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283284 Los(e)/Seite
Los 163
A collection of items to include, a 20th century portrait miniature of Dorothy Turton (Royal Miniature Society), depicting an unknown Captain near Brownsea Island, together with Chinese lacquer painting on zinc panel signed, carved Inuit marine ivory fork with seal handle, Kansas City Deputy Marshall`s badge and other items
Los 481
A large framed black and white movie photograph of Mae West wearing a spider`s web gown, 38 x 30cm (15 x 12in), together with one smaller photograph of Mae West, a black and white portrait photograph of a young Jack Nicholson, a photograph by Ian Dickson of Bob Marley performing and a reproduction still from The Roaring Twenties (5)
Los 1
Kenneth Webb RWA FRSA RUA (b.1927)LAZY AFTERNOON, late 1980soil on canvassigned lower rightPortrait24 by 20in., 60 by 50cm.James Gallery, Dalkey;Where purchased by the present owner`Webb at the James`, James Gallery, Dublin, June 2001(illustrated p.8 of exhibition catalogue)Walpole, Josephine, Kenneth Webb, A life in Colour, Antique Collector`s Club, Suffolk, 2003, p.199 (referenced), p.120 (full-page colour illustration)A copy of the original exhibition catalogue signed by the artist accompanies this lot.Kenneth Webb, A life in Colour describes the present work thus: Lazy Afternoon shows a group of immaculately painted people sitting on an equally immaculate wall overlooking a traditional shore and sea then, in front, we are faced with a tumultuous riot of massed meadow flowers picked out here and there with a perfectly formed and executed poppy."
Los 23
Evie Hone HRHA (1894-1955)MY FOUR GREEN FIELDS, NEW YORK - DESIGN FOR STAINED GLASS WINDOW, c.1937-1938gouachePortrait32.5 by 20.25in., 81.25 by 50.625cm.possibly exhibited at the WCSI, 1939, My Four Green Fields Sketch Design for Stained Glass Window, no. 76The stained-glass window, My Four Green Fields, dates from 1939 when it was commissioned by the Department of Industry and Commerce for the Irish Government`s Pavilion at the New York World Trade Fair. It was installed in the CIE Head Office, O`Connell Street in 1960 and later removed to storage by Abbeyglass in Kilmainham at the request of the OPW in 1983. During the renovation of Government Buildings in 1990 the window was taken out of storage, renovated and installed in its present location at the top of the foyer staircase. The carpet on the stairs was custom made by Mary Fitzgerald to complement the colours of Hone`s designs. Examples of designs for My Four Green Fields (lent by Mr & Mrs F.H. Boland, no. 94) as well as the finished window (lent by the Commissioners of the Board of Works (no. 70) were shown at the artist`s retrospective exhibition, `Evie Hone 1894-1955`, Great Hall, University College Dublin, 29 July - 5 September 1958. Another design, Saints and Scholars with St. Colmcille, 1938 was shown at the IELA in 1955 and later lent to the 1958 exhibition by Dr Eileen MacCarvill. In reference to My Four Green Fields, in the exhibition catalogue to the 1958 show, James White, former Director of the National Gallery of Ireland commented:The My Four Green Fields [window] shown in the New York World`s Fair must rank amongst the most important [in the artist`s oeuvre] , but it is notable that a feeling of new assurance centred in the features and disposition of the figures. It was almost as if the curvaceous and rounded line of the Byzantine world were added to the Northern, Gothic style which the artist seemed to possess in common with the medieval craftsmen of Chartres and Poitiers."
![Colin Middleton MBE RHA (1910-1983)MANNA, 1951oil on canvassigned upper right; signed, titled, dated [Jan/March] and numbered](http://lot-images.atgmedia.com/SR/10092/2876356/35-2013218112111_468x382.jpg)
Los 35
Colin Middleton MBE RHA (1910-1983)MANNA, 1951oil on canvassigned upper right; signed, titled, dated [Jan/March] and numbered [107] on reverse; with original inscribed label also on reversePortrait30 by 26in., 75 by 65cm.Victor Waddington Galleries, Dublin;Where purchased by Mr & Mrs Burness, New York (Janurary, 1957);Freeman`s, 8 December 2002, lot 31;The Collection of Mervyn & Pat Solomon‘Paintings, Colin Middleton’, Victor Waddington Galleries, Dublin, 9-20 April 1953, exhibition no. 15, Manna [£150-0-0]Manna is an edible substance that, according to Abrahamic doctrine, God provided for the Israelites during their travels in the desert according to the Bible and the Qur`an. During the period of 1950 to 1955 Colin Middleton was living in Ardglass, Co. Down and painting full-time under contract with the Victor Waddington Galleries in Dublin. His subjects included rocky landscapes and seascapes as well as Biblical quotations, the latter being the source of inspiration for this oil. Manna was exhibited with Waddington, alongside twenty-nine other works in oil.
