Adams Important Irish Art Auction

Wednesday 29th May 2013 at 6.00pm

Est 1887

Important Irish Art

Front Cover Paul henry Lot 21Opposite Frank McKelvey Lot 62Pages 2 & 3 Paul Henry Lot 22Page 4 Gerard Dillon Lot 86Page 7 Mildred Anne Butler Lot 49Inside Back Cover Sean Keating Lot 32Back Cover Walter Osborne Lot 44

Important Irish ArtAuction Wednesday 29th May 2013 at 6pm

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AUCTIONWednesday 29th May 2013 at 6.00pm

VENUEAdam’s Salerooms26 St Stephen’s Green, Dublin 2.Ireland

VIEWING HIGHlIGHTS MAy 9TH - 16TH

At The Ava Gallery, Clandeboye Estate, Bangor, Co. Down BT19 IRN Monday - Friday 11.00am - 5.00pm Saturday 11th May 2.00pm - 5.00pm Sunday 12th May 2.00pm - 5.00pm FUll SAlE VIEWING MAy 26TH - 29TH

At Adam’s, 26 St Stephen’s Green, Dublin 2. Sunday 26th May 2.00pm - 5.00pm Monday 27th May 10.00am - 5.00pm Tuesday 28th May 10.00am - 5.00pm Wednesday 29th May 10.00am - 5.00pm

Important Irish Art

Bid online at our auctions through www.the-saleroom.com

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Brian Coyle FSCSI FRICSCHAIRMAN

Eamon O’Connor [email protected]

Nick [email protected]

James O’Halloran BA FSCSI FRICSMANAGING [email protected]

David Britton BBS [email protected]

Abigail Bernon BAFINE ART [email protected]

Kieran O’Boyle BA Hdip ASCSIFINE ART DEPARTMENT [email protected]

Stuart Cole MSCSI [email protected]

Karen Regan BAFINE ART [email protected]

You can now create your own account with us by signing up and registering your particulars online at www.adams.ieThe process involves uploading identification by way of passport or driving licence and supplying valid credit card information. This is a once off request for security purposes, and once the account is activated you will not be asked for this information again. You can leave absentee bids online, and add, edit or amend bids accordingly as well as other useful functions including paying your invoice.

C R E AT E A ‘ M Y A D A M ’ S ’ A C C O U N T

26 St. Stephen’s Green , Dublin 2.Tel +353 1 6760261 Fax +353 1 [email protected] www.adams.ie

Est 1887

1. Estimates and ReservesThese are shown below each lot in this sale. All amounts shown are in Euro. The figures shown are provided merely as a guide to prospec-tive purchasers. They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will not be any higher than the lower estimate.

2. Paddle BiddingAll intending purchasers must register for a paddle number before the auction. Please allow time for registration. Potential purchasers are recommended to register on viewing days.

3. Payment, Delivery and Purchasers PremiumThursday, 30th May 2013, 10.00am - 1.00pm and 2.00pm -5.00pm. Under no circumstances will delivery of purchases be given whilst the auction is in progress. All purchases must be paid for and removed from the premises not later than 5pm on Thursday 30th May 2012. Auctioneers commission on purchases is charged at the rate of 20% (exclusive of VAT). Terms: Strictly cash, bankers draft or cheque vouched to the satisfaction of the auctioneers, prior to sale. Purchasers wishing to pay by credit card (Visa & Mastercard) may do so, however, it should be noted that such payments will be subject to an administrative fee of 1.85% on the invoice total. American Express is subject to a charge of 3.65% on the invoice total. Please contact our accounts department prior to sale with your payment queries. Artists Resale Rights (Droit de Suite) is not payable by purchasers.

4. VAT RegulationsAll lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers premium must be invoiced at a rate which is inclusive of VAT. This is not recoverable by any VAT registered buyer.

5. Please note that imperfections are not stated.

6. Absentee BidsWe are happy to execute absentee or written bids for bidders who are unable to attend and can arrange for bidding to be conducted by telephone. However, these services are subject to special conditions (see conditions of sale in this catalogue). All arrangements for absentee and telephone bidding must be made before 5pm on the day prior to sale.

7. AcknowledgmentsWe would like to acknowledge, with thanks, the assistance of Dr. S.B.Kennedy, Karen Reihill, Dickon Hall, Dr. Julian Campbell, Dr. Róisín Kennedy, Dr Eimear O’Connor, Dr. Denise Ferran, Niamh McNally, Marianne O’Kane Boal, and Katharine Crouan whose help and research were invaluable in compiling many of the catalogue entries.

8. All lots are being sold under the Conditions of Sale as printed in this catalogue and on display in the salerooms.

I M P O RTA N T I N F O R M AT I O N F O R P U R C H A S E R S

Important Irish Art, wednesday 29th May 2013 at 6pm

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1 Grace Henry RHA RUA (1876-1958) The PiperOil on canvas, 30.5 x 25.5cm (12 x 10”)Signed

Provenance: Brook Street Art Gallery, LondonExhibited: “Grace Henry - The Person and Artist” Loan Exhibition, Jorgenson Fine Art, January 2010Literature: “Grace Henry - The Person and Artist” 2010, illustrated p37

€3,000 - 5,000

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2 Dorothy Blackham (1896-1975)Procession at LuccaOil on board, 36 x 66cm (14 x 26”)Signed, inscribed artist’s label verso

€800 - 1,200

3 Dorothy Blackham (1896-1975)The Old Town OrvieOil on board, 24 x 15cm (9½ x 6”)Inscribed artist’s label verso

€400 - 600


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4 Gladys Maccabe HRUA ROI FRSA (b.1918)Donaghadee Harbour, August 1956Oil on board, 64 x 79cm (25¼ x 31¼”)Signed; Inscribed artist’s label verso

Provenance: From the collection of the sculptor, Angela, Countess of Antrim (1911-1984) and thence by descent to the current owners

Exhibited: The Royal Ulster Academy 1956. Cat. No. 68, where purchased by the Countess of Antrim

€4,000 - 6,000

3 Dorothy Blackham (1896-1975)The Old Town OrvieOil on board, 24 x 15cm (9½ x 6”)Inscribed artist’s label verso

€400 - 600

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5 Mainie Jellett (1897-1944)Study for ‘A Woman’ (1937)Gouache, 23.5 x 12cm (9¼ x 4¾”)

Provenance: Jorgensen Fine Art, Dublin where purchased by current owner

€2,000 - 4,000

6 Mainie Jellett (1897-1944)Rug DesignGouache, 30 x 14cm (11¾ x 5½”)

Provenance: Jorgensen Fine Art, Dublin where purchased by current owner

€1,500 - 2,500


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7 Mainie Jellett (1897-1944)Abstract CompositionGouache, 20 x 19cm (8 x 7½”)

Provenance: From the artist’s family by descent. Sold by them in 1987 to raise funds for the “Mainie Jellett Fund” that provides grants to assist Irish students from TCD and NCAD to travel abroad and study works of art.

Exhibited : “Mainie Jellett Exhibition”, November/December 1987, The Taylor Galleries, Cat. No. 15 Summer Exhibition, Jorgensen Fine Art, Dublin, 1999, Cat. No. 18 where purchased by current owner.

Literature : Mainie Jellett 1987 Catalogue - Front cover illustration

This early work by Jellett from 1922 is a study for a large oil of the same year, exhibited with the Independents in Paris in 1923, being one of four works Jellett exhibited that year.

€2,000 - 4,000

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note of drama to the painting while celebrating the poetic aspects of nature. Both suggest the simplicity of rural life. McGuinness makes these familiar motifs contemporary through the strong flattened patterning of the forms which is ultimately derived from cubism, a style which she had learnt in Paris in the studio of André Lhote at the end of 1920s and which continued to resonate in her work into the 1960s. Cubism enabled her to simplify the subject and to create decorative and almost abstract responses to the subject. The subtle delineation of foliage, berries and branches and the use of strong blocks of colour are typical of the artist’s unmistakable style. They reveal an acute awareness of the natural world, the product of a passionate interest in gardening and more significantly a long career spent developing a keen appreciation of landscape. She avoids any of the clichés of traditional touristic imagery in her representation of Ireland. This made McGuinness’s work attractive to the Arts Council and to collectors in the 1960s. The Startled Bird is an excellent example of her late work at its most expressive.

Dr. Roisin Kennedy

1. James White, Irish Times, 10 November 1961.

€20,000 - 30,000

8 Norah McGuinness HRHA (1901-1980)The Startled Bird (1961)Oil on canvas, 68.5 x 81.25cm (27 x 32”)Signed and Dated 1961

Provenance: Acquired directly from the artist in 1961 by a friend; as it was his daughter depicted in the woods, and thence by descent to the current owner. The location of the wood is the south side of Carrickgollogan near the artists home.

Exhibited: RHA Annual Exhibition 1961, Dublin, Cat. No. 41 (NFS), Exposition de la Peinture Contemporaine Irlandaise, Monaco, 1962, Twelve Irish Painters-An Exhibition of Irish Modern Art, New York, 1963, Norah McGuinness Retrospective, Trinity College Dublin, 1968, Cat. No. 63

Norah McGuinness’s work went through a great resurgence in the early 1960s when she produced some of her most accomplished paintings. In 1961 she had a very successful show at the Dawson Gallery. James White reviewing it in the Irish Times described it as ‘undoubtedly her finest exhibition’.1 The Startled Bird, exhibited that year at the RHA, can clearly be related to the works in this show. Its inclusion in international exhibitions of modern Irish art organised by the Arts Council indicate the regard in which it was held by the art establishment at the time.

Inspired by her frequent sojourns in the countryside, the work evokes through its patterning of rich colours and stark forms, the physical sensation of woodland. The figure of the young girl and the blackbird in the foreground add a


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9 Alicia Boyle RBA (1908-1997)‘Pink Ladders and Pear Orchard’ and ‘Cold Spring’A pair, oil on canvas, 35 x 46cm (13¾ x 18”) eachSigned with initials, also signed and inscribed verso (2)

€800 - 1,200

10 Evie Hone, HRHA (1894-1955) Stained Glass Design (Thérèse of Lisieux) Monotype, 28 x 10cm (11 x 4”)

Provenance: The Dawson Gallery, label verso

€500 - 800


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11 Norah McGuinness HRHA (1901-1980) Western LandscapeOil on canvas, 71 x 102cm (28 x 40”)Signed and dated 1963

€6,000 - 10,000

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12 Eva Henrietta Hamilton (1876-1960)The Lifting Bridge, MonasterevinOil on canvas, 77 x 63.5cm (30¼ x 25”)

Provenance: The artist’s family.

Exhibited: Collector’s Eye Exhibition, Model Arts and Niland Gallery Sligo, January/February 2004, The Hunt Museum Limerick, March/April 2004, Cat. No. 6

Literature: The Collector’s Eye 2004, illustrated p.4

This is the view of the ‘Lifting Bridge’ still in operation and the Church of St Peter and Paul in Monasterevin in the distance

€5,000 - 8,000


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13 Estella Frances Solomons, HRHA (1882-1968) PierrotOil on canvas, 66 x 46cm (26 x 18”)

Exhibited: Estella Solomons Exhibition, The Crawford Gallery, Cork 1986, Cat. No. 25 Estella Solomons Retrospective Exhibition, The Frederick Gallery, Dublin November 1999, Cat. No. 2

A sketch for this painting but without the china horse is included in the Solomons Papers in Trinity College, Dublin (Ref. 4520, p.41)

€6,000 - 8,000

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14 Patrick Hennessy RHA (1915-1980)In the StudioOil on board, 45.5 x 35.5cm (18 x 14”)Signed, inscribed with artist’s label verso

Provenance: Property of a deceased estate, Northern Ireland

€4,000 - 6,000


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15 Leo Whelan RHA (1892-1956)A Kitchen Interior with MaidOil on canvas, 63.5 x 63.5cm (25 x 25”)Signed, with a sketch of a chemist’s shop interior verso

Provenance: From the Collection of Francis Murnaghan, Baltimore and his sale, Christies “Irish Sale” May 2004, Cat.No. 161, where purchased by current owner

€7,000 - 10,000

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16 William Conor RHA RUA (1884-1968)In the StreetMixed media, 42 x 30½ cm (16½ x 12”) signedTogether with a woodcut version of the work produced by The Linen Hall Library, 1986 and numbered 5/300 (2)

Provenance: The original work is thought to have been acquired in the 1940s and thence by descent to current owners

€2,000 - 4,000


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17 William Conor RHA RUA (1884-1968)A Sunny Day on the DoorstepCrayon, 47 x 36cm (18½ x 14”)

Gallery stamp verso - J.J. McGuigan, 34 Berry Street, Belfast.

Provenance: Thought to have been acquired in the 1940s and thence by descent to current owners

€7,000 - 10,000

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18 William Conor RHA RUA (1884-1968) The Irish Scene. Belfast. Derek MacCord. 1944. Folio. p.p.26. 12 Full page illustrations, 6 in col-our. Green cloth. Gilt title on spine


€100 - 200

19 William Conor RHA RUA (1884-1968)The BenedictionCrayon, 45 x 35cm (17¾ x 13¾”)Signed. Gallery stamp verso - J.J. McGuigan, 34 Berry Street, London


An almost identical painting in oils by Conor sold in these rooms 4th October 2006, lot 138, for €38,000

Conor was born in Belfast in 1881 and attended the Belfast Gov-ernment School of Art. In 1914 he became the official war artist in the Ulster Division and by 1918 he had work exhibited for the first time at the RHA in Dublin.

In 1923 he exhibited at The Goupil Gallery London and in 1924 and 1926 The Stephen’s Green Gallery, Dublin. He had an exhibi-tion with the Waddington Galleries, Dublin in 1948 and in 1957 there was a retrospective exhibition at the Museum and Art Gal-lery, Belfast.

He was a founder member of the Royal Ulster Academy of Art

and became its President in 1957. He was elected ARHA in 1938 and in 1946 became a full member of The Royal Hiber-nian Academy in Dublin and in all showed nearly 200 works at the RHA.

He wrote.. “All my life I have been completely absorbed with the activities of the Belfast people and the surrounding country. Being a Belfast man myself it has been my ambition to reveal the character of its people in all vigour, in all its senses of life, in all its variety, in all its passion, humanity and humour”. In this ambition he was successful being described as a “sort of Belfast Dostoyevsky”.

Although he was Presbyterian, this did not hinder him depict-ing Northern Catholics either Going to Mass in the countryside or praying in church as is shown here. In all of these church interiors he captures the different generations always focusing on the matriarchal grandmother in the foreground. Again he has successfully captured a way of life that is now but a memory in modern Ireland.

€6,000 - 8,000


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20 William Conor RUA, RHA (1884-1968) The Shepherd and his FlockCrayon, 63.5 x 51cm (25 x 20”)

Provenance: One of a collection of works by William Conor, sold at Waddington Auctioneers, Toronto, June 2001, Cat. No, 1710, where purchased by the current owner. Another smaller work from this same Canadian collection, Dancing the Jig, was sold in these rooms December 2012, Cat. No. 48, for €26,000, while another from this collection, The Street Musician sold for €15,000 in our sale 26th March, Lot 15

John Hewitt has written ‘In the art history of Ireland, William Conor must be placed with Paul Henry and Jack B Yeats, as one of the first to record the life of the people in painterly terms, without the trappings of stage-Irishry. Few can have realised how representative he has been, how broadly typical of our best moods and impulses.’ According to Crookshank and Glin, ‘His early crayon drawings, with their very personal technique, using wax to achieve an uneven texture, develop from his early training as a lithographer and he achieves something of a similar effect in his oils.’ The composition, stance and treatment of the figure in The Shepherd and his Flock are reminiscent of Jack B. Yeats’ Man from Arranmore 1905 rendered in chalk and watercolour. In Yeats’ work the man assumes an almost heroic stance and is depicted against the mountain with the surrounding landscape indicated. Here, the treatment of the figure against the landscape is similar and even the shepherd’s gaze and that of the fisherman follow a similar path. Conor’s masterful use of crayon lends this work an almost aged photographic quality. The treatment of the figure, delineation of his features, his expression and even the detailed faces of the sheep and lamb, create a quintessential Irish study of country life. The subject is uncharacteristic of Conor who generally made his name as, ‘the pioneer in taking his subjects from town - rather than country - folk.’ ( John Hewitt). Hewitt also admires Conor’s technical virtuosity; his vivid draughtsmanship, his adept use of watercolour, his skilful portraiture in many styles, his few but original essays in landscape.’ This work may feature a scene from Co. Kerry. Conor spent some time on the Blasket Islands and rural studies include The Flax Gatherers, Gathering Potatoes and Going to Mass, Co. Kerry.

Marianne O’Kane Boal

€10,000 - 15,000


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21 Paul Henry RHA RUA (1876-1958)The Potato Diggers (1910-11)Oil on canvas, 71 x 81.5cm (28 x 32”)Signed

Provenance: Acquired from the artist in the 1930s and thence by descent to the present owner

Exhibited: Paintings of Irish Life: Mr. & Mrs. Paul Henry, Pollock’s Gallery, Belfast, 14-27 March 1911 (33, as Potato Digging)Paintings by Mrs. Frances Baker, Grace Henry, Paul Henry, Casimir Dunin-Markiewicz and George Russell (AE), Leinster Hall, Dublin, 16-21 October 1911 (27, as Potato Diggers)Paintings of Co. Mayo, Ireland (Synge’s Country) by Mr. and Mrs. Paul Henry, Allied Artists’ Association, London, till 17 February 1912 (10, as Potato Diggers) Pictures of the West of Ireland by Mr. & Mrs. Paul Henry, Mills’ Hall, Dublin, 16-28 April 1917 (39)Paintings by Mr. & Mrs. Paul Henry, Magee’s Gallery, Belfast, from 14 April 1920 (10); Paul & Grace Henry: Irish Life and Landscape, Leicester Galleries, London, from 6 January 1921 (50)New Irish Salon, Mills’ Hall, Dublin, 8 February-6 March 1926 (2)Exhibition of Paintings, Drawings, Engravings & Small Sculpture by Artists Resident in Great Britain & the Dominions, Imperial Art Gallery, Imperial Institute, London, 12 April-30 June 1927 (123)Paintings and Charcoals: Paul Henry RHA, Waddington Galleries, Dublin, 21 February- 3 March 1952 (16); An Tostal: Exhibition of Paintings and Sculpture, International Hotel, Bray, 8-22 April 1953 (49)Some Paintings by Modern Irish Artists, Crawford School of Art, Cork, April-July 1960 (15, reproduced) Paul Henry 1876-1958; Paul Henry Retrospective Exhibition, Trinity College, Dublin

and Ulster Museum, Belfast, October 1973-January 1974 (7, reproduced)Irish Art and Modernism 1880-1950, Lane Gallery, Dublin and Ulster Museum, Belfast, 20 September 1991-26 January 1992 (6, reproduced in colour)

Literature: Arthur Power, ‘Reassessments-17: Paul Henry,’ Irish Times, 29 June 1971, p. 8, reproduced S. B. Kennedy: Irish Art and Modernism 1920-1949, unpublished Ph.D. thesis, University of Dublin, 1987, vol. 1, pp. 34, 37, reproduced in colour vol. 2, pl.1‘Paul Henry: An Irish Portrait’, Irish Arts Review, Yearbook 1989-90, 1989, p. 45, reproduced in colour p. 46Irish Times, 20 December 1989, p. 12 reproducedIrish Art and Modernism 1880-1950, Belfast: Institute of Irish Studies, 1991, pp. 19, 23, 216-7 reproduced in colour; Paul Henry, New Haven and London, Yale University Press, 2,000, pp. 46-7 reproduced in colour, 143Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, New Haven and London, Yale University Press, 2007, pp. 34, 42, 62, 88, 89, 154, catalogue number 295, reproduced in colour; Kenneth McConkey, A Free Spirit: Irish Art 1860-1960, London, Antique Collectors’ Club and Pyms Gallery, 1990, p.159, reproduced in colour.


