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Records 1 to 30 of 188
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| 1 |
James Humbert Craig RHA RUA (1878-1944)
Fishermen Connemara
Oil on board, 28 x 41.5cm (11 x 16.25")
Signed
Provenance:
With John Magee, Belfast
Sold for €5000
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| 2 |
Maurice Canning Wilks RUA ARHA (1910-1984)
Bogland, Gweedore, Co. Donegal
Oil on canvas, 40.5 x 51cm (16 x 20")
Signed, inscribed with title verso
Sold for €2100
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| 3 |
Maurice Canning Wilks RUA ARHA (1910-1984)
Morning Light, Cushendun, Co. Antrim
Oil on canvas 40.5 x 51cm (16 x 20")
Signed, inscribed with title verso
Sold for €2700
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| 4 |
Robert Taylor Carson HRUA (1919-2008)
Coastal Pathway
Oil on board, 31.5 x 39cm (12.25 x 15 .25".)
Signed
Sold for €900
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| 5 |
James Humbert Craig RHA RUA (1878-1944)
By the Beach near Rockport, Co. Antrim
Oil on board, 38 x 51cm (15 x 20")
Signed
Provenance: John Magee Gallery, Belfast
Sold for €5300
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| 6 |
Frank J. Egginton RCA FIAL (1908-1990)
Near Roundstone, Connemara
Watercolour, 53 x 75cm (21 x 29.5")
Signed
Sold for €4000
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| 6A |
Frank J. Egginton RCA FIAL (1908-1990)
Farmhouse, Winter Landscape, Co. Donegal
Watercolour, 53 x 75cm (21 x 29.5")
Signed
Sold for €2700
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| 7 |
Frank J. Egginton RCA FIAL (1908-1990)
Winter near Falcarragh, Donegal
Watercolour and pencil, 24.7 x 37cm (9.75 x 14.5")
Signed
Sold for €1000
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| 8 |
Frank Egginton RCA FIAL (1908-1990)
Hayfield, Co. Sligo
Watercolour, 37 x 52cm (14.5 x 20.5")
Signed
Sold for €1700
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| 9 |
Frank Egginton RCA FIAL (1908-1990)
Salmon Fishing, Lackagh, Co. Donegal
Watercolour, 53 x 76cm (20.75 x 29.75")
Signed
Sold for €3000
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| 10 |
Paul Henry RHA (1876-1958)
A Bog Road
Oil on panel, 20.7 x 28 cm (8.25 x 11")
Signed
Sold for €20000
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| 11 |
John Jobson (b.1941)
Farmland & Cottages
Oil on board, 61 x 76cm (24 x 30")
Signed with monogram
Sold for €1800
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| 12 |
Desmond Carrick RHA (b.1928)
Winter Settling In, Ballyconneely
Oil on board, 40 x 50cm (15.75 x 19.75")
Signed
Sold for €1200
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| 13 |
Thomas Ryan PPRHA (b.1929)
The Coming of Saint Patrick
Oil on canvas, 50 x 60cm (20 x 24")
Signed. Also signed, inscribed and dated July 1966 verso
Provenance: Abbeville, Kinsealy
Sold for €1600
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| 14 |
John Ryan (1929-1999)
The Asgard II on her Maiden Voyage
Oil on canvas, 50 x 60cms (20 x 24")
Signed
Provenance: Abbeville, Kinsealy
The Asgard II was commissioned by the Taoiseach Charles J. Haughey on 7th March 1981. She was designed and built by Jack Tyrell of Arklow.
Asgard II was 87 feet long and displaced 120 tonnes. She was brigantine rigged and carried over 4000 square feet of sail. She accommodated five permanent crew and twenty trainee berths.
Due to an unexplained freak accident the Asgard II sank on 11th September 2008 in the Bay of Biscay while undertaking a routine trip from Falmouth to La Rochelle. All crew and trainees had abandoned the vessel after she started taking on water.
It was hoped that the ship would be raised from where she rests 80 metres under water on a sandy seabed but these hopes were dashed when the minister announced that she would not be raised on 23rd Feb 2009.
This picture depicts the Asgard II on her maiden voyage passing the Horseshoe buoy off Bray Head.
