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Lot 97
Breon O'Casey (1928-2011)Red BirdOil on canvas, 91.3 x 126.7cm (36 x 49½)Signed and inscribed versoIn the late fifties while watching television, Breon (son of Sean O’Casey) saw a film about Alfred Wallis, a primitive painter who had lived at St Ives in Cornwall. The film showed St Ives and the studios of some of the artists living there at the time. He suddenly realised it was the place he wanted to be. In his first few years in St. Ives, O’Casey worked part-time as an assistant to both Denis Mitchell and Barbara Hepworth. Rather than limiting himself to one method or medium, O’Casey is both a sculptor and painter, and has dabbled in crafts such as weaving and jewellery. Birds are a common subject within his oeuvre, particularly for his sculptures. His work is included in many private and public collections, including a large sculpture, ‘Ean Mor’, situated in the grounds of Farmleigh House in the Pheonix Park, and ‘Bird’ in bronze and wood on view at the Tate Britain, which also houses a number of his works on paper.
Lot 16
Rowan Gillespie (b.1953)Peace IIBronze, 78cm high (30¾'')Signed, inscribed and dated 1999 underneath the baseFemale figures are quite prominent in Gillespie’s work, with his depiction of the body often acting as a celebration of female liberty and the vitality of life. They are not treated in the same way as a classical sculpture in which the female form was often depicted as an object of beauty. Instead Gillespie strives to create thoughtful expressions of the free-spirited and independent nature of modern women. Freedom is a constant thread in Gillespie’s work, something his sculptures seem to always be striving towards, whether they are scaling the side of a building, Aspiration (1995) or perched on a window ledge, Birdy (1997). His figures seem to affect an act of defiance in the face of gravity. While Gillespie’s sculptures are often struggling under the weight, literal and metaphorical, of the base, elemental forces of life there is also a lightness, a joy found within his depictions of the human form. There is a visual link between the outstretched arms in Peace II and the Blackrock Dolmen (1987), although on this occasion the figures are not supporting the heavy weight of the stone. Instead with their arms outstretched, reaching upwards towards an imaginary light, one is reminded of his respective large-scale public commissions in Italy and Dublin, L’Eta della donna (2009) and The Age of Freedom (1992). On both occasions the figures stand, similar to the present work, naked, offering some form of thanksgiving to the sun. The two figures in Peace II, seem to grow upwards from the same source, their bodies intertwined with one another. It is an expression of gratitude, a gesture of sublimation and hope. While he is known for his emotionally arresting Famine memorial, here there is a delicacy to the treatment of the material which seems to hark back to his earlier investigations into the human form. The finish of the bronze in this work is the antithesis of the cracking, raw patinas of his Famine figures. However, once again he has created a visual as well as physical connection to the raised arms of his Jubilant Man (2007) sculpture in Ireland’s Park, Toronto, who upon safe arrival in Canada is utterly overcome with emotion.Niamh Corcoran, September 2019
Lot 125
John Behan RHA (b.1938)Famine ShipBronze, 75 x 76 x 33cm (29½ x 30 x 13'')Signed and dated 2005UniqueBorn in Dublin in 1938 and now living in Galway, John Behan studied at the National College of Art & Design, Dublin; Ealing Art College, London; and the Royal Academy School, Oslo. He helped establish the Project Arts Centre in 1967 and the Dublin Art Foundry in 1970. Beginning in the 1960s he exhibited in major group shows such as the Irish Exhibition of Living Art, the Royal Hibernian Academy and the Oireachtas; in addition, he has had frequent solo shows in Ireland and abroad, all combining sculpture and drawing.The artist’s ongoing exploration of links between the past, present and future is exemplified by the monumental nature of the Famine Ship, referring to the great Irish famine of 1846-1849 whilst at the same time referencing more universal notions of life and death. The Office of Public Works commissioned Arrival, a bronze sculpture of a famine ship, seven metres long and eight metres high, with 150 bronze figures on deck and disembarking, for presentation to the United Nations by the Government of Ireland in 2000. The piece mirrored his Famine Ship, the National Famine Memorial at the base of Croagh Patrick in Murrisk, Co. Mayo, which was unveiled by President Mary Robinson in 1996.Other major commissions include Flights of the Earls Monument, Rathmullen, Co Donegal (2007), Millennium Child for Barnados which was cast in a limited edition of 100; Wings of the World in Shenzhen, China (1992); Megalithic Memories, Allied Irish Banks headquarters, Dublin (1982); Cúchulainn Relief Panels, Gresham Hotel (now in Dublin Institute of Technology Kevin Street), 1970. He was a member of the Arts Council from 1973 to 1978 and was conferred as a Doctor of Literature by NUI Galway in 2000. He is represented by the Solomon Gallery, Dublin.
Lot 334
A 19th Century Fijian Ula, of heavy dense wood with rich brown patina, the large globular head with natural crevices, the tapering cylindrical haft of uneven shape, with ring turned and chip carved conical pommel, later pierced, 31cm; a Small Quantity of Antiquities, including excavated bronze items and South American funerary beads and ear plugs. The ula has chips of wood missing from the pommel, with natural splits in the haft and crevices to the head.
Lot 195
A German Third Reich General Assault Badge, in white metal, the solid back with vertical needle shape pin; a German Third Reich Infantry Assault Badge, silver class, the solid back with vertical needle shape pin, unmarked, with original paper packet; another Example, bronze class, with original paper packet (3)
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