Los 36
Roderic O`Conor (1860-1940)NATURE MORTE, c.1909oil on canvassigned and dated upper left; signed, titled and dated on reverse; with original price [15.00 frs] and numbered [5] on reverseLandscaPortraite18 by 22in., 45 by 55cm.M. Zeitline, Paris;The Collection of Mervyn & Pat SolomonSalon d`Automne, Paris, 1909, no. 132; `Roderic O`Conor Room`, Hugh Lane Municipal Gallery of Modern Art, Dublin, 1995-2000Johnston, Roy, Roderic O`Conor Vision and Expression, 1996, p.48-49This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Los 37
Roderic O`Conor (1860-1940)NU ALLONGÉ, c.1915oil on canvassigned lower right; with O`Conor Atelier stamp on reverse; inscribed verso on stretcher bar in blue chalk: `No. 4 Roderic O`Conor D??? No. 4`LandscaPortraite26 by 32in., 65 by 80cm.Paris, Hôtel Drouot, Etude Tajan, Tableaux Modernes, École de Paris (Succession de Mademoiselle Abadie), 21 November 1995, no. 130;The Collection of Mervyn & Pat SolomonAuthor Jonathan Benington notes that the model`s blue-painted eyes were added later by another hand, and that originally she was most probably depicted asleep, with eyes shut. The brightly coloured textile seen in the present work was used as a studio prop and features in other works by O`Conor. This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Los 38
Roderic O`Conor (1860-1940)CHRYSANTHEMUMS, 1896oil on canvassigned lower left; signed with initials and dated upper left; titled on original label on reverseLandscaPortraite21.25 by 25.5in., 53.125 by 63.75cm.The Collection of Mervyn & Pat SolomonThis group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Los 39
Roderic O`Conor (1860-1940)AVENUE OF TREESoil on paperwith Atelier O`Conor stamp lower right; also stamped on reversePortrait16 by 15in., 40 by 37.5cm.The Collection of Mervyn & Pat SolomonProbably painted at Montigny circa 1902. This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Los 40
Roderic O`Conor (1860-1940)SEATED MODEL, c.1923-1926oil on canvassigned upper rightPortrait21.5 by 18in., 53.75 by 45cm.The Collection of Mervyn & Pat SolomonSeated Model, c.1923-1926 pertains to a series of clothed, female models, painted by O`Conor at his Montparnasse Studio, Rue de Cherche-Midi, Paris.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Los 42
Roderic O`Conor (1860-1940)LA MAISON DU PENDU AU POULDU, BEACH WITH CLIFFS AND A YACHT, 1893 and DEUX FEMMES DE PROFIL DANS UN PAYSAGE (SET OF 3)etching; (2); lithograph; (1)the first, stamped within the image lower right; inscribed [1/30 / Tirage 81] in pencil in the margin lower right; the second, signed and dated in the plate; the third signed in the plate lower leftLandscaPortraite5.5 by 9in., 13.75 by 22.5cm.Deux Femmes de Profil dans un Paysage: Purchased by Mervyn & Pat Solomon, 1984La Maison du Pendu au Pouldu: Musée de Pont-Aven, 1984, catalogue no. 78 (another edition) (illustrated p.53)Deux Femmes de Profil dans un Paysage: L`École de Pont-Aven dans les Collections publiques et privées de Bretagne, Musée Des Beaux-Arts, Quimper, Rennes, Nantes, 1978-1979, catalogue no. 74 (illustrated); Musée de Pont-Aven, 1984, catalogue no. 84 (illustrated p.53); `Roderic O`Conor 1860-1940`, Barbican Art Gallery, London, Ulster Museum, Belfast, National Gallery of Ireland and Whitworth Art Gallery, Manchester, from September 1985 to May 1986 (all other editions)La Maison du Pendu au Pouldu:Johnston, Roy, Roderic O`Conor 1860-1940, Barbican Art Gallery, London and Ulster Museum, Belfast, 1985, catalogue no. 102 (illustrated p.113); Benington, Jonathan, Roderic O`Conor, Irish Academic Press, Dublin, 1992, catalogue no. 419, illustrated p.56Deux Femmes de Profil dans un Paysage:Jaworska, W., kregu Gauguina malarze szkoly Pont-Aven, Warsaw, 1969; English translation, Gauguin and the Pont-Aven School, Boston, 1972, p.224 (illustrated); Johnston, Roy, Roderic O`Conor 1860-1940, Barbican Art Gallery, London and Ulster Museum, Belfast, 1985, catalogue no. 114 (illustrated p.113)The lithograph within this lot is one of only two examples known in this medium. It is thought to have been printed in 1898. Dimensions of Beach with Cliffs and a Yacht, 1893 and Deux Femmes de Profil dans un Paysage, 9.75 by 15.25 and 7.50 by 6.75ins., respectively.An edition of Deux Femmes de Profil dans un Paysage can be found in the collection of Musée Des Beaux-Arts, Quimper.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Los 43
Roderic O`Conor (1860-1940)MONTAGNE SAINTE-VICTOIRE, FRANCEoil on boardwith faint Atelier O`Conor stamp on reverseLandscaPortraite5.75 by 9in., 14.375 by 22.5cm.The Collection of Mervyn & Pat SolomonJonathan Benington, Roderic O`Conor: a Biography with a Catalogue of his Work, 1992, catalogue no.177, p. 211, as Mountain LandscapeThe subject of this picture has not been conclusively identified, although on grounds of topography it bears comparison with Le Cap Canail in Cassis, which was close to where O`Conor was based for much of 1913.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Los 44
Roderic O`Conor (1860-1940)HOUSE ABOVE THE CLIFF, SUNLIGHT THROUGH THE CLOUDS and LE VERGER, c.1893 (SET OF 3)etching; (1) etching and drypoint; (2)the first with Barbican Art Gallery exhibition label on reverse; the second signed and dated in the plate lower right; inscribed [2/30/ Tirage 81] in pencil in the margin lower right; third signed in the plate lower leftLandscaPortraite10.5 by 13.25in., 26.25 by 33.125cm.