| 1 |
Martin Mooney (b.1960)
Camelia Study
Oil on board, 19 x 14cm (7.5 x 5.5")
Signed with monogram, signed again, inscribed with title and dated 2010 verso
Sold for €1000
|
details
|
 |
| 2 |
Martin Mooney (b.1960)
Still Life on Blue
Oil on board, 24.5 x 29.5cm (9.5 x 11.75")
Signed with monogram and dated '10, signed, inscribed with title verso
Sold for €3200
|
details
|
|
| 3 |
Martin Mooney (b.1960)
Still Life with Garlic
Oil on board, 24.5 x 29.5cm (9.5 x 11.75")
Signed with monogram and dated '10, signed and dated verso
Sold for €2500
|
details
|
|
| 4 |
Frank Egginton RCA FIAL (1908-1990)
Glanmore Lough, Co. Kerry
Watercolour, 39 x 54cm (15.25 x 21.25")
Signed
Sold for €750
|
details
|
|
| 5 |
Frank Egginton RCA FIAL (1908-1990)
The Kenmare River, Co. Kerry
Watercolour, 38 x 54cm (15 x 21.25")
Signed
Sold for €1000
|
details
|
|
| 6 |
Frank Egginton RCA FIAL (1908-1990)
Peeling the Potatoes
Watercolour, 37 x 52cm (14.5 x 20.5")
Signed, inscribed with title "Cottage Interior" verso
Exhibited: "Autumn Exhibition", The Frederick Gallery, November 2000, catalogue no. 11, where purchased by the current vendor.
The pair to this picture "Day after Day, Connemara" was illustrated in "100 Years of Irish Art" edited by Eamon Maille which would date this picture to 1936.
Sold for €4000
|
details
|
|
| 7 |
Frank Egginton RCA FIAL (1908-1990)
Near Beltra, Co. Sligo
Pencil and watercolour, 37 x 52cm (14.5 x 20.5")
Signed
PROVENANCE:
Frost and Read, London 23, September 1959, where purchased by
A. Hutchings Esq.
Sold for €1600
|
details
|
|
| 8 |
Cecil Maguire RUA (b.1930)
Currachs at Ballyconneely, Co. Galway
Oil on board, 38 x 92cm (15 x 36")
Signed
Sold for €7500
|
details
|
|
| 9 |
Lilian Lucy Davidson ARHA (1893-1954)
The Turf Cart
Oil on board, 25.5 x 33cm (10 x 13")
Signed with monogram
Literature: "The Hunter Gatherer", Irish Museum of Modern Art, fig.126, p.128.
Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004
Sold for €6000
|
details
|
|
| 10 |
James Humbert Craig RHA RUA (1878-1944)
Sheep Fair, Leenane 1930
Oil on board, 24 x 34cm (9.5 x 13.5")
Signed, inscribed with title verso
Literature: "The Hunter Gatherer", Irish Museum of Modern Art, fig.129, p.129.
Exhibited: Ulster Artists Exhibition, the AVA Gallery, Clandeboye, April 2010, catalogue no. 8
Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004
Sold for €13000
|
details
|
|
| 11 |
Charles Lamb RHA RUA (1893-1964)
A Connemara Woman (1932)
Oil on canvas, 59.5 x 49.5cm (23.5 x 19.5").
Signed
Exhibited: The Lewis Glucksman Gallery, Cork "Gendering Irish Landscape" September -November 2006
Ulster Artists Exhibition, the AVA Gallery, Clandeboye, April 2010, catalogue no. 18
Having trained in the Metropolitan School of Art, Lamb had ingested the Orpenesque treatment of the Human figure and particularly the face and what were known as the extremities (hands and feet). Using front lighting and powerful backlight, which gave an overspill to create double lighting on the face, the woman stares at the viewer. It is the kind of compositional divide with Patrick Tuohy a first generation Orpen student and an early teacher of Lamb used to great and telling effect.
