Whyte's Auctioneers Important Irish Art Auction

IMPORTANT IRISH ART

WHYTE SS I N C E 1 7 8 3

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28 NOVEMBER 2011

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Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4

Friday 25 November, opening reception 6pm to 8pmSaturday 26 November 10am to 6pmSunday 27 November 10am to 6pmMonday 28 November 10am to 6pm

AAUUCCTTIIOONN

Monday 28 November at 6pmClyde Hall, Royal Dublin Society,

Anglesea Road, Ballsbridge, Dublin 4

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Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected]

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Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected]

MONDAY 28 NOVEMBER 2011

IMPORTANT IRISH ART

Front cover: lot 58, Robert Ballagh, Inside No.3 After Modernisation, 1982Inside front cover: lot 3, Harry Kernoff, “The Handy Shop”, After Rain, Killarney, 1943

Page 4: lot 57, Edward McGuire, Owl II, 1972Page 6: lot 25, James Humbert Craig, The Layde Road, Cushendun

Page 8, 9: lot 107, William H. Bartlett, The Return From The Seal-Hunt, 1881Page 110: lot 56, Pauline Bewick, Rook, Oak And Horse (Diptych), 1985

Back cover: lot 20, Jack Butler Yeats, The Street In Shadow, 1932

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CCOOLLLLEECCTTIIOONN OOFF PPUURRCCHHAASSEESS

Collection of purchases at this sale may be effected 10am to 3pm on Tuesday 29 November from Clyde Hall. After that date lots may be collected from

our Molesworth Street premises.

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M E R R I O NR O A D

R D S M A I NH A L L

E N T E RH E R E

B A L L S B R I D G E

WHYTE S,

PPLLEEAASSEE NNOOTTEE

The exhibition of works from this sale will take place at

RROOYYAALL DDUUBBLLIINN SSOOCCIIEETTYY,, CCLLYYDDEE HHAALLLL,, AANNGGLLEESSEEAA RROOAADD,, BBAALLLLSSBBRRIIDDGGEE

Friday 25 November 6pm to 8pm Saturday 26 November 10am to 6pm Sunday 27 November 10am to 6pmMonday 28 November 10am to 6pm

The auction will be held on Monday 28 November at 6pm at

RROOYYAALL DDUUBBLLIINN SSOOCCIIEETTYY,, CCLLYYDDEE HHAALLLL,, AANNGGLLEESSEEAA RROOAADD,, BBAALLLLSSBBRRIIDDGGEE

CCOONNTTEENNTTSS

Important Notes 5

Special Notices 5

Whyte's Guarantee of Authenticity 5

Glossary of Terms 5

Whyte's Terms & Conditions 7

IMPORTANT IRISH ART 10

Abbreviations 112

Topographical and General Index 112

Index of Artists inside back

This catalogue was compiled by Adelle Hughes with assistance from Ian Whyte,Sarah Gates and contributions from Ciarán Bennett, Ciarán Carty, Dr. Riann Coulter,Dr. Róisín Kennedy, Dr. S. B. Kennedy and Dr. Éimear O’Connor.

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Copyright 2011 Whyte & Sons Auctioneers Limited. All rights reserved.

ENQUIRIES

This catalogue:Sarah Gates and Adelle Hughes

Accounts:Peter Whyte

General Enquiries:Emma Betts

CONTACTS

[email protected]

Telephone01 676 2888 (+3531 676 2888 from UK and elsewhere)

Fax01 676 2880 (+3531 676 2880 from UK and elsewhere)

Postal address38 Molesworth Street, Dublin 2, Ireland

Websiteswhytes.ie whytes.com whytes.net

Ian WhyteManaging Director

Sarah Gates BADirector

Adelle Hughes BA MAAssociate Director

Marianne NewmanDirector

Peter Whyte Emma Betts BA MA

BUYERS’ COMMISSION

16.53% (excluding VAT) is added to the hammer price of all lots.

ROOM BIDDERS

1. Room bidders must register and obtain a bidding number onarrival. Proof of identity is required from clients new to us.

2. If successful in obtaining a lot please ensure you display yournumber clearly to the auctioneer and that it is your number thatis called out. If there is any doubt about the hammer price orbuyer, please draw this to the attention of the auctioneerimmediately.

3. Payment may be made by cash, bank draft, cleared cheque, orcredit card – we accept Access or Visa (a charge of 1.5% is madeon credit card transactions). We also accept Laser, Delta, Debitand Maestro Cash Cards (maximum of €1,500) free of charges.

ABSENTEE BIDDING

1. If you are unable to attend you may bid before the sale, usingthe form provided. Enter the maximum you are prepared tooffer for each lot and the auctioneer will represent you as if youare personally attending the sale. Lots are knocked down at onestep above the next highest bid, and not necessarily at yourhighest bid. Example: your bid is €1,000 and next highest bid is€800 – the hammer price is €850.

2. LIMIT BIDDING: Absentee bidders may limit their total purchasesto a set amount by entering their limit on the bidding form. Thisis especially useful for bidders wishing to cover as many lots aspossible while setting a maximum amount to spend.

3. “OR” BIDDING: Absentee bidders who wish to bid on two ormore lots, but only wish to purchase one, may do so by entering“OR” between the bids – the lots will be bid on in catalogueorder.

4. EQUAL BIDS: In the event of equal bids being received for thesame lot the first received will be given preference. If theinstruction “break ties” is entered on the bid form the auctioneerwill increase the bid by one step in the event of equal bids beingreceived or in the event of a tie with a room bidder.

5. “BUY” BIDS: Unless otherwise instructed bids of “Buy” or “Buy atBest” shall be taken to indicate bids of up to three times thestated higher estimate in the catalogue.

6. LIVE INTERNET BIDDING: You may watch and/or bid live with video and audio link to the saleroom on our websitewww.whytes.ie

7. LIVE TELEPHONE BIDDING may be arranged on request, subjectto availability and given at least 24 hours notice. This facility is onlyavailable on lots estimated at €2,000 or more, and a minimumbid may be requested.

8. INVOICING AND PAYMENT: Successful absentee bidders will besent a pro forma invoice immediately after the sale with detailsof payment methods. All invoices must be paid within 7 days ofthe date of the sale or the lot(s) may be deemed in default andany subsequent losses incurred on resale become theresponsibility of the bidder. The Auctioneers and House AgentsAct, under which we are licensed to hold public auctions, onlyallows for lots to be handed over to purchasers when paid for in full.

PRICES REALISED

A complete list of prices realised and unsold lots will be posted toour Internet website (www.whytes.ie) on the day after the sale.

SPECIAL NOTICES CONCERNING THIS AUCTION

VENUE FOR AUCTION NIGHT

The venue for the auction is Clyde Hall, Royal Dublin Society,Anglesea Road, Ballsbridge, Dublin 4 and the sale starts at 6pm.

Bidder registration will take place here from 5pm on Monday 28November and the sale starts at 6pm. Complimentary tea andcoffee will be served in the café.

COLLECTION OF LOTS

Collection of purchases at this sale may be effected 10am to 3pmon Tuesday 29 November from Clyde Hall. After that date lots maybe collected from our Molesworth Street premises.

Purchasers must pay for and collect all lots within 7 days of thedate of sale. Note: each lot is at the buyer’s risk from the fall of thehammer. Storage charges will apply after 7 days.

MORE INFORMATION ON OUR WEBSITE

whytes.ie or whytes.com

Here you will find much useful information pertaining to lots in thisauction, including biographies and previous results for many of theartists featured in this sale.

WHYTE’S GUARANTEE OF AUTHENTICITY

Whyte’s takes especial care to ensure that all works offered in thiscatalogue are as described and are the work of the artists they areattributed to. In the event of any work sold from this catalogue to besubsequently proved to be a “deliberate forgery”, subject to our terms andconditions of sale (especially Clause 5c) as printed elsewhere in thiscatalogue Whyte’s will cancel the sale and refund to the buyer the totalamount paid by the buyer to Whyte’s for the item, in the currency of theoriginal sale. This guarantee is provided for a period of seven (7) years afterthe date of the relevant auction, and may be extended at Whyte’sdiscretion.

GLOSSARY OF TERMSThe following are examples of the terminology used in this catalogue.

1 Sir John Laveryin our opinion a work by the artist.

2 Attributed to Sir John LaveryIn our opinion probably a work by the artist but less certainty as toauthorship is expressed than in the preceding paragraph.

3 After Sir John LaveryIn our opinion a copy of a known work by the artist. We also use thisterm for prints of works by the artist.

4 The term signed and/or dated and/or inscribedmeans that in ouropinion the signature and/or date and/or inscription are from the handof the artist.

5 The term bears a signature and/or initials and/or date and/orinscriptionmeans that in our opinion the signature and/or date and/orinscription has been added by another hand.

IMPORTANT NOTESALL LOTS ARE SOLD SUBJECT TO OUR TERMS AND CONDITIONS OF SALE PRINTED ON PAGE 7

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Whyte & Sons Auctioneers Limited, trading as Whyte’s, exercises all reasonablecare to ensure that all descriptions are reliable and accurate, and that each itemis genuine unless the contrary is indicated. However, the descriptions are notintended to be, are not and are not to be taken to be, statements of fact orrepresentations of fact in relation to the lot. They are statements of the opinionof Whyte’s, and attention is particularly drawn to clause 5 set out below.Comments and opinions, which may be found in or on lots as labels, notes,lists, catalogue prices, or any other means of expression, do not constitute partof lot descriptions and are not to be taken as such unless they are made orspecifically verified by Whyte’s.Clause 1 (a) Each lot is put up subject to any reserve price imposed by the vendor(b) Subject to sub-clause (a) of this clause, the highest bidder for each lot shallbe the buyer thereof(c) If any dispute arises as to the highest bidder the auctioneer shall haveabsolute discretion to determine the dispute and may put up again and re-sellthe lot in respect of which the dispute arisesClause 2(a) The bidding and advances shall be regulated by and at the absolutediscretion of the auctioneer and he shall have the right to refuse any bid orbids. NOTE: Where an agent bids, even on behalf of a disclosed client, theauctioneer nevertheless has the right at his discretion to refuse any such bid.(b) The buyer of each lot shall immediately on its sale, if required by theauctioneer, give him the name and address of the buyer and pay to Whyte’s athis discretion the whole or part of the purchase money. If the buyer of any lotfails to comply with any such requirement Whyte’s may put up again and re-sell the lot; if upon such re-sale a lower price is obtained than was obtained onthe first sale the buyer in default on the first sale shall make good the differencein price and expenses of re-sale which shall become a debt due from him.(c) Where an agent purchases on behalf of an undisclosed client such agentshall be personally liable for payment of the purchase money to Whyte’s andfor safe delivery of the lot to the said client.Clause 3(a) Whyte’s reserves the rights to bid on behalf of clients including vendors, butshall not be liable for errors or omissions in executing instructions to bid.(b) Whyte’s reserves the rights, before or during a sale, to group together lotsbelonging to the same vendor, to split up and to withdraw any lot or lots atWhyte’s absolute discretion and without giving any reason in any case.(c) Whyte’s acts as agent only, and therefore shall not be liable for any defaultof the buyer or vendor.Clause 4(a) Each lot shall be at the buyer’s risk from the fall of the hammer and shall bepaid for in full before delivery and taken away at his expense within one day ofthe sale. The buyer will be responsible for all removal, storage and insurancecharges in respect of any lot which has not been collected within 7 days of thedate of sale.(b) If any buyer fails to pay in full for any lot within 7 days of the date of salesuch lot may at any time thereafter at Whyte’s discretion be put up for sale byauction again or sold privately; if upon such re-sale a lower price is obtainedthan was obtained on the first sale the buyer in default on the first sale shallmake good the difference in price and the expenses of re-sale which shallbecome debt due from him.(c) Interest at 2 per cent per month and legal costs (if any) for recovery ofmonies due shall be payable by the buyer on any overdue account.Clause 5(a) All lots are made available for inspection before each sale and each buyer,by making a bid, acknowledges that he has satisfied himself as to the physicalcondition, age and catalogue description of each lot (including but notrestricted to whether the lot is damaged or has been repaired or restored).(b) All lots are sold with all faults and imperfections and errors of descriptionand Whyte’s and its employees, servants or agents shall not be responsible forany error of description or for the condition or authenticity of any lot, save forClause 5 (c) below.Written or verbal condition reports may be supplied by Whyte’s on request but these are merely statements of opinion, and any error or omission in thesereports may not be taken as grounds for a cancellation of sale or refund of any part of the purchase price or the cost of any repairs to the lot or lotsreported on.

(c) If any lot sold at this auction is subsequently proved to be a “deliberateforgery”, Whyte’s will cancel the sale and refund to the buyer the total amountpaid by the buyer for the item, in the currency of the original sale. The onus ofproving a lot to be a “deliberate forgery” is on the buyer. For these purposes,“deliberate forgery” means a lot that in Whyte’s reasonable opinion is animitation created to deceive as to authorship, where the correct description ofsuch authorship is not reflected by the description in the catalogue (taking intoaccount any Glossary of Terms). No lot shall be considered a deliberate forgeryby reason only of any damage and/or restoration and/or modification work ofany kind (including repainting or overpainting). This guarantee does not applyif (i) either the catalogue description was in accordance with the generallyaccepted opinions of scholars and experts at the date of the sale, or thecatalogue description indicated that there was a conflict of such opinions; (ii) orthe only method of establishing at the date of the sale that the item was acounterfeit would have been by means of processes not then generallyavailable or accepted, unreasonably expensive or impractical to use; or likely tohave caused damage to the lot or likely (in Whyte’s reasonable opinion) to havecaused loss of value to the lot; or (iii) there has been no material loss in value ofthe lot from its value had it been in accordance with its description. Thisguarantee is provided for a period of seven (7) years after the date of therelevant auction, is solely for the benefit of the buyer and may not betransferred to any third party. Whyte’s has discretion to extend the guaranteefor a longer period. To be able to claim under this Guarantee, the buyer must (i)notify Whyte’s in writing within three (3) weeks of receiving any informationthat causes the buyer to question the authenticity or attribution of the item,specifying the lot number, date of the auction at which it was purchased andthe reasons why it is thought to be a deliberate forgery; and (ii) return the itemto Whyte’s in the same condition as the date of the sale to the buyer and beable to transfer good title in the item, free from the third party claims arisingafter the date of the sale. Whyte’s has discretion to waive any of the aboverequirements. Whyte’s may require the buyer to obtain at the buyer’s cost thereports of two independent and recognised experts in the field, mutuallyacceptable to Whyte’s and the buyer. Whyte’s shall not be bound by anyreports produced by the buyer, and reserves the right to seek additional expertadvice at its own expense. In the event Whyte’s decides to rescind the saleunder this Guarantee, it may refund the buyer the reasonable costs of up totwo mutually approved independent expert reports.(d) Any lot listed as a “mixed lot, collection, range, portfolio etc.” or stated tocomprise or contain a collection or range of items which are not describedshall be put up for sale not subject to rejection and shall be taken by the buyerwith all (if any) faults, lack of genuineness and errors of description andnumbers of items in the lot, and the buyer shall have no right to reject the lot;except that, notwithstanding the foregoing provisions of this sub-clause, wherebefore a sale a person intending to bid at the sale gives notice in writing to,and satisfies Whyte’s that any such lot contains any item or items not describedin the sale catalogue and that person specifically describes that item or thoseitems in that notice, then that item or those items shall, as between Whyte’sand that person, to be taken to form part of the description of the lot.Clause 6The respective rights and obligations of the parties shall be governed andinterpreted by Irish law, and the buyer hereby submits to the exclusivejurisdiction of the Irish Courts.

SPECIAL CONDITIONS (a) The buyer shall pay Whyte’s a commission at the rate of 16.52% (plus VATunder The Margin Scheme and which is not reclaimable). (b) Whyte’s or its employees, servants or agents may, on request organisepacking and shipping of lots purchased or may order on the buyer’s behalfthird parties to pack or ship purchases. Under no circumstances does Whyte’saccept any liability whatsoever for any loss or damage howsoever occasionedin the course of such service.(c) The buyer authorises Whyte’s to use any photographs or illustrations of anylot purchased for any or all purposes as Whyte’s may require.The placing of a bid will be taken as full agreement to all the above conditions.

WHYTE & SONS AUCTIONEERS LIMITED38 Molesworth Street, Dublin 2

TERMS AND CONDITIONS OF SALE NOTICE

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Monday 28 November 2011 at 6pmLots 1-224

IMPORTANT IRISH ART

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HHAARRRRYY KKEERRNNOOFFFFThe son of Jewish parents of mixed Russian and Spanishdescent, Kernoff was born in London but moved to Dublin atan early age when his father opted to begin a cabinet-makingbusiness there. Kernoff’s artistic training began with nightclasses at the Dublin Metropolitan School of Art. Upon winningthe prestigious Taylor Scholarship in 1923, he became a daystudent and henceforth devoted all his energies to art, workingalso for a time on designing stage sets in the company ofactors such as Mícheál MacLíammóir and Hilton Edwards. Sometime after this he visited Paris, staying for a month painting andsketching. In 1926 Kernoff began exhibiting at the RHA,continuing to do so nearly every year for the next five decades.He joined the Dublin Society of Painters in 1927 and held manysolo exhibitions at their studio in no. 7 St. Stephen’s Green. He

also had two solo exhibitions with the Victor WaddingtonGalleries in 1936 and 1937 and numerous shows abroad inLondon, Glasgow, Paris, Amsterdam, New York, Chicago andToronto. In 1930 he visited Russia and later published on articleon his experiences there prior to the Stalinist regime. At home, from his Dublin studio at no. 13 Stamer Street, Kernoffsupported himself largely through selling woodcuts; threebooks of these were published, the first in 1942. He alsocontributed to other publications such as James Stephen’sCrock of Gold and A Broadside (Cuala Press) among others. Hisdepictions of working-class Dublin and smaller towns acrossthe country are much sort after by collectors, as are hisportraits of Ireland’s leading literary and theatrical figures,some of which now hang in the Dublin Writer’s Museumamong other public collections.

11HHaarrrryy KKeerrnnooffff RRHHAA ((11990000--11997744))FIGURES DINING IN AN OUTDOOR CAFÉ,PARIS, c.1931signed upper rightoil on board30 by 41cm., 12 by 16in.

The location for this scene could be that of Jardindu Luxembourg, the second largest public park inthe French capital. The gardens, which wereoriginally the palace ground for Marie de Medici(1611) later reconstructed by Napoleon in the1860s. In the 1930s the garden contained amarionette theatre, a music kiosk, an apiary as wellas an orangerie used to exhibit modern art andsculpture.

€3,000-€4,000 (£2,600-£3,400 approx.)

22HHaarrrryy KKeerrnnooffff RRHHAA ((11990000--11997744))OFF BAGGOT STREET, BALLSBRIDGE, 1943signed, inscribed and dated lower right;further inscribed and numbered [11] onreversewatercolour23 by 34cm., 9.25 by 13.25in.

Another view of this street, executed the same year,sold through Sotheby’s, London, 7 May 2008, as lot 164.

€4,000-€5,000 (£3,400-£4,300 approx.)

Provenance:Lots 1-11 were purchased by thepresent owner c.1970-71 directly fromthe artist at his studio in 13 Stamer St.,Dublin

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33HHaarrrryy KKeerrnnooffff RRHHAA ((11990000--11997744))“THE HANDY SHOP”, AFTER RAIN, KILLARNEY, 1943signed and dated lower left; inscribed with title andnumbered [9] on reversewatercolour27 by 37cm., 10.75 by 14.75in.

In this scene a shawled lady strides down the street her imagemirrored in the wet road while a little bob-haired girl in red standswith only one boot. The Handy Store with green painted windowsand open door appears full to the brim with an assortment of wares.To the back of the alley a bicycle rests against a wall which leads to abarn beyond. The rear of a white horse hints at its function. A finehouse to the right of the scene is enclosed with metal railings.Through the ground floor window a couple can be seen in closeconversation.

The year after these Killarney watercolours [lots 3-5] were executed,Kernoff exhibited six oils at the RHA all depicting scenes from thearea. The titles include, After Rain, O’Malley’s Lane, Killarney (no. 98);Hilliard’s Lane, Killarney (no. 89); Capt Doyle, Bugler, Gap of Dunloe,Killarney (no. 41) and two other unspecified landscapes of the locale.

€3,500-€4,500 (£3,000-£3,900 approx.)

44HHaarrrryy KKeerrnnooffff RRHHAA ((11990000--11997744))WET STREET, KILLARNEY, 1943signed and dated lower right; with title inscribed in ink onreverse; also numbered [9] on reversewatercolour over pencil27 by 37cm., 10.75 by 14.5in.

