Micheal Farrell (1940-2000) SANDYCOVE SERIES, 1967 screenprint signed and dated lower right; dedicated lower left 24 by 37.5in., 60 by 93.75cm. L The work of Micheal Farrell has recently been highlighted by Solstice Arts Centre with support of the Arts Council/An Chomhairle Ealaíon with a touring exhibition [Solstice Art Centre, Navan; The Crawford Gallery, Cork and The RHA, Dublin 2013/2014] to encourage a re-evaluation of his important contribution to Irish life as an artist, and as a cultural commentator.
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Micheal Farrell (1940-2000) TRINITY II, 1964 etching; (no. 1 from an edition of 15) signed and dated in the margin lower right; titled centre; numbered lower left; with artist`s name and title inscribed on Dawson Gallery label 17.75 by 23.75in., 44.375 by 59.375cm. L Dawson Gallery;Private collection The work of Micheal Farrell has recently been highlighted by Solstice Arts Centre with support of the Arts Council/An Chomhairle Ealaíon with a touring exhibition [Solstice Art Centre, Navan; The Crawford Gallery, Cork and The RHA, Dublin 2013/2014] to encourage a re-evaluation of his important contribution to Irish life as an artist, and as a cultural commentator.
Cecil King (1921-1986) CIRCUS THEME, c.1966-1968 oil pastel on paper signed lower right; with partial Hendriks Gallery label on reverse 13.5 by 9.5in., 33.75 by 23.75cm. P Hendriks Gallery, Dublin;Private collection Possibly shown at `Cecil King`, Ritchie Hendriks Gallery, Dublin, (until) 28 October 1968, catalogue nos. 21 to 30 of equal size to the present work; all entitled Pastel or Pastel, 1968 In 1975 Kilkenny Art Week hosted a solo show of King`s work at Kilkenny College entitled `Cecil King Paintings 1965-1975` from 23 to 31 August 1975.Among the work shown were pastels [19 by 9in] entitled Circus Pastel variously dated between 1966 to 1968, most lent from private collections.
Oliver McCarron (fl.1970s-1980s) FIVE FRIESIANS oil on board signed lower right; titled on reverse 21.5 by 14.5in., 53.75 by 36.25cm. P McCarron is listed in the National Irish Visual Artists Library as having exhibited at the Dublin Art Club Annual Exhibition in 1976 and in the 1980s held at the Bank of Ireland Exhibition Hall.
Edward Delaney RHA (1930-2009) RESURRECTION, c.1960-1961 copper; (unique) 257.5 by 112.5 by 12in., 257.5 by 112.5 by 30cm. P Commissioned for Our Lady of Lourdes Hospital, Drogheda This 9ft long Christ figure, entitled Resurrection, is part of a major commission done by Edward Delaney for Our Lady of Lourdes Hospital in Drogheda, commissioned by the Medical Missionaries of Mary and specifically their pioneering superior, Mother Mary Martin, who wanted a modern artistic display for the new hospital. Delaney always gave great credit to the Catholic Church for its support for art, design and sculpture and for the artistic leeway that he was given. For the Drogheda project, Delaney created a dome for the mortuary chapel, with 90 square feet of bronze reliefs, depicting the life of Christ as well as this figure. The work was completed in 1961 and is very fine representation of Delaney`s early stark style, influenced by post war German Expressionist sculpture (Delaney studied sculpture in Germany from 1954 to 1958) as well the work of the Italian master Giacomo Manzu, who specialised in the virtually two dimensional paneled figure, similar to this.In a June 1963 interview with the Sunday Review (an Irish Times title), Delaney spoke about the Drogheda project and described how he believed `…a spiritual figure to be an abstract form of harmony`, and that `the spiritual quality of such a figure should come from the way the artist shapes the material; moulds and forms`. However, he said he couldn`t `explain the figure` as he didn`t think `an artist should ever explain a piece of sculpture. It is simply a statement made in bronze, or another material. If anyone doesn`t understand a statement by an artist, I don`t think it could be explained to them.`
Helen Sinclair (British, b.1954) DOO WAH DIDDY, 2002 bronze and steel; (no. 3 from an edition of 3) signed with initials [H.S.] and with edition number at base, rear 181.25 by 132.5 by 14.5in., 181.25 by 132.5 by 36.25cm. P Dimensions of base, 11.5 by 51.5 by 3.5ins. A copy of the artist`s certificate accompanies this work.Helen Sinclair studied sculpture at Wimbledon School of Art (1972-1976). She has been a full-time sculptor since 1988. The human figure is her principal source of inspiration. Stylistically her work is influenced by sculptural forms and mythology of ancient civilisations as well as the Renaissance sculptors and the more contemporary artists such as Giacometti.Sinclair exhibits widely in the United Kingdom and her work can be found in private collections in the UK, Ireland, Europe and internationally. Among her most prestigious clients are Lord Melvyn Bragg, chef Gary Rhodes, singer Bonnie Tyler, actors Sheila Hancock and Arnold Schwarzenegger. Helen Sinclair is married to fellow sculptor Terry Ryall. They live and work in the Gower Peninsula in South Wales.The title of this work is thought to reference the song, Do Wah Diddy Diddy, written in 1963 by Jeff Barry and Ellie Greenwich, which was a hit for British group, Manfred Mann in 1964.
