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Records 1 to 30 of 257
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| 1 |
Cecil Maguire RUA (b.1930)
Landscape near Roundstone
Oil on board, 51 x 61cm (20 x 24")
Signed. Inscribed with title verso
Provenance: Collection of Raymond MacDonnell, Architect.
Sold for €2000
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| 2 |
Maurice Canning Wilks ARHA RUA (1910-1984)
A County Antrim Lane, Cushendun
Oil on board, 30 x 35cm (12 x 12.75")
Signed
Sold for €2100
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| 3 |
Maurice Canning Wilks ARHA RUA (1911-1984)
Mountain Landscape, Connemara
Oil on canvas, 34 x 44cm (13.5 x 17.5")
Signed, inscribed verso
Sold for €1600
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| 4 |
Maurice Canning Wilks ARHA RUA (1910-1984)
"John The Rocks", Rockfort, Cushendun, Co. Antrim
Oil on board, 30 x 35cm (12 x 13.75")
Signed
Sold for €3200
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| 5 |
Frank Egginton RCA FIAL (1908-1990)
Tully Mountain From Lettergesh Connemara
Watercolour, 37 x 53cm (14.5 x 21")
Signed and dated '73, title inscribed on label verso
Sold for €1400
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| 6 |
Frank Egginton RCA FIAL (1908-1990)
In the Kerry Mountains
Watercolour, 54 x 76cm (21.25 x 30")
Signed
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| 7 |
Frank Egginton RCA FIAL (1908-1990)
Sheep Grazing in Bogland, Kerry
Watercolour, 54 x 76cm (21.25 x 30")
Signed and dated (19)'73
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| 8 |
Frank Egginton RCA FIAL (1908-1990)
Lough Shindilla, Connemara
Watercolour, 38 x 53cm (15 x 20.75")
Signed and dated 1978
Sold for €1200
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| 9 |
Frank Egginton RCA FIAL (1908-1990)
A Wet Day, Co. Donegal
Watercolour, 38 x 53cm (15 x 20.75")
Signed and dated 1980
Sold for €1200
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| 10 |
Lily Williams ARHA (1874-1940)
Cottage at Ticknock, Dundrum
Oil on canvas laid on board, 15 x 22.75cm (6 x 9")
Signed with monogram
Dublin born Lily William was first taught by May Manning and later went on to the Metropolitan School of Art, where her contemporaries included Estella Solomons, Beatric Glenavy and Cissie Beckett. Well known for her Republican sympathies she fell out with her family at the time of the Rising. Her portrait of Arthur Griffith is in the Hugh Lane Gallery collection.
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| 11 |
May Guinness (1863-1955)
Harbour Scene
Watercolour, 29 x 23cm (11.5 x 9")
Signed
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| 12 |
Grace Henry HRHA (1868-1953)
Mending Nets, Chioggia
Watercolour, 31 x 23cm (12.25 x 9")
Signed
Dawson Gallery label verso
Together with a catalogue Grace Henry, The Person and Artist by J.G. Cruickshank.
Grace Henry visited Venice and nearby Chioggia with the writer and parliamentarian Stephen Gwynn in the 1920's. It has been noted that it was one of the happiest periods in her eventful life judging from the many exceptional pictures she produced whilst on her travels.
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| 13 |
Grace Henry HRHA (1868-1953)
Little Waves, Achill
Oil on canvas, 37 x 44.5cm (14.5 x 17.5")
Signed
Much of Grace Henry's output is characterized by a lyrical quality. In this Landscape, for example, there is an emphasis on the curvilinear which, while respecting the topography of the scene, emphasizes a gentle design aspect. In this she was, in her own words, 'in revolt against the waning inspiration of an outworn impressionism,' which typified much art of her time. She, on the other hand, preferred to think of a painting as 'an arrangement of colours and planes on a flat surface, not a hole in the wall through which nature is seen more or less uncritically' ('Grace Henry', Father Mathew Record, November 1942, p.4). She also preferred, as in this work, to juxtapose fairly large masses of colour and form with one another so as to give solidity to the composition. But there is too in her work a vivacity, at times an almost irresponsible gaiety and, as the Irish Times (15 August 1953) noted shortly after her death, her best work was always 'highly individualistic, and free from conventional inhibitions.' All these qualities can be seen in this Landscape, which is possibly a scene near Achill Sound, although of this one cannot be certain. Dated 1915-19 on stylistic grounds and with regard to the fact that the artist left Achill Island late in the latter year.
Dr. S.B. Kennedy
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| 14 |
Evie Hone HRHA (1894-1955)
Design for Stained Glass Window in the Church of The Immaculate Assumption, Farm Street, London
Gouache and wax crayon, triptych, 45.8 x 8.4cm each (18 x 3.25")
Inscribed 'The Assumption'
Dawson Gallery label verso
Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004
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| 15 |
Evie Hone HRHA (1894-1955)
St. Francis in the Garden
Gouache, lancet shaped, 26 x 7cm (10.25 x 2.75")
and Blessed Virgin Mary and St. Gabriel, 3 light window designs by the same hand together with three further works that are thought to be possibly by the same hand including: Women at the Well & Continental Monotype
(6) unframed
Sold for €420
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| 16 |
Barry Castle (1935-2006)
Soldier of the Lord
Oil on board, 122 x 68.5cm (48 x 27")
Signed and dated '94, inscribed with title verso
Exhibited: "Autumn Exhibition", The Frederick Gallery, November 2000, catalogue no. 65, where purchased by the current vendor.
