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Lot 773
GB, Victoria to EII decimal stamp collection, inc. 1840, penny black, `HA`, top left hand corner missing, otherwise two margins with heavy black cancel & some GVI & EII definitives, mint, otherwise used, with EII, first day covers (101), in eight binders (lot) Care! Very High International Shipping Costs
Lot 283
A small collection of Belleek porcelain, including - "Shamrock" jam pot and cover, 3.5ins high (third black mark period), a twin handled double lipped cream jug with reeded body, 3.25ins high (first period black mark), a late 19th Century blue Jasperware cheese dish and cover, 10.75ins diameter x 10ins high (unmarked) and a selection of similar, various (differing period marks - some damage)
Lot 754
A group of three George V First World War medals "To 67847 Gunner (later Sergeant) A.S. Onions, Royal Artillery", comprising - War Medal, Victory Medal, and Long Service and Good Conduct Medal, a group of two George V First World War medals "To Captain J. MacArthur", comprising War Medal and Victory Medal, two other First World War Victory Medals, and a group of six George VI and Elizabeth II Second World War medals "To Sergeant George Presland", comprising - 1939 Star, Africa Star, War Medal, Defence Medal, Elizabeth II Coronation Medal, and Exemplary Police Service Medal
Lot 824
A late 16th/early 17th Century coloured engraving - "Map of the Shyre of Kent, divided into five lathes therof" - Map of Kent showing London, part of Surrey and Sussex, 7.75ins x 14.25ins (Anonymous - thought to be the second state of the first separate printed map of Kent, which was first published circa 1580. This example is probably issued circa 1625), in modern gilt moulded frame and glazed Provenance : O`Shea Gallery, 89 Lower Sloane Street, London SW1W 8DA
Lot 873
J.M. Barrie - "Peter Pan in Kensington Gardens" illustrated by Arthur Rackham, published by Hodder & Stoughton, London (one red cloth bound volume - lacking dust wrapper", Beatrix Potter - "The Pie and the Patty-Pan" published by Frederick Warne & Co, London, 1905 (one grey cloth bound volume - spine repaired), fourteen Beatrix Potter volumes (all apparently first editions - all in poor condition), and a small selection of children and other books, various
Lot 24
John Shinnors (b.1950) MAYO MOON, BLACK SCARECROW AND BADGER, 1996 oil on canvas with inscribed RHA exhibition label on reverse 36 by 38in. (91.44 by 96.52cm) Provenance: RHA , Dublin, 1996 Exhibited: RHA Annual Exhibition, Dublin, 1996, catalogue no. 436 John Shinnors was among the artists Jim O`Driscoll knew personally and his works hold a prominent place within his collection. This outstanding example by the Limerick artist displays all the characteristics one would associate with his work. As with many of his paintings the title guides the viewer into the narrative. Mayo Moon, Black Scarecrow and Badger, all familiar motifs in Shinnors` oeuvre, are shown here from an askew aerial perspective. The moon in the extreme left-hand corner casts a theatrical light on the scene hitting the figure of the scarecrow first, picking up accents of colour in the field, before resting on the striped back of the nocturnal creature lower right. The soft light cast off the Mayo moon lightens the mood of the canvas providing relief to the unsettling tone sometimes associated with the artist`s work. Mayo Moon, Black Scarecrow and Badger was accepted to the RHA in 1996 from where it was sold to the present owner. Jim O`Driscoll was a renowned barrister by profession but also a passionate patron of the arts with a keen eye for beauty. Director of the Fenton Gallery in Cork for ten years, he built lasting ties with the arts community buying regularly from galleries throughout Ireland as well as from artists directly. His strong connections with Cork in particular are reflected in both his subject choice and his support for its native artists, among them, Maurice Desmond and Pat Connor. He was an early supporter and friend of Tony O`Malley and the late William Crozier and their paintings within his collection are testament to his access to the very best from their respective oeuvres. All the masters in Irish art from the eighties and nineties are well represented here, although some, for example those by Patrick Collins and Gerard Dillon, come from an earlier generation. This outstanding collection represents the powerful imprint of a true collector who was guided not only by his trained eye for quality but by a passion for interesting and authentic artworks. (£9,720-£12,150 approx)
Lot 47
Louis le Brocquy HRHA (1916-2012) THE TÁIN COLLECTION Aubusson tapestry; Atelier René Duché (each no. 4 from an edition of 9) signed with initials in the weave on reverse by maître-lissier, René Duché and numbered lower right; with certificate of authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duché 72.50 by 110in. (184.15 by 279.40cm) Provenance: Agnew`s, London; Where purchased by the current owner Exhibited: `Louis le Brocquy Aubusson Tapestries`, Agnew`s, London, 3-29 May 2001, The Táin Tapestries Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland`s oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin. The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce`s Finnegans Wake drew on its meandering style - but Thomas Kinsella`s Táin was the first widely-accessible version, especially when Oxford University Press` 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass` Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation. The images le Brocquy called `shadows thrown by the text` became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in these tapestries. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post. Le Brocquy`s innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. This shows immediately in Army Massing, where marks cascade in rivulets that resemble both chain mail and hand-writing, and in the H-shaped Cúchulainn confronting Ferdia. Different ages and cultures whisper through the images - and through these twenty tapestries made during 1998-2000, when le Brocquy collaborated with maître-lissier René Duché, whose firm had recently been awarded the honour Meilleur Ouvrier de France. Cuchulainn`s Warp Spasm, for example, speaks both of calligraphic marks from Sun Tzu`s The Art of War and Yves Klein`s bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples. The translation into tapestry, via le Brocquy`s Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché`s subtly-textured cottons and wools freed le Brocquy`s black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book`s relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or sentence. They belong together. The tapestries were last seen at the Irish Museum of Modern Art in 2003, when they were acquired under the Heritage Tax Scheme. It is profoundly moving to see them together in these weeks after the artist`s passing on 25 April 2012. Le Brocquy`s hand reaches out through them. Medb Ruane April 2012 (£202,510-£243,010 approx)
Lot 62
Daniel O`Neill (1920-1974) FLORENCE oil on board signed lower left 24.50 by 18.50in. (62.23 by 46.99cm) Dan O`Neill was born in Belfast in 1920. He was one of a small group of talented Ulster painters which included Colin Middleton, George Campbell and Gerard Dillon who were largely self-taught and who absorbed in differing ways and to varying degrees aspects of European mainstream modernism. His first exhibition was a joint show with Gerard Dillon in 1946 and his first one man exhibition was at the Waddington Galleries, Dublin in 1946. Around that time he gave up his job as an electrician to devote his time to painting. He visited Paris in 1949 and one can detect influences from Vlaminck and other French artists in his work. He lived in London from 1958 to1971. O`Neill painted still lives, landscapes, religious pictures and many figure studies. Whether in the guise of the bride, the actress or the muse - portraits of women remained a constant theme. His women, brooding and often taken out of time, could be hauntingly archetypal and melancholic; at other times dressed theatrically in historical costume. In some works his figures register correspondences with the sky or the moon. In his painting Florence, however the background is neutralised so as to focus on the subject. The face is stylised and her `Picasso` eyes seem to stare into the distance. O`Neill`s love of depicting pattern can be seen in his simplified treatment of the necklace; while the swirling brush stokes of the cuffs and collar of her dress underline the importance of texture for him. Blue, a favourite choice, is the unifying dominant colour, linking backdrop and figure and recalling the decorative aspects of Renoir. Collections: He is represented in private collections in Ireland, England ,France, Holland, Sweden, USA, Canada and Israel. His work is also included in the following public collections; Hugh Lane Municipal Gallery, Dublin, The Arts Councils of Ireland, The Municipal Gallery, Cork, The National Gallery, Melbourne and The Herbert Gallery, Coventry. Prof, Liam Kelly April, 2012 (£20,250-£28,350 approx)
Lot 69
Seán Keating PRHA HRA HRSA (1889-1977) PAST DEFINITE, FUTURE PERFECT, 1928 oil on canvas signed lower right; inscribed [A.M.D.G.] lower left; inscribed with title, artist`s name [John Keating], address [Killakee, Rathfarnham, Dublin, Ireland] and price [£100] on label on reverse; also with framing label of the Bregazzi & Sons [10 Merrion Row, Dublin] on reverse 25 by 30in. (63.50 by 76.20cm) Provenance: Royal Academy, London; Where purchased by the previous owner Exhibited: Royal Academy, London,1928 Well-known for his use of allegory as a method by which to reflect on political issues in Irish society, and evident in images such as An Allegory (1924) and Night`s Candles are Burnt Out (1929), Seán Keating was equally well-capable of utilising those skills to focus attention on the greater significance of the simple things in life. The older woman in Past Definite, Future Perfectis reading the cards. She holds the five of hearts and points to another card from the same suit lying on the table. Her young companion watches attentively, her hands clasped to one side so that she can see everything of the procedure. Both women are focused on the cards, but entirely absorbed in their own thoughts. At first glance, the picture presents a quiet moment between, perhaps, a mother and daughter. The only movement is in the old woman`s gnarled hands and in the swirl of light and dark tones in the background. Yet the imagery and the artist`s title suggest that this is more than a simple depiction of a fortune-telling session. The painting abounds with symbolism: old age presented as the past, beside youth as representative of the future. The manner in which the old woman concentrates on the suit of hearts