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This is one of Paul Henry’s most accomplished works. Henry went to Achill Island for the first time in August 1910. Through the influence of his friends Robert and Sylvia Lynd in London, he had been introduced to the work of W. B. Yeats, whom he had met in Paris in February 1899, and J. M. Synge, whose tragic tone poem, Riders to the Sea, had made a deep impression on him. Synge, he later wrote in his autobiography, An Irish Portrait (London, 1951, p.48), ‘touched some chord which resounded as no other music ever had done’ and, he tells us, it was of Riders to the Sea that he was thinking as he left London ‘on the couple of weeks’ holiday’ he had promised himself. In moving to Achill Henry had much to loose in London-the Allied Artists’ Association, Sickert’s ‘at homes’ in his Fitzroy Street studio, the Tour Eiffel in Charlotte Street, the Café Royal, ‘all of them places with blessed memories’. Moreover, he was beginning to make a reputation as a graphic artist on a number of newspapers and journals. Nevertheless, he was drawn to Achill Island-he was to spend nine years there-as a sort of home-coming, for his maternal grandfather, the Rev. Thomas Berry, had preached the gospel on Achill in the mid-1830s.

Soon after his arrival on the island Henry made for the village of Keel, on its southern shore. He was enthralled by the life he found there. ‘Achill … called to me as no other place had ever done’, he wrote (An Irish Portrait, p.50), yet, he said, although ‘the persuasiveness of its voice charmed me’, it was not easy to follow its meaning. It was, however, an emotional call and he decided to settle there, ‘not as a visitor but to identify myself with its life and to see it every day in all its moods.’ In particular the peasantry working in the fields reminded him of Millet, whose work he knew as a student in Paris, and he had read Alfred Sensier’s Jean François Millet, Peasant and Painter (London, 1881). Millet’s The Spaders, which was reproduced in Sensier’s book, deeply impressed on the young Henry as is evident in The Potato Diggers. The fields in Achill were very small - ‘a man might own a field or two beside his door and another bit of land, about the size of a small suburban front garden, a mile or so away’ - having, for hereditary reasons, been sub-divided many times over the years.

The Potato Diggers picture was painted at the old post office in Keel, which was run by John and Eliza Barrett, where Henry lodged in 1910 and 1911. The post office was situated in the centre of the village where the former Amethyst Hotel now stands. Henry’s delight in his new-found circumstances is

palpable in his work done in these first months after his arrival on the island and its ‘call’ is clear to be seen. In this picture his Post-Impressionist background in Paris came back to him, notably in the composition, with the diagonal direction of the foreground rise where the figures are digging and the opposing diagonal of the background mountain, which is Slievemore. The upward thrust of the two figures bent in toil unites these diagonals with the sky and gives drama to the scene. Each figure, digging with a spade, is almost a direct quote from Millet’s The Spaders. Here, like Millet, Henry wanted to paint a scene of life as it really was, the harshness of daily routine being evident from the back-breaking work and the small return of crops produced. ‘I have yet to see people who worked so hard for so little gain’, he wrote years later. ‘It meant incessant toil with the spade’, ploughs being useless on those stony fields (An Irish Portrait, p. 57). In pictures such as this, Henry introduced a new realism to Irish art. Gone is the ‘stage Irishness’ of much nineteenth century art and, as with Millet’s field workers, we realize that life was difficult, being neither heroic nor idyllic, and the simple toil of the figures gives a natural dignity to their efforts that is more convincing than much academic painting of the time. In Irish terms, this new realism can be linked back through George Moore to the French tradition of Zola, Flaubert and the Goncourts. Like J. M. Synge’s prose based on the life he found on the Aran Islands, Henry’s distillation of the harsh life he found on Achill reflects the natural rhythm of life and nature.

Often Henry made more than one version of a composition, and the exact pose of the figures depicted in The Potato Diggers was represented in another picture of the same title (Kennedy, 2007, p. 182, catalogue number 417) which dates from 1915-16. In this second, smaller composition, the setting has been expanded to show the sea in the background and the familiar profile of the Cliffs of Menawn and Dooega Head, so that, as here, it must be close to the road between the villages of Keel and Dooagh. In both pictures, the man digging is Johnny Toolis and the potatoes are being harvested from ridges, the traditional method of cultivation on Achill (information from John McNamara, conversation of 30 January 2003). The same two figures appear in yet another Henry composition, The Potato Harvest of 1915-17 (Kennedy, 2007, catalogue number 425).

Dr. S.B. Kennedy, May 2013

€250,000 - 350,000


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22 Paul Henry RHA RUA (1876-1958)Thatched Cottages with Lake and Mountains Beyond (1933-5)Oil on canvas, 51 x 61cm (20 x 24”)Signed:

Provenance: Sale: Sotheby’s, London, 1 May 1991, lot 55, as Cottages in Connemara; de Veres, Dublin: 25 May 1993, lot 69, as West of Ireland Landscape with Cottage and Lake, repr. in colour. 16 April 2002, lot 125, repr. in colour, acquired by the Oriel Gallery. Literature: S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, New Haven and London, Yale University Press, 2007, catalogue number 757, p. 251.

Possibly a scene in Co. Kerry, an area that Henry first visited in late 1932 or early 1933 when he stayed at Glenbeigh. The visit was a watershed in his life, for throughout much of the previous decade his relationship with Grace, his first wife, had deteriorated and culminated with the break up of their marriage in 1929. However, only by the spring of 1934 were the legalities of the situation resolved. Thus, when he again visited Kerry in September of that year, accompanied by Mabel Young who later became his second wife, did his mood lighten as did his palette in terms of tone and colour. The freshness of this landscape, with the light blues of the sky and the absence of angst, which characterizes so many of his earlier paintings, reflects the artist’s more buoyant mood. Henry was enchanted with the Kerry landscape. ‘It is lovely. Wherever one turns there is material for dozens of pictures’, he wrote to a friend in New York (Henry to James Healy, letter of 13 December 1934, James Healy Papers, Healy Collection of Modern Irish Literature, Department of Special Collections and University Archives, Stanford University Libraries). He continued, saying ‘I felt that if I spent a lifetime … I would never exhaust all the possible subjects’. Besides the area around Glenbeigh, he explored the peninsula as far westwards as Waterville. Many of the resultant pictures were included in his exhibition, Recent Paintings of Kerry and Connemara, at the Combridge Gallery, Dublin, in May 1935. The show was well received by the newspapers, the Irish Press (7 May 1935) perceptively noting the ‘paler key’ of the pictures, as is well exemplified in this picture.

Dr S.B. Kennedy, May 2013

€120,000 - 160,000


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23 James Humbert Craig, RHA RUA (1877-1944)Coming Storm, Rosses Coast, Co. DonegalOil on board, 25 x 33cm (10 x 13”)Signed, signed and inscribed with title on label verso

€2,500 - 3,500

24 James Humbert Craig, RHA RUA (1877-1944)Co. Antrim Hills with Cattle GrazingOil on board, 24 x 34cm (9½ x 13½”)Signed

Provenance: Jorgensen Fine Art, Dublin

€1,500 - 2,500


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25 James Humbert Craig RHA RUA (1877-1944)Cloud Shadows in the Rosses, Co DonegalOil on canvas, 51.5. x 61cm (20¼ x 24”)Signed, signed again and inscribed with title verso

Provenance: Frost & Reid, London

Exhibited: Spring Exhibition 2000, The Frederick Gallery, Cat. No. 45 where purchased by current owner.

€7,000 - 10,000

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26 Frank McKelvey RHA RUA (1895-1974)Landscape in Co. ArmaghOil on canvas, 68.5 x 86.5cm (27 x 34”)Signed.

Exhibited: RHA Annual Exhibition 1955 Cat. No. 104 under the title Landscape in Co. Antrim. Frank McKelvey Retrospective Exhibition The Ulster Museum March/April 1993.

Literature: “Frank McKelvey” by Dr SB Kennedy 1993 illustrated P74 in artists home

Provenance: From the artist’s personal collection and thence by descent to the current owner

Maírín Allen has written of the artist, ‘For the most part, he paints or sketches direct from nature. His summers, spent in the country...are filled with amazing activity. As long as the light lasts he paints...making rapid oil sketches, which he may finish on the spot, or may expand on larger canvases at his leisure.’ ‘Landscape in Co. Armagh’ c.1950-5 is typical of McKelvey’s landscape work and it features a pastoral vista that offers a calm and contemplative mood. A small group of four cattle are depicted at a bend in the road beneath the trees. The entire composition is bathed in the light of high summer and there are strategically placed rays of sunlight on the road that lead the eye toward the cattle and also highlight the livestock itself. The trees to left foreground and right middle ground frame the landscape and McKelvey’s expert treatment of skies completes the composition. McKelvey offers a more colourful twentieth century equivalent of Hugh Frazer’s landscape vignettes in this appealing view

of the Armagh countryside. S.B.Kennedy has observed ‘In essence he was a Romantic... he had a sharp eye and could, with apparent ease, penetrate the essentials of his subject and set it down with a matching exactitude.’ McKelvey made a significant contribution to Irish painting. In terms of the ‘evolution of landscape painting in Ireland in those years it is notable how the driving force was an Ulster-inspired affair and its main protagonists - Paul Henry, J.H. Craig, Frank McKelvey, Charles Lamb - each had his own distinctive technique, yet collectively, as the Irish Times pointed out as early as 1925, they had the homogeneity of a distinct school.’ (Kennedy). This painting was clearly a work that the artist himself rated highly. In a photograph of McKelvey at his home c.1960, the painting has pride of place above the mantelpiece with McKelvey standing before it.


€12,000 - 16,000

27 Twelve Irish Artists Produced by The Victor Waddington Galleries 1940, Limited to 125 copies, of which this is No. 36

Provenance: From the personal collection of the artist Frank McKelvey, and thence by descent to the current owner

€200 - 400


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28 Frank McKelvey, RHA, RUA (1895-1974)Near Castlebar, Co. MayoOil on canvasboard, 30 x 41cm (12 x 16”)Signed, inscribed with title on label verso

€4,000 - 6,000


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29 Frank McKelvey, RHA, RUA (1895-1974)Falcarragh, Co. DonegalOil on canvas, 34 x 44cm (13½ x 17½”)Signed

€5,000 - 7,000

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30 Harry Epworth Allen ( 1894-1958)Claddagh CottagesTempera on board, 38 x 53cm (15 x 21”) Signed

Provenance: Anderson Auctioneers Belfast, 1st December 1999 (Front Cover Illustration), Cat. No. 80 where purchased by current owner

Literature: John Basford, Harry Epworth Allen - Catalogue of his works, listed page 105

€5,000 - 8,000


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31 Charles Lamb RHA RUA (1893-1964)“Sruthán Harbour”Oil on board, 27 x 35 cm (10.5 x 13.75”)Signed

Exhibited : Lamb in Connemara Exhibition , The Ava Gallery, Clandeboye, January/February 2012 (ex Catalogue)

€3,000 - 5,000

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32 Seán Keating PRHA HRA (1889-1978)‘I Gave Him a Smoke’ (Circa 1922/3)Oil on board, 92 x 77cm (36¼ x 30¼”)Signed

Provenance: The Imperial Gallery of Art, London, 1929; Sean Keating Retrospective RHA Gallery, Dublin, Nov/Dec 1989 RHA cat. no.111

Literature: “Playboy of the Western World” by John Millington Synge (1927) illustrated P65

Commissioned by the executors of the John Millington Synge Estate in 1922, I Gave Him a Smoke is one of ten paintings made by Seán Keating to illustrate The Playboy of the Western World, published by George Allen and Unwin in 1927. The paintings feature students and friends from the Dublin Metropolitan School of Art, and several actors from productions of the play at the Abbey Theatre. Notably, Keating appears throughout the series as Old Mahon, the man who was supposedly killed by his erstwhile son. The story is well-known, and I Gave Him a Smoke refers to a point in the play during which Old Mahon has, apparently, returned from the dead, and is entertaining the Widow Quin with stories about his son’s cowardice and lack of masculinity. He tells the Widow that Christy was so feeble that he would ‘get drunk on the smell of a pint.’ He goes on to say that his son’s stomach was so weak that when he gave him three pulls from his pipe ‘...he was taken with contortions till I had to send him in the ass-cart to the females’ nurse...’ The painting illustrates those lines; it shows Keating, as Old Mahon, having a smoke from his clay pipe while his gormless son writhes in anguish on the ground. The ass-cart waits in the background, ready to take Christy to the worst place imaginable for a man in those days - to the nurse who dealt with girls and women - a dreadful comedown for the man hailed as a hero for committing patricide. The illustrated edition of Synge’s play, which was described as a comedy in three acts, was published in an edition of one thousand copies. I Gave Him a Smoke is reproduced on page 65.

Dr Éimear O’Connor HRHAResearch AssociateTRIARC-Irish Art Research CentreTCD.

Éimear O’Connor’s book, Seán Keating: Art, Politics and Building the Irish Nation is published by Irish Academic Press, and is available in paperback, hard back (limited edition) and hard back slip cased (limited edition).

€30,000 - 40,000


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33 Seán Keating PRHA HRA (1889-1978)The ImpCharcoal, 33 x 25cm (13 x 9.75”)Signed and inscribed with title verso

Provenance: Sold in these rooms, Important Irish Art Sale, 31st March 1999, Cat. No. 103, where purchased by current owner

€1,000 - 1,500

34 Seán Keating PRHA HRA (1889-1978)Study for The Land of PromisePastel and chalk on paper, 60 x 49cm (23.5 x 19.25”)Signed

€3,000 - 5,000


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35 Paul Henry RHA RUA (1876-1958)Landscape and CloudsCharcoal, 45.5 x 37cm (17.8 x 14½”)Signed

Provenance: Sold in these rooms, Important Irish Art Sale, 9th December 1998, Lot 33 and afterwards with:Jorgensen Fine Art, Dublin, where purchased by the current owners

Literature: Dr. S.B. Kennedy, Paul Henry: Paintings, Drawings and Illustrations, Cat. No. 262, p144

€4,000 - 6,000

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36 Sir William Orpen RHA RA (1878-1931)Lord George HellOil on canvas, 76.2 x 66 cms (30 x 26”)Signed

Literature: The Art of a Nation: Three Centuries of Irish Painting, Pyms Gallery, London, June 2002, cat.no.30

Lord George Hell is the principal character in Max Beerbohm’s The Happy Hypocrite, who falls in love with the dancer, Jenny Mere, an ingénue in the seedy world of corrupt impresarios. A Regency reprobate, he sets about to woo her, but in order to do so, must wear a mask to cover a pock-marked face. When he succeeds in his task and the mask is removed, his face has miraculously healed and become ‘saintly’ - such is the power of love. The story was published in 1896 followed by a one-act dramatised version at the Royalty Theatre in 1900. Orpen’s first version of the subject is likely to have been inspired by seeing this production, rather than reading the book. This was shown at the new English Art Club in 1901.

It is clear in the present work that Orpen wished to recreate the impression of late eight-eenth or early nineteenth century prints. The girl’s dress, bonnet and black shoes recall the maidens of Gainsborough, Romney and Hoppner and the encounter mimics, to some extent, that of Gainsborough’s Haymaker and the Sleeping Girl. In the present version Jenny is undoubtedly startled by Lord George and by the transforming effect of his love for her.

The story of the miracle, revisited late in his career, clearly had a profound effect on Orpen since the original drawing was placed on his easel just before his death so that it could be transferred to oil.

€20,000 - 30,000


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37 John Butler Yeats RHA (1839-1922)Portrait of Jenny YeatsOil on canvas, 50.8 x 40.7 cms (20 x 16”)

Exhibited: Pyms Gallery, London, Friendship Portraits, 11th May - 17th June 2005, cat. no. 1

Literature: The Art of a Nation: Three Centuries of Irish Painting, Pyms Gallery London June 2002, cat. no. 15

The son of a Protestant rector from Sligo, John Butler Yeats was born in Co. Down and studied Law at Trinity College, Dublin. In 1865 after the birth of his first child, the poet William Butler Yeats he moved to London and joined Heatherley’s School of Art. He became friends with J.T. Nettleship, George Wilson and Edwin Ellis who were all keen to extend the ideals of the Pre-Raphaelites.

In 1872 Yeats produced his first portraits and in 1880 he returned to Ireland showing regularly at the RHA. In 1908, after having moved back to London in 1887, he emigrated permanently to New York. He became friendly with Robert Henri and John Sloan, the leaders of the Ash Can School. He showed regularly with members of the school in New York whilst also enjoying the patronage of John Quinn.

Yeats’ family, particularly his children, provided him with material for portraits throughout his career. Here he paints his sister Jane Grace or Jenny, named after their mother. Yeats, also gave the same pair of names to his daughter who died in infancy. Like her sister Grace Jane (Gracie) she remained unmarried living quietly in Morehampton Road, in Donnybrook. The ‘Morehampton Road Yeats’ (also including his brother Isaac) represented the respectable antithesis of the artist’s carefree and bohemian lifestyle, though on occasion they dutifully turned up to certain important events such as Susan Mitchell’s lecture on their brother in 1919. Isaac in particular was a conservative bourgeois, secretary of the Artisan Dwelling Company and a firm unionist ‘if he ever had a daring idea he successfully concealed it’. Surprisingly little information survives about Jenny Yeats’s life, she hardly features in her brother’s correspondence. She died shortly before the Second World War at the age of ninety two.

