OUTSTANDING ART AUCTION

TUESD

AY, 22nd MAY

2012

35 Kildare Street, Dublin 2 Tel: 676 8300 Fax 676 8305

[email protected] www.deveres.ie

IrISh ArT AucTIonTuesday 22nd May

Front cover: Lot 38 PauL Henry rHa 1876-1958, SPRING IN WICKLOW

Inside Front cover: Lot 59 GeorGe CamPbeLL rHa 1917-1974, STILL LIFE

Inside Back cover: Lot 51 Conor FaLLon rHa (1939-2007), HORSE.

Back cover: Lot 36 JaCk b. yeats rHa (1871-1957), THE HOBBY HORSES (1927) (detail).

A Armstrong, A 8Alexander, D 2

BBehan, J 88,149,152Bellamy, J 63Blackshaw, B 55Brady, C 95Brandt, M 28, 118-125Butler, M.A 3

cCampbell, G 58,59,74,75,84, 103, 160-211Carr,T 6Carrick,D 78ACarson, R.T 29Clarke, C 5Coen, J 67Comerford, J 44BConor, J 66,99BConor, W 133Collins, P 19Collis, P 116,116ACraig, J.H 88,117Crone, D 90Cusack, R 156

DDavidson, L 108Dillon, G 137

EEgan, F 45A

FFallon, C 51,52,53,126Farrell, M 45French, W.P 4Fromel, G 50

GGale, M 94Glenavy, Lady B. 10Goulding,T 57Guiness, M 33,89

hHamilton, L.M 13,105Hanlon, Fr. J 25BHarper, C 72Henry, M 25AHenry, P 38Hickey, D 78Hone, E 12,31,32Hone, N 87,147Hutson, M.C 27

JJellet,M 9,21,148

KKavanagh, J.M 100Keating, S 37Kelly, P 139King, C 93Kingerlee, J 140

LLanyon, PLavery, Sir. J 37ALeBrocquy, L 111LeBrocquy, M 86Leech, W.J 34,96

MMaguire, B 73Maguire, C 132MacGonigal, M 14,35,101, 106,141,146MacLiammoir, M 26McAuley, C 77,130McCormack, S 129McKelvey, F 23McSweeney, S 47,46Middleton,C 97Mitchell, F 107

oO’Brien, D 142O’Brien,G 76O’Brien, K.W 1O’Casey, B 81,82,83O’Conor, R 22O’Doherty, D 153O’Doherty, E 85O’Donoghue, H 54,92,113,112O’Hara, H 143,144O’Malley, J 98O’Malley, T 71,98A,114O’Neill, D 11,24O’Neill, M 154O’Reilly, P 69,70,99,99A

rRobinson, M 25,138Royle, S 48,49Russell,G 20,64

SSadler, W 39,40,41,42 43,44,44AScott, P 115,115AShinnors, J 109,110Sloan, J 127Souter, C 18Shawcross, N 56,91Shore, R.S 102Sutherland, G 60Sutton,I 145

TTeskey, D 17Treacy, L 155

WWhisker, C 63AWilks, M.C 30,65,80

YYates,F 62Yeats, J.B 15,16,36, 134,135,136

Auction: tuesday, 22nd May at 6pm

Venue: the Berkeley court Hotel, Lansdowne Rd, Dublin 4.

on View: Friday 18th May 5 - 7pm Saturday 19th May 11am - 4pm Sunday 20th May 11am - 5pm Monday 21st May 10am - 6pm tuesday 22nd May 10am - 3pm

contAct: 087 293 4439 / 086 809 8648 (viewing times only)

coLLection: the Berkeley court Hotel, wednesday 23rd May, 9am - 1pm.

FeeS: 18½% pLuS VAt (22.755%)

de Veres

35 Kildare Street, Dublin 2

01 676 8300

www.deveres.ie

Live Bidding available at:

www.facebook.com/deveresArtAuctions

John de Vere White Managing Director

[email protected]

Rory Guthrie Director

[email protected]

Aisling Tóth Associate Director

[email protected]

Landsdowne Ln

Landsdowne Rd

Shelbourne Ave

crampton Ave

Shel

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Beat

ty’s

Ave

Lansdowne p

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Balls

brid

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Gra

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plclyde Rd

elgin Rd

pembroke Ln

pembroke Rd

pembroke Rd

Shel

bour

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Lansdowne R

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northum

berland Rd

clyde L

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The Berkeley Court Hotel

AuCTion Venue

Auctioneers: John de Vere White

Rory Guthrie

3

1 Kitty Wilmer O’Brien rHA 1910-1982

cRoAGH pAtRicK, FRoM nAppeR, co. MAYo oil on board, 17" x 21½" (43 x 54.5cm), signed.

provenance: the Dawson Gallery, Dublin (inscribed label verso).

est. €800 – 1,200

2 DOuglAs AlexAnDer 1871-1945

GLenBeiGH, co. KeRRY watercolour, 15" x 21" (38 x 53.5cm), signed;

inscribed label verso.

est. €600 - 900

4

3 milDreD Anne Butler rWs ruA, 1858-1941

DoVeS ReStinG, KiLMuRRY watercolour, 10½" x 14½" (26.5 x 37cm).

est. €3,000 – 5,000

5

4 WilliAm Percy FrencH 1854-1920

eVeninG LiGHt, DeRRYVARD watercolour, 7" x 9" (17.7 x 22.8cm),

signed, inscribed and dated 1906.

est. €3,000 – 5,000

6

5 cArey clArKe PPrHA B.1936

poRceLAin AnD tHe RoSARY Vine oil on canvas, 16" x 20" (40.5 x 51cm), signed; inscribed artist label verso.

est. €2,000 – 3,000

6 tOm cArr 1909-1999

SAnDHiLLS oil on board, 10½" x 14½" (27 x 37cm), signed. exhibited: Leicester Galleries, London, 1942 (label verso).

est. €1,500 – 2,500

7

7 JAmes le Jeune rHA 1910-1983

on tHe SHoRe oil on canvas board, 12" x 16" (30.5 x 40.5cm), signed.

est. €1,500 – 2,000

8 ArtHur ArmstrOng rHA 1924-1996

cHAnGinG SHApeS in A conneMARA LAnDScApe oil on board, 12" x 16" (30.5 x 40.5cm), signed, inscribed verso.

est. €800 – 1,200

8

9 mAinie Jellet 1897-1944

ABStRAct coMpoSition Gouache, 19" x 15" (48 x 38cm).

After meeting up with evie Hone at the westminster School of Art, Jellett and Hone set off for paris in 1920. Here they both worked at Andre L’hote’s studio. Around this time Jellett wrote “with L’hote i learned how to use natural forms as a starting point towards the creation of form for its own sake; to use colour with the knowledge of its great potential force, and the product work based on a knowledge of rhythmical form and organic colour”. in 1921, she moved into the studio of Albert Gleizes (1881-1953). now she mastered the new technique, translation and Rotation endowed painting-without-subject with a mobile rhythm. this wonderful work is a fine example of Jellett mastering this technique.

See Theo Snoddy, “Dictionary of Irish Artists, 20th Century”, p. 216/217

est. €6,000 – 9,000

9

10 lADy BeAtrice glenAvy rHA 1881-1970

A SeRenADe oil on canvas, 18" x 26" (46 x 69cm), signed and dated 1933.

Beatrice elvery was the second of seven children brought up in comfortable surroundings in Foxrock. the family ancestors had originated in Spain.

Beatrice entered art college in Dublin where william orpen was the star attraction. in later years orpen painted several portraits of her and used her as a model. in 1901 she won the taylor Scholarship. in 1902 she exhibited her first work, a statuette of a boy at the Royal Hibernian Academy. She went on to exhibit approximately 200 works at the Academy. in 1912 she married Gordon campbell, later 2nd Baron Glenavy and settled in London where she moved in a very artistic circle. She returned to ireland after the war and concentrated mainly on her painting. She was to exhibit at the Royal Academy and Royal Scottish Academy as well as the principal Dublin Galleries over the following years. Her work has a wonderfully romantic, fairy like quality and this is a particularly fine example.


est. €6,000 – 9,000

10

11 DAniel O’neill 1920-1974

GiRL in A LAnDScApe oil on board, 10" x 12" (25.5 x 30.5cm), signed.

est. €5,000 – 7,000

11

12 evie HOne HrHA 1894-1955

continentAL ViLLAGe oil on canvas, 26" x 36" (66 x 91.5cm), signed verso.

A member of the distinguished Hone family, evie was to become a victim of infantile paralysis which left her lame for the rest of her life. She became interested in pursuing a life as a painter from an early age. She was to excel in both stained glass, oil and gouache.

She travelled to study in paris with her lifelong friend Mainie Jellett and like Jellett studied under Andre L’hote and Albert Gleizes, having previously studied under Walter Sickert in London where she first met Mainie.

this particular work almost certainly was executed in the early part of her painting career and may well have been exhibited in France where she held several exhibitions. She became preoccupied with stained glass from the early 1930s. A woman of great courage whom overcame her disabilities, both she and Jellett are major figures in Irish Art of the 20th Century.

See Snoddy, Irish Artists, 20th Century p. 198/199.

est. €6,000 – 9,000

12

13 letitiA mAriOn HAmiltOn rHA 1878-1964

RenVYLe, conneMARA oil on board, 16" x 20" (41 x 51cm), signed.

est. €5,000 – 7,000

13

14 mAurice mAcgOnigAl PPrHA 1900-1979

SuMMeR, HAZeLHAtcH (1977) oil on board, 20" x 24" (51 x 61cm), signed; inscribed verso. exhibited: taylor Galleries, Dublin, September, 1978, cat. no. 18 (label verso).

est. €5,000 – 7,000

15 JAcK B. yeAts rHA 1871-1957

tHe StucK up ARtiSte pen, 6" x 4¼" (15 x 10.8cm),

signed, inscribed and dated 1891.

est. €2,000 – 3,000


wHY SHouLD You Be At KeMpton pARK toDAY? BecAuSe You’Re A HoRSeY MAn

pen, 6½" x 5" (16.5 x 12.5cm), signed and dated 1891, inscribed verso.

est. €2,000 – 3,000

14

17 DOnAlD tesKey B.1956

BReAK in tHe weAtHeR oil on canvas 28" x 32" (71 x 81cm) signed; inscribed 94 verso.

est. €10,000 – 15,000

15

18 cAmille sOuter HrHA B.1929

ReVoLution Mixed media on newsprint, 13" x 17" (33 x 43.2cm), signed, inscribed verso.

est. €4,000 – 6,000

19 PAtricK cOllins HrHA 1911-1994

SALMon oF KnowLeDGeoil on canvas, 33¼" x 41¾" (84.5 x 105.5cm), signed and dated 84.

provenance: these rooms 22nd June 1999.

est. €4,000 – 6,000

16

20 geOrge russell Ae 1867-1935

tHe GLADneSS oF MAY oil on canvas, 16" x 21" (40.5 x 53.5cm), signed with monogram. est. €5,000 – 7,000

17

21 mAinie Jellet 1897-1944

StiLL LiFe oil on canvas, 18½" x 15" (47 x 38cm), inscribed artist’s label verso.

provenance: private collection, Dublin.

to be sold with pencil study.

