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Important Irish Art

by Adam's


203 lots with images

May 28, 2014

Live Auction

26 St Stephen's Green

Dublin, 2 Ireland

Phone: +353 1 676 0261

Fax: +353 1 662 4725

Email: info@adams.ie

203 Lots
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William John Leech RHA (1881-1968) On a Seat in

Lot 1: William John Leech RHA (1881-1968) On a Seat in

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Description: William John Leech RHA (1881-1968) On a Seat in the Park Oil on panel, 22.7 x 28cm (9 x 11'') Signed Provenance: Purchased from Leo Smith, Dawson Gallery (circa 1950) by J.P. Reihill Snr; Deepwell, Blackrock, Co. Dublin Exhibited: Irish Art from Private Galleries 1870-1930, Wexford Arts Centre, 1977, Cat. No. 30 This work is a fine example of Leech's delight in radiant colour and its application to the picture plane in resonating dots. The artist juxtaposes flamingo pink, yellow and turquoise dabs to described the grove of trees. Shadows are few, the only dark tones being the gestural brushstrokes which describe the two figures seated on the park bench. This panel may be a view in Regent's Park, London where Leech painted many scenes of overhanging reflected trees, bridges, and people in boats, before and especially after the Second World War. However, like Selling Songs (sold in these rooms, Important Irish Art Sale, 30th May 2012, Lot 37), its colour range and atmosphere suggest that the artist painted the work in France.

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Maurice C. Wilks RHA RUA (1910-1984) Roundstone,

Lot 2: Maurice C. Wilks RHA RUA (1910-1984) Roundstone,

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Description: Maurice C. Wilks RHA RUA (1910-1984) Roundstone, Connemara Oil on canvas, 61 x 71cm (24 x 28'') Signed. Inscribed with title and 'Return to Victor Waddington Galleries' verso Exhibited: Possibily RHA Annual Exhibition 1943 Cat. No. 93.

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James Humbert Craig RHA RUA (1877-1944) Mayo in

Lot 3: James Humbert Craig RHA RUA (1877-1944) Mayo in

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Description: James Humbert Craig RHA RUA (1877-1944) Mayo in October Oil on canvas, 39.4 x 51cm (15½ x 20'') Signed. Signed again and inscribed with title verso Provenance: Victor Waddington Galleries, Dublin, 12th November 1940, where purchased by J.P. Reihill Snr., Deepwell, Blackrock, Co. Dublin Craig portrayed the ever-changing Irish light and skies with consummate skill. In terms of technique, this highly atmospheric, ''plein-airist'' painting displays strong use of impasto with some of the pigment probably having been squeezed directly from the tube. An extremely tonal palette is employed here, the only highlights being touches of yellow ochre at the foot of the distant mountain which is bathed in sunlight.

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James Humbert Craig RHA RUA (1877-1944) Coast

Lot 4: James Humbert Craig RHA RUA (1877-1944) Coast

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Description: James Humbert Craig RHA RUA (1877-1944) Coast Road, Bloody Foreland Oil on board, 29 x 42cm (11½ x 16½'') Signed Exhibited: The Fine Art Society, London, May 1957 A mainly self-taught artist, James Humbert Craig grew up in Co. Down and briefly studied at the Belfast School of Art. He began exhibiting his landscapes at the RHA in 1915, showing about 130 works there during his life, and was elected a full member of both the RHA and RUA in 1928. Known for his renderings of Donegal, Connemara and Antrim scenes, Craig developed a style based on tradition that is considered to be quintessentially Irish. For further details see note at Lot 4.

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James Humbert Craig RHA RUA (1877-1944) Loading

Lot 5: James Humbert Craig RHA RUA (1877-1944) Loading

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Description: James Humbert Craig RHA RUA (1877-1944) Loading the Turf, Co. Mayo Oil on canvas, 38 x 51cm (15 x 20'') Signed Provenance: This is thought to be one of four works by Craig purchased by J.P. Reihill Snr from the Victor Waddington Galleries on November 12th, 1940, titled A Turf Bog, Allnatroohy, Co. Mayo; Deepwell, Blackrock, Co. Dublin This genre scene depicts men and women loading turf from a mound, in which the turf was stacked when cut, into waiting carts, which are drawn by donkeys. The composition is very loosely painted, some of the forms being merely blocked in, with areas of canvas remaining bare. The generally muted tone of the painting is enlivened here and there with dabs of yellow ochre and bright green. Until the 1950s James Humbert Craig was regarded as the premier landscape painter in Northern Ireland. Working predominantly in the Glens of Antrim where he had a house, and in County Donegal and Connemara, his canvases consistently depict billowing, cumulus clouds moving across grey-blue or parchment skies, with facets of bright sunlight flickering across broad mountain slopes and open moorlands. Commenting on his approach, John Hewitt remarks that ''he found his style in impressionism, not Impressionism of the divided touch, the broken colour, the rainbow palette, but of the swift notation of the insistent effect, the momentary flicker, the flash of light, the passing shadow.'' Born in Belfast, Craig spent his early years in Ballyholme, Co. Down, where he was educated at a private school. Craig derived little satisfaction from working in the family tea business but it enabled him to travel and paint, particularly in Switzerland and the south of France. In time, he turned a more serious eye to art as a profession, specifically to landscape painting. Apart from attending the Belfast College of Art for less than a term, Craig was self-taught. He was influenced in his early work by Paul Henry but as his career developed this became less apparent. He first exhibited at the RHA in 1915 at the relatively late age of thirty-seven when he showed a pair of coastal scenes near his home at Ballywater. In 1928 he was elected to both the RUA and the RHA and in that same year his work featured (along with that of Lavery and Henry), in an exhibition of Irish art at the Fine Art Society, London. Throughout the interwar period he continued to exhibit in Belfast and Dublin and also in London. In 1930 his work was included in the prestigious Exhibition of Irish Art in Brussels in 1930. Though he went on sketching tours of Connemara and Donegal Craig found so much stimulus in the scenery of the Glens of Antrim that he acquired a cottage at Cushendun and his work became closely identified with the Middle Glens thereafter. Craig had a significant following among younger artists and although he and his followers ignored European Modernism, they were perfectly in tune with the romantic attitudes prevalent in Ireland during the period. Craig, together with Paul Henry, Frank McKelvey, Charles Lamb and Maurice MacGonigal, comes closest to personifying a distinctive Irish School of Painting.

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Frank McKelvey RHA RUA (1895-1974) Running Home

Lot 6: Frank McKelvey RHA RUA (1895-1974) Running Home

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Description: Frank McKelvey RHA RUA (1895-1974) Running Home from School Oil on canvas laid on board, 35 x 44.5cm (13¾ x 17½'') Signed William Moll label verso Provenance: The Irish Sale, Christie's, London, May 1997, Lot 80, where purchased by the current owners under the title 'The Schoolhouse'. 'His characteristic approach to landscape was to capture the essential visual effect of the scene...he succeeded brilliantly in capturing the character of the Irish landscape.' (SB. Kennedy Frank McKelvey-A Painter in his Time, p9). Along with James Humbert Craig, Frank McKelvey was the leading landscapist of his time in Northern Ireland. The artist is a master of landscape employing just the right range of compositional elements, provoking a sense of quietude, harmony and complimenting the entire with an accurately rendered sky. The treatment of light is stunning here and reminiscent of works such as 'Fair Day, Camlough, South Armagh' by the artist, where McKelvey has strategically captured the sunlight to highlight the principle elements of his composition, namely, the children, the landscape in the middle ground and the sky above the mountains. The setting is Donegal, with Errigal Mountain in the left background and it is most likely a view from Creeslough direction. McKelvey spent time in this area and Dunfanaghy which many of his landscapes depict. He often showed an ease in capturing children at rest or play in his compositions. Here they are sensitively rendered appearing natural in their casual after school formations of seated pairs and walking groups. Although collectively the children's facial features remain undetailed, this is not apparent as their attitude and stances are so convincing. There is a clever range of colours employed in this painting. We acknowledge the familiar greys and muted greens of our habitual surroundings, the cloud obscuring the top of the mountain on the right, yet this is enlivened by the high colour of summer that bathes the central portion of the composition in cheerful swathes. This sense of palpable heat allows the viewer to observe the barefooted children as sensible and comfortable in their homeward stroll from the schoolhouse on the right. The overall painting is harmonious, charming and nostalgic. '...The overall feeling of lightness, fresh air and the spontaneity of the moment are features which remain characteristic of McKelvey's work throughout his career...The even film of paint and naturalistic use of light combine with the treatment of the figures to express the apparent ease of the artist's technical ability.' (SB. Kennedy Frank McKelvey-A Painter in his Time, p9). As always in the work of McKelvey he incorporates the ideal level of detail and his scenes are never complicated by overworking. Technically the artist is accomplished and confident affording his paintings an aesthetic coherence that is most pleasing and seldom accomplished in Irish landscape to such an extent as in this artist's most successful compositions. Marianne O'Kane-Boal

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Frank McKelvey RHA RUA (1895-1974) A Coastal