The right side of the watercolour shows the side stone wall of achurch (possibly St. Mary’s) with an arched window. A shawledwoman walks by carrying a child, another lady with a red shirt andblack shawl ahead of her. A barefoot boy in shorts appears at thecorner of the street of dilapidated houses, one with an ornatelantern towering above him. A fourth character, a mother tending toher child in a pram, draws the eye to the centre of the scene withthe figure of a man beyond indicating the end of the street.

€2,500-€3,500 (£2,200-£3000 approx.)


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55HHaarrrryy KKeerrnnooffff RRHHAA ((11990000--11997744))OLD GEORGIAN HOUSE OPPOSITE TOWNHALL, KILLARNEY,KERRY, 1943signed and dated lower left; inscribed with title, datedand numbered [(6) and (9)] on reversewatercolour27 by 37cm., 10.75 by 14.75in.

The scene shows two nuns in their traditional habits walking up awet street in Killarney away from the square. A moustached manleans against the wall of the Townhall with a parked red cart andresting blinkered donkey by a lamppost opposite. Towards the endof the street a couple pass a lady in a yellow coat pushing a pram.The white awning of Michael Moriarty’s drapery store can be seenclearly to the left of the scene.

€3,000-€4,000 (£2,600-£3,400 approx.)

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77HHaarrrryy KKeerrnnooffff RRHHAA ((11990000--11997744))OLD-BARN ON FOYNES ISLAND, LIMERICK, ÉIRE, 1930signed and dated lower left; inscribed with title andnumbered [1] on reversewatercolour41 by 28cm., 16 by 11in.

Foynes Island is located on the Shannon just off the village ofFoynes in the parish of Robertstown. The island is onlyaccessible by boat and measures approximately 1 mile indiameter. The two cottages illustrated are some of the fewbuildings, most of which have been abandoned, on the Island.Two views of Foynes Island were exhibited by Kernoff in May1938 at the White Gallery, London (nos. 1& 10).

€2,000-€3,000 (£1,700-£2,600 approx.)

88HHaarrrryy KKeerrnnooffff RRHHAA ((11990000--11997744))CONNEMARA SUMMER, RENVYLE, IRELAND, 1933signed and dated lower left; inscribed in green inkwith title, artist’s address [13 Stamer St., Dublin 8,Ireland]; original price [£12-12-0]; also numbered [1]on reversewatercolour25 by 36cm., 10 by 14.25in.

A view of The Twelve Bens dominates above a thatchedcottage with smoke billowing from the chimney. A solitaryfigure can be seen stacking turf in the lower right-hand corner.

€1,500-€2,000 (£1,300-£1,700 approx.)

66HHaarrrryy KKeerrnnooffff RRHHAA ((11990000--11997744))OUTHOUSES, MORNING SUNLIGHT, NEAR DUBLIN,1930signed and dated lower left; titled, dated andnumbered [2] on reversewatercolour27 by 38cm., 10.75 by 15in.

Kernoff painted views of outhouses in Howth in the 1930s, oneof which was exhibited (no. 34) at a show of his ‘RecentPaintings’ at Mill’s Hall, Merrion Row, Dublin in December 1937.

€2,000-€3,000 (£1,700-£2,600 approx.)

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99HHaarrrryy KKeerrnnooffff RRHHAA ((11990000--11997744))HOUSES NEAR JEAN-JAURÈS, PARIS, c.1931signed lower right; with title inscribed twice on reverse; withoriginal price [£10-0-0] and number [4] also inscribed on reversewatercolour over pencil27 by 38cm., 10.75 by 15in.

As with his Irish scenes, Kernoff methodically records the names of the now-forgotten establishments in the foreground including, ‘Café RestaurantLourve’ and ‘Appareillage Électrique’.

€2,000-€3,000 (£1,700-£2,600 approx.)

1100HHaarrrryy KKeerrnnooffff RRHHAA ((11990000--11997744))CANAL JEAN-JAURÈS, PARIS, 1931signed and dated lower left; with title inscribed in the artist’shand on reverse; also with original price [£10-0-0] and numbered[3] on reversewatercolour over pencil27 by 38cm., 10.75 by 15in.

The signage for ‘Le Popular Restaurant Hotel’ can be seen upper right.

€2,000-€3,000 (£1,700-£2,600 approx.)

1111HHaarrrryy KKeerrnnooffff RRHHAA ((11990000--11997744))RUE DE SEINE, PARIS, 1931signed, titled and dated lower left; with title inscribed again onreverse; also with artist’s address [Stamer St., Dublin] and number[5] on reversewatercolour over pencil38 by 29cm., 15 by 11.25in.

Rue de Seine, in the district of Saint-Germain-des-Prés, began to draw theattention of artists and writers such as Manet, Balzac and Georges Sand inthe 19th century. But it was after WWII that the district exploded into ahotspot for existentialist thinking, avant-garde theatre, painting and jazz andbecame synonymous with names like Picasso, Sartre, de Beauvoir, Beckettand Gainsbourg. Signs for the ‘Pharmacie’, ‘Vins’ and a ‘Hotel’ beyond can be seen on thestreet. With the prominence of a distinct blue umbrella, this work could beread as a homáge to Renoir’s The Umbrellas (1881-6) or Gustav Caillebotte’sRainy Day 1877 works which the artist would have been exposed to at thistime.

€2,000-€3,000 (£1,700-£2,600 approx.)

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1122JJaacckk BBuuttlleerr YYeeaattss RRHHAA ((11887711--11995577))A YOUNG MAN’S TROUBLESsigned lower rightwatercolour, pastel and pencil on paper15 by 46cm., 6 by 18in.

Provenance:Clausen Galleries, New York whence purchased by John Quinn in 1904;Purchased by W. C. Murphy at the Quinn Collection Sale, American Art Galleries,New York, 10 February 1927, lot 268;Private collection;Whyte’s, 17 September 2002, lot 54;Whence purchased by the present owner

Exhibited:‘Sketches of Life in The West of Ireland’, series of exhibitions:Leinster Hall, Dublin, March 1900Clarendon Hotel Oxford, 24-29 October 1900Walker Art Gallery, London, February 1901Clausen Galleries, New York, 31 March-16 April, 1904

Literature:All Ireland Review, 10 March 1900, p. 5;Hilary Pyle, Jack B. Yeats: His Watercolours, Drawings and Pastels,Irish Academic Press, Dublin, 1993, catalogue no. 267, p. 93

This work was described in the All Ireland Review of 10 March 1900 as depicting “a shop interior in aConnaught town; a sad-faced young man stands brooding at one side of a broad board orcounter; behind him pasted on the wall are a row of emigration notices; in front of him, at the farside of the counter, two elderly men stand drinking, and they watch with kindly distant disinterestthe working of his thoughts”. Purchased by the famed art collector John Quinn – then Chairman ofthe board of the Metropolitan Museum and a great supporter of European modernists – the workwas later sold as part of his collection, where it was listed in the inventory as The Bar.

€20,000-€30,000 (£17,000-£25,500 approx.)

1133--1144:: nno lots


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1155SSeeáánn KKeeaattiinngg PPRRHHAA HHRRAA HHRRSSAA ((11888899--11997777))IRISH FREE STATE BACON, 1928signed lower rightgouache, pencil and coloured chalk99 by 150cm., 39 by 59in.

Provenance:Paul Conran; From whom purchased by the previous owner in October 1982;Christie’s, The Irish Sale, London, 10 May 2007, lot 74 (part);Whyte’s, 24 November 2008, lot 81;Private collection

The Empire Marketing Board (EMB) was established in London in 1926 for thepurpose of promoting the sale of produce from countries associated with theBritish Empire. The methods of advertising included posters for shop windows andoutdoor billboards. Continued access to the British market was of vital economicnecessity to the newly established Irish Free State, a point that was givenrecognition when in 1927 the EMB commissioned Seán Keating to undertake thedesign of three posters, Irish Free State Dairying, Irish Free State Bacon and Irish FreeState Chicken, to advertise Irish produce to the English market. The three posterswere used around England between June and July 1929 on specially designedoutdoor billboards. Keating was familiar with the skills necessary for large-scaleposter design owing to his training at the Metropolitan School of Art in Dublin. Hisbrief was firmly controlled by the EMB, and at the same time, the artist knew that

the designs had to be visually specific and immediately legible. The drawingillustrated is Keating’s innovative design for Irish Free State Bacon, which is repletewith the visual iconography that was expected of Ireland in the 1920s. However,this is a design by Keating, and therefore there is more to the image thanimmediately apparent. Keating’s work for the EMB appears at first glance, to reflectan imagined view of Ireland as a rural ideal and idyll, as dictated by the advertisingconcerns of the EMB. But arguably, there is degree of artistic subterfuge in theimage. There are no green rolling hills, shamrocks, shillelaghs or white thatchedcottages. Instead, Keating posited an image of a peaceful and prosperouspeasantry within a well maintained farmyard, which refutes the age-old vision ofmisery and deprivation in Ireland of the 1920s. The close range view and thestage-like setting combined with clear architectural and figurative detail serves tofurther engage the viewer with the atmosphere of a real and flourishing farm. Theappeal in the work is therefore premised on Keating’s ability to suitably advertiseIrish Free State Bacon within the limits of the constraints set by the EMB, butwithout reducing the images to mere pastiche. The survival of Keating’s originaldesign for Irish Free State Bacon, which was intentionally ephemeral, is noteworthy,and an exceptionally rare surviving example of Keating’s extensive career as anartist of ephemeral work.

Dr Éimear O’Connor HRHA TRIARC – Irish Art Research Centre, TCD

€15,000-€20,000 (£12,900-£17,200 approx.)

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1166SSiirr WWiilllliiaamm OOrrppeenn RRAA RRII RRHHAA ((11887788--11993311))SIR WILLIAM ARMSTRONG READING, 1925signed, inscribed [“To my friend Armstrong with great affection, July 1925”]lower right; with artist‘s and sitter’s names printed in the mount; with WilliamRodman & Co., Belfast label and printed label referencing Oriel Gallery andprovenance details on reversepencil24 by 18cm., 9.5 by 7in.

Provenance:William Rodman & Co., Belfast; Private collection; Adam’s & Bonhams, 27 May 1998, lot 90; With the Oriel Gallery, Dublin;Private collection

€800-€1,200 (£690-£1,030 approx.)


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1177SSiirr WWiilllliiaamm OOrrppeenn RRAA RRII RRHHAA ((11887788--11993311))THE BREEZE, 1910 and LETTER TO ‘MY DEAR ALEX’, 26 FEBRUARY 1917signed and dated in the plate lower right; with facsimile signature and title inthe margin lower right and lower left respectively; letter, signed and dated on[8 South Bolton Gardens, S.W.] headed paperprint (1); letter (1); (framed)22 by 13cm., 8.75 by 5in.

Dimensions for letter, 9.5 by 7.75ins.The Breeze pertains to a body of work Orpen created inspired by Howth. Many of the originalcanvases from this series were created en plein air and involved initially a Hungarian gypsycouple and their bear and later members of his family: his wife and daughters. The lettermakes reference to “Stabb”, C.T. Stabb, a fellow student of Orpen’s at the Slade school. Stabbit appears was the source of much playful teasing for his eagerness to be married. (See: Arnold, Bruce, Orpen Mirror to an Age, p.98 for further reading).

€400-€600 (£340-£520 approx.)

1188HHaarrrryy JJoonneess TThhaaddddeeuuss ((11885599--11992299))MELIN Y GOF AT TREARDDUR BAY, 1903signed and dated lower left; inscribed on reverseoil on board20 by 24cm., 7.75 by 9.5in.

Literature:Rooney, Brendan, The Life and Work of Harry Jones Thaddeus 1859-1912, FourCourts Press, Dublin, 2003, p.208 (illustrated)

Melin y Gof lies about a kilometre from Treaddur Bay, near Holyhead, Wales. In his text onthe artist Rooney describes Thaddeus’ “readiness to record, on location, scenes from histravels” and continues, “The precise spot from which the windmill is seen..[is from] afootpath between a point called Four Mile Bridge and a house called Penybont... Thaddeus islikely to have sketched the scene on one of his painting excursions from Maesmawr Hall, inmid-Wales, where he was living with his family in the early years of the century.” (Rooney,p.208-209)

€1,200-€1,500 (£1,030-£1,300 approx.)

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1199SSiirr JJoohhnn LLaavveerryy RRAA RRSSAA RRHHAA ((11885566--11994411))THE HOUSE-TOPS, TANGIER, 1912signed lower left; signed again and inscribed with title in pencil onreverse; also with title and provenance details on reverse; with partialRodman & Co., Ltd inscribed label on reverseoil on board25 by 36cm., 10 by 14in.

Provenance:Presented by the artist to the Belfast Red Cross Fund, 1917; Collection of Molly Laurence, Belfast; The Laurence Collection Sale, Ross’s, Belfast, 6 February 2002, lot 66; Whyte’s, 17 February 2004, lot 57; Whence purchased by the present owner.

Lavery first visited the so called ‘White City’, Tangier, in 1891, possibly as an antidoteto the demands placed on him as a society portraitist. Morocco was then becominga Mecca for British artists who were attracted to the brilliant white light, exoticcolours, and “the abstract drama of shape...found in its slab-like architecture” Fromthereon Lavery made repeated trips to Tangier, basing himself and his family at thesmall hillside property called Dar El Midfah, a little way out from the main town, andbecoming a well-known feature of the expatriate community’s social scene. TheHouse-Tops Tangier shares much in common with a number of works

which Lavery exhibited in London at the Goupil Gallery in 1908. Kenneth McConkeyrecords that for many of the smaller works from this exhibition, “Lavery positionedhimself upon rooftops overlooking the city. Invariably the foreground was occupiedby one or two Arab musicians sitting on or behind a parapet wall. As he discovered,the rooftops of Tangier generated their own form of life. Beyond them, the slab-liketower of the Green Mosque became a familiar landmark. Lavery’s repeatedengagement with this subject at different times of the day amounted almost to anobsession”.

Unlike a number of his genre scenes from Morocco which were painted in thestudio, The House-Tops Tangier was painted en plein air, around dusk. The highhorizon reveals a sky imbued with pale violet tints, whilst the whitewashedbuildings have taken on the subtle shell-pinks and warm creams of the settingsun’s last rays. The distant hillside of buildings at the left of the composition issuggested by mere notation: rapid impasto strokes indicating the mass of walls androofs. In contrast, the Mediterranean Sea is painted with long smooth strokes incerulean streaked with mauve. For all its rapid execution, Lavery evidentlyconsidered the work complete, for in 1917 he donated it to the Belfast Red CrossFund, most likely at the instigation of his wife Hazel who was then heavily involvedwith war charity work.

€20,000-€25,000 (£17,200-£21,500 approx.)

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2200JJaacckk BBuuttlleerr YYeeaattss RRHHAA ((11887711--11995577))THE STREET IN SHADOW, 1932signed lower rightoil on panel24 by 36cm., 9.5 by 14.25in.

Provenance:Sold through the Victor Waddington Galleries, Dublin, in 1943 to Mrs Chase for a wedding present to Miss Postand M. Block, United States; Private collection, Ireland; Whyte’s, Important Irish Art, 24 November 2008, lot 72; Private collection

Exhibited:‘Ireland and the Irish in Paintings’, Leger Galleries, London, 5-25 October 1932, catalogue no. 14

Literature:Pyle, Hilary, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsch, London, 1992, Vol. I, p.394,catalogue no. 436

In The Street in Shadow Jack Yeats depicts himself, accompanied by his wife, Cottie, standing on O’Connell Street, looking directly outat the viewer. Cottie wears a distinctive black cloche, similar to the one she is shown wearing in the 1925 painting, O’Connell Bridge(private collection). The shadowy form of a passer-by, a man in a cap, interjects between the two figures. Their pose, silhouettedagainst two of the city’s most famous landmarks, Clerys department store and Nelson’s Pillar, is reminiscent of the kind of portraitsnapshot taken by on street photographers, a familiar feature of O’Connell Street until relatively recently. The distinctive profile ofClerys dominates the right hand side of the background. Immediately behind the artist’s head can be seen the spiralling form ofNelson’s Pillar, with its normally solid structure appearing elongated and tenuous in the clear daylight. Mr. and Mrs. Yeats, by contrast,stand in the shade of two buildings, one of which is the GPO, on the west side of the street. The faces of Cottie and Jack are depictedin dark green and yellows which suggest the effects of shadow on their features. The passer-by stands further back towards the streetand his form, which appears to be almost transparent, is dissolved by its exposure to direct sunlight. Yeats’ daring exaggeration ofcolour and ebullient application of paint elucidates the spatial relationships of the different elements in the painting. In spite of itsseeming complexity his use of paint guides the viewer and enables him to read the shapes and forms in terms of tangible reality. Themyriad of colours used in the depiction of the sky and in the streetscape evoke the sense of movement and excitement which themodern city encapsulated. Yeats saw this energy as parallel to the vitality of nature. The opaque murky colours so evident in parts ofthis work are typical of this period in Yeats’ oeuvre when the artist was moving from his early realist style to his later expressionistapproach. In this regard it is interesting to note that Yeats chose to exhibit the work along with other Dublin scenes in London ratherthan Dublin. The exhibition at the Leger Galleries in 1932 attracted a great deal of critical interest with the London press praisingYeats’ work for its unity of purpose and joyousness of colour and craftsmanship. The dramatic handling of paint and colour and thetheme of urban life in The Street in Shadow is reminiscent of the work of expressionist artists working on the Continent. This isparticularly evident in the way in which Yeats has transformed the features of Cottie. Her black hat, pearl necklace and red collar takeon a primitive appearance as if she was part of an exotic tribe. While the city often evoked an anxious response on the part of theexpressionist artists, Yeats does not respond to modern Dublin with apprehension. It was for him a familiar and accessible space inwhich one could observe the interaction of different social groups and types, and in which for a moment, like Cottie, one couldbecome an unfamiliar and anonymous figure.

Dr. Róisín KennedyDublin, November 2011

€50,000-€70,000 (£43,000-£60,200 approx.)

LLoott 2211No Lot


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2222JJaammeess HHuummbbeerrtt CCrraaiigg RRHHAA RRUUAA ((11887777--11994444))RIVER AT SUNSETsigned lower rightoil on canvas laid on board24 by 34cm., 9.5 by 13.5in.

Provenance:Whyte’s, 2 March 2009, lot 193; Where purchased by the present owner

€2,000-€3,000 (£1,700-£2,600 approx.)

2233JJaammeess HHuummbbeerrtt CCrraaiigg RRHHAA RRUUAA ((11887777--11994444))THE DUN RIVER, CUSHENDUN, COUNTY ANTRIMsigned lower left; with original inscribed John Magee [4Donegall Square, Belfast] label on reverse detailing artist’sname, title and reference number [8514.29]oil on board30 by 42cm., 11.75 by 16.5in.

Provenance:John Magee, Belfast; Private collection

€3,000-€4,000 (£2,600-£3,400 approx.)

2244MMiicchhaaeell AAuugguussttiinnee PPoowweerr OO’’MMaalllleeyy ((11887700--11994466))COTTAGES, WEST OF IRELANDsigned lower rightoil on canvas51 by 61cm., 20 by 24in.

Provenance:Whyte’s, 8 May 2002, lot 214; Private collection

Michael Augustine Power O’Malley of Dungarvan, County Waterfordstudied art in France and Italy and later emigrated to the USA. In 1904he went to New York and did book illustrations and covers for Life, TheLiterary Digest, Harper's and Puck. He travelled to the west coast wherehe advised John Ford on film settings and painted sets for Cecil B. deMille's epic The King of Kings. O'Malley made regular painting trips backto Ireland. In October 1912 Maud Gonne attended an exhibition ofO’Malley’s work in Dublin. Her opinion of his work was ‘as clever and farmore sincere than most of the paintings I have seen in France’. Shesubsequently wrote a letter of introduction for the artist to New YorkerJohn Quinn, an Irish-American lawyer, art collector and Celtic enthusiastin which she drew comparisons between Power O’Malley and ÉdouardManet. Power O’Malley exhibited widely and with great success in NewYork City, Fort Worth, Los Angeles, San Antonio, London (Beaux ArtsGallery) and in Ireland in Dublin and in the Crawford in Cork (1940).Memorial exhibitions were held in New Rochelle and Rochester NewYork in 2002-03 and 2010 respectively. His work can be found in publicand private collections in both countries.For further reading see Snoddy pp.486-487.

€1,000-€1,500 (£860-£1,300 approx.)

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2255JJaammeess HHuummbbeerrtt CCrraaiigg RRHHAA RRUUAA ((11887777--11994444))THE LAYDE ROAD, CUSHENDUNsigned lower left; inscribed with title on reverseoil on panel30 by 39cm., 12 by 15.5in.