Sold for €3200
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| 17 |
Martin Mooney (b.1960)
Still Life with Leeks
Oil on canvas, 90 x 121cm (35.5 x 47.5")
Signed, inscribed with title verso and dated 1997
Provenance: Purchased in May 1998 at a charity sale in aid of "Camphill Communities of Ireland" by the current owner
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| 18 |
Martin Mooney (b.1960)
Still Life with Chinese Vase
Oil on canvas, 60 x 120cm (23.5 x 47.25")
Signed, also signed, inscribed, dated 2000 and numbered MM209 verso
Exhibited: Martin Mooney Exhibition, The Solomon Gallery, Dublin
Literature: Full page illustration in the accompanying catalogue
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| 19 |
Martin Mooney (b.1960)
Still Life Study with Flower
Oil on board, 23.5 x 32cm (9.25 x 12.5")
Signed with initials and dated '05. Signed again and inscribed with title verso
Sold for €2400
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| 20 |
Maeve McCarthy RHA (b.1963)
Supermarket Asparagus
Oil on canvas, 25.5 x 30.5cm (10 x 12")
Signed and dated '03
Exhibited: Royal Hibernian Academy Annual Exhibition 2004, catalogue no. 264, where purchased by the current owner
Sold for €700
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| 21 |
Brian Ballard RUA (b.1943)
Still Life with Lemons & Jug
Oil on canvas, 39 x 49cm (15.25 x 19.25")
Signed and dated '07
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| 22 |
Brian Ballard RUA (b.1943)
Irises and Fruit
Oil on board, 24.5 x 34.5cm (9.75 x 13.5")
Signed and dated '98
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| 23 |
Brian Ballard RUA (b.1943)
Seated Figure with Flowers
Oil on board, 58.5 x 44cm (23 X 17.25")
Signed and dated '96
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| 24 |
John Doherty (b.1949)
Eleana - Gets a Face Lift
Acrylic on canvas, 30.5 x 46cm (12 x 18")
Signed, inscribed with title and dated '07 verso
Exhibited: New Twists and Turns, The Taylor Gallery, Dublin, March-April '07, Catalogue number 13, where purchased by the current owner
Sold for €5200
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| 25 |
John Doherty (b.1949)
The Channel Wader
Acrylic on canvas, 56 x 61cm (22 x 24")
Signed, dated 2006 and inscribed with title verso
Exhibited: The Royal Hibernian Academy, Annual Exhibition 2006, catalogue no. , where purchased by the current owner.
Sold for €7200
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| 26 |
Blaise Smith (b.1967)
Red Barn near Gowran
Oil on gesso panel, 30.5 x 30.5cm (12 x 12")
Signed verso
Exhibited: "Blaise Smith Exhibition" The Molesworth Gallery, June 2000, catalogue no. 3, where purchased by the current owner.
Sold for €900
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| 27 |
Blaise Smith (b.1967)
Across Kilkenny
Oil on gesso panel, 30.5 x 30.5cm (12 x 12")
Signed and inscribed on artist's label verso
Exhibited: "Blaise Smith Exhibition" The Molesworth Gallery, June 2000, catalogue no. 2, where purchased by the current owner.
Sold for €900
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| 28 |
Donald Teskey RHA (b.1956)
Layer Tilt II
Acrylic on paper, 76 x 76cm (30 x 30")
Signed and dated '08. Inscribed artist's label verso
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| 29 |
Tony O'Malley HRHA (1913-2003)
The Cloister of Montregan, Bahamas
Acrylic on canvas, 120 x 89cm (47 x 35")
Signed with initials, dated 1/ 1980
Provenance: Acquired directly from the artist's studio; Solomon Gallery, Dublin; Private collection, Dublin.
Painted during one of O'Malley's many summer visits to the Bahamas, The Cloister of Montregan, Bahamas is a vivid composition that is typical of his work, with fields of colour and shapes and symbols that make up an abstracted bird's eye view. Here a number of colourful elements hint at manmade structures, from the overall division of the canvas into sections that can be viewed as rooms, to smaller details such as a door like shape in the top right. The ecclesiastical nature of these structures is evident from two Chi Rho symbols on the left side of the picture plain. Made up from the first two letters of the ancient Greek word for Christ, the emblem has been used in Christian iconography for centuries, and is probably best recognised by an Irish audience from a carpet page in the Book of Kells. O'Malley embeds the Chi Rhos in the composition, along with vibrant forms that imply foliage and architectural elements, suggesting the ubiquitous Christian devotion of daily monastic life. Yet the subtle incorporation of these emblems into a bright ground of colourful forms gives the composition an overall decorative appeal that transcends religious conviction.
Sold for €35000
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| 30 |
Tony O'Malley HRHA (1913-2003)
Crow Country 1980
Gouache and pumice on paper, 20 x 27.5cm (8 x 10.8")
Signed with initials and dated 8/80, signed again, inscribed with title and artist's self portrait device
Exhibited: "Tony O'Malley Exhibition", Irish Museum of Modern Art, July 2001 - January 2002
Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004
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