The Woman is clad in the traditional shawls, a head shawl, a shoulder shawl crossed over the chest and tied around the waist and the outdoors shawl. Lamb used these shawled figures to great effect in his work, and this is the same woman he portrays in the painting in the Crawford Gallery in Cork, "A Quaint Couple" although in this latter work the woman is rather more benign. She 's wearing the same clothing as in this work. The other element that is so characteristic of Orpen's influence is the way in which the hands are articulated. Deriving from Orpen the hands are fully flexed or turned to give expression to the figure, as the scale of hands and feet can be crucial to understanding the physical type represented and their emotional context as well. The halation of light behind the seated figure contra posed against a brilliantly lit background is more than just a trick, it is a way of giving a visual dart of energy to the background and forces the figure well into the foreground for the viewer's attention, making a grand declamatory statement in purely pictorial terms. The brilliant highlights on the wedding ring, the beads, the neck of the walking stick and upwards to the face and the background is a tracking device to keep the eye focused on the face and central to the compositional devices as imparted by the painter. Her is a Peasant woman, in the French sense of attached to the land, tough pugnacious, shrewd and observant. This masterly and powerful portrait is of a Carraroe Woman, still exuding great power and authority, in decline but a handsome and challenging figure.
Ciaran MacGonigal
Sold for €28000
|
details
|
|
| 12 |
Derek Hill HRHA (1916-2000)
Lake Gartan, Summer (c.1956)
Oil on canvas, 53.5 x 94cm (21 x 37")
Original exhibition label verso
Exhibited: "Derek Hill Exhibition" The Leicester Galleries London, October 1957, catalogue no. 42, where purchased by Sir Charles Henderson KBE.
Ulster Artists Exhibition, the AVA Gallery, Clandeboye, April 2010, catalogue no. 15
Sold for €9500
|
details
|
|
| 13 |
Charles Lamb RHA RUA (1893-1964)
At the Pier, Connemara - Carraroe, Galway
Oil on canvas, 51 x 61cm (20 x 24")
Signed, inscribed verso
Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004
Exhibited: Ulster Artists Exhibition, the AVA Gallery, Clandeboye, April 2010, catalogue no. 17
The tide is out and the Hookers are waiting for the incoming tide to be floated. The artist has used the out jutting pier to create a sense of picture tension within the sub frame of the work. The dynamic asymmetry of the pier gives a powerful jolt to the eye. The eye is forced through the composition at speed by the device of the jutting pier which is reinforced by the uprights of the ships masts as well as the stays holding those masts in place, so that the thrust is away from the foreground and gives the work an edgy quality, more than that of an artist relying on happenstance. By using an underlying tone of the sand coming through the water, and the reflections of the boats walls and stones as well as the craft themselves the work obtains a great luminescence of tone.
The artist lived beside the sea for many years, and indeed even in his earlier northern works the presence of Lough Neagh was a constant theme in his compositions. He felt some affinity to sea borne as well as sea girt cultures, all of which is powerfully reflected in this marvelous and masterly work of a harbour on the western seaboard of Ireland.
Ciaran MacGonigal
Sold for €7500
|
details
|
|
| 14 |
John Murphy ANCA (1921-2006)
A Game of Hurling
Oil on canvas, 66 x 87cm (26 x 34.25")
Born in Cork, John Murphy entered the Crawford School of Art in 1939 and won the Crawford Scholarship to the National College of Art, Dublin in 1941/42/43 (where he was a student of Seán Keating, Maurice MacGonigal and Professor Romein, Professor of Craft Design.)
Along with other students including the sculptor Peter Grant, the ceramicist Peter Brennan and the painter John F. Kelly, he spent the summers in Carrigaline working in the Pottery Art Studios learning part of his design and craft, renting an old house at Drakespool, but seemed to spend a lot of time fishing and generally enjoying the amenities of the area with his fellow artists.
Murphy won a scholarship to Paris in 1945, where he painted and from whence he sent works to the RHA. He exhibited in the RHA Annual Exhibitions from 1945.