Jellett started her artistic life at a very young age studying in Dublin under both Sarah cecilia Harrison and May Manning. She was only fourteen when she made her first visit to France, a country that was later to play a key role in her development as an artist.

in 1914 she entered the Dublin Metropolitan School of Art where Sir william orpen was still teaching. in January 1917 she left for London and studied under walter Sickert (1860-1942) at the Westminister Art School. Sickert was to have a very strong influence on her early work and this still life is from that period. Interestingly it was at the Westminister School that she first met Evie Hone who was to become a lifelong friend.


est. €5,000 – 7,000

18

22 rODeric O’cOnOr 1860-1940

FLeuRS DAnS un VASeoil on card laid down on board, 16" x 13" (40.5 x 33cm), signed.

provenance: Loudmer poulain Scp, palais d’orsay, paris, 29 December 1977, lot 122 (label verso).

private collection, Virginia, uSA.

the high keyed colouring of Fleurs dans un Vase ‘demonstrates o’conor’s preference for colours used at full strength. the choice of colour range is typical of his palette with the dark shaped narrow necked vase set on a red draped surface and the yellow and red blooms of the flowers and the green leaves set against the blue grey background’. (Dr. Roy Johnston, private correspondence, 2011) .

the application of paint, particularly in the rendering of the chrysanthemums, poppies and marigold amply illustrate ‘how he handled his materials with an anarchic disregard for the niceties of finish and clearly derived a sensuous pleasure from their manipulation. To him, oil paint was a very plastic medium capable of making an aesthetic impact that was independent of its representational function’. Jonathan Benington, Roderic O’Conor, irish Academic press, Dublin, 1992, p.15.

While painted after his return to Paris in 1904, the inclusion of a ceramic Japanese figurine nestled immediately behind the vase harks back to the artist’s earlier pont Aven period when Japonisme was a defining characteristic of Gauguin and his ‘talisman’ followers as it would go on to be for the nabis, both movements with which o’conor associated himself without ever compromising the independence that he so fiercely protected throughout his artistic career.

est. €30,000 – 50,000

19

20

23 FrAnK mcKelvey rHA ruA 1895-1974

cuLDAFF BeAcH, co DoneGAL oil on canvas, 15" x 20" (38 x 51cm), signed;

inscribed verso.

est. €4,000 – 6,000

Culdaff Beach

21

24 DAniel O’neill 1920-1974

tRAMcAR DweLLinG oil on board, 18" x 24" (46 x 61cm), signed; inscribed artists label verso.

the last Belfast tram left Harland & woolf on the 27th of February 1954. After they went out of commission several of them were acquired and set up on tyrella Beach as holiday homes.

this charming and Bohemian scene shows a family going about their various everyday chores. the palette is typical of o’neill, with its electric blues and intense reds alongside rich creamy whites. The figures are simplified but with a slightly more distinct sense of individual identity than is often the case in O’Neill’s multi figure compositions.

est. €14,000 – 18,000

22

25 mArKey rOBinsOn 1918-1999

StiLL LiFe – tABLe topGouache, 20" x 24" (51 x 61cm), signed.

provenance: Acquired directly from the artist by the vendor’s father.

est. €3,000 – 5,000

25A mArJOrie Henry ruA 1900-1974

tuLipS oil on board, 20” x 15” (51 x 28cm),

signed; artists label verso.

est. €700 – 1,000

25B FAtHer JAcK HAnlOn 1913-1968

ViLLAGe Scene watercolour, 10" x 14" (25.5 x 35.5cm), signed.

est. €400-600

23

26 micHeál mAcliAmmóir 1899-1978

oiDHcHeAnnA SiDHe 1919-1921 (FAiRY niGHtS) watercolour, 14" x 10" (35 x 25cm), signed and dated 1919.

exhibited: All for Hecuba, Hugh Lane, Municipal Gallery of Modern Art, Dublin, 4th october-2nd november 1978 (cat no. 4).

An exhibition to mark the Golden Jubilee for the edwards-MacLiammóir partnership of the Gate theatre 1928-1978 (catalogue available with purchase).

the catalogue note reads: title page from oidcheanna Sidhe, published by the talbot press in 1922, captioned “d’Feacg sí trid na crainnte” (“she peeped through the trees”).

provenance: collection of Micheál Ó hAodha, Abbey theatre Director and biographer of Micheál MacLiammóir, and by descent to the current owner.

est. €2,000 – 4,000

27 mArsHAll c HutsOn rHA 1903-2001

BuSt oF MicHeáL MAcLiAMMÓiR AS MARK AntHonYBronze 19" high (48 cm).

provenance: collection of Micheál Ó hAodha, Abbey theatre Director and biographer of Micheál MacLiammóir, and by descent to the current owner.

est. €1,000 – 2,000

28 muriel BrAnDt rHA 1909-1981

StuDY oF HiLton eDwARDSink & wash, 16" x 14" (30.5 x 35.5cm), signed.

this is a study from a portrait in the national Gallery.

est. €600 – 900

24

29 rOBert tAylOr cArsOn HruA 1919-2008

conneMARA inteRioR oil on canvas, 25" x 30" (63.5 x 76cm), signed, inscribed on stretcher verso.

est. €4,000 – 6,000

25

30 mAurice cAnning WilKs ArHA ruA 1910-1984

ReFLectionS, SiX MiLe wAteR, co. AntRiM oil on canvas, 20" x 26" (51 x 66cm), signed, inscribed verso.

est. €2,000 – 4,000


KinSALepastel, 11" x 14¾" (28 x 37.5cm), signed.


est. €1,400 – 1,800

26


tHe eiFFeL toweRGouache, 18" x 8½" (46 x 21.5cm), signed.


est. €1,500 – 2,000

33 mAy guinness 1863-1955

A GiRL SeAteD oil on panel, 13" x 8½" (33 x 21.5cm), signed.

est. €1,000 – 2,000

27

34 WilliAm JOHn leecH rHA rOi, 1891-1968

SHippinG, BiLLinGSGAteoil on board, 14" x 18" (35.5 x 46cm), signed; inscribed and signed verso.

provenance: the neptune Gallery, Dublin (label verso).

est. €4,000 – 6,000


BLAcK cAttLe At niGHt, DinGLe, co KeRRY watercolour, 13" x 17" (33 x 43cm), signed. exhibited: taylor Galleries, Dublin, november/December, 1979,

cat. no. 23 (label verso).

est. €2,000 – 3,000

28


tHe HoBBY HoRSeS (1927) oil on panel, 9" x 14¼" (23.2 x 36.2cm), signed, inscribed verso.

provenance: with Victor waddington Galleries, Dublin where purchased by the family of the previous owners in 1942; private collection Dublin.

exhibited: Birmingham, Ruskin Gallery, “paintings of ireland”, 23rd of May - 4th June, 1927, no.8. London, Alpine club Gallery, paintings, 24 June - 7 July 1930, no.27.

Literature: Hilary pyle, Jack B. Yeats “A catalogue Raisonné of his oil paintings” Andre Deustch, Vol i, cat no. 353 p.320.

Yeats loved fairgrounds and he did many paintings and watercolours of fairground subjects. the Merry-Go-Round was a particular favourite for the artist. “Man on a Merry-Go-Round”; a large watercolour dating from 1897 (sold these rooms, 20th november 2001, Lot212). Here it is interesting to note how similar the conductor is in both paintings though “Hobby Horses” was painted 30 years later, A reviewer of the 1897 exhibition wrote “the man on the Merry-go-Round, with its vivid suggestion of rapid whirl – so vivid that it almost makes you giddy to look at – is quite the best thing in the exhibition, which is well worth a visit!”

in “Hobby Horses” the Merry-Go Round has come to a stop and the conductor, leaning back against the horse, is about to take a fare from a young boy in a cap. the elaborately decorated carousel, painted in warm yellow and reds together with the majestic pool of the main horse and the crowded fairground shows Yeats at the very height of his powers. Reviewing an exhibition of Yeats at the tate Gallery, London, the Apollo magazine wrote “Form almost disappears under the passion for life and movement expressed by thick oil paint splashed on the canvas, with brush and palette knife. The result is at first glance disconcertingly chaotic and restless. Yet Yeats, like Van Gough, whose passionate temper he shares, somehow has these runaway canvases under an inner control. out of the rash and speed of form and colour energise the things he wants”

These sentiments could well be directed towards this powerful work. “Hobby Horses” on first look might appear unclear, yet on careful examination the fairground detail of the Merry-Go-Round, the Conductor, the figures and all the joy of the fair is clearly conveyed in a controlled riot of colour.

est. €60,000 – 90,000

29

30

37 seAn KeAting PrHA HrsA 1889-1977

StuDY FoR ‘An BeinSin LuAcHRA’ (tHe SonG oF tHe BuncH oF RuSHeS) charcoal and pastel, 21" x 20 1/2"(53.2 x 52cm), signed.

provenance: Acquired by Louis and Yvonne Jammet, paris; by descent to their dughter Raymonde Jammet; by family descent to the previous owner.

Jammet’s Restaurant occupied 46 Nassau Street, at the bottom of Grafton Street. It was the epitome of fine French dining, excellent wines and unparalleled service and was described by Vogue magazine as one of Europe’s finest restaurants. it was also the place for the well-heeled locals, visiting dignitaries and stars of the day, including noel coward, elizabeth taylor, Bing crosby and John Lennon.

