ART AUCTIONEERS & VALUERS
Irish Art Auction Tuesday 4th April at 6pm
On View at Taylor Galleries, No.16 Kildare Street
ART AUCTIONEERS & VALUERS
Auction:
Tuesday 4th April at 6pm
AUCTION The Royal College of Physicians, VENUE: No. 6 Kildare Street, Dublin 2 ON VIEW: at Taylor Galleries, No. 16 Kildare Street Saturday 1st April 11 - 5pm Sunday 2nd April 12 - 5pm Monday 3rd April 10 - 6pm Tuesday 4th April 10 - 5pm Contact:
01 6768300
COLLECTION: Wednesday 5th April after 1pm from 35 Kildare St PURCHaser FEES: 25% (incl VAT)
ART AUCTIONEERS & VALUERS
de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie Live Bidding available at:
the-saleroom.com www.facebook.com/deveresArtAuctions
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ART AUCTIONEERS & VALUERS
Auction: The Royal College of Physicians
Viewing: Taylor Galleries
John de Vere White Managing Director john@deveres.ie
Rory Guthrie Director roryguthrie@deveres.ie
Auctioneers:
Aisling Tรณth Associate Director info@deveres.ie
Sarah Kenny Valuation Consultant info@deveres.ie
John de Vere White Rory Guthrie
Front cover: Lot 34: William Scott Back cover: Lot 84: Basil Blackshaw Inside front cover: Lot 96: Jack B Yeats Inside back cover: Lot 33: Patrick Collins 4
Richard Scott Agent for Cork info@deveres.ie
ART AUCTIONEERS & VALUERS
Irish Art Auction Tuesday 4th April at 6pm Viewing at Taylor Galleries, 16 Kildare Street, Dublin 2
The first half of this auction contains the collection of the late Michael Carroll, a lifelong collector who purchased many works from The Dawson and Taylor Galleries and their Gallery at 16 Kildare Street is a fitting venue for the auction viewing. Lots 1 - 74: The Michael Carroll Collection
75 - End: Other Vendors
Lot 100: Patrick O’Reilly 5
Michael Carroll Art Collection When people are described as being ‘passionate about art’, more often than not, what’s meant is that they have an ‘interest in art’. However, there can be no doubt in the mind of anyone who knew Michael Carroll that his passion for art was deep and consuming. He was a voracious collector, always on the lookout for new pieces, but within the constraints of a modest budget. The walls of his and his wife Ita’s Dalkey home were hung salon style, the walls tightly packed to accommodate the works acquired slowly over decades. But without the resources of the well-known ‘big guns’ who competed for trophy pieces, the Carrolls remained under the radar. Michael acquired art, lots of it, but he was equally fascinated by artists, getting to know them and trying to better understand the way they thought. A career banker with AIB, two lifelong friendships were instrumental in stimulating his early interest in Irish art: the painters Cecil King and Tony O’Malley. King shared digs with Carroll in the 1940s when they were both in Dundalk, King working in the printing industry and Carroll starting out in the bank. Later on, Carroll forged a friendship with Tony O’Malley, who also worked in the bank. Because Michael had such high personal regard for these two men, who both turned away from the world of business to become artists, he wanted to learn to understand and appreciate what they made. King was especially influential in opening his eyes to abstraction. Michael, who had a philosophical bent, liked nothing more than talking to them and to a growing number of other artist friends about the nature of their own practice and the creative impulse. He wanted to find out what makes artists tick — what separates them from the rest of us. Having had another world opened up to him through art, Michael had a kind of missionary zeal when it came to spreading the word. He was one of the executives in AIB who initially promoted the idea that people who worked in the bank should be able to enjoy art in the workplace. I first met him late in 1979 when I was taken on to advise the bank on putting together their art collection. From then until his retirement we worked together very closely, and I valued the spirited discussions we had on the merits of this or that possible acquisition. A look at his own personal collection shows how Michael was open to any genre, looking for gems in any style or medium. He had personal favourites, Leech being an example, and was also drawn to the work of artists he knew personally. Each and every piece gave him enormous pleasure and I can recall his excitement when something new arrived. He was brimming with enthusiasm when he got the stunning William Scott (with the small green fruit) and I was with him the day he bought the delicious Souter from the estate of Basil Goulding. One can only hope that prospective buyers will match his passion—these much loved pieces came from a ‘good home’ and they deserve another.
Frances Ruane, February 2017
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The Michael Carroll Collection (lots 1-75)
1 Evie Hone HRHA 1894-1955 COMPOSITION Gouache, 10¾" x 7½" (27.5 x 19cm), signed.
Provenance: The Dawson Gallery, Dublin (label verso).
€1500 - 2000 7
2 Norah McGuinness HRHA 1901-1980 SCAVENGERS Gouache on paper, 15" x 17" (38 x 43cm), signed.
Provenance: Taylor Galleries, Dublin (label verso).
€1800 - 2400
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3 Maurice MacGonigal PPRHA 1900-1979 ROUNDSTONE HARBOUR Oil on board, 6½" x 9" (16.5 x 23cm), signed, inscribed verso.
Provenance: The Dawson Gallery, Dublin (label verso).