Lot 7: Frank McKelvey RHA RUA (1895-1974) A Coastal

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Description: Frank McKelvey RHA RUA (1895-1974) A Coastal Landscape with Thatched Cottages Oil on canvas, 51 x 66cm (20 x 26'') Signed Provenance: Purchased in these rooms, 1978 by John P. Reihill, Deepwell, Blackrock, Co. Dublin Exhibited: Irish Art from Private Collections 1870-1930, Wexford Arts Centre, 1977, Cat. No. 33 Though an excellent portraitist in the academic tradition, it is for landscape painting, particularly views of the West of Ireland, that Ulsterman Frank McKelvey made a national reputation. Dr. S.B. Kennedy has identified this view as looking east from Falcarragh towards Dunfanaghy, Co. Donegal. As with so many of McKelvey's works, it realises with great fidelity the character and mood of the West of Ireland landscape. Sable, ochre, and mist-green tones describe the foreground which is strongly and confidently painted while the distant peninsulas, in tones of blue-grey, assume a remote ethereal quality. The disposition of masses is well thought out and the light and dark areas are cleverly disposed. Typically, McKelvey has included a genre element, which consists of a donkey standing patiently by, while the creels on its back are loaded with turf by two figures. Born in Belfast, son of a painter and decorator, (it is interesting that a number of other successful Northern artists came from a similar background), he worked as a poster designer before entering the Belfast School of Art. There, he displayed an exceptional talent for drawing and won the Sir Charles Brett and Fitzpatrick Prizes for figure drawing. One of his first commissions, funded by a local businessman, for the Belfast Museum and Art Gallery, (now the Ulster Museum), was to translate faded photographs of Old Belfast views into effective watercolours. These subsequently proved to be highly popular with visitors. A talented portrait painter, he was represented at the Irish Portraits by Ulster Artists exhibition at the Belfast Museum and Art Gallery in 1927. He first exhibited at the RHA in 1918 becoming a full member in 1930 and of the RUA, (then known as the Belfast Arts Society), in the same year. He was a most prolific painter, producing numerous river and coastal views from Donegal, Connemara, and Antrim along with many farmyard scenes. Significantly, the Exhibition of Irish Art in Brussels, held in 1930, included no fewer than three of his paintings, a measure of his stature. In 1937 he had his first one-man show in Dublin at the Victor Waddington Galleries and his work was also shown in New York prior to World War II. An exhibition entitled Contemporary Irish Paintings, which toured North America in 1950 also included one of his landscapes. Although he worked in Northern Ireland all his life, from 1951 he made frequent painting trips to France. Compared with those of Craig and other contemporaries, McKelvey's landscapes are less romantic, less concerned with mood and feeling than with describing the essential visual effect of a scene, although after the mid-1930s his work becomes more atmospheric. John Hewitt suggests that ''in landscape his work harked back to an older tradition than Craig, to quieter colour, to a kind of Constable-impressionism. It is most effective in its rendering of evening light over level estuary-plains, out of a lowering sky, or coming in from the sea with water flooding across the sands.'' From a younger generation than Craig, by 1925 McKelvey had reached the same level of recognition and became, with the latter and William Conor, one of Ulster's most prominent painters. Furthermore, his West of Ireland views together with those of Lamb and Craig dominated the field of landscape painting between the wars and perhaps more than any other, approximated to a genuine Irish School.

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Rowland Hill ARUA (1915-1979) A Lake in Galway Oil

Lot 8: Rowland Hill ARUA (1915-1979) A Lake in Galway Oil

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Description: Rowland Hill ARUA (1915-1979) A Lake in Galway Oil on board, 24 x 33cm (9½ x 13'') Signed Original inscribed artist's label verso

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Frank McKelvey RHA RUA (1895-1974) On the Lagan

Lot 9: Frank McKelvey RHA RUA (1895-1974) On the Lagan

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Description: Frank McKelvey RHA RUA (1895-1974) On the Lagan River Oil on canvas, 38.1 x 50.8cm (15 x 20'') Signed Provenance: The Waddington Galleries, London, where purchased by the current owners

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Charles Lamb RHA RUA (1893-1964) The Costelloe

Lot 10: Charles Lamb RHA RUA (1893-1964) The Costelloe

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Description: Charles Lamb RHA RUA (1893-1964) The Costelloe River Oil on canvas, 45.5 x 56cm (18 x 22'') Signed Provenance: In these rooms, Important Irish Art sale, 14/03/91, Lot 102 where purchased by John P. Reihill; Deepwell, Blackrock, Co. Dublin Exhibited: RHA Annual Exhibition, Dublin, 1945, Cat. No. 146, costing £35.0.0 Charles Lamb Retrospective, The Hugh Lane Gallery, Dublin, April 1969, Cat. No. 70, although the size in the catalogue is different (remnants of Retrospective label verso) Charles Lamb, like Henry, Keating and MacGonigal had a deep attachment to the West of Ireland, especially the area around Carraroe where he lived for many years. From the mid-1930s he concentrated on depicting landscape, working rapidly on a warm-toned surface whilst trying to capture the changing mood and light of Connemara. His vision which is characteristically contemplative is characterised by broad brushwork and restrained impasto. He painted many views such as this, of cottages nestling together in the rich, black earth of the boglands. Here the meandering waterway which cuts through the soft loamy bogland may be the Spiddal river.

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Charles Lamb RHA RUA (1893-1964) Carraroe

Lot 11: Charles Lamb RHA RUA (1893-1964) Carraroe

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Description: Charles Lamb RHA RUA (1893-1964) Carraroe Landscape Oil on canvas, 51 x 61cm (20 x 24'') Signed Exhibited: ''A Century of Progress'' Exhibition, 1933, Chicago World Fair This is thought to be the same work exhibited under the title ''Western Scene'' at the ''Charles Lamb Memorial'' exhibition at the Hugh Lane Gallery, 1960, Cat. No. 29, lent by Miss Eileen Burke. Charles Lamb was one of that group of Irish artists, during the 1920s and 30s who found their inspiration in the life and landscape of the West of Ireland. Born in Portadown, he was the eldest of seven children of John Lamb, a painter and decorator. He was apprenticed to his father and attended Portadown Technical School where, in 1913, he won a gold medal for being the best apprentice house painter of the year. As he was anxious to use the human figure in church decoration, he attended Belfast School of Art in the evenings. In 1917 he won a scholarship to the Metropolitan School of Art, Dublin, where, during his four years of study, he was profoundly affected by the nationalist ferment which dominated Dublin intellectual and artistic circles and he determined to express them in his art. In sympathy with these ideas he looked to the West of Ireland to the people and traditions of the Gaeltacht region, visiting Carraroe for the first time in 1921 and regularly for the next twelve years. In 1922 he exhibited for the first time and became an associate member of the RHA, and in between visits to the West, made extensive painting trips to Donegal, Down, Waterford and to Kent, thus establishing the foundations of his landscape style. In Carraroe, however, as James White has written ''he found a life which fitted his ideas of contemplation; which left him time to measure the place of man in the landscape of the fishing boat on the ocean''. One of his earliest one-man shows, at Magee's Gallery, Belfast in 1924, included figure-pieces which clearly revealed his debt to Orpen and Keating. In 1926 and 1927 he was in Brittany painting peasant life in a manner derived from his West of Ireland experience. The following year he was back in the West of Ireland travelling around Aran in a horse-drawn caravan. Until the mid-1930s he continued to produce important figure-pieces representing typical Irish characters. Thereafter he concentrated on landscape. In 1935, he settled permanently at Carraroe where he started a summer school. From 1922 onwards Lamb exhibited regularly with the RHA and was elected a member in 1938. He was also elected a member of the RUA. In the period 1928-34 he exhibited in Boston, New York, London, Los Angeles and Chicago. In 1938 he exhibited at the RA. In the period 1941-54 he spent much more time painting in the North - on the Bann and in Rostrevor. He died at Carraroe in 1964. In 1969 a memorial exhibition of his work was held at the Hugh Lane Municipal Gallery.

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William Conor RHA PRUA ROI OBE (1884-1968) Beero

