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Lot 440
The Family Letters of Two Irish Internee Brothers, 1921Manuscripts: An interesting Archive approx. 50 items, mainly letters written in 1921 by members of the Delany family of "Failte," 6 Ardbugh Terrace, Dalkey, Co. Dublin.In 1921 the eldest of the Delany family, Willie (aged 23) was working in the Hibernian Bank, Navan. His sister Lizzie (22) lived at home with her widowed father. In May 1921 their brother Paddy (21) was arrested and interned for republican activities, first in Arbour Hill Prison and then in Rath Camp at the Curragh; he was released in December and apparently played no further part in the independence struggle. The youngest in the family, Fintan (aged seventeen and still at school), was arrested in May 1921 and detained in Arbour Hill.The letters between the siblings provide a fascinating example of the life of republican internees (there is talk of attempted escapes from the Curragh) and the effect of their arrest on their family. Lizzie was especially concerned that her brothers would want for nothing she could bring them - Paddy even has to ask her to stop brining him treats as it damages his self-image of martyrodom. As m/ss., w.a.f. (1)
Lot 105
Maurice Joseph MacGonigal PPRHA (1900-1979)Evening at Rushoil on canvassigned lower right46 x 61cm (18 x 24in) Private CollectionMacGonigal was born in Dublin in 1900. As a young man he worked as an apprentice in the ecclesiastical design studios of his uncle, Joshua Clarke, alongside his cousin, the renowned stained glass artist, Harry Clarke. A portrait, still life and landscape painter, he attended the Dublin Metropolitan School of Art (DMSA) on a scholarship and was also awarded the Taylor Scholarship in painting in 1924. In 1937 he was appointed Assistant Professor of Painting at the National College of Art (NCA) and became Professor from 1954-69. MacGonigal was also interested in stage design and book illustration. His work was influenced by Sean Keating and an early interest in social realism. While teaching at NCAD, MacGonigal was commissioned to paint a mural for the New York World's Fair of 1939 - a 10.5 metres high panel representing Liberty, America, and thirty Irish-born makers of American history. He was assisted by in this project by fellow DMSA alumni Harry Kernoff and Micheál de Burca. A profoundly influential teacher, he exhibited regularly at the Royal Academy of Arts, London, The Royal Scottish Academy, Edinburgh, and the RHA, Dublin. He was a member of the Board of Governors and Guardians of the National Gallery of Ireland as well as the Keeper of the Academy from 1936-1939 and President from 1962-1977. His work is held in all the major collections in Ireland including the National Gallery, Dublin City Gallery the Hugh Lane, the Crawford Municipal Art Gallery and the Ulster Museum.
Lot 134
Peter Collis RHA (1929-2012)Still Life on Tabletopoil on canvassigned lower right86½ x 86½cm (34 x 34in) Private CollectionPeter Collis absorbed drawing and fine art painting at the Epsom College of Art in London from 1947 to 1952, and moved to Ireland in 1969. His French Post-Impressionist style derives from Cezanne, as well as Gaugin and Vlaminck, albeit in an Irish setting. Collis painted many subjects but those to which he returned constantly were landscapes and still life. He was elected an Associate Member of the Royal Hibernian Academy in 1990 before becoming a full member in 1993. He was part of the annual selection committee for 10 years where he also held the position of treasurer. Collis has had many solo and group shows in Ireland and abroad. He has also won several awards including Oireachtas, Maurice MacGonigal Landscape Prize and the James Adam Salesroom Award, RHA.