As early as the mid 1870s, Yeats had portrayed Gracie (in a work which was turned down by the Royal Academy), while the present portrait of Jenny can be dated to the early 1890s. As such, it is a rare early oil by the artist from his London period. Yeats himself claimed that he did not lift a paint brush between 1890 and 1897. This is not quite true as a Portrait of Ascheson Henderson (Ulster

Museum) is dated 1891, certainly, however, it was a fallow period in his career, during which he was more concerned with book illustration and failed literary projects. Nevertheless the portrait of his sister is an accomplished piece of painting with a strong sense of modelling and neat simplicity of composition. It shows Jenny, on a visit to London, conservatively dressed, perhaps even a little prim, her attire contrasting with the oriental screen of the background. William Butler in his autobiography recalled that the family home in Bedford Park was decorated in the aesthetic style with ‘peacock blue’ and the juxtaposition of his buttoned up aunt with the sensual background, with all the connotations that the aesthetic movement conjured up in London of the 1890s is surely deliberate and not a little ironic

€12,000- 18,000


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38 Patrick Tuohy RHA (1894-1930)A Portrait of Lord Fingal, half length, seated in hunting attireOil on canvas, 95 x 74cm (37½ x 29”)Signed

Exhibited: Royal Hibernian Academy, Dublin, 1924, Cat. No. 18

This evocative portrait of a benign and moustachi-oed gentleman, seated, wearing a hunting coat of the Meath Foxhounds, is redolent of that patrician and tolerant society so well preserved in the pages of Somerville and Ross. Arthur Plunkett (1859-1929) the 11th Earl of Fingall was the senior peer of a fam-ily that were ancient Lords of the Pale: Dunsany of Dunsany Castle and Lowth of Louth Hall. The story is told how the Dunsany Plunketts conformed to the established church to protect their Catholic kins-mens’ land, through the Penal Laws; a trust that was never broken.

Lord Fingall led an ornamental life as State Steward in Dublin Castle (with an interlude of adventure as a yeomanry volunteer in the Boer War). He married a horse-mad woman from County Galway. In her memoirs of 1937 ‘Seventy Years Young’, she describes a life of hunting and hunt balls, her husband always referred to as ‘Fingall’. Her account of sitting up with the family jewellery awaiting the fate of Kileen Castle, having received in the night a laconic message from their neighbour, Sir John Dillon, (“Dear Fingall, They are burning my house and say they are going on to you. I thought I had better let you know”), is as good a vignette as any of the end of the Anglo-Irish world.

The Earldom ceased with the death of their son, Oliver, well remembered in County Meath, and the barony of 1403, has reverted to the Dunsany’s.

€5,000 - 7,000

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39 Sir William Orpen RHA RA (1878-1931)Little Billy Orpen Pen and ink, 20.5 x 15cm (8 x 6”)Signed and inscribed ‘Little Billy Orpen aged 12 at work in the School of Art Dublin 1890 - To Mrs. S. with love Orps’

€1,500 - 2,500

40 Darius J. MacEgan, (The MacEgan) (1856-1939)Portrait of Kevin O’HigginsPencil, 40 x 31.5cm (15¾ x 11.4”)Signed

Kevin O’Higgins, the well known politician, was born in Stra-bally, Co. Laois in 1892. He was educated at Clongowes Wood College and later at St. Patricks College, Maynooth and UCD. While still a student he joined Sinn Féin. He was first elected as MP for Laois while he was imprisoned in 1918. He was on the run in 1920 and was elected TD for South Dublin in 1922. He was a strong advocate of acceptance of the 1921 Treaty.After the establishment of the Irish Free State in 1922 he be-came Minister for Justice and external affairs. O’Higgins estab-lished An Garda Síochána as an unarmed police force to replace the RIC. While on his way to mass on 10th July 1927 at Boot-erstown, Co. Dublin he was shot dead by an unknown gunman.

This work is thought to be one of a series of pencil drawings of the first executive Government that The Mac Egan did circa 1924 - another of the series of T.M. Healy as Governor-General of the Irish Free State is in Áras an Uachtaráin.

€400 - 600


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41 Edward Luttrell (c.1650-1710)Portrait of a Wigged Gentleman, half-length, wearing brown robes and a lace jabotPastel, oval, 22.5 x 18.5cm (9 x 7½”)

Provenance: Sotheby’s Irish Sale, London, 9th May 2007, Lot 2

Born in Dublin, Luttrell is Ireland’s earliest pastelist. Examples of his work can be found in the NGI collection.

€1,500 - 2,500

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42 Alexander Williams RHA (1846-1930)Lake Side, Co. KerryOil on canvas, 61 x 107cm (24 x 42”)Signed

€2,000 - 4,000


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43 Edwin Hayes RHA RI ROI (1819-1904)Roche’s Point with Shipping at the Entrance to Cork HarbourOil on canvas, 25.5 x 43cm (10 x 17”)Signed and dated 1851

Edwin Hayes is undoubtedly Ireland’s most dedicated and talented marine painter, with an output spanning over 60 years. His knowledge of the sea and of ships, and his equal interest in these two elements brings a realism and life to his work which is unmatched.

The Pilot cutter in the foreground is running out of Cork Harbour, passing Roche’s Point Lighthouse, with shipping in the background, and the forts of Carlisle and Camden just visible. Presumably on its way to transfer the Cork pilot to a ship waiting to enter harbour. The cutter is using a temporary

rigged square sail, evidenced by the top and bottom yards, which has been rigged to take advantage of the wind on the stern. The boat is also flying the red ensign, which is now commonly known as the ensign carried by British registered commercial shipping, however in 1851, the date of this work, the red ensign was carried by Royal Navy vessels from the red fleet. In addition the Royal Cork Yacht Club, also flew a red ensign at this time.

This view of Cork Harbour, is one of Hayes’s very few views of this part of Ireland. The RHA records list few Cork titles, and none after 1851.

€4,000 - 5,000

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Some of Walter Osborne’s most memorable pictures were paint-ed in Brittany. He spent the spring of 1883 at Dinan, summer at Pont-Aven and autumn at Quimperlé, painting scenes of Breton life in a naturalistic manner, and also taking photographs. Pont-Aven was one of the most beautiful villages in Finistere with its bridge over the river Aven, stone mills, boats in the port, and surrounding woods. Pont-Aven later became celebrated through its association with Gauguin and his followers, but in 1883, at the time of Osborne’s arrival, it was already at the height of its popularity as an artist’s village amongst American, British and Scandinavian artists.

Osborne painted small pictures of an old mill and the port, and studies of children in a little square, beside the river, and in the market place. The larger canvas Driving a Bargain is a colourful, carefully observed painting of groups of women and children in the centre of Pont-Aven on market day. This painting was sold at Adam’s on 29th May 2002 (No. 23 - €620,000).

The present painting A Grey Morning in a Breton Farmyard is set at Keramperchec, a hamlet a mile from Pont-Aven, along the estuary and sheltered by trees. The pre-fix ‘KER’ is ubiquitous in Brittany, referring to a village, hamlet or farmhouse. Each village or dwelling was proud of its old stone well, often carved in an in-dividual, regional style. Keramperchec was particularly admired for its secluded rustic setting, with its thatched cottages, farm-yard, and beautiful stone well and graceful cupola with carved head, dating from 1783 just before the period of the Vendean Wars.

Keramperchec attracted a number of artists, including Jona-than Pratt in 1877, Fernand Quignon (1880), Walter Lang-ley (1881), Sylvain Depeige and Osborne in 1883, Nathaniel Hill in 1884, Arthur Wesley Dow in 1885 and Paul Abram in c. 1895, (and probably Adrian Stokes in 1877 and Henry R. Robinson in 1886), as well as photographers in the early twen-tieth century. Even though it appears to have been a working farm, even in Osborne’s day Keramperchec had become a place where peasants and village girls would pose in a natural setting for artists.

Osborne’s A Grey Morning in a Breton Farmyard, 1883, fea-tures a man, a girl and two calves in the farmyard at Keramp-erchec. The man wears a soft Breton hat and blue jacket. He pours water from a wooden bucket into a stone trough for the calves to drink. Nearby, a girl, perhaps the daughter or grand-daughter of the man, sits quietly watching. She wears a pink and white bonnet and white collar, characteristic of the Pont-Aven region, a brown apron over blue dress, and wooden clogs. An earthenware pitcher is placed near her.

In her monograph on Walter Osborne, published in 1974, Jeanne Sheehy writes of A Grey Morning in a Breton Farmyard: “It is very much an Academy work, being carefully built up and meticulously finished - a typical example of early Osborne, with the child and young animals’’. (p.19).

44 Walter Osborne RHA (1859-1903)A Grey Morning in a Breton Farmyard (1883)Oil on canvas, 52 x 73cm (20¼ x 28¾”)

Provenance: H.D. Brown, (by 1883), his sale. Edmund Lupton, his sale, (c. 1942). James J. Davey. Sold in these rooms, Important Irish Art Sale, 5th December 2006, lot 93, where purchased by the current owner

Exhibited: Dublin, Royal Hibernian Academy, 1884, no. 99; Liverpool, Autumn Exhibition, 1884, No.884; Walter Osborne Memorial Exhibition, RHA 1903, No.21 lent by H.D.Brown Esq

Literature: T. Bodkin, Four Irish Landscape Painters, 1920 (Irish Academic Press ed. 1987), pp. 188, 131, 141. J. Sheehy, Walter Osborne, Gifford and Craven, Ballycotton, 1974, p. 19, no. 62. J. Campbell, Walter Osborne’s Wallet of Photographs, Irish Art Review Yearbook, 2001, vol. 17, p. 153, illustrated p. 154.


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But the painting easily transcends any academic conventions. The fig-ures are crisply drawn, and convincingly integrated into the open-air setting, a characteristic of Osborne’s ‘plein-air’ pictures that distin-guishes him from many of his contemporaries. Moreover, his atten-tion to detail and his feeling for textures can be seen in the gentle fall of light on the girl’s face, the texture of the granite well, with lichen growing, the rough stone walls, small windows and thatched roof of the cottage, and the garden wall where moss is spreading. The farm-yard had somewhat fallen into neglect. But wiry trees are in leaf, and through the arched doorway a verdant cabbage patch can be seen.

Thin cloud covers the blue sky. Such overcast days were favoured by many ‘plein-airists’, allowing them to work in an even grey light, with emphasis upon the tonal greys, grey-greens, browns and blue-greys. But in Osborne’s painting the ochres, greens and silvers have a glow-ing warmth, suggesting that the sunshine is going to break through.

Nathaniel Hill’s smaller painting Goose Girl in a Breton Farmyard, 1884 (Crawford Gallery, Cork) focuses on the right-hand side of the yard, but takes an identical view of the wall, and doorway behind. He represents a girl in white bonnet and apron crouching to feed a flock of young geese. His careful realistic style is almost identical to that of Osborne, although the figure and birds are more generalised in treatment.

Osborne may have regarded A Grey Morning in a Breton Farmyard as a companion piece to Apple Gathering, Quimperlé (N.G.I.), the for-mer being painted at Pont-Aven in summer, the latter at Quimperlé in autumn; and both pictures being exhibited at the R.H.A., and at the Irish section of the Liverpool Autumn Exhibition the following year.

A Grey Morning was loaned to the Walter Osborne Memorial Exhi-bition in Dublin in 1903, the year of the artist’s untimely death. A small pencil drawing of Osborne’s painting is included in the artist’s sketchbook (NGI no. 19,201, facing p.3,[i])

A Grey Morning in a Breton Farmyard catches a real sense of rustic life that engages our attention. Osborne combines qualities of intensity of observation with detachment, naturalism with affection for his hu-man subject-matter, that became characteristic aspects of his painting throughout his career.

Dr. Julian Campbell

€100,000 - 150,000


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45 Roderic O’Conor, RHA (1860-1940) Seated Woman with RosesOil on canvas, 55 x 46cm (21¾ x 18”)Painted circa 1923-5

O’Conor painted another similar work but without the roses on the table, see Benington Cat. No. 277 (Private Collection Norther Ireland)

Exhibited: The Frederick Gallery, Autumn Exhibition 1998, Cat. No. 2, where purchased by current owner;Shades of a Master Roderic O’Conor Exhibition, The Hunt Museum Limerick June/August 2003, Cat. No. 23 (illus-trated)

Literature: Roderic O’Conor, Jonathan Benington’s biography and catalogue of his work, Cat. No. 278, illustrated p223

O’Conor paints the subject of this carefully arranged portrait in a pose he much favoured, with the sitter’s head slightly lowered and light entering from the side. This allowed him to create a tranquil atmosphere through his deft treatment of light and shade. While the model sits in a conventional frontal pose, her reluctance to meet the viewer’s gaze and O’Conor’s adoption of a closer than usual viewpoint creates an air of intimacy generally absent from formal portraits.

€20,000 - 30,000

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46 Richard Thomas Moynan RHA (1856-1906) Invitation to go HaymakingOil on canvas, 56 x 26cm (22 x 30”)

Provenance: Sold in these rooms, 28th May 1997 (front cover illustration), Lot. No. 41 , where purchased by current owner

Moynan was born in Dublin and first studied medicine at the Royal College of Surgeons, before attending the Metropolitan School of Art with Roderic O’Conor. He trained at the Antwerp Academy between 1883 and 1885 where he won first prize in painting from life, and shared lodgings with fellow Irish artist Henry Allan. He returned to Dublin in 1888 and was employed for a time by local newspaper The Union as a political cartoonist under the pseudonym ‘Lex’, but hoped to become renowned for large scale genre paintings such as this. He exhibited regularly at the RHA between 1880 and 1905.

He was the principal recorder of Dublin city and county in the late Victorian era, and was influenced by Osborne in his portrayal of naturalistic scenes of village life. Moynan painted several pictures of children such as this, which were popular amongst late nineteenth century artists. Moynan brings his individual strong narrative quality and his cultivated naivety belies a keen eye for detail and composition.

This is one of two known versions of this work, the other was sold at Christie’s London, 15th March 1985, Lot No. 85

€20,000 - 30,000


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47 William John Leech RHA ROI (1881-1961)The Bridge, Amboise Oil on board, 34.25 x 45cm (13½ x 17¾”)Signed. Inscribed artist’s label verso

Provenance: Sold in these rooms, Important Irish Art sale, May 1991, Lot 35 (Illustrated on front cover); where purchased by the current owner

Leech captures the bridge over the Loire in the beautiful, historic town of Amboise, believed to be the final resting place of Leonardo de Vinci. Paintings titled ‘The Convent, Amboise’ and ‘St. Denis, Amboise’ were exhibited at the RHA in 1937 and 1938 respectively, suggesting Leech spent time painting in Amboise in 1936 ± 37, before the outbreak of the 2nd World War, after which he did not return to paint in France. Leech’s broad paint handling, in capturing the evening glow of the setting sun on the parapet and buildings beyond, show his development as an artist from his more formal depiction of ‘The Bridge at Paris’ c. 1912.

Denise Ferran April 2013

€15,000 - 25,000


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48 Mildred Anne Butler RWS (1858-1941)Peacocks in a GardenWatercolour, 15 x 24cm (6 x 9.5”)Signed

€2,000 - 3,000


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49 Mildred Anne Butler, RWS (1858-1941) The DovesWatercolour, 46 x 63.5cm (18 x 25”)Signed

Provenance: Sotheby’s “Irish Sale” May 1998, where purchased by current owner

€7,000 - 10,000

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50 Mildred Anne Butler RWS (1858-1941)A Castle in Europe, 1885Watercolour, 24 x 17.5cm (9½ x 6¾”)

Provenance: Mrs Doreen Archer-Houblon

Exhibited: Mildred Anne Butler Travelling Exhibition, Crawford Municipal Art Gallery, Cork, August 1987, Cat. No. 96; Galway, Ulster Museum, Belfast, April-June 1988

€400 - 600

51 Mildred Anne Butler RWS (1858-1941)Study of a HorseWatercolour, 21 x 27cm (8¼ x 10½”)


Exhibited: Mildred Anne Butler Travelling Exhibition, Crawford Municipal Art Gallery, Cork, August 1987, Cat. No. 73; Galway, Cat. No. 46; Ulster Museum, Bel-fast, April-June 1988

€500 - 800


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52 Mildred Anne Butler RWS (1858-1941)Cats Resting in the SunWatercolour, 20 x 25.5cm (8 x10”)Signed

€2,000 - 3,000

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53 Mildred Anne Butler RWS (1858-1941)Three G. Rowney & Co. ring bound Whatman board sketch books with seven watercolur studies comprising

1. Lake scene with boat (i)(1)18 x 25.7cm (7 x 10”)

2. Rosebush in bloom (i); Daffodils in bloom(ii); Wooded pasture with bluebells (iii) (3)13 x 18.3cm (5 x 7¼”)

3. Aix en Provence (i); A Promenade (ii) Continental Lake Scene & Sketch of Birds (iii) (3)13 x 18.3cm (5 x 7¼”)


€2,000 - 4,000

54 Joseph Poole Addey (1852-1922)A Tabby Cat Drinking MilkWatercolour, 32.5 x 46.5cm (12¾ x 18¼”)Signed and dated 1888

€600 - 800

Sketchbook 2 (iii)Sketchbook 2 (i)Sketchbook 1 (i)


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55 Charles MacIver Grierson, RI (1864-1934) Circus TricksWatercolour, 61 x 76cm (24 x 30”)Signed and dated 1890

Provenance: Sold in these rooms, “Important Irish Art” sale, 26th May 1999, Cat. No. 111, where purchased by the current owner

Charles MacIver Grierson was born in Queenstown, now Cobh, Co. Cork, in December 1864. His father was the man-ager of the Cunard Steamship Company, Queenstown. He studied at the Crawford School of Art and for a time went on to the Westminister School of Art. The main venue for his output was the Royal Institute of Painters in Watercolour where over the years he exhibited over 80 works including some Irish views. He met his wife while staying in Sligo in the period between 1899-1904 and several of his works are in private collections in Sligo. He exhibited extensively including at the RHA, RA, Walker Gallery, Liverpool, 64 works at the Abbey Gallery, Manchester City Gallery and the Society of Artists, Birmingham and as a far afield as Sydney and Adelaide where the City Art Gallery was an official purchaser.