Lot 12: William Conor RHA PRUA ROI OBE (1884-1968) Beero

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Description: William Conor RHA PRUA ROI OBE (1884-1968) Beero (1956) Oil on canvas, 66 x 81.5cm (26 x 32'') Signed Provenance: Commissioned by John P. Reihill Snr directly from the artist in 1956; Deepwell, Blackrock, Co. Dublin Exhibited: RHA Annual Exhibition, Dublin, 1957, Cat. No. 19 The National Gallery of Ireland, New Millennium Wing Opening Exhibition of 20th Century Irish Art. January 2002 - December 2003; ''Collector's Eye'' Exhibition, The Model Arts and Niland Gallery, Sligo, Jan/Feb 2004, Cat. No. 3 Literature: ''Collector's Eye'' 2004 Exhibition Catalogue, illustrated p3 'Conor (originally 'Connor') was a working-class Protestant who had Gaelicized his name in response to his encounter with the Celtic Revival in Belfast at the start of the century.' (Fionna Barber, Art in Ireland Since 1910, London: Reaktion Books, 2013) What distinguishes William Conor from other genre painters of the late nineteenth and early twentieth century is the gaiety and happiness evident in his compositions of groups of people. The artist considered himself as a 'portraitist, landscapist and genre painter,' and did not simply want to be categorised as 'the painter of working class life,' his close friend John Hewitt wrote in 1981. (JC Wilson, Conor 1881-1968: The Life and Work of an Ulster Artist, Belfast, 1981) Yet it was in these studies of 'working class life' that the artist immersed himself in his sketches and paintings. It was in this category that he produced his most prodigious output and in the evident jovial atmosphere of the works, it was a focus that he thoroughly enjoyed. He wrote his own assessment of his work 'All my life I have been completely absorbed with affection in the activities of the Belfast people...Being a Belfast man myself it has been my ambition to reveal the Spiritual Character of its people in all vigour, in all its senses of life, in all its variety, in all its passion, humanity and humour...' (Ibid) He is clearly enthralled with his fellow citizens in Belfast and captures this through his use of terms such as 'affection,' 'spiritual character,' 'vigour,' 'passion,' 'humanity,' and 'humour.' Conor believed that the artist should understand 'his own epoch and give expression to that which is happening around him.' (Máirín Allen 'Contemporary Irish Artists XIV, William Conor', Father Mathew Record, October 1942). In 2002, Eileen Black wrote 'As regards Conor's position in the local art world, his images of the working classes made him unique among artists in the North; indeed, few painters in the whole of Ireland pursued such genre themes, with the exception of Jack B Yeats and Paul Henry...' (Irish Arts Review Yearbook, 2002). This painting entitled 'Beero' was commissioned in 1956 directly from the artist and subsequently exhibited in the RHA in 1957 (cat. No. 19). John Reihill Snr commissioned the work due to his connection with Tedcastles the largest coal importer in Ireland in its day. Although the Irish flag flies outside the window it is thought among the family that Conor took artistic license and these workers are in fact Belfast rather than Dublin coalmen. This is particularly likely if one considers works by Conor such as 'The Launch,' 1922, where the placement of shipping and tonal treatment is strongly echoed in the left background of 'Beero.' The British flag in 'The Launch' is replaced here by the Irish flag but the artist's inspirational setting is clearly Belfast. ''Beero'' was the slang term used by coalmen who worked the Docks to describe their break during the day's work which was invariably spent in one of the local pubs located near the quays. Compositionally 'Beero' is strong; the figures are symmetrically arranged and treated in an impressionistic manner. The colour range is effective and there is a restraint in detailing that communicates the scene with immediacy. The flavour of fun and camaraderie is similar to a work of the same time by Conor 'Lamp-post Swinging' 1957. Indeed the smile of the gentleman seated on the left is echoed in that of one of the girls swinging. The continuity of expression goes back further into Conor's wartime works, again this particular smiling expression can be seen in 'Off: The Ulster Division' 1915 and ' Bugler, Ulster Division' c1933. Although, this mode of painting was not what Conor was limited to, he certainly excelled at it and 'Beero' further demonstrates his interest and engagement in these group studies. Marianne O'Kane Boal Marianne O'Kane Boal

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Seán O'Sullivan RHA (1906-1964) The Emigrants

Lot 13: Seán O'Sullivan RHA (1906-1964) The Emigrants

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Description: Seán O'Sullivan RHA (1906-1964) The Emigrants Return Oil on canvas, 71 x 91.5cm (28 x 36'') Signed Provenance: Commissioned by John P. Reihill Sr. directly from the artist c.1962; Deepwell, Blackrock, Co. Dublin Exhibited: RHA Annual Exhibition, Dublin, 1963, Cat. No. 27, under the title Interior, Gaeltacht O'Sullivan was an extraordinarily talented artist who could turn his hand to any medium. Although perhaps better-known as a portrait painter, he was a keen observer of life on the western seaboard of Ireland. He painted the landscape and people, both young and old, of Connemara and Kerry. Here we have a companion piece to ''The old couple'' (Sold these rooms Important Irish Art Sale December 2012 Lot 52 for €40,000) which had been commissioned from the artist 20 years earlier. We again have a humble cottage interior but taking centre stage is the young daughter home from America with her smart emerald green dress and silk stockings . This work had been commissioned by John P. Reihill Snr and the story according to his son is that he paid O'Sullivan on the drip with John Jr calling to the artists studio to inspect the painting on a weekly basis; and if he felt there had been sufficient work completed in the previous week he was to hand over a stipend . Of course there were many weeks when nothing had been done as O' Sullivan notoriously disappeared off to local establishments with his previous weeks stipend. A row ensued and out of pure devilment O'Sullivan exhibited the work , incomplete as it is today , in the annual Royal Hibernian Academy Exhibition in 1963 titled ''Interior, Gaeltacht'' . Another commission that exhibited at the RHA that year was a portrait of John P. Reihill's Snr's daughter ''Mrs Tempany'' (Cat. No. 93). This is thought to be the final subject painting completed by O'Sullivan before his death in 1964. Like ''The Old Couple'' O'Sullivan completed a number of studies for this work several of which were included in the ''Sean O'Sullivan'' sale in these rooms May 2012 including Lot 22 which was a study for the old woman on the left. O'Sullivan was born in 44 St Joseph's Terrace, South Circular Road, and later raised in 126 St Stephen's Green in Dublin, where his father, John, ran a business as a carpenter and joiner. He was educated with the Christian Brothers' at Synge Street. Measuring over six feet, he was a good boxer, a fencer, a squash player and an enthusiastic sailor. He was also a keen reader and was fluent in both Irish and French. O'Sullivan entered the Dublin Metropolitan School of Art in 1926 where one of his teachers was Seán Keating. His student days were intermittent but while at the school O'Sullivan came to the attention of the then Headmaster, George Atkinson, who arranged for him to undertake a three month training course in lithography at the Central School of Arts and Crafts in London under Archibold Standish Hartrick. While in London, O'Sullivan met and later married a young Anglo-Dutch art student, Rene Mouw, and the pair spent their early married years studying in Paris. He then worked as a lithographer with Frank Brangwyn having returned to London in the late 1920s. The couple returned to Dublin in the early 1930s and in 1936 O'Sullivan took a studio at Molesworth Street where he remained until he moved to 6 St Stephen's Green in 1939. He remained in that studio until his death in 1964. Working in the centre of Dublin meant that O'Sullivan was well-connected in the social scene at the time. He was on friendly terms with many of Ireland's best-known writers, actors, poets and painters including Keating, Hilda Van Stockum, Maurice MacGonigal, Harry Kernoff, Patrick Kavanagh, Myles na gCopaleen, F.R. Higgins and John Ryan. Our thanks to Dr Éimear O'Connor HRHA on whose writings much of this note is based.

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George Russell Æ (1867-1935) The White Sail,

Lot 14: George Russell Æ (1867-1935) The White Sail,

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Description: George Russell Æ (1867-1935) The White Sail, Portmarnock Oil on canvas, 41 x 53cm (16 x 21'') Signed with monogram Title inscribed on original exhibition label and framing label for Daniel Egan Gallery verso Provenance: From the collection of C.P. Curran, who wrote the foreword to the Memorial exhibition catalogue. Exhibited: Memorial Exhibition of Paintings by George W. Russell, Daniel Egan's Gallery, January-February 1936, Cat. No. 34 (one of seventeen works lent by Mr. & Mrs. C.P. Curran) In Æ'S work you will find a serenity of the spirit, grave tenderness, and a gaiety that expresses itself in dancing light and the free rhythms of children's play. Æ painted most of these landscapes where he spent his summers, in the strands and woods about Dunfanaghy and Marble Hill, in the shadow of Muckish and Errigal. Some come from Lissadell, some from Coole, some from Toomgraney, and a few from Glengarriff. They could hardly have been painted outside the borders of Ireland, but yet, in the artist's meditation, locality counts for little; accidents have fallen away, and little trace of human activity remains. Their harmony and gracious line build up a place of refreshment and peace in correspondence with the painter's mood. His figures, irradiated in sunshine, become ethereal; and there is disengaged from mountain and flowing water, from the recollection of evening skies, from the fugitive play of children and lovers, a Virgilian beauty in which the transitory neighbours the eternal. Edited section of foreword from the Memorial Catalogue, 1936, written by C.P. Curran

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George Russell Æ (1867-1935) Children at Slieve

Lot 15: George Russell Æ (1867-1935) Children at Slieve

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Description: George Russell Æ (1867-1935) Children at Slieve League, Co. Donegal Oil on canvas, 61 x 76cm (24 x 30'') Signed with monogram Provenance: The property of Barbara Morley Horder and by descent to Mrs. J. Fisher; who sold it at Taylor de Veres, Dublin, 12th October 1993, Lot No. 159, where purchased by J.P. Reihill Deepwell, Blackrock, Co. Dublin Exhibited: ''Ireland: Her People and Landscape'' The AVA Gallery, June - Sept 2012, Cat. No. 47 Literature: ''Ireland: Her People and Landscape'' Exhibition Catalogue, full page illustration p54 This painting is mentioned in the autobiography of Barbara Morley Horder :- ''We went to a wonderful tea party at AE's in Dublin - this was his lovely broken down house in Merrion Square .... I have a painting by him of the Donegal coast which lights up mysteriously when the sun shines on it '' George Russell grew up in Lurgan, Co. Armagh but moved to Dublin at the age of 11. He is known not only for his paintings but as a writer, poet, critic, theosophist and economist, and by his pseudonym Æ (a derivative of the word Aeon). He began night time painting classes at the Metropolitan School of Art just two years after moving to Dublin, and went on to receive academic training at the RHA. AE supported Hugh Lane's campaign for the gallery of modern art and was active in the Irish Literary Revival. He exhibited abroad at the 1913 Armory Show in New York and at the Whitechapel in London, and created a large scale series of murals at 3 Upper Ely Place in Dublin which has been compared to the work of Goya. His paintings can be found in the collection of the Ulster Museum, National Gallery of Ireland, Dublin City Gallery, The Hugh Lane, OPW, Trinity College Dublin and the Crawford Gallery. George Russell's landscapes are based on a close harmonious relationship between humanity and nature. Steeped in symbolism and theosophy, Russell believed in the connection between outward sensations and inner responses. His Children at Slieve League, Co. Donegal, shows two figures embracing with a vista of sand and mountains extending behind them. Subtle exaggerations of light and colour such as the patches of intense blue in the cliffs and rocky found create a pulsating vision of the Donegal landscape - a location for which the artist had particular fondness. Unlike the Henrys, Russell holidayed in the west rather than living there long term. His visits to Donegal were particularly productive and their regenerative power is reflected in the work that he made there. Our thanks to Dr. Róisín Kennedy on whose writing much of this note is based.

