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Cecil Maguire RHA RUA (b.1930)
Connemara Woman, Going to Mass, Roundstone
Oil on panel, 24.5 x 29cm, (9.75 x 11.5")
Signed
Provenance:Acquired directly from the artist by the family of the present owner
Sold for €4200
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| 2 |
Cecil Maguire RHA RUA (b.1930)
Jaunting Car
Oil on panel, 23.5 x 29cm, (9.25 x 11.5")
Signed
Provenance:Acquired directly from the artist by the family of the present owner
Sold for €2600
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| 3 |
Cecil Maguire RHA RUA (b.1930)
Lazy Beds, Co Clare
Oil on board, 50 x 61cm, (19.75 x 24")
Signed and dated '87, inscribed with title verso
Sold for €5400
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| 4 |
Cecil Maguire RHA RUA (b.1930)
Dog's Bay from Murvey Wood, Connemara
Oil on canvas, 38 x 91cm, (15 x 36")
Signed and dated '67, also signed and inscribed verso
Provenance:Acquired directly from the artist by the family of the present owner
Sold for €7500
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| 5 |
Cecil Maguire RHA RUA (b.1930)
Roundstone, Connemara
Oil on canvas, 38 x 91cm, (15 x 36")
Signed and dated '67, also signed and inscribed verso
Provenance: Acquired directly from the artist by the family of the present owner
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| 6 |
Charles J. McAuley (1910-1999)
Antrim Glen
Oil on canvas, 45.5 x 70cm, (18 x 27.5")
Signed
Sold for €1800
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| 7 |
Hans Iten RUA (1874-1930)
In The Glens Of Antrim
Oil on canvas, 44.5 x 59.5cm, (17.5 x 23.5")
Signed
Sold for €5000
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| 8 |
James Humbert Craig RHA RUA (1878-1944)
Cattle Grazing in Pasture
Oil on panel, 37 x 49.5cm, (14.5 x 19.5")
Signed
Sold for €4000
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| 9 |
Frank McKelvey RHA RUA (1895-1974)
Donegal Coastal Landscape with Cottages
Oil on board, 30 x 42cm, (11.75 x 16.5")
Signed
his is a well constructed landscape by the artist and painted in a free impressionistic style with loose brush strokes. The artist uses a triangular foreground and middle distance construction to bring the eye into the horizon whilst keeping the whole well balanced by the larger diagonals of the clouds in the background defining the picture plane of interest.
The cottage at an angle repeats the smaller more scattered houses of the adjoining clachan which linked to the foreground pool gives a most charming, lively and atmospheric composition.
Ciarán MacGonigal, May 2008
Sold for €4200
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| 10 |
Frank McKelvey RHA RUA (1895-1974)
A By-Road, Co. Antrim
Oil on canvas, 46 x 61cm, (18.2 x 24")
Signed, inscribed on artist's label verso
Exhibited: Royal Hibernian Academy, Dublin, (?) 1931 (catalogue no. 34; (?) 1935 (catalogue no. 2)
This spirited painting well illustrates the easy fluency of McKelvey's style in the 1930s and later. The handling of the paint, with clarity and freshness in the colours, is typical of his whole oeuvre, a point that the Irish Independent commented on in a review of the artist's work in 1939: 'His cleverness in landscape is astonishing,' said the 'paper, continuing, 'we must admire the depth of feeling with which he interprets Irish landscapes' (Irish Independent, 25 October 1939). There is a label on the reverse of William Mol, Belfast, probably as the framer.
Dr. S.B. Kennedy, May 2008
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| 11 |
Letitia Marion Hamilton (1878-1964)
Irish Landscape
Oil on board, 28 x 38cm (11 x 15")
Signed
Sold for €3000
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| 12 |
Fergus O'Ryan (1911-1989)
Keel, Achill
Oil on board, 37 x 46cm (14.5 x 18")
Signed
Sold for €3200
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| 13 |
Fergus O'Ryan RHA (1911-1989)
Howth and Dublin Bay from Carrickmines
Oil on canvas, 25 x 51cm, (9.8 x 20")
Signed, also signed and inscribed with title verso
Sold for €1900
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| 14 |
Fergus O'Ryan RHA (1911-1989)
The Twelve Bens from Gurteen Bay
Oil on canvas, 38 x 55cm, (15 x 21.6")
Signed, inscribed verso with title
Sold for €2800
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| 15 |
Romeo Toogood (1902-1996)
Near Milltown
Oil on canvas, 52 x 61cm (20.5 x 24")
Signed
Exhibited: "Romeo Toogood Studio Sale", The Bell Gallery 1989, Catalogue no. 29
Romeo Toogood studied at the Belfast School of Art and the Royal College of Art in London. Returning to his home town of Belfast in 1930 he joined a small group of artists known as the Ulster Unit, and taught at various high schools and institutes including the Belfast College of Art where his students included Terence Flanagan and Basil Blackshaw. Toogood's work was exhibited at the RHA, Ulster Academy of Arts, RUA and the Piccolo Gallery in Belfast. Following his death retrospectives were held by the Arts Council of Northern Ireland (1978) and the Bell Gallery (1989) at which these two lots were exhibited.