Louis Jammet was very good friends with frequent patrons Micheal MacLiammoir and Hilton edwards, who frequently dined there with Gate theatre founder Lord Longford. it was obviously one of their favourites as they made Louis Jammet a director of the Gate theatre in 1964. Jammet’s closed in 1967.

the woman in this image, in traditional connemara costume, can be understood to be Keating’s idea of irish beauty, beside a seafaring man, who hopes to become her suitor. there can be little doubt that there exists in this work the atmosphere of on-going courting. this was a study for ‘An Beinsin Luachra’, which was exhibited at the RHA in 1953 (price: £250). the title comes from an old irish song which refers to the beauty, honor and virtue of true love, expressed as a meeting between two people.

est. €6,000 – 9,000

31

37A sir JOHn lAvery rA rHA rsA, 1856-1941

poRtRAit oF DoRiS SiGeRSon oil on canvas, 26" x 20" (66 x 51cm), signed and indistinctly inscribed.

note: Another Lavery portrait of the sitter is in the collection of the national Gallery of ireland.

est. €14,000 – 18,000

32

38 PAul Henry rHA 1876-1958

SpRinG in wicKLow c.1922-3 oil on canvas 12” x 10” (30.5 x 25.4cm), signed.

provenance: Mervyn Solomon, esq., Belfast; sale, Sloans & Kenyon, chevy chase, Maryland, uSA, 11 november 2007, lot 1865 (reproduced in colour in catalogue).

exhibited: Fine Art Society, London, Four irish Artists: J.H. craig, paul Henry, e.L. Lawrenson, J. crampton walker, March 1928 (catalogue number 92); the same artists, Fine Art Society, november 1930 (88); ‘in connemara’: paintings by paul Henry, Fine Art Society, April 1934 (38).

paul Henry was particularly adept at painting winter trees, where the interlacing of their branches often created a lively pattern against a light sky or, as in this case, the dark background of a hill or mountain. The easy bravura of his brushwork in Spring in Wicklow and the fluidity of the paint itself combine to suggest a date of execution of the early 1920s, that is, shortly after he settled in Dublin after almost a decade living and working on Achill island. His move to Dublin had largely been at the behest of Grace, his first wife, but the city, and notably nearby County wicklow, where he eventually settled, provided him with different subject matter to Achill and the richer wicklow farmland led literally to a richer, more oil-laden use of paint.

Henry painted two other pictures, each entitled Spring in wicklow (see S. B. Kennedy, paul Henry: with a catalogue of the paintings, Drawings, illustrations, new Haven and London, Yale university press, 2007, numbers 590 and 659), dated 1922-3 and c.1926-8 respectively, and in both of these – and especially the latter – the composition is in a large measure dominated by winter trees set against the sky. As is noted above, Henry also exhibited pictures of this title at the Fine Art Society, London, in 1928, 1930 and 1934, and although one cannot be certain of the identity of the picture in each case, that there is a label of the Fine Art Society on the reverse of this work, suggests that it was shown on at least one of those occasions.

this picture is numbered 1219 in S. B. Kennedy’s ongoing cataloguing of Henry’s oeuvre.

Dr Brian Kennedy, April, 2012

est. €40,000 – 60,000

33

34

39 WilliAm sADler 1782-1839

cARLiSLe BRiDGe, DuBLin, witH tHe cuStoMS HouSe in tHe DiStAnce oil on panel, 20" x 26" (51 x 66cm).

est. €15,000 – 25,000

Lots 39-45WilliAm sADler ii c.1782-1839

the son of portrait painter and engraver william Sadler Snr, Sadler grew up in Dublin and exhibited his paintings between 1809 and 1821 in the city. in 1828 and 1833 he exhibited at the Royal Hibernian Academy. Sadler was also a teacher of painting and one of his prominent students was James Arthur o’connor (1792-1841). As an artist Sadler was greatly influence by Dutch genre painting.

this fascinating collection of his work comes from a private Dublin collection. All charming in their own way the masterpiece of the group is the large view of the customs House with the street life fully evident on carlisle Bridge (now o’connell Bridge). His most interesting works are those of topographical interest rather than subject matter that are dreamed up. Donnybrook fair is perhaps his best known painting which was painted towards the end of the artist’s life.

35


RoSS cAStLe, KiLLARneY oil on panel, 15½ x 23¾" (39cm x 60cm).

est. €3,000 – 5,000


DRoGHeDA oil on panel, 7 x 10" (18cm x 25.5cm).

est. €2,500 – 4,000

36


continentAL HARBouR oil on panel, 9 x 12" (23cm x 30.5cm). est. €1,500 – 2,000


coAStAL View, winDMiLL BeYonD oil on panel, 7 x 10¼" (118cm x 26cm).

est. €1500 – 2500

37

44A WilliAm sADler 1782-1839

poRtRAit oF A YounG MAn oil on panel, 10" x 8½" (25cm x 21.5cm).

est. €500 – 800

44 WilliAm sADler (1782-1839)

tHe ScALp, enniSKeRRY, co wicKLow oil on panel, 12" X 17" (30.5 x 43cm).

est. €2,000 – 4,000

44B JOHn cOmerFOrD 1770-1832

MiniAtuRe poRtRAit oF JoHn pHiLpot cuRRAn watercolour on ivory, 3¼" x 2¾" (8.25 x 4.5cm), inscribed verso.

provenance: collection of terence deVere white by decent.

Born in Kilkenny, Comerford was one of Ireland’s finest miniaturist artist’s. in the 18th century this form of painting was particularly popular in europe. Comerford was influenced by the English artist George Chinnery (1774-1882) who was working in Dublin from 1795-1802. Comerford was also influenced by the American painter Gilbert Stuart (1755-1828) who also worked in Dublin from 1787-1793. comerford was highly regarded during his lifetime and many of his works were engraved.

est €800 – 1200

38

45 micHeAl FArrell 1940-2000

JoYce AnD picASSo At cAFe FLoRe, pARiS oil on canvas, 49" x 45" (124.5 x 114cm), signed and dated 91 & 92 verso.

Provenance Galerie Origrafica, Malmo, Sweden.

Micheal Farrell held a particularly close affection for James Joyce. not only was he a great admirer of his work but he felt a close affinity with him and their shared status as exiled Irishmen.

in 1982 Farrell produced La Fete, a large canvas depicting an alleged gathering in paris of picasso, Stravinsky, nijinsky, Joyce and others in May 1922. He was subsequently told that Joyce and picasso had met regularly at the café de Flore in paris. ‘they never spoke. picasso made pieces of sculpture and objects from cardboard matchsticks, then passed them to Joyce. these strange meetings intrigued Michael and, in the early 1990’s, formed the basis of a series, Le Rencontre, which spanned several years.’ (David Farrell, Michael Farrell, The Life and Work of an Irish Artist), the Liffey press, Dublin, 2006. in many instances in this series the focus is on the interplay between the usually seated picasso and Joyce, with the latter sometimes standing, sometimes crouching and at other times sitting at an adjoining table observing picasso creating his matchstick sculptures. in our painting Farrell brings picasso’s creations to the fore and studies the erotic charge picasso has invested in them under the studious, detached gaze of a truncated Joyce.

est. €10,000 – 15,000

39

46 seAn mcsWeeney HrHA B.1935

KnocKLAne, co SLiGo oil on canvas, 22" x 26" (56 x 66cm),

signed and dated 1967.

provenance: the Dawson Gallery, Dublin (label verso).

est. €2,000 – 3,000

47 seAn mc sWeeney HrHA B.1935

DARK pooL oil on paper laid on board, 20" x 25"

(51 x 63.5cm), signed and dated 1988.

est. €2,000 - 3,000

45A Felim egAn B. 1952

untitLeD 2002 Acrylic and mixed media on canvas, 47¼" x 47¼" (120 x 120cm), signed and dated verso.

provenance: purdy Hicks, Gallery, London.

est. €3,000 – 5,000

40

48 stAnley rOyle rcA, rBA, ArWeA, 1888 - 1961

DRiVinG out tHe FLocK oil on canvas 28" x 36" (71cm x 91cm), signed and dated 1923. Trade Stamp verso: Hibbert Bros., Sheffield.

provenance: private collection, Dublin.

the setting for this sun drenched rustic scene is Dobbin Hill Farm, Bent’s Green, ecclesall, just a short distance from priest Hill Farm where Royle worked between the years 1919 and 1926. it was during this period that he painted some of his best canvases, which focus on a single foreground figure set in an expansive landscape. The Goose Girl, (national Gallery of ireland); Morning on the Derbyshire Moors and The Lilac Sunbonnet are among the best examples. An earlier painting, Spring Morning Among the Bluebells, which may be described as the first in the series, launched Royle on his successful career when it was exhibited at the Royal Academy in 1914. He had by then developed a distinctive plein air style, which had its roots in French post impressionism. The influence of the Glasgow School and James Guthrie in particular is also evident in his early work.

Apart from the obvious differences, the present painting may be compared to The Goose Girl in a number of ways. in subject matter, they both depict a flock of farmyard fowl as they are driven to pasture. A long stick is carried at a particular angle in one hand and a woven basket is carried in the other. the paint is applied in a manner which owes much to the square brush technique but this is not slavishly followed. the effect of dappled sunlight is achieved by irregular small flecks of paint, which give a shimmering effect to the highlights. The painting is brought to life by the use of delicate pastel shades juxtaposed against the dark shadows of the buildings and the strong greens of the foliage.

the open doors and windows suggest high summer. Royle did not favour the harsh light of midday, so we may assume that the scene depicts a morning scene where the ducks are driven out to graze for the day. the model is most likely to be Florence Haslam who lived at the farm with her husband. According to timothy Dickson, she also appears in a number of other paintings from this time. Most notable among these is A Winter’s Evening, a companion piece also painted in 1923 and now in the collection of Mount Alison university, canada. Dominic Milmo-Penny, February 2012

est. €14,000 – 18,000

41

42

49 stAnley rOyle rcA, rBA, ArWeA, 1888-1961

BLueBeLLS in A wooDLAnD oil on canvas, 20" x 24" (51 x 61cm). provenance: private collection, Dublin (same as lot 48).

woodland scenes were a regular feature of Royle’s work, The Margin of the Wood, 1911, being the earliest recorded example. this was followed two years later by Spring Morning Amongst the Bluebells, which may be regarded as the first in a succession of paintings, which feature this annual display. we should also bear in mind that the proper title of Royle’s Goose Girl in the national Gallery of ireland is Amongst the Bluebells. Royle was essentially a plein air painter, an occupation which brought him very close to nature and her changing seasons. The prolific growth of this small blue flower, which covered the clearings in the woodlands around Sheffield, would have had a profound effect on him as there is no surer sign of the arrival of spring. Apart from bluebells, the theme of gathering flowers in fields and woodlands runs right through Royle’s early career.