€1400 - 1800
4 Derek Hill HRHA 1916-2000 INISHKEA SOUTH VILLAGE Oil on board, 8½" x 9" (21.5 x 23cm), signed & inscribed verso.
Provenance: Taylor Galleries, Dublin (label verso).
€1000 - 1500
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5 Sean Mc Sweeney HRHA b.1935 INLET Oil on board, 10" x 14" (25.5 x 35.5cm), signed.
Provenance: Taylor Galleries, Dublin (label verso).
€1400 - 1800
6 Louis Le Brocquy HRHA 1916-2012 CONNEMARA HARBOUR AT LOW TIDE, BALLYCONNEELY Watercolour and pencil, 5½" x 7" (14 x 18cm), signed with intials, inscribed & dated 1944.
€2000 - 3000 10
7 Sean Mc Sweeney HRHA b.1935 LANDSCAPE WICKLOW Oil on board, 12" x 16½" (30.5 x 42cm) signed.
Provenance: Taylor Galleries, Dublin (label verso).
€2000 - 3000
8 Louis Le Brocquy HRHA 1916-2012 HEYTESBURY LANE, BALLSBRIDGE Watercolour and pencil, 5½" x 7" (14 x 18cm), signed with initials, inscribed & dated 1942.
€2000 - 3000 11
9 Charles Brady HRHA 1926-1997 TWO BRICKS Oil on canvas, 18" x 22" (46 x 56cm), signed.
Provenance: Taylor Galleries, Dublin (label verso).
€2500 - 3500
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10 Jane O’Malley b.1944 NOVEMBER FISHING AND WINDOW FLOWERS, ST. IVES Oil on board, 24" x 36" (61 x 91.5cm), signed & dated 1988; signed, inscribed & dated verso.
Provenance: Montpelier Studio (label verso).
€1500 - 2000
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11 Tony O’Malley HRHA 1913-2003 INTERIOR, 1961 Oil on board, 24" x 36" (61 x 91cm), signed, inscribed & dated 1961 verso. Exhibited: Tony O’Malley Retrospective, 1984, Ulster Museum (Belfast), Douglas Hyde Gallery (Dublin), Crawford Gallery (Cork), Cat. 30. Painted soon after O’Malley moved from Ireland to Cornwall, Interior shows the new found confidence that characterised his work of the 1960s. During this period faithful representation has given way to a more semi-abstract approach. Having left the aesthetic conservatism of 1950s Ireland behind him, O’Malley was now among a colony of artists living in St. Ives who embraced a modern outlook. A table with simple vessels is nestled against a window, beyond which there are glimpses of boats in the harbour. Perspective is suspended, the table flipped up and flattened so that the painting becomes an arrangement of compact interlocking forms on a two dimensional surface. The framework of dark lines knits the composition together. The muted tones of this painting characteristic of this period in O’Malley’s work. The subtle variations of greys and earth tones are a foil for the blue, yellow and red spikes of colour that make the painting ‘sing’. The subject has been transformed into an abstract composition which works in its own right, while never totally letting go of the interior that was the original impetus for the painting. For O’Malley, the seen world, the places he inhabits and how they make him feel, continue to be important throughout his career. In Interior he gives us a sense of frosty light, solitude, simple unadorned surroundings. Sometimes O’Malley painted on salvaged boards, embracing the bruises. Here we can see how he has scraped and incised the surface, adding texture, giving character. He has attacked this painting with a gutsy, rugged directness that connects with the viewer. Frances Ruane, February 2017
€8000 - 12000
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12 Patrick Scott HRHA 1921-2014 STORMY FIELD Gouache on board, 9¾" x 10¾", (25 x 27.4cm), signed.
€1000 - 1500
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13 Tony O’Malley HRHA 1913-2003 STILL LIFE Oil on board, 13¼" x 7½" (33.5 x 19cm), signed & dated ’85, signed, inscribed & dated verso.
€1400 - 1800
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14 Evie Hone HRHA 1894-1955 LA MATERNITÉ Oil on canvas, 39¼" x 26¼" (100 x 66.5cm), signed & dated 1925. In 1920, on the advice of Bernard Meninsky, one of several artists with whom she studied in London, Evie Hone went to further her art studies in Paris, all the time coping with severe physical handicaps resulting from infantile paralysis. There she was joined by her Dublin soul companion, the painter Mainie Jellett whom she had met in London. First they worked in the studio of the semi-Cubist Andre Lhôte and then, in 1921, persuaded Albert Gleizes, the uncompromisingly abstract Cubist painter and theorist, to take them on as pupils over the next ten years. All three artists relentlessly focussed on seeking a rational, disciplined and aesthetically viable way of constructing a two dimensional surface by discarding perspective, subjectmatter and non-realistic representation in favour of what Gleizes called ‘Translation and Rotation in Form’. Thus, through the linear organization of the picture, the rejection of a single point of view, and what Hone described as ‘simplicity and severity of colour’, their paintings might ideally evoke a musical and mystical contemplation of the strength and movement underlying the universe. She bought works by Juan Gris and Picasso and studied Giotto and El Greco among others. Both Irish women exhibited with avant-garde art groups to an often mystified, even antagonist public: in Dublin in 1924 with the Society of Dublin Painters; in Paris in 1925; with the Seven and Five Society in London between 1926-9. This quest to appeal ‘to the spirit’ intrinsically involved the expression of a growing religious conscience through their study of early Christian art and its writings which, in Hone’s case, led to her short-term withdrawal to an Anglican community of nuns in Cornwall in 1925 to pursue her long-standing spiritual devotions. This painting, executed that year, epitomizes her desire to present ‘a work which is a living organism with the form and life of its own, independent of space and time’ in the low-keyed palette of desert tones that marks her work of this period. Nicola Gordon Bowe, February, 2017
€8000 - 12000
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15 Camille Souter HRHA b.1929 THINKING OF THE SOUTH (FRANCE) Oil on paper, 17½" x 11" (44.5 x 28cm), signed & dated 1964.