Lot 24
Paul Henry RHA RUA (1876-1958)The Village By The Bog (c.1934-1936)oil on canvassigned 'PAUL HENRY' lower right31 x 41cm (12 x 16in) Acquired directly from the artist in the 1940's; By descentPaul Henry, 'Recent Paintings', Toronto, 1936.S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale University Press, New Haven & London, 2007, p. 175, catalogue number 890, (not illustrated)When Paul Henry first went to Achill Island it was the people and their way of life that most interested him. Only later, from about 1915, did he turn his attention to the landscape itself. By 1919 he had settled in Carrigoona Cottage, near Bray in County Wicklow, from where he painted many of his finest pictures from sketches made earlier. But in the 1930s he travelled to the West again, seeking material for paintings. This painting represents Paul Henry at his best. The brushwork in the clouds which, typically for Henry are the real glory of the painting, is consummately handled without a trace of deliberation, and the blue of the sky is equally firmly set down. The direction of the light is indicated in the clouds and on the distant hills, which are used to halt the eye's recession. While it is not possible to know where the scene is, it is typical of Connemara. The landscape with its scattered homes and bog-cuttings, is well observed and the turf stacks too stand out in their darkness. By 1934-6 Henry was at his finest. There are the remains of a label, still bearing the title, on the reverse. The Village by the Bog is numbered 890 in Kennedy, 2007. Dr. S.B. Kennedy, November 2017
Lot 78
Neil Shawcross RHA RUA (b.1940)Still Life - Platter, Goblets, Jugs and Bottlesoil on boardsigned121 x 170½cm (47 x 66in) Private CollectionNeil Shawcross was born in Lancashire in 1940. He has been resident in Northern Ireland since 1962. Shawcross paints the figure and still life, taking a self-consciously childlike approach to composition and colour. He sources his still-life subjects from his surroundings, his home, local coffee shops and advertising. When representing a subject as simple as a cup and saucer or a bowl of fruit, Shawcross translates the mundane domesticity of this object into a painterly statement invested with character. Objects are demarcated by thick outlines in black or bold colour and the work is characterised by a remarkable control of medium. A noted colourist and technical innovator, his still-life's exude vitality and demonstrate a freshness of approach to this much loved theme which he has subjected to intense scrutiny over the years. He was elected an Associate of the Royal Ulster Academy of Art in 1975, and was made a full Academician in 1977. He won the Academy's Conor Award in 1975, its Gold Medal in 1978, 1982, 1987, 1994, 1997 and 2001, and the James Adam Prize in 1998.
Lot 88
William John Leech RHA ROI (1881-1968)Sketch in Grasseoil on boardsigned lower left24 x 18cm (9 x 7in) De Vere's, Dublin; Private CollectionWilliam Leech was born in Dublin in 1881. After attending St Columba´s school, followed by a year in Switzerland, he enrolled in 1899 at the Metropolitan School of Art. Transferring to the Academy Schools in 1900, Leech was taught by Walter Osborne and the following year, like many Irish art students of the time, he traveled to Paris, enrolling at the Academie Julian, where he studied under Laurens. Two years later, Leech was at Concarneau, in Brittany, painting mainly still life, interiors and harbour scenes. He used dark tones, in compositions where calm horizontals contrast with strong diagonals and verticals. In 1907 he exhibited at the Leinster Hall in Dublin, with two fellow students from the Academie Julien, Constance Gore-Booth and Casimir Dunin Markiewicz. Around 1908, a new sense of light and colour entered Leech´s work, and his exhibitions in London, such as that at the Goupil Gallery in 1912, were well received. He was elected a member of the RHA in 1910. In the decades following, while living mainly in England and the South of France, and rarely returning to Ireland, Leech still continued to exhibit at the RHA.
Lot 601
An oriental, Cinnabar- lacquer style vase of a bulbous formed body and footed base, centrally depicting floral still-life studies in vases and another of a scribes pot, table and sensor, with all -over borders of dense floral decoration, four carved Chinese character marks to the base, Height: 28 cm.
Lot 870
C * H * T * (20TH CENTURY) Still life - a jug of mixed flowers, signed with initials, pastels, 49 x 54cm and after John King 'Horse Guards 10.7.67', print in colours, pencil signed in the margin, 37 x 51cm; and After David Cartwright - Cavalry charge, print in colours, pencil signed in the margin and numbered 260/500, 43 x 68cm (3)
Lot 636
Frank R. Williams (British, early 20th century): still life of flowers in a basket, oil on canvas, 44 by 55cm, in gilt composition frame, 56 by 68cm, together with a portrait of a gentleman, by the same artist, oil on canvas, both signed lower left, 47 by 36cm, framed, 52 by 42cm. (2)Possibly Frank R Williams is the Frank Williams who founded the Watford and Bushey Art Society.
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