Sold for €6600
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| 15 |
Edwin Hayes RHA (1819-1904)
A Stormy Day with Sailing Boats off a Pier
Oil on canvas, 46 x 81.5cm (18 x 32")
Signed and dated (18)'75
Sold for €5000
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| 16 |
Edwin Hayes RHA (1819-1904)
Drawing in the Catch
Oil on canvas, 61 x 107cm (24 x 42")
Signed, dated indistinctly, c.1888
Sold for €7500
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| 17 |
Matthew Kendrick RHA (1797-1874)
Yachts off a Pier
Oil on canvas, 22 x 32cm (8.5 x 12.5")
Signed
Matthew Kendrick was born in Dublin around 1797 and took to the sea from a young age working for
a time on a Newfoundland fishing vessel before returning to Ireland . The experience and knowledge
of seamanship made his services sought after by Dublin yachtsmen who employed him to sail their
yachts in matches and he was considered to be one of the most expert yachtsmen of his day.
He entered the Dublin Society's art school in 1825 and adopted the profession of a marine painter.
He first began exhibiting at the RHA in 1827 and was a constant contributor of marine works till 1872.
There is a portrait of him by Rothwell in the National Gallery of Ireland.
Sold for €1400
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| 18 |
Edwin Hayes RHA RI ROI (1819-1904)
Fishing Boats, Boulogne
Oil on canvas, 3.5 x 30cm (13.75 x 11.75")
Signed also signed and indistinctly dated 1888 verso
Sold for €3800
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| 19 |
Aloysius O'Kelly (1853-1936)
Expectation, West of Ireland
Oil on canvas, 74.5 x 62.5cm (29.5 x 24.4")
Signed
Exhibited: Royal Hibernian Academy 1881, Cat. No. 323
"Aloysius O'Kelly Retrospective Exhibition" The Hugh Lane Gallery, Dublin Nov 1999 - Jan 2000, Cat. No. 5
Literature: "Aloysius O'Kelly - Re-orientations" by Niamh O'Sullivan (1999) full page illustration p.19
"Irish Rural Interiors in Art" by Claudia Kinmonth (2006) p.85, full page illustration p.86
This painting provides an indirect commentary on many aspects of life in the west of Ireland in the late nineteenth century. O'Kelly's scenes of domestic contentment promoted a new image of the peasantry that countermanded the prevailing stereotypes of the Irish. The thatched cottage stood for simplicity and community solidarity - for traditional values and national virtues embodying the concept of the state-in-waiting. Making the homes of Ireland Irish was considered analogous to the creation of the nation. O'Kelly's mother and child, set in a prosperous traditional Irish cottage, is thus politically redemptive.
The geraniums are in full bloom, the turf glows in the fire, and the over-flowing bowl of potatoes contrasts with more traditional images of want. In contrast to the landless labourers who lived in small one-roomed cabins (sharing the warmth with their few animals), this is an image of plenty, and full of promise. Even the title - Expectation, West of Ireland - is auspicious. The allegorization of Ireland as woman is historically embedded in Irish literature, but it also occurs in visual representation; here her role is clear. The toddler-boy is dressed in a transitional garment, as his beautiful mother nurtures him towards manhood and, by implication, independence. (Up to the age of puberty, boys were dressed like girls, in a dress or frock with a red or white flannel skirt, sewn at the waist to a cotton or linen bodice which came to the calf, the bodice of which was buttoned up the back, and the skirt pleated horizontally to allow for growth. The practice of dressing boys as girls was intended to deflect the fairies from taking a boy child and leaving a changeling in his place.)
The little boy must have re-awakened memories for the painter of his dead nephew and godchild, Jamie, the offspring of a bigamous marriage between his brother, James and a young American girl. Little Jamie died in 1879, at about the same age as this little boy. O'Kelly played an unusually intimate and protective role in this boy's brief life. It would seem therefore that this is also a personal image of loss.
Professor Niamh O'Sullivan, June 2009
Sold for €59000
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| 20 |
Aloysius O'Kelly (1853-1936)
Breton Fisherman Beside A Stream
Oil on canvas, 51.5 x 80.75cm (20 x 31.75)
Signed
Exhibited: "Aloysius O'Kelly Exhibition", Hugh Lane Gallery, Dublin, Nov. 1999 - January 2000, cat. no. 12
Clearly painted sur le motif, Fisherman by a Stream is an early work, painted on the banks of the Aven, as it flows through the Bois d'Amour (identifiable from turn-of-the-century post-cards).
From a contemporary description, this would appear to have been painted in the mid 1870s, when O'Kelly was in residence in Pont-Aven, Brittany, and sold a few years later, titled Fishing, by Goupil, in New York (where his brother, James, who acted as his agent, then lived). In contrast to the darkness of some of his genre interiors, O'Kelly's winter landscapes emanate a chilly luminescence evocative of the Breton climate at this time of year.
