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283284 Los(e)/Seite
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Moyra Barry RHA (1886-1960)Flower Pieceoil on canvassigned lower left46 x 36cm (18.1 x 14.2in)Provenance: Gorry Gallery, Dublin; Private Collection Dublin born flower and landscape painter Barry studied in the Royal Hibernian Academy (RHA) in 1908-9 before attending the Slade School of Fine Art between 1911 and 1914. She was a regular exhibitor in the RHA from 1908-52 as well as the Dublin Sketching Club, Watercolour Society of Ireland, Dublin Painters and the Oireachtas. A retrospective exhibition of her work was held in the Gorry Gallery in 1982 where her self-portrait was purchased by the National Gallery of Ireland.
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Simon Coleman RHA (1916-1995)Ploughing (1946)oil on canvassigned and dated '46 lower right41 x 51cm (16.1 x 20.1in)Provenance: Gorry Gallery, Dublin; Private Collection Landscape and portrait painter Simon Coleman was born in Duleek, Co. Meath and studied at the Dublin Metropolitan School of Art from 1933. He commenced exhibiting at the Royal Hibernian Academy in 1940 and contributed some two hundred works until 1979. Works by Coleman are held in many public and private collections.
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Andy Warhol (1928-1987)Tomato-Beef Noodle O´s, from Campbell's Soup II, 1969 (F. & S. II.61)screenprint in colours on smooth wove paper - number 155 from an edition of 250 (total edition includes 26 artist's proofs).Printed by Salvatore Silkscreen Co., Inc., New York. Published by Factory Editions, New York.hand signed in ball-point pen and stamp-numbered 155/250 verso88.90 x 58.40cm (35 x 23in)Provenance: Private Collection Literature: Feldman-Schellmann II.61One evening in 1962, the philosopher and art critic Arthur Danto happened to see a work by Andy Warhol in the window of the Leo Castelli Gallery in New York. The work was a stack of screen-printed Brillo Boxes, just like the boxes you could find in the supermarket, but these were recreated by Warhol and they were empty. Danto realised in that moment that Warhol had transformed the whole notion of fine art. As far as he was concerned, things would never be the same again.Born in Philadelphia in 1930, Warhol had worked as a very successful commercial artist and illustrator in New York since the early 1950s. But now he was transforming the subjects and methods of popular and commercial culture into the currency of fine art. Pretty much every American, Danto realised, could understand a Warhol. You didn't need knowledge of art history or any kind of insider information. At a stroke he had bypassed the pretensions of an art world elite - an elite that included Danto himself.Warhol went on to draw on any number of everyday subjects including, famously, Campbell's Soup cans, dollar bills, advertising imagery and film stars. When Warhol used images of film stars, he didn't aim for a classical studio portrait, he took ordinary publicity shots, as reproduced in newspapers and magazines, familiar to millions of people, made silkscreen versions of them, mechanically, but with some interventions, and produced them in multiples. His studio was called, appropriately, the Factory. His Ingrid Bergman has her in character as Sister Superior Mary Benedict in The Bells of St Mary's. Aidan Dunne, September 2019
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Margaret Clarke RHA (1888-1961)Trees and Elder Treesoil on canvassigned lower left and titled verso53½ x 35½cm (21.1 x 14in)Provenance: Private Collection In this small but fine landscape, Clarke captures the colour and freshness of a wooded hillside. In the middle distance, dark evergreen trees rear skywards, while in the foreground the brighter splash of alder trees, with white blossom, adds a dash of bright colour to the composition. In the background blue hills are visible, silhouetted against a white cloudy sky. Born in Newry, Co. Down in 1884 and a student of William Orpen at the Metropolitan School of Art in the first years of the twentieth century, Margaret Clarke (neé Crilley) has been rediscovered in recent years as one of Ireland's foremost painters of that period. Orpen had a high regard for her draughtsmanship and regarded her as one of his best pupils. Among her fellow students were Ethel Rhind, Harry Clarke (who she was to marry) and James Sleator. On a visit to Inis Oirr in 1914, along with fellow students, she drew some of the ancient monuments on the island. Her portrait of her sister, Robin Redbreast now in the Ulster Museum, is one of her finest works. She first exhibited at the RHA in 1913 and continued to show at the Academy throughout her life. After her marriage to Harry Clarke in 1914, the raising of three children occupied much of her time but she continued to paint, including portraits of her family, and of the interiors of the family home in North Frederick Street in Dublin. Her portrait of Lennox Robinson is in the Crawford Art Gallery. She also painted portraits of her husband Harry Clarke, even as his health deteriorated due to tuberculosis. Some of her paintings were complex allegories of life, notably Strindbergian, a work dating from 1927 (Ulster Museum). In 1930 Clarke was commissioned to create five poster designs for the Empire Marketing Board, and after her husband's death the following year, she took over the running of the stained glass studios in North Frederick Street. She also continued to paint however and had a second solo exhibition in 1939, which included portraits and landscapes. A founding member of the Irish Exhibition of Living Art in 1943, she was open to newer developments in art, including abstraction: she helped organise the Evie Hone retrospective of 1958 and was cataloguing the works of Mainie Jellett when she died in 1961. Peter Murray, September 2019
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Pat Harris (b.1953)Quince I (2007)oil on linensigned and dated 2007 on lower stretcher60 x 75cm (23.6 x 29.5in)Provenance: Private Collection Beginning as a portrait and figure painter, Pat Harris subsequently came around to landscape - encouraged by Sean McSweeney - and still life. An important enduring influence is Charles Brady, who was his teacher and friend. Witness the example of Brady's still lifes of humble, everyday items - a comb, an envelope. Harris went on to study and then teach in Belgium, and Luy Tuymans may have influenced his growing interest in painting not so much things as their traces, echoes, residues in beautifully judged works with a subtle sense of colour and form. He thinks of his paintings of individual fruits as portraits of a sort.
