Joseph Patrick Haverty Paintings & Artwork for Sale | Joseph Patrick Haverty Art Value Price Guide

Apr. 18, 2023
Joseph Patrick Haverty RHA (1794-1864) Portrait of the Manders Sisters of Brackenstown, Co Galway
Est: €10,000 - €15,000
Joseph Patrick Haverty RHA (1794-1864) Portrait of the Manders Sisters of Brackenstown, Co Galway oil on canvas h:101.70 w:76.20 cm. Provenance: Christies, 'Fine Irish Paintings and Drawings', 1989 Cat No. 308; Gorry Gallery, Dublin; Private Collection Exhibited: Gorry Gallery, Dublin, 'An Exhibition of 18th-21st Century Irish Paintings' 1st-19th November 2021 No.17(illustrated on p.15) Depicting two sisters of the Manders family, this is one of Joseph Patrick Haverty's most charming portraits. Bakers, flour merchants and brewers, but active also in politics, the Manders family lived at Brackenstown, in Swords, Co. Dublin. As the nineteenth century advanced, through marriage they became associated with Mount Anville, Roebuck, Stillorgan, Belfield and Rockmount. Several members of the Manders family lived at Mountjoy Square. One of the girls depicted in this painting has been identified as Emmeline Maria, the youngest daughter of Richard and Susannah Manders (née Beere) who married in 1815. Richard and his brother Robert owned mills at Island Bridge, and a brewery at 113 James Street. Almost four decades later, Emmeline went on to marry John Brooke Blennerhasset at St. George's Church. The name of the other sister has not been confirmed, but is likely to be Emmeline's older sister Louisa. Their parents, Richard and Susannah Manders, who lived at 3 Mountjoy Square, died in the early 1860's. Portrayed in a woodland setting, the two sisters have been collecting flowers, and both hold nosegays in their hands; one also carries a basket overflowing with red and white blooms. Emmeline lays her hand gently on the head of Louisa. Although they are not adorned with jewellery, the girls' hair is styled in fashionable ringlets, and they both wear similar black court shoes and white dresses, embellished with lacework and blue silk sashes. At their feet, two rabbits munch away at a leaf. In the distance can be seen a glimpse of the sun setting behind a blue mountain. Born in Galway, Haverty painted mainly portraits, one of his best-known being Daniel O'Connell, while his 1844 The Limerick Piper is one of the few nineteenth-century portraits that depicts an uillinn piper: the sitter for this was Pádraig Ó Briain from Co. Clare, who played on the streets of Limerick. Elected an associate of the Royal Hibernian Academy in 1823, Haverty participated in the inaugural RHA exhibition two years later. He lived and worked for some time in Limerick, but worked also in Galway, Dublin and London. In 1835 he submitted to the Royal Academy a portrait of Dr. Doyle, Bishop of Kildare, and in 1844 sent to the RA his Father Mathew receiving a Repentant Pledge-breaker. The previous year he had painted a canvas depicting a political 'Monster Meeting' in Clifden, Co. Galway. This included portraits of daughters of Daniel O'Connell who were in the audience. He also painted religious pictures, including a set of three, Baptism, Confession, and Confirmation. In the decade that followed, Haverty was a frequent exhibitor in London. He died at his home in Rathmines, Dublin, in 1864. His half-brother Martin Haverty was a journalist and historian, who wrote for the Freeman's Journal and worked as a librarian at the Kings Inns in Dublin. Haverty's son Thomas left a bequest to form the Haverty Trust, to support Irish artists. In 2006, Haverty's large portrait of a group by a lakeside, thought to be the Reilly family of Scarvagh Co. Down, and formerly in the collection of William and Joan Roth, was sold at Christies. Peter Murray, March 2023
Morgan O'Driscoll
Oct. 13, 2020
JOSEPH PATRICK HAVERTY RHA (1794-1864) Portrait of a gentleman in Brown Jacket and Wearing a Grey Wig Oval, oil on panel, 28 x 22.5cm Signed and dated 1839; Together with a companion piece by another hand A Portrait of a Lady in Blue Dress Oval, oil
Est: €600 - €800
JOSEPH PATRICK HAVERTY RHA (1794-1864) Portrait of a gentleman in Brown Jacket and Wearing a Grey Wig Oval, oil on panel, 28 x 22.5cm Signed and dated 1839; Together with a companion piece by another hand A Portrait of a Lady in Blue Dress Oval, oil on panel, 29.5 x 23.5cm. (2)
Adam's
Nov. 19, 2016
JOSEPH PATRICK HAVERTY (Ireland, 1794-1864) - Delivery of Food to a Shepherd in the Fields, oil on canvas, signed lower right "J. Haverty", in walnut molded frame with gilt liner, OS: 28 3/4" x 36 1/2", SS: 23 1/4" x ...