€5,000-€6,000 (£4,300-£5,200 approx.)

2266MMaabbeell YYoouunngg ((11888899--11997744))WICKLOW SCENEsigned lower left; inscribed with title on reverse; withDawson Gallery framing label on reverseoil on board30 by 51cm., 12 by 20in.

Provenance:Dawson Gallery, Dublin; Where purchased by the family of the present owner

Contained in original Dawson Gallery frame.

€1,000-€1,500 (£860-£1,300 approx.)

2277MMaauurriiccee CCaannnniinngg WWiillkkss RRUUAA AARRHHAA ((11991100--11998844))GLEN HEAD, GLENCOLUMBKILLE, COUNTYDONEGALsigned lower left; with title inscribed on reverseoil on canvas51 by 69cm., 20 by 27in.

€1,500-€2,000 (£1,300-£1,700 approx.)

22

2288PPaauull HHeennrryy RRHHAA ((11887766--11995588))ALTAN LOUGH, DONEGAL c.1933-34signed lower right; with title hand-written on label on reverse; also partial number [16] label on reverse; withWinsor & Newton stamp also visible on reverseoil on canvas38 by 46cm., 15 by 18in.

Provenance:‘The Irish Sale’, Sotheby’s, 21 May 1999, lot 329; Whence purchased by the present owner

Exhibited:Thought to have been exhibited as In Connemara, ‘Paintings by Paul Henry, R.H.A.’, Fine Art Society, London, from11 April 1934 (catalogue no. 43)

Literature:Kennedy, Dr. S.B., Paul Henry, Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007,p.266, catalogue no. 828 (illustrated)

Lough Altan, or ‘Lake of the Hillock’, a mountain tarn virtually inaccessible by road, is situated some five or six miles south of thevillage of Gortahork in north County Donegal. The view represented in this picture almost certainly looks to the south, the hills in thebackground being the Derryveagh Mountains and the peak at the centre of the composition being Dooish, which rises to a height of2,147 ft. Henry painted in the area a number of times over the years as, for example, his Lough Altan, Co. Donegal, 1918-19 (collectionAllied Irish Bank), testifies, and he and his elder brother Bob holidayed at McFadden’s Hotel in Gortahork in the late 1920s (seeKennedy, 2007, catalogue no. 231). The view depicted here, while similar to the AIB work and another, In the West of Ireland (Kennedy,nos. 515 and 510 respectively), is more dramatic in execution and thus must be of a later date, as the bold use of strong colours andmodelling of light on the distant mountains – which is quite different from the Whistler-esque treatment of the artist’s earlier picturesof the same scene – also suggests. The brushwork in the foreground, with its recognisable impasto, also suggests a latish date ofexecution. The composition is very similar to that in Henry’s Landscape, c. 1934-8 (Kennedy, number 899), although the latter pictureis probably a scene in County Kerry. The Altan Lough composition is titled on a label on the stretcher, but is dated c.1933-4 on stylisticgrounds.

Dr. S.B. KennedyNovember, 2011

€40,000-€50,000 (£34,400-£43000 approx.)


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2299LLoouuiiss llee BBrrooccqquuyy HHRRHHAA ((bb..11991166))TINKER CHILDREN AT A FAIR, 1946signed lower right; with Dawson Gallery framing label on reversewatercolour with ink28 by 23cm., 11 by 9.25in.

Provenance:Acquired by private treaty through James Adam’s Saleroom, Dublin, 1978 by the present owner

The Tinker Period in le Brocquy’s oeuvre represents a very important and distinct body of work within the artist’s career to datespanning the years c.1945-1948. Tinker Children at a Fair is a striking early example of the artist’s interpretation of the travellingcommunity and captures aptly his enthusiasm and passion for their independent and inimitable way of life. It was the summerprevious to the execution of this work when le Brocquy first encountered the tinkers near Tullamore, County Offaly and like JohnMillington Synge and artists on the Continent such as Picasso, le Brocquy’s interest in this particular society was born out of a widerre-discovery and renewed interest in “primitive” cultures. However, for le Brocquy the tinkers came to symbolise more; theindividual’s struggle against ordered and settled culture and he drew parallels between their struggle and that of the artist. TinkerChildren at a Fair typifies the artist’s style from the period in colour and composition. The children, who dominate the work, allactively engage the viewer each with an inquisitive and lively gaze. The background comprises other figures; a horse and rider, and astationary male figure and cow, but these presences are cropped by the artist’s cut-off composition, rendering their presence in thework secondary to that of the children. The children carry sticks in their hands perhaps a reference to the ritual of sign making intinker culture.

Le Brocquy, in an interview with Yvonne Scott, 28 April, 2006, commented, “...People were always suspicious of them and they had tocontend with that and they had various ways of contending with it. Amongst others they made signs for each other when they leftthe sites. They left ‘twig’ signs behind them and some of these were of a prosaic kind, such as: there are some good chickens upthere in the bohereen - that kind of thing. But other signs were made to cast spells, so that local farmers hesitated to disturb them.”Testament to the artist’s continued advocacy for this isolated community is the recent use of images from his Tinker Period for thePavee Point Travellers Centre, Dublin 2007 calendar which was published in association with Ireland Embracing Cultural Diversity.Paintings from this period can be found in the collection of the Tate, London and the National Gallery of Ireland among others.

€20,000-€25,000 (£17,200-£21,500 approx.)


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3300MMaarryy SSwwaannzzyy HHRRHHAA ((11888822--11997788))WARwith studio stamp lower leftoil on canvas laid on board30 by 38cm., 12 by 15in.

With an unfinished scene of boats by water on reverse.

Mary Swanzy’s eclectic style drew on trends she discovered uponher many travels throughout her lengthy career spanning almosteighty years. This view stems from the latter years of WWII when thetone of her work adopted a distinct symbolic and fantastical edge. Itreflects a darker, moodier Swanzy contrasting greatly with her soft,rhythmic cubist landscapes. With its arresting use of colour andpowerful composition, both constants throughout her oeuvre, thispainting demands the viewer’s attention.

€2,000-€3,000 (£1,700-£2,550 approx.)

3311NNoorraahh MMccGGuuiinnnneessss HHRRHHAA ((11990011--11998800))FIGURE ON A BALCONY OVER A BEACHsigned with initials lower rightpastel, ink and coloured pencils20 by 28cm., 8 by 11in.

€700-€900 (£600-£770 approx.)

3322FFaatthheerr JJaacckk PP.. HHaannlloonn ((11991133--11996688))THE BIRDSsigned lower right; with title in pencil on reversewatercolour over pencil29 by 39cm., 11.5 by 15.5in.

€800-€1,000 (£690-£860 approx.)

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3344GGeerraarrdd DDiilllloonn ((11991166--11997711))COTTAGE AND COWbearing signature in pencil lowerright; with hand-written label onreverse detailing artist name andtitlewatercolour24 by 34cm., 9.5 by 13.25in.

Provenance:Dawson Gallery, Dublin; Private collection

The original frame and mount for thiswork accompanies this lot.

€2,000-€3,000 (£1,700-£2,600 approx.)


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3333GGeerraarrdd DDiilllloonn ((11991166--11997711))BATHERS, c.1951signed lower leftwatercolour24 by 32cm., 9.5 by 12.5in.

In 1951 Gerard Dillon visited Spain withartist George Campbell and his wifeMadge. For Campbell, the connectionhe made there was to have a lastingeffect on his style and subject matterand he forged an instant bond with thesouth of the country returning annuallyto the small fishing village of El Palo,outside Málaga.

For Dillon, the Mediterranean lightmade the greatest impression. Here thelight coupled with the subjects, theathletic standing figures, the Moorishlooking man seated on a canoe and acostumed female bather in thedistance, all point to a Continentalscene, most likely on the Costa del Sol.

€4,000-€5,000 (£3,400-£4,300 approx.)

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3355GGeerraarrdd DDiilllloonn ((11991166--11997711))GIRL ON BEACHsigned lower rightoil on hessian sackcloth56 by 66cm., 22 by 26in.

Provenance:Gifted to the previous owner’s mother c.1956; Whyte’s, 26 November 2007, lot 57; Whence purchased by the present owner

With a copy of a letter from James White to the present owner, dated 14 February 1994, in which he states that he had included it asBeach Scene in his catalogue, and noting the resemblance to Grey Beach (illustrated p. 56 of his book) and On the Beach (illustrated p. 57), both of which were painted on Inishlacken, off the coast of Roundstone, circa 1950-1. He might also with good reason havenoted the similarity in composition to Mid-day Rest, Inishlacken, c.1951 (fig. 1) in which a monumental figure reclines in theforeground.

This is one of a series of paintings by Gerard Dillon that depict figures in a beach setting. Like On the Beach, c.1950 and Stones on theBeach, c.1951-53 (CIÉ Collection) this work probably dates from the early 1950s, when Dillon spent periods painting in Connemara.These beach scenes are some of the most enigmatic images of Dillon’s oeuvre. In each case figures occupy a landscape that is boththe western seaboard and a marginal space where the laws of everyday life seem to falter.

In this image the barren beach setting concentrates attention on the three figures. While the man and woman in the backgroundappear to be engaged in conversation, the dark-haired girl, whose reclining body fills the foreground, twists her torso to gaze backout of the canvas towards the viewer. The man’s moustache, balding head and brightly coloured shirt resemble contemporarypictures of Dillon and suggest that this image is a self-portrait.

Self-portraiture and the inclusion of figures who address the viewer are recurring themes within Dillon’s art. Self-contained Flat, c.1953(Ulster Museum), contains three self-portraits, including one image of Dillon as the artist gazing out at his audience. This painting alsofeatures a reclining figure, a nude, whose long dark hair and twisted torso are reminiscent of Girl on Beach. While the figure in Self-contained Flat has been linked to the nude in Gauguin’s Manao Tu Tapu, the girl in this painting is more reminiscent of myth than arthistory.1 Despite the flat expanse of sand between them, the couple do not appear to notice her presence. It is not clear whether sheis visible to them or reserved for our eyes only.

In Irish legend the West coast is a site of contact between the world of men and the world of the Sidhe. Tír na nÓg, the land of youthwhere Oisín spent three hundred years, is perceived to be off the West coast and there are many tales of contact between mortalsand Selkies or Merrows, the bewitching Irish mermaids who would occasionally become trapped in human form. Whether or notDillon intended the mysterious figure in Girl on Beach to be interpreted as an otherworldly being, he certainly left the interpretation ofthis scene open, a sense that is enhanced by setting this picture in the wide open spaces of the western shoreline.

Dr. Riann Coulter

1 Gerard Keenan, ‘Farset and Gomorrah’, Honest Ulsterman, no. 57, 1977, pp. 84-5.

€30,000-€40,000 (£25,800-£34,400 approx.)


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Fig 1: Mid-day Rest, Inishlacken, c.1951, oil on board, 17 by 22.5in., Private collection

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3366DDaanniieell OO’’NNeeiillll ((11992200--11997744))FLOWER TREEsigned lower right; with inscribed labeldetailing title and provenance on reverseoil on board50 by 38cm., 19.75 by 15in.

Label on reverse reads: “Flower Tree; by DanO’Neill: oil on board. This was painted sometime inthe early 1950s and is one of a number ofcontemporary pictures on a similar theme. It wasamongst an assortment of paintings, sketches anddrawings given to and left with Sheilagh Deacon,the artist’s friend and model. On her death in 1980the painting came to Deacon’s sister of Woolwich,the [then] present owner. It has not previouslybeen shown or offered for sale.” Inscription datedMay 1996.

€5,000-€7,000 (£4,300-£6000 approx.)


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3377GGeerraarrdd DDiilllloonn ((11991166--11997711))THE BROTHERSsigned lower right inscribed [“To Dan / The Brothers” / Gerard Dillon”] on reverseoil on board with coloured pencil10 by 32cm., 4 by 12.75in.

Provenance:Family of Dan O’Neill;Private collection

This work shows the particular influence of Matissewith its bold use of colour and découpage-styletechnique.

€1,500-€2,000 (£1,300-£1,700 approx.)

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3388DDaanniieell OO’’NNeeiillll ((11992200--11997744))THE BEACHCOMBERSsigned lower left; faintly titled on reverseoil on board51 by 69cm., 20 by 27in.

€12,000-€15,000 (£10,300-£12,900 approx.)


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3399LLoouuiiss llee BBrrooccqquuyy HHRRHHAA ((bb..11991166))“...AND DISAPPEARED WITH A CURIOUS PERFUMEAND MOST MELODIOUS TWANG.”signed lower left; with poem inscribed in theright-hand margin; with poem printed andaffixed versopen and ink with gouache over pencil11 by 17cm., 4.5 by 6.75in.

Provenance:Private Collector Gallery, Cork; Private collection

Poem reads,“Anno 1670, not far from Cirencester, was an apparition; being demanded whether a good spirit or a bad? returned no answer, but disappeared with a curiousperfume and most melodious twang. Mr. W. Lilly believes it was a fairy.” John Aubery, “Apparition”, Miscellanies (1696)

John Aubery (1626-1697) was an English antiquary, naturalphilosopher and writer. Miscellanies was a collection oftwenty-one short chapters on supernatural phenomenaand the occult.

€2,000-€3,000 (£1,700-£2,600 approx.)


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4400JJaammeess DDiixxoonn ((11888877--11997700))THE SHEPHERD DRIVING HIS FLOCK TO THE EASTEND OF TORY ISLAND, 1967signed, inscribed and dated in pencil lower rightoil on paper55 by 74cm., 21.5 by 29in.

James Dixon was the first of the Tory Islanders to beginpainting, spurred on by the example of Derek Hill, who firstvisited the island c.1959. After watching Hill at work on aview of West End village, Dixon commented, “I think Icould do better”. Hill immediately offered the fishermanpaints, paper and brushes; although the latter were politelydeclined in favour of brushes that Dixon constructedhimself using donkey hairs. The majority of Dixon’ssubjects are local scenes and events on Tory such as thisone.

€2,000-€3,000 (£1,700-£2,600 approx.)

4411PPaattrriicckk PPyyee ((bb..11992299))PIPERSTOWN SANDPITS, 1973signed with initials and dated lower right; withtyped David Hendriks Gallery label on reversepastel43 by 65cm., 17 by 25.5in.

Provenance:David Hendriks Gallery, Dublin; Private collection

Exhibited:‘Patrick Pye’, David Hendriks Gallery, Dublin, 5-21September 1974, catalogue no. 8 [£90]

€600-€800 (£520-£690 approx.)

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4422PPaattrriicckk SSccootttt HHRRHHAA ((bb..11992211))STRAW MAN, c.1950signed lower rightcharcoal with pastel and wash on paper127 by 102cm., 50 by 40in.

€1,000-€1,500 (£860-£1,300 approx.)


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4433CCaammiillllee SSoouutteerr HHRRHHAA ((bb..11992299))THE NUN, 1956signed and dated lower right; with title printed in the mount lower right; inscribed with title, medium and address [Upper MountStreet] on label on reverseink and watercolour on Japanese paper58 by 39cm., 23 by 15.25in.

Provenance:Formerly in the Collection of Sir Basil Goulding;Private collection

Exhibited:‘Irish Exhibition of Living Art’, 1957, no. 58; ‘Two Painters’, 1965, no. 1

Literature:Cormican, Garrett, Camille Souter, The Mirror in the Sea, Whyte’sDublin, 2006, catalogue no. 26, p.216

This painting may have also been exhibited in El Habano Restaurant under thetitle Two Nuns. Its whereabouts until now had been unknown to author GarrettCormican. The reference to Mount Street on reverse would date this work tothe latter half of 1956 as, some months after July, Cormican notes a change ofaddress for the artist and her family. The move to Upper Mount Street broughtSouter into a dense artistic community, “Nearly every painter and writer livedbetween Mount Street, Herbert Street, Upper and Lower Fitzwilliam Street andLesson Street before they were all done up for business. It was an artistic hub.One knew everybody…. Anne Yeats, Patrick Hickey, Patrick Pye, Patrick Collinsand, for a time, Charles Brady were all virtually next-door neighbours.”

€6,000-€8,000 (£5,200-£6,900 approx.)

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4433AALLoouuiiss llee BBrrooccqquuyy HHRRHHAA ((bb..11991166))RECONSTRUCTED HEAD OF A YOUNG WOMAN, 1968signed, inscribed and dated on reverse; also with original exhibition label on reverseoil on canvas100 by 100cm., 40 by 40in.

Provenance:Gimpel Fils Gallery, London; Taylor Galleries, Dublin;Whence purchased by the present owner in 1989

Exhibited:’Louis le Brocquy: Recent Paintings’, Gimpel Fils Gallery, London, 1-26 October 1968, andGimpel and Hanover Galerie, Zurich, 10 January – 12 February, catalogue no. 29 (illustrated in catalogue)

Artist’s archival no. 217Louis le Brocquy has long been interested in the ancient Celtic conception of the human skull as a “magic box that holds the spiritprisoner”. This idea first stirred his imagination during a visit in 1964 to the Musée de l’Homme in Paris, where he was intrigued by acollection of Polynesian heads modelled in clay and decorated with vegetable paints and cowrie shells. Some months later he visitedthe archaeological site of Entremont, near Aix-en-Provence, where he sketched the remains of Celtic steles (or commemorativestones) carved with symbolic ancestral heads. As Dorothy Walker has observed, this encounter with the artist’s “own vestigial culture”– that of the Celtic people – “strengthened and brightened the personal revelation of the Oceanic heads”. Le Brocquy set to work ona series of ancestral heads, adding to the “double revelation” of the Oceanic and Celtic heads his own “vivid sense of the loneliness ofPalaeolithic man” (Dorothy Walker, Louis le Brocquy, Ward River Press, 1981, p. 44).

With Louis le Brocquy, and particularly the head series, the iconography of the Neolithic temple of Entremont in France and the cultof the severed head, is equally pertinent to Willem de Kooning’s interest in ancient fetishes of the female deity. Le Brocquy’s body ofwork with the head, which has been a source of exploration and engagement for him, has direct parallels to the head of de Kooning’spainting in Woman (MoMA, New York). The discovery in Paris of the decorated craniums from ancient cultures by le Brocquy in 1964was a seminal moment in his practice as an artist. This paralleled the momentous epoch in New York, where the European avant-garde had been in exile through WWII, and out of which had developed Abstract Expressionism or the New York School.

Like Bacon, de Kooning decided to continue the exploration of body in space and the iconographic aspects of its physical presenceas a motif, and integrate the apparent extremes of paint and application into a more formally constructed but deliberately evisceratedsurface quality. The paint has its own internal dynamic, as in abstraction, but the consideration of the motif has a challenging identitywhich responds to our historical relationship with classical western art and ancient symbolism.

It is this parallel tradition to late modernist abstraction that placesLouis le Brocquy’s work of this period succinctly within thetradition of Bacon and de Kooning. The brushstrokes emote asense of deconstructed internal dialogue, yet succinctly articulatean image: the human head.

Ciarán BennettPollock Krasner Research Fellow, New York

€50,000-€70,000 (£43,000-£60,200 approx.)


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4444SSeeáánn MMccSSwweeeenneeyy HHRRHHAA((bb..11993355))BOGLAND FIELD, 1996signed and dated in pencil lowerleft; signed again and with title onreverse; with typed Taylor Gallerieslabel on reverseegg tempera on paper56 by 76cm., 22 by 30in.

Provenance:Taylor Galleries, Dublin; Private collection

Exhibited:‘Seán McSweeney’, Taylor Galleries,Dublin, c.1998, catalogue no. 48

€2,500-€3,500 (£2,200-£3000 approx.)

4455SSeeáánn MMccSSwweeeenneeyy HHRRHHAA ((bb..11993355))DANNY MAC’S, 1994signed and dated [194] lower left;inscribed with title, signed and dated on reverseacrylic on paper33 by 50cm., 13 by 19.5in.

Provenance:Taylor Galleries Dublin; Whence purchased by the present owner

Exhibited:’Seán McSweeney’, Taylor Galleries Dublin, December 1994 toJanuary 1995, catalogue no. 31

€1,500-€2,000 (£1,300-£1,700 approx.)

4466SSeeáánn MMccSSwweeeenneeyy HHRRHHAA ((bb..11993355))SHORELINE, SLIGO, 1992signed and dated in pencil lower right; with typed FrederickGallery label on reverseoil over watercolour with pencil on paper13 by 19cm., 5 by 7.5in.

Provenance:Frederick Gallery, Dublin;Private collection

Exhibited:Frederick Gallery, Dublin, October, 1995, catalogue no. 8

€600-€800 (£520-£690 approx.)

