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Lot 158
Two late 19th Century / early 20th Century Victorian tazza's to include a Doulton Kyoto imari pattern tazza having blue and red floral sprays along with a coalport Salopian art nouveau style tazza / cake stand having hand painted lily pads and florals and long with a hand painted fitted topper plate with butterflies and floral sprays. Tallest 15cm high 24cm diameter.
Lot 102
Gerard Dillon (1916-1971)Artist's StudioOil and mixed media on board, 45 x 55cm (17¾ x 21½'')Provenance: Gerry Dillon, nephew of the artist; thence by descent to Martin Dillon, New York; Adam's Sale 28th May 2008, Lot 63; Private collection.In the late 1950’s, the Belfast artist Noreen Rice (1936-2015) painted with Dillon when she lived in a flat above him in Molly Dillon’s house in Abbey Road in St. John’s Wood in London. This painting ‘Artist’s Studio’ was probably executed during this period when Dillon was going through an intense period of creativity and experimentation with various materials and mediums. Years later in a retrospective of Dillon’s work Noreen Rice recalled their time working in his studio together;‘We were enlightened and stimulated when the Spanish School led by Tàpies, the Tachists with Jackson Pollock, and Cézar, the French sculptor, were first shown in London. All at once, we changed from figurative to abstracts. We made pictures or objects from things found in dumps to recycle into art parts of sewing machines, gas cookers, bicycles, leather, sand, hessian, anything which suggested a new aspect of their quality metamorphosis into a new life.’ (Memories of Gerard Dillon, Gerard Dillon 1916-1971 A Retrospective Exhibition, Droichead Arts Centre, 2003)Bold shapes of colour and an abstract painting depicted on the artist’s easel suggest a period of ‘metamorphosis into a new life’. Dillon explored making papier mâché masks, sculpture, sewing suits, ties, hats, designing and hand weaving tapestries. He also explored the area of home furnishing by designing Holland blinds, lamp shades and wall paper. The appearance of another easel on the right side of the composition suggest another artist at work. The wallpaper tools displayed on the floor, scissors and roll of paper on a table signify someone working with wall paper. This subject may therefore relate to the period when Noreen Rice was in Dillon’s studio when he was making wall paper. In a retrospective catalogue in 2003, Dillon is photographed sitting on the stairway of his family home in Belfast with his wall paper behind him. The motif on the paper signifies Dillon’s passion for the Theatre. (Photograph reproduced courtesy of Tristram Giff)Karen ReihillNovember, 2018
Lot 103
Gerard Dillon (1916 - 1971)A view of Drogheda (1943)Oil on board, 27.9 x 35.5cm (11 x 14)Signed and dated (19)'43, title versoProvenance: With Jorgensen Fine Art, Dublin‘A view of Drogheda’ was most likely painted after Dillon’s visit to the town with Drogheda painter, Nano Reid (1900-1981) in 1943. The two friends may have arranged a sketching holiday after the opening of their group exhibition of watercolours at the Contemporary Picture Galleries in Lower Baggot Street in July, 1943. A Publican’s daughter, Reid was sixteen years older than Dillon but he never viewed their age difference as an obstacle for friendship. Both artists felt strongly about Ireland’s cultural heritage and admitted in interviews to having influenced each other’s work.This work is typical of Dillon’s subjects in the early 1940’s which were largely focused on everyday subjects that were linked to his daily life. His style of painting was still at an early stage of development but this visit to the town and the surrounding area had a lasting impact on him. In 1944 Dillon and Reid showed works from their sketching holiday in their exhibitions in Dublin and Northern Ireland. ‘View of Drogheda’ may be ‘Drogheda’ listed in Dillon’s joint show with George Campbell at John Lamb’s gallery, Bridge St in Portadown in June, 1944 (Cat.22). Opened by John Hewitt, the Portadown News commented that the two artists ‘cover a wide range of subjects and include landscape, the blitz and life in our cities and on things that are avoided by the majority of artists, but which when painted leave a valuable record of our time for future generations.’(1.7.44) Dillon probably didn’t intend to document this scene as a valuable record of the town but his desire to record the town and the architectural heritage in the area before Institutions were set up to protect listed buildings was a ‘valuable record’ for future generations. It has been suggested that this scene is from the south side of the Boyne looking west possibly from the vantage point of Pitcher Hill, Barack Lane or at ‘Butter Gate’. The Church across the river is probably St. Magdalen’s Church known locally as Dominick’s Church.Karen ReihillNovember, 2018(This writer is grateful for the assistance of Declan Mallon for his help in identifying the location of this work.)