Provenance: Taylor Galleries, Dublin (label verso).
Exhibited: Independent Artists, 1964, no. 56; Two Painters, Ulster Museum, 1965, no .48; Taylor Galleries, 1982, no. 72. Literature: Cormican, Garrett, Camille Souter: The Mirror in the Sea, Whytes, 2006, no. 197, p.257.
Provenance: Collection of Sir Basil Goulding; sold by Goulding Estate, 1982.
This small painting encapsulates many of the qualities that make Souter’s work so enchanting. There is a gentle intimacy that draws you into the work – there is no grandstanding but, instead, a quiet lyricism. Her deliciously moist application of subtle tones gives her paintings, like this one, tremendous appeal. Its fluid surface is a feast for the eye. Souter rarely painted directly from nature, preferring to rely on memory and, perhaps, a few sketches. The title, Thinking of the South, suggests that she painted this in her Wicklow studio after a trip to France, recapturing its warmth and brilliant Mediterranean light. Re-creating the feeling of outdoor light is important to Souter and in this painting she achieves a brightness so dazzling that it obliterates details of the tree foliage. The composition is simple: horizontal bands punctuated by a single vertical one. However, each band quivers and pulsates with energy, the excitement of the painting coming from the staccato-like application of paint, tone on tone. Souter’s output is small but remarkable in its consistency. She is her own harshest critic, refusing to let anything but her best leave the studio, like this one, a real gem.
Frances Ruane, February 2017 €7000 - 10000
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16 Father Jack P. Hanlon 1913-1968 CONTINENTAL MARKET Watercolour, 11" x 15" (28 x 38cm), signed, with a study, ‘The Madonna and Child’ verso.
€800 - 1200
17 Charles Brady HRHA 1926-1997 HAYSTACK Oil on canvas, 9½" x 12¾" (24 x 32.5cm), signed.
€1500 - 2500
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18 Mary Swanzy HRHA 1882-1978 BATEAU DE PECHER Oil on canvas, 21" x 18" (53 x 46cm) signed; signed, inscribed & dated 1921 verso.
Provenance: Taylor Galleries, Dublin (label verso).
€7000 - 10000 23
19 William John Leech RHA ROI 1881-1968 BOATS AT LOW TIDE (c.1948) Oil on board, 10" x 14" (25.5 x 35.5cm), signed, signed & inscribed verso.
Provenance: Taylor Galleries (label verso).
Leech stayed at Christchurch in Dorset when May Botterell was ill and was cared for by her family at Burnley in the New Forest. He painted the region, the old Church and graveyard and these flat-bottomed boats, moored along the banks of the River Stour, freely painted in soft earthly tones. He wrote to his New Zealand friend S.L.Thompson that “There is quite a lot of sunshine here, it must be one of the sunniest places in England, and there are boats and water…”
Dr. Denise Ferran, March 2017 €5000 - 7000
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20 George Campbell RHA 1917-1979 OUTHOUSE Crayon, 12" x 16", (30.5 x 40.5cm), signed.
€800 - 1200
21 William John Leech RHA ROI 1881-1968 LAMPLIGHT Oil on board, 7½" x 9½" (19 x 24cm), signed. Provenance: The Dawson Gallery, Dublin (label verso). Leech’s study of Suzanne Botterell, youngest of May Botterell’s three children, is captured relaxing by the fireside and illuminated by the firelight. The freely painted blocks of colour, defining the figure of the girl relaxing against the sofa, is informed by Cubism but the contrast of red against green, although subdued, has echoes of Fauvism.
Dr. Denise Ferran, March 2017 €2500 - 3500
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22 Leititia Marion Hamilton RHA 1878-1964 THE WARD HOUNDS MOVE OFF FROM ASHBOURNE, CO. MEATH Oil on canvas, laid on board, 8" x 10" (20 x 25.5cm), signed with initials.
Provenance: The Dawson Gallery, Dublin (label verso).
€2000 - 3000
23 Derek Hill HRHA 1916-2000 COTTAGE IN A WOODLAND LANDSCAPE Oil on board, 4¾" x 6½" (12 x 16.5cm).
€600 - 900 26
24 Letitia Marion Hamilton RHA 1878-1964 STORM UPPER LOUGH MASK Oil on board, 5" x 7 " (12¾ x 18cm), signed with initials.