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4488TToonnyy OO’’MMaalllleeyy HHRRHHAA ((11991133--22000033))UNTITLED ABSTRACT (BLUE), 1968signed and dated lower rightwatercolour, crayon and ink on paper23 by 28cm., 9 by 11in.

Exhibited:Peterloo Gallery, Manchester, c.1968, catalogue no. 41

Both lots 48 & 49 were painted at the Ship Studio, St. Ives, Cornwall.

€1,000-€1,500 (£860-£1,300 approx.)

4499TToonnyy OO’’MMaalllleeyy HHRRHHAA ((11991133--22000033))UNTITLED ABSTRACT (GREEN), 1968signed and dated lower rightwatercolour, crayon, gouache and ink on paper23 by 28cm., 9 by 11in.

Exhibited:Peterloo Gallery, Manchester, circa 1968, catalogue no. 40

€1,000-€1,500 (£860-£1,300 approx.)


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4477TToonnyy OO’’MMaalllleeyy HHRRHHAA ((11991133--22000033))LA GRACIOSA, 1989signed with initials lower left; dated lower right; with typedTaylor Galleries label on reverse; also with photocopiedimage affixed on reverse indicating the artist’s archivalnumber [6296] beneath the backing boardoil on board with collage element15 by 30cm., 6 by 11.75in.

Provenance:Taylor Galleries, Dublin; Private collection;

La Graciosa (Spanish for graceful) is a Volcanic Island in the CanaryIslands located 2km north of Lanzarote. In 1973 O’Malley married hisartist wife, Jane Harris, and together they made regular visits to theisles of Sicilly, the Bahamas and the Canary Islands.

€2,000-€3,000 (£1,700-£2,600 approx.)

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5500TTeerreennccee PP.. FFllaannaaggaann RRHHAA PPPPRRUUAA ((11992299--22001111))MORNING IN THE MOUNTAINS, 1982signed lower right; with inscribed Caldwell Gallerieslabel on reverse; with title and date on reversewatercolour56 by 76cm., 22 by 30in.

Provenance:Tom Caldwell Gallery, Belfast; Private collection

Exhibited:‘New Watercolours by TP Flanagan’, Tom CaldwellGallery, Belfast, 18 May -14 June 1982, exhibition no. 1,as Distant Islands, [£630] (illustrated in colour onexhibition invitation and on cover of exhibition listing)

€2,000-€3,000 (£1,700-£2,600 approx.)

5511TTeerreennccee PP.. FFllaannaaggaann RRHHAA PPPPRRUUAA ((11992299--22001111))TREE LINED AVENUE, 1985signed and dated lower right; with blind stamp [BWSPaper] lower rightwatercolour54 by 76cm., 21.25 by 30in.

Possibly a view of the avenue at Lissadell House, Co. Sligo, thechildhood home of Countess Constance Markievicz and her sisterEva Gore Booth, immortalised in the arts through the work of W.B.and Jack Yeats among others.

Views of the house and lands were painted by T.P. Flanagan in the1980s and variously exhibited at the David Hendriks Gallery,Dublin.

€2,000-€3,000 (£1,700-£2,600 approx.)

5522TTeerreennccee PP.. FFllaannaaggaann RRHHAA PPPPRRUUAA ((11992299--22001111))LANDSCAPE WITH TREES, 1983signed lower rightwatercolour53 by 73cm., 20.75 by 28.75in.

€2,000-€3,000 (£1,700-£2,600 approx.)


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5544TTeerreennccee PP.. FFllaannaaggaann RRHHAA PPPPRRUUAA ((bb..11992299))CORNER OF A GARDEN, 1985signed and dated lower rightwatercolour32 by 19cm., 12.5 by 7.5in.

Provenance:The Estate of John Green, Belfast

€600-€800 (£520-£690 approx.)

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5533TTeerreennccee PP.. FFllaannaaggaann RRHHAA PPPPRRUUAA ((11992299--22001111))HOLY WELL ON THE ISLAND OF INISHMURRAY, COUNTYGALWAY, c.1981signed lower right; with label on reversewatercolour74 by 53cm., 29 by 20.75in.

From a series of works on the Holy Well.

€2,000-€3,000 (£1,700-£2,600 approx.)

5555TTeerreennccee PP.. FFllaannaaggaann RRHHAA PPPPRRUUAA((11992299--22001111))A LARGE DEMESNE, 1980signed and dated lower rightwatercolour55 by 75cm., 21.5 by 29.5in.

Possibly a view of Lissadell House, Co. Sligo.

€2,000-€3,000 (£1,700-£2,600 approx.)

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5566PPaauulliinnee BBeewwiicckk RRHHAA ((bb..11993355))RROOOOKK,, OOAAKK AANNDD HHOORRSSEE ((DDIIPPTTYYCCHH)),, 11998855signed upper left and lower right; dated lower right [November 1984and October 1999]; bearing original typed artist’s label and labeldetailing medium on reversewatercolour and acrylic on hand-made paper; (diptych)117 by 80cm., 46 by 31.5in.

Literature:White, James, Pauline Bewick, Painting a Life, Wolfhound Press, Dublin,1985, p.152-153, plate no. 47 (full-colour illustration p.142)

Inscribed lower right ‘[November 1984 and later more work on this in October 1999]Diptych’. Contained in ornate frame with hand-carved and painted oak leaves at eachcorner.

James White’s text, published the same year this work was executed, reflects in detailon this painting.

“What tend to be regarded as her most dynamic and striking works are those whichengage the more violent conflicts in nature. The vibrant Rook, Oak and Horses is adiptych and it brings together those elements with which Pauline has been in touchalmost all her life. The main figures are dealt with in detail. The oak tree is the one atthe end of her garden, its pattern of leaves is outlined in several shades of green andgrey; up it the honey suckle climbs for support. The horse in the centre bares histeeth in a malevolent gesture as he chews at a spray of honeysuckle and he looks upat the rook, wings outstretched as it clatters back threateningly at the horse andchews acorns from the tree. As in certain of her sexual pictures, Pauline seemsexcited by these expressions of noise and activity, as well as irritated by their poses ofaggression. She makes a dramatic contrast between the two. Within the head of thehorse and the bird, both painted in close-up, she has devised patterns of contrastingtones of colour, in the cubist manner, which add to the sense of energy she wishes togenerate.” 1

1 White, James, Pauline Bewick, Painting a Life,Wolfhound Press, Dublin, 1985, p.152-153

€6,000-€8,000 (£5,200-£6,900 approx.)


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5577EEddwwaarrdd MMccGGuuiirree RRHHAA ((11993322--11998866))OWL II, 1972signed and dated lower right; with inscribed Dawson Gallery label and typed RHA labels on reverseoil on canvas91 by 64cm., 36 by 25in.

Provenance:Dawson Gallery, Dublin; John Stafford (Co-editor, Martello); Collection of Terry Keane; Thence by Descent

Exhibited:‘Oireachtas’, 1973, catalogue no. 37 (nfs); RTE film, 1977; ‘Memorial Section’,RHA, Dublin, 1988, catalogue no. 245; ‘Retrospective Exhibition’, RHA, Dublin,30 October - 17 November 1991, catalogue no. 23

Literature:Murray, Hayden, Edward Maguire [sic] - A Profile, The Arts in Ireland. Vol. 2,1974, pp.38-50, illustrated p.42; Collins, Penelope, An Appreciation of EdwardMcGuire, Martello, Sageston Ltd., Dublin, 1988, pp.15-17, p.17 (illustrated);Fallon, Brian, Edward McGuire, RHA with a catalogue by Sally McGuire andPoems & Memoirs, Irish Academic Press, Dublin, 1991, catalogue no. 52, p.120(listed) (illustrated)

Owls have always had a recurring presence in McGuire’s oeuvre whetherthey are the dominant subject or an accessory to a portrait or still life. Hisinterest in these creatures can be traced to the early 1950s when hepurchased a stuffed owl, a lapwing and duck from a Mr. Williams in theNatural History Museum for 5 shillings apiece. Decades later he wrote: “Owlhas been with me for thirty years. He is my favourite sitter, my friend. Owl isdead”.1

These ill-fated fowl were a constant for McGuire, so perfect in their stillnessthey never appear life-less but rather aristocratic and tranquil. His carefulcraftsmanship and hyper-realistic attention to detail is what attracts the eye,but what is not so obvious is how deep-rooted his meticulousness goes. Inhis foreword to Brian Fallon’s text on the artist, James White highlightsMcGuire’s insistence on quality; how he carefully selected his materials,shunning the convenient ready-made in favour of custom-made resourcesof a superior standard. This demand for excellence together with his minuteattention to detail and colour has propelled McGuire’s legacy firmly into theMuseum worthy category where already his many portraits, among themSeamus Heaney, can be found in the collection of the Ulster Museum, Belfastand the National Gallery of Ireland.

1 Gallagher Patrick, ‘Mysterious Presence of Owls’, The Sunday Independent,

3 November 1991

€12,000-€15,000 (£10,300-£12,900 approx.)


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Edward McGuire, Sandycove, 1972Photograph by Jonathan Harsch, from thefrontispiece to Edward McGuire, RHA by Brian Fallon

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5588RRoobbeerrtt BBaallllaagghh ((bb..11994433))INSIDE NO. 3 AFTER MODERNISATION, 1982signed right of centre [in notebook on table]; with Arts Exchange, Madison, Wisconsin exhibition label on reverse [inscribed“Lent by the artist”]; also with inscribed label detailing title on reverseacrylic and oil on canvas213 by 152cm., 84 by 60in.

Exhibited:‘No. 3: A Series of Paintings by Robert Ballagh’, David Hendriks Gallery, Dublin, 11 March - 2 April, 1983; ‘Divisions, Crossroads,Turns of Mind: Some New Irish Art’, curated by Lucy Lippard, toured US 1985-87; ‘Robert Ballagh: The Complete Works’,Arnotts, Dublin, February 1992; RHA Retrospective, 15 September - 20 October, 2006

Literature:Carty, Ciarán, Robert Ballagh, Magill, Dublin, 1986, p.222 (listed), (full-page illustration) (republished, 2010 in limited editionbox-set with Robert Ballagh: Citizen Artist); Carty, Ciarán and Kiberd, Declan, Robert Ballagh - Artist and Designer, ARetrospective, Zeus, Dublin, 2006, p.97 (listed), p.74 (full-page illustration); Robert Ballagh, Works from the Studio 1959-2006,Gorry Gallery & Damien Matthews, Dublin, 2006, catalogue no. 63, p.80 (giclée print, illustrated); Carty, Ciarán, Robert Ballagh:Citizen Artist, Zeus, Dublin, 2010, p.173 (full-page illustration)

One afternoon in May 1982, I climbed several flights of stairs to Robert Ballagh’s attic studio overlooking Dublin’s City Hall. I expected to find himworking on Upstairs No. 3 which was to be the final picture in a series of four paintings featuring his home at 3 Temple Cottages, an artisan’sdwelling near the Four Courts where he lived with Betty Carabini. The series, an articulation of the process by which art happens, was suggested byearlier attempts in My Studio, 1969 and Studio with a Modigliani Print to deal directly with his own personal environment.

The initial No. 3 painting in 1977, depicting his family outside their home in a conventional manner structured within the traditional framework ofRenaissance perspective, was a radical change in style. The very ordinariness of the setting was a statement on the role of art and the artist in late20th century society. Art was not for art’s sake as Modernism had decreed. Like everything else it was a social product. Its integrity depended on itsability to respond honestly and accurately to the artist’s experience. Ballagh was reconnecting with a tradition that never died and that continuedthrough the modernist era with painters like Balthasar Klossowski (Balthus), David Hockney, Edward Hopper and Lucien Freud.

Two years later Inside No. 3 brought us inside his home showing Betty on their spiral stairway, a recurring theme in Western painting inspired byMarcel Duchamp’s Nude Descending a Staircase. It defied the conventional architectural perspective of his previous paintings by using severalvanishing points to achieve the effect of pulling the eye around in a circular motion, as with a fisheye lens, symbolising the turning round of hisown approach to painting.

Upstairs No. 3, reluctantly put to one side for a portrait of Charles Haughey, was to complete the No. 3 series: this time reversing roles with a nudeBallagh coming up the stairway into a bedroom where a reclining Betty reads a pillow book of Japanese erotic art. His intention was to overturnthe tradition in Western art of the female nude, frontally exposed to the viewer as an object, something to be admired and owned.

But this was not the work in progress on his easel confronting me that day. The redecoration of the interior of their house prompted a visual punhe couldn’t resist on the situation of contemporary art after Modernism. Taking shape amid scaled preparatory drawings and stacks of black andwhite photographs strewn on his work bench was a self-portrait showing him seated at a table in his changed room with a book titled AfterModernisation, and a copy of Das Kapital nearby providing a reminder of the social responsibility of the artist. The figure was painted in a realistmanner, but the room around it was a plethora of styles. A Jackson Pollock pastiche provided a splurge of abstract expressionism. Leopard-skincovers echo the punk imagery of his kitsch show in the 1971. The number 3 in the top corner was pure Art Deco. The furniture was delineated withthe formalist black line he once shared with Patrick Caulfield. The whole composition had a Cubist tilt, relating the idea of modernising a home tothe whole concept of post-Modernism. The plurality of styles reflected and perhaps satirised the reality artists were then experiencing: no longerunder the pressure to fit in with any particular ‘ism’ they could draw on all sorts of different influences to make images they considered relevant.

On a purely practical level, Inside No. 3 After Modernisation was a break from the minutely detailed work of his celebrated portraits: here he couldagain use acrylics and work in bold shapes and colour. Within months, he also painted the much-delayed Upstairs No. 3 and in 1989 Upstairs No. 4:The Studio – after he acquired the cottage next door as a studio - to complete a series that would confirm his ground-breaking position in Irish art.

Ciarán CartyDublin, November 2011

€50,000-€70,000 (£43,000-£60,200 approx.)


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5599RRoobbeerrtt BBaallllaagghh ((bb..11994433))PORTRAITS OF THE LEADERS OF THE 1916 RISING (SET OF SEVEN)each signed and dated [1996] lower right; with leaders’ namesprinted lower centre; each numbered [1-7] on reversepencil33 by 24cm., 13 by 9.5in.

Provenance:Collection of the Druids Glen Resort, Newtownmountkennedy, Co. Wicklow

The leaders portrayed include, Thomas J. Clarke, Seán MacDiarmada, ThomasMcDonagh, Pádraig H. Pearse, Eamonn Ceannt, James Connolly and JosephPlunkett. All framed and mounted uniformly.

Commissioned by Hugh (“Hugo”) Flinn, who had a passionate interest inmodern Irish history. Hugh V. Flinn, (1922-2010) founder of the Ireland Institute,international engineering concern, the PW Group, and the Druids Glen Resort,was the son of a well known Fianna Fáil politician Hugo Flinn, who was firstelected to the Dáil in 1927 and served as Parliamentary Secretary in a number ofEamon de Valera’s administrations.

€8,000-€10,000 (£6,900-£8,600 approx.)

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6600RRoobbeerrtt BBaallllaagghh ((bb..11994433))PORTRAIT OF EAMON DE VALERAsigned lower right; with subject’s name printed lower centrepencil30 by 23cm., 11.75 by 9in.


€1,500-€2,000 (£1,300-£1,700 approx.)

6611RRoobbeerrtt BBaallllaagghh ((bb..11994433))PORTRAIT OF JOHN COSTELLOsigned lower right; with subject’s name printed lower centrepencil29 by 23cm., 11.5 by 9in.


€1,500-€2,000 (£1,300-£1,700 approx.)

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6622RRoobbeerrtt BBaallllaagghh ((bb..11994433))BATTLE OF THE BOGSIDE, PORTRAIT OF BERNADETTE DEVLIN, 1999signed with initials [RB] and dated [1999] within image of bullhornlower centreoil on canvas laid on board; (lunette)36 by 81cm., 14 by 31.75in.

Provenance:Collection of the Druids Glen Resort, Newtownmountkennedy, Co.Wicklow

Exhibited:‘Robert Ballagh - Artist and Designer, A Retrospective’, RHA, Dublin, 15September - 22 October, 2006, catalogue no.32

Literature:Carty, Ciarán and Kiberd, Declan, Robert Ballagh - Artist and Designer, ARetrospective, RHA, Dublin, 2006, p.64 (illustrated) Carty, Ciarán, RobertBallagh - Citizen Artist, Zeus Media Publishing, Dublin, 2010, p.84referenced.

In the text Citizen Artist (p.84) the author notes Ballagh’s use of the, “...half circle, orlunette - to portray Bernadette Devlin, iconic leader of 1968 Civil Rights marches. Sheis shown here leaning forward, clutching a bull-horn in her fist. Behind her it ispossible to make out details that evoke the Battle of the Bogside of 1969: Some B-Specials approaching a group of youths and graffiti on a wall proclaiming ‘You AreNow Entering Free Derry”.

Bernadette Devlin was born in Cookstown, Co. Tyrone in 1947. As a student atQueen’s University Belfast she was a prominent member of People’s Democracy, acivil rights organisation. She was excluded from Queen’s because of her anti-establishment activities. In 1969 she was elected as “Unity” Member of Parliament forMid Ulster, becoming the youngest representative at Westminster at the time, andstill holds the record as the youngest female MP ever. Unlike traditional republicansshe took her seat and took a very active part in debates about Northern Ireland andsocial issues. She once, famously, in the House of Commons, punched the HomeSecretary, Reginald Maudling, after he claimed that British troops were acting in selfdefence on “Bloody Sunday” in Derry in1972.

She was jailed for incitement to riot in 1969. In 1970 she was re-elected as anindependent socialist to Westminster. She married Michael McAliskey in 1973. In1974 she was, with Seamus Costello, a founder member of the Irish RepublicanSocialist Party (IRSP), a splinter group from Official Sinn Féin. Having served on theIRSP executive she resigned in 1975 and joined the Independent Socialist Party in1977 but it disbanded in 1978. She was a leading activist for the “Smash the H BlocksCampaign” and the Hunger Strikers. In 1981 she and her husband were attacked intheir home by members of the Ulster Defence Association. Despite suffering severalgunshot wounds the couple survived.

Bernadette Devlin McAliskey is currently involved in social issues in Northern Irelandincluding immigrant workers’ rights and empowerment of minority groups.

€8,000-€10,000 (£6,900-£8,600 approx.)

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6633RRoobbeerrtt BBaallllaagghh ((bb..11994433)) aanndd JJoosseepphh EE.. KKeellllyy ((bb..11993366))DRUIDS GLEN (FIVE GOLFING SCENES)watercolour and oil on paper39 by 108cm., 15.5 by 42.5in.

Provenance:Collection of Druids Glen Resort, Newtownmountkennedy, Co. Wicklow

All framed and mounted uniformly. We are grateful to the artist, Robert Ballagh, for his assistance in cataloguing these scenes which were comissioned by Druids Glen former owner, HugoFlinn and later reproduced as limited edition prints which have been gifted to celebrated members of the golfing world over the years.

Druids Glen owner Hugo Flinn presented his designers Pat Ruddy and Tom Craddoch with the brief: “Build me the finest parkland course in Ireland,whatever the cost”. The course is certainly in a league with heavyweights such as the K Club, Mount Juliet or Fota Island. Only opened in 1995, it had beenchosen as the venue for the Murphy’s Irish Open in 1999. In 2000 Druids Glen won the European Golf Course of the Year award. Nestling between the IrishSea and the Wicklow Mountains, the course enjoys an abundance of wildlife as it takes centre stage in the Garden County of Ireland. It is a magnificent,undulating and well-wooded parkland course and well deserving of its label as Europe’s answer to Augusta. The liberally distributed water hazards,bunkers and the length of the course make this a challenging test for golfers. Druids Heath is a spectacular new addition to the already impressive DruidsGlen and opened in September 2003, with the front nine overlooking the Irish Sea and the back nine nestling in the Wicklow Mountains. Rolling fairways,natural rock quarries, lakes, trees, streams, gorse, pot bunkers and gently undulating greens are just some of the characteristics of this is links styleheathland course. With an incredible 275 yards, it boasts one of the world longest Par 3s.

€12,000-€15,000 (£10,300-£12,900 approx.)


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6644RRoobbeerrtt BBaallllaagghh ((bb..11994433))SILICON SUITE, I, II, III, 1986each signed, numbered and dated in the lowermarginsilkscreen and etching on copper plate (no.26from an edition of 286)61 by 97cm., 24 by 38in.

