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Lot 28
Paul Nietsche RUA (1885-1950)Villeneuve-Les-AvignonOil on canvas, 50 x 61cm (19¾ x 24'')Signed and dated (19)'33; also signed and inscribed versoPaul Nietsche (1885-1950) was born in Kiev, Ukraine to Lutheran German parents, his father being a lithographic printer with an interest in art. At an early age the family moved to Odessa where Paul later attended the Imperial Art Academy.In 1908 he attended the Academy of Fine Arts in Munich before moving to Paris where he became friendly with the sculptor Auguste Rodin. He is listed as having exhibited at the Paris Salon in 1912. He returned to Odessa in 1914 at the outbreak of war, then moving to Berlin at the cessation of the hostilities to join his family. While in Berlin, Paul developed a friendship with Michael O’Brien from Dublin, an undergraduate student at the University there. On taking up a lectureship at Queens University in Belfast in 1926, Dr. O’Brien invited Nietsche to the city and within a few months he had begun exhibiting at the Ulster Art Club. Over the course of the next few years he did a great deal of travelling around Europe and North America, but regularly returned to Northern Ireland where he continued to exhibit. Two paintings are listed as having been exhibited at the 1930 RHA Annual Exhibition in Dublin - both Still Life studies. Nietsche exhibited at the Brook Street Art Galleries in London in 1934, including a view at Villeneuve-lès-Avignon, the subject of one of the present works. During the Second World War he was interned on the Isle of Man for a period. Returning to Belfast, he settled there having acquired a studio at 76 Dublin Road, where he lived and worked until his death in 1950. Highly regarded by his peers and art critics alike, a retrospective exhibition was held at the Arts Council Gallery in Belfast in 1984.
Lot 38
George Campbell RHA (1917-1979)Still Life with Old Pump, PaloOil on board, 47 x 28cm (18½ x 11'')SignedProvenance: With the Ritchie Hendriks Gallery, Dublin 1967; with Jorgensen Fine Art, Dublin.Exhibited : ‘George Campbell’, The Ritchie Hendriks Gallery, Dublin, August / September 1967, Catalogue No. 11.
Lot 59
Colin Middleton RHA RUA MBE (1910-1983)Belfast Street with ChildrenOil on canvas, 61 x 51cm (24 x 20'')Signed and dated 1944Colin Middleton was born in Belfast and lived and worked there until his mid-thirties. The city was of great significance to him and is, directly or obliquely, at the heart of much of his early painting. As a child, Middleton had enjoyed painting trips around Belfast with his father who, unlike Colin, had been happy to set up his easel and work in the open air. When his father died in 1935, he decided to take over the damask-designing family business and remain in Belfast. Amongst his first post-impressionist images of his city, which date from the late 1930s, are ‘Children at Play’ (1939) and ‘Belfast Street Scene’ (1940). By the middle of the 1940’s Middleton’s paintings of Belfast would have moved away from the gentle nostalgia and empathy that characterised the 1941 street scenes, a number of which were included in his 1943 exhibition at the Belfast Museum and Art Gallery. These paintings often seem to be detached from the surrealist or symbolist works that he was engaged on alongside them. On a more personal level, Middleton was still living with his widowed mother in north Belfast by the autumn of 1944, when he moved to Ballyhalbert, with Kathleen, who he had met earlier that year and was to become his second wife. This would close an important chapter of his Belfast years.Painted in 1944, the present work ‘Belfast Street with Children’ bears some stylistic similarities with ‘Belfast Street Scene - Children at play’(1939) but the figures now seem dislocated from their surroundings and the colours are more muted. Middleton continues with geometric shapes but the buildings have elongated and are closer to ‘Strange Openings’ (IMMA). The apparent naivety of manner here in Middleton’s skillful simplification of form conceals a formidable level of abstraction within the painting. It is not too much of a leap to see signs of Middleton’s interest in Mondrian in the arrangement of a red square or a repeated blue vertical, within a representational image that still evokes a very definite mood and atmosphere. While there is pathos in the anonymous figures of the woman in a shawl walking away and the two children standing outside what appears to be a bar, there remains in all Middleton’s paintings of Belfast a strong sense of affection for the life of the city. As an artist he is an observer and an outsider, but he is also a Belfast man.We are grateful to Dickon Hall, whose writings have formed the basis for this catalogue entry.