(First) possibly, Hôtel Drouat Salle I, Paul Renard;The Collection of Mervyn & Pat Solomon(First) Pont Aven 1984 (another edition); London, 1985 (another edition)(Second) `L`estampe en Bretagne`, Musée des Beaux-Arts, Nantes, 1974, catalogue no. 145; Quimper, 1978, no. 72); Pont-Aven, 1984, no. 71; London, 1989, no. 0.7; Paris, 1989, no. 134 (other editions)Benington, Jonathan, Roderic O`Conor, Irish Academic Press, Dublin, 1992, catalogue nos. 441 and 430, respectively (both illustrated p.55); Johnston Roy, Roderic O`Conor, catalogue de l`oeuvre grave, Musée de Pont-Aven, 1999, no. 15 (illustrated)Le Verger was conceived in 1893. The original plate for the present work was sold at Hôtel Drouot, 17 November 1975 (lot 172, no. 4). From that plate later re-strikes were made in 1981 by Paul Prouté S.A. in an edition of 100. Dimensions of second title: 10.50 by 13.25in.This group of eleven oil paintings and etchings by Roderic O`Conor spans thirty years of the artist`s career, encompassing many of his favourite subjects and deploying the entire repertoire of expressive gestures and marks and the high-keyed palette for which he has become famous. The collection moves in time as well as place: from the windswept rocky coastline of Finistère in 1893 (see lots 42 & 44), to the shaded, tree-lined roads near Barbizon in 1902, to the life models and domestic objects of O`Conor`s Parisian studio, and finally to the craggy peaks of the Côte d`Azur. There is even a work that melds the normally distinct genres of figure and landscape, namely the lithograph Two Women in Profile in a Landscape (lot 42), the descriptive title of which belies its innovative conception and its boldly simplified forms.O`Conor`s experimental rigour pervades this entire group of works - he was never a man to go for the easy option of academic realism. With their impulsive, whipped lines, the four etchings evince the clash of the elements on the storm-torn coast of Brittany, an alien and barren terrain that acquires, at the hands of O`Conor, the appearance of a lunar landscape. When he positions the horizon line lower down the copper plate, he manages to make even the clouds appear tortured. At this early date (1893), the Irishman was looking to Van Gogh for inspiration, especially the rhythmic bands of pure colour that energised the Dutchman`s St Remy and Arles landscapes. In 1908 O`Conor would pay verbal tribute to Van Gogh`s paintings as wonderful examples of expression of character pushed to the point of hallucination." Just a few years earlier, on a visit to Montigny-sur-Loing, he articulated the foliage, sky and grassy bank of his oil painting, Avenue of Trees (lot 39) with alternating stripes of colour, just as he had done a decade earlier in Pont-Aven.Whilst the predominant mood of these early works might be characterised as controlled anarchy, at least in the handling of paint, O`Conor was also capable of extracting subtlety and understatement from his colours. This is nowhere more apparent than in Chrysanthemums (lot 38), dating from 1896, when he was rethinking his art in the solitude of the little Breton town of Rochefort-en-terre. Here the feathery touch and carefully orchestrated colour harmonies (red predominating) recall no-one so much as Auguste Renoir, who visited Pont-Aven with his family in 1892 and was eulogised in the exchange of letters between Armand Seguin and O`Conor later in the decade. Similarly, the way O`Conor contrasts the softly blended brushstrokes describing the limbs and torso of the nude in Nu allongé (lot 37) with a more painterly approach in the foreground recalls Renoir`s late paintings of bathers.O`Conor`s affinity for the primitive life Brittany offered sometimes found an echo in pictures from his early years in Paris. In Nature morte (lot 36) of 1909, hand-painted Breton faïence, a white napkin and some fruit are partnered with an English posset pot, creating a homely assemblage that recalls, in its carefully articulated geometry, Cézanne`s famous admonition to "treat nature by means of the cylinder, the sphere, the cone." A few years later in date, the small panel painting Montagne Sainte-Victoire (lot 43) demonstrates how the lure of the South, as celebrated in Cézanne`s landscapes of his native Aix-en-Provence, became too much for O`Conor to resist. Here, using colour modulations at the expense of detail, he achieves the monumental, notwithstanding the small scale. In the years following the WWI, O`Conor continued to paint female models and still lifes, albeit without returning to the Post-Impressionist idiom of his pre-war years. This new development is demonstrated to good effect in Seated Model (lot 40), where the dramatic transverse lighting and the use of the palette knife to accentuate the modelling of forms are in keeping with the methods of the so-called École de Paris - painters such as Dunoyer de Segonzac, Chaïm Soutine and Maurice de Vlaminck. In the background of O`Conor`s portrait one can just glimpse his cast of Daumier`s bronze sculpture, Les emigrants, as if by way of homage from one dedicated interpreter of the human clay to another.Jonathan BeningtonFebruary 2013"
Los 45
Aloysius C. O’Kelly (1853-1936)ENGLISH PEASANT CHOPPING SWEDES, c.1887-1888oil on canvassigned lower right; with original label preserved on reverse, numbered [38]Portrait27 by 20in., 67.5 by 50cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Los 48
Aloysius C. O’Kelly (1853-1936)TREESoil on boardsigned lower rightPortrait12.5 by 9in., 31.25 by 22.5cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Los 49
Aloysius C. O’Kelly (1853-1936)EDMOND O`DONOVAN AS AN ORIENTAL, c.1883-84watercolour over pencil heightened with body colour on laid papersigned lower right; with Hugh Lane exhibition label on reversePortrait22.25 by 16in., 55.625 by 40cm.The Collection of Mervyn & Pat Solomon`Aloysius O`Kelly, Re-Orientations, Paintings, Politics and Popular Culture`, Hugh Lane Municipal Gallery of Modern Art, Dublin, 25 November 1999 to 30 January 2000O`Sullivan, Niamh, Aloysius O`Kelly, Re-Orientations, Paintings, Politics and Popular Culture, Hugh Lane Municipal Gallery of Modern Art, Dublin, 1999, p.72 -73 (full page illustration p.72)A graduate of Belvedere and later Trinity College, Edmond O`Donovan was sworn into the Fenians by O`Donovan Rossa. After a failed uprising in 1867 he fled to Paris. He joined the Foreign Legion at the outbreak of the Franco-Prussian in 1870. Wounded and taken prisoner, he was shipped back to Ireland in May 1871. When he was home in Ireland he spent his time trying to revitalise the Fenian movement while also reporting on the Balkan War for the Daily News. His time as a correspondent came to a tragic end when he disappeared in the Sudan during the Mahdi uprising in 1883.Aloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.