suggests that she is thinking about her own past loves. The young woman, perhaps unaware that nothing is perfect, may be hoping for a definite answer about love in the future. The overarching message is that the gaiety and hope of youth leads inexorably towards the wisdom and experience of old age. Keating painted Past Definite, Future Perfect in 1928, having recently completed his series of paintings of the `Shannon Scheme` at Ardnacrusha. The association between this work and the `Shannon Scheme` might first appear incongruous; but physically and metaphorically, the project gave the artist hope for the future, and made him focus on the importance of older people in newly modernized Ireland. The theme appears to have been very much on his mind in 1928, a year in which he painted several images of old age including The Turf Buyer, Old Kitty and Good Old Stuff. Added to this, his mother Annie (née Hannan), had been suffering from an unspecified illness for a long number of years; she was nearing the end of her life in 1928. Keating credited his mother for having the foresight to send him to art school in Limerick many years previously. While this is not a portrait of Annie, it is a homage painting made in deference to women and to the wisdom of old age. Past Definite, Future Perfect was not a commission; Keating made it for public exhibition. The lettering to the bottom left of the image `AMDG` appears to represent the Jesuit motto `for the greater glory of God.` In other words, no matter what the cards supposedly say, life will be as it will be. On a more pragmatic note: the artist was in the habit of collecting disused frames; it may be that this unusual example came from a Jesuit house. Past Definite, Future Perfect was shown, along with Good Old Stuff, in the Royal Academy in London in 1928. A reviewer commented at the time on the `marvellous` portrait of the old woman which had the `conviction of a great old age.` It was purchased from the exhibition for a private collection at the time and has not been publicly exhibited since. When Keating was nearing the end of his own life he returned yet again to the themes in this work. He exhibited a watercolour with the same title, but painted in 1971, in the RHA that same year. Dr Éimear O`Connor HRHA Research Associate TRIARC-Irish Art Research Centre Trinity College Dublin April 2012 (£20,250-£28,350 approx)
Lot 77
Paul Henry RHA (1876-1958) DOOGORT FROM SLIEVEMORE, ACHILL, 1919-1920 oil on canvas board with label of Reeves & Sons, Ltd, London sketching tablet on reverse 7.50 by 10.50in. (19.05 by 26.67cm) Provenance: The collection of Mrs. Barrett, Bervie Guest House, Achill Island; Christie`s, `Fine Irish Paintings and Drawings`, 26 May 1989, lot 281; Private collection; Adam`s, 26 February 1990, lot 87, as The Sandy Shore; Private collection Literature: Kennedy, S.B., Paul Henry Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, p.211, catalogue no. 538 (illustrated) When Paul Henry first arrived on Achill Island he lodged with John and Eliza Barrett, who ran the post office in the village of Keel. `To this day,` he wrote late in life, `I have a warm feeling of gratitude to John and Eliza Barrett,` who in due course gave him `infinite and ungrudging` hospitality (Henry, An Irish Portrait, London, 1951, p. 4). The Barrett`s granddaughter, who today with her husband runs The Bervie Guesthouse at Keel, later owned the picture. The strand in the foreground is the beach at Doogort and the road on the right hand side still winds its way through the tiny hamlet, which is little changed from Henry`s time. The distant mountains are on the mainland of Co. Mayo, just north of Mallaranny. The fluid handling of the paint, with moderate impasto, is characteristic of Henry`s later Achill period and thus suggests a date of execution of around 1919-20. Dr. S.B. Kennedy April 2012 (£4,860-£6,480 approx)
Lot 89
James Humbert Craig RHA RUA (1877-1944) LIVERPOOL DOCKS oil on board signed lower left; with original label inscribed with exhibition number [52] and price [£30-0-0] on reverse 11.50 by 17in. (29.21 by 43.18cm) Provenance: Whyte`s, 25 April 2006, lot 57; Whence purchased by the present owner With a preparatory pencil sketch of men in a boat on reverse. Craig’s enthusiasm for boats extended to a keen interest in busy city ports and steam ships. He painted a number of shipping scenes in Belfast Harbour, including Clarendon Dock, Belfast and Leaving Belfast (both illustrated in George A. Connell, James Humbert Craig: The People’s Artist, 1988, pages 119 and 75 respectively). The present view of the Liverpool Docks was painted during the 1930s, at a time when thousands of Irish went to England in search of work. For many of these, Liverpool was their first port of entry. In the foreground a barefoot urchin rushes through the crowd, a horse and dray await unloading, a shawled woman and child stand at the left, balanced by a second family group at the right, standing by their cases, looking on at the busy scene. Beyond them, through the funnels of the docked ship, can be seen the copper cupola of the Royal Liver Insurance Building. (£3,240-£4,860 approx)
Lot 94