Est: $1,000 - $2,000
JOSEPH PATRICK HAVERTY (Ireland, 1794-1864) - Delivery of Food to a Shepherd in the Fields, oil on canvas, signed lower right "J. Haverty", in walnut molded frame with gilt liner, OS: 28 3/4" x 36 1/2", SS: 23 1/4" x 30 3/4". Cleaned and relined, fine overall craquelure.
Thomaston Place Auction Galleries
Sep. 30, 2016
AFTER JOSEPH PATRICK HAVERTY (1794-1864)
Est: €50 - €80
Nineteenth century black & white engraving titled The Limerick Piper
Sheppards
Sep. 27, 2016
JOSEPH PATRICK HAVERTY, RHA (IRISH, 1794-1864)
Est: €400 - €600
Lord Edward FitzgeraldOil on panelLabel on reverse
Sheppards
May. 21, 2016
JOSEPH PATRICK HAVERTY (Ireland, 1794-1864) - Delivery of Food to a Shepherd in the Fields, oil on canvas, signed lower right "J
Est: $3,000 - $4,000
JOSEPH PATRICK HAVERTY (Ireland, 1794-1864) - Delivery of Food to a Shepherd in the Fields, oil on canvas, signed lower right "J. Haverty", in walnut molded frame with gilt liner, OS: 28 3/4" x 36 1/2", SS: 23 1/4" x 30 3/4". Cleaned and relined, fine overall craquelure.
Thomaston Place Auction Galleries
Mar. 23, 2016
Attributed to Joseph Patrick Haverty RHA (1794-1864) The Limerick Piper (Patrick O'Brien)Oil on canvas, 73 x 65.5cm (28¾ x 25¾'')This is a version of the painting by Haverty, 1844, in the National Gallery of Ireland.
Est: €3,000 - €5,000
Attributed to Joseph Patrick Haverty RHA (1794-1864) The Limerick Piper (Patrick O'Brien)Oil on canvas, 73 x 65.5cm (28¾ x 25¾'')This is a version of the painting by Haverty, 1844, in the National Gallery of Ireland.
Adam's
Nov. 30, 2015
Attributed to Joseph Patrick Haverty RHA (1794-1864) PORTRAIT OF DANIEL O'CONNELL [THE LIBERATOR]
Est: €500 - €700
Attributed to Joseph Patrick Haverty RHA (1794-1864) PORTRAIT OF DANIEL O'CONNELL [THE LIBERATOR] pencil with inscribed [The Drawing Shop, New York] label on reverse h:6.75 w:5.75 in. Provenance: The Drawing Shop, New York; Private collection
Whyte's
Oct. 03, 2015
Attr. to Joseph Haverty. Daniel O'Connell, pencil
Est: $200 - $300
Attributed to Joseph Patrick Haverty (Irish, 1794-1864). Portrait of Daniel O'Connell, the Liberator, graphite on paper, unsigned, attribution on verso, sight size: 6 1/2 x 5 3/4 in., framed
Alex Cooper
Sep. 28, 2015
Joseph Patrick Haverty RHA (1794-1864) GROUP PORTRAIT OF A FAMILY, WITH MOUNTAINS BEYOND
Est: €30,000 - €50,000
Joseph Patrick Haverty RHA (1794-1864) GROUP PORTRAIT OF A FAMILY, c.1850 oil on canvas indistinctly signed lower left h:48 w:61 in. Provenance: Anonymous sale; Christie's, 25 May 1979, lot 210; Grace Pym Gallery, Dublin, October 1979; William and Joan Roth; Christie's, 14 May 2004, lot 67; Private collection Christie's, 12 May 2006, lot 24, as Group Portrait of a Family, Thought to be the Reilly Family, of Scarvagh, Stepping Ashore from a Boat, with Mountains Beyond; Private collection Exhibited: Possibly A Family Group, RHA, 1851, no. 76 Literature: A. Crookshank and the Knight of Glin, Ireland's Painters 1600-1940, New Haven and London, 2002, p.227 (referenced); Stratton Ryan, Mary, 'Vignettes of Family Life', Irish Arts Review, spring, 2008, p.105 (illustrated, fig. 9 as The Boating Party) See PDF catalogue for a detailed note on this work.
Whyte's
Feb. 26, 2015
Joseph Patrick Haverty (1794 - 1864) Oil Painting
Est: $3,000 - $5,000
Joseph Patrick Haverty is a listed Irish artist known for his figurative and portrait paintings. Haverty is best known for his painting "The Limerick Piper" (1844), which became one of Ireland's most famous nineteenth-century lithographs. It now hangs in the National Gallery of Ireland. This original oil painting on canvas depicts Mayor O'Connell with his dog on a path high above the coast. The approximate size is 24" x 19" and is signed in the dog's collar. There are several spots on the canvas where paint is missing and an area above the mountain where the painting was partially cleaned. The painting is finished in an ornate gold framed with approximate dimensions of 30.5" x 26" x 2". There is visible damage to this frame. The approximate weight is 8 lbs.