Los 62
Paul Henry RHA (1876-1958)KEEL VILLAGE, ACHILL ISLAND, 1911oil on canvassigned lower leftLandscaPortraite18 by 20in., 45 by 50cm.Private collection;Adam`s, 28 May 2003, lot 86;Whence purchased by the present owner`Paintings by Mrs. Frances Baker, Grace Henry, Paul Henry, Casimir Dunin-Markiewicz and George Russell (AE), Leinster Hall, Dublin, 16-21 October, 1911, catalogue no. 35 or 36Kennedy, S.B., Paul Henry, Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, catalogue no. 342, p.162 (illustrated)In original Waddington frame.The form of the signature, with dots between the two words of the artist`s name and after the word Henry, signify that this composition must have been painted shortly after the artist arrived on Achill Island in August 1911. The village of Keel, where in his autobiography, An Irish Portrait (1951), he tells us he settled, is seen from the high ground to the north-west, the long and graceful sweep of Trawmore Strand dominating the middle distance. The scene has been rendered with remarkable economy of means, there being only moderate impasto, but a great sense of fluidity, in the handling of the paint. As is characteristic of Henry`s painting at this time the brushwork is rigorously descriptive of form and structure and the use of subtle blues and greys to emphasise the recession of the landscape is a foretaste of the strong Whistlerian influence that would soon emerge in his painting. The use of upright brushstrokes, as seen in the near foreground, is characteristic of other Henry pictures of this time. There is an almost identical, but smaller, composition of the same title and period to this in the Ulster Museum, Belfast. Nowadays the village of Keel is larger, although not substantially so, so that the main thrust of the landscape can clearly be seen. Henry`s excitement at his new-found surroundings is also evident in his rendering of the landscape.Dr SB KennedyFebruary 2013
Los 63
Jack Butler Yeats RHA (1871-1957)THE FORESTER, 1913Indian Ink with watercoloursigned lower right; titled lower left; signed and titled on reversePortrait9.5 by 6.75in., 23.75 by 16.875cm.Sold to H.T. de V. Clifton 1935, who gave it to Lady Emily Hemphill [See Pyle];Purchased by the present owner`s family c.1940`Drawings and Pictures of Life in the West of Ireland`, Mills Hall, Dublin, 8-22 April 1920, no. 24Pyle, Hilary, The Different Worlds of Jack B. Yeats. His Cartoons and Illustrations, Irish Academic Press, 1994, p.265 (catalogue no. 1913)Reproduced in A Broadside no. 9 fifth year (February, 1913). Contained in its original 1940s frame.In her text Jack B. Yeats His Watercolours, Drawings and Pastels, Hilary Pyle describes an earlier watercolour by Yeats entitled A Political Meeting, County Sligo, 1905 [catalogue no. 517, p.135] of the same subject matter. The earlier work depicts the 1905 annual reunion in Sligo of the local branch of the Irish National Foresters, which included nearly all the prominent members of the Catholic and Nationalist Party in the locality. The wearing of sashes denotes their close affiliation with the Ancient Order of Hibernians, a Catholic organisation akin to Orangeism in its intensity, from whom the Foresters had originally separated, and who had recently been released from a clerical ban. The meeting [illustrated in A Political Meeting, County Sligo, 1905] on 11 February 1905, was the occasion of the Lily of Lough Gill Branch of the INF welcoming of the Lord Mayor of Dublin - the General Secretary of the Irish National Foresters Association in Ireland and the only surviving member of those who had initiated the order in Ireland - to their reunion. The event began with a torchlight procession to the Imperial Hotel, where he spent the night, followed the next day by a meeting at Sligo Town Hall, where he addressed the branch on the evils of emigration. "Yeats was in London in February 1905 and Pyle notes he must have recorded the scene from photographs. Pyle continues, "For Yeats the Robert Emmet banners [seen in the 1905 work] with the Irish harp were redolent of the 1898 procession and celebrations in Sligo, which had awakened his own national consciousness. In a letter to John Quinn (5 April 1909, New York Public Library) who had bought the picture as soon as it was exhibited, Yeats said he regarded A Political Meeting as one of the best works he had done." The present work dates to 1913 and may have been based on the earlier 1905 watercolour which the artist was clearly pleased with. Yeats regularly revisited his sketchbooks and drawings throughout his career basing many of his later more abstracted canvases on scenes recorded several years previous."