However, by the late 1920s, his manner had changed and his landscapes became almost devoid of human presence, which is the case with a small number of paintings of bluebell woods, which he did in 1930 and 1931. these are identical in palette, style and handling to the present work, which was probably painted in Whitely Wood, Sheffield, about this time. Apart from this, the familiar Glasgow School device, whereby a single upright tree trunk is placed in the foreground, is also typical of Royle’s early work. As the painting carries the same provenance as Driving out the Flock, it is reasonable to suggest that both of these paintings have a direct link to Stanley Royle’s studio. Dominic Milmo-Penny, February 2012

est. €2,000 – 4,000

43

49A JAmes sintOn sleAtOr PrHA 1885-1950

poRtRAit oF t.Scott KeRR, eSQ. oil on canvas, 36" x 28" (91.5 x 75cm), signed and dated 1930. exhibited: RHA 1931 (label verso).

est. 2,000-4,000

44

50 gerDA Frömel 1931-1975

YounG FAwn Bronze, 11¼" x 12" (28 x 30.5cm).

provenance: the Gorry Gallery, Dublin.

Born in czechoslovakia, she moved with her family to Vienna in 1945. Between 1945 and 1952 she studied sculpture at both Stuttgart Darmstadt and Munich, winning a scholarship while studying in Stuttgart. in 1953 she visited ireland for a year living in Dublin, before returning to Munich where she married a German sculptor, werner Schurmann.

in 1956 they settled in at woodtown, Rathfarnham. A decade later her husband returned to Germany leaving her the sole supporter of their four children. In 1956 she exhibited for the first time with the Irish exhibition of Living Art. She was a continuous exhibitor until 1975. in 1963 she was the recipient of an Arts council scholarship. She was represented in the Salzberg Biennale in 1962. in 1964 she had her first one person exhibition in Dublin at the Dawson Gallery.

She received numerous prestigious commissions including a major work for the carroll’s factory in Dundalk. An artist of real ability she tragically died from a drowning accident in Belmullet, co Mayo on August 4th ,1975.

See Snoddy, irish Artist’s, 20th century, pages 124/125.

est. €6,000 – 9,000

51 cOnOr FAllOn rHA 1939-2007

HoRSe Bronze, 8" x 14" (20.5 x 35.5cm) on marble base.

provenance: Acquired taylor Galleries, Dublin by the present owner.

est. €6,000 – 9,000

45


cRow Bronze, 8½" high x 20½" wide (21.5 x 52cm), signed, inscribed and dated 94. ed. 1/9.

est. €6,000 – 9,000


BiRD in SonG Brushed steel, 27" high x 35" wide (68.5 x 89cm), signed and dated 90.

est. €4,000 – 6,000

46

54 HugHie O’DOnOgHue B.1953

VoLtuRno ii 2004 oil on linen canvas, 50" x 72" (127 x 183cm), signed, inscribed and dated verso.

provenance: private collection London.

exhibited: “Fiume” purdy Hicks Gallery, London, 14th october -22nd november 2004.

est. €25,000 – 30,000

47

55 BAsil BlAcKsHAW HrHA, ruA B.1932

LAnDScApe oil on board, 7½" x 9½" (19 x 24cm), signed.

est. €2,000 – 4,000

56 neil sHAWcrOss rHA ruA B.1940

StRAwBeRRY FieLDS FoReVeR Mixed media, 25½" x 34" (64.5 x 86.5cm) signed.

est. €3,000 – 5,000

57 tim gOulDing B. 1945

DARGLe RiVeR – tHRee ASpectS oil on canvas, 35¾” x 35¾”, (91 x 91cm),

signed and inscribed verso exhibited: tim Goulding exhibition, Jan 1982,

David Hendriks Gallery, Dublin.

provenance: the Kinlen collection; private collection, Dublin.

est. €700 – 1,000

48

58 geOrge cAmPBell rHA 1917-1974

pAcKeD StiLL LiFe oil on board, 48" x 23" (122 x 58.5cm), signed, inscribed verso.

provenance: From the artist’s family, by descent.

est. €7,000 – 10,000

49


StiLL LiFe oil on board, 30" x 36" (76.25 x 91.5cm), signed.

provenance: From the artist's family, by descent.

est. €6,000 – 9,000

50

60 grAHAm sutHerlAnD 1903-1980

StuDY FoR AppLe tRee iV (1955) oil on cardboard, 14½" x 11¼" (36.8 x 28.8cm), signed and inscribed.

provenance: Arthur Jeffress, London (label verso); Mrs S. H. Stead-ellis; thomas Gibson Fine Art, London (label verso); Bernard Jacobsen gallery, London (label verso); new Art centre, London (label verso).

Born in Streatham, Sutherland graduated from Goldsmith’s college with a degree in engraving. His early work comprised prints of pastoral scenes in the manner of Samuel palmer. He did not begin to paint in earnest until he was in his 30s following the collapse of the print market in 1930 due to the Great Depression. these early paintings are mainly landscape and show an affinity with Paul Nash. Sutherland focused on the inherent strangeness of natural forms and abstracting them, sometimes giving his work a surrealist appearance. He is now regarded as a major figure in 20th Century British Art .

est. €12,000 – 16,000

51

61 Peter lAnyOn 1918-1964

tHe MARKet, BRuGeS oil on board, 13" x 16" (33 x 41cm),

signed, inscribed artists label verso.

provenance: the Mary ‘Boots’ Redgrave collection, Lays Auctioneers, penzance, october 16th 2002 (lot 301); private collection, Dublin.

Lanyon was born in St ives, cornwall. A major school of art grew up amongst a large group of painters who lived in St. ives and the surrounding area. Fellow artist’s that Lanyon befriended included Ben nicholson and Barbara Hepworth. tony o’Malley lived amongst them for many years and was greatly influenced by Lanyon. this early work of the “Market at Bruges” came for the collection of Mary “Boots” Redgrave, whom was a well known figure amongst the St Ives artistic community and was on friendly terms with many of them. Lanyon was a gliding enthusiast and he was to die prematurely following a gliding crash.

est. €4,000 – 6,000

62 FreD yAtes 1922-2008

MY VeRY own StReet, SABLet oil on canvas, 10½" x 13½"

(34.3 x 26.7cm), signed.

provenance: John Martin Gallery, London (label verso).

est. €1,500 – 2,000

52

63 JOHn BellAny cBe, rA, HrsA B.1942

DooLin FeRRieS ticKet oFFice oil on canvas, 36" x 48"

(92cm x 122cm), signed.

est. €4,000 – 6,000

63A cHArlie WHisKer B.1950

tHe coLoSSAL intiMAcieS oF tHe SiLent (But notHinG ReALLY MAtteRS itS DooM ALone tHAt countS)

Mixed media on canvas, 41½" x 53½" (105.5 x 136cm).

provenance: the Kerlin Gallery (label verso).

est. €3,000-5,000

53

64 geOrge russell Ae 1867-1935

FiGuReS BY A RiVeR At twiLiGHt oil on canvas, 14½" x 18½" 37 x 47cm, signed with monogram.

est. €3,000 – 5,000


SpRinG in BRABLAGH, cuSHenDun, co. AntRiM oil on canvas, 17½" x 21½" (44.5 x 54.5cm), signed; inscribed verso.

est. €2,000 – 4,000

54

66 JerOme cOnOr 1874-1943

JoHn Bronze relief, 9½" diameter (24cm)


the sitter for this work is most probably conor’s grand nephew John Slattery of Massachusetts, who at the younger age of 6 posed for the Saorstát eireann penny design.

est. €2,000 – 3,000

67 JOHn cOen B. 1941

tHe AtRiuM Bronze, 20" (51cm) high x 14½" (37cm) wide.

est. €2,000 – 4,000

68 JOHn BeHAn rHA B. 1938

FLiGHt Bronze, 11½" (29cm) high.

est. €1,000 – 1,500

55

69 PAtricK O’reilly B.1957

AGAinSt tHe DARK Bronze, 53" high (135cm), signed. unique.

est. €3,500 – 4,500

70 PAtricK O’reilly B.1957

VeSSeL Bronze 34" high (86.5 cm), signed,

stamped Founderie du Gour.

est. €2,500 – 3,500

56

72 cHArles HArPer rHA B.1943

StARt oil on canvas, 31" x 23½" (78.75 x 59.75 cm),

signed and dated 2005; signed and dated verso.

est. €2,000 – 4,000

71 tOny O’mAlley HrHA 1913-2003

winDow eDwARD HAin HoSpitAL, St iVeS (1961) Mixed media on paper, 10" x 13½ (25.5 x 34cm), signed and inscribed. exhibited: coram Gallery, London.

est. €1,400 – 1,800

73 BriAn mAguire AncAD, cOntemPOrAry

K-MARt cowBoY oil on paper laid on canvas, 44¼" x 30¼"

(112.5 x 77cm), signed and dated 95 verso.

est. €1,000 – 2,000

57


eVoLVinG FoRMS oil on board, 36" x 30" (92 x 66.25cm), signed, inscribed verso.


est. €4,000 – 6,000

58


winDowS AnD SHop, ALceARAS oil on board, 24" x 20" (61 x 51cm), signed, inscribed verso.


est. €4,000 – 6,000

59

76 gerAlDine O’Brien B.1922

StiLL LiFe – SuMMeR FLoweRS oil on canvas, 14" x 18" (35.5 x 45.5cm),

signed and dated ‘50.

est. €800 – 1,200

78 DesmOnD HicKey, cOntemPOrAry

cAFe oil on canvas board, 14" x 17" (35.5 x 43cm),

signed, inscribed verso.

est. €800 – 1,200

77 cHArles mcAuley ruA ArcA 1910-1999

ABout to BoARD oil on canvas, 16" x 20" (40.5 x 51cm), signed.

est. €3,000 – 4,000

78A DesmOnD cArricK rHA B.1928

HARBouR in An eARLY MoRninG LiGHt oil on canvas, 13½" x 17½" (34.25 x 44.5cm), signed.

provenance: Ritchie Hendricks Gallery (label verso).

est. €1,000-1,500

60

79 JAmes sintOn sleAtOr PrHA 1885-1950

SeLF poRtRAit oil on board, 31" x 15" (79 x 38cm), signed and

dated. Signed with monogram and dated indistinctly.

