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Lot 80
François ROUAN (né en 1943) , Figure et paysage, Lunghezza, 1977, Gouache, encre, pastel et collage de papier découpé sur papier, crayon sur papier signé en bas à droite, titré en bas au milieu, situé et daté en bas à gauche , 76 x 57 cm, Provenance : Galerie Daniel Templon, Paris, , Pierre Matisse Gallery, New York, USA, , Acquavella Modern Art, Reno, USA, , Collection particulière, France, Expositions : Paris, Centre Georges Pompidou, François Rouan, Travaux sur papier, 1965-1992, février 1994-mars 1994
Lot 1013
JOHN RUSSELL, RA (1744-1807) PORTRAIT OF RICHARD PALEY (1746-1808) half length in a brown coat seated at a table holding a letter and silver spectacles, signed and dated (upper right) J Russell RA Pinxit 1802, pastel, 75 x 62cm, in the original 18th gilt cavetto frame with on the reverse printed trade label of the carver and gilder [Joseph Hick ] 56 Mill Hill Leeds Picture Frame and Looking Glass Manufacturer and with printed notice LET THIS DIRECTION BE PRESERVED... Printed by W Smith King Street Seven Dials, London Provenance: Richard Paley`s daughter Sarah, the wife of Thomas Shaw Bancroft Reade and by descent in the family to J W Paley Reade of Ollerton Vicarage, Nottinghamshire by whom sold on 15th August 1920 for£200 (per Wright Barker, RBA) to the collector Samuel Walker Highley of Harrogate; Mrs Whittingham of Harrogate (by October 1951 according to the label on the backboard). Sold at auction on the premises The Old Hall Branham, Wetherby by Henry Spencer & Sons , 25 February 1976 (£210 to the present Vendor). Exhibited: Harrogate Art Gallery, Opening Exhibition 1930, loaned by S Highley Esq of Duchy Road, Harrogate. Russell made several painting tours to the north of England, spending a prolonged period in Leeds in 1801-2. Williamson observed that "he seems to have done more pictures in Leeds then anywhere else, and in that town, and in the neighbourhood, are still preserved a large number of his works, including some of his finest productions." Williamson, whose monograph was published, with a Catalogue of Russell portraits in 1894, did not know this beautifully preserved portrait by the leading English pastelist of the 18th century. Richard Paley (1746-1808) described by Professor Maurice Berresford as "a complete entrepreneur of his day" can be said to have begun the factory system in Leeds. A merchant and soap boiler, he built two steam powered cotton mills and speculated in land, buying up much of the east end of Leeds. He was born at Langcliffe near Settle, Yorkshire and was cousin of the theologian William Paley (1743-1805). Paley issued his own token coinage in 1791, the Conder Copper Halfpenny, featuring Bishop Blaize, the patron saint of woolcombers. At the time of the present portrait he was at the apogee of his success but was declared bankrupt the following year. A superb Russell pastel in a fine state of preservation, not offered from sale since acquisition by the present vendor
Lot 14
John Shinnors (b.1950) THE SPEAKER pastel signed and titled on original label on reverse 9.5 by 7.75in., 24.13 by 19.685cm. The Collection of Jim O`Driscoll SC 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. 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 in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation. "
Lot 22
Brian Bourke HRHA (b.1936) DUBLIN, 1969 mixed media with gouache and pastel on paper signed, titled and dated lower right; with inscribed Dawson Gallery label on reverse 23 by 16in., 58.42 by 40.64cm. Dawson Gallery, Dublin; Where purchased by the previous owner; The Collection of Jim O`Driscoll SC `Brian Bourke New Paintings and Drawings`, Dawson Gallery, Dublin, 5-21 June, 1969, catalogue nos. 29-31 (all titled Dublin Landscape) 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. 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 in his collection, although some, for example those by Evie Hone and Gerard Dillon, come from an earlier generation. "
Lot 36