Provenance: The Dawson Gallery, Dublin (label verso).
€800 - 1200
25 Gerard Dillon 1916-1971 TREES IN A LANDSCAPE Oil on board, 7" x 9½" (19 x 23.25cm), signed with initials.
€1400 - 1800
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26 Mainie Jellett 1897-1944 COMPOSITION Gouache, 8½" x 22½" (21.5 x 57cm), signed.
Provenance: The Dawson Gallery, Dublin (label verso).
€4000 - 6000
26A Nano Reid 1900-1981 FIGURES IN A WOODLAND SCENE Watercolour, 11" x 14" (28 x 35.5cm), signed. €800 - 1200
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27 Norah McGuinness HRHA 1901-1980 FITZWILLIAM SQUARE Watercolour & pen, 7½" x 10½" (19 x 26.5cm), signed.
Provenance: The Dawson Gallery, Dublin (label verso).
€1200 - 1600
28 Barrie Cooke HRHA 1931-2014 WATERFALL 3 Oil on canvas, 16" x 16" (40.5 x 40.5cm), signed & dated ’62.
Provenance: David Hendriks Gallery, Dublin (label verso).
€1400 - 1800 29
29 Barbara Warren RHA b.1925 AUTUMN SNOW HOWTH Oil on canvas, 20" x 16" (51 x 40.5cm), signed. Provenance: The Dawson Gallery, Dublin (label verso).
€800 - 1200
30 William Scharf, American b.1927 STILL LIFE, APPLE Oil on canvas, 24" x 24" (61 x 61cm), signed & dated ’59.
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€600 - 800
31 Nano Reid 1900-1981 COOL SPRING WELL Watercolour, 14½" x 11" (37 x 28cm), signed. Exhibited; Nano Reid Retrospective, Municipal Gallery Nov ’74 - Feb ’75. Provenance: The Dawson Gallery, Dublin (label verso).
€1400 - 1800
32 Noel Sheridan 1936-2006 NUDE Oil on board, 9½" x 8¾" (24 x 22cm), signed. Provenance: Taylor Galleries, Dublin (label verso).
€300 - 500
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33 Patrick Collins HRHA 1911-1984 HARBOUR SCENE Oil on board, 20" x 16" (51 x 41cm), signed. Provenance: David Hendriks Gallery, Dublin (label verso), July 1969, Cat.18; Patrick Collins Retrospective Exhibition, 1982, Douglas Hyde Gallery (Dublin), Ulster Museum (Belfast), Crawford Gallery (Cork), Cat. 51.
Literature: Ruane, Frances, Patrick Collins, Arts Councils of Ireland, 1982 (illus. p.60).
From 1965-70 Collins created an important body of work that was unabashedly romantic. He repeatedly turned to fields, bogs and harbours as subjects, all painted from a distinctly poetic viewpoint. Collins deliberately painted from memory rather than from direct observation so that the physical appearance of the subject gives way to the artist’s poetic interpretation, distilled over time. So, while Harbour Scene doesn’t depict a specific place, it is a moody, timeless image that captures a romantic view of Ireland that Collins would have shared with many of his generation. This is a scene bathed in a quivering half-light, with the sun struggling to show itself. The air is full of moisture and it softens shapes so that there are no hard lines. Collins wanted us to re-experience the greyness, the wetness and the magical effect of diffused light that he identified with Ireland. Although Harbour Scene is predominately grey, the surface is enlivened and given warmth by flashes of orange, blue and white, and with warm undertones in the background. Collins had remarked that he wanted to make the empty spaces in his paintings ‘talk’, and one can see here how the voids come alive. He has also pared down the composition to essential elements, but has positioned them so that the arc of the harbour wall and the arrangement of small boats pivot around an imaginary central point, giving the picture a sense of movement. This is a gentle painting with subtle emotional content – quiet solitude tempered by a feeling of safety as boats cluster in the protective embrace of the harbour.
Frances Ruane, February, 2017 €8000 - 12000
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William Scott CBE RA, 1913-1980 The renowned painter William Scott was born in Greenock in 1913 in fairly impoverished circumstances. His mother, Agnes, was Scottish, but his father William, a sign painter and decorator, was from Enniskillen and was always keen to return there which he did, alone, in 1924, sending instructions to his wife to follow him with their children. Sadly, just three years later he was killed when attempting to rescue someone trapped in a burning building. Scott’s first technical instruction was from his father. He was lucky to find a gifted art teacher, Kathleen Bridle, who was acquainted with modern painting. Attracted by the promise of free tuition, he studied at the Royal Academy Schools in London. He married a fellow student, Hilda Mary Lucas. They moved around, spending time in France and briefly in Dublin before eventually settling in England. Scott worked at refining a form of simplified realism in his painting and, by the end of the 1940s, was developing a distinctively personal approach to still life, landscape and the figure. While he was open to aspects of abstraction, it was always important to him that his art kept its feet on the ground and not become purely abstract. Gradually still life became dominant but, as with Giorgio Morandi, while his ostensible subject was still life, there was a universality to his treatment of it. Humble utensils, crockery, pots and pans and foodstuffs attain a majestic, monumental quality in his beautifully poised compositions. His mastery of three basic pictorial components – line, colour and form – was always assured and was, later on, influenced by his admiration for Japanese and Egyptian art. By the late 1950s he had found his pictorial language, which he went on to explore and expand until the early 1980s.