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Mary Swanzy HRHA (1882-1978) Boats at Harbour Oil

Lot 16: Mary Swanzy HRHA (1882-1978) Boats at Harbour Oil

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Description: Mary Swanzy HRHA (1882-1978) Boats at Harbour Oil on panel, 30.5 x 40.6cm (12 x 16'') Signed Provenance: Purchased in 1976 from Seán Ó Criadáin by John P. Reihill; Deepwell, Blackrock, Co. Dublin Financially independent from the time of the death of her parents, Mary Swanzy travelled extensively and with the exception of two extended periods during the First and Second World Wars, painted infrequently in Ireland. As she rarely dated her paintings and varied her style considerably throughout her career it is impossible to date this painting precisely. Stylistically it bears a relationship to a painting entitled Donegal, painted in 1943 and one of the few of the artist's dated works. It may, however be a view of Kilkeel Harbour, Co. Down, as certain unillustrated catalogue entries confirm the existence of a number of views of the harbour there.

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Mary Swanzy HRHA (1882-1978) Boats at Rest Oil on

Lot 17: Mary Swanzy HRHA (1882-1978) Boats at Rest Oil on

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Description: Mary Swanzy HRHA (1882-1978) Boats at Rest Oil on panel, 30.5 x 40.6cm (12 x 16'') Purchased in 1976 from Seán Ó Criadáin by John P. Reihill; Deepwell, Blackrock, Co. Dublin

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Michael Augustine Power O'Malley (1870-1946)

Lot 18: Michael Augustine Power O'Malley (1870-1946)

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Description: Michael Augustine Power O'Malley (1870-1946) Fishing Boats in a Harbour Oil on canvas, 63.5 x 76.1cm (25 x 30'') Signed Provenance: John P. Reihill, Deepwell, Blackrock, Co. Dublin Until a few decades ago the painter Power O'Malley was better known in America than in Ireland, with many of his paintings included in prestigious collections there. Born in Co. Waterford in 1878, Power O'Malley went to study in France and Italy, though exactly where is not clear. Nor is it known when he emigrated to the United States. After his arrival, he studied painting under Walter Shirlaw (1838-1909), Robert Henri (1865-1929) at the National Academy of Design, New York. He settled in Scarborough, New York. Power O'Malley returned several times to painting in the West of Ireland, especially on Achill. He won first prize for landscape painting at Aonach Tailteann in 1924. He was invited to participate in the Brussels Exhibition of Irish Art in 1930 and exhibited a painting entitled This is my Beloved Son. An exhibition of his paintings was held at the Crawford Municipal School of Art, Cork in 1940 and one of the works on show Himself and Herself, was purchased for the School of Art by the Gibson Committee. In the U.S.A., Power O'Malley established a reputation as a fine painter at the San Antonio Exhibition, Texas in 1927 and he exhibited again there in 1929. He spent some time in Hollywood working as a scenic artist. He painted a number of murals including one at the Sleepy Hollow Club, Scarborough, New York. His work was acquired by American museums and galleries, among them the Philips Collection, Washington; the Library of Congress, Washington; Fort Worth Museum of Art, Texas; the Whitt Museum of Art, San Antonio, Texas; and the Museum of Modern Irish Art, Vassar College, New York. He died on July 3rd 1946 in New York. This painting was carried out on one of the artist's return trips to the Western seaboard. The rosy glow of the palette would suggest early morning or perhaps the return of the boats to the harbour in the evening after the day's catch has been made. The perspective and relative disposition of one boat to the next is compositionally satisfying and contrasts effectively with the ''frieze'' of boats further out in the harbour with their bright reflections and glowing colours. Stylistically, Power O'Malley's work falls between that of Seán Keating and Patrick Tuohy who also painted views of the West of Ireland during the same years.

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Matthew Kendrick RHA (1805-1874) Yachts Racing off

Lot 19: Matthew Kendrick RHA (1805-1874) Yachts Racing off

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Description: Matthew Kendrick RHA (1805-1874) Yachts Racing off Dublin Bay with a Paddle Steamer in the Distance Oil on canvas, 46 x 86cm (18 x 33¾'') Signed Matthew Kendrick was born in Dublin, the son of a custom's officer. His father undoubtedly used his position to procure a place on a ship for the young Kendrick, and his formative years were spent working off the harsh Newfoundland Coast as a seaman. Returning to Ireland, he enrolled in The Dublin Society Schools, hardly surprisingly his work focused on the sea. His vast knowledge of the sea made him sought after as a professional crewman on the yachts raced in Dublin Bay, from the newly formed Kingstown yacht clubs - the Royal Irish and the Royal St. George. First exhibiting with the Royal Hibernian Academy in 1827 he continued to exhibit regularly until paralysis robbed him of the use of his arm in 1871. During his lifetime he became the official painter to the Royal Irish Yacht Club in Dún Laoghaire. The present work depicts large cutters rounding a mark, presumably in Dublin Bay, with onlookers on the deck of a paddle steamer. The two yachts in the lead are trailed by a third, who has yet to round the mark. The size and style of the yachts are similar to the 1st Marquis of Anglesey's yacht Pearl, a hundred tonne behemoth, that the Marquis brought over from England to race when he was the Lord Lieutenant, the Marquis being the first Commodore of the Royal Irish Yacht Club.

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Matthew Kendrick RHA (1805-1874) Yacht Racing in

Lot 20: Matthew Kendrick RHA (1805-1874) Yacht Racing in

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Description: Matthew Kendrick RHA (1805-1874) Yacht Racing in Dublin Bay Oil on canvas, 29.5 x 49.5cm (11½ x 19½'')

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Thomas Rose Miles RCA (fl.1869-1910) After a

Lot 21: Thomas Rose Miles RCA (fl.1869-1910) After a

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Description: Thomas Rose Miles RCA (fl.1869-1910) After a Stormy Night, Douglas, Isle of Man Oil on canvas, 73.5 x 121.9cm (29 x 48'') Signed. Signed and inscribed with title verso

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Captain Richard Brydges Beechey RHA (1808-1895)

Lot 22: Captain Richard Brydges Beechey RHA (1808-1895)

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Description: Captain Richard Brydges Beechey RHA (1808-1895) Upper Lake Killarney, Taken Near the Tunnel Oil on canvas, 77 x 110cm (30¼ x 43¼'') Signed and dated 1865. Inscribed with title on the stretcher verso Provenance: Richard Green Gallery, London (original label verso) Exhibited: RHA Annual Exhibition 1873 Cat. No.158 costing 63.0.0 Admiral Richard Brydges Beechey was the third son of the noted portrait painter Sir William Beechey (1753-1839). The foremost marine painter of his day, Beechey began his life by following his brother into the navy in 1821. His career saw services all over the globe, much of which is recorded in sketches and oils. However in 1831 he was invalided out of the navy and into the survey of Ireland for the next thirty years. His name is listed as the responsible officer on many of the charts of the Irish coastline. During this period Beechey was a regular exhibitor at the Royal Hibernian Academy and whilst the majority of his works have a maritime flavour, the present work entitled A View of the Upper Lake, Killarney, taken near the tunnel was exhibited in 1873 (Cat. No. 158). The painting was executed in 1865; therefore we must presume that in the interim it had remained in the artist's possession; perhaps a happy memory of a holiday in the area, as it was one of the most popular tourist destinations in Ireland in the 19th century. Of course tourists had been coming to Killarney since the 18th century, but in the 19th century a rash of popular guide books including: Mr & Mrs Hall's Tour of Ireland published in 1841 helped the explosion of visitor numbers. The visit of Queen Victoria in 1861 gave the royal seal of approval, and further fuelled the tourist boom to the area. This view of the Upper Lake is taken from a much described vantage point looking down toward Ronayne's Island. It depicts an exceptionally active day on the lake, with boating parties coming and going. A carriage in the tunnel illustrates the popular jaunting routes and the entire is watched on by two relaxed gentlemen fishermen. Throughout his career in the navy and survey Beechey sketched from life and the accuracy and detail are a wonderful snapshot of what looks like an idyllic day in Killarney.