![Jack Butler Yeats RHA (1871-1957)COMPLETE COLLECTION OF 84 BROADSIDES [1908-1915]hand-coloured; (from a limited edition of 30](http://lot-images.atgmedia.com/SR/10092/2876356/67-2013218112212_468x382.jpg)
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Jack Butler Yeats RHA (1871-1957)COMPLETE COLLECTION OF 84 BROADSIDES [1908-1915]hand-coloured; (from a limited edition of 300)Portrait11 by 7.5in., 27.5 by 18.75cm.A Broadside was published in a folio format, on special paper made at the Saggart Mills in Dublin, with typeface selected by the artist`s sister Lily and printed on an Albion hand press built in 1853. A Broadside was published in an edition of 300 copies. An annual subscription cost 12 shillings. Jack illustrated the complete first series (84 issues) totalling 252 drawings and had exclusive editorial control for the first series with W.B. assuming the role for the subsequent second and third. The present example is a highly desirable, complete compilation in superb condition, housed within two original blue linen portfolios each with Yeats` hand-coloured labels of a pirate playing a mandolin.
![Sir John Lavery RA RSA RHA (1856-1941)PORTRAIT OF A LADY [THOUGHT TO BE MARGRIT HÖLLRIGL]oil on boardsigned lower right; with](http://lot-images.atgmedia.com/SR/10092/2876356/69-2013218112215_468x382.jpg)
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Sir John Lavery RA RSA RHA (1856-1941)PORTRAIT OF A LADY [THOUGHT TO BE MARGRIT HÖLLRIGL]oil on boardsigned lower right; with stamp of Reeves & Son`s London on reverse; also indistinctly inscribed V. Hollrigel?" in pencil on reverse (1)"Portrait14 by 9.75in., 35 by 24.375cm.Before embarking on a large canvas, John Lavery would often plan his composition on a standard 14 by 10 inch canvas board of the type manufactured by Reeves and Sons or Winsor and Newton. These travelled with him as part of his painting kit and often, when used for portraits, they were inscribed, dedicated and presented to a sitter at the conclusion of sittings. (2) In many cases the informality and experimental nature of these `souvenirs` adds to their charm. Lavery would respond to the flash of personality or, as in the present instance, the visual drama of a striking coat, dress or hat. He was, as he told a reporter in 1912, an admirer of modern dress design. It contained `many attractive features from an artist`s point of view and … [presented] opportunities for artistic treatment that have been equaled by few periods of fashion`. The comparisons he was asked to make were with Titian, Velázquez, Van Dyck and Gainsborough. (3) The present work, which first appeared in Germany, may represent one of Lavery`s Berlin subjects. Around 1900 the artist was working for extended winter periods in the German capital, having secured introductions from August Neven du Mont, a wealthy expatriate painter who lived close to him in Cromwell Road, London (3). He was, as he later remarked, `anglicizing the German Frau … a popular accomplishment to possess`, and one that was only arrested by the Boer War and the emerging conflict between German and British Imperial ambitions in Africa (4). Nevertheless such was the volume of work produced during these sojourns that the painter was able to stage three exhibitions at Schulte`s Gallery, Berlin, in 1899, 1902 and 1904. Many of the paintings shown in these exhibitions have disappeared. One notable survivor is however, La Dame aux Perles, (See fig 1., La Dame aux Perles, Collection of the Hugh Lane Gallery, Dublin) a picture which, despite its French title, represents a Hungarian salon hostess, Margrit Höllrigl (later Gräfin/Countess Margit Bubna-Litic).Although she came from a lowly background in Budapest, Höllrigl presented herself to Berlin society at the turn of the twentieth century as an Austrian Baroness (5). Studies for her portrait have not survived, although given the relative prestige of the subject, and the picture`s subsequent importance in the Lavery oeuvre, it seems inconceivable that no sketches of Höllrigl were made (6). It is just possible that the present `souvenir`, along with one other, now known Lady in a Green Coat (Private Collection), fill this gap in our knowledge - although this remains to be proven.Prof Kenneth McConkeyFebruary 2013Footnotes:1. Various readings of this inscription are possible. It appears not to be in the artist`s hand.2. Although clearly autograph, the present picture is not inscribed with a dedication, and it seems unlikely that it comes as part of a commission. We cannot however be certain that the practice of dedicating sketches was adopted when the painter was working in Germany. 3. Anon, `Artists` Opinions on Ladies` Dress`, The Strand Magazine, August 1912, p. 188. 4. August Neven du Mont , the Anglophile painter, was the son of a newspaper proprietor who married into the von Guilleaume dynasty of Cologne industrialists - who in turn provided Lavery with a number of commissions during his German seasons. 5. Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Atelier Books), pp. 74-6. 6. Margrit Höllrigl first moved to Vienna in the 1890s where she appears to have worked initially as an actress. Adding the aristocratic `von` to her name, and trading on her looks and magnetic personality, she moved to Berlin where she secured the patronage of Adolph Friedrich, Grand Duke of Mecklenburg and other wealthy aristocratic male admirers, living in style up to the Great War on the proceeds of blackmail. During the twenties she moved to America, where all records of her disappear. I am grateful to Andreas Frost for this information. 7. Walter Shaw Sparrow, John Lavery and his Work, n.d., [1912], p. 134; McConkey 2010, pp. 174-6.