He entered the Harry Clarke Studios in 1950, and subsequently followed the sculptor Domhnal Ó Murchadha as art teacher in the Catholic University School, Dublin(CUS) and then became a teacher of Craft(Stained Glass)in the National College of Art, Dublin. He eventually became head of that department in the National College of Art, and it's successor body The National College of Art & Design, Dublin until his retirement 1983. His principal windows are in the Dominican College Newbridge; Kilkee in Co.Clare; Mayfield Church Cork and Dún Laoghaire.
He moved to Poulmounty Mill Co. Wexford. His wife Roisín Dowd was also an accomplished painter and stained glass artist and worked with him through his stained glass studios in Blackrock and she continued working as a stained glass artist until her '80s when she completed some commissions for St.Peter's Cathedral Belfast. They both died in 2006.
His work is represented in the Collection of the Crawford Gallery Cork with "A Game of Cards" which is in fact his scholarship work. This is a rare description of our national game in art circa 1950's.
Ciaran MacGonigal
Sold for €6200
|
details
|
|
| 15 |
Gerard Dillon (1916-1971)
Mending Nets, Aran
Oil on canvas, 84.3 x 92cm (33.25 x 36.25")
Signed
Thought to have been exhibited 'Gerard Dillon Exhibition' The Dawson Gallery, Dublin, 1971, Cat. No. 4
Cycling around the West of Ireland with his good friend Ernie Atkins in 1939, Dillon was fascinated by a group of three limestone Islands in the mouth of Galway Bay. He returned to the Aran Islands in
1943 and 1944, where he would have known Elizabeth Rivers (1903-64) who had been living on Inis Mór. Both artists observed the culture and character of the people, and in doing this, must also have
been conscious of being outsiders on these Irish-speaking Islands. Elizabeth Rivers was born in
England, and Dillon lived most of his life in the urban environments of London, Dublin and his native
Belfast. Perhaps, it was this sense of difference that attracted other Northern Irish artists, Paul Henry,
James Humbert Craig and Charles Lamb to the area, a world geographically close but socially and
physically completely different.
Gerard Dillon produced several paintings from his visits to the Aran Islands. These include "Turf
Boats", (Kilronan, Inis Mór), ``Island couple"(Inis Meáin), "Aran Islanders in Their Sunday Best"
and "Sunday Afternoon, Aran Islands". "Mending Nets, Aran" would appear to be from this period
of work. Dillon depicts the Fishermen on a pier, taking a break from mending their nets. The
scarcity of fertile soil on the rocky islands meant that the sea could always be relied upon for a source
of food. Fishermen caught a wide range of fish including Cod, Whiting, Mackerel, Dory, Pollack and
seasonally Lobster and Prawns. The three men are in traditional dress style of the Aran Islands;
wearing the wide-legged homespun trousers that were worn with oiled wool jerseys. The Jerseys,
now known as the "Aran Sweater", were knitted by women in the family with undyed homespun
wool to help their husbands or sons weather the often-treacherous island conditions. Each family
had their own distinct decorative stitch which also had its own meaning, and the islanders could
identify a fisherman by this stitch in fishing accidents. Over the jerseys, the men are wearing
double-breasted waistcoats, also know as báinín jackets, or short coats of light, undyed homespun
flannel without collar or pockets. Their shoes are made of a single piece, or single sole known as
"Pampouties". These were made from rawhide, which prevented the men from slipping in their
currachs. Footwear had a lifespan of about a month and required soaking in water to keep them
supple. Their belts, (cris) were colourful, and were made from coloured wools woven without a
loom.
The Fisherman gazing out at the Galway Hooker is wearing a knitted cap with a woolen bob
known as a "bubbelín". This figure echoes another painting from the same period entitled "The
Kelp Gatherers", emphasizing the Islander's daily lives, which were intimately intertwined with
land and sea. Below, in the harbour a currach sets out for the open sea. These were traditionally
made of tarped canvas over a wooden frame, and great skill was required to handle these boats, as
Dillon later discovered in 1951, when he lived on Inishlackan Island, a mile off Roundstone in the
Atlantic ocean.