J Levine Auction & Appraisal LLC
Oct. 12, 2014
AFTER JOSEPH HAVERTY RHA (1794-1864) The
Est: €800 - €1,200
AFTER JOSEPH HAVERTY RHA (1794-1864) The Triumphant Entry of George IV into Dublin. His Majesty's Arrival, His Majesty's Embarkation A pair of coloured aquatints by Robert Havell, each 39 x 60cm. These prints record the visit of George IV to Ireland in 1821, official business was overshadowed by the King's wish to visit Slane Castle. These are rare first state prints before the flags were re-engraved to fly at half mast for the death of Queen Caroline. This pair of aquatint prints by Robert Havell, are based on paintings by Joseph Haverty, a close friend of 'The Liberator', Daniel O'Connell. Haverty based his depictions on sketches made by John Lushington Reilly, whom Haverty has thoughtfully included in the embarkation scene. The figure of Reilly can be found in the central foreground sketching on horseback. The 18 day visit by George IV began on August 12th 1820, the Kings 59th birthday, and a mere three weeks after his coronation. The visit was arguably the first time a British monarch had visited the countr without an accompanying army, in the traditional sense at least. George IV's visit was universally greeted with rejoicing from the populace. One of the first to extend his warmest welcome was Daniel O'Connell, who saw the visit as welcome support in his endeavours to achieve Catholic Emancipation, although George only signed the bill reluctantly some eight years later. The King, whilst scheduled to arrive at Kingstown (Dun Laoghaire), instead arrived at Howth harbour in a mood befitting his birthday celebrations. The first print shows the King leading a procession of some two hundred carriages at the head of Sackville Street amidst a spectacular flurry of flags and pageantry. The Lord Mayor's Guard, who resembled 'Beefeaters', can be seen close to the carriage. The King spent the majority of his stay at the Vice Regal Lodge in the Phoenix Park, with the exception of a four day visit to his mistress, Elizabeth Lady Conyngham at Slane Castle. The visit was a resounding success - Daniel O'Connell even suggesting that a collection be taken up from every peasant in Ireland, to facilitate the building of a palace for the new King. The collection did not afford the building of a palace but it did facilitate the building of a new bridge crossing the Liffey at the present location of Heuston Station i.e. King's Bridge.
Adam's
Nov. 26, 2013
Joseph Patrick Haverty, (1794-1864) Portrait of
Est: €1,500 - €2,500
Joseph Patrick Haverty, (1794-1864) Portrait of Lord Edward Fitzgerald ,Oil on board ,Label on reverse 9 x 7 inches
Sheppards
Oct. 13, 2013
After Joseph Haverty RHA (1794 - 1864) The
Est: €600 - €1,000
After Joseph Haverty RHA (1794 - 1864) The Triumphant Entry of George IV into Dublin. His Majesty's Arrival, His Majesty's Embarkation A pair of coloured aquatints by Robert Havell, each 45 x 64cms Together with the framed keys These prints record the visit of George IV to Ireland in 1821, when official business was overshadowed by the Kings' wish to visit Slane Castle. These are rare first state prints before the flags were re-engraved to fly at half mast for the death of Queen Caroline. This pair of aquatint prints by Robert Havell, are based on paintings by Joseph Haverty, a close friend of 'The Liberator', Daniel O'Connell. Haverty based his depictions on sketches made by John Lushington Reilly, whom Haverty has thoughtfully included in the embarkation scene. The figure of Reilly can be found in the central foreground sketching on horseback. The 18 day visit by George IV began on August 12th 1820, the Kings 59th birthday, and a mere three weeks after his coronation. The visit was arguably the first time a British monarch had visited the country without an accompanying army, in the traditional sense at least. George IV's visit was universally greeted with rejoicing from the populace. One of the first to extend his warmest welcome was Daniel O'Connell, who saw the visit as welcome support in his endeavours to achieve Catholic Emancipation, although George only signed the bill reluctantly some eight years later. The King, whilst scheduled to arrive at Kingstown, instead arrived at Howth harbour in a mood befitting his birthday celebrations. The first print shows the King leading a procession of some two hundred carriages at the head of Sackville Street amidst a spectacular flurry of flags and pageantry. The Lord Mayor's Guard, who resembled 'Beefeaters', can be seen close to the carriage. The King spent the majority of his stay at the Vice Regal Lodge in the Phoenix Park, with the exception of a four day visit to his mistress, Elizabeth Lady Conyngham at Slane Castle. The visit was a resounding success - Daniel O'Connell even suggesting that a collection be taken up from every peasant in Ireland, to facilitate the building of a palace for the new King. The collection did not afford the building of a palace but it did facilitate the building of a new bridge crossing the Liffey at the present location of Heuston Station. i.e. King's Bridge