Lot 105
Gerard Dillon (1916-1971)The VisitorGouache and ink, 24 x 32cm (9½ x 12½'')SignedProvenance: Artist's family by descent This subject is directly linked to two etchings, ‘Strange Visitor’ and ‘Little Girl’s Wonder’ completed in the last year of the artist’s life. The inspiration for these works was derived from an earlier oil painting ‘Little Girl’s Wonder’ which was exhibited in Dublin at the Irish Exhibition of Living Art in August 1955, (Cat No. 103). Curiously, the young boy in this work is not included in the 1955 oil painting or in the prints. Perhaps when Dillon revisited this subject in 1970, he decided to explore the idea of including a boy. Further research may reveal more information but we do know that the narrative in these works relate to Dillon’s interest in the past and the present. Two children are depicted in an interior with a figure resembling a figure from a medieval manuscript. A little girl gazes at the visitor in a robe from behind a chair while a boy’s attention is directed toward the cat sitting on the visitor’s lap. The past is represented by the statuesque figure in medieval robes and the present signifies the children in an interior of a traditional cottage. The basket of turf in the foreground and the cross of St. Brigid on the wall behind the seated figure may be symbols linking the past and the present. The making of St. Brigid’s Crosses from rushes was traditional on St Brigid’s feast day, which was formerly celebrated as a pagan festival marking the beginning of Spring. The four arms tied at the ends and woven square in the middle were traditionally set over rural cottage doorways and windows to protect the home from any harm.Karen ReihillNovember, 2018
Lot 114
Jack Butler Yeats RHA (1871-1957)Jack B. Yeats: A catalogue Raisonné of the oil paintings by Hilary Pyle London: André Deutsch, 1992. Three volumes, 1856pp with 1822 illustrations, 111 in colour. Cloth in a slipcase fine unopened condition. Definitive catalogue raisonné of Ireland's greatest painter, bringing together every known oil painting by Yeats, providing further documentary illustrations where appropriate and citing all relevant sources and influences. No. 108 from an edition limited to 1500, a must have for anyone interested in the history of Irish art and work of Jack B. Yeats. Mint unopened condition.
Lot 24
Edwin Hayes RHA RI ROI (1819-1904)A Merchantman Heaving -To and Calling for a Pilot as She Approaches HarbourOil on canvas, 104 x 139cm (41 x 54¾'')SignedEdwin Hayes was born in Bristol in 1820 but brought up in Dublin where his father ran the Bristol and Glasgow Hotel in Marlborough Street. He studied at the Dublin Society’s Schools and from the very first his ambition was to be a marine painter. His experiences as a pleasure sailor on the Irish Sea and also as a hand on a trans-Atlantic vessel stood him in good stead in his future art, as Walter Strickland noted ‘his experiences enabled him in his pictures to delineate the sea and shipping with a sincerity and truth born of experience.’ Hayes first exhibited at the Royal Hibernian Academy in 1842 and continued to exhibit there until his death in 1904, showing hundreds of paintings over that period. He remained in Dublin for ten years before moving to London. He also exhibited at the Royal Academy of Arts, British Institution, Society of British Artists and the Royal Institute of Painters in Watercolours, becoming a full member of the latter in 1863.Hayes painted the shores and harbours of the British coast, the south coast fishing boats and French and Dutch luggers, and his visits to the coasts of France, Spain and Italy yielded him many subjects, not to mention many of the coasts around Ireland, particularly in the east. He died as he had wished, standing at his easel, aged eighty five.
Lot 41
Louis le Brocquy HRHA (1916-2012)Battersea BoyOil on canvas, 30.5 x 25.5cm (12 x 10'')Signed and dated (19)'54; inscribed versoLondon, Gimpel Fils, 1955Provenance: With Mark Adams Fine Art; Private Collection, Northern Ireland; de Veres Art Auctions, Sale June 2007, Lot 73; Private Collection Dublin.In her introduction to the 1966 le Brocquy Retrospective exhibition at The Municipal Gallery of Modern Art and The Ulster Museum, Prof. Anne Crookshank noted that the artist ‘is one of the strangely few artists who were born into an environment where a knowledge and love of art and literature were matters of everyday concern. Nevertheless, it was not until he was twenty-two, after he had been in the family’s business for some four years, that he decided he wanted to paint above all else. He set about it in an unconventional way which is, however, the oldest method of learning: from the paintings of the past. ‘He was enthralled by Spanish painting and its influence has remained a feature of his work, where the precision of his tone values and his use of greys and whites, both very prominent factors in Spanish painting, are constantly important. ‘From the beginning le Brocquy had remarkable fluency and the early academic paintings have a beauty and authority which is astonishing in view of his inexperience. Occasionally, much later, he again used old masters as the basis of his composition, but with much freer treatment. For instance, in Children in a Wood (1954) which is based on a Nicolaes Maes, he has raised the original into the complexity of a nearly cubist work, the figures and the background creating a closely related pattern like a carved high-relief.‘About 1950, a noticeable change takes place in the artist’s style. His subject matter is still concerned with human beings, but now more directly with the concept of family. The paintings are much simpler and for the first time he realizes empty spaces and relates forms to them with conviction. His family groups are placed in shallow, unidentifiable settings and represent the essential qualities of humanity rather that of particular human beings.’The present work, ‘Battersea Boy’ painted in 1954, when the artist was living and working in London, is one of a small series of works depicting children from the locality where the artist lived. A similar sized work entitled ‘Battersea Child’, also painted that year, was exhibited in the 1966 Retrospective (Cat. No. 29). Crookshank comments further ‘His pictures of children, which occur frequently during these years, evoke the innocence, wonder and clumsiness of the very young. But all his figures, though usually grouped, produce an impression of isolation. During these years he uses colour very sparingly and the overall effect is one of tonal contrast. In 1955 this ‘grey period comes to an end.’
