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Los 20
Margaret Clarke RHA (1888-1961)Portrait of the Artist Dermod O'Brien PRHA in his StudioOil on canvas, 125 x 100cm (49¼ x 39¼'')Signed and dated 1934Exhibited: 'Margaret Clarke: An Independent Spirit', F.E. McWilliam Gallery, Banbridge September/ November 2017Literature: Palette and plough by Lennox Robinson 1948 - this picture used as frontispiece. The frame has a plaque inscribed 'Presented to Dermod O'Brien PRHA by a number of Friends and Admirers, 13 December 1934'. The artist’s daughter, Brigid Ganly notes that the portrait on the easel is that of 'Edward Bannon' of Broughal Castle, Offaly but also of New York, Newport and Florida; which she thinks is one of the best portraits her father ever painted. It was presented by Mrs Banon to The National Gallery of Ireland.Margaret Clarke (1884-1961) was commissioned to paint this portrait of Dermod O’Brien by his many friends and admirers, who presented it to him as a gift in 1934. O’Brien was a prominent figure in Irish life in the early part of the twentieth century, involved in many organisations, and a fervent supporter of Horace Plunkett’s co-operative movement. His most enduring role was as President of the Royal Hibernian Academy (RHA) from 1910 until his death in 1945. He was born in 1865 into a wealthy landowning family in Limerick that traced their ancestry back to Brian Boru. Though a Protestant and married to a Unionist, he was politically unaligned, committed to helping Irish society develop socially and culturally. He said of himself that his driving force was ‘the thing to be accomplished. It does not matter to me whether Ireland is saved by the priests, peoples, Orangemen or English...’Margaret Clarke and Dermod O’Brien had known each other for many years. When Clarke’s husband, Harry Clarke, died in 1931, O’Brien offered Clarke not only sympathy but assistance, should she need it. They had much in common. Clarke had been elected a full member of the RHA in 1928 - only the second woman to be so honoured. They had both been thoroughly schooled in the traditional, academic approach to art - O’Brien in Antwerp, Clarke in Dublin under Orpen - but they were generous, active supporters of less traditional, more radical artists, and sat together on committees such as the Irish Exhibition of Living Art. When O’Brien learnt that Clarke was to paint him, he wrote to her to say how very pleased he was. Elsewhere, he praised the sincerity, insight and characterization of her portraiture, and her ability ‘to search into the character of the sitter and get at the soul of him or her’.However, always the organiser, O’Brien began to issue instructions: he did not want to be shown as an important official in robes and chains, but neither did he want her to portray him as a plain citizen. Half-jokingly, he told her to make him ‘beautiful and sympathetic and dignified, and at the same time humble and diffident’. Clarke painted him in his role of artist, paintbrush in hand, standing in front of his easel, but not looking at it. He is formally dressed, bristling with the air of a man of authority poised for action, seeking the next challenge. At Clarke’s suggestion, perhaps to balance his obvious dignity with the requested humility, he donned a crios, the belt worn by peasants of the Aran Islands. According to his daughter, Brigid Ganly, herself an artist, this is the best portrait ever painted of O’Brien: ‘absolutely characteristic in the pose of the head, the alert glance, the quick humour of the mouth’. O’Brien remained a lifelong advocate of Clarke’s work, helping her to get commissions and advising bodies such as the Haverty Trust to purchase her paintings.Fiana Griffin
Los 23
Paul Henry RHA (1877-1958)Looking Towards Achill from the East of Achill Sound (c.1925)Oil on board, 30.5 x 40.5 cm (12 x 16)SignedProvenance: Private UK Collection. In this view, which looks towards Achill Island from the East of Achill Sound, the sky already appears as if rain is approaching, although there are gentle reflections in the water. The note of running fences in the foreground is a typical ‘Henry’ feature, as is the feature in the lightness of the background, which contrasts with the foreground and the mountain in the background. The area is literally strewn with mountains, as a trip through it will confirm. Also the principal mountain, which dominates the scene, is Slievemore. Before going to Achill, Henry was a plain-dweller and the abruptness of the mountain contours he tells us in his Irish Portrait (Henry, 1951, p. 50) now ‘disturbed’ him. On Achill, too, the sea was constantly encountered, its sudden changes of mood and temper often affecting life and fortune. The fragility of man’s survival in the face of the powers of nature, which made such an impact on Henry’s perceptions of the island, are clear to be seen in this striking picture. The simplicity of the composition, which dominates no more than three separate elements-the sky, the mass of the mountain which dominates all, the narrow strip of sea in the background-illustrates the severity of the artist’s Post Impressionism and the force of his compositional technique. On the reverse are labels of James Bourlet, with the number 58538, also the number ‘30’ and the address of ‘Bregazzi, Dublin. Also on the reverse it is numbered 1320-the next number, with the title, in Dr. S. B. Kennedy’s ongoing catalouguing of Henry’s oeuvre.Dr. S.B. Kennedy February 2018
Los 54
Hugh Douglas Hamilton RHA (1734-1808)Portrait of Maria Susanna Ormbsy, seated holding a sketch book Oil on board, 67 X 61cm (26 x 24)Inscribed upper right 'Maria Susanna, daughter of William and Hannah Ormsby, born 1745, died 1827'Signed and dated verso '1796'This excellent portrait, painted after Hamilton’s return to Dublin from Rome is not listed by Fintan Cullen. [Oil Paintings of Hugh Douglas Hamilton, Walpole Society Vol. 50 1984] and is a welcome addition to the inventory of Hamilton’s extant portraits (1796). It re-emerged from the recent disposal of the Harlech Collection in Wales. The Ormsby-Gores, in spite of a ‘Welsh’ title and seat, represent two families from the West of Ireland who flourished in the 18th century.The subject of the present lot, Maria Susannah Ormsby was the daughter of William Ormsby M.P for Sligo and Hannah Wynne of Haselwood, County Sligo, the lovely Palladian villa designed by Richard Castle. Her brother, Owen Ormsby married (1777) Margaret Owen who came into a great Welsh estate that had been swollen by the Godolphin inheritance. Their only child and heiress Mary Jane Ormsby married (1815)William Gore, M.P. for Leitrim from a family long influential in Counties Mayo, Sligo and Leitrim. Thereafter the family became Ormsby-Gore and were subsumed into English high society with a title from the Barony of Harlech. Our subject, Maria Susannah Ormsby, died unmarried so this portrait of a charming and artistic woman remained with the Ormsby-Gores. As an observation of mature character it confirms Hugh Douglas Hamilton’s place in the top rank of European portraiture.