€2,000 - 4,000

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As Walter Strickland observed, Andrew Nicholl was devoted to art from his boyhood, and ‘won a reputation as a landscape painter in his native town.’ He would later be known as the most talented, renowned and prolific topographical Irish artist of the nineteenth century. His training was important. He worked as a talented apprentice at the printing business of F.D. Finley where he was under the instruction of his elder brother William. While in London, he spent considerable time at the Dulwich College Gallery, where he copied paintings on show. He admired the work of J.M.W. Turner. Jeanne Sheehy has written; ‘Most of his work is interesting, but particularly exciting is the series in which wildflowers in the foreground form a screen through which we dimly perceive the landscape. The paintings have a sharpness and naïveté which is totally captivating.’ This series, of which ‘Distant View of Derry through a Bank of Poppies,’ is an exemplary case, demonstrates the artist’s talents aptly. He is evidently a master of the watercolour medium. The work features the fine exactitude of botanical illustration and combines this with a distant view of Derry City where a unifying cast of even light allows background and foreground to complement. The eye eagerly explores the frieze of wildflowers in the foreground - poppies, cornflowers, oxeye daisies, dandelions - the beautiful colours of this remarkable roadside display. The city appears almost incidental in the distance, viewed at this range, and yet its placement is highly strategic. In this vignette, placed largely to the left and glimpsed through the flowers, Nicholl includes enough detail to demonstrate Derry’s importance at the time. Rebuilt in the Georgian style in the eighteenth century, the principal detail shown is the city’s first bridge across the River Foyle, which Earl Bishop Frederick Augustus Hervey was responsible for building. As well as indicating the ecclesiastical

landmarks, the artist includes a range of shipping to demonstrate the importance of the City’s port in the nineteenth century as an embarkation point for Irish emigrants leaving for North America. These combination views of wildflowers and landscape were a speciality of Nicholl’s and feature a number of locations including; Newcastle, Fairhead, Howth, Bray, Carlingford, Lough Swilly, Ramelton, Rathmullan, Dunluce Castle, and Downhill Mussendon Temple. This style of depiction surely came from Nicholl’s interest in topographical art, combined with his interest in botanical illustration, which became popular and refined in terms of accuracy in the eighteenth century due to advances in the printing process, of which Nicholl had first-hand experience. In Ireland’s Painters 1600-1940, Crookshank and Glin, write ‘In those near-surrealist watercolours...there is an originality which makes them amongst the most haunting...Irish paintings of the early nineteenth century. These are his masterpieces.’ (p210) John Hewitt observes ‘...his originality appears most strongly [in his] landscape of distant hills, foregrounded by a wedge or bank of roadside wild flowers. By scratch and scrape of the surface of his paper,...for the spray-frayed tips of breaking waves, he gave his flowers and grasses an illusory precision and finish.’ The ‘sgraffitto’ or ‘scraping out’ technique that Hewitt mentions is the ideal device to capture the delicacy and fine lines within the wildflowers. Nicholl began painting these wildflowers works quite early in his career. In 1830, the sister of his patron Emerson Tennent wrote a sonnet after receiving from the artist ‘a beautiful coloured drawing of flowers.’ He was a highly prolific artist and the Ulster Museum alone has almost 400 works by Andrew Nicholl.


€7,000 - 10,000

56 Andrew Nicholl, RHA, RUA (1804-1886)A View of Derry Through a Bank of PoppiesWatercolour, 36 x 52cm (14 x 20½”) Signed

Provenance: Previously in the collection of John O’Sullivan; Sold in these rooms, “Important Irish Art” Sale, 29th March 2000 (front cover illustration), Lot 83, where purchased by current owner


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57 Andrew Nicholl RHA (1804-1886)Pigeon Cave, DonegalWatercolour, 22.5 x 33cm (10 x 13”)Signed

€600 - 800

58 Joseph W. Carey RUA (1859-1937)Cushendall Bay, Co. AntrimWatercolour, 23.5 x 37cm (9¼ x 14½”)Signed and inscribed with title

€400 - 600


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59 Erskine Nicol ARA RSA (1825-1904)The Apple of Her Eye - “It’s my baby boy they’ ll be murtherin’, but its own mother will see it safe over the bog.”Watercolour, 34 x 24.5cm (13.4 x 9.6”)Signed and dated 1885

€4,000 - 6,000

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60 Patrick Hennessy RHA (1915-1980)Fruit StandOil on canvas, 34.5 x 61cm (13½ x 24”)Signed Exhibited: The David Hendriks Gallery, Dublin, August 1980, (label verso)

3,000 - 5,000


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60A Patrick Hennessy RHA (1915-1980)Lake IslandOil on canvas, 50 x 60cm (20 x 24”)Signed. Inscribed P.H. 105 verso Provenance. Sold in these rooms, Important Irish Art Sale, 14th March 1991 Cat. No. 138 where purchased by current owner.

Exhibited: The David Hendriks Gallery, Dublin, (label verso)

4,000 - 6,000

74

THE JAMES GIBSON COLLECTION Lot 61-81James Gibson was a Belfast schoolmaster whose passion for collecting manifested itself in the 1960s. This was a rich time for collectors of Irish art and over the next four decades he was able to assemble an extensive collection that included a number of fine works by some of the major Irish artists of the twentieth century. There is a marvellous unifying taste that runs through much of the collection. Clearly what appealed to James Gibson was the confident touch of the experienced plein air painter who was as interested in capturing the light and tones of a momentary glimpse of a landscape, or an opening in the clouds that created a magical effect of light. It is notable that one of the three paintings by Paul Henry in this collection is the impressionistic and highly evocative Waterville, Co.Kerry. The same taste runs through to the smaller paintings whose kinship with the work of Craig, Henry and Iten were seen by the collector. Provenance was of the utmost importance for James Gibson and many of the works sold here can be traced back to their initial sale from the artist or their family, or from galleries such as Rodman’s or leading auction houses. Many of these works were bought from the Bell Gallery and reflect the fine judgement of Nelson Bell. It is rare to see a collection of this scale that has so many jewels within it. Both James Gibson’s Frank McKelvey paintings are exceptional; his three Paul Henrys are each different but significant; while the Humbert Craig paintings again represent varied aspects of this fine artist. The exquisite Colin Middleton painting is unu-sual and demonstrates this Ulster landscape tradition moving gently into the modern era. The series of small panels by Hans Iten that James Gibson put together over many years are a particular pleasure, recalling that this was a collector who knew Belfast and the surrounding landscape that was so uniquely evoked by Iten.

Dickon Hall May 2013

61 Paul Henry RHA RUA (1876-1958)A Connemara BogOil on board, 24 x 28cm (9½ x 11”) Signed

Provenance: From the estate of the late James Gibson

Exhibited: 1931 RHA (Alleged to have been 19, as The Bog Stream); 1935 Dublin (20, as Bog Stream, Donegal)Literature: Anne M. Stewart (ed.), Royal Hibernian Academy of Arts: Index of Exhibitors and their Works 1826-1979, 3 vols., Dublin: Manton Publishing, 1985, vol. 2, p. 81; S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale University Press, New Haven and London, 2007, p. 246, catalogue number 726.

Although thought to have been exhibited at the RHA in 1931 as catalogue number 19-and there is an unidentified label on the reverse with an exhibition number ‘19’-the imagery in this composition does not quite match the title of that work, although with Henry such things should never be taken on

face value. Judged stylistically, however, the use of fluid paint contrasts with the dryer palette typical of his work in the late 1920s and points to a date of around 1930/1. Although the setting cannot be identified, the nature of the terrain suggests the area around Maam at the north-western tip of Lough Corrib in County Galway, where Henry often painted in these years. Certainly the handling of the paint is comparable to other pictures he painted there, such as The Muinterone at Maam, 1928-30, or, a later work, The Maam Valley, 1942 (Kennedy, 2007, numbers 692 and 1035 respectively, both reproduced). The billowing cumulous clouds and the growing brightness of the sky are used in a masterly fashion to radiate light on the foreground landscape, a device characteristic of Henry’s work in general.


€25,000 - 35,000


75

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62 Frank McKelvey RHA RUA (1895-1974)Camlough Fair, the Clinching BidOil on board, 33 x 39cm (13 x 15½”) Signed and dated 1924, inscribed with title verso. Bell Gallery label verso


Camlough, meaning ‘Crooked Lake’ in Irish, is a few miles from McKelvey’s wife Elizabeth Murphy’s homeplace, a farm, at Bessbrook, Co. Armagh and this work was painted the year that they got married (6th Feb 1924) at Craigavad, Co. Down. In their time, the fair towns were very important, places the population concen-trated on, and people walked for miles on a fair day to sell their produce. Camlough is one of thirty towns listed in Co. Armagh as fair towns in Wilson’s Directory of Ireland, 1834. ‘Camlough Fair, the Clinching Bid’ is a superb work by the artist. It channels some of the principal motifs of impressionism - the play of light, the fleeting moment, a general mood - into a perfectly rendered composition. Every element is carefully orchestrated and the result is a pleasure for the eye to peruse. The figure group in the left foreground initially draws the viewer’s gaze. These men in their coats are treated in a manner akin to the early work of Jack B Yeats. They are depicted on a neutral backdrop to highlight the point of the handshake, the deal being struck. This action is observed by the lady in profile and the man adjacent, and the composition naturally invites the viewer to look on from the side-lines. The light in this painting shows McKelvey at his best, capturing the essence of a summer’s day and the event of the Fair Day; the sheep practically glow as do the cattle beyond as these animals are bathed in light. To further demonstrate the bustle and activity in Camlough, McKelvey introduces a range of colours before the terraced houses to indicate the crowds of people enjoying the proceedings. Shafts of light again streak across the terraced facade and enliven the painting further. The trees are much looser than in McKelvey’s other work of the time, but this is a well-informed deviation as the composition is already sufficiently developed. This is a key work in the artist’s oeuvre. McKelvey has made another work on this subject Fair Day at Camlough, Co. Armagh, a fine watercolour on paper of a similar scene from another angle. It also comprises of two principal groups, one to fore, and one to the left, to unify the composition. In his work ‘Market Scene’ c1935, painted a decade after the featured painting, the work is looser and is concerned with portray-ing an overall mood of a market town, rather than a definitive place or transaction. McKelvey continued to capture this subject on occasion, his latest known work ‘The Cattle Fair’ painted in 1971.


€12,000 - 16,000


77

78

63 Frank McKelvey RHA RUA (1895-1974)Feeding Chickens at The Back of the HouseOil on board, 35.5 x 44.5cm (14 x 17½”) Signed


During the twenties, McKelvey regularly painted farmyard scenes, within which a woman, often accompanied by a child, would be engaged in scattering feed to surrounding chickens. Simply titled, examples include; Feeding Chickens 1922, Feeding the Chickens late 1920s, this painting The Back of the House and later Farmyard, Co. Antrim c1950-3 and Bridget’s Hens 1968. Around 1921, Frank McKelvey took a cottage at the Maze, Hillsborough, Co. Down and later after their marriage in 1924, he and his wife settled there. At this residence the McKelveys kept a large flock of hens that the artist used as subject-matter for his pictures. (In his papers he later wrote) ‘“It was through this opportunity that I was able to study poultry in all effects of sunlight - a subject in which I have always been deeply interested.” Indeed, it is for his compositions of hens, often picking for food in the dappled sunlight of a farmyard, that McKelvey is most remembered by many admirers. Occasionally the McKelveys paid a visit, sometimes for a holiday, to the Murphy’s farm in County Armagh and there he painted numerous studies of farmyard scenes, such as ‘Feeding the Chickens’ and other semi-genre scenes.’ S.B Kennedy. The Back of the House is an attractive work, carefully composed and rendered with a bright palette, dappled sunlight highlighting the main elements; the middle ground, the figures engaged in their domestic ritual and the cottage itself - the back of the house. Realist artists such as Jean-Francois Millet (1814-75) would evidently have been an influence on the artist in his attention shown to subjects drawn from everyday life and farming. Also the intimacy of the farmyard/orchard setting was one that Walter Osborne would have explored in works such Apple Gathering, Quimperlé 1883 and such genre studies would have interested McKelvey, which he would then treat in his looser individual manner. The farmyard as a subject was one he revisited on many occasions for over forty years.


€9,000 - 12,000


79

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64 Paul Henry RHA RUA (1876-1958)Waterville, Co.KerryOil on canvas laid on board, 40.5 x 46cm (16 x 18”) Signed

Provenance: Combridge Gallery, Dublin, 1946, by whom lent for a time to the Shelbourne Hotel, Dublin; thence the artist’s studio; Mrs McAreavey, acquired from Mabel Young in 1962; from the estate of the late James Gibson

Exhibited: Paintings by Paul Henry, R.H.A., Combridge’s Gallery, Dublin, 23 October-6 November 1945 (catalogue number 9, as Waterville); Pictures by Paul Henry, RHA, Heal & Son, Tottenham Court Road, London, from 14 January 1946 (5); Paintings and Charcoals: Paul Henry RHA, Waddington Galleries, South Anne Street, Dublin, 21 February- 3 March 1952 (21); Paintings and Drawings by Paul Henry, The Studio, Sidmonton Square, Bray, until 8 November 1956 (10); Paul Henry: Retrospective Exhibition, Ritchie Hendriks Gallery, St. Stephen’s Green, Dublin, and Belfast Museum & Art Gallery, Belfast, May-July 1957 (10); Paul Henry: Paintings and Drawings, Shannon Airport, Limerick, August 1957 (10)

Literature: S. B. Kennedy: Paul Henry, 2000, p. 136; Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, 2007, pp. 82, 308, catalogue number 1063 (both the 2000 and 2007 books published in New Haven and London by Yale University Press)

This is probably the picture of this title that Paul Henry first exhibited at the Combridge Gallery, Dublin, in October 1945. It was almost certainly painted in the summer of that year when Henry and his second wife, Mabel Young, stayed at the Great Southern Hotel in Waterville. They had first visited the Iveragh Peninsula a decade earlier, in 1932, staying on the northern side of the Peninsula at Glenbeigh. Paul was enchanted by the area. ‘It is lovely. Wherever one turns there is material for dozens of pictures … I felt that if I spent a lifetime … I would never exhaust all the possible subjects,’ he wrote to a friend, James Healy, in New

York (letter of 13 December 1934, Healy Papers, Stanford University Libraries). The Peninsula produced a paler key in his paintings, as the Irish Times commented (7 May 1935), which contrasts with the heavier, more brooding works of the late 1920s and early 1930s when his marriage to his first wife, Grace, was breaking up and at a time when he had other domestic difficulties. By 1945, with a much more settled lifestyle, Paul and Mabel returned to Kerry-there is no record of their having been there since the 1930s-and, staying at Waterville, they used that as a base to explore much of the Peninsula. The area around Waterville has welcomed many celebrities over the years, the most notable, perhaps, being Walt Disney and Charlie Chaplin. The Iveragh Peninsula, of course, is traversed by the famous Ring of Kerry tourist route.

The stretch of water depicted in this composition is probably Lough Currane, which lies immediately to the east of Waterville, which is the town crowning the hilltop in the middle distance. The ‘paler key’ that typifies Henry’s work in these late years of his painting career-he suffered almost total blindness shortly after this picture was painted-is well seen in this composition, where the mounting cumulus clouds in the sky are reflected in the sea in the foreground, which is almost without detailing of any sort, save for the masterly dexterity of the brushwork. In this regard, Waterville, Co, Kerry may be compared with one of Henry’s finest late works, Kinsale, of 1939 (Kennedy, 2007, number 994).

For a discussion of Henry’s other Iveragh Peninsula pictures see S. B. Kennedy, Paul Henry’s Iveragh Paintings, in John Crowley & John Sheehan (eds.), The Iveragh Peninsula: A Cultural Atlas of the Ring of Kerry, Cork Cork University Press, 2009, pp.441-4.


€50,000 - 80,000


81

82

66 James Humbert Craig RHA RUA (1878-1944)

Cattle in a LandscapeOil on board, 25.5 x 35.5cm (10 x 14”) Signed


€2,000 - 4,000

65 Rowland Hill ARUA (1915-1979)Figure by CottagesOil on canvas, 35.5 x 51cm (14 x 20”)Signed


€400 - 600


83

67 James Humbert Craig RHA RUA (1878-1944)Collecting Turf, Glaneen, CushendallOil on canvasboard, 25.5 x 35.5cm (10 x 14”) Signed


€3,000 - 5,000

65 Rowland Hill ARUA (1915-1979)Figure by CottagesOil on canvas, 35.5 x 51cm (14 x 20”)Signed


€400 - 600

84

68 Attributed to James Humbert Craig RHA RUA (1878-1944)

Fishermen by boatOil on board, 14 x 20cm (5½ x 8”)


€300 - 500

69 Paul Henry RHA RUA (1876-1958)Mountain Landscape with CottagesOil on board, 28 x 35.5cm (11 x 14”) Signed

Provenance: Sold Adams, Dublin, 24 March 1977 Cat No. 41, as Cottages by the Lake, Outer Killary, Connemara; from the estate of the late James Gibson

Although one cannot be certain, the profile of the mountains that dominate this scene are similar to those in other Henry pictures of these years, such as West of Ireland Cottages c. 1926-30 (Kennedy, ongoing cataloguing, number 1253) and Cottages, West of Ireland, 1928-30 (Kennedy, 2007, number 689, reproduced). The handling of the paint, which is relatively ‘dry’, and the brushwork suggest a date of execution of 1926-30. The barest hint of the direction of the overcast light that sets the mood of the painting is typical of Henry and its brooding nature, derived from the towering mountains, illustrates the growing personal difficulties that dominated his life in these years. Mountain Landscape with Cottages is numbered 1272 in S. B. Kennedy’s ongoing cataloguing of Paul Henry’s oeuvre.