From exhibition catalogue entry included verso “this is Sleator’s earliest known and one of his best self-portraits. it is also one of his earliest extant paintings. in the pose adopted and the confident facial expression it is similar to his half-length self-portrait in the national Gallery of ireland, painted a year or so later and to another self portrait by him, of about 1920 in the Armagh county Museum”.

est. €2,000 – 4,000


RoiSin DuBH oil on canvas, 29½" x 24¼" (75 x 61.5cm), signed.

est. €4,000 – 6,000

61

83 BreOn O’cAsey 1928-2011

LeVeL BiRD 2004 Bronze on wooden base 22" x 31" (56 x 79cm), ed. 2/5.

est. €3,000 – 5,000


untitLeD oil on paper, 20" x 27" (51 x 68.5cm),

signed.

the son of perhaps ireland’s foremost playwright Sean o’casey, Breon was London born. Following his national Service, he attended the Anglo French Art School, a small school in St James’ wood, London. He was apprentice to Denis Mitchell and Dame Barbara Hepworth. He became closely associated with the St. ives School in cornwall. He was multi-talented, working in oils, bronze and was also an accomplished maker of fine jewellery.

est. €3,000 – 4,000


AeSop’S cRow Bronze, 11" x 17" (28 x 43cm), signed on base, ed. 3/5.

est. €3,000 – 5,000

62


MuSiciAnS oil on board, 30" x 24" (76.25 x 61cm), signed.


est. €4,000 – 6,000

63

86 melAnie le BrOcquy HrHA 20tH century

toRSo Bronze, 8½" x 3¼" (21.5 x 8cm).

provenance: the Goldberg collection, cork. private collection Dublin.

est. €800 – 1,200

85 eAmOnn O’DOHerty 1939-2011

JAMeS JoYce Bronze, 31" high (79cm), signed, ed.4/6.

est. €4,000 – 6,000

64

87 nAtHAniel HOne rHA 1931-1917

DeeR wAteRinG oil on canvas, 17" x 27" (43 x 68.5cm), signed with initials. exhibited: possibly R.H.A 1899, no.7 as pond, St. Doulough’s or R.H.A 1915 no. 31 also as pond, St. Doulough’s. Label on reverse of frame for chapman Bros. 141 King’s Road, London.

More closely associated with paintings of wood, farmland, seashore or cliffs with stormy seas, the subjects of rivers, marshes, streams and ponds also provided a theme for the landscapes of nathaniel Hone. when he was working in France in the 1860s he was drawn to the subject of “the Fairy Marsh”, “La Mare aux Fees, Forest of Fontainbleau”, a motif which fascinated many landscape painters. Hone painted several versions of it, featuring trees, and skies reflected in a pool in a flat landscape. He exhibited several of these canvases at the Paris Salon, and there are two versions in the national Gallery of ireland (cat. nos. 1432 and 1485) while one is in a private collection. (1)

the present painting “Deer watering” is a quintessential landscape painting by Hone: a simple scene of animals at a pond in a pasture, with hedgerows, trees and a cloudy sky. the fact that deer, rather than cows, are featured make it unusual among Hone’s pastoral scenes, and recalls his beautiful early French canvas “the Boundary Fence, Forest of Fontainebleau” c. 1868 (2), in which deer are shown grazing in a wood. Moreover, the composition of the present picture is extremely similar in composition to the Fontainebleau canvas “A Fairy Marsh” mentioned above, and also painted in subdued but rich tones: moss greens, browns and ochres, characteristic of Hone. The touches of brown in the leaves may reflect the light of the setting sun, or suggest the beginning of autumn. But the tonality is lifted by the delicate hues in the sky and clouds: pale blue-green, pink and violet. the presence of the gleaming pool adds an extra dimension to the picture: introducing a pale stretch of water into the foreground, in which trees and sky are reflected, and giving a tranquil, contemplative mood.

the location or date of the picture are not known. in spite of the resemblances to French canvases, the broad brushstrokes, lack of detail and relaxed manner of painting suggest that this is a relatively late work, perhaps set on Hone’s farmland in north co. Dublin and dating to the 1890s, when he painted a series of pictures of pastures, with cattle grazing. it is possible that this is one of his pictures entitled “pond, St. Doulough’s” exhibited at the RHA in 1899 and in 1915 . this was a rare occasion when the artist gave the name of his house at Raheny, St. Doulough’s, where farmyard stretched towards the sea, as a title for his exhibits. on both occasions the painting was not for sale, so perhaps it had important personal association for him. Perhaps the pond near the tree was a place on Hone’s land to which he walked, to watch his animals and to reflect. Two larger and unframed canvases of similar subjects “pool before Rain, Four cows” and “pool under the willow” remained in Hone’s studio after his death, and where included in the Bequest of his widow Magdalen. (3)

Julian Campbell, April 2012 See (1) “nathaniel Hone”, exhibition catalogue, nGi 1991 no. 13, pg 88-89. (2) ibid no.14, p 90-91. (3) they were included in the Bequest to the HGi, and catalogued by Dermod o’Brien, (see thomas Bodkin,”Four irish Landscape painters” 1920, Appendix XVi nos. 76 and 104), but eventually they did not form part of the nGi collection.

est. €8,000 – 12,000

65

88 JAmes HumBert crAig rHA ruA 1877-1944

coAStAL LAnDScApe oil on board, 8" x 4¼"

(20 x 10.75cm), signed indistinctly.

est. €1,400 – 1,800

89 mAy guinness 1863-1955

BReton woMen oil on panel, 7½" x 9½" (19 x 24cm),

signed with monogram.

provenance: James Adams, 7th December 2005.

in 1894 May travelled with Mildred Anne Butler to study painting under norman Garstin at newlyn, cornwall. She exhibited several works at the RHA between 1897 & 1911, however she had a falling out with them and never exhibited there again.

From 1910 she visited France on a regular basis painting scenes of fairs and weddings in Brittany. In 1914 at the age of fifty one she left ireland and joined the French army as a military nurse. this heroic gesture was recognised by the French authorities and she received medals of honour at the end of hostilities. throughout a long life she exhibited her work in both paris, London and Dublin to wide acclaim. this small, beautifully executed work shows how skilled she was.

est. €2,000 – 3,000

66

90 DAviD crOne B.1957

GARDen oil on canvas, 18" x 23" (46 x 58.5cm), signed,

inscribed and dated March 1976 verso.

est. €900 – 1,200

91 neil sHAWcrOss ruA ArHA B.1940

StiLL LiFe Acrylic on paper, 28" x 36" (71 x 91.5cm),


est. €3,000 – 5,000


A YeAR oF eXceptionAL ciRcuMStAnceS oil on board, photographic content, 15½" x 22½"

(39.5 x 57cm), signed.

est. €2,500 – 3,500

93 cecil King 1921-1986

intRuSion oil on paper, 14½" x 19¼" (37 x 49cm), signed,

inscribed David Hendricks Gallery (label verso).

est. €600 - 900

67

94 mArtin gAle rHA B.1949

BiG JoHn oil on canvas, 12" x 16" (30.5 x 40.5 cm), signed.

exhibited RHA 2002 (label verso).

est. €2,500 – 3,500

95 cHArles BrADy HrHA 1926-1997

Dew DRop BoX oil on canvas, 12" x 13½" (30.5 x 34.25cm), signed.

provenance: taylor Galleries, Dublin.

est. €3,000 – 4,000

68

96 WilliAm JOHn leecH rHA 1881-1968

tHe teA tRAY oil on canvas, 32" x 32" (81.5 x 81.5cm).

provenance: the Dawson Gallery (inscribed label verso).

est. €9,000 – 12,000

69

97 cOlin miDDletOn rHA ruA 1910-1983

GiRL witH A SunFLoweR oil on canvas, 24" x 17" (61 x 43cm), signed with monogram,

signed, inscribed and dated 1952 verso.

est. €30,000 – 40,000

70

98 JAne O’mAlley B.1944

StoRMY DAY,ARRietA DAY, LAnZeRote Mixed media, 22" x 29½" (56 x 75cm), signed and dated 1991.

est. €700 – 1,000

98A tOny O’mAlley HrHA (1913-2003)

SMALL SpRinG LAnDScApe oil on board, 4½" x 17½" (11.5 x 44.5cm), signed with

initials and dated 5/89, signed, inscribed and dated verso.

provenance: taylor Galleries, Dawson Street (label verso).

est. €2,000 – 3,000

71

99 PAtricK O’reilly B. 1957

HoRSe Bronze, 19" high (48.25cm), signed,

inscribed ed. 1/1.

est. €2,000 – 3,000

99A PAtricK O’reilly B. 1957

tHe Gun SLinGeR Bronze, 30" high (76.25cm),

signed with initial, inscribed and dated 2004. ed. 1/1.

est. €2,000 – 3,000

99B JerOme cOnOr 1874-1943

FeMALe poRtRAit Bronze, 10" high, (25.5cm), signed and dated 1926.

Born in Annascaul, co. Kerry and at the age of nine his family emigrated to America. He had a hard upbringing and turned his hand to many trades before settling down as a stone mason and sculptor. His reputation grew and he was given numerous important public commissions in various American States. He returned to ireland in 1925 to undertake the Lusitania project, a long and costly affair. He exhibited numerous works in ireland and carried out public commissions. He was one of Ireland’s finest sculptors though he ended his life in impoverished circumstances. See Theo Snoddy “Dictionary of Irish Artist’s, 20th Century” p.74&78

est. €3,000 – 5,000

72

100 JOsePH mAlAcHy KAvAnAgH rHA 1856-1918

FiniSteRe oil on canvas, 20" x 13" (51 x 33cm), signed and dated 1886, inscribed verso.

Born in Dublin, Kavanagh was a close friend of walter osbourne and nathaniel Hone. He won several medals for his painting at a young age. in 1881 he travelled to Antwerp to study in the company of osborne and Hone. He worked in Brittany and normandy for a period. He exhibited over 200 works at the RHA and he also exhibited at the Royal Academy in London. His work in included in the collections of the national Gallery, the crawford Gallery in cork and the ulster Museum.

est. €6,000 – 9,000

73

102 r.s sHOre rHA 1868-1931

SHippinG on tHe LiFFeY oil on canvas, 24" x 20"

(61 x 51cm), signed, inscribed verso.