Aidan Dunne, February 2017
“I invariably find that the thing I draw is at my elbow, it is out of the window, or has been standing at my front door for a long time.�
William Scott
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34 William Scott CBE RA 1913-1989 STILL LIFE (1973) Oil on canvas, 24" x 24" (61 x 61cm), signed and inscribed verso.
Exhibited: William Scott Retrospective 1986, Ulster Museum (label verso).
â‚Ź60000 - 90000
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35 William Scott CBE RA 1913-1989 PEAR AND GRAPES Gouache on paper, 11½" x 15½" (29 x 39.5cm), signed & dated 1975.
Provenance: The Dawson Gallery, Dublin (label verso).
€15000 - 20000
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36 William Scott CBE RA 1913-1989 TABLE TOP STILL LIFE BROWN AND WHITE Gouache on paper, 11" x 15" (28 x 38cm), signed & dated 1975.
Provenance: Taylor Galleries, Dublin (label verso).
€15000 - 20000
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37 Sean Mc Sweeney HRHA b.1935 SHAPES NEAR THE SEA Oil on board, 7" x 8" (18 x 20cm), signed; signed, inscribed & dated 1966 verso. Provenance: The Dawson Gallery, Dublin, 1969 (label verso).
€800 - 1200
38 Felim Egan b.1952 PAINTING WITH VENUS Acrylic on canvas, 20" x 20" (51 x 51cm), signed & dated 1984 verso. Provenance: Oliver Dowling Gallery, Dublin (label verso).
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€800 - 1200
39 William John Leech RHA ROI 1881-1968 MRS. HUXLEY ROLLER Oil on canvas, 25½" x 21½" (65 x 54.5cm), signed. Exhibited: National Gallery of Ireland 23 Oct - 15 Dec 1996; The RHA, Dublin, 1937 (no.45, £42); Bourlet Records, 30.08.1950.
Provenance: The Dawson Gallery, Dublin (label verso).
This portrait of Mrs Huxley Roller, a close friend and neighbour of both May Botterell and W.J. Leech when Leech painted her, when they lived in Abbey Road, London. She was the aunt of Aldous Huxley, the author of ‘Brave New World,’ published in 1932. Although shown at the RHA in 1937 the work did not sell but Bourlet Records show that the painting was delivered to Leech’s agent Leo Smith, in Dublin in 1950. Mrs Huxley Roller, was an accomplished artist, working mainly in pastel, with her works exhibited at the Royal Academy. Painted c. 1936, in a free manner, flooded with light, it shows Leech at his confident best and an indication of the artistic and intellectual company, he and May Botterell, frequented.
Dr. Denise Ferran, March 2017 €6000 - 9000 40
40 William John Leech RHA ROI 1881-1968 TREES IN A GARDEN Watercolour, 13" x 9" (33 x 23cm), signed, inscribed verso.
Exhibited: National Gallery of Ireland: An Irish Painter 23 Oct - 13 Dec 1996.
T rees in a Garden illustrates Leech’s composite skill in the use of watercolour with a suffused light effect, with soft blue shadows highlighting any area of shade. Areas of exposed paper highlight the light areas of this very delicate work. The Japanese style signature which Leech uses in this work was a signature he used for a short period after he met May Botterell in 1919, taking an elongated L with ‘eech’ inside.
Dr. Denise Ferran, March 2017
€2000 - 3000 41
41 Charles Brady HRHA 1926-1997 BLUE NOTEPAPER Oil on paper, 13½" x 17" (34 x 43cm).
Provenance: Tom Caldwell Gallery (label verso).
Literature: Charles Brady, ‘Works 9’, 1993, Gandon Editions (illus. p.3)
€1000 - 1500
42 Gerard Dillon 1916-1971 JUDGEMENT – MONASTERBOICE CROSS Watercolour, 9½" x 13½" (24 x 34cm), signed, inscribed label verso.
Provenance: James Adams and Sons Dublin 6/5/1976 (Lot 113).
€800 - 1200 42
43 Tony O’Malley HRHA 1913-2003 BALLYWATER ROAD, CALLAN Gouache on paper, 9" x 10½" (23 x 27cm), signed & inscribed.
Provenance: Tom Caldwell Gallery.
€800 - 1200
44 Tony O’Malley HRHA 1913-2003 HEN RUN, WILTON FARM Pen and watercolour, 8" x 12½" (20 x 32cm), signed & inscribed.
€800 - 1200
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45 Clement McAleer b.1949 DIPTYCH (STUDY) Oil on board, overall 31½" x 48" (80 x 120cm), signed & inscribed verso.
€1000 - 2000
46 Patrick Pye RHA b.1929 LANDSCAPE CRUCIFIXION Oil on canvas, 14" x 25" (35.5 x 63.5cm), inscribed verso.
Provenance: David Hendricks Gallery, Dublin (label verso).