Sold for €1800
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| 16 |
Romeo Toogood (1902-1966)
Roundstone Harbour
Oil on canvas, 51 x 60cm
Signed with initials
Exhibited: "Romeo Toogood Studio Sale" The Bell Gallery 1989, Catalogue no. 17
Sold for €4000
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| 17 |
Letitia Marion Hamilton RHA (1878-1964)
Leaving For The Fair, Connemara
Oil on canvas, 49.5 x 60cm (19.3 x 23.5")
Coastal View Of Currachs At Harbour In Seaside Town verso
Provenance: Exhibited: "Exhibition Of Irish Paintings" The Gorry Gallery May/ June, 1990, catalogue no. 78
This work is amongst the artists most charming works painted in the Roundstone area. The scene shows the farmer and his wife preparing the horse and the jennet to carry the packages, vegetables, fish and fowl to be sold at the local fair on the fairgreen in Roundstone. The thatched farmhouse is on the edge of the sea on the foreshore of Errelough(now mistakenly rewritten as Ervalough).The townland name is taken from Scots Galic meaning east of the lake, Loughdubh which is in the fold of land about the hillock which can be seen to the upper right of the composition.
The impasto used by the painter gives a sense of the artist's great skill in conveying a rapid movement and action which always gives her work it's effable charm and vivacity.
Hamilton spent many years staying at Letterdyffe house, the home of her friends the Robinsons of Letterdyffe and painted a great number of early and important records of the village of Roundstone and its environs.
Ciarán MacGonigal, May 2008
Sold for €27000
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| 18 |
Maurice MacGonigal PRHA (1900-1979)
The Horse Dealer
Oil on board, 49.5 x 60cm (19.3 x 23.5")
Signed. Signed, inscribed and dated 1975 verso
Provenance: The Dawson Gallery label verso
Exhibited: "Exhibition Of Irish Paintings" The Gorry Gallery May/ June, 1990, catalogue no. 2
Sold for €10000
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| 19 |
Sean O'Sullivan RHA (1906-1965)
Portrait of Mr. Louis Kinlen
Conte, 46 x 36cm (18 x 14.25")
Signed and dated 1939
Provenance: The Kinlen Collection
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| 20 |
Sean O'Sullivan (1906-1065)
Portrait of Aideen Kinlen as a Young Girl
Conte, 43 x 32cm (17 x 12.25")
Signed and dated 1950
Provenance: The Kinlen Collection
Sold for €1000
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| 20A |
Sean O'Sullivan (1906-1965)
Portrait of Judge Thomas O'Donnell S.C. (1871-1943)
Pencil, 52 x 37cm
Signed and dated indistinctly
Provenance: The Kinlen Collection
Thomas O'Donnell (1871-1943) was M.P. for West Kerry between 1900 - 1918 and was a staunch supporter of John Redmond and his Home Rule Act. O'Donnell was called to the King's Inn Bar as barrister in 1905 and was called to the inner bar in 1932, being appointed judge to the Circut Court for Counties Clare, Kerry and Limerick in 1941. His daughter Aileen married Louis Kinlen and lived at Darwin Hall in Rathfarham, Dublin.
Sold for €1100
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| 21 |
Sean Keating PPRHA HRA HRSA (1889-1977)
The Seventh Wave
Oil on canvas on board, 62 x 79cm, (24.4 x 31.2")
Signed
Provenance: The Kinlen Collection
Sold for €180000
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| 22 |
Sean Keating PPRHA HRA HRSA (1889-1977)
Flat Calm
Oil on board, 47 x 60cm, (18.5 x 23.6")
Signed
Provenance: The Kinlen Collection
Sold for €55000
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| 23 |
Maurice MacGonigal PPRHA (1900-1979)
Waiting for the Tide, Rush, Co Dublin
Oil on board, 31 x 40cm, (12.25 x 15.75")
Signed
Provenance: The Kinlen Collection
Sold for €7500
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| 24 |
Jerome Connor (1874-1943)
The Siren or The Street Singer, c1936-39
Bronze on green marble, 17.5cm (6.75") Inclusive of base
Base signed CONNOR
Provenance: The Kinlen Collection
Among the most popular of Connor's bronzes during his years in Ireland, were the busts and heads variously called The Siren, The Dancer and The Street Singer, all selections from the same figure study, a one-third life size female nude seated on shelving rock, her head turned in the act of singing.