A well respected Dublin Marine Artist. He exhibited every year at the RHA between 1890 and 1922. He also exhibited at the Royal Academy in London. Shipping scenes along the Liffey was a subject he returned to on many occasions. He was highly regarded by his contemporaries. He died in Baggot Street hospital on the 13th April 1931.

est. €2,000 – 3,000


AutuMn, pHoeniX pARK oil on board, 12" x 24" (30.5 x 61cm),

signed; inscribed and dated 76 verso.

est. €3,000 – 4,000

74


LonG DiStAnce tRucK DRiVeR in cAFe ZAMoRA

oil on board, 20" x 16" (51 x 40.5cm), signed, inscribed verso.


est. €3,000 – 5,000


FiGuReS in A FoReSt oil on board, 16" x 9" (41 x 23cm),

signed and inscribed indistinctly verso.

est. €1,500 – 2,000

105 letitiA mAriOn HAmiltOn rHA 1878-1964

StiLL LiFe oF FLoweRS oil on canvas, 20" x 16" (51 x 40.5cm)

est. €2,000 – 3,000

75


GYpSY GiRL, conneMARA oil on canvas laid on board, 24" x 11¾" (61 x 30cm), signed;

signed, inscribed and dated 1971 verso.

est. €5,000 – 7,000

76

107 FlOrA mitcHell 1890-1973

tHe cuStoMS HouSe watercolour and ink, 11" x 13" (28 x 33cm), signed and inscribed.

est. €1,000 – 1,500

108 lilliAn DAviDsOn ArHA (1893-1954)

RetuRninG HoMe watercolour heightened with white, 9½" x 11" (24 x 28cm), signed.

est. €600 – 900

77

109 JOHn sHinnOrs B.1950

inteRioR, woRKMAnS cLuB, LiMeRicK

oil on paper, 12½" x 16" (32 x 40.5cm), signed.

Acquired directly from the Artist by the present owner.

the present owner noted “there was a young woman who worked in the club that the artist was very attracted to and he painted her often” .

est. €4,000 – 6,000

110 JOHn sHinnOrs B.1950

inteRioR, woRKMAnS cLuB, LiMeRicK

oil on paper, 12" x 12" (30.5 x 30.5cm), signed.

Acquired directly from the Artist by the present owner.

est. €3,000 – 4,000

78

111 lOuis le BrOcquy HrHA 1916-2012

DiStAnt iMAGe oil on canvas, 57½" x 45" (146 x 114.2cm), signed and dated 1970 verso.

in the late 60’s and early 70’s, irish art was going through a pivotal change, and Louis Le Brocquy was an integral part of this changing landscape. in 1969, northern ireland was rocked by intense political and sectarian rioting which developed into the “Troubles.” Le Brocquy’s terrified heads of the early 70’s express this horror with a hand turned palm outwards ordering a halt to this sustained war executed in 1970, “Distant image” with others of similar themes “northern image, 1971” (private collection) depict the anguish and suffering of the people in northern ireland.

in “Distant image”, the effect of a face emerging slowly in the distance within two delineated squares evokes different emotions from each viewer. in the peering head, dappled red and blue pigment in the outstretched hand and cheekbones add drama to the floating image. The ghostly head is a human form with it’s flickering of flesh colour, isolated in a cloudy substance, eyes tight shut, mouth open aghast, as if suspended, perhaps trapped, perhaps blinded by a watery mist. the viewer waits for the mist to pass, for the face to change to a warmer skin tone, for the palm to turn and beckon us in a welcoming gesture, and in doing so, perhaps the image will submerge complete with eyes wide open, mouth smiling.

in 1981, Dorothy walker wrote a biography of the artist, and Le Brocquy spoke about his head series “For over fifteen years I have tried to draw from the depths of paper, or from the white canvas, a human face. As I have remarked, this quiet activity has little to do with communication, or with self-expression for that matter. it aims rather to make visible, a lurking image, to identify, to name some trace or aspect of reality…” (quoted by Dorothy walker, a Biography, 1981 published by ward River press, p.146).

there is no doubt that this is a major work by one of ireland’s most distinguished artists.

est. €50,000 – 70,000

80


RetuRn oF uLYSSeS 2006-07 oil and mixed media on wooden construction,19" x 27½"

(48 x 75cm) signed; inscribed and dated verso.

provenance: private collection, London.

est. €5,000 – 7,000

81


MeDuSA StuDY 3 (2006) oil and mixed media on paper, 22½" x 30" (57 x 76cm), signed.

provenance: private collection, London.

est. €4,000 – 6,000

82

114 tOny O’mAlley HrHA 1913-2003

ponD (A pAiR) oil on canvas, each 10" x 8" (25 x 20cm), signed with initials,

inscribed and dated 1994 verso opus no.5974.

est. €3,000 – 5,000

115 PAtricK scOtt HrHA B.1921

GoLD pAintinG (1978) Acrylic and gold leaf on unprimed canvas, 48" x 48"

(122 x 122cm), signed and inscribed verso.

est. €5,000 – 7,000

115A PAtricK scOtt HrHA B.1921

RAinBow Hand woven tufted rug/wall hanging

by Voeske Joyce of oughterard, 70" x 48" (178 x 122cm).

pat Scott carried out many commissions realised by V’Soske Joyce carpet Handlooms. A family run company originally from Michigan, located in oughterard, co. Galway since 1957, they specialise in hand-tufted works. while a member of the board of directors of Kilkenny Design workshops Scott was commissioned by the workshops to design the Rainbow Rugs, a collection of nine hand-tufted wool rugs in a limited edition of twenty, made by V’Soske Joyce in 1980.

est. €1,500 –2,000

83

116 Peter cOllis rHA 1929-2012

RoAD to AcHiLL HeAD oil on canvas, 30" x 26" (76 x 66cms), signed.

est. €2,000 – 4,000

117 JAmes HumBert crAig rHA ruA 1877-1944

wHeRe BRABLAGH BuRn MeetS tHe SeA, cuSHenDen oil on board, 11" x 16½" (28 x 42cm), signed. exhibited: RHA 1935 no.59.

est. €3,000 – 5,000

116A Peter cOllis rHA 1929-2012

tHe SuGAR LoAF oil on board, 8½" x 11½" (21.5 x 29cm), signed.

est. €700 – 1,000

84

muriel BrAnDt rHA 1909-1981

Born in Belfast, Muriel Brandt studied at the Belfast college of Art before winning a scholarship to the Royal college of Art in London.

in 1938 she began a forty year association with the Royal Hibernian Academy. During this time she exhibited 145 works in total.

i was privileged as a child to visit her home in Sutton with my father. She was full of charm. She struggled to make a living out of art and portrait commissions were her stable diet. Her tour de force was her drawing of watercolours of children. My father got her many commissions and he often felt the initial preparatory drawing was better than the finished work. These particular watercolours show Muriel at her very best. they show scenes from a rural irish festival and may well be her interpretation of the ould Lammas Fair, Bally castle, co. Antrim, that has been going for over one hundred years.

John deVere White, April 2012


tHe SpiRit GRoceRY watercolour & ink, 11" x 15½" (28 x 39cm), signed.

est. €600 – 900


tHe RoAD BowLeR watercolour & ink, 13" x 18" (33 x 46cm), signed.

est. €600 – 900

85

86


A couRtinG in tHe MeADow watercolour and ink, 13" x 18"

(33 x 46cm), signed.

est. €600 – 900


tHe BonFiRe DAnce watercolour and ink, 11" x 15½"


est. €600 – 900


BARe KnucKLe FiGHtinG watercolour and ink, 13" x 18"


est. €600 – 900

87


couRtinG coupLeS watercolour and ink, 11" x 15¼"


est. €600 - 900


outSiDe tHe FoRGe watercolour and ink, 13" x 18"


est. €600 – 900


tHe HuRLeY MAtcH watercolour and ink, 13" x 18"


est. €600 – 900

88


SKYLARK Brushed steel 32" high

(81cm), signed and dated 1983, ed. 2/7.

est. €3,000 – 4,000

127 JOe slOAn

StAnDinG FiGuRe Bronze, 12" high

(30.5cm), signed; unique.

est. €800 – 1200

128 irisH scHOOl

GReYHounD Bronze, 15" x 20"

(38 x 51cm).

est. €800 – 1200

129 selmA mccOrmAcK, cOntemPOrAry

BuLL Bronze, 5" high x 8" wide

(12.5 x 20.25cm), signed ed. 3/9 and dated 1996.

est. €800 – 1200

89

130 cHArles J mcAuley ruA ArsA 1910-1999

tHe puLSe BoAt oil on canvas, 14" x 20" (35.5 x 51cm), signed,

inscribed verso.

est. €1,000 – 1,500


SieStA wash, 7½" x 10" (19 x 25.5cm)

est. €600 – 900

132 cecil mAguire ruA B.1930

tHe coRMoRAnt oil on board, 24" x 17" (61 x 43cm), signed

and dated 71, inscribed verso.

est. €2,000 – 3,000

133 WilliAm cOnOr rHA ruA rOi 1881-1968

A woMAn GReetinG

crayon, 8" x 6¼" (20 x 15.25cm), signed.

est. €1,500 – 2,000

90

134 JAcK Butler yeAts rHA 1871-1956

wHite eYeD KAFFiR pencil and wash (2), 4¾" x 3½" (12 x 9cm), 3½" x 4¾"

(9 x 12cm), inscribed. Framed as one.

provenance: taken from a sketch book given by the artist to the present owner’s father in 1947.

est. €1,000 – 1,500

135 JAcK Butler yeAts rHA 1871-1956

tHe LABouReR & on tHAMeS GoinG to RotteRDAM (Double sided)

pencil and wash, 4¾" x 3½" (12 x 9cm), inscribed.

provenance: taken from a sketch book given by the artist to the present owner’s father in 1947.

est. €600 – 900


St. JARLAtH Mixed media, 33" x 20" (84 x 51cm),


est. €3,000 – 4,000

91

137 gerArD DillOn 1916-1971

itALiAn woMAn cARRYinG FiSH Mixed media, 6” x 4¾” (15 x 12cm), signed

with initials.

est. €400 – 600

138 mArKey rOBinsOn 1918-1999

StiLL LiFe Gouache on board,

est. €2,000 – 4,000

139 PAul Kelly, B.1968

AFteRnoon StRoLL, SKeRRieS oil on canvas, 24" x 30" (61 x 76cm), signed. exhibited: “new Horizons” Gorry Gallery,

2-9 november 2001.