Helen Sinclair (British, b.1954) PERCHANCE TO DREAM (2) bronze; (no. 3 from an edition of 7) signed with initials [H.S.] and with edition number at rear 150 by 68.75 by 12in., 150 by 68.75 by 30cm. P A copy of the artist`s certificate accompanies this work.Helen Sinclair studied sculpture at Wimbledon School of Art (1972- 1976). She has been a full-time sculptor since 1988. The human figure is her principal source of inspiration. Stylistically her work is influenced by sculptural forms and mythology of ancient civilisations as well as the Renaissance sculptors and the more contemporary artists such as Giacometti.Sinclair exhibits widely in the United Kingdom and her work can be found in private collections in the UK, Ireland, Europe and internationally. Among her most prestigious clients are Lord Melvyn Bragg, Chef Gary Rhodes, singer Bonnie Tyler, actors Sheila Hancock and Arnold Schwarzenegger. Helen Sinclair is married to fellow sculptor Terry Ryall. They live and work in the Gower Peninsula in South Wales.
Alexey Krasnovsky (b.1945) STILL LIFE WITH PEARS AND PLUMS, 1996 oil on canvas signed and dated lower left 11.75 by 13.75in., 29.375 by 34.375cm. L Acquired directly from the artist by the present owner Born in St. Petersburg, Krasnovsky studied for five years at the Tavrichesky College of Art under the Constructivist painter Alexander Pavlovitch Zaitsev. In the late 1970s he travelled to North America and from there to Mexico, Austria, France, Portugal and Ireland. Locally, he has had several exhibitions with Jorgensen Fine Art, whilst in London he has shown with the Albemarle Gallery. His work is in numerous collections including the Museum of Russian Art in New Jersey.
Robert Ballagh (b.1943) NOT AGAIN, 1979 print on canvas; (no. 2 from an edition of 15) signed, numbered and dated lower right; with inscribed David Hendriks Gallery label on reverse 16 by 18in., 40 by 45cm. L David Hendriks Gallery, Dublin;Private collection Contained in original David Hendriks Gallery frame. An example of this print can be found in the collection of the Irish Museum of Modern Art, Dublin.
Marshall C. Hutson RHA (1903-2001) FISHERMAN, GLENBURY 1975-76 and ST. FINANS BAY, COUNTY KERRY 1976 (A PAIR) pencil; (1); oil on board; (1) signed lower left and lower right respectively 15 by 22in., 37.5 by 55cm. L Dimensions of oil, 9 by 12.25in. Born in Bulwell, near Sherwood, Nottingham, Hutson trained at the Nottingham College of Art. In 1930 he moved to Cork, where his mother was born, and began teaching at the Crawford College of Art. He eventually became vice-principal of the college, retiring in 1962. He is best known as a sculptor; however the Crawford and National Self-Portrait collection hold paintings by him. Cork City Library holds a bust of Thomas Davis by Hutson, while the Gaiety Theatre boasts both Michael MacLiammoir and Jimmy O`Dea. Other prestigious commissions included: Cork Harbour Board, UCC, and Aer Lingus.