Sir John Lavery RA RSA RHA (1856-1941) THE SOKO, TANGIER, 1891 oil on canvas signed and dated lower right 13.75 by 17.25in. (34.93 by 43.82cm) Provenance: Sotheby`s, 9 May 2007, lot 70; Whence purchased by the present owner Exhibited: `Pictures by John Lavery`, Goupil Gallery, London, 1891, no. 4 (see footnote no. 1) Literature: McConkey, Kenneth, John Lavery, A Painter and his World, Atelier Books, 2010, p.55 (illustrated in colour) In June 1891 Lavery held his first London solo exhibition of 35 pictures at the Goupil Gallery in New Bond Street. Of these, at least sixteen were canvases recently painted in Tangier, the majority of which were scenes of the busy market place, the Soko. They were examples, according to The Athenaeum, of `an extremely clever somewhat feverish and voluptuous sort of Impressionism which is rich in tone and soft, is pale in tint and entirely destitute of … surface finish …` 2. The Saturday Review concurred: Lavery`s Tangier paintings were `coarse in texture and rough in surface …` and although `cleverly painted`, revealed a `considerable leaning to the Impressionist style`. 3. For many critics, Impressionism, the dreaded foreign import, meant sacrificing fine finish to the exigencies of the moment. An artist-reporter like Lavery was caught up in the shifting scene and his picture would lose its vitality if `perfected` in the studio after the event. The `event`, in this case, was of the greatest significance. Although he had spent his student years in Paris and at the artist`s colony of Grez-sur-Loing, this was Lavery`s first direct contact with the Muslim world. It came after the success of pictures such as The Tennis Party and his residency at the Glasgow International Exhibition of 1888. This had resulted in a commission from the city to paint The State Visit of Queen Victoria ... a work that took two years to complete, and it was only when it received royal approval that in the first week of January 1891, the painter boarded a vessel at Tilbury bound for North Africa.4. Tangier, the `White City`, his destination, came strongly recommended by his Glasgow School friend, Joseph Crawhall, who had been there in 1888, following in the footsteps of Denholm Armour, Alexander Mann and other Scots painters.5. For Lavery it was a life-changing moment; like his predecessors, he was immediately captivated. Although he painted in the Kasbah and on the rooftop of the Continental Hotel, it was the Soko at the eastern gate of the city that claimed most of his attention. He was not alone. Travellers commended this `big bare area`, ... filled with a motley assemblage of Tangierines, [sic] country people and visitors, eddying about various centres of interest - the snake charmer with his dishevelled locks and monotonous drum, the Arab reciter, or the gentleman who sells you half a pint of copper coins for sixpence ... 6. Yet others went into detail. Here were, Crouching camels with their loads of dates, chaffering traders, chattering women, sly and servile looking Jews from the city, fierce-eyed heavily armed children of the desert, rough coated horses, lank-sided mules ... the whole enveloped in a blinding, bewildering, choking cloud of such dust as only Africa, "arida nutrix" can produce ...7. The dry, chalky pigment of the present canvas, perfectly expresses the heat and dust of the Soko. It exposes the untruth of those numerous counterfeit Salon Orientalists whose colourful Arab genre scenes were confections of the studio. Here in the market-place, the colours were drab. Where Snake Charmers (fig 1.) provides a glimpse of wayside theatre, The Soko sweeps the crowded space and looks up to the Kasbah, catching sight of the glistening Straits of Gibraltar beyond. It was an unforgettable scene to which Lavery would return at regular intervals up until 1920 when this same space was thronged with bystanders as Moroccan troops occupied the German Legation.8. In each of these many instances, Lavery positioned himself on the south-eastern side of the Soko, where, as in the present canvas, the shade from nearby buildings protected him from the sun`s glare. Figures, animals, white buildings, picked out in bright light and shade against brilliant blue skies, provided a marquetry of flat shapes that, as Norman Garstin confirmed, charmed the eye of the sketcher.9. Lavery may superficially borrow such effects from the watercolours of Crawhall and Arthur Melville, but he gives them substance in his oil sketches of the Soko.10 John Forbes-White who wrote the introduction to the Goupil exhibition catalogue was particularly enamoured with these swift studies. He wrote that they were `intensely decorative as well as true … artistic as well as real` The numerous studies at Tangier show broadly and simply [that] these truths are felt in the glowing sunshine and cool shade of the narrow streets … However slight it may be the work charms from its freshness and sweetness. If it makes a demand on our intelligence and sympathy, it is a demand, the yielding of which, gives a zest to our enjoyment. 11 In 1891, in the dusty marketplace, seen for the first time, the `impression` contained all the `charm` and `freshness` of `truth`. Prof. Kenneth McConkey Apr-12 Footnotes: 1. Three of Lavery`s Tangier pictures in this show, nos 4, 7 and 13 were general views of the Soko. Of these, no. 4 was simply entitled The Soko - Tangier, while the others were The Little Soko - Tangier and Camels - The Soko respectively. Of these, only the present canvas has come to light. 2. The Athenaeum, 13 June 1891, pp. 772-3. 3. The Saturday Review, 20 June 1891, pp. 742-3. 4. Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Atelier Books), pp. 40-49, 53-4. The State Visit of Queen Victoria to the International Exhibition, Glasgow, 1888, 1890 (Glasgow Museums) was exhibited in Maclean`s Gallery in the Haymarket, London. 5. Kenneth McConkey, `Incongruous Impressions: Scottish Painters` Journeys at the turn of the Twentieth Century`, Journal of the Scottish Society for Art History, Vol 14, 2009-10, pp. 78-89. 6. Stanley J Weyman, `On Muleback in Morocco`, English Illustrated Magazine, 1892, p. 614. 7. HD Traill, `The Pillars of Hercules`, in The Picturesque Mediterranean, Its Cities, Shores and Islands, n.d. [c1890], (Cassell and Co), p. 6. 8. McConkey, 2010, p. 147. 9. Norman Garstin, `Tangier as a Sketching Ground`, The Studio, Vol 11, 1897, pp. 177-182. 10. Melville first traveled to the Middle East, visiting Egypt and Persia in 1882 but did not visit southern Spain until 1890 and may not have crossed the Straits until a year later. 11. J F-W, `Note`, Pictures by John Lavery, 1891, (exhibition catalogue, The Goupil Gallery, London), pp.7-8 (£16,200-£20,250 approx)
Lot 98
Archibald McGoogan (1860-1931) A STORMY EVENING OFF THE BAILEY, HOWTH, 1889 watercolour signed and dated lower left; with title inscribed on reverse 6.75 by 10.75in. (17.15 by 27.31cm) Provenance: The Collection of Mr E.A. Stone, recorded on 1911 census as a Chemical Analyst of Windsor Avenue, Clontarf, Dublin Archibald McGoogan was the artist responsible for the design of the Great Seal of the Irish Free State (now in the collection of Collins Barracks) and was the first photographer employed by the National Museum of Ireland. He is also attributed to a chromolithographic print entitled After the bombardment. The holocaust of Ireland`s greatest thoroughfare, Friday Morning, 29th April, 1916 in the collection of the National Library of Ireland. He is listed in the Irish Art Societies and Sketching Clubs Index of Exhibitors 1870-1980 as exhibiting over fifty works between 1892 and 1930, mostly landscapes. The RHA Index of Exhibitors 1826-1979 also lists his contributions (between 1888 and 1929) and notes various addresses for him including, 1 Chester Road, Ranelagh, Dublin; 31 Windsor Road, Leinster House, Dublin and 8 Ardenta Terrace, Monkstown. (£410-£570 approx)
Lot 99
Archibald McGoogan (1860-1931) A BREEZY DAY, SUTTON (HOWTH), 1889 watercolour heightened with white signed and dated (beneath the mount) lower left; with title inscribed on reverse 6.50 by 10.50in. (16.51 by 26.67cm) Provenance: RHA, Dublin; Whence purchased by Mr E.A. Stone, recorded on 1911 census as a Chemical Analyst of Windsor Avenue, Clontarf, Dublin Exhibited: RHA, Dublin, 1889 catalogue no. 426 [£1-10-0] Archibald McGoogan was the artist responsible for the design of the Great Seal of the Irish Free State (now in the collection of Collins Barracks) and was the first photographer employed by the National Museum of Ireland. He is also attributed to a chromolithographic print entitled After the bombardment. The holocaust of Ireland`s greatest thoroughfare, Friday Morning, 29th April, 1916 in the collection of the National Library of Ireland. He is listed in the Irish Art Societies and Sketching Clubs Index of Exhibitors 1870-1980 as exhibiting over fifty works between 1892 and 1930, mostly landscapes. The RHA Index of Exhibitors 1826-1979 also lists his contributions (between 1888 and 1929) and notes various addresses for him including, 1 Chester Road, Ranelagh, Dublin; 31 Windsor Road, Leinster House, Dublin and 8 Ardenta Terrace, Monkstown. (£410-£570 approx)
Lot 102
Lady Kate Dobbin WSCI (1868-1955) FIGURES IN A BOAT IN ROUNDSTONE HARBOUR, c.1909-1914 watercolour signed lower left 15 by 18in. (38.10 by 45.72cm) Between 1909 and 1914 Lady Dobbin exhibited three works with the Watercolour Society of Ireland which were connected to Roundstone Harbour; End of the Fishing Season, Roundstone (1909, no.191), Evening in the Harbour, Roundstone (1913, no. 36) and At the Quay, Roundstone (1914, no 253). During this period her depictions of Roundstone were also shown at the RHA. It is possible that the present work was one of the exhibited pieces from this time. Lady Kate Dobbin was born in Bristol, the daughter of William Wise, a solicitor. In 1887 she married Alfred Graham Dobbin who was knighted in 1900 for his role as High Chief Sheriff of the City of Cork. Lady Dobbin studied at the Crawford Municipal School of Art between 1891 and 1895. She submitted her first picture to the RHA in 1894 and continued to show there until 1947 exhibiting a total of one hundred and five paintings. She worked mainly in watercolour, painting scenes of Cork and the surrounding countryside. (£810-£1,220 approx)
Lot 106
Jack Butler Yeats RHA (1871-1957) and others CUALA PRESS, A BROADSIDE, 1908-1912 hand-coloured letterpress; each an edition of 300 11.50 by 7.75in. (29.21 by 19.69cm) Cuala Press, A Broadside. Churchtown & Dublin, 1908-1912. First years nos. 2, 4, 5, 7, 8, 9; second year nos. 1, 2, 4, 6, 7, 8, 9; Third year nos. 3, 6, 9, 10, 11, 12; Forth year nos. 1 to 12. Each an edition 1 of 300, colour illustrated. Thirty-one issues. Also included are 17 illustrated sheets printed for Flying Fame 15 of the 17 include poems by Ralph Hodgson, 1 by Richard Honeywood and Lovat Fraser, plain and coloured (7), 1st and 2nd impressions (some duplication). (42 items). (£2,430-£3,240 approx)
Lot 108