The original plaster Siren was painted to simulate bronze, probably for display at the Royal Academy, where Connor exhibited until dissuaded from doing so by high British duties on Irish imports after 1932. In the event, neither Siren nor its complement, another painted plaster, the male nude Boxer, was exhibited. With a base derived from that of his 1929 Hubbard memorial, Siren probably dates to 1932-33 or a little later, and may be an individual portrait of a singer or dancer of the sculptor's circle.
Connor cast a Siren relief, a first (1938) Siren bust, a more elegant second bust called The Street Singer or The Dancer, and finally a shawled Street Singer head, each edition marking a shift in presentation in response to his Irish clientele. The late bronzes, like the Hugh Lane Gallery's example (reg. no. 1113), datable from its very fluid modelling to c1941, show the head entirely re-imagined as that of an Irish folk singer: tightly shawled, mounted informally on an irregular block of Dublin calp limestone, and titled Street Singer in Gaelic lettering. In contrast, the present head, faithful to the original Siren concept, lacks these later features and may be as early as the mid 1930s. It was cast, from a specific plaster in his North Circular Road studio, at the latest in early 1939.
Giollamuire Ó Murchú
Sold for €3000
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| 25 |
Paul Henry RHA RUA (1876-1958)
The Blaskets, Co. Kerry 1934-5
Oil on board, 51 x 61cm (20 x 24")
Signed
Provenance: Judge Kinlen, Dublin, originally acquired by his father from the 1935 Dublin exhibition and thence by descent
Literature: S. B. Kennedy, Paul Henry, with a catalogue of the Paintings, Drawings, Illustrations (New Haven & London, Yale University Press, 2007), catalogue number 877, p. 273, reproduced
Exhibited: Recent Paintings of Kerry and Connemara by Paul Henry, R.H.A., Combridge's Gallery, Dublin, from 7 May 1935 (catalogue number 15)
Titled on the reverse by the original owner. Also on the reverse are the numbers '47' and '15', the latter no doubt referring to the 1935 Dublin exhibition. Reviewing that show, the Irish Times (7 May 1935) thought this a 'delightful picture … with its pale and pearl greys and high surmounting clouds, silvery in distant light'. In September 1934 Paul Henry and Mabel Young took a holiday in County Kerry, staying in a bungalow, lent by a friend, at Glenbeigh. Paul was enchanted with the area. 'It is lovely', he wrote at the time. 'Wherever one turns there is material for dozens of pictures' (letter of 13 December 1934 to James Healy in America). During his visit he also explored the Dingle Peninsula, which reminded him of Cape Cod, 'very lonely & wild', he told another American friend, Richard Campbell (Henry to Campbell, letter of 12 December 1934. This and the letter to Healy are lodged in the Healy Papers, Stanford University Library). Back home at Enniskerry, Henry set about making paintings from the numerous sketches he had made during his trip to Kerry, and the result was his exhibition, Recent Paintings of Kerry and Connemara, held at Combridge's in Dublin the following May. This picture, therefore dates from that time, and reviewing the exhibition the Irish Press (7 May 1935) noted the 'paler key' of the Kerry pictures over Henry's previous, more sombre work. This lighter touch is clear to be seen here in The Blaskets, Co. Kerry, where the islands seem to hover in the distance, like the hills of the mythical Hy Brazil. The Blasket Islands are situated off Slea Head, at the northern extremity of Dingle Bay in County Kerry. A similar composition to The Blasket Islands (Kennedy, op. cit., number 878).
Dr. S.B. Kennedy, May 2008
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| 26 |
Paul Henry RHA RUA (1876-1958)
Bog, Achill, Co Mayo
Oil on canvas, 46 x 51cm, (18.1 x 20")
Signed
Provenance: Judge Kinlen, Dublin, originally acquired by his father and thence by descent
Literature: S. B. Kennedy, Paul Henry, with a catalogue of the Paintings, Drawings, Illustrations (New Haven & London, Yale University Press, 2007), catalogue number 571, p. 217, reproduced
As is often the case, this composition was almost certainly painted after Henry settled in Dublin, but would have been based on sketches made earlier on Achill Island. By the time he left Achill, in 1919, Henry's treatment of the western landscape had, to some extent, become codified, the various elements of his compositions-a low horizon line, a band of low (often purple) hills to stop the eye's recession, the landscape confined to a narrow strip at the bottom of the picture plane, the sky bearing the real narrative of the scene, all elements clearly seen here-taking on a gentle symbolism. Yet the artist's desire to understand the rhythm of life on the Island-'to live there, not as a visitor but to identify myself with its life and to see it every day in all its moods' (Henry, An Irish Portrait, 1951, p. 50)-is also clearly evident in the sense of timelessness of a land that has supported life for generations. Only with such experience, Henry wrote, would he feel able to paint his adopted country. But above all, what attracted him was 'the wild beauty of the landscape … the colour and variety of the cloud formations, one of the especial glories of the West of Ireland' (Ibid., p. 51). The simplicity and sparse means by which Henry rendered such feelings are deceptive, and but for his experience of life on the Island his work would have remained more directly representational and less iconic. Bog, Achill, Co. Mayo is dated 1920-5 on stylistic grounds.