Arthur K. Maderson (b.1942) SUMMING UP" or THE FIDDLE MAKER [JERRY MARTIN]" oil on board signed lower left; signed again and titled on reverse; also with inscribed Treasures` Irish Art [Athlone] label on reverse 43.5 by 32in., 108.75 by 80cm. P Commissioned by the original owner; Private collection; with Treasures` Irish Art, Athlone; Private collection
James Hamilton ARSA (Scottish, 1853-1894) AFTER THE BATTLE, 1883 oil on canvas signed and dated lower right; titled in the mount lower centre; title also given in pencil on reverse 14 by 16in., 35 by 40cm. L An example by Hamilton entitled, Massacre of Glencoe, 1883-86 can be found in the collection of Glasgow Museums. Artist`s address is variously recorded as being 23, Royal Crescent, Edinburgh. He exhibited at The Glasgow Institute of Fine Arts, The Royal Academy, Manchester City Art Gallery and the Royal Scottish Academy among others.
Robert Hunter (c.1715/20-c.1803) PORTRAIT OF HARRY HOUGHTON, 1790 oil on canvas signed and dated lower left 30 by 25in., 75 by 62.5cm. P Christies, 1 March 1985, lot 113;The Collection of David White / Elizabeth Guinness;with The Bell Gallery, Belfast;Private collection Crookshank, Anne, `Robert Hunter`, Irish Arts Review Yearbook, 1989/90, Vol. 87, p.169-185 (illustrated p.179) Half-length portrait where the sitter is painted within an oval, a device used regularly by Hunter. This is the latest known portrait by the artist, which is dated 1790.Robert Hunter was the principal portrait painter of the eighteenth century. Little is known about his early life or his family other than he was born in Ulster and studied art under Thomas Pope. Hunter had a very wide range of clients such as Sir Charles Burton, Lord Taaffe, Samuel Madden and Viscount Powerscourt. He contributed six works to the exhibition of the Society of Artists in George`s Lane, Dublin in 1765. He regularly contributed to the exhibition of the Dublin Artists up to 1777, and again, for the last time, in 1788. Hunter was for many years at the head of his profession as a portrait painter until the arrival of Robert Home in 1780. Age may have been another contributing factor to the decline in his productivity. He held an exhibition and sale of his pictures in 1792.
PAIRE DE DEFENSES d`Eléphant d`Afrique (Loxodonta africana) I/A pré-convention sculptées et présentées sur un socle en bois exotique figurant un demi-buste d`un personnage masculin( terminaison de la pointe légerement atrophiée ) et un demi-buste d`un personnage féminin d`une ethnie du continent Africain. Ces sculptures (demi-bustes) sont insérées sur la partie médiane de chaque défense. Au vu de leur patine et ancienneté ces deux spécimens sont antérieurs à 1947 et de ce fait sont conformes au REGLE 338/97 du CE art 2-W. Ces spécimens peuvent être utilisés commercialement dans l`UE. En revanche pour une sortie de l`UE un CITES de ré-export sera nécessaire celui-ci étant à la charge du futur acquéreur. Défense buste masculin : Long: 59 cm env. circonférence ext. : 18 cm Pds brut : 1146 g Défense buste féminin : Long : 60 cm env. circonférence ext. : 16
Jean-Leon GEROME (1824-1904) Joueuse de boules Epreuve en bronze à patine dorée figurant une jeune femme nue tenant dans sa main des balles. Signée J.L Gerome numérotée S423 et cachet du fondeur SIOT Vers 1900. Haut : 14 5 cm (sans le socle en onyx vert) Modèle édité en bronze doré ou en bronze patiné en quatre dimensions par la Maison Siot-Decauville reproduit dans le catalogue commercial : « Bronzes et objets d`art Siot-Decauville fondeur éditeur » Paris
Attribué à Michele Di RIDOLFO (1503-1577) La Vierge à l`Enfant avec Saint Jean-Baptiste Panneau de peuplier une planche non parqueté 76 x 58 cm Dans un cadre florentin ancien (recoupé et redoré) Notre tableau reprend avec des ajouts la composition de Raphaël La Vierge Bridgewater (toile 81 x 56 cm) conservé à Edimbourg à la National Gallery of Art. Expert : Cabinet TURQUIN
A Royal Doulton dish, transfer decorated with a seated figure from Dickens, together with three gilt framed oil landscapes signed W Hay, an Edison Bell album of 8 inch records, a mixed lot of flatware and cutlery and a quantity of Modern Masterpieces of British Art magazine.

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