Thomas Ryan PPRHA (b.1929) DOUGLAS HYDE - PRESIDENT OF IRELAND, 1965 oil on canvas signed and dated lower right lower right; with plaque detailing sitter, artist and date affixed to frame lower centre 49.50 by 41.50in. (125.73 by 105.41cm) Provenance: Commissioned on 5 May 1965; The Collection of The Irish Club, London; The Irish Cultural Centre, Hammersmith Of his portraits, several of which he exhibited in the RHA, the artist comments as follows in Thomas Ryan - oil paintings, Nicholson & Bass Ltd., 2009, p. 175 I have drawn portraits since I was a boy. First of my father, mother and siblings then, as a student at the Limerick School of Art, preparatory drawings from casts of classical heads and of their parts, lips, mouths and ears. Afterwards at the National College of Art we, as students, painted from live models; heads in the morning, the figure in the afternoon. This training was the basis for my practice as a figure painter and, more particularly so, in my work as a portraitist. Over the years my subjects have come by way of choice, chance and commission… I have drawn and painted portraits of all ages and of all vocations, or none, from children to octogenarians, from Presidents and Cardinals to friends… This work was a private commission and hung on the walls of the Irish Club at Eaton Sq., London. We are grateful to the artist for his assistance with cataloguing this lot. (£4,050-£5,670 approx)
![Grace Henry HRHA (1868-1953) BRINGING IN THE TURF, 1915 oil on board signed lower right; with John Magee [Belfast] label on r](http://lot-images.atgmedia.com/SR/10092/2862371/110-20125494554_468x382.jpg)
Lot 110
Grace Henry HRHA (1868-1953) BRINGING IN THE TURF, 1915 oil on board signed lower right; with John Magee [Belfast] label on reverse; with Jorgensen retrospective exhibition on reverse 12.50 by 15.50in. (31.75 by 39.37cm) Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Exhibited: Grace Henry HRHA 1868-1953, Retrospective Exhibition`, Jorgensen Fine Art, Dublin, 7-27 January 2010 Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.40) Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£2,030-£2,840 approx)
Lot 112
Grace Henry HRHA (1868-1953) FLOODS, ENNIS, COUNTY CLARE oil on board signed lower right; with original inscribed label on reverse; with Victor Waddington Gallery framing label on reverse; numbered [10] also on reverse in a later hand 14 by 18in. (35.56 by 45.72cm) Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Contained in original Victor Waddington frame. Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£2,430-£4,050 approx)
Lot 113
Grace Henry HRHA (1868-1953) WINDING RIVER WITH HORSE AND FIGURE AND MOUNTAINS BEYOND oil on board signed lower right; with dedication inscribed in chalk possibly by previous owner on papered board on reverse 9 by 11.50in. (22.86 by 29.21cm) Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Possibly a view of Healy`s Pass, County Kerry. Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£1,220-£1,460 approx)
![Grace Henry HRHA (1868-1953) KARST LANDSCAPE or THE BURREN, 1935 oil on canvas signed lower right; inscribed [No. 8] on rever](http://lot-images.atgmedia.com/SR/10092/2862371/114-2012549466_468x382.jpg)
Lot 114
Grace Henry HRHA (1868-1953) KARST LANDSCAPE or THE BURREN, 1935 oil on canvas signed lower right; inscribed [No. 8] on reverse; with Jorgensen retrospective exhibition label on reverse 16 by 20in. (40.64 by 50.80cm) Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Exhibited: `Grace Henry HRHA 1868-1953, Retrospective Exhibition`, Jorgensen Fine Art, Dublin, 7-27 January 2010 Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.49) Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£2,430-£3,240 approx)
Lot 116
Grace Henry HRHA (1868-1953) ITALIAN HOUSE 2 oil on board with title inscribed on Dawson Gallery label on reverse; with Jorgensen retrospective exhibition label on reverse 10.50 by 14in. (26.67 by 35.56cm) Provenance: Purchased by the present owner in Adam’s, Dublin, late 1970s; Whence purchased by the present owner Exhibited: `Grace Henry HRHA 1868-1953, Retrospective Exhibition`, Jorgensen Fine Art, Dublin, 7-27 January 2010 Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.46) Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£970-£1,220 approx)
Lot 117
Grace Henry HRHA (1868-1953) HARBOUR SCENE, CHIOGGIA oil on board signed lower right; with title in another hand on reverse 14 by 11in. (35.56 by 27.94cm) Provenance: Adam`s, Dublin, 28 May 2008, lot 81; Whence purchased by the present owner Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£1,220-£1,620 approx)
Lot 119
Grace Henry HRHA (1868-1953) THE BLUE VASE, 1931 oil on board signed lower right; with typed exhibition label on reverse; with Jorgensen retrospective exhibition label also on reverse 24 by 18.25in. (60.96 by 46.36cm) Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Exhibited: RHA, Dublin, 1931, catalogue no. 130 (£26-5-0); `Grace Henry HRHA 1868-1953, Retrospective Exhibition`, Jorgensen Fine Art, Dublin, 7-27 January 2010 Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.26) The Blue Vase was the only example Grace Henry exhibited with the RHA in 1931. The RHA Index of Exhibitors lists her address at this time as 13a Merrion Row, Dublin. The following year she would relocate to `Hopeton`, Rathgar. Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£2,840-£3,650 approx)
Lot 124