Adam's
Apr. 30, 2013
After Joseph Haverty RHA (1794 - 1864) The
Est: €1,000 - €2,000
After Joseph Haverty RHA (1794 - 1864) The Triumphant Entry of George IV into Dublin. His Majesty's Arrival, His Majesty's Embarkation A pair of coloured aquatints by Robert Havell, each 45 x 64cms. These prints record the visit of George IV to Ireland in 1821, when official business was overshadowed by the Kings' wish to visit Slane Castle. These are rare first state prints before the flags were re-engraved to fly at half mast for the death of Queen Caroline. This pair of aquatint prints by Robert Havell, are based on paintings by Joseph Haverty, a close friend of 'The Liberator', Daniel O'Connell. Haverty based his depictions on sketches made by John Lushington Reilly, whom Haverty has thoughtfully included in the embarkation scene. The figure of Reilly can be found in the central foreground sketching on horseback. The 18 day visit by George IV began on August 12th 1820, the Kings 59th birthday, and a mere three weeks after his coronation. The visit was arguably the first time a British monarch had visited the country without an accompanying army, in the traditional sense at least. George IV's visit was universally greeted with rejoicing from the populace. One of the first to extend his warmest welcome was Daniel O'Connell, who saw the visit as welcome support in his endeavours to achieve Catholic Emancipation, although George only signed the bill reluctantly some eight years later. The King, whilst scheduled to arrive at Kingstown, instead arrived at Howth harbour in a mood befitting his birthday celebrations. The first print shows the King leading a procession of some two hundred carriages at the head of Sackville Street amidst a spectacular flurry of flags and pageantry. The Lord Mayor's Guard, who resembled 'Beefeaters', can be seen close to the carriage. The King spent the majority of his stay at the Vice Regal Lodge in the Phoenix Park, with the exception of a four day visit to his mistress, Elizabeth Lady Conyngham at Slane Castle. The visit was a resounding success - Daniel O'Connell even suggesting that a collection be taken up from every peasant in Ireland, to facilitate the building of a palace for the new King. The collection did not afford the building of a palace but it did facilitate the building of a new bridge crossing the Liffey at the present location of Heuston Station.
Adam's
Oct. 05, 2010
Joseph Patrick Haverty (1794-1864) A conversation
Est: €4,000 - €6,000
Joseph Patrick Haverty (1794-1864) A conversation piece of the women of a pious family, in a wooded landscape with ecclesiastical ruins in the background Oil on canvas, 70 x 91cm Signed and dated 1823
Adam's
Jul. 18, 2010
Attributed to Joseph Patrick Haverty (Irish, 1794-1864) A portrait of a gentleman, thought to be Daniel O'Connell, with his hound 24 x 19in
Est: $1,500 - $2,000
A portrait of a gentleman, thought to be Daniel O'Connell, with his hound bears signature 'Jno Haverty' (on the dog's collar) oil on canvas 24 x 19in
Bonhams
Apr. 18, 2010
Attributed to Joseph Patrick Haverty (Irish, 1794-1864) A portrait of a gentleman, thought to be Daniel O'Connell, with his hound 24 x 19in
Est: $2,000 - $3,000
A portrait of a gentleman, thought to be Daniel O'Connell, with his hound bears signature 'Jno Haverty' (on the dog's collar) oil on canvas 24 x 19in
Bonhams
May. 12, 2006
Joseph Patrick Haverty, R.H.A. (1794-1864)
Est: £40,000 - £60,000
Group portrait of a family, thought to be the Reilly family, of Scarvagh, stepping ashore from a boat on a lough, with mountains beyond indistinctly signed (lower left) oil on canvas 48 x 59 1/2 in. (122 x 155 cm.)
Christie's
May. 12, 2005
Joseph Patrick Haverty, R.H.A. (1794-1864)
Est: £5,000 - £8,000
Figures on a roadside signed 'J.P. Haverty' (lower right) oil on canvas 21 x 17 in. (53.3 x 43.2 cm.)
Christie's
May. 14, 2004
Joseph Patrick Haverty, R.H.A. (1794-1864)
Est: £25,000 - £35,000
Group portrait of a family, thought to be the Reilly family of Scarvagh, stepping ashore from a boat on a lough, with mountains beyond indistinctly signed (lower left) oil on canvas 48 x 59 1/2 in. (122 x 155 cm.)
Christie's