est. €2,000 – 4,000

140 JOHn Kingerlee B. 1936

HoMAGe to MARKeY oil on canvas laid on board, 11" x 17" (28 x 43cm),


est. €800 – 1200

92

141 mAurice mAcgOnigAl PPruA 1900-1974

cHRiSt cHuRcH AnD wooD QuAY watercolour, 10" x 13" (25.5 x 33cm), signed and

inscribed verso.

provenance:taylor Galleries, 1979 (exhibition label verso).

est. €600 – 900

142 DermOD O’Brien PPrHA 1865-1945

LAnDScApe At RAtHGonAn, co. LiMeRicK oil on board, 9½" x 12" (24 x 30.5cm).

provenance: cynthia o'conor Gallery (label verso) with a letter of authentication from the artist’s son verso.

est. €800 – 1200

143 Helen O’HArA Fl. 1881-1919

on tHe coASt oF wAteRFoRD watercolour, 14" x 20" (35.5 x 51cm) signed with

monogram, original inscribed artist’s label verso.

est. €600 – 900

144 Helen O’HArA Fl.1881-1919

on tHe coASt oF wAteRFoRD ii watercolour, 14" x 20" (35.5 x 51cm) signed with

monogram, original inscribed artist’s label verso.

est. €600 – 900

93

145 ivAn suttOn, cOntemPOrAry

MARKet DAY, cLiFDen, co. GALwAY oil on canvas board, 16" x 20" (40.5 x 51cm),

signed; inscribed verso.

est. €900 – 1200


RooFtop watercolour, 9½" x 13¼" (24 x 33.5cm), signed.

est. €600 – 900

147 nAtHAniel HOne rHA 1831-1917

towARDS tHe SuGARLoAF watercolour, 5½" x 8¼" (14 x 20.5cm), studio stamp. Literature: thomas Bodkin, “Four irish Landscape painters” no.18.

est. €400 – 600

148 mAinie Jellett 1897-1944

ARt ScHooL ink drawing, 9 1/2" x 7"

(24 x 18cm), signed and dated 1918.

provenance: european Fine Arts (label verso).

est. €700 – 1000

94

149 JOHn BeHAn rHA B.1938

tHe AccoRDiAn pLAYeR Bronze, 14" high (35.5cm), signed.

est. €1,000 – 1,500

150 geOrge K gillesPie ruA, 1924-1996

coAStAL ViLLAGe oil on board, 12" x 16"

(30.5 x 40.5cm), signed.

est. €600 – 900

151 JAmes mccArtHy, cOntemPOrAry

VoGue Bronze, 24" high (61cm), signed.

est. €3,000 – 5,000

152 JOHn BeHAn rHA B.1938

StAnDinG FiGuRe witH BiRDS Bronze, 28" high (71cm).

est. €1,500 – 2,000

95

153 DAviD O’DOHerty

eVeninG out oil on canvas, 22" x 27" (56 x 68.5cm), signed,

inscribed verso.

provenance: Ritchie Hendricks exhibition (label verso).

est. €1,000 – 2,000

154 mArK O’neill B.1963

tHe coBBLeR oil on board, 8" x 10¼" (20 x 26cm),


est. €800 – 1200

155 liAm treAcy 1934-2004

StuDio inteRioR oil on canvas board, 11" x 9" (28 x 23cm).

est. €600 – 900

156 rAlPH cusAcK 1912-1965

FiRSt Snow, AnnAMoe, co. wicKLow oil on canvas, 26" x 22" (66 x 56cm), signed and dated 1940.

est. €1,000 – 1,500

96

160 nuDe StuDY Mixed media, 7" x 10"

(18 x 25.5cm).

est. €150 – 250

161 nuDe StuDY ink & wash, 7" x 10" (18 x 25.5cm).

est. €300-500

162 nuDe StuDY (A pAiR) ink & wash, each 7" x 10"

(18 x 25.5cm).

est. €300 – 500


(18 x 25.5cm).

est. €300 – 500


(18 x 25.5cm).

est. €300 – 500

165 nuDe StuDY (A pAiR) charcoal, each 10" x 7"

(25.5 x 18cm).

est. €300 – 500

166 coAStAL StuDY wash, 5" x 8" (12.75 x 20.25cm)

est. €300-500

167 coAStAL StuDY pastel, 8" x 10" (20.25 x 25.5cm).

est. €300 – 500

168 coAStAL StuDY (probably Killary Harbour)

ink and wash, 5" x 7" (12.75 x 18cm).

est. €300 – 500

169 coAStAL StuDY wash, 8" x 10" (20.25 x 25.5cm).

est. €300-500

170 LAnDScApe wash, 8" x 10" (20.25 x 25.5cm).

est. €300 – 500

171 coAStAL StuDY wash, 8" x 8" (20.25 x 20.25cm).

est. €300 – 500

geOrge cAmPBell rHA 1917-1979

The following works come from the artist’s family, by descent:

Virtually a self-taught artist, campbell abandoned commercial life and became a full time artist in the early 1940s in 1944, he held his first exhibition with Gerard Dillon at John Lamb’s Gallery, in Portadown. He was to become a lifelong friend of Dillon’s. In 1946 he held the first of many successful shows with Victor Waddington in Dublin. In 1947 he started a long association with the RHA where he was to exhibit close to one hundred works over the next 30 years.

Campbell first visited Spain in 1951 and that country was the paly a leading part in his life up until his death. As well as painting, campbell took a keen interest in the Guitar and was recognised as a quality Flamenco guitarist in Malaga. Musicians were to become popular subject matter for his painting.

the west of ireland was a place he visited most years sometimes in the company of Gerard Dillon, Another northern ireland artist, Arthur Armstrong, was to become a close friend. they held several exhibitions together and lived near each other in Ranelagh for many years.

campbell is unquestionably one of the best painters ireland has produced in modern times. He died in Dublin on the 18th May 1979 and is buried at Laragh in Glendalough. (See Theo Snoddy, Dictionary of Irish Painters, 20th Century p. 49/50).

i got to know Madge, George’s widow many years ago when she lived in Ranelagh before selling up and going to live with her sister outside Belfast. She was kind and generous and i always felt the passing of George, Arthur and others left her with an indelible mark of loss.

After spending several contented years with her sister she passed away. these wonderful watercolours and drawings have been entrusted to us to dispose of so that they can be seen and appreciated by a wider audience. the coastal studies are most probably the west of ireland.

John deVere White.

161 164

197

97


est. €300 – 500

173 nuDe StuDY ink & wash, 7" x 10"

(18 x 25.5cm), signed.

est. €300 – 500

174 nuDe StuDY (A pAiR) ink & crayon, each 10" x 7"

(25.5 x 18cm), one signed.

est. €300 – 500

175 nuDe StuDY Mixed media, 7" x 10"

(18 x 25.5cm)

est. €300 – 500

176 nuDe StuDY charcoal, 10" x 7" (25.5 x 18cm).

est. €300 – 500

177 nuDe StuDY (A pAiR) crayon, each 10" x 7"

(25.5 x 18cm).

est. €300 – 500

178 nuDe StuDY (A pAiR) pencil & crayon, each 7" x 10"

(18 x 25.5cm), one signed.

est. €300 – 500

179 LAnDScApe ( A pAiR)

wash,each 8" x 10" (20.25 x 25.5cm).

est. €300 – 500

180 View oF A LAKe wash, 8" x 8" (20.25 x 20.25cm).

est. €300 – 500

181 LAnDScApe Mixed media, 8" x 8"

(20.25 x 20.25cm).

est. €300 – 500


est. €300 – 500

183 tReeS in A LAnDScApe wash, 8" x 8" (20.25 x 20.25cm).

est. €300 – 500

184 MountAin LAnDScApe wash, 8" x 8" (20.25 x 20.25cm).

est. €300 – 500

185 LAnDScApe pastel, 8" x 8" (20.25 x 20.25cm).

est. €300 – 500

186 coAStAL View wash, 8" x 8" (20.25 x 20.25cm).

est. €300 – 500

187 coAStAL LAnDScApe wash, 8" x 8" (20.25 x 20.25cm).

est. €300 – 500

188 LAnDScApe pastel, 8" x 8" (20.25 x 20.25cm).

est. €300 – 500

189 MountAin LAKe wash, 4" x 8" (10 x 20.25cm).

est. €300 – 500

190 View to tHe coASt wash, 4" x 8" (10 x 20.25cm).

est. €300 – 500

191 MountAin LAnDScApe wash, 4" x 6" (10 x 15.25cm).

est. €300 – 500

192 View oF tHe coASt wash, 4" x 6" (10 x 15.25cm).

est. €300 – 500

193 View to tHe coASt wash, 4" x 6" (10 x 15cm).

est. €300 – 500

194 View to tHe coASt wash, 3" x 5½" (7.5 x 14cm).

est. €300 – 500

195 coAStAL View wash, 6" x 8" (15 x 20.25cm).

est. €300 – 500

196 View oF tHe coASt wash, 4" x 6" (10 x 15cm).

est. €300 – 500

167 166168

169189

190

98

197 in conteMpLAtion ink & wash, 8" x 6"

(20.25 x 15cm).

est. €300 – 500

198 A woRD oF ADViSe ink & wash, 6" x 7" (15.25 x 18cm).

est. €300 – 500

199 At tHe counteR ink & wash, 6" x 8"

(15.25 x 20.25cm).

est. €300 – 500

200 LooKinG out tHe DooR ink & wash, 8" x 6"

(20.25 x 15.25cm).

est. €300 – 500

201 BoAtS in HARBouR ink & wash, 4" x 4" (10 x 10cm).

est. €300 – 500

202 FiGuRe StuDieS colour wash, 4" x 3½" (10 x 9cm).

est. €300 – 500

203 MAn on cRutcHeS charcoal, 8" x 5"

(20.25 x 12.75cm).

est. €300 – 500

204 FiGuRe StuDY ink, 5" x 4" (12.25 x 10cm).

est. €300 – 500

205 StuDY oF A YounG GiRL pencil, 11" x 7½" (28 x 19cm).

est. €300 – 500

206 View oF cuStoM HouSe, witH BoAtS in HARBouR

Mixed media, 6" x 8" (15 x 20.25cm).

est. €300 – 500

207 cHiLD StuDieS ink & wash , 8" x 6½"

(20.25 x 16.5cm), inscribed.

est. €300 – 500

208 ASLeep

ink and wash, 8½" x 5"

(21.75 x 12.75cm).

est. €300 – 500

209 MuSiciAnS

8 Studies, ink and wash,

each 7½" x 4½" (17.75 x 11.5cm).

est. €300 – 500

210 tHe FARRieR AnD FiVe otHeR

StuDieS

6 Studies, ink and wash,

each 6½" x 5" (16.5 x 12.75cm).

est. €300 – 500

211 MuSic

wash, two each 4" x 6½"

(10 x 16.5cm), two each 5½" x 7½"

(14 x 19cm), framed as one.

est. €200 – 400

212 DuneS

wash, 5" x 8" (12.75 x 20.25cm).

est. €300-500

213 MountAin pAtH

wash, 5" x 7 1/4" (12.5 x 18.5cm).

est. €300-500

Standard Conditions of Business

207

191 192 212 206

210

199

198213

1. Definitions in these conditions, de Veres Art Auctions, who act as auctioneers and

agents for the vendor, are called ‘the auctioneers’ (which expression shall be deemed to include their servants and agents) and the representative of de Veres conducting the auction is called ‘the Auctioneer’.