Grace Henry HRHA (1868-1953) CARAGH LAKE, COUNTY KERRY oil on board signed lower right; signed again and with title on reverse; with inscribed Grant Fine Art [Newcastle, Co. Down] label on reverse; with Jorgensen retrospective exhibition label also on reverse 11.50 by 15.50in. (29.21 by 39.37cm) Provenance: Grant Fine Art, Newcastle, Co. Down; Where purchased by the present owner Exhibited: `Grace Henry HRHA 1868-1953, Retrospective Exhibition`, Jorgensen Fine Art, Dublin, 7-27 January 2010 Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.42) Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£1,620-£2,430 approx)
Lot 125
Grace Henry HRHA (1868-1953) SPRING IN WINTER oil on canvas signed lower right; with title on label on reverse; with Jorgensen retrospective exhibition label on reverse 19.75 by 23.50in. (50.17 by 59.69cm) Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Exhibited: `Grace Henry HRHA 1868-1953, Retrospective Exhibition`, Jorgensen Fine Art, Dublin, 7-27 January 2010 Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated on front cover and p.38); Cruickshank J.G., `Grace Henry`, Irish Arts Review, Vol 9, 1993, p.176 (illustrated) Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£2,430-£4,050 approx)
Lot 127
Grace Henry HRHA (1868-1953) YOUNG SCHOOL GIRL oil on canvas signed lower right; with title and provenance details in another hand on reverse 12 by 10in. (30.48 by 25.40cm) Provenance: The collection of a J.H. Philbin; Skinner, Boston, USA, 15 May 2009, lot 335; de Vere`s, 29 September 2009, lot 9; Whence purchased by the present owner Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£1,460-£1,780 approx)
Lot 129
Grace Henry HRHA (1868-1953) SCHOOL BOY IN STRIPED BLAZER oil on canvas with "Grace Henry Studio" in pencil on reverse; with Jorgensen retrospective exhibition label on reverse 18 by 14.50in. (45.72 by 36.83cm) Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Exhibited: `Grace Henry HRHA 1868-1953, Retrospective Exhibition`, Jorgensen Fine Art, Dublin, 7-27 January 2010 Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.45) Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£1,220-£1,620 approx)
Lot 130
Grace Henry HRHA (1868-1953) MY TREE (GALWAY) oil on board signed with initials lower right; with title inscribed on reverse; with Jorgensen retrospective exhibition label on reverse 6.50 by 4.75in. (16.51 by 12.07cm) Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Exhibited: `Grace Henry HRHA 1868-1953, Retrospective Exhibition`, Jorgensen Fine Art, Dublin, 7-27 January 2010 Literature: Cruickshank, J.G., Grace Henry, The Person and Artist, published in association with Jorgensen Fine Art and Designroom, Dublin , 2010 (illustrated p.48) Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£650-£970 approx)
Lot 132
Grace Henry HRHA (1868-1953) PORTRAIT OF HELEN WADDELL oil on canvas board signed lower right 17.75 by 14.25in. (45.09 by 36.20cm) Provenance: Lots 109-132 come from the collection of Dr James Cruickshank. A copy of his text Grace Henry, The Person and the Artist, published in association with Jorgensen Fine Art and Designroom, Dublin, 2010, accompanies each of these lots. Helen Waddell (1889-1965) was a close friend of the artist and a celebrated scholar and writer. She was educated at Queen`s, Belfast, Oxford and Paris, and for a number of years worked for the publishing house of Constable. Waddell was born in Tokyo where her father was a Presbyterian missionary and travelled widely throughout her life. Two depictions of Waddell were shown at a joint exhibition of Paul and Grace Henry`s work at the Hugh Lane, Dublin 26 November 1991 (catalogue nos. 17 & 18). Both works were from the collection of a Mollie Martin and had been previously exhibited at the Calmann Gallery, London in 1939 and `Portraits of Great Men and Women`, Ulster Museum, 1965. Dr. James G. Cruickshank, formerly of the Queen`s University of Belfast, is the author of books and articles on Irish geography and is a practising amateur artist. He is a native of Aberdeen, Scotland and has been a passionate collector and researcher of Grace Henry for many years. He was first introduced to her work in the 1970s through Una Whyte of the Magee Gallery, Belfast who established the connection between the two Aberdeen natives both of whom had spent their adult lives in Belfast. Dr Cruickshank`s first painting by Grace Henry, a gift from Whyte, was Bringing in the Turf (lot 110) and thus the journey began. Dr Cruickshank has written several papers on the artist. He gave one of the lectures during the `Paul and Grace Henry exhibition` at the Dublin City Gallery, The Hugh Lane in 1991 and more recently, published Grace Henry - The Person and Artist in association with Jorgensen Fine Art, Dublin in 2010. This collection is testament to his devotion and support for an artist of unique talent and vision. Born in Peterhead, Aberdeen, as Emily Grace Mitchell, she studied art at the Blanc Garrins Academy, Brussels, and the Delecluse Academy, Paris. She was also a pupil for a while under André L`hote. In Paris she met the Irish painter Paul Henry whom she married in 1903. They settled in England and Grace began exhibiting in London at the RA, the Leicester Galleries, and the Fine Art Society. Along with her artist husband, she sent works to the RHA from 1910 onwards, and two years later they left England for Achill Island, where they spent seven productive years painting the local people and landscape. In 1922 she was represented at the Irish Exhibition in Paris with five works; later she was included in a similar loan exhibition in Brussels in 1930. Both she and Paul were founder members of the Dublin Painters group. They exhibited together at the Stephen`s Green Gallery, Dublin, and the Magee Gallery, Belfast. However, the pair were formally separated in 1934. Grace took to travelling and painting in France. Her work was boldly conceived in vibrant colours and decisive brushwork; "her painting", commented the Studio in 1939, was "all poetry". She continued to exhibit both in London and Dublin, notably with the Waddington Galleries and at the RHA. Although never made an Associate, she was elected an Honorary RHA in 1949. For further reading on the artist see: Cruickshank J.G., Grace Henry - The Person and Artist. (£490-£650 approx)