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Charles Burton Barber (1845-1894)FRIEND OR FOE?oil on canvassigned lower left; with faint inscription of artist`s name and indistinct title on stretcher on reverse; with Coolings Galleries, London label on reverseLandscaPortraite18 by 24in., 45 by 60cm.Cooling Galleries, London;Private collectionFurniss, H., The Works of Charles Burton Barber, Cassell & Co. Ltd., London, Paris and Melbourne, 1896, (illustrated p.53)Friend or Foe? is documented in the 1896 text by Harry Furniss, the artist`s neighbour and biographer who remembers the painter as …the gentlest and truest of friends, and the sweetest-natured man that ever held a brush". It forms part of a much-admired body of work comprising child subject genre pieces, animal and sporting pictures. The present work shows the recurrence of three characters familiar in his paintings of the 1880s, the little blond model, a Jack Russell and kitten. However, the scene before us is set outdoors focusing solely on nature and the wonder it has inspired in three companions. The little girl is caught away from parental eyes and those constraints imposed on a child from an affluent Victorian home. Capturing the attention of the three is a frog and a wasp facing-off in the foreground of the composition. Their audience`s curiosity can be seen in the intense gazes, the girl`s outstretched arms and spread fingers, the tension in the animals` paws and their pricked ears, each depicted with exquisite precision, attention to detail and reverence to the subject.Burton Barber died at the premature age of 49. He was prize-winner with the Royal Academy where he showed 13 works throughout his career. He also showed at the Royal Institute of Oil Painters, the Fine Art Society, Grosvenor, Walker and Arthur Tooth & Sons Galleries among others. Recognition came through Royal patronage in 1873 with Queen Victoria commissioning him as court painter upon the death of Sir Edwin Landseer, whom Burton Barber much admired. Among the paintings executed include a portrait of the Queen on horseback with John Brown holding the reins. The artist`s last work was for the Queen, which he painted in the summer of 1894; it depicts the Queen in her pony carriage with the Prince and Princess Henry of Battenberg in the foreground at Osborne.The appeal of Burton Barber`s paintings was not lost on the advertising world. A. & F. Pears soap acquired a number of works which they later employed to sell their product. Other examples were engraved or reproduced as chromolithographs."
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Irish School,18th/19th Century PORTRAIT OF THE 1ST PRESIDENT OF ROYAL COLLEGE OF SURGEONS, SAMUEL CROKER-KING (1728-1817)oil on canvas laid on boardPortrait33.75 by 27in., 84.375 by 67.5cm.The Collection of the Pytts Family, Kyre Park, Worcestershire, England;Thence descent;Private collectionAn unsigned portrait of the sitter can be found in the Collection of the RCSI, Stephen`s Green, Dublin and is reproduced in an article, O`Brien, Eoin, `The Royal College of Surgeons in Ireland: Bicentennial Tribute`, Journal of the Irish Colleges of Physicians and Surgeons, Vol. 13, No. 1, January 1984, p.30.
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Thomas Hovenden (1840-1895)STUDY OF A YOUNG WOMAN SEEN IN THREE QUARTER PROFILE FROM BEHINDoil on canvassigned lower leftPortrait22 by 18in., 55 by 45cm.Whyte`s, 18 February 2003, lot 75;Whence purchased by the present ownerBorn in Dunmanway, Co. Cork, Hovenden was orphaned at the age of six and thus reared in a local orphanage. At 14 years of age he was apprenticed to a Cork frame-maker by the name of Tolerton, for whom, according to Strickland, he served seven years and afterwards served worked as a journeyman." His artistic training began at the School of Art in Cork, where he was an acclaimed early student of James Brenan, and was furthered from 1863 to c.1875 at the prestigious National Academy of Design in New York. By 1875 he had left America in preference for France, settling in the flourishing artist`s community at Pon Avon, Brittany. Whilst his work was omitted from the seminal Irish Impressionism exhibition of 1984, Anne Crookshank and the Knight of Glin have surmised that he probably spent time in contact with Aloysius O`Kelly and Augustus Nicholas Burke (Ireland`s Painters 1600-1940, p.260). His work may be found in the Philadelphia Museum of Art and the Metropolitan Museum, New York. See Strickland, Vol. I, p.528. For further reading see: A. G. Terhune, P. Smith Scanlan, Thomas Hovenden; His Life and Art (2006)"
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Erskine Nicol ARA RSA (1825-1904)GRAVE DIGGER, 1865oil on canvassigned and dated lower right; with artist`s name on stretcher versoPortrait13 by 10.5in., 32.5 by 26.25cm.In 1865 the artist was showing with the Royal Academy in London, where his address is recorded as 24 Dawson Place, Pembridge Square, London."
![Leo Whelan RHA (1892-1956)PORTRAIT OF MR. GEORGE HILL TULLOCH [FORMER DIRECTOR OF BANK OF IRELAND]oil on canvassigned upper l](http://lot-images.atgmedia.com/SR/10092/2876356/93-201321811232_468x382.jpg)
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Leo Whelan RHA (1892-1956)PORTRAIT OF MR. GEORGE HILL TULLOCH [FORMER DIRECTOR OF BANK OF IRELAND]oil on canvassigned upper leftPortrait30 by 25in., 75 by 62.5cm.RHA, Dublin, 1950, catalogue no. 150 [George Hill Tulloch, Esq. NFS]This lot is accompanied by a small Irish Times article announcing Mr Tulloch`s [of Bushy Park Rd., Terenure] appointment to the position of Director with the bank. It notes his previous training and employment as partner with Messrs. Craig Gardner & Co. Accountants [Dame St.] (Price Waterhouse Coopers). The sitter was also in charge of the finances records of the Abbey Theatre from 1923 to the 1930s.