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Estella Frances Solomons HRHA (1882-1968)Portrait of Moppie Morrowoil on canvas61½ x 51½cm (24.2 x 20.3in)Provenance: Private Collection Moppie Morrow was the daughter of the artist Jack Morrow. Jack languished in Mountjoy Prison for most of 1919, having been arrested in January of that year. Estella helped look after Moppie, who was to feature in a number of her works. Estella's Great Brunswick Street Studio was a 'safe house' for many insurgents on the run around this time.
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Alex Katz (b.1927) AmericanAda (2001)oil on boardsigned top right and dated '01, artist's archive no 682 verso40.60 x 30½cm (16 x 12in)Provenance: Pace Wildenstein Gallery, New York (label verso); Oliver Sears Gallery, Dublin; Private Collection Born in 1927 and growing up in New York City, Alex Katz studied art at the Cooper Union, and later at Skohegan School in Maine, at a time when abstract painting was in vogue. A dedicated painter, he is of the same generation as Jasper Johns, Cy Twombly and Robert Rauschenberg, but unlike them he continues to explore the bounds of realism, and the relationship between paint as a medium and the human urge to depict reality. Although his themes-portraiture, still lives, landscape-are classical, his paintings are distinguished by a sense of immediacy and living in the present, rather than depicting objects and people for posterity. Movement, dance and literature are important in his work, and he has often painted portraits of poets and dancers. His wife Ada, a former research biologist, has been the subject for hundreds of Katz's paintings. In this work he depicts her standing, against a blue background, wearing a long blue coat, black high-heel shoes and a scarf. Ada is set to the left of the composition, implying space beyond the confines of the frame; a few steps and she could step out of the picture. This gives the painting a sense of immediacy, as does her face, which is turned towards the viewer as if she has paused momentarily. The portrait however is characteristic of Katz in that there is almost no narrative quality; Ada is not located in any specific time or place. She exists, for the viewer, in the moment. Peter Murray, September 2019
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Four works of abstract subjects to include a mid-20th century abstract print in the manner of Piet Mondrian, indistinctly hand-signed & dated '51, 39 x 21 cm; a 1980s abstract collage, signed Peter Collins & dated, unframed, 30 x 41 cm; an abstract portrait study, signed with initials GH, 20 x 15 cm; an abstract oil, inscribed verso (4)
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On 12 August 1914, just eight days after Britain had declared war on Germany, The Illustrated London News launched a new magazine solely devoted to the conflict. The Illustrated War News offered a visual week-by-week chronicle of the war. Its swift launch was newsworthy in itself, but it also appeared in an eye-catching landscape format (until a cheaper portrait size was adopted from June 1916). Bound in 8 volumes 12/08/1914 - 07/06/1916. Contents very good. Boards slightly aged.
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SAUNDERS LEWIS limited edition (34/ 450) Gregynog Press volume - 'Cerddi Saunders Lewis', dated 1986, in quarter grey cloth and light blue boards, title in gold to spine and with gold oval head portrait cameo of Saunders Lewis in profile to the cover Condition Report: small light marks to front and back cover, with 1986 postmarked envelope-bag, to be viewed and handled by intending bidders only
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283284 Los(e)/Seite