€30,000 - 50,000


85

86

70 Irish School, (c.19th Century)Figures by the CoastOil on panel, 12 x 19.5cm (4¾ x 7 ¾”)


€300 - 500

71 William Conor RHA RUA ROI OBE (1881-1968)Aw YouLinoprint, handcoloured by the artist, 10 x 7.5cm (4 x 3”)Signed, inscribed in pencil lower left

Provenance: R.B. Jackson Collection; Bell Gallery, Belfast; From the estate of the late James Gibson

€200 - 400


87

72 James Humbert Craig RHA RUA (1878-1944)Boats in Harbour, with Children Playing on the BeachOil on board, 28 x 39cm (11 x 15½”) Signed, John Magee Gallery label verso


€5,000 - 7,000

88

73 Hans Iten RUA (1874-1930)Hayfield, Belvoir ParkOil on board, 15 x 21.5cm (6 x 8½”)

Provenance: W. Rodman & Co.; From the estate of the late James Gibson

€1,000 - 2,000

74 Hans Iten RUA RUA (1874-1930)Belvoir ParkOil on board 15 x 21.5cm (6 x 8½”) Signed

Provenance: W. Rodman & Co.; Ross’s, Belfast, 15/11/1990, Lot 428; from the estate of the late James Gibson

€1,000 - 1,500


89

75 Hans Iten RUA (1874-1930)The Lagan PathOil on board, 15 x 22cm (6 x 8¾”) Signed

Provenance: W. Rodman & Co., 1979; From the estate of the late James Gibson

€1,500 - 2,500

90

76 Hans Iten RUA (1874-1930)Path through TreesOil on panel, 16.5 x 21.5cm (6½ x 8½”)

Provenance: Ross’s, Belfast, 11/12/1980, Lot 250; From the estate of the late James Gibson

€1,000 - 1,500

77 Hans Iten RUA (1874-1930)Path through TreesOil on panel, 16.5 x 21.5cm (6½ x 8½”)

Provenance: Ross’s, Belfast, 11/12/1980, Lot 250; From the estate of the late James Gibson

€1,000 - 1,500


91

78 Hans Iten RUA (1874-1930)Coastal Landscape, IslandmageeOil on panel, 15 x 21.5cm (6 x 8½”)

Provenance: The Artist’s Estate; Private Collection; Bell Gallery; from the estate of the late James Gibson

€1,000 - 1,500

79 Hans Iten RUA (1874-1930)Blackhead, Belfast LoughOil on panel, 14.5 x 21cm (5¾ x 8¼”)

Provenance: The Artist’s Studio; Ross’s, Belfast, 3/3/99, Lot 24; Private Collection; Bell Gallery; from the estate of the late James Gibson

€1,000 - 1,500

92

80 Charles McAuley RUA ARSA (1910-1999)Wooded Landscape with HutsOil on canvasboard, 35.5 x 45cm (14 x 17¾”) Signed


€800 - 1,200

81 Colin Middleton RHA MBE (1910-1983)Farmhouse and Outbuildings, c.1958Oil on canvas, 23 x 28cm (9 x 11”) Signed


This beautifully organised painting is typical of the intriguing period in the late 1950s that Colin Middleton spent in Portrush. Both natural and man-made forms are brought together as an architecturally conceived whole. The apparent solidity of form is belied by the small deliberate brushstrokes and the carefully controlled palette is built up from a full range of colour. Shapes are repeated across the canvas, such as the triangles in the gate, theee haystacks, the tree trunks and even the triangle of sky framed between the farmhouse roof and the top of the tree beside it. A series of intersecting

diagonals lead the eye through towards the repeated horizontal rectangles of the buildings and the landscape fleetingly glimpsed behind. The scarecrow is almost lost within the compressed planes of the field and the garden and its subdued presence suggests something between the natural and the man-made. Painted in the years before he embraced a more abstract manner of working, the present work suggests Middleton’s increasing formal interests but also his love of farmland and his environment as well as the mischievous wit that pervades all periods of his work.

Dickon Hall, May 2013

€4,000 - 6,000


93

94

82 Romeo C. Toogood RUA ARCA (1902-1966)

Coastal Inlet in Village with boatsOil on board, 49.5 x 39.5cm (19½ x 15½”)Signed

Toogood studied at the Belfast School of Art and the Royal College of Art in London. Returning to his home town of Belfast in 1930 he joined a small group of artists known as the Ulster Unit, and taught at vari-ous high schools and institutes including the Belfast College of Art where his students included Terence Flanagan and Basil Blackshaw. Toogood’s work was exhibited at the RHA, Ulster Academy of Arts, RUA and the Piccolo Gallery in Belfast. Following his death retrospectives were held by the Arts Council of Northern Ireland (1978) and the Bell Gallery (1989).

€700 - 1,000


95

83 Daniel O’Neill (1920-1974)The Road to RostrevorOil on board, 46 x 61.4cm (18 x 24”)Signed. Inscribed with title verso and framing label for Dawson Gallery, Dublin

€6,000 - 10,000

96

84 George Campbell RHA RUA (1917-1979)Berne Street SceneOil and mixed media on board, 44.5 x 34.5cm (17½ x 13½”)

Exhibited: Artists of Fame & Promise II, Leices-ter Galleries, Leicester Square, London, August 1950, Cat. No. 179, where purchased by C.B. Renshaw Esq. (label verso)

€2,500 - 3,500


97

85 George Campbell RHA RUA (1917-1979)

Still Life, Evening LightOil on board, 49.5 x 39.5cm (19½ x 15½”)Signed. Inscribed with title verso

Exhibited: The Ritchie Hendriks Gallery, Dublin, August 1967 (label verso)

€3,000 - 5,000

98

In the late 1940s Gerard Dillon entered into a stipend arrangement with Victor Waddington, which allowed him to spend more time in Connemara. Recognizing the broad appeal of Dillon’s narrative images, Waddington encouraged the artist to return to Connemara in preparation for his first solo exhibition with him in November 1950. Dillon rented a cottage in Moyard located between Clifden and Letterfrack, visiting the surrounding area recording local events of pony races, tinkers and religious processions or depicting the local people in their cottages and carrying out their daily chores of thatching, harvesting, cutting and collecting turf.

Born in Belfast, Dillon admired both William Conor for his portrayal of working class people in Belfast and Seán Keating’s illustrations of J.M. Synge’s Playboy of The Western World. Both artists recorded and highlighted the harshness of people’s lives in an urban environment and in the West of Ireland. It is hardly surprising, therefore when Dillon first visited the west on a cycling trip in 1939 that he should have responded to the people and the landscape as he did. He was immediately enthralled by the landscape of misty hills, spongy bogs, lakes, streams, and a patchwork design of tiny plots protected by ancient dry stonewalls over carpets of stony land. Living among the people on these frequent visits evoked strong feelings for the artist, which he expressed throughout his life. Following his exhibition at Waddington’s, one reviewer commented, “In his paintings of the people of Connemara, Gerard Dillon is deliberately, but not self-consciously naïve and such canvasses…have a simple, kindly humour.”

A Wet Day, Ireland, was executed on one of these visits to Connemara when he invited friends, George Campbell, Arthur

Armstrong, Nano Reid, and Mollie Dillon to stay with him. In August 1950 Dillon invited other friends he met at the Abbey Arts Centre outside London. The visitors Bernard Smith, Leonard French and Arthur Rose were Australians belonging to the London artists’ colony, which served as a temporary home for a range of artists trying to get a foothold in London’s contemporary art industry. The composition depicts a mother protecting her bare footed children with a homespun shawl from rain as they walk on a bog road close to ponies. The dyed red wide skirt, the dark cloak, mountains, blanket bogs and grey and brown ponies point to Connemara. During the turf-cutting season, woman and children helped to spread out the turf after the men had cut the sods and thrown them up onto the heather to dry. With no shelter on the bog roads, woman and children would have often got caught in showers of rain. Woman would have worn the generous shawl or cóta to keep warm from the prevailing winds and its oiled wool would have acted as a barrier from the rain.

After Bernard Smith departed Moyard, Dillon wrote to him describing the success of his sketching trips with Leonard French due to good weather but was unable to get out when Arthur Rose stayed, “It pissed the whole time, so he must think Connemara is hell”. Dillon also gave a description of a pony show in Clifden remarking on the ponies, “such unusual colours-smoky grey as you get out of a chimney -the oaken meal colour…it was wonderful”

Karen Reihill is currently researching the life and work of Gerard Dillon

€20,000 - 30,000

86 Gerard Dillon (1916-1971)A Wet Day, Ireland Oil on board, 38.5 x 52.5cm (15 x 20½”)Signed. Inscribed with title verso

Provenance: Sold in these rooms, Important Irish Art Sale, 5th December 2006, Lot 64


99

100

87 Gerard Dillon RHA RUA (1916-1971)Boy SeatedWatercolour, 35.5 x 25.5cm (14 x 10”)Signed

€2,000 - 4,000


101

88 Gerard Dillon RHA RUA (1916-1971)AbstractOil on canvas, 92 x 127cm (36¼ x 50”)Signed

Provenance: Acquired directly from the artist by the current owner who was friend.

€2,000 - 4,000

102

89 Tom Carr, HRHA, ARWS, NEAC, HRUA (1909-1999)Mother and ChildOil on canvas, 49.5 x 44.5cm (19½ x 17½”)Signed

Exhibited: Tom Carr Exhibition, Leicester Galleries, London, Novem-ber 1946, where purchased by J. Stanley Clarke. The majority of works on display at this exhibition were watercolours, this lot was obviously ex-catalogue, and sold under the title Girl and Small Child

Mother and Child is a typical example of Carr’s careful observation of those close to him - in this case, probably Stella and Veronica. The setting is a modest kitchen or scullery with a wash top, looking out onto the seafront in Newcastle. The focus is very much on the intimacy between mother and child, capturing that sense of excitement and trepidation written on the child’s face as she stands on the worktop. The viewer’s eye is drawn to the child with her little red jumper and a suggestion of a tee shirt underneath it. The light from the tall window catches the hair of the mother and child and manages to draw at-tention to a copper kettle in the foreground. The sheet or bath towel hanging on the line, acting as a backdrop to the child was so much part of the country scullery in those days long before central heating.

This painting, while having an echo of the Dutch painters in its es-sence in the view of some observers, bears all the hallmarks of the Euston Road school of painters. A decade earlier, Carr was centrally involved with the exponents that school. Their preoccupation was with colour, tone and fine drawing. Carr, having spent two years in Henry Tonks’ life drawing room at the Slade learned well.

Eamonn Mallie

€5,000 - 7,000


103

90 Tom Carr HRHA, ARWS, NEAC, HRUA (1909-1999)Beach Scene, Dundrum BayOil on canvas, 45.5 x 85cm (18 x 33½”)Signed, inscribed with title verso

Provenance: Lord & Taylor, New York

€5,000 - 7,000

104

91 William Conor RHA RUA (1884-1968)The Slighted ChildOil on canvas, 75 x 62.5cm (29½ x 24½”)Signed

Provenance: The artist’s studio, which was above the Bell Gallery in Belfast where this work was purchased by the current owners circa 1968

In 1925, Holbrook Jackson wrote ‘In the first place William Conor is a painter of genius, and in the second place he is a painter of Belfast. There are notes in his work that suggest he could not have painted anywhere else, and this despite the fact that he had looked upon the French impressionists with affection and understanding.’ John Hewitt has also observed, ‘The inhabitants of Conor’s little streets belong to the old economy before the Welfare State, to Belfast of the Twenties.’ In 1923, Conor wrote that he had for some time carried a sketchbook in his pocket, ‘to note down any little happening which strike[s] me as interesting and significant. With my sketching block held under cover of a newspaper, I have been able to garner many happy impressions, which I have afterwards worked up into drawings and paintings.’ The Slighted Child suggests a painting that has been worked from an earlier sketch, when the artist would have observed the boy, standing forlorn and dejected following an upbraiding by the woman (his mother per-haps) standing in a doorway further up the street, at the top left of the painting. Most likely, the boy with his open mouth and darkly rendered downcast eyes, has been crying due to his perceived injustice of adults - that heartfelt emotion particular to childhood. The painting has been pared down to its essential elements which is typical of Conor. The focus is firmly on the child in his orange jacket, the sun hitting the top of his head and the side of his face. The muted palette and treatment of the terraced facade suggest a recollection on the part of Conor and an attendant sense of nostalgia. The city of Belfast is indicated through the backdrop of houses and the streetscape environment suggests that houses opposite could witness The Slighted Child, a further injustice, when clearly the child has fled outside in search of solitude to regain composure. It is a powerful rendition of a familiar feeling recollected from childhood. In 1926 Conor went to Philadelphia is the USA and stayed there for nine months. According to Theo Snoddy, at that time the artist showed at the Babcock Galleries, New York where an attrac-tive child-study by Conor, saw the artist inundated with requests from parents who wanted their children drawn or painted.


€10,000 - 15,000


105

106

92 William Conor RHA RUA (1884-1968)“A Wayside Crack”Pen, ink and crayon, 15.5 x 15.5cm (6 x 6”)Signed

Provenance: Bell Gallery Exhibition label verso; Property of a deceased estate, Northern Ireland

€800 - 1,200


107

93 William Conor RHA RUA (1884-1968)Young Woman with BabyCrayon, 36 x 26cm (14¼ x 10¼”)Signed; John Magee Gallery label versoProvenance: Property of a deceased estate, Northern Ireland

€2,000 - 3,000

108

94 Elizabeth Taggart (b.1943)“Bird Trio”Oil on canvas, 29.25 x 29.25cm (11½ x 11½”)Signed, signed again and inscribed with title verso

Provenance: The Alexander Clayton Gallery, Stratford Upon Avon, where purchased by current owner

€800 - 1,200

95 Elizabeth Taggart (b.1943)“A Dream and a Day Lily”Oil on canvas, 24.5 x 29.5cm (9½ x 11¾”)Signed, signed again and inscribed with title verso

Provenance: The Alexander Clayton Gallery, Strat-ford Upon Avon, where purchased by current owner

€700 - 1,000


109

96 Elizabeth Taggart (b 1943)The DrummerOil on canvas, 80 x 60cm (31½ x 23½”)Signed

Exhibited: The Molesworth Gallery, Dublin “Elizabeth Taggart” Exhibition, June 2007, Cat. No. 6, where purchased by current owner

Literature: “Elizabeth Taggart” 2007, full page illustration p15

€1,500 - 2,500

110

97 Harry Kernoff RHA (1900-1974)Fishing Men, West River, Nova Scotia (1957)Oil and pastel on board, 40.5 x 51cm (16 x 20”)Signed

Provenance: The Smurfit Collection and their sale in these rooms, 8th December 2004, Cat. No. 113; where purchased by the current owner

Literature: Smurfit Art Collection 2001, full page illustration p73

€4,000 - 6,000


111

98 James Dixon (1887-1970)Gut Fishing, in Camus More, Tory IslandOil on paper, 55 x 75cm (21½ x 29½”)Signed, inscribed and dated “Gut Fishing in Camus More/Tory Island/by James Dixon/14.10.64”

Provenance: Sold in these room, “Important Irish Art” sale, December 2006, Cat. No. 174, where purchased by current owner

James Dixon is probably Ireland’s only true primitive painter having very rarely ever ventured away from his native Tory Island off the Northwest coast of Donegal. His discovery by the painter Derek Hill is now legend. Observing Mr Hill painting a landscape of the West End Village on Tory he is said to have remarked ‘’I think I could do better’’. Hill immediately encouraged him by sending him paints. Dixon preferred to work on paper and when

offered paint brushes he said he would make his own out of hair from his donkey. Hill organised exhibitions of the work of the Tory painters, the first of which took place at the New Gallery, Belfast in 1966 but following on shortly afterwards he had exhibitions at the Dawson Gallery, Dublin, Autodidaky Gallery, Vienna and the Portal Gallery, London. His work entered the collections of The Scottish National Gallery of Modern Art, The Hugh Lane Gallery and Bournemouth Art Gallery. His legacy lives on in what is now referred to as the Tory Island school of painting. Homage was paid to him when in 2000 there was a joint exhibition with that other famous primitive painter Alfred Wallis, organised by the Irish Museum of Modern Art and the Tate Gallery St. Ives, Cornwall

€4,000 - 6,000

112

99 Lindy Guiness (b.1941) (Marchioness of Dufferin and Ava)

The Dining Room, ClandeboyeOil on board, 30.5 x 61cm (12 x 24”)Signed and dated ‘05


Exhibited: Jorgensen Fine Art, where purchased by current owner

€800 - 1,000

100 James le Jeune RHA (1910-1983)The VaticanWatercolour and Gouache on paper, 18.5 x 23cm (7.3 x 9”)Signed

€400 -600


113

101 Noel Murphy (b. 1970) Urban Street Scene Oil on canvas, 57 x 59cm (22½ x 23¼)Signed

€1,000 - 2,000

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102 Brian Ballard RUA (b.1943)Standing Female Nude with Vase of Flowers Oil on canvas, 75 x 60cm (29½ x 23.6”)Signed and dated 2001

€1,500 - 2,000


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103 Brian Ballard RUA (b.1943)Reclining Female Model in MirrorOil on canvas, 60 x 75cm (23.6 x 29½”)Signed and dated ‘98

€1,500 - 2,000

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104 Brian Ballard RUA (b.1943)Moving DonegalOil on canvas, 19.5 x 30cm (7¾ x 12”)Signed and dated 1986, artist’s label verso

€800 - 1,200

105 Mike Fitzharris (b.1952) SeascapeOil and graphite on board, 52 x 64cm (20½ x 25”)Signed and dated (19)’88

Exhibited: RHA Annual Exhibition 1989

€600 - 1,000


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106 William Crozier HRHA (1930-2011)“The Re-planting” (2007)Oil on canvas, 76 x 86½cm (30 x 34”)Signed

Exhibited: “William Crozier” Exhibition, Flowers East Gallery, London, Oct/Nov 2007. This exhibition was to launch the book on William Crozier, edited by Katharine Crouan, whom we thank for her help in cataloguing this lot

€7,000 - 10,000

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107 Seán McSweeney HRHA (b.1935)Grey Pool (1995)Oil on board, 35 x 45cm (13¾ 17¾”)Signed and inscribed with title verso

€1,500 - 2,000

108 Francis Tansey (b.1959)Inner WeaveOil on canvas, 46 x 46cm (18 x 18”)Signed, inscribed with title and dated 11/87 verso

€800 - 1,200


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109 Francis Tansey (b.1959)Tubular Planes Acrylic on canvas, 76 x 76cm (30 x 30”)Signed, inscribed and dated 2003 verso

€1,500 - 2,500

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110 Michéal Farrell (1940-2000)Self-PortraitMixed method print, 49 x 53.5cm (19¼ x 21”)Signed, inscribed with title, dated ‘77 and numbered 34/80

€200 - 400

111 John Minihan (b.1946) Francis Bacon photographed in his Studio Giclee print 45 x 30cm (17.7 x 11.75”) Signed and Inscribed

€300 - 500


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112 William Scott RA (1913-1989)Still Life with Frying PanColour screenprint, 67 x 89cm (26¼ x 35”)Signed, dated (19)’73 and numbered 135/250

€1,500 - 2,500

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114 Conor Walton (Contemporary)Veiled (2004)Oil on canvas, 51 x 30.5cm (20 x12”) Signed

Exhibited: Conor Walton Exhibition, Jorgensen Fine Art, where purchased by current owner, June 2006

€1,000 - 2,000

113 Martin Mooney (b.1960)Still Life Study VIIOil on panel, 17.5 x 34.5cm (7 x 13¾”)Signed with initials. Signed again, inscribed with title and dated 2010 verso

€1,200 - 1,600


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115 Martin Mooney (b.1960) Still Life on Red and CreamOil on board, 61 x 91cm (24 x 35¾”)Signed with initials and dated (20)’07, also signed, inscribed with title and dated 2007 verso

Exhibition: Martin Mooney Exhibition, Adam’s, Dublin, October 2007, Cat. No. 40, where purchased by the current owner

Literature: Martin Mooney, 2007, full page illustration, p53 ( a hardback copy of this catalogue signed by the artist accompanies this lot)

€4,000 - 6,000

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116 Martin Mac Keown (b.1931)The Double CandlesticksOil on canvas board, 50 x 60cms (19.7 x 23.6”)Signed, also signed and inscribed with title on label verso

Exhibited: Martin MacKeown Exhibition, The Ava Gallery, Co. Down, September 2011, Cat. No. 5

Martin Mac Keown spent most of his life abroad and sadly has become just a footnote in Irish Art books either as the son-in-law of Tom Carr or col-league of Basil Blackshaw. His son, James is also a painter who now lives and works in France. He has reconnected with Ireland having had exhibitions in both Dublin and Belfast. Martin studied at the Belfast College of Art where John Luke and Ro-meo Toogood numbered amongst his teachers. His first two-man show was with Basil Blackshaw with whom he worked very closely at the CEMA (Arts Council) Galleries. He won a scholarship from the Belfast College of Art to study at Edinburgh Col-lege of Art and from there he won a scholarship that took him across Europe after graduation. This was the beginning of his travelling which he con-tinued to do with his family, even living for a while in Turkey. He returned to painting seriously in the late 1980s and exhibited in London and Belfast as well as with several regional galleries in the UK.