Los 77
Tony O'Malley HRHA (1913-2003)St. Canices, Kilkenny (1988)Oil on board, 57 x 118cm (22½ x 46½'')Signed with initials and dated 1988; also signed, inscribed and dated versoExhibited : “Tony O’Malley Exhibition’, Taylor Galleries, Dublin 1991, Cat. No. 63 Saint Canice’s Cathedral, so called after Kilkenny’s patron saint, was very dear to Tony O’Malley’s heart. One of the best-preserved of Irish medieval buildings, it stands in an ancient graveyard, where a substantial round tower and the ruined foundations of an earlier church, also dedicated to Canice, embed it in the history of Kilkenny city and surrounding county. O’Malley was proud of his own Kilkenny background and painted Saint Canice’s and other monastic ruins, like the abbeys of Jerpoint and Kilcooley, from the area on a regular basis, although he tended to avoid Kilkenny’s even more dominant historical monument, Butler Castle. His choice of one over the other, is consistent with O’Malley’s politics, favouring inclusion and participation, rejecting power and control.In this painting from 1988, O’Malley opts for the overall atmosphere of the gothic building, with birdsong and plant life and sunshine, toning down the weight of the limestone and granite edifice. Only a series of horizontal, parallel lines in the top right remind us of the architecture. By 1988 O’Malley and his wife, Jane, were increasingly spending summers in Ireland, prior to a permanent removal back to County Kilkenny in 1990 from Cornwall. They regularly cycled from Callan into the city to sketch and paint the cathedral. Earlier depictions of medieval Kilkenny and the cathedral, emphasize its centuries of usage, with shadowy, ghostlike figures mingling with self- portraits, set into grey niches, like medieval stone carvings. Here, however, the artist celebrates the building and the wild life that flourishes around it, away from the bustle of the city down below, offering forms inspired by long grasses and seed heads, birds in flight or their song, against sun-drenched grey walls. A small triangular form in pink and maroon is probably a self-portrait, but even this is sub-ordinated to the overall atmospheric rendering of the place. The colours are muted, with carefully -controlled flashes of brilliance, edges are softened, the only movement suggested is consistent with summer breezes. This is about peace and slow time, not military conquest.Catherine Marshall, February 2018
Los 43
Manner of Andrew Plimer"Susannah Anthony",bust length portrait miniature,in an oval rose metal frame,with a hair plaid,8 x 6.5cm.Footnote: The Morocco case labelled "Susannah Anthony for Edgar" and with a loose paper note, "Susannah Anthony, daughter of John and Hannah Anthony of Beaconsfield, born Sept. 15 1767, died Jan. 14 1795 aged 27 years".
Los 44
John SmartYoung Lady,bust length, in half profile, portrait miniature,initialled and dated 1804, in an oval rose metal frame, with a hair plaid,8 x 65cm;and a companion portrait of a young man in half profile, wearing a blue coat, oval rose metal frame, with a hair plaid,8.2 x 6.8cms, (2).Footnote: Probably brother and sister.SALEROOM NOTICE: Please be aware, due to being painted on ivory, these items are subject to CITES regulations for the import/ export outside of the EU.
Los 24
19th century English School PORTRAIT OF WILLIAM HAY DRESSED IN MILITARY UNIFORM Unsigned watercolour, 11 x 10cm, inscribed verso, together with a circular portrait miniature of Allen, Son of Mortimer Hay Esq, signed Beatrice A Higham, Stratton House, Burnt Ash Road, Lee, Kent, indistinctly-dated 1900?, 7cm diameter, (2).
Los 79
RACING PRINTS - limited edition (157/850), titled 'Sod It' by MALCOLM COWARD, signed in pencil, 29 x 35 cms, limited edition (636/650), titled 'Bob Champion on Aldaniti....' by CLAIRE EVA BURTON, signed by the artist and jockey in pencil, 71 x 65 cms and A J GADD oval print, portrait of Aldaniti, unsigned, 38 x 33 cms
Los 125
A collection of 19th century and later decorative ceramics including a pair of dessert plates with painted floral sprays, a pink and gilt sucrier and cover, etc together with a relief moulded pewter type dish in the art nouveau manner with portrait of young women amongst flowers, 22 cm approx
Los 285
19th Century Scottish School/Portrait of a Lady/wearing red dress and bracelets/oil on canvas, 89.5cm x 69cm Condition Report: Lot 285 - The surface is very dirty with very discoloured varnish which is flaking from the surface, not relined, very small area of paint loss, needs careful cleaning and restoration, in a distressed plaster gilt frame
Los 717
After Velasquez - Portrait of the sculptor Martinez Montaines, oil on canvas, 52 x 41 cm, c/w extensive documentation and purpose-made wooden crate Note - The documentation dates back to 1936 and includes correspondence from Spink & Son Ltd, Rohan & Son, Edward Speelman, Michael Harvard etc The original painting hangs in the Prado, Madrid Extensively restored, re-varnished, retouched
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