€1000 - 1500 44
47 Brian Bourke HRHA b.1936 KNOCK - A - LOUGH Mixed media, 19½" x 15½" (48 x 39.5cm), signed & dated ’79.
48 Brian Bourke HRHA b.1936 DUBLIN LANDSCAPE Mixed media, 23¼" x 16½" (59 x 42cm), signed & dated 1969.
Provenance: Taylor Galleries, Dublin (label verso).
Provenance: The Dawson Gallery, Dublin (label verso).
€800 - 1200
€800 - 1200
49 Cecil King 1921-1986 WINTER LANDSCAPE Oil on paper, laid on board, 3¾" x 7½" (9.5 x 19cm), signed & dated 1961.
€400 - 600
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50 Maurice MacGonigal PPRHA 1900-1979 FARMHOUSE ABOVE KILLINARDEN Watercolour on paper, laid on board, 10" x 13" (25.5 x 33cm), signed & dated 1978, inscribed verso.
Provenance: Taylor Galleries, Dublin (label verso).
€600 - 900
51 George Campbell RHA 1917-1979 NUNS IN THE WOOD Oil on board, 12" x 9" (30.5 x 23cm), signed.
52 Kieran McGoran 1932-1990 AT THE START Oil on board, 12½" x 10½" (32 x 27cm), signed.
€1000 - 1500
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€400 - 600
53 Sean Mc Sweeney HRHA b.1935 LOG CABIN Watercolour, 11" x 15", (28 x 38cm), signed & dated 1974.
Provenance: Taylor Galleries, Dublin (label verso).
€700 - 1000
54 Colin Harrison RHA b.1929 A POSTCARD FROM MAX (2) Wash and charcoal, 17¼" x 22½" (44 x 57cm), signed, inscribed & dated 1981.
55 Jane O’Malley b.1944 STILL LIFE AND SPRING SEA, 1983 Oil on board, 7½" x 8½" (19 x 21.5cm), signed & dated 1983, inscribed verso.
Provenance: Taylor Galleries, Dublin (label verso).
Provenance: Taylor Galleries, Dublin (label verso).
€400 - 600
€500 - 700 47
56 Harry Kernoff RHA 1900-1974 INTERIOR, WITH A VASE OF FLOWERS Oil on board, 13½" x 10½" (34.5 x 26.5cm), signed.
€1500 - 2500
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57 Derek Hill HRHA 1916-2003 SETTIGNANO Oil on board, 8½" x 13½" (21.5 x 34.5cm), signed with initials.
Exhibited: The Leicester Galleries, London, June 1950.
Provenance: The Glebe Gallery (label verso).
€1500 - 2000
58 Alexander Williams RHA 1846-1930 COASTAL SCENE Oil on board, 10" x 18" (25.5 x 45.5cm), signed.
€800 - 1200
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59 Michael Flaherty, Contemporary NEAR BRANDON Oil on canvas, 24" x 30" (61 x 76cm), signed verso.
€600 - 800
60 John Doherty b.1949 TUNA FISHING after SALVADOR DALI, Oil on board, 30" x 40" (76 x 101.5cm), signed, inscribed & dated 67/8 verso.
€2000 - 3000
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61 Michael Flaherty, Contemporary UNTITLED Oil on canvas, 20" x 24" (51 x 61cm), signed.
€400 - 600
62 Tony O’Malley HRHA 1913-2003 GREENSBRIDGE, KILKENNY Watercolour, 8½" x 13" (21.5 x 33cm), signed, inscribed & dated 1952.
€800 - 1200
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63 Peter Collis RHA 1929-2012 MOUNTAIN FOREST Pastel on paper, 18¾" x 24" (47.5 x 61.5cm), signed.
€600 - 900
64 Cecil King 1921-1986 CITYSCAPE Oil on board, 15" x 18" (38 x 48cm), signed.
€800 - 1200
65 Maurice Mac Gonigal PPRHA 1900-1979 CONNEMARA LANDSCAPE Watercolour, 12" x 16" (30.5 x 40.5cm), signed. Provenance: Taylor Galleries, Dublin (label verso).
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€600 - 900
66 Henry Healy RHA 1909-1982 ON ACHILL ISLAND Oil on board, 16" x 20" (40.5 x 50.5cm), signed, inscribed verso. Provenance: Taylor Galleries, Dublin 1982 (label verso).
€600 - 900
67 Markey Robinson 1918-1999 BRIDGE OVER THE RIVER Gouache on board, 6" x 11" (15 x 28cm), signed.
€600 - 900
68 Jane O’Malley b.1944 WINDOW STILL LIFE – CALLAN Gouache, 9½" x 13½" (24 x 34.5cm), signed, inscribed & dated 1980. Provenance: Taylor Galleries Dublin 1981 (label verso).
€400 - 600
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69 Micheal Farrell 1940-2000 DIAMOND STUDY Acrylic on canvas, laid on board, 17" x 17" (43 x 43cm), signed & dated 1964 verso.
€800 - 1200
70 Robert Ballagh b.1943 SKETCH FOR THREE PEOPLE AND A DUBUFFET Mixed media, paper size 19½" x 19½" (43 x 43cm), signed, inscribed & dated 1973. Provenance; David Hendriks Gallery, Dublin, March 1973, (label verso).