€800 - 1,200

117 Alexey Krasnovsky (b.1945)John Coltrane BalladsOil on canvas, 59 x 76cm (23¼ x 30”)Signed and dated 2010; signed, dated and inscribed with title verso

Provenance: With Jorgensen Fine Art where purchased

€1,500 - 2,000


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118 Charles Brady HRHA (1926-1997) Rear of Canvas (1993)Oil on canvas, 33 x 44.5cm (13 x 17½”) Signed

Provenance: The Taylor Galleries, Dublin

Exhibited: The Solomon Gallery, where purchased by current owner, October 2006

€3,000 - 5,000

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119 Charles Brady HRHA (1926-1997)HaycockOil on canvas, 43 x 38cm (17 x 15”)Signed, also signed verso on backing board

Provenance: Babcock Gallery, New York

€1,500 - 2,000

120 Patrick Collins HRHA (1911-1994)Lake SirenOil on board, 29.5 x 59.5cm (11½ x 23½”)Signed

Provenance: The collection of the poet John Montague and his wife Evelyn

Exhibited: Patrick Collins Exhibition David Hendriks Gallery Dublin May/June 1968 Cat. No. 22Patrick Collins Exhibition David Hendriks at The Cork Arts So-ciety March 1973 Cat. No. 15

Frances Ruane in her 1982 monograph on Patrick Collins de-scribed his time in Paris :- “The familiar characterisation of an artist drinking and starving in a squalid Parisian garret was too uncomfortably true-to-life to be romantic. Collins often recalls how he lived at the point of near starvation, of having to stay in bed because he lacked the strength to walk. He frequently tells how he would walk nearly four miles across Paris to visit the poet John Montague hoping he would be home to give him a

meal”. Perhaps we should leave it to Evelyn Montague to tell us of these times in her own words :-

“I believe Lake Siren was painted around 1968 a date just be-fore Patrick Collins life and mine coincided in Paris. I was liv-ing in the latter, my native city, the enviable state of a working young woman with her own flat on the left bank; I was also at that time being courted by John Montague, my future hus-band, through whom I met Patrick. John wrote a poem about Patrick called “Wind Harp”.

As I gathered, Patrick was in Paris to challenge himself into becoming a hobo living penniless, surrounded by the vibrant visual art scene that Paris was still following in the release of energy from the 1968 riots. For Patrick that meant living in


127

freezing cold maids quarters or vacated studios of other painters. Patrick and the Irish community soon found out that the garrets and the amounts of red wine he drank could only be survived with regular healthy warm food. His occasional disappearance meant we would find him in public wards of Paris hospitals.

This is where I came in; back from work to my apartment on Rue Duroc, I relaxed cooking hearty dishes, in anticipation of the possible visits from Montague and our bohemian friends. To my delight Patrick became a permanent fixture and the two of us became dear friends. I enjoyed Patrick’s company and his rivet-ing tales of his childhood in Sligo as Patrick often spoke of his homesickness for Sligo and his wife Patricia.

In 1972 John and I moved to Cork. With the friendship of Sea-mus Murphy - pivotal to the Lavitt Gallery, the first thing we

did was to organize the Hendrik’s Gallery to bring a one-man show of Collins’ work to Cork which they did in March 1973. At this show John bought Lake Siren as a gift for me. The show was a relative success for those times with eight works selling to the likes of Richard Wood and Maurice Fridberg as well as ourselves.

I have always felt Lake Siren to be unique. The theme of Lake Siren speaks of Patrick’s nostalgia for the lost landscape of Sligo, a landscape he kept referring to during those Parisan evenings. It was a nostalgia which eventually brought him back to Ireland fulltime in 1976”.

-Evelyn Montague, April 2013

€4,000 - 6,000

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121 Louis Le Brocquy, HRHA (1916-2012) Presence (1959)Oil and sand on board, 76 x 63.5cm (30 x 25”)Signed and dated 1959

Provenance: The Dawson Gallery, DublinLord & Taylor, New York,The Flint Museum, U.S.A.Private Collection

Exhibited: 1995 Summer Exhibition, The Frederick Gallery, Dub-lin, Cat. No. 2; where purchased by the current owner

This important work by le Brocquy is one of a series of works called Presence which he carried out in the late 1950s. It was in the collection of The Flint Museum, Flint, Michigan, U.S.A. until the early 1990s.

Louis le Brocquy’s Presence series was inspired by a number of pivotal experiences in the late 1950s which caused the artist to abandon his earlier Family series of paintings and to move from the figurative to an almost abstract style. Despite their ethereal quality, however, the Presences are concerned with the human body. In 1956 le Brocquy saw a display of Giacometti’s plaster sculptures at the Venice Biennale. The tall emaciated forms had a profound impact on the Irish artist. In addition to this le Broc-quy’s future wife, Anne Madden, was undergoing operations and x-rays of her spine. As a result of these events the artist produced a new series of work, the Presence or White paintings, first exhib-ited in the late 1950s. They are concerned with the tenuous nature of the human body both physically and metaphysically.

Ostensibly abstract, the centre of the white expanse of the paint-ing is dominated by an extended skeletal form. The contrasts be-

tween light and dark in the work make it difficult to decipher what is real and what is shadow. le Brocquy mixes sand and other mate-rial into the paint to build up the surface as if to create real physical form. Within the predominantly monochrome surface a myriad of colours are evident. Presence (1959) is one of the more dynamic and richly coloured examples of the series. The rhythmic forms of the skeleton are shrouded by a dark ghostlike form that seems to be at variance with the other more tangible elements of the painting. The tension between these elements mirrors that of the spirit and the body. Speaking of another Presence work, le Brocquy summa-rised his intention in the series. ‘The body appears to be dissolved in shadow while its interior inner structure rises to the surface’.

Dr. Róisin Kennedy

€20,000 - 30,000


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122 Pauline Bewick RHA (b.1935)‘Asleep in Venice’Indian ink and watercolour, 81 x 111cm (31¾ x 43¾”)Signed and dated June (19)’64Also signed verso

€2,000 - 4,000

123 Pauline Bewick RHA (b.1935)“Man on the World” (1967)Indian ink and watercolour, 105 x 68cm (41½ x 26¾”)Signed

This painting was used as the basis for a poster to promote the Second UN Special Session on Disarmament in New York in 1982. It was also exhibited in Geneva and Vienna before being shown at UN Headquarters in New York.

€1,000 - 2,000


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124 Patrick Pye RHA (b.1929-)The Implements of The PassionOil and Tempera on canvas, 78 x 65.5cm (30¾ x 25¾”)Signed

Exhibited: Patrick Pye Exhibition, David Hendriks Gallery, March/April 1970, Cat. No. 15

Provenance: From the collection of Dr J.B. Kearney and The Kearney Sale in these rooms December 2007, Cat. No. 8 where purchased by the current owner

Literature: Illustrated front cover of the Hendriks Gallery exhibition catalogue

In private correspondence the artist explained his thoughts behind this work :-

“It wasn’t that I thought the Christ story was a legend. It was that the Passion was something so enormous that it created ripples that are still coming towards us across time. I was trying to come to the crucifixion through the ripples. The dear to the right was a symbol of state. The foreground figures are John (The Beloved) with Our Lady seated. Later I did a triptych with a similar work to this as its centerpiece” The artist also produced an etching of that triptych years later in 1996 both of which were shown at the “Patrick Pye Retrospective” at the RHA in 1997.

Brian Fallon in his review of the 1970 Hendrik’s show thought “this is one of the best exhibitions Dublin has seen in some time”.Although the critic found the artists religious work lacked real spontaneity and heart, he also stated “Pye’s efforts to create a latter-day Christian art and to come to terms with traditional religious iconography are worthy of real respect,particularly when the intellectual climate seems so hostile. His ideas are high,and they are backed by genuine intellectual power and scholarship.”

€2,000 - 4,000

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125 Martin Mooney (b.1960)View at Dún Laoghaire, Co. Dublin Oil on board, 30 x 60cm (12 x 24”)Signed with initials and dated XII. Signed again, inscribed with title and dated 2012 verso

€2,500 - 3,500


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126 Tony Klitz (1917-2000)A View of the Four Courts Along the Liffey, DublinOil on canvas, 59 x 90cm (23¼ x 35½”)Signed

€3,000 - 4,000

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127 Thomas Ryan PRHA (b.1929)King’s Inn Gate, DublinWatercolour, 23 x 29.25cm (9 x 11½”)Signed

€1,000 - 1,500

128 Thomas Ryan PRHA (b.1929)Man Singing in a PubIndian ink and watercolour wash, 17 x 12cm (6¾ x 4¾”)Signed and inscribed with title

€200 - 400


135

129 Thomas Ryan PRHA (b.1929)Self-Portrait in Studio, with Summer BloomsOil on board, 61 x 50.5cm (24 x 20”)Signed

€2,500 - 3,500

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130 Thomas Ryan PRHA (b.1929)The Pinkeen Fishers (1980)Oil on canvasboard, 30.5 x 35.5cm (12 x 14”)Signed. Inscribed artist’s studio label verso num-bered 60

€1,500 - 2,500

131 Henry Healy RHA (1909-1982)Distant Blue Sea from DugortOil on board, 51 x 61cm (20 x 24”)Signed

€500 - 700


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132 Maurice MacGonigal PRHA (1900-1979) A View of Tory Island with Figures on the ForeshoreOil on board, 40 x 50cm (15¾ x 19¾”)Signed

€4,000 - 6,000

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133 Michael Augustine Power O’Malley (1878-1946)Dongeal Farm HomesteadOil on board, 40 x 49.5cm (15¾ x 19½”)Signed

Babcock Galleries, New York gallery label verso

Born in Co.Waterford, Michael Augustine Power O’Malley studied art in France and Italy before finally settling in America where his teacher was Robert Henri who had painted on Achill. O’Malley returned to Ireland periodically and was awarded first prize in landscape painting at Aonach Tailteann in 1923. He exhibited in a group show of Irish art in Brussels in 1930. There were 38 works by him included in the 1935 New Jersey show including titles such as A Donegal Bog, Aran Fisherman and ‘’Spanish Parade - Galway’’ which shows he traveled all along the West Coast. Other artists included in the New Jersey Show were Jack B. Yeats, Sean Keating and George Russell. He exhibited several paintings with an Irish theme at the Beaux Arts Gallery, London in 1939 such as ‘’The Kerry Piper’’ ‘’ The Connemara Man’’ and Clearing up Achill . The critic Royal Cortissoz writing in The New York Herald Tribune wrote ‘’ Mr O’Malley has found light and air in Ireland and has got them into his pictures. A more winning transcription of the Irish scene has not come out of any man’s studio’’.

€1,000 - 1,500

134 Arthur Twells ARUA (b.1921)Tea Break near Muckish, Co. DonegalOil on canvas, 40.5 x 51cm (16 x 20”)Signed, inscribed with title verso

€600 - 1,000


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135 Keith Vaughan (1912-1977)Irish Barn with Peat StacksOil on board, 22 x 38cm (5¾ x 15”)Signed

Provenance: Leicester Galleries, London

Exhibited: Offer Waterman Fine Art, London, where purchased by current owner, June 2006

This might possibly be Irish Landscape exhibited by the Leicester Galleries London as part of their shows Artists of Fame and Promise and exhibited here in Dublin, April 1956 at The Little Theatre Gallery, Brown Thomas, Cat. No. 38.

Born in Sussex, Vaughan had no formal art training and it was not until during the war he first came under the influence of the

neo-romantic painters such as Graham Sutherland and John Min-ton which markedly affected his work. From the mid 1940s on-wards he was to become one of Britain’s most successful artists. He taught at the Camberwell School of Arts and Crafts 1946/8,Cen-tral School of Arts and Crafts 1948/57 and the Slade from 1954. Many public galleries including the Tate hold his work. He trav-elled extensively and this work was obviously done after a trip to Connemara in the mid 1950s.

€10,000 - 15,000

140

136 Jack Butler Yeats RHA (1871-1957) Looking Down on the Old Racecourse of Bowmore, Sligo(1944)Oil on panel, 22.8 x 35.6cm (9 x 14”)Signed, inscribed with title in the artist’s hand verso

Provenance: Victor Waddington Galleries, where purcahsed by R.N. Flynn 1945. Sold later at Sotheby’s London, 22nd June 1994, Lot 93

Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, London 1992, Vol II p598, Cat. No. 654

Bowmore is one of the race tracks situated next to the strand at Rosses Point, Co. Sligo which Yeats frequented as a very young man in the 1880s and 1890s. It was at that time part of the Middleton estate and thus belonged to the artist’s maternal relations. His favourite uncle, George Pollexfen was one of the stewards of the race meetings there at the time. In 1898 the racecourse moved to the neighbouring Hazelwood location and in 1941 races at Rosses Point ended altogether.

In this work Yeats, as in other late paintings, revisits the sights of his youth. The flat open terrain of the course seems to continue on into the expanse of sea and sky beyond. The vertical posts of the old track are still intact and clearly visible, remnants of a now vanished past. In a sense they take the place of figures appearing as anthropomorphic elements, witnesses to the great triumphs and disappointments of a bygone era. For Yeats, as in this evocative painting, the landscape is always a setting for human action. Here the vivacious colours and the rich textures of the paint surface convey the longevity of nature and its power to stir up memories of the past.

Dr. Roisin Kennedy

€25,000 - 35,000


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137 Peter Curling (b.1955)A Race Horse and Jockey, being led by a groom Watercolour, 53 x 73cm (21 x 28¾”)Signed

Born in Waterford, Peter Curling’s interest in horses and the tradition of their depiction began in his early childhood when his mother was involved in the sale of sporting art. His talent for equine depictions was soon recognised and at the age of fourteen, then living in England, he had his first sell out show at Lambourn. Curling studied at Stonyhurst, won a scholarship to Milfield, and subsequently studied old master skills for two years in Florence. This training allowed him to hone his talent for depicting horses when he returned to Ireland, capturing movement while remaining true to anatomical detail. Horses

have been at the centre of his world not only in terms of his painting. His interest has extended at various times into ownership, hunting, training and stewarding, and he now runs his own stud with his wife Louise in Co. Tipperary. Demand for his work is increasingly high, and Curling is widely regarded as the leading Irish equestrian painter. This is due to his unique treatment of his subjects. Each horse is painted with intimate understanding that reveals an individual character.

€3,000 - 4,000


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138 Peter Curling (b.1955)Near the Finish Watercolour, 51 x 71cm (20 x 28”)Signed

€4,000 - 6,000

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139 James Le Jeune RHA (1910-1983) Two Girls on a BeachOil on canvas, 30.5 x 15cm (12 x 6”)Signed

Provenance: Sold in these rooms, Important Irish Art Sale, 13th December 1995, Cat No. 67, where purchased by current owner

€2,000 - 4,000


145

140 George Russell (Æ) (1867-1935) The SirensOil on canvas, 53 x 81cm (21 x 32”) Signed with monogram

Provenance: Sotheby’s “Irish Sale” May 1999, Cat. No. 330, where purchased by current owner

€7,000 - 10,000

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141 Sandra Bell (b.1954)Two FiguresBronze, 25cm high (10”)Signed with monogram, numbered 1/8 and dated 2001

€800 - 1,200

142 Sandra Bell (b.1954)Standing FigureBronze, 42cm high (16½”)Signed with monogram, numbered 2/8 and dated 2000

€600 - 800


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143 Frederick Edward McWilliam RA HRUA (1909-1992)

Sitting up Girl II (1970)Bronze, 25.5 x 22 x 15cm (10 x 8¾ x 6”)Signed - Fiorini: Foundry Mark. Edition of 5

Exhibited: F.E. McWilliam Exhibition, Arts Council of Ireland, touring exhibition, 1981, Cat. No. 94; McWilliam at Banbridge, Inaugural Exhi-bition, 2008/9, F.E. McWilliam Museum, travel-ling to Highlanes Gallery, Drogheda

Literature: F.E. McWilliam, 1981, illustrated p68F.E. McWilliam at Banbridge illustrated p94Dr. Denise Ferran, “The Sculpture of F.E. McWilliam”, Cat. No. 356, p151

€7,000 - 1,0000

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144 John Coen (b.1941)Standing FiguresBronze, 27.5cm high; 13cm wide; 7cm deep (10¾ x 5 x 2¾”)Signed and dated (20)‘03

€800 - 1,200


149

145 Imogen Stuart RHA (b.1927)Waiting (2001)Bronze, 20.5cm high (8¼”)Signed and dated 2001. From an edition of five

Exhibited: Imogen Stuart Exhibition, The Solomon Gallery, April 2002, where purchased by current owner;Collector’s Eye Exhibition, The Model Arts and Niland Gallery, Sligo, January/February 2004, The Hunt Museum Limerick, March/April 2004, Cat. No. 39

Literature: Collector’s Eye 2004, illustrated p20

€1,500 - 2,500

150

146 Melanie le Brocquy, HRHA (b. 1919)Children on a Bench, 1995Bronze, 16.5cm (6½”) highSigned with initials and numbered 6/6.

