James Adam and Sons Ltd, trading as Adam's, is Ireland's leading Fine Art Auctioneers and Valuers. Founded in 1887, it is situated in the heart of Dublin on St Stephen's Green.

Over the last century the company has developed its expertise in many fields and currently offer specialist sales ranging from Important Irish Art, Fine Period Furniture, Silver & Object's Of Vertu, Contemporary & Modern Art, Militaria & Memorabilia as well as Vintage Wine Sales and are adept at the appraisal and sale of private collections.

Adam's also off er a comprehensive valuation service for the purposes of insurance, probate, family division etc. Adam's is proud of its relationship with its clientele and as a privately held company, can off er flexible and competitive terms. Numerous world records have been achieved in these salerooms, particularly in the sale of Irish art. Today, James Adam & Sons, is one of the fastest growing companies in its field, offering a service of distinction as Ireland's principal auction house.

  • Ireland
Objects "Adam's"

William Scott OBE RA (1913-1989)

William Scott OBE RA (1913-1989), Blue and White (1964), Oil on canvas, 44 x 44cm (17¼ x 17¼''), Signed, Provenance: From the collection of the architect Michael Scott and his sale, Christies Dublin, May 1989, Lot No. 89. Exhibited: 'William Scott: Recent Paintings', The Hanover Gallery, London, September - October 1965, Catalogue No.6; 'William Scott', The Dawson Gallery, January - February 1967, Cat. No. 14, where purchased;, Modern Irish Painting, , Major European Touring Exhibition which started in Helsinki October 1969 and travelled to, Goteborg, Norrkoping, Stockholm, Copenhagen, Bielefeld, Bonn, Saarbrücken, London, Leeds, Glasgow, Dublin, Donegal and, Mayo. Literature: 'William Scott: Catalogue Raisonne of Oil Paintings', Catalogue No.570, illustrated. When the late Anne Crookshank, as a young curator of visual art at The Ulster Museum in Belfast in 1958, appealed to local pride and begged her fiscal overlords to agree to purchase a painting by William Scott, a local man, if not actually born in Ulster, at least raised and educated there, she played up the considerable fame he had just acquired as Britain, s highly acclaimed representative in the Venice Biennale of that year. However, despite his fame and the fact that one of his Venice paintings had immediately been purchased and donated to the Metropolitan Museum of Modern Art in New York, she still felt it necessary to ask her colleagues at the Arts Council in England to include it in a travelling exhibition they were organizing of his work, so that by the time her trustees had a chance to view their new acquisition, they would have adjusted to its modernity. Her strategy paid off. While the painting was touring, Scott was commissioned to paint the biggest mural painting in Ireland at Derry, s Altnagelvin Hospital, a great reassurance to her trustees. The purchase went on to raise the profile of contemporary art at the Ulster Museum to the level that under Anne Crookshank the collection there led the field in Ireland for buying good contemporary art. Blue and Whites was painted in 1964, just 6 years after the Ulster Museum, s purchase. In many respects, it can be seen as a continuation of the abstract formal language of the hospital mural but, perhaps more importantly, it connects Irish art directly to the greatest precursors of International Modernism. The irregular white rectangle that floats upon the square white ground pays a discreet homage to Malevich, s ground breaking, White on White, in the early days of twentieth century modernism, while the luscious blue triangle thrusts itself outward towards the viewer, just as Franz Klein, s blue paintings had thrust themselves at Scott when he first encountered that artist, s work in New York a decade earlier. Anne Crookshank, who maintained her regard for him over the decades remarked that, He handles blue with the greatest skill and achieves superbly luminous passages. In this painting that is augmented by the textural impact of the paint itself, applied in thick downward strokes. The painting does exactly what Scott intended it to do; it presents a dialogue between the elements of painting itself, between the formal thrust of the blue triangle and the two levels of white ground from which it emerges, without recourse to any narrative or literary qualities. The drama of space, light, texture and colour are all manifested through the artist, s manipulation of them in a way that is coherent and self-contained, and utterly compelling. Scott was quoted as saying about his work that, what matters to me is the indefinable, . He achieves that in this painting through the elements of the medium itself, which in his use of them, offer more than the sum of their various parts. It is no surprise that the architect, Michael Scott, that guru of Modernism in Ireland was one of the owners of this work in its earlier life. Catherine Marshall, October 2017Read more

  • IRLIreland
  • 3d 1h
Low estimate
26 800 GBP

Basil Blackshaw HRHA RUA (1932-2016)