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Sir William Orpen RA RI RHA (1878-1931)NUDE, c.1900pencilPortrait11 by 8.5in., 27.5 by 21.25cm.acquired from the artist c.1901 by Michel Salaman;Thence by descent to Michael Salaman;Private collection, Ireland`William Orpen: Early Work`, Pyms Gallery, London, 20 May to 12 June 1981 (illustrated on final page of catalogue)
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Michael Healy (1873-1941)DUBLINERS (A PAIR)watercolourwith inscribed Dawson Gallery label on reversePortrait7.5 by 4.75in., 18.75 by 11.875cm.Dawson Gallery, Dublin; Whence purchased by the previous owners;Whyte`s, 25 February 2008, lot 92;Private collectionIn the original, uniform frames of the Dawson Gallery, Dublin.
![Kathy Prendergast (b.1958)UNTITLED, 1985watercolour over pencilsigned and dated [June] lower right; with typed Hendriks Galle](http://lot-images.atgmedia.com/SR/10092/2876356/111-2013218111642_468x382.jpg)
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Kathy Prendergast (b.1958)UNTITLED, 1985watercolour over pencilsigned and dated [June] lower right; with typed Hendriks Gallery exhibition label on reversePortrait25.75 by 19.5in., 64.375 by 48.75cm.Hendriks Gallery, Dublin;Whence purchased by Vincent Ferguson;Thence by descent to the present ownerthought to have been shown at the Hendriks Gallery, Dublin, 11 July 1985, catalogue no. 5Prendergast was awarded the Premio 2000 for the best young artist at the Venice Biennale. Her work has been show at the Tate London, her 1999 solo exhibition at IMMA was acquired in its entirety for their permanent collection and she has since exhibited widely in various venues including Sydney Biennale, ICA, Boston, Drawing Centre, New York, Kerlin Gallery 2007 and 2009, and Peer, London, 2010.
![Michael Leventis (b.1944)PORTRAIT OF A. A. DAVID, 1986oil on canvassigned, titled and dated [January] on reverse; with inscri](http://lot-images.atgmedia.com/SR/10092/2876356/117-2013218111652_468x382.jpg)
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Paula Rego DBE (b.1935)COME TO ME, 2001/02lithograph in colours; (no. 14 from an edition of 35)signed lower rightPortrait39 by 26.5in., 97.5 by 66.25cm.This image by Paula Rego of Jane Eyre, was reproduced as a postage stamp by Royal Mail in 2005 as part of a series of stamps using Rego`s lithographs based on the Brontë Sisters.In 2001 Paula Rego began work on a substantial series of pastels and lithographs inspired by Charlotte Brontë`s Jane Eyre, the culmination of which was shown in the exhibition `Jane Eyre and Other Stories` at the Marlborough Gallery, London in 2003. Rego was born in Lisbon in 1935. She studied at the Slade School of Art in London between 1952 and 1956. It was at the Slade that Rego met her future husband, the English painter Victor Willing. Following a number of years spent between England and Portugal they permanently settled in London in 1976. Rego enjoyed initial success in Portugal with her semi-abstract, Surrealist style paintings that often incorporated elements of collage. However, it was during the late 1970s that her reputation as a prolific painter and printmaker began to accelerate. Rego shifted from loose semi-abstraction to a more figurative and graphic style of representation, typically displaying the strong lines and clear forms that have become synonymous with her oeuvre. A strong sense of narrative or storytelling is also a quintessential characteristic of a work by Rego who has often found inspiration from the literary works of writers such as Charlotte Brontë, Frans Kafka and J.M. Barrie. Rego has been the subject of a number of career retrospective exhibitions including shows at the Serpentine Gallery in London (1988), the Calouste Gulbenkian Foundation in Lisbon (1988), Tate Liverpool (1997), Tate Britain (2005) and the Museo Nacional Centro de Arte Reina Sofia in Madrid (2007). Numerous examples of her work can be found in public collections such as the Tate Gallery in London, the British Museum in London and the Yale Center for British Art in Yale USA.Rego is represented by the Marlborough Fine Art Gallery, London and continues to work and live in London. In 2010, Rego was made Dame of the British Empire in the Queen`s Birthday Honours list.
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Hector McDonnell ARUA (b.1947)PORTER, KIGALI, RWANDA,1997oil on canvassigned with initials and dated lower right; signed, titled and dated on reverse; with Solomon Gallery label also on reversePortrait23.5 by 15.5in., 58.75 by 38.75cm.Solomon Gallery, Dublin;Where purchased by the present owner`Recent Paintings by Hector McDonnell`, Solomon Gallery, Dublin, 15 February to 10 March 1999, catalogue no. 2
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Hughie O’Donoghue (b.1953)ARISE AND GO, 2004/6oil and gampi tissue on panel with photographic componentsigned lower right; signed, inscribed [Prodigal Son Series] titled and dated on reversePortrait29 by 25in., 72.5 by 62.5cm.In spring of 2005 the Fenton Gallery, Cork hosted Hughie O’Donoghue’s solo show, ‘Parable of The Prodigal Son’. The exhibition traced the fable through a series of narrative panels of which this is one. The story told by the artist was inspired by a set of plate negatives bought at a car-boot sale. These photographs of unknown people fused with the artist’s own imagined ideas of their lives, memories of his father and grandfather and ‘the muddy wastes of the Western Front’ fuse to form a collection of contemplative multifaceted visual meditations. The artist describes his creative processes for these panels as, “…a balance between action and contemplation, the old alchemical division between laboratory and library, only in my case the laboratory is a painting studio.”
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Louis le Brocquy HRHA (1916-2012)IMAGE OF BONO (BLUE), 2003silkscreen (no. 39 from an edition of 75)signed and numbered in the margin lower leftPortrait26.5 by 22in., 66.25 by 55cm.Jonathan Swift Gallery, Carrickfergus; Private collection;Whyte`s, 30 May 2011, lot 134;Whence purchased by the present ownerSheet size: 33.5 by 27.7ins.
