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Lot 180
Late Nineteenth Century School : Still Life with Apples, Cherries and Grapes, oil on panel, signed with unidentified monogram, 19 cm x 29 cm, framed and Late Nineteenth Century School : Still Life with Apples, Pears and Plums, oil on panel, signed with unidentified monogram, 20 cm x 24 cm, framed. (2)
![Follower of Gaspar Peeter Verbruggen [18th century]-A still life of peonies, chrysanthemums, tulips and other flowers in an u](https://cdn.globalauctionplatform.com/068118ad-c049-4e3b-ab57-a72701646cfd/497e7ed7-d8dc-471c-a93a-a74000d8686a/468x382.jpg)
![Follower of Daniel Seghers [18th Century]-A still life of a garland of flowers, surrounding a portrait of a young lady:-oil](https://cdn.globalauctionplatform.com/068118ad-c049-4e3b-ab57-a72701646cfd/21d354cb-8ff8-4e8c-e0db-1bdc1132f44d/468x382.jpg)
![Attributed to William Buelow Gould [English/Australian School 1803-1853]-A still life of dead game and rabbit:-oil on canvas6](https://cdn.globalauctionplatform.com/068118ad-c049-4e3b-ab57-a72701646cfd/2b6e7023-e5b4-42ca-f12e-2244921bc889/468x382.jpg)
Lot 152
Carey Clarke PPRHA (b.1936) Still Life - Fruit & Flowers oil on canvas signed lower right 71 x 92cm (28 x 36in) Private CollectionCarey Clarke was born in Donegal in 1936 and was educated at St. Andrew's College, Dublin. He attended the National College of Art (NCA) from 1954 to 1959 and took up a teaching post in the College in 1963. While at NCA, he was awarded the Royal Dublin Society's prize for portraiture and the Taylor Art Scholarship. He studied painting at the Salzburg Academy in the summer of 1969 and in 1976 took a year's sabbatical to research tempera painting in Florence. In 1985, he received the inaugural Keating/McLoughlin Bursary for Art and a silver medal at the Royal Hibernian Academy (RHA) annual exhibition. Clarke began exhibiting in 1956 at the Irish Exhibition of Living Art and had his first solo show at the Molesworth Gallery in 1966. He participated in numerous group shows including the RHA and the Oireachtas exhibitions. Clarke was elected a member of the RHA in 1980 and served as Academy President from 1992-1995. He is also a member of the Cork Arts Society and the Watercolour Society of Ireland.
Lot 55
William Crozier HRHA (1930-2011) The Dark Pool oil on canvas signed lower right 76½ x 86½cm (30 x 34in) Royal Hibernian Academy Annual Exhibition 2008 (label verso); Private Collection Royal Hibernian Academy, Annual Exhibition 2008: No 1 William Crozier was an Irish-Scots still-life and landscape artist based in Hampshire, England and West Cork. Throughout the 1960s and 1970s Crozier exhibited his works in London, Glasgow, Dublin and all over Europe. From the 1980s, Crozier's painting blossomed with a new freedom and confidence, the result of the stimulus provided by his studio in West Cork. His abstract landscapes and still life painting used sumptuous colour to convey an emotional intensity. To the end of his life, he was endlessly concerned with the challenge of creating a new language in figurative painting. William Crozier represented the UK and Ireland overseas, and was awarded the Premio Lissone in Milan in 1958 and the Oireachtas Gold medal for Painting in Dublin in 1994. In 1991 the Crawford Art Gallery Cork and the Royal Hibernian Academy curated a retrospective of his work. He was elected to Aosdána in 1992 and was elected an honorary member of the Royal Hibernian Academy.
Lot 46
Charles Brady HRHA (1926-1997) Paperbacks (1994) oil on linen signed lower right 49 x 29cm (19 x 11in) Grants Fine Art Gallery, Co Down (label verso); Private CollectionCharles Brady was born in New York in 1926 but spent most of his life in Ireland. In 1948 he entered the Art Students League of New York and took a yearlong course. After art school he continued to paint, beginning to exhibit in the early 1950s. He had his first solo exhibition in the Urban Gallery in 1955. The following year 1956 saw him travel by ferry to Ireland and it was here he began painting the Irish countryside. He returned to New York in 1958 but in 1959 he moved back to Ireland and settled there for good. Poverty forced him to paint on small pieces of cardboard and small pictures became typical; he began to value the intimacy, and affordability, of small paintings. In the 1960s he began painting still lives of everyday objects such as envelopes and tickets and this also became typical. These small, modest, compositions allowed him to refine a spare almost mystical style.
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77168 item(s)/page