Basil Blackshaw HRHA RUA (1932-2016), Little Girl's Dress, Oil and pencil on cardboard, 44 x 34cm (17.25 x 13.25, ), Signed, Provenance: The Eamonn Mallie Collection, Exhibited:, Basil Blackshaw Paintings 2000-2002, exhibition, The Ulster Museum, December 2002, May 2003. Literature:, , Ulster Museum, illustrated p.33; 'Basil Blackshaw, by Eamonn Mallie, illustrated Plate 115, p.269. Down the years I came to realise Basil Blackshaw would paint on an eyelid if that surface spoke to him. He loved a wide range of surfaces in various materials - canvas, paper, X Ray sheets, newspaper, wood and so on. He drew no distinction when it came to value or significance he placed on a work in any one medium. It was all about living the experience of that which he gained from working in his surface of choice. 'Little Girl's Dress' is executed on corrugated cardboard. He deliberately chose that surface to win that feeling being pursued at that moment in time. The first time I saw 'Little Girl's Dress' Blackshaw declared "I could cry when I look at that wee dress." Nothing more was said. I knew what he meant. Basil, a recovering alcoholic whose marriage to Anna Ritchie, a fellow artist broke up while his daughter Anya was still a child, had by his own admission, missed out on many of her early years and dedicated many decades later heaping his love upon her as he made up for lost time. 'Little Girl's Dress' is essentially a portrait of Anya as a child - replete with the face of the dress parading strawberry coloured stains so synonymous with little girls' dresses of a particular era. Eamonn MallieRead more

  • IRLIreland
  • 3d 1h
Low estimate
4 500 GBP

Blog posts about "Adam's"

Adam's Summer Exhibition: George Campbell and The Belfast Boys
Adam's of Ireland, as well as boasting a full sales calendar of fine arts and antiques, extends their repertoire to Adam's at Clandeboye which is located at The Ava Gallery.
What's inside Dublin's Courtown House?
On 22nd April Dublin's Adam's will be selling the contents of the historical Courtown House.
Oscar Wilde, Guinness and more at Adam's

Realised prices "Adam's "

A diamond and 18 carat gold finely woven mesh necklace, with a polished
A diamond and 18 carat gold finely woven mesh necklace, with a polished gold scrolled link to centre, set with round brilliant-cut diamonds, diamonds approx. 0.28 carat total, length approx. 43cm Adam's
IRA Financial Statements and Account, 1922-25 [Mac Bride (Sean)] Two
IRA Financial Statements and Account, 1922-25 [Mac Bride (Sean)] Two ring binders containing detailed IRA internal accounts covering the period from March 1922 to November 1925, well over one hundred documents containing some 500 pages, many of the documents signed by Sean Mc Bride, who was the IRA's Director of Finance for part of the period. Viewing itself as a Government as well as an Army, the IRA was obsessively detailed in its internal accounts. These files contain full monthly accounts such as might be prepared for any business. To take just one example, the summary of accounts dated August 1924, in ledger form, shows monthly case income in various departments totalling ?996; expenditure totalling ?931, cash balances totalling ?64; with comparisons with the previous month under various headings. The expenditure accounts distinguish between monthly and weekly allowances, special grants, travelling expenses, stationary, office rent, postage and telephones, etc., with notes of legal expenses, couriers, tram fares, etc., and even ?1.15.0 for purchase of passports, the whole ledger apparently drafted in Sean Mc Bride's hand and signed by him. There are similar accounts for May, June, and July 1923; August - September - October 1924, December, January 1925, February - March - April 1925. There are also monthly accounts for the Chief-of-Staff and some other departments, and some weekly accounts from 1923. The monthly account for January 1925 is singed by Sean Mc Bride, Director of Finance; Frank Aiken, Chief-of-Staff; and M. Colivet, Minister for Finance; that for November 1924 also has these three signatures. There are also detailed accounts for a publishing project ''Leabhar na hAiseirghe,'' Feb. - March 1925; and here and there through the file there are references to an episode where the IRA's Director of Purchasing, who was a Dublin County Council rate-collector, apparently used some of the rates collected for IRA purchases. The IRA had to refund some ?400 to the County Council to avoid his prosecution for embezzlement (see letters dated 4 February 1925, 11 Feb. 11925, 7.2.24 (green ink, filed with 1925 papers) etc. ) Some of this money was apparently spent in Germany, possibly on purchase of arms. there are also many detailed notes about particular grants and payments, amounts lost due to raids, expenses claimed, various disputed amounts and so on. As a collection manuscript material, w.a.f. It appears that Sean Mc Bride became Director of Finance in early 1925 with a mandate to regularize the accounts, and some of the monthly statements previous to that appear to have been prepared by him retrospectively. There are also some documents in the first file prepared by Austin Stack (1922). * A highly important Archive of documents. None of this detailed information has previously been in the public domain, and it opens an entirely new field for research. Provenance: Maurice (Moss) Twomey Archive. (1) Adam's
A diamond seven stone ring, composed of a row of oval mixed-cut diamonds
A diamond seven stone ring, composed of a row of oval mixed-cut diamonds, mounted in 18 carat gold, diamonds approx. 1.40 carat total, ring size N Adam's
AN ITALIAN MAJOLICA CANTAGALLI BASKET, of oval shape and decorated
AN ITALIAN MAJOLICA CANTAGALLI BASKET, of oval shape and decorated in colourful tones, modelled with grotesque mask, fish-scale bridge handle and supported on an inverted acanthus leaf foot, factory mark to base 19cm high Adam's
CHARLES CECIL WINDSOR ALDIN (1870-1935) A Coaching Scene Oil on panel
CHARLES CECIL WINDSOR ALDIN (1870-1935) A Coaching Scene Oil on panel, 48 x 35cm Adam's

Find address and telephone number to Adam's

26 St Stephen's Green
Dublin 2, Ireland
Tel: + 353 1 676 0261