emphatically regional quality of Conor's art that makes it so appealing.
Of humble origins himself, Conor was an artist who well understood his subject. It is this sense of self-identification perhaps that gives his art such power. No other artist has painted the working classes with such affection and tenderness of observation. These anonymous characters are given gravitas and an elevated status through Conor's uncompromising brush. Wrinkles, shawls and all, Conor puts the unglamorous Belfast proletariat at the centre of his art. In doing so, as with On the Road, Conor has captured an Ireland rooted in tradition that has escaped modernisation.
Conor enrolled at the Belfast Government School of Art at just thirteen years old and studied there for ten years before securing an apprenticeship at David Allen & Son, a lithographer and poster design company. It was here that he mastered the wax resist technique that features so often in his watercolour work. Conor became acquainted with the artists Sir John Lavery and Augustus John when he visited in London and also spent some time in the studio of Andre Lhote, the cubist painter. Despite this exposure to new departures in art, it was essentially Conor's native Belfast and its people that were the inspiring force for his work. By placing figures such as the peasant lady in On the road at the centre of his art, Conor is immortalising these characters who are simultaneously invested with a higher status than could ever be achieved in the real world.
Sold for €25000
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| 30 |
Charles McAuley RUA ARCA (1910-1999)
Cottage in a landscape
Oil on canvas, 39.5 x 54cm, (15.5 x 21.25")
Signed
(unframed)
Sold for €2400
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