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Edwin Hayes RHA (1820-1904) The Quay, West

Lot 23: Edwin Hayes RHA (1820-1904) The Quay, West

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Description: Edwin Hayes RHA (1820-1904) The Quay, West Cornwall Oil on board, 26.5 x 16cm (10½ x 6¼'') Signed and dated 1882 Provenance: Purchased in these rooms, Important Irish Art sale, 31st May 2006, Lot 33, by John P. Reihill, Deepwell, Blackrock, Co. Dublin

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Aloysius O'Kelly (1853-1936) Boats at Concarneau

Lot 24: Aloysius O'Kelly (1853-1936) Boats at Concarneau

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Description: Aloysius O'Kelly (1853-1936) Boats at Concarneau Oil on board, 24 x 33cm (9½ x 13'') Signed Provenance: John P. Reihill, Deepwell, Blackrock, Co. Dublin

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Aloysius O'Kelly (1853-1936) The Market Place,

Lot 25: Aloysius O'Kelly (1853-1936) The Market Place,

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Description: Aloysius O'Kelly (1853-1936) The Market Place, Tangier Oil on canvas, 32 x 37cm (12½ x 14½'') Signed and indistinctly inscribed 'Tangier' Provenance: Previously in the collection of John Duggan Exhibited: • Museum of Brooklyn Institute of Arts and Sciences (detail; untraced); ' • Aloysius O'Kelly - Re-Orientations: Paintings, Politics and Popular Culture', Hugh Lane Gallery of Modern Art, Dublin, 25 November 1999 - 30 January 2000, catalogue no. 35 Aloysius O'Kelly studied with the quintessential orientalist, Jean-Leon Gerome, in the École des Beaux-Arts, Paris, in the mid 1870's. Although O'Kelly's ethnographic realism bears a close resemblance to that of his master, the concept of an Irish orientalist, especially one so militantly republican as O'Kelly, makes very interesting viewing. By representing oriental societies as backward or 'other', many orientalist painters became the spindoctors of the imperial project. But no such patronisation is evident in the work of O'Kelly. This painting is concerned with the daily lives of the citizens of Tangier. The informality of poses and the style of painting is looser and more expressionistic than that normally associated with orientalist art. France, recognising its strategic importance and economic potential, penetrated Morocco in 1844. Although ultimately obliged to accept the territorial integrity of the country, and agree to equal trade for all, France continued to press her own advantage. One of the areas where it encountered most resistance was from the tribesmen of the Riff Mountains in the north. In so far as Market Place Tangier is stylistically close to O'Kelly's critically well-received painting, ''The Musician'', set in the Riff Mountains, it is clear from these, and other titles, that he spent a considerable period of time in Morocco in the late nineteenth century. Dr Niamh O'Sullivan

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Walter Frederick Osborne RHA ROI (1859-1903)

Lot 26: Walter Frederick Osborne RHA ROI (1859-1903)

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Description: Walter Frederick Osborne RHA ROI (1859-1903) Children in a Meadow Oil on canvasboard, 17.7 x 26.5cm (7 x 10½'') Signed and dated (18)93 Provenance: Acquired by the previous owners' family directly from the artist and sold by them at De Veres, 10th December 1996, Lot 34, where purchased by John P. Reihill, Deepwell, Blackrock, Co. Dublin This work which dates from 1893 shows Osborne as the supreme Irish plein-air naturalist painter. It is thought to be near the coast in north county Dublin. Walter Frederick Osborne was born in Dublin in 1859, the second son of the animal painter William Osborne. His family lived in Castlewood Avenue, Rathmines and he may have spent some time in his father's studio before attending the Royal Hibernian Academy Schools in Dublin. He also seems to have attended classes in the Metropolitan School of Art. In 1881, he won the Taylor scholarship of £50 which enabled him to study abroad. He arrived in Antwerp in 1881 with fellow Irish painters, Kavanagh and Hill and registered as a pupil in Verlat's ''Natuur'' class at the Academie Royale des Beaux Arts. An influential teacher, Verlat was a genre and animal painter and perhaps it was because his father was an animal painter that Osborne felt drawn to Verlat's class. Two years later, Osborne travelled to Brittany where he worked at Pont-Aven, Dinan and with Blandford Fletcher at Quimperlé. The plein-air style of painting associated with the French artist Jules Bastien-Lepage was pervasive among the younger painters at this time. Osborne left Brittany for England c.1884 and then worked in several small rural communities, painting landscapes and genre scenes: first at Walberswick, where Augustus Burke, his teacher at the RHA Schools, had painted and then at Evesham with Edward Stott and Nathaniel Hill where he developed a more lucid naturalism. During these years, Osborne wavered between precise naturalism and the looser sketch-like handling of Whistler. His subject matter also varied between scenes of rural life and coastal genre. Osborne remained in England until 1892 and associated himself with the painters of the New English Art Club, notably Stott, Fletcher, Brown and Steer. While abroad he kept in contact with Dublin's artistic community. He painted Dublin scenes, became a full member of the RHA in 1886 and, in the same year, was one of the founders of the Dublin Art Club. He taught in the Academy Schools, where one of his most important pupils was William J. Leech, from the early 1890s until his death. Osborne's return to Dublin was prompted by the death of his sister Violet whose newly-born baby was given into the care of Osborne's aged parents. From this time he cultivated a portrait practice and became very successful; he obtained international recognition when his ''Mrs Noel Guinness and her Daughter Margaret'' received a bronze medal at the Exposition Universelle in 1900. Concurrently, Osborne continued to paint garden scenes and interiors with children but by this time the artist's general manner of painting had begun to change. Influenced by the Impressionists, especially Manet and Degas, in his later work his palette is more adventurous, his brushwork looser, and his approach more painterly. In 1900 he was offered a Knighthood in recognition of his services to art and his distinction as a painter, but he refused. He died of pneumonia in 1903 at the age of forty-three.

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Nathaniel Hone RHA (1831-1917) Haystacks, Howth

Lot 27: Nathaniel Hone RHA (1831-1917) Haystacks, Howth

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Description: Nathaniel Hone RHA (1831-1917) Haystacks, Howth Oil on board, 24.5 x 29cm Literature: No.396 in Appendix XVI, Thomas Bodkin, 'Four Irish Landscape Painters'

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Alexander Williams RHA (1846-1930) Carrickmines

Lot 27A: Alexander Williams RHA (1846-1930) Carrickmines

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Description: Alexander Williams RHA (1846-1930) Carrickmines Oil on board, 22 x 37cm (8.75 x 14.5'') Signed. Original inscribed artist's label verso

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Nathaniel Hone RHA (1831-1917) Cattle at Malahide

Lot 28: Nathaniel Hone RHA (1831-1917) Cattle at Malahide

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Description: Nathaniel Hone RHA (1831-1917) Cattle at Malahide Oil on canvas, 35.5 x 45.7cm (14 x 18'') Signed with initials Provenance: Purchased from Leo Smith (Dawson Gallery) 19th December 1943 by J.P. Reihill Snr., Deepwell, Blackrock, Co. Dublin ''Rich pigment laid thinly and boldly with the caressing ease that only comes with ceaseless effort'', thus commented Thomas Bodkin of Hone's technique. His description has automatic currency in relation to this painting which is probably a view on the artist's farm at St. Doulough's, near Malahide. A painting such as this reveals the dynamism of Hone's sketching technique which was suppressed in larger exhibition pieces and is strongly reminiscent of the plein-air sketches of Corot and Daubigny. While Hone's depictions of cattle are realistic, they also have an abstract quality. His concern is with their essence, never with local detail.

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Nathaniel Hone RHA (1831-1917) Cattle at Malahide