Lot 93
Geraldine O’Neill ARHA (b.1971)Holy Mary and the Chewing Gum Machine (2003)Oil on canvas, 229 x 116cm (90¼ x 45¾)Signed and dated 2003Provenance: With Kevin Kavanagh Gallery, DublinGeraldine O’Neill was born in Dublin in 1971, studied at the National College of Art and Design from 1989 to 1993 and in 2008 completed her MFA. She has lectured widely - at Dublin Institute of Technology, St. Patrick’s College of Education and was an external tutor at Massachusetts Institute of Technology in 2011. Her first solo show, Cake Sale was held in 1998 at the Jo Rain Gallery in Dublin and created quite a stir, not least for the exquisite quality of her painting. Her technical brilliance and her use of lustrous colours have identified O’Neill’s work ever since. She has exhibited extensively in Ireland and abroad including the Irish Museum of Modern Art, the National Portrait Gallery London as well as in Frankfurt and at the Florence Biennale. She has won numerous awards, scholarships and bursaries and is represented in many collections both private and public including the Irish Museum of Modern Art, the European Central Bank, the Office of Public Works and the Glucksman UCC collection. She is represented in Ireland by Kevin Kavanagh Gallery.In his 2010 Dictionary of Living Irish Artists, Robert O’Byrne writes “O’Neill is clearly familiar with the canon of western art and her work makes reference most obviously to the 17th century Dutch and Flemish schools where still life flourished as an opportunity for virtuosity and the display of promiscuous abundance.”
Lot 771
An oil painting on canvas of a flora still life in the 17th century manner, signed bottom right T Brinks, 24 x 19cm in wide moulded gilt frame with linen slip, together with a coloured print on canvas of a still life with flowers and a bird and a further coloured print in the 19th century manner, 3/4 length portrait of a young woman carrying a tray with pewter flagon and goblet, 75 x 50cm in wide moulded gilt frame
Lot 32
Paul Nietsche (1885-1950) LANDSCAPE oil on canvas signed lower right 40 by 48in. (101.6 by 121.9cm) The work of Paul Nietsche comprised portraits, still lifes and landscapes. A number of examples by him can be found in the collection of the National Museums of Northern Ireland including portraits of fellow artist James Humbert Craig (1940) and art collector Zoltan Lewinter-Frankl (1943) among others. Although born in Kiev Nietsche's family moved to Odessa when he was six where his father had a lithography business. In 1908 he attended the Academy of Fine Arts in Munich and later moved to Paris where he was friendly with the sculptor Auguste Rodin (1840-1917) and exhibited at the Salon in 1912. After World War I he relocated to Berlin where he became friendly with Dr Michael O'Brien from Dublin, a lecturer in English and Celtic studies. When Dr O'Brien was transferred to Belfast in 1926 he invited Nietsche to visit. That year he showed five works at the Ulster Arts Club annual exhibition. He travelled regularly throughout his life but returned to Belfast in 1929 and held an exhibition in O'Brien's home that year. In 1930 his work was included in the RHA annual exhibition in Dublin. He held a joint exhibition at the Magee Gallery in Belfast in 1938 and a solo show there the following year. In the mid 1940s - when he secured an attic studio at 76 Dublin Road - Nietsche settled in Belfast. He held solo shows at 55a Donegall Place in 1947, 1948 and 1949. He died in 1950 before an exhibition planned for Dublin could take place. A retrospective of his work was held at the Arts Council Gallery in Belfast in 1984. For further reading see Snoddy pp. 454-455.
Lot 85
Tony O'Malley HRHA (1913-2003) STUDIO AND PAPMAN HEAD, 1979 gouache and pastel on card signed lower right; dated [11/79] right centre; titled lower left 20.25 by 30.50in. (51.4 by 77.5cm) Collection of George and Maura McClelland Tony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now . In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past. The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval. The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below. Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality. Vera Ryan August 2016 1 The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 [ABSTRACTS]
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