Exhibited: Melanie le Brocquy Exhibition, RHA Gallagher Gallery 1999, Cat. No. 45

Literature: Melanie le Brocquy 1999, illustrated p.57

€1,200 - 1,600


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147 Melanie le Brocquy HRHA (b.1919)Admiring Art (1991)Bronze on a black marble plinth, 30.5cm high; 26cm wide; 13.5cm deep (not including plinth) (12¼ x 10¼ x 5¼”)Editioned 2/6. Stamped DAF ‘91 (Dublin Art Foundry)

€2,000 - 3,000

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148 Irene Broe (1923-1992)Bust of Donagh O’MalleyBronze on mahogany base, 39cm (15¼”) high including baseSigned and dated 1968

Exhibited: Contemporary Irish Artists Exhibition Cork Sculp-ture Park 1969 The 1977 Oireachtas Art Exhibition Cat. No. 78.

Donagh Brendan O’Malley (1921 - 1968) was born in Lim-erick. A popular sportsman in the fields of rugby, soccer and swimming he won many medals and caps for both Munster and Connacht in his younger years. At the time of his death he was President of the Football Association of Ireland. He qualified as an engineer from UCG in 1943 and practiced in Limerick before entering politics.

O’Malley was elected to represent Limerick East in the Dail for Fianna Fail in 1954 when he topped the poll as he did in the three subsequent elections he contested . He became Mayor of Limerick in 1961 and later became Minister for Health in 1965/6 before becoming Minister for Education in 1966. He is best remembered for free post-primary education and free school transport. He also aroused great controversy when he proposed the merger of TCD and UCD but died suddenly in Limerick before he had a chance of implement-ing this proposal.

Irene Broe completed this work just days before O’Malley died and it was cast in an edition of 8. Of the 8 cast three are in University collections in Ireland, The University of Lim-erick, Trinity College Dublin and NUI Galway all have an example in their collections.

€800 - 1,200


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149 Jerome Connor (1876-1943)The Fírbolg (a.k.a. Ronnie)38cm (15”) high on grey slate base

Provenance: The collection of the late Zoltan Lewinter-Frankl, thereafter in the private collection of Gallery owner Nelson Bell from whom purchased by the current owner.

Exhibited: IELA 1943 Memorial Exhibition to Jerome Connor, Cat. No. 8The Lewinter-Frankl Collection, Belfast Museum and Art Gallery 1958, Cat. No. 209

€3,000 - 5,000

154

150 Graham Knuttel (b.1954)Mr. PunchBronze, 28.5cm high (11¼”)Signed and inscribed A/P

€1,000 - 1,500


155

150 Graham Knuttel (b.1954)Mr. PunchBronze, 28.5cm high (11¼”)Signed and inscribed A/P

€1,000 - 1,500

151 Rowan Gillespie (b.1953)Change (1978)27 x 33 x 45cm (10.25 x 13 x 17.75)UniqueRowan commented on this work: “As apt today as it was thirty-five years ago, the theme of this work was about those who try hard to make changes in the world while others do nothing at all to help - just poke fun and laugh.” We thank the artist for his help in cataloguing this lot.

€3,000 - 5,000

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152 Patrick O’Sullivan (b.1940)Wallpiece II

Carrara marble on a Kilkenny Limestone base, height 26.5cm (10½”) (including base)


Exhibited: “Patrick O’Sullivan Exhibition” The Octagon Gallery,Belfast May 1980, cat no. 3 where purchased by the current owner.

Patrick O’Sullivan was born in London of Irish/Dublin parents he moved to the North of England after his Father’s death in the London blitz. He initially studied locally at the Carlisle College of Art before movingin 1960 to the Royal Academy School where he trained under Arnold Machen and was awarded three Landseer prizes and three silver

medals for sculpture. He became a tutor in sculpture at St. Martins School of Art 1967 - 70 where his contemporaries included Barry Flanaghan, Philip King and Richard Long.

In 1970 he decided to move to Ireland set-tling in Cork with his wife Grace and took up a position at the Cork School of Art. He has exhibited at the RHA, Oliver Dowling and later at Taylor Galleries Dublin and Triskel Art Centre Cork. His work is included in the Crawford Gallery, Cork, Arts Council of Ireland Permanent Collection, UCD and the Fitzgerald Sculpture Park, Cork to name but a few.

€800 - 1,200


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153 Patrick O’Sullivan (b.1940)BalanceCarrara Marble, height 46cm (18”)


Exhibited: “Patrick O’Sullivan Exhibition” The Octagon Gallery, Belfast May 1980, cat no. 2 where purchased by the current owner.

€800 - 1,200

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154 Thomas Lindsay NWS (1793-1861)Sketch from Rathmines, near DublinWatercolour, 13 x 35.5cm (5 x 14”)Inscribed verso ‘Sketch from Rathmines June 1850’

Born in London in1793, Thomas Lindsay was best known as a watercolourist, working first at Mile End, then at Greenwich. He painted river landscapes and nature views throughout London, with a particular fondness for sunset scenes. In 1833 he was elected one of the early members of the New Watercolour Society and exhibited 347 works there between the years of 1833 and 1861. He is also known to have exhibited four wa-tercolours of London scenes at the Royal Society of British Artists in 1833/4. Lindsay eventually settled near Brecon in 1848 and is best known for his portrayals of Welsh landscapes that characterised his later years. As can be seen by the locations and dates Lindsay obviously made an extended summer break in Ireland between June and Sep-tember 1850. Lindsay passed away on the 23rd January 1861 at his residence in Cusop, Herefordshire. His work is held in the V&A collections in London. €400 - 600


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155 Thomas Lindsay NWS (1793-1861)Malahide Castle Sept. 7th ‘50 (1850)Watercolour, 16 x 24cm (6¼ x 9½”)

€400 - 600

156 Thomas Lindsay NWS (1793-1861)Malahide Hotel, Sept. 1850Watercolour, 15 x 24cm each (6 x 9½”)

€400 - 600

160

157 Thomas Lindsay NWS (1793-1861)Near Malahide, August 22nd ‘50 (1850); Near Malahide, Sept. 13th ‘50 (1850)A Pair, watercolour, 16 x 24cm each (6¼ x 9½”)(2)

€300 - 500

158 Thomas Lindsay NWS (1793-1861)Two Figures in Front of a Ruined Abbey or Castle; From Howth, Dublin, June 25th 1850A Pair, watercolour, 16.5 x 23.5cm each (6½ x 9¼”)One inscribed verso (2)

€300 - 500


161

159 Thomas Lindsay NWS (1793-1861)From Ross Island 16th July; Tree Island, Killarney Lake A pair, Watercolour, 16.5 x 25cm (6½ x 9¾”); 13 x 18.25cm (5 x 7¼”)Inscribed ‘Killarney ‘56’ on mount; Inscribed verso ‘Tree Island on Lake’ (2)

€300 - 500

160 George Barret Jnr (1767-1842)A Halt at the InnWatercolour, 41 x 52cm (16 x 20½”)Signed and dated 1840

€2,000 - 4,000

162

161 John Henry Campbell (1755-1828)View at Dalkey; Dalkey Island A pair, watercolour, 11 x 16cm each Each signed and inscribed (2)

Provenance: Acquired from Ledbetters, Dawson St., Dublin From the estate of Tony Sweeney

€1,500 - 2,000


163

162 Samuel Prout (1783-1852)The Town of Dalkey, Co. DublinPen, ink and wash, 10 x 14cm Signed and inscribed

Provenance: The estate of Tony Sweeney

€1,000 - 1,500

163 William Percy French (1854-1920)Landscape with Cottage and GeeseWatercolour, 16.5 x 23.5cm (6½ x 9¼”)Signed and dated 1914

€2,000 - 3,000

164

164 William Percy French (1854-1920) Bog Pools with Distant MountainsWatercolour, 19 x 24cm (7½ x 9½)Signed

€1,500 - 2,500

165 William Percy French (1854-1920) Bog Pool with MountainsWatercolour, 16.5 x 23.5cm (6½ x 9¼”)Signed

€1,500 - 2,500


165

166 William Percy French (1854-1920) Cottage in LandscapeWatercolour, 17 x 23.5cm (6¾ x 9¼”)Signed

€1,500 - 2,500

167 William Percy French (1854-1920) Bog LandscapeWatercolour. 17 x 23.5cm (6¾ x 9¼”)Signed with initials

€1,500 - 2,500

166

168 Frank Egginton RCA FIAL (1908-1990) Connemara Landscape with LakeWatercolour, 36 x 53cm (14 x 21”)Signed and dated (19)’75

€500 - 700

169 Frank Egginton RCA FIAL (1908-1990) West of Ireland BoglandWatercolour, 37 x 52.5cm (14½ x 20½”)Signed and dated (19)’73

€500 - 700


167

170 Frank Egginton RCA FIAL (1908-1990)A Wet Day, Co. DonegalWatercolour, 38 x 53.5cm (15 x 21”)Signed and dated ‘87

Provenance: The Gallery, Dunfanaghy

€700 - 1,000

168

171 Brett McEntagart RHA (b.1939)Entrance to a French FarmOil on board, 46 x 61cm (18 x 24”)Signed

€700 - 1,000

172 Patrick Copperwhite (b.1935)Gondolas Della SaluteOil on board, 25 x 30cm (10 x 12”)Signed

€500 - 700


169

173 Patrick Leonard HRHA (1918-2005)Figures on a Moonlit BeachOil on panel, 50 x 60cm (19½ x 24”)Signed

€1,000 - 1,500

174 Fergus O’Ryan RHA (1911-1989)Repairing Nets, PeñiscolaOil on board, 20 x 27.5cm (7¾ x 10¾”)Signed and inscribed with title

Peñiscola is a small town on the Costa del Azahar on the Mediterranean coast of Spain. It is known locally as the ‘City in the Sea’ as it is joined to the mainland by a narrow strip of land.

The subject of this work is unusual for O’Ryan; here he depicts everyday life in a small fishing village in Spain on a very intimate scale. Local women sit casually doing their daily work, mending fishing nets beside white washed buildings. The two woman to the background engage in chit chat while working and a rich Mediterranean light floods through the middle ground and top right corner.

Throughout his career O’Ryan rarely exhibited foreign landscapes concentrating primarily on views of his homeland. In 1969 he travelled to Greece via France and Italy on a painting holiday with fellow RHA members Brett McEntagart and James Nolan; however he did not produce any work on the three month trip. He said of this that there was no market for foreign subject matter in the Dublin galleries.

€400 - 600

170

175 John Coyle RHA (b.1928)Back Gardens, Dún Laoghaire Oil on board, 34 x 29cm (13.4 x 11.4”)Signed

€500 - 800

176 Liam Treacy (1934-2004)Still Life with Fruit (1983)Oil on canvasboard, 30.5 x 40.5cm (12 x 16”)Signed. Inscribed artist’s studio label verso

€1,000 - 2,000


171

177 Liam Treacy (1934-2004)Grafton Street, Spring Flowers (1985)Oil on board, 24.5 x 30cm (9½ x 12”)Signed, artist’s label verso

€400 - 600

178 Liam Treacy (1934-2004)Snow (1982)Oil on board, 35 x 45cm (13¾ x 17¾”)Signed, artist’s label verso

€600 - 800

172

179 Markey Robinson (1918-1999)Still Life with FruitOil on board, 24 x 29.5cm (9½ x 11¾”)Signed

Provenance: Apollo Gallery, Dublin

€600 - 800


173

DEFINITIONS AND GENERAL CONDITIONS

Definitions

1. In these conditions the following words and expressions shall have the following meanings:

‘Auctioneer’ – James Adam & Sons.

‘Auctioneer’s Commission’ – The commission payable to the Auctioneer by the buyer and seller as specified in conditions 13 and 25.

‘Catalogue’ – Any advertisement, brochure, estimate, price list or other publication.

‘Forgery’ – A lot which was made with the intention of deceiving with regard to authorship, culture, source, origin, date, age or period and which is not shown to be such in the description therefore in the Catalogue and the market value for which at the date of the auction was substantially less than it would have been had the lot been in accordance with the Catalogue description.

‘Hammer Price’ – The price at which a lot is knocked down by the Auctioneer to the buyer.

‘Lot’ – Any item which is deposited with the Auctioneer with a view to its sale at auction and, in particular, the item or items described against any lot number in any Catalogue.

‘Proceeds of Sale’ – The net amount due to the seller being the Hammer Price of the lot after deducting the Auctioneer’s Commission thereon under condition 25 the seller’s contribution towards insurance under condition 26, such VAT as is charge-able and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising.

‘Registration Form or Register’ – The registration form (or, in the case of persons who have previously attended at auctions held by the Auctioneer and completed registration forms, the register maintained by the Auctioneer which is compiled from such registration forms) to be completed and signed by each prospective buyer or, where the Auctioneer has acknowledged pursuant to condition 12 that a bidder is acting as agent on behalf of a named principal, each such bidder prior to the commencement of an auction.

‘Sale Order Form’ – The sale order form to be completed and signed by each seller prior to the commencement of an auction.

‘Total Amount Due’ – The Hammer Price of the lot sold, the Auctioneer’s Commission due thereon under condition 13, such VAT as is chargeable and any additional interest, expenses or charges due hereunder.

‘V.A.T.’ – Value Added Tax.

Cataloguing Practice and Catalogue Explanations

2. Terms used in Catalogues have the following meanings and the Cataloguing Practice is as follows:

The first name or names and surname of the artist; In the opinion of the Auctioneer a work by the artist.

The initials of the first name(s) and the surname of the artist; In the opinion of the Auctioneer a work of the period of the artist and which may be in whole or in part the work of the artist.

The surname only of the artist;In the opinion of the Auctioneer a work of the school or by one of the followers of the artist or in his style.

The surname of the artist preceded by ‘after’;In the opinion of the Auctioneer a copy of the work of the artist. ‘Signed’/’Dated’/’lnscribed’;In the opinion of the Auctioneer the work has been signed/dated/inscribed by the artist.

‘With Signature’/’with date’/’with inscription’;In the opinion of the Auctioneer the work has been signed/dated/inscribed by a person other than the artist.

‘Attributed to’;In the opinion of the Auctioneer probably a work of the artist.

‘Studio of/Workshop of ’In the opinion of the Auctioneer a work executed in the studio of the artist and possibly under his supervision.

‘Circle of ’;In the opinion of the Auctioneer a work of the period of the artist and showing his influence.

‘Follower of ’;In the opinion of the Auctioneer a work executed in the artist’s style yet not necessarily by a pupil.

‘Manner of ’;In the opinion of the Auctioneer a work executed in artist’s style but of a later date.

‘*’;None of the terms above are appropriate but in the Auctioneer’s opinion the work is a work by the artist named.

GENERAL CONDITIONS

Auctioneer Acting as Agent3. The Auctioneer is selling as agent for the seller unless it is specifically stated to the contrary. The Auctioneer as agent for the seller is not responsible for any default by the seller or the buyer.

Auctioneer Bidding on behalf of Buyer4. It is suggested that the interests of prospective buyers are best protected and served by the buyers attending at an auction. However, the Auctioneer will, if instructed, execute bids on behalf of a prospective buyer. Neither the Auctioneer nor its employees, servants or agents shall be responsible for any neglect or default in executing bids or failing to execute bids.

Admission to Auctions5. The Auctioneer shall have the right exercisable in its absolute discretion to refuse admission to its premises or attendance at its auctions by any person.

Acceptance of Bids6. The Auctioneer shall have the right exercisable in its absolute discretion to refuse any bids, advance the bidding in any manner it may decide, withdraw or divide any lot, combine any two or more lots and, in the case of a dispute, to put any lot up for auction again.

Indemnities7. Any indemnity given under these conditions shall extend to all actions, proceedings, claims, demands, costs and expenses whatever and howsoever incurred or suffered by the person entitled to the benefit of the indemnity and the Auctioneer declares itself to be a trustee of the benefit of every such indemnity for its employees, servants or agents to the extent that such indemnity is expressed to be for their benefit.

Representations in Catalogues8. Representations or statements made by the Auctioneer in any Catalogue as to contribution, authorship, genuineness, source, origin, date, age, provenance, condition or estimated selling price or value is a statement of opinion only. Neither the Auctioneer nor its employees, servants or agents shall be responsible for the accuracy of any such opinions. Every person interested in a lot must exercise and rely on their own judgment and opinion as to such matters.

9. The headings of the conditions herein contained are inserted for convenience of reference only and are not intended to be part of, or to effect, the meaning or interpretation thereof.

General Terms and Conditions of BusinessThe Auctioneer carries on business on the following terms and conditions and on such other terms or conditions as may be expressly agreed with the Auctioneer or set out in any relevant Catalogue. Conditions 12-21 relate mainly to buyers and conditions 22-32 relate mainly to sellers. Words and phrases with special meanings are defined in condition 1. Buyers and sellers are requested to read carefully the Cataloguing Practice and Catalogue Explanation contained in condition 2.

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CONDITIONS WHICH MAINLY CONCERN THE BUYER

The Buyer12. The buyer shall be the highest bidder acceptable to the Auctioneer who buys at the Hammer Price. Any dispute which may arise with regard to bidding or the acceptance of bids shall be settled by the Auctioneer. Every bidder shall be deemed to act as principal unless the Auctioneer has prior to the auction, acknowledged in writing that a bidder is acting as agent on behalf of a named principal.

Commission13. The buyer shall pay the Auctioneer a commission at the rate of 20%, exclusive of vat, of the Hammer Price payable in respect of any lot.

Payment14. Unless credit terms have been agreed with the Auctioneer before the auction the buyer of a lot shall pay to the Auctioneer within one (1) day from the date of the auction the Total Amount Due. Notwithstanding this, the Auctioneer may, in its sole discretion, require a buyer to pay a deposit of 25% of the Total Amount Due at the conclusion of the auction.