Louis le Brocquy HRHA (1916-2012) GOAT IN THE SNOW, 1950 black ink and wash over pencil with gouache on tinted paper signed and dated lower right; numbered [668] and with "Gimpel Fils" inscribed on reverse; also with James Bourlet & Sons, Ltd. label on reverse; with original price [30gns] inscribed on reverse 22 by 16in., 55.88 by 40.64cm. Victor Waddington Galleries, Dublin; Private collection ‘Louis le Brocquy’, Victor Waddington Galleries, Dublin, 6-17 December, 1951, catalogue no. 19 Goat in Snow [30gns] The tapestry Garlanded Goat (limited ed.) woven by Tabard, Frères et Soeurs, Aubusson, France was also exhibited at the Waddington show as catalogue no. 13. The exhibition comprised 12 works in oil, 3 in tapestry, 16 in watercolour, 6 in pastel and 3 lithographs. "
Lot 150
Thomas Ryan PPRHA (b.1929) PORTRAIT OF SINÉAD O`CONNOR, 5 NOVEMBER 1974 pastel on tinted paper signed by the artist and the sitter and dated lower right 22.5 by 19in., 57.15 by 48.26cm. Sinéad O`Connor has generously offered lots 150 & 151 [in Whyte`s 26 November Important Irish Art Auction] and the entire proceeds of their sales (including buyer`s premium) to The Penny Dinners, an old Dublin Charity providing for the needy since 1884, and still very much active and relevant today. The present work will feature on the front cover of Sinéad O`Connor`s forthcoming autobiography."
Lot 151
Neil Condron (b.1956) UPON SMALL SHOULDERS, 2011 oil on canvas signed lower left; signed, inscribed, titled ["Upon Small Shoulders (Portrait of Tia)"] and dated on reverse 36 by 84in., 91.44 by 213.36cm. Purchased by Irish singer-songwriter Sinéad O`Connor directly from the artist Sinéad O`Connor has generously offered lots 150 & 151 [in Whyte`s 26 November Important Irish Art Auction] and the entire proceeds of their sales (including buyer`s premium) to The Penny Dinners, an old Dublin Charity providing for the needy since 1884, and still very much active and relevant today. The present work appears on the sleeve for Sinéad O`Connor`s ninth full-length album How About I Be Me (And You Be You)? released in March 2012. Neil Condron is a Dublin born, Wicklow based artist working in both oil and pastel with portraiture considered his principal forte. Condron spent over 30 years as a graphic designer and has received numerous industry awards throughout his career. He retired from the design industry in 2007 to focus solely on his lifelong ambition "to paint". Upon Small Shoulders is the artist`s first painting in a series of large works (in progress) exploring the theme of vulnerability and Irish children. It was acquired by Sinéad O`Connor in 2011 and this provocative image was used for the sleeve of her album, How About I Be Me (And You Be You)? An extract from the artist`s statement on this work outlines his intentions for the image: "This large painting depicts a little girl who is sitting precariously on rusted scaffolding with the Irish Tricolour draped behind her. The rusted scaffolding of an unfinished property development represents the remnants of Ireland`s` Celtic Tiger` boom. Tia, my young model, represents the children of Ireland left vulnerable and destitute with a huge burden to carry forward as a result of greed and neglect. The flag, `our brightest colours`, is Ireland, her legacy. Her expression however isn`t one of fear and her posture is confident and defiant. She is captivated by something that has distracted her from her plight and her outstretched arm is gesturing to the viewer. What she is looking at and what is the meaning of her gesture is for the viewer to interpret." "
![PUBLIO DE TOMMASI [ITALIAN 1849-1914], WATERCOLOR & PASTEL, 45" X 28" SIGHT, WOMAN HOLDING A LETTER: Signed low](http://lot-images.atgmedia.com/SR/33875/2868569/2080-2012101511019_468x382.jpg)
![HANS GUSTAV BURKHARDT [USA 1904-1994], PASTEL ON PAPER, 23 1/4" X 17 1/4" SIGHT, FEMALE NUDE DANCER: Standing figur](http://lot-images.atgmedia.com/SR/33875/2868569/2082-2012101511024_468x382.jpg)
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46300 item(s)/page