Lot 29: Nathaniel Hone RHA (1831-1917) Cattle at Malahide

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Description: Nathaniel Hone RHA (1831-1917) Cattle at Malahide Oil on canvas, 61 x 91.5cm (24 x 36'') Provenance: Leo Smith (Dawson Gallery) Dublin, 29th November 1943 where purchased by J.P. Reihill Snr; Deepwell, Blackrock, Co. Dublin Nathaniel Hone was the first native artist to introduce the influence of 19th century French Naturalism to Irish painting. He was born in Fitzwilliam Place, Dublin in 1831, the son of Brindley Hone, a merchant and director of the Midland Great Western Railway and was the great-grandnephew of the 18th century painter of the same name. Though a member of this very artistic family, his initial training was as an engineer at Trinity College Dublin followed by a brief period of work for the Irish Railway before going to Paris in 1853, at the age of twenty-one to study painting. He first studied under Adolphe Yvon, the French military painter and later Thomas Couture who was one of the earliest exponents of realism and from whom Hone learned principles which would influence his work throughout his career. Hone moved to the village of Barbizon in the Forest of Fontainebleau circa 1856, where he painted with Millet, Courbet, Daubigny and Harpignies. Corot's paintings had the greatest influence upon his work. The advice which Hone had absorbed from Couture to ''retain the brilliant qualities of a first painting'', were echoed by Corot in Barbizon: ''surrender to the first impression''. While based in Fontainebleau, Hone also made trips to Normandy, Brittany, the Mediterranean coast and briefly visited Italy. Wherever he travelled his subject matter was consistent, always choosing to observe the landscape and country life, in scenes of shepherds with their herds, fishing villages and the seashore. During his seventeen years in France, Hone made regular visits home before this final return in 1872. Within a few months he married Magdalen Jameson of the wealthy, distilling family and they settled near Malahide. The paintings which he completed in Ireland after his return from France maintain the mood and muted tonality characteristic of the Barbizon School. He chose similar subjects to those he had portrayed in France: woodlands, pastures and coastline; the major part of his output was of scenes around Dublin Bay although he also painted in Wicklow, Donegal, Mayo and Clare and made several trips abroad to Greece, Asia Minor and Egypt. From 1876, except for four years, Hone exhibited at the RHA. He was elected a full member in 1880 and in 1894 became Professor of Painting. His exhibition with John Butler Yeats in 1901 was one of the turning points for the history of Irish art as it was their paintings which convinced Sir Hugh Lane that Dublin should have a gallery of modern art. After his death in 1917 his widow bequeathed the contents of his studio to the National Gallery of Ireland. Hone rarely dated his work so that it is difficult to establish chronology. The similarity of many of his motifs and subjects often make it difficult to tell whether a view is Irish or French. Equally it is difficult to chart his developments on stylistic grounds alone. The olive silvery green tonality of this painting is particularly reminiscent of Corot as is its simplicity and broad treatment, especially in the foreground which is punctuated here and there with deft flickering brushstrokes depicting wild flowers and plants, a favourite device of Corot's. The warm brownish-pink undercoat or 'ébauche' employed by Hone beneath the surface of the paint is here allowed to show through the thin green wash to portray the sandy nature of soil so close to the sea. The use of an ébauche, a technique which Hone learned from Couture, gives the painting a subdued tonality. The sky was as important to Hone as the land or seascape. His preference was for a low horizon which allowed him to engage with the prevailing weather conditions.

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John Alexander Halliday (b.1933) View from

Lot 30: John Alexander Halliday (b.1933) View from

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Description: John Alexander Halliday (b.1933) View from Deepwell, Across Dublin Bay Oil on canvas, 51 x 61cm (20 x 24'') Provenance: John P. Reihill, Deepwell, Blackrock, Co. Dublin Halliday is a Scottish painter who has exhibited with Bourne Fine Art in Edinburgh. This work executed during a visit to Deepwell over 30 years ago depicts the view out over Dublin Bay from the terrace at Deepwell.

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Alexander Dunluce (b.1934) Winter Tree, Glenarm

Lot 31: Alexander Dunluce (b.1934) Winter Tree, Glenarm

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Description: Alexander Dunluce (b.1934) Winter Tree, Glenarm (1977) Oil on board, 13.5 x 23cm (5¼ x 9'') Exhibited: Alexander Dunluce Exhibition, The Bell Gallery, Belfast, June 1977, Cat. No. 27, where purchased by the current owners

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Augustus Nicholas Burke RHA (1839-1891) Cattle on

Lot 32: Augustus Nicholas Burke RHA (1839-1891) Cattle on

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Description: Augustus Nicholas Burke RHA (1839-1891) Cattle on a Riverbank Oil on canvas, 30.5 x 45.75cm (12 x 18'') Signed Provenance: Purchased from Seán Ó Criadáin, 1974 by John P. Reihill, Deepwell, Blackrock, Co. Dublin Wherever he painted, whether in Ireland, England or Brittany, Augustus Burke was invariably drawn to the subject-matter for which he had an affection throughout his life, namely farm life and landscape. He painted many studies of sheep, horses and cattle in particular, usually close to water in a landscape suffused with the golden tones of the late afternoon sun and in which the shadows are the rich, long shadows of evening.

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Joseph Malachy Kavanagh RHA (1856-1918) Old

Lot 33: Joseph Malachy Kavanagh RHA (1856-1918) Old

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Description: Joseph Malachy Kavanagh RHA (1856-1918) Old Dublin, Marrowbone Lane Oil on canvas, 70 x 92.6cm (27½ x 36½'') Signed Provenance: Mrs. M. Hanlon, Dublin; and later in the collection of John P. Reihill, Deepwell, Blackrock, Co. Dublin Exhibited: RHA Annual Exhibition, Dublin, 1918, Cat. No. 20 Literature: Joseph Malachy Kavanagh, Ethna Waldron, The Capuchin Annual, page 324, full page illustration page 322 Although older than Osborne, Kavanagh's career seemed to run side by side with that of Walter Osborne even before they set off together with Nathaniel Hill to study at Antwerp under Verlat in 1881. He is thought to have come to Brittany with Osborne in late 1882/early 1883 and painted in Quimperle, Dinan and Pont-Aven very similar subjects to those of Hill and Osborne.Writing in 1949 Thomas Mc Greevy,former Director of the National Gallery refers to Kavanagh in an article entitled ''Fifty years of Irish Painting'' :- '' Kavanagh had a wider range and more solid qualities than Osborne. But neither Henry Allan nor Kavanagh is sufficiently well represented in our public collections for it to be possible to form an adequate estimate of their achievement''. This is probably as true today as when it was written in 1949 . Ethna Waldron wrote of this work in 1968 :- In 1918, the year of his death , Kavanagh exhibited ''Old Marrowbone Lane'' at the Academy , a painting with his characteristic pinkish tinge in the stonework . This work is in a private collection in Dublin and the owner had for many years regarded it, quite understandably, as a scene in Belgium. Until its demolition Marrowbone Lane had, in fact , such pitched roofed houses .'' Marrowbone Lane was a tenement area just off Cork Street in the Liberties and was the scene of fierce fighting just two years before this picture was painted as the Jameson Distillery there,now also demolished, was occupied under the command of Eamonn Ceannt and Cathal Brugha during the Easter Rising in 1916.

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Joseph Malachy Kavanagh RHA (1856-1918) Looking

Lot 34: Joseph Malachy Kavanagh RHA (1856-1918) Looking

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Description: Joseph Malachy Kavanagh RHA (1856-1918) Looking for the Best Spot Oil on canvas, 40.5 x 61cm (16 x 24'') Signed Provenance: Christie's, Dublin, 29th June 1994, Cat. No. 177

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Casimir Dunin Markievicz (1874-1932) St. Lunaire,

Lot 34A: Casimir Dunin Markievicz (1874-1932) St. Lunaire,

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Description: Casimir Dunin Markievicz (1874-1932) St. Lunaire, Brittany Oil on canvas laid on board, 25 x 35.5cm (9¾ x 14'') Signed, inscribed and dated 1899

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Joseph Malachy Kavanagh RHA (1856-1918) The Drover

Lot 35: Joseph Malachy Kavanagh RHA (1856-1918) The Drover

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Description: Joseph Malachy Kavanagh RHA (1856-1918) The Drover with his Flock, Homeward Bound Oil on canvas, 59.5 x 89.5cm (23½ x 35¼'') Signed

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Jerome Connor (1876-1943) Irish Peasant Girl

Lot 36: Jerome Connor (1876-1943) Irish Peasant Girl

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Description: Jerome Connor (1876-1943) Irish Peasant Girl (Irish Maiden) Bronze, 16.5cm high (6½'') Provenance: Purchased from the artist c.1941/2 by John P. Reihill; Deepwell, Blackrock, Co. Dublin Exhibited: RHA Annual Exhibition, Dublin, 1942, Cat. No. 296 (lent by Mrs J.P. Reihill) IELA, 1st Exhibition, Memorial Section to Jerome Connor, Cat. No. 16 Literature: Máirín Allen, Jerome Connor II, Capuchin Annual 1964, pp353-69 (illustrated p365) The sitter in this case is probably Statia Balfe. Her veiled head suggest a relationship with studies being conducted by Connor in relation to the Lusitania Memorial Angel of Peace. Jerome Connor ranks among the major Irish sculptors of the first half of this century, along with Andrew O'Connor, John Hughes and Oliver Sheppard. Born near Annascaul, Co. Kerry, in 1874, Connor was thirteen when the family emigrated to Massachusetts. Shortly after their arrival his father died so Connor left home to seek work, beginning first in New York where he found employment as a sign-painter, a machinist and then as a stone-cutter for a monument company in Massachusetts, where he worked on the South Hadley Civil War Memorial. During this time he made additional money as a prizefighter under the name of Patrick J. O'Connor. He also trained as a bronze-founder and assisted Roland Hinton Perry (1870-1941), in the casting of The Fountain of Neptune bronzes for the Library of Congress, Washington DC, all before he was twenty-one years old. Having worked for a period at the Roycroft Institution, East Aurora, New York, where he produced commercial terracotta busts. Connor graduated to ''high'' art via portraiture, producing Civil War memorials and various monuments. His Irish-American connections brought him the Robert Emmet commission, and later, the Lusitania Memorial commission, funded by the Lusitania Peace Memorial committee and to be sited at Cobh. He was also commissioned to carry out a full length statue of Elbert Hubbard, founder of the Roycroft Institution and personal friend of Connor's who died in the sinking of the Lusitania. On the strength of these two commissions he returned to Ireland in 1925, taking a studio on the North Circular Road in Dublin. However, the designs for the Lusitania Memorial were frequently changed, although whether the decision of change came from the Lusitania committee or the sculptor himself is unclear. Conceived of as a symbolic appeal for world peace, the Memorial was to occupy Connor for nearly eight years, from 1929-1936, and although he had produced several designs, plans, scale models and some full-size symbolic figures it remained unfinished at the time of his death in 1943. (The monument was not finally completed until 1968). Connor undertook other commissions including a memorial for Tralee entitled The Pikeman, to commemorate the 1798 Rising, and a figure of 'Éire', for the Killarney Poets Society in commemoration of Gaelic poets of 18th century Kerry. He also entered designs for a national coinage, became friendly with W.B. Yeats and A.E. and exhibited in London where his work was positively reviewed by leading critics. At the same time he kept up his links with America, going back there regularly, (his wife and daughter had returned there c.1934). In 1939 Connor was declared bankrupt; he lost possession of his studio and the war cut him off from his family in America. From this time until his death Connor exhibited in Dublin a remarkable series of small bronzes which he described as ''little pieces of free work'', more loosely handled in their use of clay than his earlier output. They are of particular importance as they are the product of a talent which first introduced the processes of casting, chasing and patinating of bronze to Ireland.

