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Lot 383
Elizabeth Sharp (20th Century)'Still Life of Hellebores'Watercolour, signed lower left, Torrence Gallery label verso, 30 x 22cm, together with various other pictures and prints to include a watercolour of 'White Horse Close, Edinburgh', two Danish pencil drawings, a watercolour seascape, a photograph of people curling a Blackford c.1900, Monet print etc (11)
Lot 195
Collection of paintings and prints including Still Life - Bottlebrush Tree signed Leslie Greenwood (1900-), Bird Portraits, pair watercolours by J D Harrison and Street Vendor, marquetry and paint panel by Gabriella max 37cm x 54cm (21) Condition Report Click here for further images, condition, auction times & delivery costs
Lot 254
Still Life of Cherries in a Bowl, craquelure effect colour print 19cm x 24cm in ornate gilt frame, Windmill in Landscape Scene, oil on canvas, pair Parisian Fashion print's and one other print of a Woman Holing a Fruit Bowl 36cm x 30cm (5) Condition Report Click here for further images, condition, auction times & delivery costs
Lot 827
Dutch School, oil on canvas, still life of flowers, relined, in giltwood frame, circa 1880. CONDITION REPORT: Dimensions 42.5 cm x 32.5 cm. The painting has been relined and is therefore in extremely good condition. We have looked at the painting under a UV light and cannot see any areas that have been overpainted or any tears to the canvas. There are some very minor marks to the paintwork but the picture could be hung in its current state without the need for any work. We have removed the picture from the frame. The piece has definitely been relined and the colour and state of the original canvas and bearers would suggest late Victorian. It would not be usual for a more modern painting to have been relined. The back of the painting has a piece of canvas over the relined canvas which is simply decorative. We have cut into this to ensure that the picture has in fact been fully relined. Hopefully our images will show both the original canvas, the relining and the backing canvas. Having removed the picture from the frame it is now loose in the frame and will need some re fixing as we have removed the picture tape.
Lot 38
Jack Butler Yeats RHA (1871-1957)The Fern (1943)Oil on panel, 23 x 35.5cm (9 x 14)SignedProvenance: Sold through Leo Smith, The Dawson Gallery to Senator Joseph Brennan and thence by descent.Literature: Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, by Hilary Pyle, Andre Deutsch 1992, Volume I, Catalogue No.565This still-life painting centres on the vivid form of a fern, its leaves conveyed through thick impasto paint. The plant sits in a large lustre jug whose shiny handle is constructed out of strong reds and yellows. The shadowy outline of a window frame on the left reflects blue light onto the plant. Touches of bright blue and yellow convey the impact of light and shade on the delicate fronds. Beyond the edge of the brown wooden board on which the fern is sitting, an area of greys and greens indicate moving water. Yeats returned to the same motif in a later painting, The Fern in the Area, (1950, Private Collection). The work is a complicated exercise in paint and illusion. It brings together two distinct types of painting - the visceral surface of the jug and plant, and the flat surface of their surroundings. The latter by contrast appear obscure as if in motion. Their subtle gradations of colour and shape are reminiscent of the work of the French post-impressionist painter, Pierre Bonnard. Yeats’s work was compared to that of Bonnard by several contemporary commentators, including his close friend, Thomas MacGreevy. The Dublin based artist May Guinness owned an important example of Bonnard’s work, A Boy Eating Cherries, which is now in the collection of the National Gallery of Ireland. A work by Bonnard was included in a group exhibition at the Contemporary Picture Galleries in Dublin in 1939, directly before Yeats held a solo show at this venue. Bonnard, like Yeats, enjoyed the physical quality of paint and used it to create perplexing and highly decorative compositions that provoke the viewer’s curiosity, encouraging them to make sense of the intriguing perspective and arrangement of form within the work. Yeats uses a similar strategy in his painting, although in The Fern, the three-dimensional quality of the central motif disrupts the otherwise tranquil nature of the work. The Fern was bought from the artist by the dealer Leo Smith, a prominent admirer and supporter of his work during the Second World War when this work was painted. The collector Senator Joseph Brennan acquired the painting from Smith and it has since remained in the family’s possession. Dr Roisin Kennedy
Lot 58
Basil Rákóczi (1908-1979)The MaypoleGouache, 50 x 70cm (19½ x 27½'')Signed; signed again, inscribed with title and dated (19)'51 (AR 1550) versoThis is a joyful painting, full of colour. It contains a lot of imagery representing an idyllic life including some of the artist's regular themes, such as the wookie figures (children here), crowing cocks, sun and moon with faces. This gouache was painted in January 1951. Rákóczi was living with friends at the time in Paris and tended to move regularly as he never liked to outstay his welcome. He still was able to produce paintings such as this, full of life. It was deeply opposite to his own life in the city. He enjoyed Paris, he found great creativity in the city but he was abjectly poor, relying on a sale of a painting for his next meal.We thank the artist's grandson Christopher Rákóczi for his help in cataloguing this picture and the previous lot.
Lot 7
Louis le Brocquy HRHA (1916-2012)Fan Tailed Pigeons (528)Oil on canvas, 38 x 46cm (15 x 18'')Signed and dated 1985 verso and inscribed on stretcher 528, Fan Tailed Pigeons 1985Provenance: From the collection of the late Gillian Bowler.Exhibited: The Taylor Gallery, Dublin (label verso)For someone who devoted so much of his career to representations of humans, either as travellers, mythical warriors, or studies of individual or generic presences, Louis le Brocquy was a particularly fine interpreter of animals and birds. Some of his most powerful paintings were of Irish Travellers in the 1940s and it is in his depictions of their lives that we find his first images of animals and birds. One of these, ‘Tinker Group’, a 1947 watercolour shown in ‘Louis le Brocquy; Allegory and Legend’, at the Hunt Museum in 2006, has as its shocking central motif a traveller woman dangling a mouse by the tail, to be followed a year later by ‘Man Creating Bird’ shown in the same exhibition. Later he based one of his most important early tapestries, ‘The Garlanded Goat’, 1949, on the goat at Puck Fair in Killorglin and later still, in 1969, he produced one of the most powerful birds in Irish visual culture - the Morrigan, as part of his illustrations to Thomas Kinsella’s translation of ‘The Táin’ legend. With the possible exception of the mouse, all of these portrayals of the bird and animal kingdom are symbolic, they represent remnants of a pagan culture, of beauty and creativity, and of the heroic. What they share is le Brocquy’s acute observation of the creatures’ salient features and an effortless ability to transmit their animal outrage, terror or sense of self-worth in paint. The dove, is widely recognised as a symbol of peace. Picasso is one of many artists who have painted it for this reason and having lived through two devastating world wars and decades of strife in Northern Ireland, it might be expected that Le Brocquy’s doves would also carry this symbolic weight. However, his ‘Fan-tailed Pigeons’ are too caught up in the flurry of their mating rituals to embody anything else. Instead the painting seems to belong, like his occasional still life paintings, to those moments when the artist relaxed and painted the things closest to him simply for the pleasure of it. The white, blue-grey palette, so familiar from his head paintings, is enlivened here by the vigour of the brushwork.Catherine Marshall, April 2017
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