In March 1971, an exhibition of Gerard Dillon's early 1940's and 50's paintings of the West of
Ireland was held at the Dawson Gallery, Dublin. A painting entitled "Mending Nets, Aran" is
listed as No. 4. James White wrote in the catalogue "…He became enraptured by the reality of
the people, farming, fishing, drinking and dancing. He translated it all into visual images as
Synge had earlier translated it into words and the drama".
Karen Reihill is currently researching the Life and work of Gerard Dillon
Sold for €80000
|
details
|
|
| 16 |
Gerard Dillon (1916-1971)
In the London Flat
Oil on board, 51 x 76cm (20 x 30")
Signed
Exhibited: Gerard Dillon Retrospective, Droichead Arts Centre, Jan. - Feb 2003; Art Tank Gallery, Belfast, Feb. - March 2003, Cat. No. 26
Northern Artists from the McClelland Collection, IMMA, 2004-2005 and toured afterwards.
Droichead Arts Centre, 2005
Thought also to have been exhibited under the title "Interior with Young Soldier" Tom Caldwell Gallery, Belfast
Ulster Artists Exhibition, the AVA Gallery, Clandeboye, April 2010, catalogue no. 10
Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004
Literature: Full page illustration Gerard Dillon Retrospective catalogue
Executed in 102a Abbey Road, during the 1950's, when Dillon was living in the basement flat of his sister Molly's house , " In The London Flat' belongs to a group of other paintings during this period, when the artist moved away from West of Ireland landscapes in preference to domestic and interior scenes such as "Self Contained Flat" (Arts Council of Northern Ireland), "The Red Attic" (private Collection), and " Girl in a Bedsitter with a Cat" (private collection).
A close friend of Dillon's, Gerard Keenan was engaged on a novel at the time entitled 'Farset and Gomorrah', which was later serialised in the Honest Ulsterman between 1977 and 1978. The central character represented is Dillon disguised, and in it Keenan describes the artist's flat :"Francie (Dillon) had divided his room with bookcases into a foyer, sitting Room, and bedroom…" . Keenly aware of the appealing nature of narrative in his paintings, Dillon paints a stage scene of his flat as if for the theatre. The flat is divided into three sections as Keenan described; to the left, shoes, socks and a hanger dangle from a screen, and records lie scattered from their sleeves on a rug close to a record player indicating the artist's passion for music. Similar to "Girl in a Bedsitter with Cat," the centre depicts a wardrobe, a portait, drapery, fruit, and a bird is perched on a bowl indicating the artist's working area, and on the right, a young man in uniform sits relaxed on a bed smoking a cigarette holding a plate with breadcrumbs possibly intended to feed the bird. The identity of the sitter may be James Maguire, whom Dillon painted in his National Service uniform, and had been introduced to Dillon by Pat Kelly, who were both part of the "Bombed Sites" group.
A Nationalist from Belfast, Dillon enjoyed his anoymous life in London. He was free to explore attitudes to nationality, religion and to shed other prejudices left behind in his home town. In some ways, it was a personal journey of discovery for the artist, an opportunity to strenghten friendships but also to form new ones. The artist's honest portrayal of his limited living conditions gives the viewer an insight into his simple needs depicted in other paintings mentioned from this period. In a letter years later, he wrote about his life in London "My life in London was more simple, frugal even. Tho'I never did without the necessities…"(Quoted by James White Gerard Dillon: an illustrated Biography Wolfhound Press, Dublin,1994, pg 96)
Over many years, close Belfast friends from literary, musical and visual backgrounds came to stay at Abbey Road. Artists, George and Madge Campbell, Arthur Armstrong, Noreen Rice and her brother Hal, the Poet W.R.Rogers, writer Gerard Keenan, and Pianist Tom Davidson would assemble in Dillon's flat, and friends from London would also join the group to recite stories, poetry, sing or reminisce about Belfast life. In an interview in Dublin in 1966 the artist stated "…. I'm so long living in London I'm practically a Londoner and when I'm asked why I don't live in Ireland as my work is shown there I can only answer that I'm so long away but that I want to be buried in Belfast- where I'm surrounded by my own people and the mountains I so often roamed on. I'd hate my bones to lie in London where people are just people and no more."(quoted by Gerard Dillon: 'Gerard Dillon by Gerard Dillon, August 1966: Retrospective exhibition catalogue, the Ulster Museum 1972/Municipal Gallery of Modern Art, 1973.)