Lot 48
Frederick E. McWilliam HRUA RA (1909-1992)Peace B - Banner Series (1975)Bronze, 35cm high x 28.5cm wide x 16cm deep (13¾ x 11¼ x 6¼''), raised on a polished limestone baseSigned with initials and numbered 4/5(Plaster maquette, collection of F.E.McWilliam Gallery and Studio, Banbridge.)Exhibitions: Gordon Gallery, Derry, 1987, cat. no. 10; Sotheby’s 1996; Solomon Gallery 1998.Literature: The Sculpture of F.E McWilliam, Denise Ferran & Valerie Holman, Lund Humphries in association with the Henry Moore Foundation, 2012, no. 424, illus, p. 161 and fig. 44, p. 72.It was inevitable that McWilliam followed his series ‘Women of Belfast’ with his series of ‘Banners’ as he responded to events in Northern Ireland, with each series lasting no more than 3 years from the first idea to completion. Out of the carnage of the bombings and murders during the ‘Troubles’, grew the ‘Peace People’ and their ever-increasing number marched through the main towns of Northern Ireland, rallying people to join them in their call for ‘Peace’. This group was comprised mainly of women who did not want any other mother to lose their son or daughter. McWilliam, through his friendship with T.P. Flanagan’s wife, Sheelagh, who like me, had joined the ‘Peace People’, designed a Christmas card in 1974, which featured a lone woman, carrying a banner with the word ‘Peace’ written on it. The ‘Banners’ combined McWilliam’s delight in depicting the female form with his humour in developing the theme beyond the ‘Peace’ theme to those with a play on words ‘No Broken Province’ or ‘Up the Grass Roots’. The sculptor, from his early childhood in Banbridge, had witnessed vicious sectarian riots, which gave him a lifelong detestation of bigotry in any form and he resolved to leave Northern Ireland as soon as he could. By 1977, McWilliam had returned to his much more playful series of ‘Legs’ because he himself was aware that ‘The things you start a theme with are usually the best at the beginning. After a while a sort of repetition seems to set in….’ McWilliam in conversation with Louisa Buck for the Irish Art series, 1983, p.5 Tate Gallery Archive. In these two figures, apparently fighting one another with their Banners, one of which carries the word ‘Peace’. McWilliam uses their clothing, including head coverings to give movement and an angular power to the material, and, as always, carefully maintaining the anonymity of the subjects.Dr Denise FerranNovember 2018
Lot 56
Patrick Scott HRHA (1921-2014)Gold Painting 5.94Gold leaf and tempera on canvas, 130 x 130cm (51¼ x 51¼'')Signed, dated and inscribed versoPatrick Scott was born in Kilbrittain, Co. Cork, in 1921, trained as an architect but did not become a full-time artist until 1960. He worked with architect Michael Scott, on the design of Busáras, the central bus station in Dublin. He was also responsible for the orange livery of Irish intercity trains.Scott was perhaps best known for his gold paintings, abstracts incorporating geometrical forms in gold leaf against a pale tempura background. These works in particular are distinguished by their purity and sense of calm, reflecting his own interest in Zen Buddhism. Paintings by Scott are in several important international collections including the Museum of Modern Art in New York. He won the Guggenheim Award in 1960 and represented Ireland in the Venice Biennale of that year. The Douglas Hyde Gallery held a major retrospective of his work in 1981 and the Hugh Lane Gallery in Dublin held a major survey in 2002. Scott, who was a founding member of Aosdána, was conferred with the title of Saoi in 2007, by President of Ireland, Mary McAleese, the highest honour that can be bestowed upon an Irish artist.Patrick Scott died on 14 February 2014 at the age of 93.
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