Dr. S.B. Kennedy, May 2008
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| 27 |
Harry Kernoff RHA (1900-1974)
The Pope O'Mahony
Pastel, 36 x 26cm, (14.1 x 10.25")
Signed
Provenance: The Kinlen Collection
Eoin (The Pope) O'Mahony (1904 - 1970) was a Cork born
barrister,genealogist,raconteur and an
early supporter of The Irish Georgian Society.He practised on the
Munster circuit and travelled
extensively throughout Europe doing the grand tour in 18th century
style.
Sold for €5000
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| 28 |
Harry Kernoff RHA (1900-1974)
"I'll Leave it to Yourself, Sir"
Pastel, 35 x 29cm, (13.75 x 11.4")
Signed
Provenance: The Kinlen Collection
Sold for €6200
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| 29 |
William John Leech RHA ROI (1881-1968)
Paddington Gardens
Oil on board, 27 x 35cm, (10.6 x 13.75")
Signed
Provenance: The Kinlen Collection
After Leech left the Academie Julian in Paris in 1903, the financial support of his parents enabled him to continue to paint en plein air in the fishing town of Concarneau in Brittany. Each summer he returned to his parents home in Dublin. When Professor Brougham Leech retired from Trinity College in 1908 at age 65, he already had retired from his pensionable government job as Registrar of Deeds, three years earlier. An auction was held at the family home at Yew Park, Clontarf and the Leech family moved to three different addresses in Dublin before they eventually moved to London in 1910. The area they relocated to, was Blackheath, SE London, before they moved to Westbourne Park, Paddington. Several house moves later, they finally settled at 19, Porchester Square, Paddington in 1918, where they remained until Brougham Leech death in 1921. After 1910, Leech divided his time between France and his parents home in London, returning to Dublin infrequently. Even after his marriage to Elizabeth in 1912, the couple continued to live with Leech's parents on their return visits from France. However, it was when Leech returned to London in 1919, after the First World War, depressed and unable to paint that he met May Botterell. London then became his permanent home and his trips to France were reduced to holidays, extended maybe, but still limited periods taken during school holidays, frequently in the company of May's three children.
When May moved out of the Botterell family home in Hampstead to a flat at 24, Hamilton Terrace, Maida Vale, in 1920, Leech rented a studio close by, at Hamilton Mews. These two similar sized paintings, "The Gardens, Maida Vale" and "Paddington Gardens" depict a similar scene of a garden, behind large terraced houses, from different view points. For both works, Leech uses a palette of chrome yellow and acid greens to capture the greens of the garden in Spring, contrasting with the warm pinks of the red brick walls, paths and tiled roofs. The focus of the lady in the foreground, sitting, reading on the park bench, is a youngish May Botterell, who was to become Leech's model and muse from 1919 until her death in 1963. Increasingly, the gardens of London replace the landscape and seascapes of France as in these two works, in which Leech brings all the power he has acquired as a colourist, to produce scenes of vivacity and light. In 1923, Leech exhibited "Kensington Gardens" at the Goupil Salon and again exhibited the same work in Derby, in 1924, giving his address as The Studio, Hamilton Mews. "The Gardens, Maida Vale" and "Paddington Gardens" possibly belong to this period c. 1920 - 28 before Leech moved to his new Steele's Studio, off Haverstock Hill. Although May stayed in Hamilton Mews until 1938 when she moved to Abbey Road, her appearance, hairstyle and fashion in these two garden scenes would suggest the 20's, rather than the 30's, as a more likely date. This series of gardens in Kensington, Paddington and Maida Vale, predate his later "Regent Park" series, which include "A boat in Regent's Park" (Hugh Lane Dublin City Gallery) "Reflections, Queen Mary's Garden" and "York Bridge" all scenes painted directly from nature in the 40's and 50's, within a short walk of Steele's Studio, when Leech no longer traveled to France to paint.
Dr Denise Ferran
April 2008
Sold for €15000
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