The Auctioneer may apply any payments received by a buyer towards any sums owing from that buyer to the Auctioneer on any account whatever regardless of any directions of the buyer or his agent in that regard whether express or implied.

The Auctioneer shall only accept payment from successful bidders in cash or by the bidder’s own cheque. Cheques drawn by third parties, whether in the Auctioneer’s favour or requiring endorsement, shall not be accepted.

Reservation of Title15. Notwithstanding delivery or passing of risk to the buyer the ownership of a lot shall not pass to the buyer until he has paid to the Auctioneer the Total Amount Due.

Collection of Purchases16. The buyer shall at his own expense collect the lot purchased not later than (2) days after the sale etc (2) days after the date of the auction but (unless credit terms have been agreed with the Auctioneer pursuant to condition 14) not before payment to the Auctioneer of the Total Amount Due.

The buyer shall be responsible for any removal, storage and insurance charges in respect of any lot which is not taken away within seven (2) days after the date of the auction.

The purchased lot shall be at the buyer’s risk in all respects from the earlier of the time of collection or the expiry of one (1) day from the date of the auction. Neither the Auctioneer nor its employees, servants or agents shall thereafter be liable for any loss or damage of any kind howsoever caused while a purchased lot remains in its custody or control after such time.

Packaging and Handling of Purchased Lots17. Purchased lots may be packed and handled by the Auctioneer, its employees, servants or agents. Where this is done it is undertaken solely as a courtesy to buyers and at the discretion of the Auctioneer. Under no circumstances shall the Auctioneer, its employees, servants or agents be liable for damage of any kind and howsoever caused to glass or frames nor shall the Auctioneer be liable for the errors or omissions of, or for any damage caused by, any packers or shippers which the Auctioneer has recommended.

Non-Payment or Failure to Collect Purchased Lots18. If a buyer fails to pay for and/or collect any purchased lot by the dates herein specified for payment and collection the Auctioneer shall, in its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies without further notice to the buyer:

(a) To issue court proceedings for damages for breach of contract;

(b) To rescind the sale of that lot or any other lots sold to the buyer whether at that or at any other auction;

(c) To resell the lot or cause it to be resold whether by public auction or private sale. In the event that there is a deficiency between the Total Amount Due by the buyer and the amount received by the Auctioneer on such resale after deduction of any necessary expenses the difference shall be paid to the Auctioneer by the buyer. Any surplus arising shall belong to the seller.

(d) To store (whether at the Auctioneer’s premises or elsewhere) and insure the purchased lot at the expense of the buyer.

(e) To charge interest on the Total Amount Due at the rate of 2% over and above the base rate from time to time of Bank of Ireland or if there be no such rate, the nearest equivalent thereto as determined by the Auctioneer in its absolute discretion from the date on which payment is due hereunder to the date of actual payment.

(f ) To retain that lot or any other lot purchased by the buyer whether at the same or any other auction and release same to the buyer only after payment to the Auctioneer of the Total Amount Due.

(g) To apply any sums which the Auctioneer received in respect of lots being sold by the buyer towards settlement of the Total Amount Due.

(h) To exercise a lien on any property of the buyer in the possession of the Auctioneer or whatever reason.

Liability of Auctioneer and Seller19. Prior to auction ample opportunity is given for the inspection of the lots on sale and each buyer by making a bid acknowl-edges that he has, by exercising and relying on his own judgment, satisfied himself as to the physical condition, age and Catalogue description of each lot (including but not restricted to whether the lot is damaged or has been repaired or restored). All lots are sold with all faults and imperfections and errors of description. None of the seller, the Auctioneer nor any of their employees, servants or agents shall be responsible for any error of description or for the condition or authenticity of any lot. No warranty whatsoever is given by the seller or Auctioneer or by any of their employees, servants or agents in respect of any lot and any condition or warranty express or implied by statute or otherwise is hereby specifically excluded.

Forgeries20. Any amount paid by a buyer in respect of a lot which, if it is proved within three (3) years of the date of the auction at which it was purchased, to have been a Forgery shall be refunded to the seller subject to the provisions hereof, provided that:

(a) The lot has been returned by the buyer to the Auctioneer within three (3) years of the date of the auction in the same condition in which it was at the time of the auction together with evidence proving that it is a Forgery, the number of the lot and the date of the auction at which it was purchased;

(b) The Auctioneer is satisfied that the lot is a Forgery and that the buyer has and is able to transfer good and marketable title to the lot free from any third party claims;

FURTHER PROVIDED THAT the buyer shall have no rights hereunder if:(i) The description of the lot in the Catalogue at the time of the auction was in accordance with the then generally

accepted opinion of scholars or experts or fairly indicated that there was a conflict of such opinion;

(ii) The only method of establishing at the time of the auction in question that the lot was a Forgery would have been by means of scientific processes which were not generally accepted for use until after the date of the auction or which were unreasonably expensive or impractical.

The buyer’s sole entitlement under this condition is to a refund of the actual amount paid by him in respect of the lot. Under no circumstances shall the Auctioneer be liable for any damage, loss (including consequential, indirect or economic loss) or expense suffered or incurred by the buyer by reason of the lot being a Forgery.

The benefit of this condition shall be solely and exclusively for the buyer and shall not be assignable. The buyer shall for the purpose of this condition be the person to whom the original invoice in respect of the sale of the lot is made.

Photographs21. The buyer authorises the Auctioneer at any time to make use of any photographs or illustrations of the lot purchased by the buyer for such purposes as the Auctioneer may require.

CONDITIONS WHICH MAINLY CONCERN THE SELLER

Auctioneer’s Discretion22. With regard to the sale of any lot the Auctioneer shall have the following powers exercisable solely in the discretion of the Auctioneer:

(i) To decide whether to offer any lot for sale or not;

(ii) To decide whether a particular lot is suitable for sale by the Auctioneer and, if so, to determine which auction, the place and date of sale, the conditions of sale and the manner in which such sale should be conducted;

(iii) To determine the description of any lot in a Catalogue.

(iv) To decide whether the views of any expert shall be obtained and to submit lots for examination by any such experts.

(v) To determine what illustration of a lot (if any) is to be included in the Catalogue.


175

23. The seller warrants to the Auctioneer and to the buyer that he is the true owner of the lot or is legally authorised to sell the lot on behalf of the true owner and can transfer good and marketable title to the lot free from any third party claims. As regards lots not held by the Auctioneer on its premises or under its control the seller warrants and undertakes to the Auctioneer and the buyer that the lot will be available and in a deliverable state on demand by the Auctioneer or buyer. The seller shall indemnify the Auctioneer and the buyer or any of their respective employees, servants or agents against any loss or damage suffered by any of them in consequence of any breach of the above warranties or undertakings by the seller.

Reserves24. Subject to the Auctioneer’s discretion, the seller shall be entitled prior to the auction to place a reserve on any lot. All reserves must be agreed in advance by the Auctioneer and entered on the Sale Order Form or subsequently be confirmed in writing to the Auctioneer prior to auction. This also applies to changes in reserves. A reserve may not be placed upon any lots under €500 in value. The reserve shall be the minimum Hammer Price at which the lot may be sold by the Auctioneer. A reserve once in place may only be changed with the consent of the Auctioneer. A commission shall be charged on the ‘knock-down’ bid for lots which fail to reach the reserve price. Such commission shall be 5% of the ‘knock-down’ bid. This commission and any VAT payable thereon must be paid before removal of the lot after the auction. The minimum commission hereunder shall be €50. The Auctioneer may in its sole discretion sell a lot at a Hammer Price below the reserve therefore but in such case the Proceeds of Sale to which the seller shall be entitled shall be the same as they would have been had the sale been at the reverse.

Unless a reserve has been placed on a lot in accordance with the provisions set out above such lot shall be put up for sale without reserve.

In the event that any reserve price is not reached at auction then for so long as the lot remains with the Auctioneer and to the extent that the lot has not been re-entered in another auction pursuant to condition 31 the seller authorises the Auctioneer to sell the lot by private treaty at not less than the reserve price. The Auctioneer shall ensure that in such a case those conditions herein which concern mainly the buyer shall, with any necessary modification, apply to such sale.

Commission25. The seller shall pay the Auctioneer commission at the rate of 10% on the Hammer Price of all lots sold on behalf of the seller at Irish Art Sales and 17.5% on the Hammer Price of all lots sold on behalf of the seller at Fine Art, Wine and Militaria Sales together with V.A.T. thereon at the applicable rate. The seller authorises the Auctioneer to deduct from the Hammer Price paid by the buyer the Auctioneer’s Commission under this condition; VAT payable at the applicable rates and any other amounts due by the seller to the Auctioneer in whatever capacity howsoever arising. The seller agrees that the Auctioneer may also receive commission from the buyer pursuant to condition 13.

Insurance26. Unless otherwise instructed by the seller, all lots (with the exception of motor vehicles) deposited with the Auctioneer or put under its control for sale shall automatically be insured by the Auctioneer under the Auctioneer’s own fine arts policy for such sum as the Auctioneer shall from time to time in its absolute discretion determine. The seller shall pay the Auctioneer a contribution towards such insurance at the rate of 1.5% of the Hammer Price plus VAT. If the seller instructs the Auctioneer not to insure a lot then the lot shall at all times remain at the risk of the seller who undertakes to indemnify the Auctioneer and hold the Auctioneer harmless against any and all claims made or proceedings brought against the Auctioneer of whatever nature and howsoever and wheresoever occurring for loss or damage to the lot. The sum for which a lot is covered for insurance under this condition shall not constitute and shall not be relied upon by the seller as a representation, warranty or guarantee as to the value of the lot or that the lot will, if sold by the Auctioneer, be sold for such amount. Such insurance shall subsist until such time as the lot is paid for and collected by the buyer or, in the case of lots sold which are not paid for or collected by the buyer by the due date hereunder for payment or collection such due date or, in the case of lots which are not sold, on the expiry of seven (7) days from the date on which the Auctioneer has notified the seller to collect the lots.

Recision of Sale27. If before the Auctioneer has paid the Proceeds of Sale to the seller the buyer proves to the satisfaction of the Auctioneer that the lot sold is a Forgery and the requirements of condition 20 are satisfied the Auctioneer shall rescind the sale and refund to the buyer any amount paid to the Auctioneer by the buyer in respect of the lot.

Payment of Proceeds of Sale28. The Auctioneer shall remit the Proceeds of Sale to the seller not later than thirty (30) days after the date of the auction, provided however that, if by that date, the Auctioneer has not received the Total Amount Due from the buyer then the Auctioneer shall remit the Proceeds of Sale within seven (7) working days after the date on which the Total Amount Due is received from the buyer. If credit terms have been agreed between the Auctioneer and the buyer the Auctioneer shall remit to the seller the Proceeds of Sale not later than thirty (30) days after the date of the auction unless otherwise agreed by the seller.

If before the Total Amount Due is paid by the buyer the Auctioneer pays the seller an amount equal to the Proceeds of Sale then title to the lot shall pass to the Auctioneer.

If the buyer fails to pay the Auctioneer the Total Amount Due within fourteen (14) days after the date of the auction, the Auctioneer shall endeavour to notify the seller and take the seller’s instructions on the course of action to be taken and, to the extent that it is in the sole opinion of the Auctioneer feasible, shall endeavour to assist the seller to recover the Total Amount Due from the buyer provided that nothing herein shall oblige the Auctioneer to issue proceedings against the buyer in the Auctioneer’s own name. If circumstances do not permit the Auctioneer to take instructions from the seller or, if after notifying the seller, it does not receive instructions within seven (7) days, the Auctioneer reserves the right, and is hereby authorised by the seller at the seller’s expense, to agree special terms for payments of the Total Amount Due, to remove, store and insure the lot sold, to settle claims made by or against the buyer on such terms as the Auctioneer shall in its absolute discretion think fit, to take such steps as are necessary to collect monies due by the buyer to the seller and, if necessary, to rescind the sale and refund money to the buyer.

Payment of Proceeds to Overseas Sellers29. If the seller resides outside Ireland the Proceeds of Sale shall be paid to such seller in Euro unless it was agreed with the seller prior to the auction that the Proceeds of Sale would be paid in a currency (other than Euro) specified by the seller in which case the Proceeds of Sale shall be paid by the Auctioneer to the seller in such specified currency (provided that that currency is legally available to the Auctioneer in the amount required) calculated at the rate of exchange quoted to the Auctioneer by its bankers on the date of payment.

Charges for Withdrawn Lots30. Once catalogued, lots withdrawn from sale before proofing/publication of Catalogue will be subject to commission of 5% of the Auctioneer’s latest estimate of the auction price of the lot withdrawn together with VAT thereon and any expenses incurred by the Auctioneer in relation to the lot. If lots are withdrawn after proofing or publication of Catalogue they will be subject to a commission of 10% of the Auctioneer’s latest estimate of the auction price of the lot withdrawn together with VAT thereon and any expenses incurred by the Auctioneer in relation to the lot. All commission hereunder must be paid for before lots withdrawn may be removed.

Unsold Lots31. Where any lot fails to sell at auction the Auctioneer shall notify the seller accordingly and (in the absence of agreement between the seller and the Auctioneer to the contrary) such lot may, in the absolute discretion of the Auctioneer, be re-entered in the next suitable auction unless instructions are received from the seller to the contrary, otherwise such lots must be collected at the seller’s expense within the period of thirty (30) days of such notification from the Auctioneer.

Upon the expiry of such period the Auctioneer shall have the right to sell such lots by public auction or private sale and on such terms as the Auctioneer in its sole discretion may think fit. The Auctioneer shall be entitled to deduct from the price received for such lots any sums owing to the Auctioneer in respect of such lots including without limitation removal, storage and insurance expenses, any commission and expenses due in respect of the prior auction and commission and expenses in respect of the subsequent auction together with all reasonable expenses before remitting the balance to the seller. If the seller cannot be traced the balance shall be placed in a bank account in the name of the Auctioneer for the seller. Any deficit arising shall be due from the seller to the Auctioneer. Any lots returned at the seller’s request shall be returned at the seller’s risk and expense and will not be insured in transit unless the Auctioneer is so instructed by the seller.

Auctioneer’s Right to Photographs and Illustrations32. The seller authorises the Auctioneer to photograph and illustrate any lot placed with if for sale and further authorises the Auctioneer to use such photographs and illustrations and any photographs and illustrations provided by the seller at any time in its absolute discretion (whether or not in connection with the auction).

176

Oisin Roche Exhibition

Est 1887

7th - 25th June 201310am - 5pm Monday - Friday


177

Country House Collections at Slane Castle

We are now inviting consignments for our Octoberauction at Slane Castle

For all enquiries please contact Kieran O’Boyle or Stuart Cole at [email protected]

178 Est 1887

Gerard DillonGirl at Well

Gerard DillonTea Break

Nano ReidFriday Fare

Gerard DillonTom Baker at the Black Lake

Daniel O’NeillThe Gleaners

26 St Stephens Green , Dublin 2Tel +353 1 6760261 Fax +353 1 [email protected] www.adams.ie

Est 1887 The AVA Gallery, Clandeboye Estate

Bangor, Co. Down, BT19 IRN(T) +44 (0)28 91852263

[email protected] www.adams.ie

Est 1887

at Clandeboye

Summer Loan Exhibition


179

Adams, St. Stephen’s Green, Dublin 2nd - 26th JulyThe Ava Gallery, Clandeboye, Co Down 1st - 29th August

Est 1887

Gerard DillonPonies on Omney Island Strand

Gerard DillonInislacken

Gerard Dillon, Art & Friendships

Gerard DillonThe Falls Road

180

AAddey, Joseph P. 54Allen, Harry Epworth 30

BBallard, Brian 102-104Bell, Sandra 141-142Barret, George Jnr. 160Bewick, Pauline 122-123Blackham, Dorothy 2-3Boyle, Alicia 9Brady, Charles 118-119Broe, Irene 148Butler, Mildred A. 48-53

CCampbell, George 84-85Campbell, John H. 161Carey, Joseph W. 58Carr, Tom 89-90Coen, John 144Collins, Patrick 120Connor, Jerome 149Conor, William 16-20, 71, 91-93Copperwhite, Patrick 172Coyle, John 175Craig, James H. 23-25, 66-68 ,72Crozier, William 106Curling, Peter 137-138

DDillon, Gerard 86-88Dixon, James 98

EEgginton, Frank 168-170

FFarrell, Michael 110Fitzharris, Mike 105French, W. Percy 163-167

GGillespie, Rowan 151Grierson, Charles M. 55Guinness, Lindy 99

HHamilton, Eva H. 12Hayes, Edwin 43Healy, Henry 131Hennessy, Patrick 14, 60-60AHenry, Grace 1Henry, Paul 21-22, 35, 61,

64, 69Hill, Rowland 65Hone, Evie 10

IIrish School 19th Century 70Iten, Hans 73-79

JJellett, Mainie 5-7

KKeating, Seán 32-34Kernoff, Harry 97Klitz, Tony 126Knuttel, Graham 150Krasnovsky, Alexey 117

LLamb, Charles 31le Brocquy, Louis 121le Brocquy, Melanie 146-147Leech, William J. 47Le Jeune, James 100, 139Leonard, Patrick 173Lindsay, Thomas 154-159Luttrell, Edward 41

MMaccabe, Gladys 4MacEgan, Darius J. 40MacGonigal, Maurice 132MacKeown, Martin 116McAuley, Charles 80McEntagart, Brett 171McGuinness, Norah 8, 11McKelvey, Frank 26, 28-29, 62-63McSweeney, Seán 107McWilliam, Frederick E. 143Middleton, Colin 81Minihan, John 111 Mooney, Martin 113, 115, 125Moynan, Richard T. 46Murphy, Noel 101

NNicholl, Andrew 56-57Nicol, Erskine 59

OO’Conor, Roderic 45O’Neill, Daniel 83Orpen, William 36, 39O’Ryan, Fergus 174Osborne, Walter 44O’Sullivan, Patrick 152-153

PPower O’Malley, Michael 133Prout, Samuel 162Pye, Patrick 124

RRobinson, Markey 179Russell, George 140Ryan, Thomas 127-130

SScott, William 112Solomons, Estella 13Stuart, Imogen 145

TTaggart, Elizabeth 94-96Tansey, Francis 108-109Toogood, Romeo 82Treacy, Liam 176-178Tuohy, Patrick 38Twells, Arthur 134

VVaughan, Keith 135

WWalton, Conor 114Whelan, Leo 15Williams, Alexander 42

YYeats, Jack B. 136Yeats, John B. 37

INDEX

Est 1887

News & Politics

Adams Important Irish Art Auction