Lot 723
Sport - Large black and white photographs Oxford University Cricket 1926 - 1928, Freshermen`s Rugby 1925, Rugby Fifteen 1925 - 1926, 1926, 1927 - 1928, First and Third Trinity Boat Club Ball 1929, Cambridge Rugby Fifteen 1923 - 1924 and one other framed and glazed (10) Further images and condition reports are available at www.reemandansie.com
Lot 1430
1960s Smith`s Westminster chiming mantel clock presented to `A V Roberts for 45 Years Service`, together with gold plated pocket watch, First World War medal and other documents relating to his service with the railways (qty) Further images and condition reports are available at www.reemandansie.com
Lot 88
S. R. ROBERTSON (1922 -) A hard feathered Show Bantam, in landscape oil on canvas signed and dated lower right, “S. Robinson, 1922” also inscribed lower left “Robert, owned by C. Thompson” Now fully mounted together with assorted medals dated 1924-48 awarded to C. R. Thompson for Robert and other birds 61 x 46cm Provenance The medals are from centre: For Robert - 1924, Poultry Club Medal. OGPP & CC, Best Bird in Show, C. R. Thompson. 1934, Melbourne Centenary Royal Show, Victoria. Best Bantam. First. Won by Cecil R Thompson. 1937, Royal Agricultural Society of N.S.W, Sydney. Royal Easter Show. His Majesty King George VI. Awarded to C. R. Thompson. 1938, Royal Agricultural Society of N.S.W. Royal Easter Show & 150th Anniversary Exhibition, Sydney. Awarded for Poultry exhibited by C. R. Thompson. The landing at Sydney Cove of Captain Arthur Phillip, 26th January, 1788. Medal struck by Stokes & Sons Pty, Ltd. Medallists, Melbourne. 1941, The Royal Agricultural Society of N.S.W. Royal Empire Show, 7-15th April Sydney. Hard Feathered Bantams, C.ORC. C. R. Thompson. Medal struck by Stokes & Sons Pty, Ltd. Medallists, Melbourne. 1941, The Royal Agricultural Society of N.S.W. Royal Empire Show, 7-15th April Sydney. Hard Feathered Bantams, H.OR P. C. R. Thompson. Medal struck by Stokes & Sons Pty, Ltd. Medallists, Melbourne. 1947, Royal Agricultural Society of N.S.W. Royal Easter Show. H. Feathered Bantam H. OR P. C. R. Thompson. Medal struck by Stokes & Sons Pty, Ltd. Medallists, Melbourne. 1948, Royal Agricultural Society of N.S.W. Royal Easter Show. H. Feathered Bantam H. OR P. C. R. Thompson. Medal struck by Stokes & Sons Pty, Ltd. Medallists, Melbourne
Lot 275
DEAF TOMMY MUNGATOPI Bears artist’s name, title, year 1960, size and a label on the reverse which reads in part: Natural earth pigments on eucalyptus bark 89.5 x 42cm Provenance Painted on Melville Island in the 1960s Private collection. Catalogue Note The label on the reverse reads: “In the Pulinari - (creation time) nobody died until Wai-ai a Tiwi goddess heard Tapara, the Moon Man (her husband’s brother) calling her to his embrace. Wyah, the old Sun Woman saw them go, after leaving Jinaini, her baby son, under a bush. In great anger the Sun Woman decided to kill the baby, to punish the mother for her adulterous way. So, she shone her hottest rays on the baby, scorching and killing him. Purukapali, the father, found his dead son and made the first Pukamani ceremony for him. Then weeping and wailing, he walked into the sea and drowned himself.”
Lot 291
A version of the Thebes Stool by Ole Wanscher (1903-1985) Provenance Modern Ole Wanscher made scale drawings of the stool from the tomb of Tutankhamun, in the National Museum, Cairo, in 1952, and published them in his major book of the history of furniture, Møbelkunsten, 1955 (the first plate, opposite p. 1). These drawings are reproduced amongst the images to the right. The design of the present stool appears to be taken directly from these drawings, it can be clearly seen from the drawings that they are of sufficient detail to allow a piece of furniture to be made from them. 45cm high, 42cm wide, 37cmdeep
Lot 40
HST Nameplate Plaque ex 43142. Bronze construction with centrepiece being the Virgin Mary & Child within the peripheral inscription `S. Mariae Nosocom Paddington Londin` and also top and bottom respectively `Restituuntur` and `Sicilium`. Measures 9¾" in diameter the rear is drilled and tapped with 5 mounting holes (one hole still has an original bolt in place) The Power Car was named on the 4th November 1986 at Paddington by Sir Roger Bannister, the first sub 4 minute mile runner and former student at the Hospital. The original nameplates were alloy but replaced with stainless steel reflective types at a later date. Much research has only produced one photograph showing the plaque which was never painted. It is in `as removed` condition from the Bristol Trimming shop where it received preparation for a repaint at St Philip`s Marsh.
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