James Gorry, in the exhibition catalogue for `RobertBallagh - Works from the Studio 1959-2006’, describesthese pieces as follows, “...Silicon Suite is a threefoldmeditation on the potentially destructive imbalance inWestern Culture between science and creativity but alsoa reflection on Ireland’s contribution to Technology andArt. The Ambidextrous Paradigm (Suite III), whosesomewhat tongue-in-cheek title alludes to the so calledopposition of functions in the left and right of the humanbrain, ingeniously and provocatively juxtaposes imagessuch as Einstein’s Head, a music sheet by Bach and anuclear mushroom cloud seen at the end of a series ofclassical, piranesian arches.

€1,200-€1,500 (£1,030-£1,300 approx.)

The Plough and the Stars

The Global Embrace

The Ambidextrous Paradigm


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6655JJiimm FFiittzzppaattrriicckk ((bb..11994466))STRANGE DAYS [PORTRAIT OF SINÉAD O’CONNOR], 2003signed, inscribed and dated upper left; also signed on reverse by Sinéad O’Connoroil on canvas122 by 183cm., 48 by 72in.

Provenance:Collection of Sinéad O’Connor; Whyte’s, 22 February 2005, lot 226; Private collection

This portrait of singer-songwriter Sinéad O’Connor was originally commissioned for a Dublin nightclub, Lillie’s Bordello, thatwas being refurbished due to a fire, but was ultimately purchased by the sitter. Compositionally it references RodericO’Conor’s Reclining Nude (NGI) – in turn a tribute to Velázquez’ Rokeby Venus. The view through the window shows thePigeon House area of Dublin, an area of particular significance for O’Connor, and was included at her request. JimFitzpatrick is a Dublin born painter and graphic designer whose work draws strongly on Ireland’s Celtic mythology. For thepast thirty years his work has become familiar to many in the form of posters, book jacket designs and album covers. Hehas also written and illustrated numerous books and designed a stained-glass window for Bewley’s Café‚ in Mary Street,Dublin. His murals in Captain America’s restaurant in Dublin are now a city landmark and he created the graphicreproduction of Alberto Korda’s photograph of Ché Guevara that has become a worldwide icon. He has long been a friendof O’Connor’s and designed the cover of her album, Faith and Courage, which was released in June 2000.

€10,000-€15,000 (£8,600-£12,900 approx.).)

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6666WWiilllliiaamm CCrroozziieerr HHRRHHAA ((11993300--22001111))STILL LIFE WITH BLUE POLKA DOT VASE ANDGREEN FLUTE VASE, 2002signed and dated in pencil lower leftwatercolour with gouache and gold paintover crayon on paper28 by 38cm., 11 by 15in.

€1,000-€1,500 (£860-£1,300 approx.)

6677WWiilllliiaamm CCrroozziieerr HHRRHHAA ((11993300--22001111))GARDEN, 1997signed and dated in pencil lower left; withtyped label detailing title and cataloguenumber [13] affixed on reversegouache on paper37 by 37cm., 14.5 by 14.5in.

€1,000-€1,500 (£860-£1,300 approx.)

6688WWiilllliiaamm CCrroozziieerr HHRRHHAA ((11993300--22001111))DRAWING, No. 17, 2005signed and dated lower leftoil bar on paper28 by 33cm., 11 by 13in.

Provenance:Fenton Gallery, Cork; Private collection

€800-€1,200 (£690-£1,030 approx.)


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6699WWiilllliiaamm CCrroozziieerr HHRRHHAA ((11993300--22001111))AUTUMN GARDEN, LISHEEN, WEST CORK,2008signed and dated on reverse; with title andinscribed Hillsboro Fine Art label also onreverseoil on canvas36 by 46cm., 14 by 18in.

Provenance:Hillsboro Fine Art, Dublin; Private collection

€4,000-€5,000 (£3,400-£4,300 approx.)

7700WWiilllliiaamm CCrroozziieerr HHRRHHAA ((11993300--22001111))THE ISLAND, 1994signed and dated lower right; with title onreversewatercolour57 by 75cm., 22.5 by 29.5in.

Provenance:Private Collector Gallery, Cork; Private collection

€4,000-€5,000 (£3,400-£4,300 approx.)

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7711AAnnnnee MMaaddddeenn ((bb..11993322))AURORA BOREALIS, I, II & III, 2005each signed in pencil in the margin lower right; inscribed [A/P] lower left;with typed Taylor Galleries label on reversecarborundum print; (all artist’s proofs)67 by 47cm., 26.5 by 18.5in.

Provenance:Taylor Galleries, Dublin; Private collection

Sheet size, 35.5 by 26ins. Each mounted and framed uniformly.

€1,500-€2,000 (£1,300-£1,700 approx.)

7722SSeeaann SSccuullllyy ((bb..11994455))PARIS RED WALL, 2004signed and dated lowerright; titled centre;numbered lower leftlithograph (no. 34 fromedition of 40)76 by 93cm., 30 by 36.5in.

€3,000-€4,000 (£2,600-£3,400 approx.)


,

55

7733PPaattrriicckk SSccootttt HHRRHHAA((bb..11992211))GOLD PAINTING 7/92signed and with title onreversegold leaf and tempera oncanvas61 by 61cm., 24 by 24in.

Provenance:Estate of James O’DriscollS.C.

€5,000-€7,000 (£4,300-£6,000 approx.)

7744CCiiaarráánn LLeennnnoonn ((bb..11994477))HAPAX IX, 1999signed, titled and dated on reverse; also with inscribedHillsboro Fine Art label on reverseacrylic on canvas33 by 30cm., 13 by 12in.

Provenance:Hillsboro Fine Art, Dublin;Private collection; Morgan O’Driscoll, 8 February 2010, lot 41; Private collection

€1,000-€1,500 (£860-£1,300 approx.)

56


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7755DDoonnaalldd TTeesskkeeyy RRHHAA ((bb..11995566))PORTMAGEE, COUNTY KERRYsigned lower left; with title on reverseoil on paper34 by 40cm., 13.5 by 15.75in.

€2,500-€3,500 (£2,200-£3000 approx.)

7766PPeetteerr CCoolllliiss RRHHAA ((bb..11992299))COASTAL LANDSCAPE BY MOONLIGHTsigned lower left; with Combridge Fine Arts label on reverseoil on canvas76 by 81cm., 30 by 32in.

€2,000-€3,000 (£1,700-£2,600 approx.)

7777RRiicchhaarrdd KKiinnggssttoonn RRHHAA ((11992222--22000033))CAUSEWAY SUNRISE FROM ANTRIM COASTsigned lower right; signed again and titled on reverseoil on board43 by 51cm., 17 by 20in.

€1,500-€2,000 (£1,300-£1,700 approx.)


,

57

7788DDoonnaalldd TTeesskkeeyy RRHHAA ((bb..11995566))TRAIN STATION AT DÚN LAOGHAIRE, 2002signed lower right; with title inscribed on reverseoil on canvas81 by 102cm., 32 by 40in.

Provenance:Rubicon Gallery, Dublin;Private collection;Taylor Gallery, Belfast;Private collection

€8,000-€10,000 (£6,900-£8,600 approx.)

58


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7799JJoohhnn BBeehhaann RRHHAA ((bb..11993322))CAMEL, c.1980bronze; (unique)33 by 241cm., 13 by 95in.

€2,000-€3,000 (£1,700-£2,600 approx.)

8822SSaannddrraa BBeellll ((bb..11995544))LOVING CUP, 2001signed with initials, dated and numbered atthe basebronze; (no. 1 from an edition of 8)25 by 10cm., 10 by 4in.

€1,000-€1,500 (£860-£1,300 approx.)

8800SSoonnjjaa LLaannddwweeeerr ((bb..11995522))ROSEBUDbronze with green patina on black wooden base19 by 13cm., 7.5 by 5in.

Provenance:Greenacres Galleries, Wexford; Private collection

Exhibited:’Sonja Landweer and Liam Roberts’,Greenacres, Wexford, 14 May 2009,catalogue no. 22

€600-€800 (£520-£690 approx.)

8811GGeerraarrdd DDiilllloonn ((11991166--11997711))HEAD OF MOLLY, THE ARTIST’S SISTERsigned at basebronze on a black marble plinth32 by 15cm., 12.5 by 6in.

Dimensions of base 3 by 4ins. Dillon is thought to have cast three examples inbronze of Molly from the original in terracotta.Nine years older than her brother, Molly Dillonworked as a young girl in a cloth mill in Belfast.In the 1930s she moved to London, where sheand Gerard shared a flat in Alexander Road, StJohn’s Wood. There she worked as a dressmakerand eventually bought a house in Abbey Road,London, the basement of which she rented toher brother. The Abbey Road house was aregular haunt of many artists and writers, not tomention Molly’s menagerie of stray cats anddogs, until London Borough Council ordered itdemolished in 1963.

€3,000-€4,000 (£2,600-£3,400 approx.)


,

59

8833JJoohhnn CCooeenn ((bb..11994411))FIGURES UNDER A CANOPY OF LEAVESbronze36 by 27cm., 14 by 10.5in.

Provenance:Aer Rianta Arts Festival Dublin;Where acquired by the present owner

Exhibited:’Gateway to Art’, Aer Rianta Arts Festival DublinAirport, c.late 1990s

Dimensions of base 9.5 by 13ins.

€800-€1,000 (£690-£860 approx.)

8844MMeellaanniiee llee BBrrooccqquuyy HHRRHHAA ((bb..11991199))ADMIRING ART, c.1996signed and numbered at the base; also bearing foundry stamp[DAF 96] at the basebronze; (no. 4 from an edition of 6)30 by 25cm., 12 by 9.75in.

Provenance:Aer Rianta Arts Festival Dublin;Where acquired by the present owner

Exhibited:’Gateway to Art’, Aer Rianta Arts Festival Dublin Airport, c.1996

Dimensions of base 5 by 10ins.

€1,500-€2,000 (£1,300-£1,700 approx.)

8855MMeellaanniiee llee BBrrooccqquuyy HHRRHHAA ((bb..11991199))FIGURATIVE GROUPsigned with initials and numbered on reversebronze on granite base; (no. 1 from an edition of 6)22 by 18cm., 8.5 by 7in.

Dimensions of base 4 by 8ins.

€1,500-€2,000 (£1,300-£1,700 approx.)

60


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8866SSeeaammuuss MMuurrpphhyy RRHHAA ((11990077--11997755))DEATH MASK OF PATRICK KAVANAGH (1904-1967), 1967with engraved brass plaque affixed to support with subject’sname and datesplaster; (mounted on oval wooden support)25 by 17cm., 10 by 6.5in.

Provenance:Collection of artist, Liam Proud (1920-1995); Thence by descent

Exhibited:‘The Work of Seamus Murphy, Sculptor (1907-1975)’, DouglasHyde Gallery, Trinity College, Dublin, 2 December - 5 January1983, catalogue no. 70 (an edition)

Literature:Seamus Murphy 1907-1975 – A Complete Catalogue of Works,Cahill Printers Ltd, 1988; catalogue no. 380 (listed with two otherdeath masks, those of Arnold Bax, 1953 and Seán Ó Riada, 1971)

Depth 6.5ins., dimesions of support, 24 by 18.5ins. Two other plaster examples of this death mask have been recorded in thefollowing public collections: The Writer’s Museum, Dublin and The PatrickKavanagh Centre, Monaghan with a third in private hands. The latter was inthe collection of singer songwriter Roger Whitaker and sold at Sheppard’s ,Durrow in September this year for E8,500.

€5,000-€7,000 (£4,300-£6,000 approx.)

8877JJoohhnn RRyyaann RRHHAA ((11992255--11999922))PATRICK KAVANAGH, 1950signed, inscribed and dated in the marginpencil18 by 15cm., 7 by 6in.

The location, Inniskeen, Co. Monaghan, is detailed lower right.

€300-€400 (£260-£340 approx.).)


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61

8888MMaarrjjoorriiee FFiittzzggiibbbboonn HHRRHHAA ((bb..11993300))HENRY GUINNESS, 1972signed with initials [MF] and dated lower right atedge of collarbronze44 by 44cm., 17.5 by 17.5in.

Provenance:Guinness Mahon Bank, Trinity Street, Dublin; Private collection, Dublin

Henry Samuel Howard Guinness (1888-1975) was a director andlater Chairman of Guinness Mahon. The banking firm wasfounded in Dublin in 1836 by brewer Robert Rundell Guinness,cousin of the brewer Arthur Guinness, and John Ross Mahon, anestate agent. A London office opened in 1873, closed in 1916during World War I and then re-opened again in 1923. Thisbecame Guinness Mahon Holdings, which merged with Lewis &Peat Ltd in 1974 The bank became embroiled in severalinvestigations including those into Charles J Haughey’s affairs.The group ran into difficulties in the late 1980s, was demergedand incorporated into various international entities includingInvestec.

€2,000-€3,000 (£1,700-£2,600 approx.)

8899SSeeaammuuss MMuurrpphhyy RRHHAA ((11990077--11997755))SEÁN O’RIORDAN, 1957signed and dated at basebronze on marble base; (an edition of 4)41 by 20cm., 16 by 8in.

Exhibited:’Oireachtas’, Dublin 1957; RHA, Dublin 1972, catalogueno. 161 (nfs); ‘Memorial Exhibition’, RHA, Dublin, 1976,catalogue no 96 (Lent by Mr & Mrs Louis Marcus); ‘TheWork of Seamus Murphy, Sculptor (1907-1975)’,Douglas Hyde Gallery, Trinity College Dublin, 2December 1982 - 15 January 1983, catalogue no. 43(on loan from UCC)

Literature:Seamus Murphy 1907-1975, A Complete catalogue ofWorks, Cahill Printers Ltd, 1988, catalogue no. 262

Dimensions of base, 5.5 by 5ins. There were four casts made of Seán O’Riordan, these wererecorded as being in the following collections: The ÓMuirceartaigh Family; Seán Ó Mordha; Mr & Mrs Louis Marcusand University College, Cork. (See: Seamus Murphy 1907-1975, ‘Portrait Busts and AllegoricalHeads’, catalogue no. 262, p.52)

€3,000-€4,000 (£2,600-£3,400 approx.)

62


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9900RRoowwllaanndd HHiillll AARRUUAA ((11991155--11997799))RATHLIN ISLAND, WHITE PARK BAY, ANTRIM COASTsigned lower right; with title inscribed on label on reverseoil on canvas61 by 102cm., 24 by 40in.

€1,500-€1,800 (£1,300-£1,500 approx.)

9911RRoowwllaanndd HHiillll AARRUUAA ((11991155--11997799))WHITE PARK BAY, PORTBRADDEN, BALLINTOY, COUNTYANTRIMsigned lower rightoil on board47 by 62cm., 18.5 by 24.5in.

€800-€1,000 (£690-£860 approx.)

9922GGeeoorrggee KK.. GGiilllleessppiiee RRUUAA ((11992244--11999955))COASTAL SCENEwith typed exhibition label and provenance detailson reverseoil on board24 by 34cm., 9.5 by 13.25in.

Provenance:Bonham’s, Chelsea, 10 November 1980; Paul Conran Fine Art, London; Private collection; Milmo-Penny Fine Art; Where purchased by the present owner

€800-€1,000 (£690-£860 approx.)

63

9933GGeeoorrggee KK.. GGiilllleessppiiee RRUUAA ((11992244--11999955))EVENING REFLECTIONS, KILLARY, COUNTY GALWAYsigned lower left; with title inscribed on label on reverseoil on canvas61 by 91cm., 24 by 36in.

€3,000-€4,000 (£2,600-£3,400 approx.)

9944GGeeoorrggee KK.. GGiilllleessppiiee RRUUAA ((11992244--11999955))EVENING LIGHT, KILARY, CONNEMARAsigned lower left; with title inscribed on label on reverseoil on canvas61 by 76cm., 24 by 30in.

€2,500-€3,500 (£2,200-£3000 approx.)

9955GGeeoorrggee KK.. GGiilllleessppiiee RRUUAA ((11992244--11999955))MAAM VALLEY, COUNTY GALWAYsigned lower left; with title inscribed on original label onreverseoil on board39 by 51cm., 15.5 by 20in.

Provenance:Combridge Fine Arts, Dublin; Private collection; Whyte’s, 8 May 2002, lot 165; Whence purchased by the present owner

€2,000-€3,000 (£1,700-£2,600 approx.)

64


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9966BBeeaa OOrrppeenn HHRRHHAA ((11991133--11998800))PORT ORIEL, CLOGHERHEAD, COUNTY LOUTHsigned lower right; inscribed with title on reversegouache36 by 52cm., 14.25 by 20.5in.

€600-€800 (£520-£690 approx.)

9977AAttttrriibbuutteedd ttoo EEvvaa HHeennrriieettttaa HHaammiillttoonn ((11887766--11996600))FIESOLE, FLORENCEsigned with artist’s name and title on reverse; with DanielEgan [38 St. Stephen’s Green, Dublin] label on reverseoil on panel18 by 23cm., 7 by 9in.

In original Daniel Egan frame. This same view was painted by the artist’s sister Letitia. The picturesquetown of Fiesole on the outskirts of Florence was celebrated for itsbeautiful landscape and panoramic views and became a popularlocation and subject for visiting artists.

€600-€800 (£520-£690 approx.)

9988EEvvaa HHeennrriieettttaa HHaammiillttoonn ((11887766--11996600))HOLY ISLAND FROM MOUNTSHANNON HOUSE, COUNTYCLARE, 1947with letter of provenance on reverseoil on canvas30 by 41cm., 12 by 16in.

Provenance:Gift from the artist to Lady Joyce Talbot de Malahide;Mountshannon, Co. Clare; Thence by descent; Southgate Fine Art, Cork; Private collection

€1,000-€1,500 (£860-£1,300 approx.)


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65

9999MMiillddrreedd AAnnnnee BBuuttlleerr RRWWSS ((11885588--11994411))KILMURRY GARDENsigned lower leftwatercolour19 by 37cm., 7.5 by 14.5in.

Kilmurray was the artist’s home near Thomastown, Co.Kilkenny.

€2,000-€3,000 (£1,700-£2,600 approx.)

110000FFrraannkk EEggggiinnttoonn RRCCAA ((11990088--11999900))LATE EVENING, CONNEMARAsigned lower left; with original inscribed WilliamRodman & Co., Belfast label on reversewatercolour25 by 36cm., 10 by 14in.

Provenance:Whyte’s 18 May 2009, lot 15; Whence purchased by the present owner

€800-€1,000 (£690-£860 approx.)

110011FFrraannkk EEggggiinnttoonn RRCCAA ((11990088--11999900))GREEN CASTLE, COUNTY DOWNsigned lower left; with title faintly inscribed onreversewatercolour25 by 35cm., 10 by 13.75in.

€600-€800 (£520-£690 approx.)

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110022GGeeoorrggee RRuusssseellll ““AAEE”” ((11886677--11993355))TWO GIRLS BEFORE A RING FORToil on canvas41 by 53cm., 16 by 21in.

Provenance:Gift from the artist to author Frank O’Connor (1903-1966); Gift from Frank O’Connor to Nancy McCarthy Allitt, Co. Cork; By whom bequeathed in 1988 to Frank O’Connor’s widow, HarrietO’Donovan Sheehy; Private collection;Whyte’s, 28 April 2008, lot 117;Private collection

The friendship between Irish writer Frank O’Connor (pen name of MichaelO’Donovan) and George Russell is attested to in O’Connor’s autobiography, MyFather’s Son. Accompanying this lot is a letter of provenance from O’Connor’swidow, Harriet O’Donovan Sheehy.

€4,000-€6,000 (£3,400-£5,200 approx.)

110033DDoouuggllaass AAlleexxaannddeerr ((11887711--11994455))BOGROAD WITH COTTAGES and RIVER THROUGH A VALLEY (A PAIR)signed lower right and lower left respectivelywatercolour38 by 54cm., 15 by 21.25in.

Framed and mounted uniformly.

€800-€1,000 (£690-£860 approx.)

102


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110044WWaalltteerr FFrreeddeerriicckk OOssbboorrnnee RRHHAA RROOII ((11885599--11990033))THREE GIRLS WINDING WOOL, 1887inscribed on the stretcher on reverseoil on canvas41 by 56cm., 16 by 22in.

Exhibited:‘The Irish Revival’, Pyms Gallery, London, 1982, catalogue no. 1; ‘An Ireland Imagined’, Pyms Gallery,London, 27 October to 26 November, 1993, catalogue no. 11 (illustrated p. 21 of catalogue)

€10,000-€15,000 (£8,600-£12,900 approx.)

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110055EEddwwiinn HHaayyeess RRHHAA RRII RROOII((11881199--11990044))PORTLAND BILL, WEYMOUTH,1880signed lower right; with title,date and artist’s name on giltplaque affixed to frame lowercentre; signed, titled and datedagain on reverse; with partial J.G.May Carver & Gilder label onreverseoil on canvas25 by 40cm., 10 by 15.75in.