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Louis le Brocquy HRHA (1916-2012)MYCENEAN GOLD MASK, 1974Intaglio print on paper; (no. 10 from an edition of 75)signed and numbered in the margin lower leftPortrait15.5 by 15.5in., 38.75 by 38.75cm.Sheet size: 24.25 by 19ins. An example from this edition was presented to the Tate by Gimpel Fils in 1975, their reference PO1748.
![Jeff Koons HRA (American, b.1955)KANGAROO MIRROR BOX [BLUE] 2003mirror polystyrene and Plexiglas & DVD; (no. 1516 from an](http://lot-images.atgmedia.com/SR/10092/2876356/132-2013218111720_468x382.jpg)
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Jeff Koons HRA (American, b.1955)KANGAROO MIRROR BOX [BLUE] 2003mirror polystyrene and Plexiglas & DVD; (no. 1516 from an edition of 2000)signed, dated and numbered on reversePortrait10.5 by 7 by 0.5in., 26.25 by 17.5 by 1.25cm.Dimensions of presentation case: 12.75 by 9.5 by 1.75ins. Includes a DVD Collector Edition of the documentary Jeff Koons A man of Trust by Judith Kele, 2002, 57 minutes.
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Patrick Scott HRHA (b.1921)GOLD PAINTING 4, 1978acrylic with gold leaf on canvassigned, titled and dated on reverse; with Annely Juda Fine Art label on reversePortrait48 by 48in., 120 by 120cm.Annely Juda Fine Art, London;The Collection of Liam O`Keeffe-AyudhkijLiam O`Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O`Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott`s oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O`Keeffe-Ayudhkij`s love of art manifested itself in his support of Asian artists, the setting up of `Liam`s Gallery` in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After traveling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O`Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick`s Society among other accolades. Outside of the business arena O`Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."
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Patrick Scott HRHA (b.1921)TANGRAM I & II, 2004carborundum and gold leaf; (each no. 21 from an edition of 75)each signed and dated in the margin lower right; each numbered lower left and with Lemon Street Dublin blind stamp lower rightPortrait24 by 23.75in., 60 by 59.375cm.Sheet size of each: 31.5 by 30in. Frame uniformly.Liam O`Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O`Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott`s oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O`Keeffe-Ayudhkij`s love of art manifested itself in his support of Asian artists, the setting up of `Liam`s Gallery` in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After traveling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O`Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick`s Society among other accolades. Outside of the business arena O`Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."
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Patrick Scott HRHA (b.1921)UNTITLED IV, 2006carborundum and gold leaf; (no. 40 from an edition of 75)signed and dated in the margin lower right; numbered lower left; with blind stamp of Stoney Road Press lower right; with Taylor Galleries exhibition label on reversePortrait38.5 by 19.5in., 96.25 by 48.75cm.Taylor Galleries, Dublin;Where purchased by Liam O`Keeffe-AyudhkijSheet size: 45.5 by 25.5in.Liam O`Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O`Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott`s oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O`Keeffe-Ayudhkij`s love of art manifested itself in his support of Asian artists, the setting up of `Liam`s Gallery` in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After traveling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O`Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick`s Society among other accolades. Outside of the business arena O`Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."
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Patrick Scott HRHA (b.1921)UNTITLED II (FROM MEDITATIONS), 2007carborundum with gold leaf; (no. 33 from an edition of 50)signed and dated lower right; numbered lower left; with blind stamp of Stoney Road Press stamp lower rightPortrait24 by 24in., 60 by 60cm.Each lot uniformly framed. Sheet size: 28.5 by 28in. From a compilation of seven hand-made carborundum prints which re-examine the artist`s introspective approach to creation as seen in his earlier works on canvas. Published in collaboration with Stoney Road Press in May 2007.
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Patrick Scott HRHA (b.1921)UNTITLED III (FROM MEDITATIONS), 2007carborundum with gold leaf; (no. 33 from an edition of 50)signed and dated lower right; numbered lower left; with blind stamp of Stoney Road Press stamp lower rightPortrait24 by 24in., 60 by 60cm.Each lot uniformly framed. Sheet size: 28.5 by 28in. From a compilation of seven hand-made carborundum prints which re-examine the artist`s introspective approach to creation as seen in his earlier works on canvas. Published in collaboration with Stoney Road Press in May 2007.
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Patrick Scott HRHA (b.1921)UNTITLED IV (FROM MEDITATIONS), 2007carborundum with gold leaf; (no. 33 from an edition of 50)signed and dated lower right; numbered lower left; with blind stamp of Stoney Road Press stamp lower rightPortrait24 by 24in., 60 by 60cm.Each lot uniformly framed. Sheet size: 28.5 by 28in. From a compilation of seven hand-made carborundum prints which re-examine the artist`s introspective approach to creation as seen in his earlier works on canvas. Published in collaboration with Stoney Road Press in May 2007.
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Patrick Scott HRHA (b.1921)UNTITLED V (FROM MEDITATIONS), 2007carborundum with gold leaf; (no. 33 from an edition of 50)signed and dated lower right; numbered lower left; with blind stamp of Stoney Road Press stamp lower rightPortrait24 by 24in., 60 by 60cm.Each lot uniformly framed. Sheet size: 28.5 by 28in. From a compilation of seven hand-made carborundum prints which re-examine the artist`s introspective approach to creation as seen in his earlier works on canvas. Published in collaboration with Stoney Road Press in May 2007.
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