Professor Niamh O'Sullivan, June 2009
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| 21 |
Aloysius O'Kelly (1853-1936)
Rock of Cashel
Oil on canvas, 46 x 61cm, (18 x 24")
Signed and inscribed 'Cashel'
O'Kelly emigrated to New York in 1895, where he had impressive connections and his work was highly regarded. Yet his late work betrays a nostalgic relationship with his political and artistic past. He returned to Ireland in 1926, at the age of 73, still pressing his case for the establishment of a national school of painting.
During this time, he wrote regularly to his nephew, James Herbert, back in New York. In this correspondence, he describes how, in Ireland, he first established himself in Cashel, which he described as 'a very ancient place with much interest but the sleepiest, quietest place you can imagine'. Here he lived a life of 'simplicity itself'. He went on to say: 'my two subjects are the ancient ecclesiastical buildings on the Rock of Cashel (of which he executed seven paintings), and Holycross Abbey. In an effort to secure commissions, O'Kelly called on the Archbishop of Cashel. When the Archbishop - 'a very well fed looking man with little inclination for art'- declined to purchase, O'Kelly pronounced 'a very low opinion of His Grace.' The Dean of Cashel, on the other hand, responded positively, commissioning a Rock of Cashel - possibly this painting. This sojourn culminated in an exhibition in Dublin, in Combridge's, Grafton Street, before he left Ireland for his final visit to Brittany, before returning to America.
Professor Niamh O'Sullivan, June 2009
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| 22 |
Aloysius O'Kelly (1853-1936)
Harbour and Fort, Concarneau
Oil on panel, 23.5 x 33cm (9.25 x 13")
Signed, inscribed with title and numbered 28 verso in the artist's hand
Sold for €5000
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| 23 |
Mainie Jellett (1897-1944)
Pieta
Oil on board, 55 x 56cm (21.5 x 22")
Provenance: From the Estate of Hon. Robert Fermor-Hesketh and his sale of Jelletts, Sotheby's May 1999, catalogue no. 324, where purchased by the current owner.
Sold for €5000
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| 24 |
Evie Hone HRHA (1894-1955)
A Spring Morning - Ahakista (Co. Cork)
Gouache over pencil, 25 x 35cm (10 x 14")
Signed and dated 1945
Provenance: Major Charles Hamilton of Hamwood
Ahakista House belonged to the Hamiltons and Evie Hone was a frequent visitor there, painting with fellow artist Letitia. Ahakista is on the Sheep's Head Penninsula out beyond Bantry.
Sold for €2700
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| 25 |
Eva Henrietta Hamilton (1876-1960)
Portrait of the Artist's Sister, Amy (b.1879)
Watercolour, 34 x 30cm, (13.4 x 11.75")
Provenance: Acquired directly from Major Charles Hamilton of Hamwood
This portrait of the artist's sister was painted at the family's Dublin home at 40 Lower Dominick Street and is thought to be the first work Eva exhibited at the RHA in 1904 (Cat. No. 100) when she also exhibited a portrait of her other sister Lilian.
Sold for €1600
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| 26 |
May Guinness (1863-1955)
At the Piano
Pencil, watercolour, gouache and oil on paper, 35 x 25cm (13.75 x 9.75")
Exhibited : Watercolour Society of Ireland (Label verso) either in 1935 (149) or 1937 (65) Exhibition as a picture by this title exhibited in each of those years. Based on price its thought the 1935 exhibition more likely. Also Daniel Egan Gallery label verso.
Sold for €3200
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| 27 |
Norah McGuinness HRHA (1901-1980)
Dublin Landscape
Oil on canvas, 26 x 31cm (10.25 x 12.24")
Indistinctly signed with initials and dated
Provenance: The Leicester Galleries, London, where purchased by Mrs Murray Forbes for £16.16.00 & thence by descent
Exhibited: The Leicester Galleries, London "Exhibition of Works by Living Irish Artists", October 1946, Cat. No..38
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| 28 |
Norah McGuinness HRHA (1901-1980)
Wicklow Harvest (1975)
Oil on canvas, 38 x 66cm (15 x 26")
Signed
Provenance: Property of a deceased estate.
Exhibited: "Norah McGuinness Exhibition", The Dawson Gallery, Sept 1975 Cat. No. 12 where purchased.
Sold for €8000
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| 29 |
Nano Reid (1905-1981)
Autumn in the Fields
Watercolour, 25 x 14cm (10 x 14")
Signed
Provenance: Property of a deceased estate.
Exhibited: "Nano Reid Exhibtion", The Dawson Gallery, Oct-Nov 1976 Cat. No. 29 where purchased.
Sold for €2700
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