Provenance:Phillips, Bath, Avon, UK, 27 March2000, lot 163; Private collection

Contained in what appears to be itsoriginal gilt frame.

€4,000-€6,000 (£3,400-£5,200 approx.)

1100661199tthh CCeennttuurryy CCoonnttiinneennttaall SScchhooooll17th CENTURY STYLE SEASCAPE WITH FISHERMEN AND VESSELS, c.1880oil on canvas58 by 81cm., 23 by 32in.

Provenance:From the Collection of the Druids Glen Resort, Newtownmountkennedy, Co. Wicklow

Contained in what appears to be its original ornate gilt frame.

€1,500-€2,000 (£1,300-£1,700 approx.)


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110077WWiilllliiaamm HH.. BBaarrttlleetttt RRBBAA ((11885588--11993322 ))THE RETURN FROM THE SEAL-HUNT, 1881signed and dated lower right; with title and artist’s name on giltplaque affixed to frame lower centreoil on canvas50 by 75cm., 19.5 by 29.5in.

Exhibited:Royal Academy, London, 1881, no. 375

Contained in what appears to be its original frame.

Seal hunting was commonplace in 19th century Ireland and earlier. Their skinsmade excellent coats and waistcoats and they were also in demand for makingfloats for fishing net and for covering boats. The hunting was dangerous anddifficult as Tomás Ó Criomhthainn recounted in his book, An tOileánach (TheIslandman). The hunters on the Blasket Islands would often have to swim intocaves in pursuit of their quarry. Bartlett himself recounts in graphic detail how theinhabitants of Connemara tracked the seals in parties by boat and on foot touninhabited islands off the mainland for their prized oil which was said to be‘grand for rheumatics’.

For Bartlett’s full account see, Campbell Julian, Walter Osborne In the West of Ireland,A Centenary Publication, Adam’s, 2004, Appendix 1: Coast Life in Connemara byWilliam H. Bartlett from ‘The Art Journal 1894’, pp.117-120.

Bartlett studied at the École des Beaux Arts in Paris under Gérôme, Bouguereauand Fleury and was elected RBA in 1879, around which time he also first visitedIrish soil recording scenes both in print and paint. Works exhibited in the early

1880s include Going to Market at Roundstone from Deer Island, West Coast of Ireland,An Evicted Tenant, Connemara and Waiting for the Turf Boats, Roundstone. Bartlett’sprominence stems from these innovative early views of daily life in the West as wellas from his formation of “…an important link between the essentially Victorian, andoften sentimental, work of other visiting artists such as Howard Helmick and thefigurative work of Charles Lamb and Paul Henry in the early decades of thetwentieth century.”1

He returned to Ireland frequently showing three works at the RHA (in 1897 and1905) and in 1911 was recorded with an address in Donegal. From 1880 onwardshe exhibited more than forty works at the RA. His inaugural exhibition saw sixworks shown, however, in 1881 The Return from the Seal-Hunt was the only workexhibited by Bartlett from an address at Park Lodge, Church St., Chelsea. Heexhibited a total of 28 works with the RA from 1880 to 1904. Other exhibitingvenues included the Fine Art Society in London and the Royal Institute of OilPainters. He is represented in the Brighton and Hove Museum and in the UlsterMuseum, Belfast. In 2007 the National Gallery of Ireland (NGI) acquired His LastWork, 1885 from the Gorry Galley, Dublin.

As is the case with the NGIs picture, this work is boldly signed and dated 1881, theyear that it was exhibited by Bartlett at the Royal Academy. This is a clear sign hewas pleased with the work, which, similarly to His Last Work, was the only paintinghe exhibited that year.

1 ‘An Exhibition of 18th - 21st Century Paintings’, 14th March – 31st March 2007, Gorry Gallery,

Dublin, exhibition catalogue, pp. 4-5.

€8,000-€12,000 (£6,900-£10,300 approx.)

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110088JJoohhnn LLaappoorrttee ((11776611--11883399))BLACKROCK CASTLE, CORK, 1801signed and dated lower centre; titled,incorrectly as Dublin, on reversepencil and watercolour29 by 52cm., 11.5 by 20.5in.

Provenance:Phillips and Joly, Bath; Private collection;Christie’s, 19 May 2000, lot 116; Private collection

Laporte first appeared as an exhibitor at the RoyalAcademy in 1785, and from that year with fewexceptions was a constant contributor of landscapescenery there. He was one of the masters of theMilitary Academy at Addicombe.

€900-€1,200 (£770-£1,030 approx.)

110099AAnnddrreeww NNiicchhoollll RRHHAA ((11880044--11888866))STEAMER OFF THE ANTRIM COAST WITHDUNLUCE CASTLE BEYONDsigned lower right; with framing label ofWilliam Mol & Son, Belfast on reversewatercolour heightened with white 41 by 56cm., 16 by 22in.

€2,000-€3,000 (£1,700-£2,600 approx.)

111100JJoohhnn FFaauullkknneerr RRHHAA ((11883355--11889944))SCHOONERS IN A SEASCAPEsigned lower leftwatercolour heightened with white25 by 38cm., 10 by 15in.

€600-€800 (£520-£690 approx.)


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111111AAfftteerr JJaammeess BBaarrrryy RRAA ((11774411--11880066))AN EARLY SKETCH OF JAMES BARRY’S A GRECIAN HARVEST-HOME[FROM THE PROGRESS OF HUMAN CULTURE] c.1777-1784bears inscription [“Barry’s drawing of picture at Adelphi”] in pencil onthe mount lower leftpen and ink with wash over pencil heightened with white36 by 47cm., 14 by 18.5in.

This precise, highly finished drawing is an early sketch of James Barry’s painting, A Grecian Harvest-Home, in the collection of Royal Society of Arts, London (RSA). Thepainting forms part of a series of six murals, The Progress of Human Knowledge andCulture, commissioned for the Society’s Great Room in 1774.

The RSA was founded in a coffee shop in Covent Garden in 1754 and was based ina number of locations in this area in its early years. In 1774 it moved to whatremains its current home in John Adam Street. The House was designed for theSociety by Robert Adam as part of the major Adelphi development undertaken byAdam and his brothers.

The murals were exhibited in 1783 and 1784. The first exhibition was accompaniedby a text explaining the murals’ content and included numerous prints on same. AGrecian Harvest-Home, the second in the series, (each 11ft 6ins. high; the longesttwo 42ft.) outlines the development of Greek society. In James Barry ‘The Great

71

Historical Painter’, William Pressly describes it as showing, “a fecund, agrarian society, best understood in the conventions of the Georgian pastoral and its seductive imageryof rural retirement…underlying the festivities is the melancholy sense that this ‘state ofhappiness …is only a stage of societies progress’… The ominous break in the chain ofdancers, and the central dancer’s pensive expression, foreshadow the more stressfulperiod to come.” 1

Pressly notes that Barry was continuously preoccupied with the murals from their firstshowing until his death and that he retouched the canvases themselves as well aspublishing prints on alternatives readings of same. 2 This drawing bears subtledifferences with the finished mural in the RSA. Some differences evident in this exampleinclude; the omission of a scythe and fork (centre), different headdresses on the girls atthe base of the ladder and in the loft and some detail visible in the distant landscape inthe background.

For further reading on James Barry see Strickland, Vol. I, pp.34-45 and James Barry 1741-1806 ‘The Great Historical Painter.

1 Dunne, Tom (Ed.), James Barry 1741-1806 ‘The Great Historical Painter’, Crawford Art Gallery & GandonEditions, 2005, p.48.

2 Ibid., p.49-50

€1,500-€2,000 (£1,300-£1,700 approx.)

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111122JJoohhnn HHeennrryy CCaammppbbeellll ((11775577--11882288))A VIEW OF THE SCALP, COUNTY WICKLOW, c.1920with inscribed Bell Gallery label on reversewatercolour15 by 20cm., 6 by 7.75in.

Provenance:Bell Gallery, Belfast; The Estate of John Green, Belfast

€600-€800 (£520-£690 approx.)

111133WWiilllliiaamm BBiinngghhaamm MMccGGuuiinnnneessss RRHHAA ((11884499--11992288))COTTAGE BY A RIVER and FIGURE CARRYING STRAW, 1875(A PAIR)the first signed and dated lower centrewatercolour heightened with white25 by 34cm., 9.75 by 13.5in.


Framed and mounted uniformly.

€1,500-€2,000 (£1,300-£1,700 approx.)


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111155AAuugguussttuuss NNiicchhoollaass BBuurrkkee RRHHAA ((11883388--11889911))CATTLE DRIVERsigned lower rightoil on canvas30 by 25cm., 12 by 10in.

Contained in what appears to be its original gilt frame.

€3,000-€4,000 (£2,600-£3,400 approx.)

111144JJaammeess BBuuttlleerr BBrreennaann RRHHAA ((11882255--11888899))PORTRAIT OF A DIPLOMAT, 1864signed and dated lower right; with label of A. Reed Carver, Gilder& Picture Frame Maker [5 Upper Arcade, The Barton, Bristol] onreverseoil on canvas51 by 39cm., 20.25 by 15.25in.

The sitter is wearing the uniform of a French diplomat.Contained in what appears to be the original ornate gilt frame.

€2,000-€3,000 (£1,700-£2,600 approx.)

111166SSeeáánn KKeeaattiinngg PPRRHHAA HHRRAA HHRRSSAA ((11888899--11997777))SAINT PATRICK, c.1937signed lower leftcharcoal34 by 27cm., 13.5 by 10.5in.

Provenance:Waddington Galleries, Dublin c.late 1940s early 1950s; Private collection

Contained in what appears to be its original Waddington frame. St. Patrick is the model for a painting entitledSt. Patrick Lights the Paschal Fire at Slane, commissioned by the Haverty Trust in 1932 and given to the Irishcollege in Rome in 1937. Leo Whelan and Margaret Clarke were commissioned for work in the same theme,the Eucharistic Congress 1932, to celebrate the quincentennial of St. Patrick’s arrival in Ireland. More recently,the striking image of St. Patrick Lights the Paschal Fire at Slane was selected for use on an Irish postage stampto celebrate St. Patrick’s Day in 2006.

We are grateful to Dr. Éimear O’Connor HRHA for her assistance in cataloguing this lot.

€1,000-€1,500 (£860-£1,300 approx.)

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111177SStteepphheenn PPeeaarrssee ((11881199--11990044))PORTRAIT OF CAPT. DENIS WILLIAM PACK-BERESFORD ESQ., 1871signed, titled and dated on reverse; with indistinct inscribed labelon reverse [“Pack Beresford - Present to my wife...”]; also with C.James, Carver & Gilder [35 Princes St., Leicester Sq., London, W.] onreverse; with gilt plaque affixed to frame lower centre detailing dateand sitter’s nameoil on canvas76 by 64cm., 30 by 25in.

Provenance:From the Collection of the Druid’s Glen Resort,Newtownmountkennedy, Co. Wicklow

Contained in its original gilt frame. Captain Denis William Pack-Beresford (1818-1881) of Fennagh House in theparish of Lorum, County Carlow served for several years in the Royal Artillery,and, on the death of his god-father, Field-Marshal Lord Viscount Beresford, G.C.B.in 1864, he assumed the name and arms of Beresford, in compliance with hiswill. The tombstones for the sitter and his ancestors can be found within theburial-grounds of Fennagh House.

€1,500-€2,000 (£1,300-£1,700 approx.)

1111881199tthh CCeennttuurryy IIrriisshh//BBrriittiisshh SScchhoooollPORTRAIT OF LADY ELIZABETH PACK, c.1850swith stamp of C. Davys [83, Newman St., Oxford St., London] on reverseoil on canvas; (tondo)84 by 70cm., 33 by 27.5in.

Provenance:From the Collection of the Druid’s Glen Resort,Newtownmountkennedy, Co. Wicklow

Contained in what appears to be its original ornate gilt frame. The sitter is thought to be Elizabeth Louisa Reynell (1783-1856) neé De La Poer andformerly wife of Sir Denis Pack (the father of the sitter lot 117).

€1,500-€2,000 (£1,300-£1,700 approx.)


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75

111199VVaarriioouussCOLLECTION OF FIVE PORTRAIT MINIATURES, c.1800svariously signed and datedoils, watercolours on card or enamel; framed individually (all oval);presented as one within a single frame6 by 5cm., 2.5 by 2in. (average size)

Features three-quarter portraits of three men and two women, all elegantly dressed.First (top) inscribed “T.i.f. Hau pinx. 1796”. Possibly a depiction of a politician, it shows agentleman with detailed grey-hair dressed in black with a white neck tie. After 1800, itwas fashionable for men to ‘wear’ their own hair rather than wigs as is visible in thisdepiction. The second and third portraits are double-sided held within a red leathertravelling case. The portrait of the man is attributed to Frederick Buck (Cork, 1771-1840), a sought after miniaturist in the city during the Napoleonic Wars, supplying thedemand for keepsakes between officers and ladies. This gentleman can be identified asan Irish Major of the 81st Regiment (See NGI 7144 for a comparable work). The lady iselegantly dressed with low cut décolletage and elaborately styled hair. The fourthminiature, also possibly of a politician, is precisely painted and held in a gilt-metalframe (glazed) with brooch pin on reverse. The last portrait depicts a lady, similarlyattired to the previous example; contained in a metal frame with pendant setting(glazed) this work is indistinctly signed [Mliy?] lower right.

For further reading see: Caffrey, Paul, Treasures to Hold, Irish and English Miniatures 1650-1850 from the National Gallery of Ireland, NGI, 2000.

€1,200-€1,800 (£1030-£1,500 approx.)

112200HHaarrrryy EErrnneesstt JJ.. BBrroowwnnee ((ffll..11888899--11991177))TIRED OUTwith original inscribed label on reverse detailing price [£84-0-0]and artist’s studio address [4 Greek Lane, Shaftesbury, Avenue,London]; also with Southport [1912] label and a note from JamesA. Gorry [Dublin] on reverseoil on canvas66 by 69cm., 26 by 27in.

Exhibited:possibly exhibited at the Royal Academy, London, 1901, exhibitionno. 12 as Repose

Contained in its original ornate gilt frame. Harry Ernest J. Browne, a London landscape, genre and figure painter exhibitedregularly in a variety of institutions from the late 1880s to the first decade ofthe 1900s including the Royal Society of British Artists (Suffolk Street), theDowdeswell Galleries, West Cornwall, Glasgow Institute of Fine Art Walker ArtGallery, Liverpool, the Royal Institute of Painters in Watercolour and in Oil fromaddresses in Kensington and the West End among others. He is listed asexhibiting six paintings with the Royal Academy between 1891 and 1904where subjects including nymphs and mermaids dominated. Tired Out, possiblyexhibited there in 1901 under the title Repose, falls in line with these otherexhibits with its charming rendering of a dozing child and her cat.

€600-€800 (£520-£690 approx.)


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112211JJoosseepphh WWiilllliiaamm CCaarreeyy RRUUAA ((11885599--11993377))ORMEAU GOLF CLUBHOUSE, 1921signed and dated lower right; titled lower leftwatercolour20 by 43cm., 8 by 17in.

Provenance:Emer Gallery, Belfast; Private collection

Exhibited:‘The Watercolours and J.W. Carey’, Emer Gallery, Belfast, 2 April - 11 March, 2009

The Ormeau Golf Club is located a mile from Belfast on Park Road, it was formed in 1893 - one ofthe oldest courses in Ireland - and has been described as “the course in the heart of the city”. Theclubhouse and course are situated on a parkland, which was once part of the Marquis ofDonegall’s Ormeau demesne.

€1,500-€1,800 (£1,300-£1,500 approx.)

112233JJoosseepphh WWiilllliiaamm CCaarreeyy RRUUAA ((11885599--11993377))GLENVEAGH CASTLE, CREESLOUGH, DONEGAL, 1927signed and dated lower right; with title lower left;with inscribed Emer Gallery label on reversewatercolour over pencil14 by 46cm., 5.5 by 18in.


112222JJoosseepphh WWiilllliiaamm CCaarreeyy RRUUAA ((11885599--11993377))THE GOBBINS, ANTRIM, 1926signed and dated lower left; with title lower rightwatercolour19 by 43cm., 7.5 by 17in.



€600-€800 (£520-£690 approx.)

112244JJoosseepphh WWiilllliiaamm CCaarreeyy RRUUAA ((11885599--11993377))CROAGH PATRICK, COUNTY MAYO, 1931signed and dated lower right; titled lower leftwatercolour over pencil24 by 36cm., 9.5 by 14.25in.



€600-€800 (£520-£690 approx.)

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€600-€800 (£520-£690 approx.)


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112255JJoosseepphh WWiilllliiaamm CCaarreeyy RRUUAA ((11885599--11993377))CASTLE OF KIVITER, SLIEVE COMMEDAGH, COUNTYDOWN, 1924signed and dated lower left;titled lower right; with inscribed Emer Gallery labelon reversewatercolour over pencil18 by 25cm., 7 by 9.75in.



€400-€600 (£340-£520 approx.)

112277FFrraannkk EEggggiinnttoonn RRCCAA ((11990088--11999900))STREAM THROUGH LANDSCAPE WITH TREESsigned lower rightwatercolour36 by 53cm., 14.25 by 20.75in.

€800-€1,000 (£690-£860 approx.)

112266JJoosseepphh WWiilllliiaamm CCaarreeyy RRUUAA ((11885599--11993377))KENBANE CASTLE, COUNTY ANTRIM, 1921signed and dated lower left; with title lower rightwatercolour over pencil22 by 35cm., 8.75 by 13.75in.



€500-€700 (£430-£600 approx.)

112288WWiilllliiaamm PPeerrccyy FFrreenncchh ((11885544--11992200))BOG RIVER WITH TURF STACK IN THE DISTANCEsigned lower leftwatercolour17 by 23cm., 6.5 by 9.25in.

€1,500-€2,000 (£1,300-£1,700 approx.)

112299TTeerreennccee PP.. FFllaannaaggaann RRHHAA PPPPRRUUAA ((11992299--22001111))COTTON BOG, 1974inscribed in pencil on reverse; with typed David HendriksGallery label on reverseoil on board29 by 30cm., 11.5 by 12in.

Provenance:David Hendriks Gallery, Dublin; Where purchased by the previous owner

Exhibited:‘T.P. Flanagan’, David Hendriks Gallery, Dublin, December1974

It was in this same year, 1974, that the artist won the Painting Prize inthe prestigious Oireachteas exhibtion.

€1,000-€1,500 (£860-£1,300 approx.)

113300BBaassiill BBllaacckksshhaaww HHRRHHAA RRUUAA ((bb..11993322))MONAGHAN LANDSCAPE, c.1977signed upper left titled in the artist’s hand on reverse; withtyped Caldwell Gallery label on reverseoil on wood19 by 25cm., 7.5 by 10in.

Provenance:Caldwell Gallery, Belfast; The Estate of John Green, Belfast

Exhibited:Caldwell Gallery, Belfast, May 1977, no. 29

€2,000-€3,000 (£1,700-£2,600 approx.)

113311BBaassiill BBllaacckksshhaaww HHRRHHAA RRUUAA ((bb..11993322))AUTUMN LANDSCAPE, c.1981with inscribed Bell Gallery label on reverseoil on board11 by 22cm., 4.25 by 8.75in.

Provenance:Bell Gallery, Belfast; The Estate of John Green, Belfast

€1,500-€2,000 (£1,300-£1,700 approx.)

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113322MMaarrttiinn MMoooonneeyy ((bb..11996600))PINETREES, LA CASCADE, 1998signed and dated lower right; signed, dated and inscribed onreverse; with typed Solomon Gallery label on reverseoil on board18 by 25cm., 7 by 10in.


Further inscription reads, “Pinetrees ‘Les Cascades’ near Agadir”.

€600-€800 (£520-£690 approx.)

113333MMaarrttiinn MMoooonneeyy ((bb..11996600))LANDSCAPE NEAR CASHEL, CONNEMARAdated lower right; signed, inscribed, titled and dated on reverse;with typed Solomon Gallery label on reverseoil on board15 by 30cm., 6 by 12in.

Provenance:Solomon Gallery, Dublin; Private collection

€600-€800 (£520-£690 approx.)

113344MMaarrttiinn MMoooonneeyy ((bb..11996600))THE LAKE AT CLANDEBOYE, 2000signed lower right; signed, titled and dated on reverseoil on board14 by 20cm., 5.5 by 8in.

€600-€800 (£520-£690 approx.)

113355NNoorrmmaann TTeeeelliinngg ((bb..11994444))ROWING BOAT ON A RIVERsigned lower leftoil on board60 by 75cm., 23.5 by 29.5in.

€800-€1,200 (£690-£1030 approx.)