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Jerome Connor (1876-1943) The Boxer Bronze, 26cm

Lot 37: Jerome Connor (1876-1943) The Boxer Bronze, 26cm

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Description: Jerome Connor (1876-1943) The Boxer Bronze, 26cm high (10¼'') Signed Provenance: Purchased directly from the artist c.1940 by J.P. Reihill Snr Deepwell, Blackrock, Co. Dublin Exhibited: Irish Art from Private Collections 1870-1930, Wexford Arts Centre, 1977, Cat. No. 9 Jerome Connor, Annascaul, April/May 1988 This is another of Connor's so-called ''little pieces of free work'', done late in his career. As a young man Connor was very athletic and during his youth, perhaps aided by the fact that his hands were unusually large, he achieved renown as a prize boxer, a sport in which he maintained an interest throughout his life. Even in his mature years he kept a punch ball for practice to keep himself fit and could be called upon when required to keep order in the Palace Bar.

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Jerome Connor (1876-1943) The Bellman Bronze, 47cm

Lot 38: Jerome Connor (1876-1943) The Bellman Bronze, 47cm

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Description: Jerome Connor (1876-1943) The Bellman Bronze, 47cm high each (18½'') Signed and inscribed with title Provenance: Commissioned directly from the artist circa 1940 by J.P. Reihill Snr; Deepwell, Blackrock, Co. Dublin Exhibited: RHA Annual Exhibiiton, 1941, Cat. No. 383 (lent by J.P. Reihill) IELA 1st Exhibition, Memorial Section to Jerome Connor, Cat. No. 3 Irish Art from Private Collections 1870-1930, Wexford Arts Centre, 1977, Cat. No. 2 Jerome Connor, Annascaul, April/May 1988 Jerome Connor, Irish-American Sculptor, National Gallery of Ireland, Feb/Mar 1993, Cat. No 21 Literature: Máirín Allen, Jerome Connor II, Capuchin Annual 1964, pp353-69 (illustration p365) Giollamuire Ó Murchú, Jerome Connor, Irish-American Sculptor, NGI, 1993 (illustrated p73) A fine example of Connor's late 'free' work, The Bellman is a portrait study of a coal delivery man, colloquially a ''bellman'', depicted with a coal-bag tied around his shoulders. It was cast for Mr John P Reihill because of his connection with the coal-importing business. Compared with Connor's earlier work there is a looseness of touch in the handling of the clay which results in a far greater degree of expression.

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Jerome Connor (1876-1943) Seán - Head of an Irish

Lot 39: Jerome Connor (1876-1943) Seán - Head of an Irish

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Description: Jerome Connor (1876-1943) Seán - Head of an Irish Boy Bronze, 40.7cm high (16'') Signed Provenance: Purchased directly from the artist c.1940/1 by J.P. Reihill Snr; Deepwell, Blackrock, Co. Dublin Exhibited: IELA 1st Exhibition, Memorial Section to Jerome Connor, Cat. No. 12 Irish Art from Private Collections 1870-1930, Wexford Arts Centre, 1977, Cat. No. 8 Although conceived of as representing the generic ''Irish'' boy, this portrait head is identifiable as the artist's grand-nephew Seán, from an identical, inscribed head in the Digby Collection. Connor visited his brother Tim in Holyoke in 1934 and while there made a number of reliefs, one of which was of Tim's grandson John, Connor's grand-nephew, and from which this bronze was later modelled.

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Jerome Connor (1876-1943) Head of a Young Girl

Lot 40: Jerome Connor (1876-1943) Head of a Young Girl

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Description: Jerome Connor (1876-1943) Head of a Young Girl (Máire) Bronze, 40.7cm high (16'') Signed Provenance: Purchased directly from the artist c1942 by John Reihill Snr , Deepwell, Blackrock, Co. Dublin Exhibited: IELA 1st Exhibition 1943 , Memorial Section to Jerome Connor, Cat. No. 12 Irish Art from Private Collections 1870-1930, Wexford Arts Centre, 1977, Cat. No. 8 Jerome Connor, Annascaul, April/May 1988 Stylistically this head bears a strong relationship with that of Seán and, likewise is intended to represent a ''typical'' Irish girl. A very similar head in the Anraí Ó Braonáin Collection bears the date 1940 on its base and is a reference to the year in which it was cast.

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Enzo Plazzotta (1921-1981) Sur le Pointes (1975)

Lot 41: Enzo Plazzotta (1921-1981) Sur le Pointes (1975)

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Description: Enzo Plazzotta (1921-1981) Sur le Pointes (1975) Bronze, 51cm high (20'') Impressed signature and numbered 2/9 Provenance: Purchased from the Lad Lane Gallery, 13th October 1976; John P. Reihill, Deepwell, Blackrock, Co. Dublin This lot was cast at the Morns Singer Foundry and is accompanied by a signed certificate.

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Éamonn O'Doherty (1939-2011) Famine Memorial

Lot 42: Éamonn O'Doherty (1939-2011) Famine Memorial

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Description: Éamonn O'Doherty (1939-2011) Famine Memorial Bronze, 44.5 x 53cm (17½ x 21'') Signed, numbered 7/15 and dated '99 Provenance: DeVeres Irish Art Auction, RHA Gallery, Dublin, 29th November 2006, where purchased by the current owners This is a maquette for the Famine Memorial which can be found in Westchester, New York.

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Gerard Dillon (1916-1971) Reading the Paper -

Lot 43: Gerard Dillon (1916-1971) Reading the Paper -

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Description: Gerard Dillon (1916-1971) Reading the Paper - Cottage Interior Oil on board, 37 x 48cm (14½ x 19'') Signed Provenance: Important Irish Art sale, these rooms, 8th September 1977, Cat. No. 142, where purchased by the current owners Exhibited: The Dawson Gallery, label verso giving title ''Interior'' In the mid 1950's, keenly aware of the appealing nature of narrative in his paintings, Dillon moved away from his West of Ireland landscapes and focused on a series of interior and domestic scenes, which often depicted his friends. The interiors in London were mostly located at his home in Abbey Road, ''In the London Flat'' depicts his Belfast friend James Maguire on his bed and in Roundstone ''Connolly's Bar'' shows Carmel Faherty and her dog in her bar. Although the identity of the figure reading a newspaper in the foreground is hidden, Dillon supplies the viewer with clues to help identify the sitter. The narrative theme of these Connemara works was an interest in his friends often with underlying humour, or his own world with ordinary objects of his creation. Empty rooms, a table set for one; shoes by a fireplace sometimes obscured another more complex message, which was personal to the artist. Arousing curiosity to the identity of the male sitter by depicting the newspaper at an angle, the viewer catches a glimpse of the sitter's hair. The cooking utensils at the end of a narrow hallway give the viewer the final clue to the identity of the individual as being the artist himself . Dillon often depicted his basic kitchen vessels in these series of Connemara interiors. A brush and pan leaning against a wall reflect Dillon's preference for domestic order. A red chair and staircase direct our eyes to a youthful, longhaired female wearing black boots, a popular fashionable accessory in the late 1950's and 60's. Both figures are at ease in each other's company indicating they are friends. It's highly probable the sitter is the artist, Noreen Rice . Noreen Rice recalled meeting Gerard Dillon in a recent exhibition, ''A Celebration of Gerard Dillon'' at the Gerard Dillon Gallery, Culturlann, 2011 ''...I was introduced to Gerard by my music teacher and mentor, Tom Davidson, and he showed me a series of linocut prints Gerard had just completed, and gave me advice on pursuing my own artistic efforts. Five years later, my brother Hal and I took the top flat in Gerard's sister Molly's house. Gerard lived in the garden flat. These years in Abbey Road in London was a period of intense activity with George Campbell, Arthur Armstrong, Aidan Higgins and others deriving inspiration from each other's work'' In the 1950's, twenty years younger than Dillon, Rice worked in the BBC at night, which freed up time during the day to paint. When Dillon travelled to Connemara Noreen Rice was among many of those living in the Abbey Road house that would visit him (See photo of them together in Roundstone) .The newspapers indicate shops are in the vicinity, which suggests the house may be the McGlynn sister's corner house that was located on the main street in Roundstone. Karen Reihill Currently researching Gerard Dillon & Friends