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€1000 - 1500
71 Oisin Kelly RHA 1915-1981 MAQUETTE FOR LAUREANN Plaster, 9 ¼" high (23.5cm), signed. Literature: The bronze of this is illustrated in ‘The Life and Work of Oisin Kelly’ by Fergus Kelly (pl. 21, p.64).
72 Oisin Kelly RHA 1915-1981 FIGURE SLEEPING Bronze, 3" x 7" (8 x 18cm), signed.
€1500 - 2000
€400 - 600
73 Michael Casey, Contemporary MOTHER AND CHILD Wood, 18" high (46cm), signed & dated 1981.
74 Hilary Heron 1923-1977 STANDING MALE Bronze, 11" high (28cm).
€300 - 500
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€1000 - 2000
Other Vendors
75 Patrick Hennessy RHA 1915-1980 CONNEMARA MARE Oil on canvas, 24" x 30" (61 x 76cm), signed.
€10000 - 15000
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76† Patrick Hennessy RHA 1915-1980 THE RACE Oil on canvas, 25" x 34½" (63.5 x 88cm), signed, inscribed verso. Provenance: Acquired directly from the artist, thence by descent to the previous owner.
€8000 - 12000
57
77 Peter Curling b.1955 OUT HUNTING Oil on canvas, 20" x 26" (51 x 66cm), signed.
€5000 - 7000
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78 Erskine Nicol RSA ARA 1825-1904 GUINNESS’ BEST Oil on panel, 11" x 9" (28 x 23cm), signed & dated 1857, (exhibition label verso).
79 May Guinness 1863 -1955 STILL LIFE FLOWERS Oil on canvas, 43" x 26 ½" (109 x 67.5cm).
€3000 - 5000
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Provenance: Purchased Tormey’s, Dublin 1970s.
€2000 - 4000
80† Hughie O’Donoghue b. 1947 MUINGINGAUN (MAIDEN STREAM) Oil on linen, 45¼" x 58¼" (114 x 148cm), signed, inscribed & dated 2001 verso.
Provenance: Rubicon Gallery 2001 (label verso).
€20000 - 30000
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81 John Shinnors b. 1950 MARS, HEARTED SCARECROW AND BIRDS, Oil on linen, 39" x 50" (99 x 127cm), signed, inscribed & dated 2009-2011 verso.
€20000 - 30000
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82 William Crozier 1930-2011 FIELD Oil on canvas, 16" x 20" (41 x 51cm), signed.
€2500 - 3500
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83† Hughie O’Donoghue b.1953 SOUVENIR OF ST VALERY (LAVAGE), 2006 Oil on wood, with photographic base, 18½" x 36" (47 x 91.5cm), signed; signed, inscribed & dated verso.
€6000 - 9000
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Basil Blackshaw The former distinguished Irish Times Arts Editor and critic Brian Fallon said of Basil Blackshaw “he had to come from somewhere to end up where he is.”
Jack’s House 1998 x 2 was informed by familiarity with his partner Helen Fallon’s grandson Jack whom he was observing regularly as a child. He went on to paint Cow for Jack in the style of a child’s drawing.
This was a very perceptive observation by Fallon, a huge admirer of Blackshaw.
He was now seeking, like Picasso before him, the essence of the child’s sense of shape, colour and interpretation of that Jack’s House x 2 are classic examples of his post 80s output. world. Jack’s House x 2 crystallises this reality perfectly and was Coming close to the tail the end of the 70s the Antrim based the trigger for a whole new direction of travel in Blackshaw’s artist was growing restless with what he was producing. He odyssey in art. confessed to me “it was too easy for me. What I was doing, Big Brown Dog 1988, stripped of its anatomy, existed dramatically painting horses, dogs etc presented no challenge. I knew I had through a piercing eye which follows the viewer everywhere. to move on.” Jack’s House 1 and 2 have all the playfulness of drawings by Events, events, dear boy, events entered the equation. A fire children. Blackshaw observed beautifully, leaving nothing to destroyed Blackshaw’s loft studio in the early 80s. This literally chance. He enjoyed challenging himself in different colours forced Blackshaw to continue his métier within the walls with in later years. We see this at play in his choice of colours to which he ate and slept. He was robbed of his studio space for capture the same subject. a large easel, tubes of paints and other props he used in making He would do this again in Blue Rabbit and in Yellow Rabbit. I his large paintings. love the daring almost artistic delinquency of Blackshaw in his During this period he spent more time addressing large drawings, post 80s work. He often told me “it has to be wrong somerevisiting the essence of his profession. times for it to be right.” A coincidental meeting with the Sligo artist Patrick Collins resulted in a significant shift in Blackshaw’s oeuvre. Collins observed “Basil, you are too close to your subject, try and capture more of the spirit of your it.”
He also told me “I steal from good artists and bad artists. You can learn even from a bad artist. That artist can resolve a problem for you without knowing this. The thing is – it is what you do with the theft,” he said.
This advice chimed with where Blackshaw found himself then.
Basil Blackshaw may well have burgled the child Jack’s art bank, but in Jack’s House 1 and 2 we see to what end he put that theft.