2. third party Liability every person at or on the ‘Auctioneers’ premises or at any premises being

used by the Auctioneer at any time shall be deemed to be there entirely at his/her own risk and shall have no claim whatsoever against the Auctioneers or their servants or agents in respect of any accident or incident which may occur nor any injury, damage or loss howsoever arising and whether or not same is the subject of any allegation of negligence.

3. General whilst the Auctioneers make every effort to ensure the accuracy of their

catalogue and the description of any lot:(a) each lot as set out in the catalogue or as divided or combined with any

other lots or lots is sold by the vendor with all faults, imperfections and errors of description.

(b) Any claim under any Statute must be received in writing by the Auctioneers within three months of the sale.

(c) the Auctioneers shall not be liable for consequential or resultant loss or damage whether sustained by a Vendor or a purchaser or the owner of any item or their respective servants and agents arising in any circumstances whatsoever and irrespective of any claim made by any party as to negligence or lack of care of the Auctioneers or any part acting on their behalf.

4. the Auction (a) the Auctioneer has absolute discretion to divide any lot, to combine any

two or more lots or to withdraw any lot or lots from the sale, to refuse bids, regulate bidding or cancel the sale without in any case giving any reason or previous notice. He may bid on behalf of the vendor for all goods which are being offered subject to reserve or at the Auctioneer’s discretion.

(b) the highest bidder shall be the buyer except in the case of a dispute. if during the auction the Auctioneer considers that a dispute had arisen. He has absolute discretion to settle it or to re-offer the lot. the Auctioneer may at his sole discretion determine the advance or bidding or refuse a bid.

(c) each lot is put up for sale subject to any reserve price placed by the vendor. whether or not there is a reserve price the seller has the right to bid either personally or by any one person (who may be the Auctioneer).

(d) All conditions, notices, descriptions, statements and other matters in the catalogue and elsewhere concerning any lot are subject to any statements modifying or affecting the same made by the Auctioneer from the rostrum prior to any bid being accepted for the lot.

5. Recession notwithstanding any other terms of these conditions, if within 12

months after the sale, the Auctioneers have received from the buyer any notice in writing that in his view the lot is a deliberate forgery and within twenty-one days after such notification the buyer returns the same to the Auctioneers in the same condition as at the time of sale and by producing evidence, the burden of proof to be upon the buyer satisfies the Auctioneers that considered in the light of the entry in the catalogue the lot is a deliberate forgery, then the sale of the lot will be rescinded and the purchase price of the sale refunded. in the event of a dispute then the matter shall be settled by the president of the institution of chartered Surveyors in the Republic of ireland. Both the buyer and the vendor agree to be bound by the decision .

6. Default the Auctioneers disclaim responsibility for default by - either the buyer

or the vendor because they act as Agents for the vendor only and therefore do not pay out to the vendor until payment is received from the buyer. instructions given by telephone are accepted at the sender’s risk and must be confirmed in writing forthwith.

7. in the event of a sale by private treaty both the vendor and the buyer agree to be found by these and any Special conditions of Sale.

8. Retention of title All goods remain the property of the vendor until paid for in full. the

Auctioneers will not assume liability to discharge nett proceeds arising from the sale of goods until those goods have been paid for in full.

VenDoR’S conDitionS 9. instructions All goods delivered to the Auctioneers’ premises will be deemed to be

delivered for sale by auction and will be catalogued and sold at the dis-cretion of the Auctioneer and accepted by them subject to all the Sale conditions. By delivering the goods to the Auctioneers for inclusion in their auction sales the vendor acknowledges that he or she has accepted and agreed to be bound by all these conditions.

10. collection and Deliveries the Auctioneers do not normally undertake the packing, collection or

delivery of goods but will if requested use their best endeavors as Agent of the owner to arrange for an independent contractor on the owner’s behalf to deal with packing, collection and/or delivery. the Auctioneer will not in any event arrange insurance of the goods and will accordingly not be liable for any loss or damage to goods howsoever arising including breakages or for any damage to premises, fixtures or fittings therein caused by such contractor or otherwise and the owner is responsive for all arrangements to verify that any such contractor and the goods is/are appropriately insured. unless instructions are received to the contrary, charges (including VAt) for such services will be charged to the vendor’s account or discharged through the Auctioneers by the purchaser as the case may be. the Auctioneers’ liability (if any) will rise only where they themselves carry out packing and collection/delivery and only in the case of breakage or loss caused through deliberate negligence of their employees and in any event in one single contract and the Auctioneers’ liability will not exceed £500. provided further than the Auctioneers will not be liable for consequential loss in any circumstances whatsoever.

11. Loss or Damage and Storage the Auctioneers reserve the right to store or arrange for the storage of

goods held by them or delivered to them either on their own premises or elsewhere at their sole discretion and entirely at the owner’s risk. the Auctioneers shall not be liable for any loss (including consequential loss) howsoever caused of damage to goods of any kind including breakages, or for unauthorised removal of goods. Should the owner of goods so wish it will be his/her goods while they are in the possession of the Auctioneers.

12. Right to Re-sell the Auctioneer reserves the right to re-sell any item which has not been

collected within thirty days of purchase.

13. 3% commission due to saleroom.com for lots purchased using Live Bidding.

teRMSVendors 1. 10%+ VAt is charged on all goods sold. 2. de Veres Art Auctions do not charge a buying in fee where the reserve is

agreed in advance.

purchaser 1. 18.5%+ VAt will be added to the hammer price for each lot. 2. All accounts must be discharged by certified cheque, bank draft or cash. 3. the responsibility for items purchased passes to the purchaser on the fall

of the hammer. 4. the Auctioneers reserve the right to look for 25% deposit on all goods.

VAt Regulations:All lots are sold within the auctioneers VAt margin scheme. Revenue Regulations require that the buyers’ premium must be invoiced at a rate which is inclusive of VAt. this VAt is not recoverable by any VAt registered buyers.

Standard Conditions of Business

85% SOLD ATTHE INTERIORS AUCTION

we staged a hugely successful interiors Auction, comprising furniture and Decorative Arts from the 18th, 19th, 20th and 21st centuries. this was the first Auction of its kind to be staged in Ireland, combining the antique with the contemporary design.

we will be holding a second interiors Auction in the Autumn.

For further details please contact Rory Guthrie or Aisling Tóth.

Front cover: Lot 38 PauL Henry rHa 1876-1958, SPRING IN WICKLOW

Inside Front cover: Lot 59 GeorGe CamPbeLL rHa 1917-1974, STILL LIFE

Inside Back cover: Lot 51 Conor FaLLon rHa (1939-2007), HORSE.

Back cover: Lot 36 JaCk b. yeats rHa (1871-1957), THE HOBBY HORSES (1927) (detail).

A Armstrong, A 8Alexander, D 2

BBehan, J 88,149,152Bellamy, J 63Blackshaw, B 55Brady, C 95Brandt, M 28, 118-125Butler, M.A 3

cCampbell, G 58,59,74,75,84, 103, 160-211Carr,T 6Carrick,D 78ACarson, R.T 29Clarke, C 5Coen, J 67Comerford, J 44BConor, J 66,99BConor, W 133Collins, P 19Collis, P 116,116ACraig, J.H 88,117Crone, D 90Cusack, R 156

DDavidson, L 108Dillon, G 137

EEgan, F 45A

FFallon, C 51,52,53,126Farrell, M 45French, W.P 4Fromel, G 50

GGale, M 94Glenavy, Lady B. 10Goulding,T 57Guiness, M 33,89

hHamilton, L.M 13,105Hanlon, Fr. J 25BHarper, C 72Henry, M 25AHenry, P 38Hickey, D 78Hone, E 12,31,32Hone, N 87,147Hutson, M.C 27

JJellet,M 9,21,148

KKavanagh, J.M 100Keating, S 37Kelly, P 139King, C 93Kingerlee, J 140

LLanyon, PLavery, Sir. J 37ALeBrocquy, L 111LeBrocquy, M 86Leech, W.J 34,96

MMaguire, B 73Maguire, C 132MacGonigal, M 14,35,101, 106,141,146MacLiammoir, M 26McAuley, C 77,130McCormack, S 129McKelvey, F 23McSweeney, S 47,46Middleton,C 97Mitchell, F 107

oO’Brien, D 142O’Brien,G 76O’Brien, K.W 1O’Casey, B 81,82,83O’Conor, R 22O’Doherty, D 153O’Doherty, E 85O’Donoghue, H 54,92,113,112O’Hara, H 143,144O’Malley, J 98O’Malley, T 71,98A,114O’Neill, D 11,24O’Neill, M 154O’Reilly, P 69,70,99,99A

rRobinson, M 25,138Royle, S 48,49Russell,G 20,64

SSadler, W 39,40,41,42 43,44,44AScott, P 115,115AShinnors, J 109,110Sloan, J 127Souter, C 18Shawcross, N 56,91Shore, R.S 102Sutherland, G 60Sutton,I 145

TTeskey, D 17Treacy, L 155

WWhisker, C 63AWilks, M.C 30,65,80

YYates,F 62Yeats, J.B 15,16,36, 134,135,136

TUESD

AY, 22nd MAY

2012

35 Kildare Street, Dublin 2 Tel: 676 8300 Fax 676 8305

[email protected] www.deveres.ie

IrISh ArT AucTIonTuesday 22nd May

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OUTSTANDING ART AUCTION