80


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113366CCoommhhgghhaallll CCaasseeyy ((bb..11997766))TEAPOT, 2000signed and dated lower right; inscribed on reverseoil on canvas43 by 48cm., 17 by 18.75in.

€2,500-€3,500 (£2,200-£3,000 approx.)

113388WWiilllliiaamm SSccootttt CCBBEE RRAA ((11991133--11998899))BROWN FIELD DEFINED, 1972signed and dated lower left; numbered lower rightscreenprint (no. 56 from an edition of 72)58 by 79cm., 23 by 31in.

Literature:Brian Balfour-Oatts, William Scott: A Survey of HisOriginal Prints, Archeus Fine Art, London, 2005,listed as no. 34, illustrated p. 27

Printed at the Kelpra Studio and published by LeslieWaddington Prints Ltd for the portfolio A Poem for Alexander.

€1,500-€2,000 (£1,300-£1,700 approx.)

113377JJoonnaatthhaann WWaaddee ((11994411--11997733))DEVICE IIIwith typed Arts Council exhibition label on reverseoil on canvas147 by 85cm., 58 by 33.5in.

Exhibited:'Jonathan Wade Retrospective', Trinity College Dublin, 23 May - 21 June, 1975, no. 32

€800-€1,000 (£690-£860 approx.)

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113399LLoouuiiss llee BBrrooccqquuyy HHRRHHAA((bb..11991166))DUBLIN ROOFTOPS IN SNOW (2),1986signed and dated with catalogueand edition number lower rightlithograph; (no. 32 from anedition of 35)46 by 64cm., 18 by 25in.

Provenance:Taylor Galleries Dublin; Whence purchased by thepresent owner

€1,500-€1,800 (£1,300-£1,500 approx.)

114400LLoouuiiss llee BBrrooccqquuyy HHRRHHAA ((bb..11991166))PEACE DOVEsigned lower left; numbered lower rightphotolithograph (no. 133 from an edition of 250)23 by 29cm., 9 by 11.5in.

Printed to commemorate the 30th Anniversary of Amnesty International.

€500-€700 (£430-£600 approx.)

114411LLoouuiiss llee BBrrooccqquuyy HHRRHHAA ((bb..11991166))EIGHT PORTRAITS IN WORD AND WATERCOLOUR, 1990signed and numbered on the colophonoff-set lithograph print (no. 0217 from an edition of 1000)27 by 23cm., 10.5 by 9in.

Commissioned by Marie Donnelly on behalf of the Irish Hospice Foundation. Eachprint is loosely inserted in a glassine sleeve on which is printed a written profile ofthe sitter. The 8 Irish art collectors featured in the set include; Dermot Desmond,Vincent Ferguson, Charles Haughey, Paul McGuinness, Martin Naughton, VincentO’Brien, Tony O’Reilly and Michael Smurfit. The entire set is presented in a foldingcase of black linen and papered boards with a matching slipcase. A very fineproduction.

€1,000-€1,500 (£860-£1,300 approx.)

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114422SSeeaann SSccuullllyy ((bb..11994455))”SHE WEEPS OVER RAHOON” [#13], 1993signed and dated in the margin lower right; numbered lowerleftetching, sugarlift, spitbite, aquatint (no. 21 from an edition of33)15 by 20cm., 6 by 8in.

Literature:Sean Scully, Print Catalogue Raisonné 1968-1999, GalerieBernd Klüser, Munich, 1999, p.99 (listed)

Sheet size: 22 by 16.25ins.From a portfolio of thirteen prints for Poems Penyeach by James Joycepublished by Bernd Klüser, Munich, 1993.

€1,000-€1,500 (£860-£1,300 approx.)

114433CCoolliinn MMiiddddlleettoonn MMBBEE RRHHAA ((11991100--11998833))ABSTRACT COMPOSITION WITH EYEwith artist’s studio sale stamp on reversepen and ink with wash46 by 38cm., 18 by 15in.

Provenance:‘The Colin Middleton Studio Sale’, Christie’s, 4 October1985, lot 167; Private collection

€1,000-€1,500 (£860-£1,300 approx.)

114444SSeeaann SSccuullllyy ((bb..11994455))”TUTTO È SCIOLTO” [#4], 1993signed and dated in the margin lower right; numberedlower leftetching, sugarlift, spitbite, aquatint (no. 21 from anedition of 33)15 by 10cm., 6 by 4in.

Literature:Sean Scully, Print Catalogue Raisonné 1968-1999, GalerieBernd Klüser, Munich, 1999, p.99 (listed)

Sheet size: 21.5 by 16ins.From a portfolio of thirteen prints for Poems Penyeach by JamesJoyce published by Bernd Klüser, Munich, 1993

€1,000-€1,500 (£860-£1,300 approx.)

114455DDoonnaall OO’’SSuulllliivvaann ((11994455--11999911))PORTRAIT OF FRANCIS BACONsigned lower rightoil with pastel on paper56 by 37cm., 22 by 14.75in.

Portraiture comprised a large segment of Donal O’Sullivan’soeuvre. Executed in a variety of mixed media, O’Sullivan steeredclear of conventional representation or commissioned portraits,preferring to only paint a face which has a special interest orappeal to him. O’Sullivan met with Francis Bacon both in Londonat The Colony Room Club and on his rare visits to Dublin.

€1,000-€1,500 (£860-£1,300 approx.)

114466MMiikkee FFiittzzhhaarrrriiss ((bb..11995522))THE ISLANDsigned lower leftoil on board61 by 76cm., 24 by 30in.

€600-€800 (£520-£690 approx.)

114477PPeetteerr FFiittzzGGeerraalldd ((bb..11995566))ADELHEIDSTR 10: R, A, B; CHILD AND FIELD; MAYO SEA;FIELD; PARTY; WEDDING DANCE, 1995signed and dated lower right; inscribed on reverse; alsowith original exhibition poster on reverseoil on canvas (six panels framed as one)69 by 64cm., 27.25 by 25in.

Exhibited:‘Eight Ducks & Other Paintings: A new exhibition byPeter Fitzgerald’, Kenny’s, Galway, 15 September to 6 October 1995, catalogue no. 31

Each panel measures 7.75 by 11.5in. and is based on a snapshotdonated to the artist by various art students of his.

€900-€1,200 (£770-£1,030 approx.)

114488PPeetteerr FFiittzzggeerraalldd ((bb..11995566))PHOTOGRAPHERinscribed on reverse; also with original exhibitioncatalogue on reverseoil on canvas21 by 30cm., 8.25 by 12in.

Exhibited:‘Eight Ducks & Other Paintings: A new exhibition byPeter Fitzgerald’, Kenny’s, Galway, 15 September to 6 October 1995, catalogue no. 14

€500-€700 (£430-£600 approx.)


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114499CCeecciill KKiinngg ((11992211--11998866))OPENINGsigned lower right; with typed OliverDowling Gallery label on reverseoil on paper18 by 18cm., 7 by 7in.

Provenance:Oliver Dowling Gallery, Dublin; Private collection

Exhibited:Oliver Dowling Gallery, Dublin (catalogueuntraced)

€400-€600 (£340-£520 approx.)

115500CCeecciill KKiinngg ((11992211--11998866))INTRUSIONS, 1973signed lower right; with typed Hendriksexhibition label on reverseoil on paper laid on board46 by 69cm., 18 by 27in.

Provenance:David Hendriks Gallery, Dublin; Whence purchased by the present owner

Exhibited:Hendriks Gallery, Dublin, 22 February - 16 March 1974, catalogue no. 1; ‘KilkennyArts Week ‘75’ (in association with DavidHendriks Gallery), Kilkenny College, 17-31 August 1975, catalogue no. 25

€1,500-€2,000 (£1,300-£1,700 approx.)

115511EEddwwaarrdd DDeellaanneeyy RRHHAA ((11993300--22000099))HUNTERS SERIESsigned in pencil lower right; David HendriksGallery label on reverseoil on paper55 by 75cm., 21.75 by 29.5in.

In original David Hendriks Gallery frame.

€800-€1,000 (£690-£860 approx.)

85


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115533PPaauull DDoorraann ((bb..11997722))UNTITLED, 2006signed, titled and dated on reverseoil on board41 by 71cm., 16 by 28in.

In 2005 Paul Doran was awarded the AIBAward for Visual Artists. This substantialprize was fundamental to the artist’sdevelopment and in facilitating thecreation of his subsequent body of workfor his solo exhibition, ‘Man in A Shed’, atthe Sligo Art Gallery, 28 March - 29 April,2006. Although Doran’s visibly sensualapplication of paint was what first attractedattention, it is his use of colour whichcontinues to incite and excite. EnriqueJuncosa, Director of the Irish Museum ofModern Art, sees colour in Doran’s worksas, “...an integral part of the material andthe brushstroke. Thus, Doran’s canvaseshave the sense of being living organisms...More than evoking the memory of anemotion in a particular situation they showa kind of physical manifestation ofemotion.” (2004)

€2,500-€3,500 (£2,200-£3000 approx.)

115522JJoohhnn CCrroonniinn ((bb..11996666))THE NIGHTGALE (No. 25) 2002signed, dated and with title etchedand in marker on reverse; withinscribed exhibition label on reverseoil on aluminium91 by 122cm., 36 by 48in.

Provenance:Green on Red Gallery, Dublin; Private collection

Exhibited:‘Nightingale, John Cronin’, Green onRed Gallery, Dublin, 13 March - 13 April 2003, catalogue no. 25

‘The Nightingale’ was Cronin’s seventh soloshow at Green On Red Gallery and chartsthe artist’s continuing preoccupation withpaint as a means of expression in anincreasingly modern world. Cronin’sdistinctive style of dragging and scoringthe paint is accentuated by his vibrant andvaried use of colour.

€3,500-€4,500 (£3,000-£3,900 approx.)

86


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115544BBrriiaann BBaallllaarrdd RRUUAA ((bb..11994433))SEA AND ISLANDS, INNISFREE, 2008signed and dated lower right; with title inscribed on reverseoil on canvas50 by 70cm., 19.5 by 27.5in.

€1,500-€2,000 (£1,300-£1,700 approx.)

115555BBrriiaann BBaallllaarrdd RRUUAA ((bb..11994433))RED POPPIES, 2000signed and dated lower left; with archival number on reverse[BALB0132]oil on canvas61 by 75cm., 24 by 29.5in.

€1,800-€2,200 (£1,500-£1,900 approx.)

115566MMaauurraa CCoorroonnaaAUTUMNsigned lower rightoil on canvas58 by 58cm., 23 by 23in.

The proceeds of this sale will go to the Beaumont Hospital Foundation.

Dr. Maura Corona is an established Italian artist and medical professionalliving in Ireland. She has studied art, both theoretical and practical and herwork can be found in numerous public and private collections in Irelandand internationally. Among them, Adam’s Apple, in Dublin’s Dental Hospitalin Lincoln Place, Sleeping Cat, acquired by the Office of Public Works andTranquillity at Bunratty Castle, Co. Limerick. Of her solo exhibitions, her 2006winter show in the Royal Dublin Society was a feature in Circa Art Magazinein December of that year.

€300-€500 (£260-£430 approx.)


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87

115577KKeennnneetthh WWeebbbb RRWWAA FFRRSSAA RRUUAA ((bb..11992277))UISCE GORMsigned lower right; with title inscribed on reverseoil on canvas51 by 154cm., 20 by 60.5in.

€7,000-€9,000 (£6,000-£7,700 approx.)

115588KKeennnneetthh WWeebbbb RRWWAA FFRRSSAA RRUUAA ((bb..11992277))THE LONG WALK, GALWAYsigned lower rightoil on canvas41 by 102cm., 16 by 40in.

€5,000-€7,000 (£4,300-£6,000 approx.)

88


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115599PPeetteerr CCoolllliiss RRHHAA ((bb..11992299))CLEGGEN BAY, CONNEMARAsigned lower left; with title on reverseoil on canvas board30 by 36cm., 12 by 14in.

€800-€1,000 (£690-£860 approx.)

116600JJoohhnn SSkkeellttoonn ((11992233--22000099))ABOVE THE COVE, ST. FINIAN’S BAY, COUNTY KERRYsigned lower left; signed and titled on reverseoil on canvas41 by 56cm., 16 by 22in.

€2,500-€3,500 (£2,200-£3,000 approx.)

116611MMiicchheeááll ddee BBuurrccaa RRHHAA ((11991133--11998855))FIGURE BY A LAKE WITH MOUNTAIN BEYONDsigned lower left; with Combridge Gallery label on reverseoil on board41 by 51cm., 16 by 20in.

€1,000-€1,500 (£860-£1,300 approx.)

116622DDaavviidd HHoonnee PPPPRRHHAA ((bb..11992288))SUMMER, KINSALEsigned lower right; with title inscribed on reverseoil on canvas board20 by 25cm., 8 by 10in.

€800-€1,000 (£690-£860 approx.)


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116644IIvvaann SSuuttttoonn ((bb..11994444))SHAWLIES AND CURRAGHMEN, ARAN MÓR,COUNTY GALWAYsigned lower right; signed again and titled onartist’s label on reverseoil on canvas board51 by 76cm., 20 by 30in.

€2,000-€3,000 (£1,700-£2,600 approx.)

116655HHeennrryy HHeeaallyy RRHHAA ((11990099--11998822))HOWTH HARBOURsigned lower right; with gallery labels on reverseoil on board49 by 60cm., 19.25 by 23.5in.

Provenance:Oisín Gallery, Dublin; Private collection

€800-€1,000 (£690-£860 approx.)

116633IIvvaann SSuuttttoonn ((bb..11994444))THE OLD CLADDAGH FISHMARKET, GALWAYsigned lower right; signed again and titled onartist’s label on reverseoil on canvas board51 by 76cm., 20 by 30in.

€2,000-€3,000 (£1,700-£2,600 approx.)

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116666AArrtthhuurr KK.. MMaaddeerrssoonn ((bb..11994422))EVENING, SAN MARCO (SAINT MARK’S SQUARE) VENICEsigned lower right; signed and titled on reverseoil on board81 by 113cm., 32 by 44.5in.

€3,000-€4,000 (£2,600-£3,400 approx.)

116677AArrtthhuurr KK.. MMaaddeerrssoonn ((bb..11994422))FROSTY DAWNsigned lower right; signed and titled on reverseoil on board55 by 81cm., 21.5 by 32in.

With partially finished oil on reverse entitled WinterSunshine, Glensitelane.

€1,500-€2,000 (£1,300-£1,700 approx.)

116688GGllaaddyyss MMaaccccaabbee HHRRUUAA RROOII FFRRSSAA ((bb..11991188))FRUIT AND FLOWERSsigned lower right; with title and artist’s archivalnumber [AV/GMC/0012] inscribed on reverse; withinscribed Gormley’s label on reverseoil on board41 by 51cm., 16 by 20in.

Provenance:Gormley’s Fine Art, Dublin; Private collection

€1,000-€1,500 (£860-£1,300 approx.)

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116699CCeecciill MMaagguuiirree RRHHAA RRUUAA ((bb..11993300))BACINO ORSEOLO, VENEZIA, 2007signed and dated lower right; inscribed with title and artist’s[Roundstone] address on reverseoil on board91 by 61cm., 36 by 24in.

€3,000-€4,000 (£2,600-£3,400 approx.)

117700LLiiaamm OO’’NNeeiillll ((bb..11995544))HORSE AND JOCKEYsigned lower leftoil on canvas76 by 51cm., 30 by 20in.

Provenance:Purchased directly from the artist by the present owner

€4,000-€6,000 (£3,400-£5,200 approx.)

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117711PPaattrriicckk LLeeoonnaarrdd HHRRHHAA ((11991188--22000055))BUS STOP, MAIN ROAD TO CORFU FROM KOWTOKALI, CORFU,1990signed lower left; signed again, inscribed and dated [June] onreverseoil on board41 by 51cm., 16 by 20in.

Provenance:Family of the artist

With oil sketch of a hilly landscape and castle ruins visible on reverse.

€1,200-€1,500 (£1030-£1,300 approx.)

117733PPaattrriicckk LLeeoonnaarrdd HHRRHHAA ((11991188--22000055))McGEE’S BOAT, RUSH, 1942 and STORMY SKIES, NORTH BEACH, RUSH,1939 (A PAIR)each signed, titled and dated in the lower marginpastel on tinted paper36 by 55cm., 14 by 21.5in.


Dimensions of second title; 13.75 by 21.5ins. Framed and mounted uniformly.

€1,000-€1,500 (£860-£1,300 approx.)

117744PPaattrriicckk LLeeoonnaarrdd HHRRHHAA ((11991188--22000055))SCOUT’S TENT, NORTH BEACH RUSH, 1941 and NORTH BEACH RUSH,1939 (A PAIR)each signed, titled and dated in the lower marginpastel on tinted paper36 by 51cm., 14.25 by 20in.


Dimensions of second title: 13.75 by 21.5ins. Both mounted and framed uniformly.

€800-€1,200 (£690-£1,030 approx.)

117722PPaattrriicckk LLeeoonnaarrdd HHRRHHAA ((11991188--22000055))DASSIA, CORFU, 1990signed lower left; signed again, titled and dated [22 June]on reverseoil on canvasboard34 by 44cm., 13.5 by 17.5in.


€1,200-€1,500 (£1030-£1,300 approx.)

Ex 173

Ex 174


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117755PPaattrriicckk LLeeoonnaarrdd HHRRHHAA ((11991188--22000055))DOREEN, RUSH, 1947signed lower right; signed again, titled and datedon reverseoil on board38 by 34cm., 15 by 13.5in.

€600-€800 (£520-£690 approx.)

117777PPaattrriicckk LLeeoonnaarrdd HHRRHHAA ((11991188--22000055))MASS GRIFFITH AVENUE, 1974signed lower right; signed, titledand dated [April-August] onreverseoil on board58 by 38cm., 23 by 15in.


€1,500-€1,800 (£1,300-£1,500 approx.)

117788BBaarrbbaarraa WWaarrrreenn RRHHAA ((bb..11992255))MOTHER AND SONsigned lower leftoil on canvas61 by 41cm., 24 by 16in.

Provenance:Brock Fine Art, Auction of Irish Art,Blackrock, 10 March 2008, no. 72; Private collection

€1,500-€1,800 (£1,300-£1,500 approx.)

117766PPaattrriicckk LLeeoonnaarrdd HHRRHHAA ((11991188--22000055))DOREEN, THE ARTIST’S WIFE, 1953signed and dated lower rightpastel on buff-coloured paper52 by 39cm., 20.5 by 15.5in.


€600-€800 (£520-£690 approx.)

177 178

94

117799KKeenn HHaammiillttoonn ((bb..11995566))THE VEIL or SPANISH GIRLsigned in monogram lower left; inscribed with title onreverseoil on board41 by 30cm., 16 by 12in.

Provenance:Apollo Gallery, Dublin; Private collection

€1,500-€2,000 (£1,300-£1,700 approx.)

118800TThhoommaass RRyyaann PPPPRRHHAA ((bb..11992299))HONOR, 1973signed and titled lower right; signed again titled and dated [July]on reverse; also with archival number [53] on reverse; with artist’sinscribed studio label also affixed on reverseoil on canvas51 by 47cm., 20 by 18.5in.

€800-€1,000 (£690-£860 approx.)

118811SSttuuaarrtt MMoorrllee ((bb..11996600))THE BED, 2011signed lower rightoil on canvas board25 by 30cm., 10 by 12in.

Known for his prolific output in portraiture and still life painting, Stuart Morlehas begun a series of works based on the elusive and innate sensuousqualities of the human body. Recalling the French master Edgar Degas andhis contemplation of private and ‘intimiste’ scenes – in which the modelappears unaware of being observed – The Bed is the evocation of a demureeroticism, materialized in the relationship between texture and contour – theswirling drapes and the sinuous forms – in a minimalist eulogy of thefeminine.

Ana Patrícia Dias, Lisbon, November 2011

€800-€1,000 (£690-£860 approx.)


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118822MMaarrkk OO’’NNeeiillll ((bb..11996633))COW HAND, 2000signed and dated lower left; with typed Frederick Galleryexhibition label on reverseoil on board55 by 39cm., 21.5 by 15.5in.

Provenance:Frederick Gallery, Dublin; Private collection

Exhibited:‘Mark O’Neill’, Frederick Gallery, Dublin, May 2000, catalogue no. 39

€2,500-€3,500 (£2,200-£3000 approx.)

118833SSttuuaarrtt MMoorrllee ((bb..11996600))DELPHINIUMS IN A GREEN VASE, 2011signed lower rightoil on copper30 by 25cm., 12 by 10in.

€800-€1,000 (£690-£860 approx.)


,

95

118844DDeessmmoonndd SSnneeeeDUBLIN HOUNDsigned lower leftoil on board50 by 60cm., 19.5 by 23.5in.