In June 1971, Gerard Dillon died in Adelaide Hospital, Dublin and was buried, as he wished in Milltown Cemetry Belfast.
Karen Reihill is currently researching the Life and work of Gerard Dillon
|
details
|
|
| 17 |
Gerard Dillon (1916-1971)
Western Landscape with Haystacks
Watercolour, 11 x 17.5 cm. (4 1/4 x 7 in.)
Signed and inscribed 'Dear Mary, how are you? I hope well/and painting./I am singing!!!! a few ballad/in W. R. Rodgers programme on growing up/in Belfast, called ''The Return Room''. It's on/the air from here on 23rd Dec. at 9.15 pm to/10.15. but it's too difficult to get in London./Hope to see you sometime in the New Year/I hope you have a Happy Christmas/regards to Betty. Love Gerard' (on the inside)
Sold for €800
|
details
|
|
| 18 |
Gerard Dillon (1916-1971)
Inishlacken
Ink, crayon and wash, 30 x 39cm (11.75 x 15.5")
Signed
PROVENANCE: The Dawson Gallery, Dulbin
|
details
|
|
| 19 |
Gerard Dillon (1916-1971)
Woman with cat
Watercolour and ink, 26.5 x 38cm (10.5 x 15")
Signed and dated '49
Provenance:
Acquired directly from the artist by the father of the present owner
|
details
|
|
| 20 |
Daniel O'Neill (1920-1974)
Girl with Melon
Oil on board, 45.6 x 35.5cm (18 x 14")
Signed, inscribed with title verso
Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004
Exhibited: Ulster Artists Exhibition, the AVA Gallery, Clandeboye, April 2010, catalogue no. 35
|
details
|
|
| 21 |
Daniel O'Neill (1920-1974)
The Irish Tinkers
Oil on board, 66 x 51cm (26 x 20")
Signed
Exhibited: "Daniel O'Neill Exhibition", The McClelland Galleries, Belfast, 1969, .
Ulster Artists Exhibition, the AVA Gallery, Clandeboye, April 2010, catalogue no. 37
Literature: "The Hunter Gatherer", Irish Museum of Modern Art, full page illustration, fig.8, p.15, black and white photo of Daniel O'Neill in front of this picture.
Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004
|
details
|
|
| 22 |
Tony O'Malley HRHA (1913-2003)
Various Events 1979
Oil on canvas, 153 x 122cm (60 x 48")
Signed and inscribed verso
Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004
Exhibited: Tony O'Malley - Miles Apart, Arts Council of Ireland Exhibition 1981
Tony O'Malley Exhibition, Irish Museum of Modern Art, July 2001 - January 2002
Kilkenny born painter Tony O'Malley began painting full time in 1958 having worked as a Bank Clerk previously, while painting in his spare time. In 1979 O'Malley was living in St. Ives, Cornwall, when he met George McClelland, who immediately became a fan of his work. O'Malley's subsequent success as a painter has been attributed to McClelland, who made a point of drawing the attention of the Arts Council and various institutions and collectors to his work in the early 1980s. Since then O'Malley has rightfully taken a significant place in the history of 20th Century Irish art. Best known for his works from Cornwall, where he lived for thirty years, and the Bahamas, where he spent winter visits, O'Malley's was elected an honorary member of the RHA (1990), elected Saoi of Aosdana in 1993 and the following year received and Honorary Doctorate from Trinity College Dublin.
|
details
|
|
| 23 |
Tony O'Malley HRHA (1913-2003)
Two Winter Drawings with Panels 1981
Oil and collage on board, 91 x 61cm (36 x 24")
Inscribed with title and dated on reverse
Exhibited: "Tony O'Malley Exhibition", IMMA, July 2001 - Jan. 2002
Literature: "The Hunter Gatherer" Irish Museum of Modern Art, illustrated fig.98, p. 103.
Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004
Sold for €10000
|
details
|
|
| 24 |
Tony O'Malley HRHA (1913-2003)
Irish Inscape with Skull, Callan (1981)
Oil on board, 91.5 x 61cm (36 x 24")
Signed, inscribed and dated 1981 verso
Exhibited: "Tony O'Malley Exhibition", IMMA, July 2001 - Jan. 2002
Literature: "The Hunter Gatherer" Irish Museum of Modern Art, illustrated fig.93, p. 100.
Provenance: From the McClelland Collection and on loan to IMMA from 1999 - 2004
|
details
|
|
| 25 |
Patrick Collins HRHA (1910-1994)
Pierrot
Oil on board, 49.5 x 39.5cm (19.5 x 15.5")
Signed
Exhibited: Irish Exhibition of Living Art, 1958, Cat. No. 80
Sold for €12000
|
details
|
|
| 26 |
Patrick Collins HRHA (1910-1994)
Evening Landscape (1968)
Oil on board, 61 x 76cm (24 x 30")
Signed
Exhibited: Patrick Collins Exhibition, The Ritchie Hendricks Gallery, May - June 1968, catalogue no. 17.
Provenance: A gift from the artist to his daughter on her 16th birthday.
According to his family the artist regarded this work as one of his most successful pieces from this period
|
details
|
|
| 27 |
Breon O'Casey (b.1928)
Leda and the Swan III
Oil on board, 74.5 x 104cm (29.24 x 41")
Signed and inscribed verso
Long associated with the St. Ives School of painters, O'Casey began his studies at the Anglo-French Art Centre in London in 1949 and Saint Martin's School of Art in 1953 before completing an apprenticeship under Denis Mitchell and Barbara Hepworth. He has lived and worked in Cornwall since the 1970s, where the rich artist community has seen wealth of talent, including Tony O'Malley and William Scott. Rather than limiting himself to one method or medium, O'Casey is both a sculptor and painter, and has dabbled in crafts such as weaving. Birds are a common subject within his oeuvre, particularly for his sculptures. His work is included in many private and public collections, including a large sculpture, 'Ean Mor', situated in the grounds of Farmleigh House in Pheonix Park, and 'Bird' in bronze and wood on view at the Tate Britain, which also houses a number of works on paper.
Sold for €4500
|
details
|
|
| 28 |
Padraig MacMiadhachain (b.1929)
Groomsport, Co. Down
Oil on canvas, 51 x 61cm (20 x 24")
Signed
Exhibited: "Padraig MacMiadhachain" Exhibition, May - June 2001, The Molesworth Gallery, catalogue no. 15 where purchased by the current owner.
Illustrated in Exhibition catalogue.
Ulster Artists Exhibition, the AVA Gallery, Clandeboye, April 2010, catalogue no. 22
Padraigh MacMiadhachain was born in Downpatrick in 1929. He attended the Belfast School of Art in the 1940s, the alma matter of William Scott who had a profound influence on his work. Since 1959 he has lived and painted on the Dorset Coast which might accounts for his neglect back here in his native land. He has also maintained a studio at St. Ives. In the 1960s MacMiadhachain was an outstanding contributor to the Irish Exhibitions of Living Art, alongside Gerard Dillon, Camille Souter, Nevill Johnson, Patrick Collins and Louis le Brocquy. The Moleworth Gallery, Dublin have held several solo exhibtions of his work including a retrospective exhibition in 1999. During his career he has been one of the most consistent and widely exhibition artists of his generation in the UK.
Sold for €5500
|
details
|
|
| 29 |
Mike Fitzharris (b.1952)
Trees
Oil on board, 17 x 19cm (6.75 x 7.5")
Signed
Provenance: Hillsboro Fine Art, 2004
|
details
|
|
| 30 |
Cecil King (1921-1986)
Intrusion (1973)
Silkscreen print, 50.5 x 76.5cm (19.75 x 30") (sheet)
Signed, inscribed with title and numbered 12/75
This was a co-edition by Cecil King and Claire Turyn and was printed by Marquet, Paris
Sold for €520
|
details
|
|
|
30
|