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Gerard Dillon (1916-1971) Footing the Turf Oil on

Lot 44: Gerard Dillon (1916-1971) Footing the Turf Oil on

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Description: Gerard Dillon (1916-1971) Footing the Turf Oil on board, 38 x 47cm (15 x 18½'') Signed The subject of bogs, peat stacks and turf cutters in Connemara was a favourite theme with Northern painters, Charles Lamb, Paul Henry, Frank McKelvey and James Humbert Craig. Engaging with the local people, the artist's biographer James White remarked on the artist's naïve style, ''he cultivated simplicity and a love of childhood openness and honesty...and... he wanted to paint with a child's directness.'' This image depicts four men in a Connemara bog during the various stages of the turf drying process. A group of men sometimes worked as a team to open a bank removing vegetation from the surface of a bog. In Connemara, the turf was normally cut vertically downward and ''underfooting'' on deeper bogs, where a team of men worked together, turf may have been cut horizontally known as ''Breasting''. In the foreground, a barefoot man sits on a Connemara pony near a red cart. One man is cutting the soft bog with a 'sleán' and beside him another man is picking up the sods and standing them upright into little stacks of five or six sods. This process was known as 'footing the turf'. Shrinkage occurred when the water evaporated and a hard skin formed on each sod making them easier to handle. A 'sleán' or Slane symbolizes the ancient tradition of cutting turf by hand. The spade had a long blade roughly four inches wide and an extra little blade sticking up at right angles from its left hand edge. The men may have agreed to 'foot' the turf in pairs allowing the other pair to take a rest. Two of the group appear to be in a supervising role or may be teaching the method to younger men. Any dried turf would have been transported by cart to their homes to be stored in sheds or built skillfully into a neat mound known as a 'clamp'. Cutting, storing, and transporting turf by cart and pony were commonplace in Connemara in the 1940's and 50's until the Slane was replaced by mechanization. The sea and land in the distance is a reminder that the islands dotted along the coastline relied on these men for their fuel during the winter. Throughout the 1950's, Gerard Dillon wrote and illustrated for the magazine, Ireland of the Welcomes (see image). He recorded a time in the West of Ireland, when lives were non political and uncomplicated, but more recently the balance of the bog land as a priority habitat, and the fuel and income needs of the people continues to be debated today. Karen Reihill, currently researching Gerard Dillon & Friends.

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George Campbell RHA RUA (1917-1979) Clifden,

Lot 45: George Campbell RHA RUA (1917-1979) Clifden,

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Description: George Campbell RHA RUA (1917-1979) Clifden, Connemara Oil on board, 76 x 91cm (30 x 36'') Signed, also signed and inscribed verso Provenance: Previously in the collection of film director John Huston. George Campbell embarked on a series of themes in the 1960's and one of these was based on the town of Clifden. In the 1960's Campbell was fascinated with techniques and contrasting textures and liked to experiment with glazes and impasto on his chosen theme subject. Situated fifty miles from Galway, Clifden, or ''An Clochán'' meaning 'stepping stones' is the capital of Connemara, and is dominated by the neo gothic style Catholic Church, St Joseph's heading out the Galway road. In 1967, in his one-man exhibition at the Ritchie Hendriks Gallery, two works from Campbell's Clifden series were shown, ''Clifden, No. I'' and ''Clifden, Connemara No.II''. This work, ''Clifden, Connemara'' and another view of the town with the same title belong to this series and were in the collection of the film Director, John Huston. Filming, ''Moby Dick ''in Cork with Gregory Peck in the 1950's, Huston purchased a large Georgian house, St Cleran's near Loughrea, which became his home for eighteen years and where he housed his collection of Irish, Columbian, African art and sculpture. Executed circa 1967, this work shows the artist developing towards his final phase of painting, where form is depicted in interrelated abstract planes of colour. Painting with spontaneity, nervous brushwork is applied and shapes appear over houses in a pale green wash. The viewer's eyes move over the roof of the Anglican Christchurch and behind it, the larger Roman Catholic St. Joseph's Parish church. Soft mountains line the background with the twelve Bens shrouded in pale mist. The tall houses are square shapes that spread out over cool watery greens and greys with the harbour on the right. Campbell's work during this period had a characteristic underlying pattern of shapes and colour displaying a balanced rhythm, which may be related to his interest in music. The view might have been sketched from Errislannan Hill or from the John D'Arcy monument on the Sky Road. Making 'scratches' in his notebooks of his visits to Connemara, Campbell preferred to rely on his memory for these large works. In an interview in the 1960's, Campbell was asked did his paint on location. The artist replied, ''No. I never paint on the spot. If I go to Connemara I don't paint...the things I remember are the important things, a distillation of things.'' Karen Reihill Currently researching Gerard Dillon & Friends

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George Campbell RHA RUA (1917-1979) Extensive

Lot 46: George Campbell RHA RUA (1917-1979) Extensive

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Description: George Campbell RHA RUA (1917-1979) Extensive Still Life on a Table Mixed media, 31.5 x 41cm (12½ x 16'') Signed

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George Campbell RHA RUA (1917-1979) Mountain

Lot 47: George Campbell RHA RUA (1917-1979) Mountain

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Description: George Campbell RHA RUA (1917-1979) Mountain Village, Andalucia Oil on board, 48.5 x 35cm (19 x 13¾'') Signed twice Provenance: Collection of Mr. R. Sherbourne Irish Art Auction, de Veres, Dublin, 17th November 1998, Lot No. 95, where purchased by the current vendor Exhibited: George Campbell Exhibition, The Piccadilly Gallery, Mayfair, London, November 1958, Cat. No. 38 (original gallery label verso) Wicklow born George Campbell was a self taught artist, he began painting in 1941 during the air raids in Belfast. By 1944 he had developed his own style and held two shows - one with his brother at the Mol Gallery in Belfast, and another at John Lamb's Gallery in Portadown with Gerard Dillon, with whom he travelled to Connemara in the following years. From 1946 Campbell exhibited regularly at Victor Waddington Galleries in Dublin, and repeatedly at the RHA from the following year. He also appeared in a group show, along with Dillon, Daniel O'Neill and Nevill Johnson at Heal's Mansard Gallery, London. In 1951 Campbell made a trip to Spain and returned many times during his career. The country had a profound influence on both the subject matter and use of colour in his work. He had shows in Torremolinos and Gibraltar, as well as exhibiting regularly with the Ritchie Hendriks and Tom Caldwell Galleries. In 1964 Campbell was elected a member of the RHA and was knighted in Spain in 1978.

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Arthur Armstrong RHA (1924-1996) Glendalough Oil

Lot 48: Arthur Armstrong RHA (1924-1996) Glendalough Oil

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Description: Arthur Armstrong RHA (1924-1996) Glendalough Oil and plaster on board, 76 x 91.5cm (30 x 36'') Signed Provenance: From the collection of Dr. & Mrs. J.B. Kearney and their sale in these rooms, December 2007, Cat. No. 60 Exhibited: Oireachtas Annual Exhibition, 1968, Cat. No. 32, where it was awarded the Douglas Hyde gold medal Arthur Armstrong exhibited this work under the title '' Gleann dá Loch'' at the Oireachtas Exhibition, 1968 where it was awarded the Douglas Hyde Gold Medal for an Irish Historical painting. Armstrong had previously been awarded a travel scholarship by CEMA in 1957 and in 1967 he became prizewinner at the international exhibition in Gibraltar. After six years living in London, Armstrong returned to Ireland in 1962. He often visited the area of Glendalough with his friends George and Madge Campbell when they were in Ireland during the summer months. Both artists had an affinity with ancient sites, which led Armstrong to move away from interiors and to focus in the elemental rawness of the Irish landscape. The monastic sites of the Aran Islands and Glendalough were a constant source of inspiration for the artist till his death in January 1996. A popular visitor destination, Glendalough is home to an early Christian monastic settlement founded by St. Kevin in the 6th century. Armstrong's long association with Glendalough began with the appearance of the theme in the mid 1960's at his solo shows at the Richie Hendriks Gallery. Variations on the theme were exhibited in Spain, Cork and Dublin throughout the 1970's. In the 1960's Armstrong had a studio in Parliament Street where he became preoccupied with working with plaster. The raised -relief dimension in his work was a direct response to his concern with land erosion. Stripped of modernization such as electricity poles, Armstrong wished to depict his landscapes as he imagined them millions of years ago. This work like many others from this period are viewed from the land looking out to the sea or a lake. In the foreground the viewer is faced with dramatic incised headstones leading to a calm blue lake. On his return visits to Glendalough, Armstrong observed small changes in the landscape and he responded to these variations by recording each one, which was a continuation of the one before. In an earlier work, ''Glendalough'', 1965 (RTE collection), the headstones are smaller and the hills frame the scenic lakes. In an interview in the Irish Times, 1972, Armstrong explained his gesso paintings, ''I like working very large...I'm using plaster and there's a strict time limit. There's about an hour you have to work before your plaster sets hard.... Landscape is something that has evolved slowly; the way lichen grows on rocks has taken years and years to form. I see landscape as a texture; I see elements of water, rocks and that sort of thing. I see it as a sort of basic landscape before people moved in.'' Karen Reihill Currently researching Gerard Dillon & Friends

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