€800-€1,000 (£690-£860 approx.)

118855MMaarrttiinn MMoooonneeyy ((bb..11996600))FLOWER STUDY, 2008signed and dated lower right; signed again, titled and dated onreverseoil on board25 by 20cm., 10 by 8in.


€1,000-€1,500 (£860-£1,300 approx.)

118866SSttuuaarrtt MMoorrllee ((bb..11996600))HOMAGE TO CHARDIN - STILL LIFE WITH ARTIST’SPALETTEsigned lower rightoil on canvas board44 by 32cm., 17.5 by 12.5in.

€1,000-€1,500 (£860-£1,300 approx.)


,

96

118877RRoonnaalldd OOssssoorryy DDuunnlloopp RRAA RRBBAA NNEEAACC ((11889944--11997733))NO. 52 KITCHEN STILL LIFEsigned lower right; titled on reverseoil on canvas28 by 34cm., 11 by 13.5in.

€800-€1,000 (£690-£860 approx.)

97

118888JJiimmmmyy LLaawwlloorr ((bb..11996677))NEEDLE IN A HAYSTACKsigned lower right; with inscribed gallery labelon reverseacrylic on board42 by 60cm., 16.5 by 23.5in.

Provenance:K Gallery, Douglas, Cork; Private collection

€2,000-€3,000 (£1,700-£2,600 approx.)

118899KKeenn MMoorroonneeyy ((bb..11994499))YOUNG SWIMMERS, WHITEROCK, DALKEYsigned lower rightoil on board51 by 61cm., 20 by 24in.

€800-€1,000 (£690-£860 approx.)

119900EElliizzaabbeetthh BBrroopphhyyGATHERING FLOWERSsigned lower right; with title on reverseoil on board46 by 61cm., 18 by 24in.

€1,000-€1,200 (£860-£1030 approx.)


,

98

119911GGeeoorrggee KK.. GGiilllleessppiiee RRUUAA ((11992244--11999955))PATH TO THE LAKEsigned lower leftoil on board55 by 65cm., 21.5 by 25.5in.

€1,000-€1,500 (£860-£1,300 approx.)

119922BBrreetttt MMccEEnnttaaggaarrtt RRHHAA ((bb..11993399))COTTAGE IN THE TREESsigned lower right; with title on label on reverseoil on board41 by 51cm., 16 by 20in.

€1,000-€1,500 (£860-£1,300 approx.)

119933NNoorrmmaann JJ.. MMccCCaaiigg ((11992299--22000011))MAAMTURK MOUNTAINSsigned lower left; with title inscribed on label on reverseoil on canvasboard41 by 51cm., 16 by 20in.

€800-€1,200 (£690-£1,030 approx.)


,

99

119944BBrriiaann SSmmyytthh ((bb..11996677))GARDEN PARTY, 2002signed and dated on reverseoil on canvas93 by 123cm., 36.5 by 48.5in.

Brian Smyth studied and worked in his native Cork before makinghis Dublin debut with In Time, shown in the Oisín in July 2000. ‘DasCafé’, his second solo exhibition with the gallery, was held inNovember 2003. Smyth currently exhibits throughout Ireland and inLondon. Although often classified as a romanticist for his style andthemes, Smyth’s most recent work seeks to convey his experiencesduring visits to many of Europe’s most distinguished cafés andmeeting places.

€3,000-€4,000 (£2,600-£3,400 approx.)

119955TTeedd JJoonneess ((bb..11995522))A PINT OF PLAINsigned lower left; with title on label on reverseoil on canvas41 by 29cm., 16 by 11.5in.

€1,500-€2,000 (£1,300-£1,700 approx.)


,

100


,

119966GGrraahhaamm KKnnuutttteell ((bb..11995544))TWILIGHTsigned lower right; inscribed with title on reverseoil on canvas71 by 56cm., 28 by 22in.

€1,500-€2,000 (£1,300-£1,700 approx.)

119977GGrraahhaamm KKnnuutttteell ((bb..11995544))MASTER CHEFsigned lower rightpastel62 by 50cm., 24.5 by 19.75in.

€900-€1,200 (£770-£1030 approx.)

119988GGrraahhaamm KKnnuutttteell ((bb..11995544))A QUIET DRINKsigned lower rightgouache46 by 66cm., 18 by 26in.

€1,000-€1,500 (£850-£1,270 approx.)


,

101

220011GGrraahhaamm KKnnuutttteell ((bb..11995544))BIRD OF PARADISEsigned lower leftoil on canvas91 by 91cm., 36 by 36in.

Provenance:Apollo Gallery, Dublin; Private collection

€1,500-€2,000 (£1,300-£1,700 approx.)

119999GGrraahhaamm KKnnuutttteell ((bb..11995544))TWO SHEEPsigned lower rightoil on canvas30 by 25cm., 12 by 9.75in.

€900-€1,200 (£770-£1030 approx.)

220000GGrraahhaamm KKnnuutttteell ((bb..11995544))YELLOW CATsigned lower rightoil on canvas25 by 30cm., 10 by 11.75in.

€900-€1,200 (£770-£1030 approx.)

102


,

220022MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))THE CLADDAGH, GALWAYsigned lower leftoil on board47 by 122cm., 18.5 by 48in.

The Claddagh has a long tradition as an artistic subject having been thesource of inspiration for scores of artists dating back to the late 1830s.Both Samuel Lover’s Women of the Claddagh of Galway, 1839, and GeorgeSharpe’s View Of The West Convent, On The Claddagh, Galway, 1844, areexamples of hugely significant historical works which depicted a vibrantfishing community of the West prior to the devastation of the Famine. Insubsequent years Erskine Nicol, Walter Osborne and John Leech would allgravitate to the ancient village to capture the nostalgic essence of adisappearing Ireland.

€6,000-€8,000 (£5,200-£6,900 approx.)

220033MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))THE CARAVAN, c.1989signed lower leftoil on board56 by 46cm., 22 by 18in.

Provenance:Emer Gallery, Belfast; Private collection; Andersons Auctions, Belfast, 5 June 2000, lot 82 (as TravellingWomen);Private collection

Exhibited:‘Markey’, Emer Gallery, Belfast, 28 September - 7 October. 1989,catalogue no. 28 (The Caravan) illustrated p. 2

A copy of the original Emer Gallery exhibition catalogue and theAnderson’s auction catalogue accompany this lot.

€3,000-€4,000 (£2,600-£3,400 approx.)


,

103

220044MMaarrkkeeyy RRoobbiinnssoonn((11991188--11999999))RETURNING TO THEVILLAGEsigned lower rightoil on board36 by 94cm., 14 by37in.

€3,000-€4,000 (£2,600-£3,400 approx.)

220055MMaarrkkeeyy RRoobbiinnssoonn((11991188--11999999))MOTHER AND CHILDBY A VILLAGE WITHHAY STACKSsigned lower rightoil on board36 by 91cm., 14 by36in.

€3,000-€4,000 (£2,600-£3,400 approx.)

220066MMaarrkkeeyy RRoobbiinnssoonn((11991188--11999999))COUNTRY VILLAGEAND CHURCH,AUTUMNsigned lower leftoil on board37 by 97cm., 14.5 by38in.

€3,000-€4,000 (£2,600-£3,400 approx.)

Provenance:Lots 204 and 205 were purchased by the present ownerfrom the Caldwell Gallery, Belfast, in the mid 1960s.

104


,

220077MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))IN THE SHADOW OF THE MOUNTAINsigned lower left; with inscribed George Gallery label on reverseoil on board52 by 64cm., 20.5 by 25in.

Provenance:George Gallery, Dublin; Private collection; Nora Dunne Gallery, 2009; Private collection

Exhibited:‘Markey Robinson: A Life – Retrospective’, The GeorgeGallery, Dublin, September, 1988, catalogue no. 57

Contained in what appears to be its original Waddington-style frame.

€3,000-€4,000 (£2,600-£3,400 approx.)

220088MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))AWAITING THE CATCHsigned lower leftoil on board30 by 49cm., 12 by 19.25in.

€1,500-€2,000 (£1,300-£1,700 approx.)

220099MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))LONG WALK HOMEsigned lower right; with inscribed Eakin Gallery label onreverse; also with provenance details on reverseoil on board46 by 67cm., 18 by 26.5in.

Provenance:Purchased from the artist in Belfast c.1950 by a Dr. Wright; With the Eakin Gallery, Belfast; Private collection

€2,000-€3,000 (£1,700-£2,600 approx.)


,

105

221122MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))MAJORCAN SEASIDEsigned lower leftoil with gouache on board29 by 50cm., 11.25 by 19.5in.

Provenance:George Gallery, Dublin; Private collection

€2,000-€3,000 (£1,700-£2,600 approx.)

221100MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))STILL LIFE WITH SEASCAPE AND BOATSsigned lower rightgouache on card32 by 77cm., 12.5 by 30.5in.

€1,500-€2,000 (£1,300-£1,700 approx.)

221111MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))GOING TO CHURCHsigned lower right; inscribed with title onreverse; with Oriel Gallery label and artist’sobituary on reversegouache on board22 by 37cm., 8.75 by 14.75in.

Provenance:Oriel Gallery, Dublin; Private collection

€1,200-€1,500 (£1,030-£1,300 approx.)

106


,

221133MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))MARKEY’S LIVINGROOMsigned lower right; with title on reversegouache with oil on card33 by 47cm., 13 by 18.5in.

€800-€1,200 (£690-£1,030 approx.)

221155MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))SHAWLIE WITH COTTAGE IN A LANDSCAPEsigned lower rightoil on board30 by 47cm., 11.75 by 18.5in.


€1,500-€1,800 (£1,300-£1,500 approx.)

221144MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))LE CITYsigned lower left; signed again and inscribed with title on reversegouache on card32 by 50cm., 12.5 by 19.5in.

€600-€800 (£520-£690 approx.)

221166MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))CHAPEAUX BLANCHE [WHITE HATS]signed lower left; titled on reverse; also withOriel Gallery label on reverse18 by 25cm., 7 by 9.75in.


€800-€1,200 (£690-£1,030 approx.)


,

107

221188MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))WATCHING THE FISHING BOATS Isigned lower rightacrylic and gouache on card27 by 38cm., 10.5 by 15in.

€800-€1,200 (£690-£1,030 approx.)

221177MMaarrkkeeyy RRoobbiinnssoonn((11991188--11999999))GOING HOMEsigned lower rightoil with gouache on board41 by 64cm., 16 by 25.25in.


€3,000-€5,000 (£2,550-£4,200 approx.)

221199MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))WATCHING THE FISHING BOATS IIsigned lower rightacrylic and gouache on card27 by 38cm., 10.5 by 15in.

€800-€1,200 (£690-£1,030 approx.)

108


,

222200MMaarrkkeeyy RRoobbiinnssoonn ((11991188--11999999))ITALIAN SCENEsigned with initials lower right; signed in full and withtitle on reverse; also with 1970s newspaper cuttingpreserved on reverseoil on board51 by 30cm., 20 by 12in.

Newspaper cutting reads: “Fast becoming one of the most fashionable “new” artists tocollect, Belfast-born Markey Robinson is to have one of his biggestbreaks yet shortly when he holds an exhibition in the residence ofthe Irish Ambassador to America. The news was given to me bydapper Oliver Nulty, whose Oriel art galleries in Dublin have long

supported Markey when others, who nowwant to climb on the band-wagon, didn’twant to know. Oliver it was [sic] whopersuaded Markey to stay in Dublin manyyears ago when, disillusioned with what hethought was his lack of progress, he wasplanning to emigrate. Oliver bought hiscollection of expressionist paintings fromhim and gave him the chance of developinghis art there. After the exhibition inWashington in May he will show hispaintings in the North East University,Boston and San Francisco”.

€600-€800 (£520-£690 approx.)

222211RRoobbeerrtt RRyyaannWOMAN AND TOWNSHIP, 1997signed and dated upper left; with title inscribed on reverse;with gallery stamp on stretcher on reverseoil on canvas122 by 91cm., 48 by 36in.

Provenance:Apollo Gallery, Dublin;Private collection;

€2,000-€3,000 (£1,700-£2,600 approx.)


,

109

222222NNeeiill SShhaawwccrroossss RRHHAA RRUUAA ((bb..11994400))THE HOMES OF DONEGAL, 2002signed and dated lower right; with title withinthe image, centrewatercolour with pencil43 by 62cm., 17 by 24.5in.

€2,000-€3,000 (£1,700-£2,600 approx.)

222233NNeeiill SShhaawwccrroossss RRHHAA RRUUAA ((bb..11994400))JUG AND APPLES, 1998signed and dated in pencil lower right; withinscribed Eakin Gallery label on reverseoil on paper37 by 55cm., 14.5 by 21.5in.

Provenance:Eakin Gallery, Belfast; Private collection

€1,500-€1,800 (£1,300-£1,500 approx.)

222244BBrriiaann BBaallllaarrdd RRUUAA ((bb..11994433))TWO VASESsigned and dated lower left; signed, inscribed anddated on reverseoil on board13 by 18cm., 5 by 7in.


€600-€800 (£520-£690 approx.)

EENNDD OOFF SSAALLEE

GGiivvee aa ggiifftt ooff eenndduurriinngg vvaalluuee tthhiiss yyeeaarr.. CChhoooossee ffrroomm hhuunnddrreeddss ooff aattttrraaccttiivvee wwoorrkkssaanndd ppaayy tthhee pprriiccee tthhaatt ssuuiittss yyoouu!! EEssttiimmaatteess €110000--€11,,000000..

AAUUCCTTIIOONN:: Sunday 11 December, 2pm

VVIIEEWWIINNGG:: At our Galleries, Wednesday to Saturday 7-10 December10am to 6pm daily; Sunday 11 December 10am to 1pm

CCAATTAALLOOGGUUEE:: on-line soon at whytes.com

LIVE ON-LINE BIDDING AT NO EXTRA COST

ART FORCHRISTMAS11 December 2011

38 Molesworth Street Dublin 2 01 6762888 www.whytes.com

GGeerraarrdd DDiilllloonn,, CChhrriissttmmaass CCaarrdd


,

TOPOGRAPHICAL AND GENERAL INDEX

For an index of artists see inside back cover

Antrim: 22, 23, 25, 77, 90, 91, 109, 121, 122, 126

Belfast: 121

Carlow: 117, 118

Clare: 98

Cork: 69, 108, 162

Derry: 62

Donegal: 27, 28, 40, 123, 222

Down: 101, 125, 134

Dublin City: 2, 20, 58, 65, 88, 139, 177

Dublin County: 6, 78, 173, 174, 175-177, 189

England: 105

Equestrian: 170

France: 1, 9-11, 214

Galway: 8, 53, 93-95, 107, 133, 158, 163, 164, 193

Greece: 171, 172

Italy: 97, 166, 169

Kerry: 3, 4, 5, 75, 107, 160

Kilkenny: 99

Louth: 96

Mayo: 107, 124

Maritime: 105, 106, 108-110

Monaghan: 86, 87, 130

Morocco: 19, 132

Sligo: 45, 46, 51, 154

Spain: 47

Wales: 18

Wicklow: 26, 63, 112

Note: the following prefixes are widely used with the initials of academiesand institutions:A AssociateF FellowH Honorary academician or member or council memberP President or past president

b. bornBWS British Watercolour SocietyCH Companion of Honourcm. centimetre or centimetresd. diedexh. exhibitedFBA Federation of British Artistsfl. flourishedFRIBA Fellow Royal Institute of British ArchitectsICA Institute of Contemporary ArtsIELA Irish Exhibition of Living ArtIMMA Irish Museum of Modern Artin. inch or inchesMBE Member of the Most Excellent Order of the British EmpireNA National Academy, New YorkNCA National College of Art, DublinNCAD National College of Art & Design, DublinNEAC New English Art ClubNGI National Gallery of IrelandOBE Officer of the Most Excellent Order of the British EmpireOM Order of MeritOWS Old Watercolour Society, London

PS Pastel Society, LondonRA Royal Academy, LondonRBA Royal Society of British ArtistsRBS Royal Society of British SculptorsRCA Royal College of ArtRE Royal Society of Painter-Etchers and EngraversRDS Royal Dublin Society RHA Royal Hibernian Academy, DublinRI Royal Institute of Painters in WatercoloursRIA Royal Irish AcademyROI Royal Institute of Oil PaintersRP Royal Society of Portrait PaintersRSA Royal Scottish AcademyRSMA Royal Society of Marine ArtistsRSW Royal Scottish Society of Painters in WatercolourRUA Royal Ulster Academy of ArtsRWA Royal West of England Academy, BristolRWS Royal Society of Painters in WatercolourSWA Society of Women ArtistsWCSI Watercolour Society of Ireland

References:Snoddy Theo Snoddy, Dictionary of Irish Artists 20th

Century, 2nd edition, Dublin, 2002Strickland Walter G. Strickland, A Dictionary of Irish Artists

Dublin, 1913

ABBREVIATIONS

DES IGN : D E S K I E LY D E S I GN

PHOTOGRAPHY : G I L L I AN BUCKL E Y

P R I N T ING : B RUNSW ICK P R E S S LTD .

© COPYR IGHT 2 0 1 1

WHY TE AND SONS AUCT IONEERS LTD .

A L L R I GHTS R E S E R VED


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Alexander, D: 103

Ballagh, R: 58-64

Ballard, B: 154, 155, 224

Barry, J: 111

Bartlett, W. H: 107

Bell, S: 82

Behan, J: 79

Bewick, P: 56

Blackshaw, B: 130, 131

Brenan, J. B: 114

Brophy, E: 190

Browne, H. E. J: 120

Burke, A. N: 115

Butler, M. A: 99

Campbell, J. H: 112

Carey, J. W: 121-126

Casey, C: 136

Coen, J: 83

Collis, P: 76, 159

Continental School: 106, 119

Corona, M: 156

Craig, J. H: 22, 23, 25

Cronin, J: 152

Crozier, W: 66-70

de Burca M: 161

Delaney, E: 151

Dillon, G: 33-35, 37, 81

Dixon, J: 40

Doran, P: 153

Dunlop, R. O: 187

Egginton, F: 100, 101, 127

Faulkner, J: 110

Fitzgerald, P: 147, 148

Fitzgibbon, M: 88

Fitzharris, M: 146

Fitzpatrick, J: 65

Flanagan, T. P: 50-55, 129

French, W. P: 128

Gillespie, G. K: 92-95, 191

Hamilton, E. H: 97, 98

Hamilton, K: 179

Hanlon, J. P: 32

Hayes, E: 105

Healy, H: 165

Henry, P: 28

Hill, R: 90, 91

Hone, D: 162

Irish/British School: 118, 119

Jones, T: 195

Keating, S: 12, 15, 116

Kelly, J. E.: 63

Kernoff, H: 1-11

King, C: 149, 150

Kingston, R: 77

Knuttel, G: 196-201

Landweer, S: 80

Laporte, J: 108

Lavery, J: 19

Lawlor, J: 188

le Brocquy, L: 29, 39, 43A, 139-141

le Brocquy, M: 84, 85

Lennon, C: 74

Leonard, P: 171-177

Maccabe, G: 168

Madden, A: 71

Maderson, A. K: 166, 167

Maguire, C: 169

McCaig, N. J: 193

McEntagart, B: 192

McGuinness, N: 31

McGuinness, W. B: 113

McGuire, E. A: 57

McSweeney, S: 44-46

Middleton, C: 143

Mooney, M: 132-134, 185

Morle, S: 181, 183, 186

Moroney, K: 189

Murphy, S: 86, 89

Nicholl, A: 109

O’Malley, T: 47-49

O’Neill, D: 36, 38

O’Neill, L: 170

O’Neill, M: 182

Orpen, B: 96

Orpen, W: 16, 17

Osborne, W. F: 104

O’Sullivan, D: 145

Pearse, S: 117

Power O’Malley, M. A. P: 24

Pye, P: 41

Robinson, M: 202-220

Russell, G (‘Æ’): 102

Ryan, J: 87

Ryan, R: 221

Ryan, T: 180

Scott, P: 42, 73

Scott, W: 138

Scully, S: 72, 142, 144

Shawcross, N: 222, 223

Skelton, J: 160

Smyth, B: 194

Snee, D: 184

Souter, C: 43

Sutton, I: 163, 164

Swanzy, M: 30

Teeling, N: 135

Teskey, D: 75, 78

Thaddeus, H. J: 18

Wade, J: 137

Warren, B: 178

Webb, K: 157, 158

Wilks, M. C: 27

Yeats, J. B: 12, 20

Young, M: 26

AN INDEX OF ARTISTS REPRESENTED IN THIS SALE

For topographical and general index see page 112


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