The seminal painting which signalled change curiously enough involved another house painting Joe Bell’s Cottage Council Cottage 1983. Here we watch the artist stripping away so much of the bulk of the house – reducing the composition literally to a skeleton of his creation.
I commend and rejoice in these fine examples of Blackshaw’s creation.
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Eamonn Mallie, February 2017
84 Basil Blackshaw HRHA RUA 1932-2016 JACK’S HOUSE (BLUE) Oil on canvas, 34" x 40" (86.5 x 122cm), signed & inscribed verso.
€25000 - 30000
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85 Basil Blackshaw HRHA RUA 1932-2016 JACK’S HOUSE (PINK) Oil on canvas, 34" x 40" (86.5 x 122cm), signed & inscribed verso.
€25000 - 30000
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86† Barry Castle 1935-2006 ADAM AND EVE IN TUSCANY Oil on board, 19½" x 27½" (49.5 x 70cm), signed & dated 1985.
Provenance: Taylor Galleries (label verso).
€2500 - 3500
87† Patrick Scott HRHA 1921-2014 STILL LIFE Tempera on paper, 12" x 14" (30 x 36cm), signed.
Provenance: Taylor Galleries, Dublin (label verso).
€3000 - 5000 67
88 Patrick Scott HRHA 1921-2014 MP2 Gold leaf and tempera on unprimed canvas, 24" x 24" (61 x 61cm), signed & inscribed verso. By 1964 Scott began to use gold and palladium leaf as his staple media and to apply paint in precise, hard-edged patterns. Radical at the time for their minimal, almost austere character, his gold and silver paintings gradually gained a wide following. He greatly admired the Japanese flag, a red solar disc against a white ground, and what it exemplified: a pared-down, Zen-influenced aesthetic of formal simplicity, naturalness and tranquility.
â‚Ź8000 - 12000
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89 Patrick Scott HRHA 1921-2014 GOLD PAINTING Gold leaf and tempera on unprimed canvas, 48" x 48" (122 x 122cm), signed & inscribed verso. After the circle, the square is the form Scott used most frequently. Often, symmetrical divisions and rhythmic patterns spring directly from these motifs.
â‚Ź10000 - 15000
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90† Charles Brady HRHA 1926-1997 MUSSEL Oil on board, 8½" x 12" (21 x 30.5cm), signed.
Provenance: Taylor Galleries (label verso).
€1500 - 2500
91† Charles Brady HRHA 1926-1997 BOOK LEAVES Oil on canvas, laid on board, 6" x 10½" (15 x 26.5cm), signed.
€1500 - 2500 70
92 Sean McSweeney HRHA b.1935 BALLYCONNELL Oil on board, 24" x 32" (61 x 81cm), signed & dated ’92, signed inscribed & dated verso.
€4000 - 6000
71
93† Norah McGuinness HRHA 1901-1980 SHELLS AND POOLS Oil on canvas, 18" x 26" (46 x 66cm), signed & dated ’66, inscribed verso.
Provenance: The Dawson Gallery (label verso).
€5000 - 7000
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94 Harry Kernoff RHA 1900-1974 FARMSTEAD Gouache, 6½" x 8¼" (16.5 x 21cm), signed.
€2000 - 3000
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95† William John Leech RHA ROI 1881-1968 THE CROM NANCOL, LLANDEDR, N. WALES Oil on canvas, 20" x 24" (51 x 61cm), signed, inscribed labels verso. Exhibited: The RHA, Dublin, 1914, (No. 92); Label on back No 1 Llanbedr, North Wales, £15.16 in Leech’s handwriting, W.J. Leech, RHA, c/o James Bourlet & Sons, 17 Nassau Street, London W. Label on back with his Kensington address in London, in Leech’s handwriting. The depth Leech creates in this painting, by using the cloud reflections in the water, lead the eye up the river bed, past protruding beds of soil and grass, framed by the bands of blues and greys of the distant fields and hills. Only a small section of a light sky is visible at the top right. The dramatic composition and the deep soft blues, with flashes of bright green, show Leech at his composite best in painting this Welsh landscape. The subtlety of the white tones and soft blues, echo Leech’s snow scenes painted in Switzerland in 1911/12 when the influence of Whistler on the young artist was prevalent. Dr. Denise Ferran, March 2017
€14000 - 18000
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96 Jack B. Yeats RHA 1871-1957 FROM THE WOODS SHADOW (1953) Oil on board, 14" x 18" (35.5 x 46cm), signed, inscribed verso.
Provenance: The Artists Estate; Mr and Mrs F. L. Vickerman and thence by descent to the present owner.
Exhibited: 1858 London (22); 1961 Sligo (22)
Literature: Hilary Pyle, ‘A Catalogue Raisonne of Oil Paintings’. No.1138
This late work by Jack B. Yeats depicts a young boy in the surroundings of the Phoenix Park. He strides, bare foot, into an open expanse of grass between two forest glades. The figure wears a flat cap and carries a large walking stick which appears to have a carved bird’s head for its handle. His right arm is extended in an exaggerated gesture, with palm facing out, as though he were greeting unseen companions. The warm yellow tones of the scorched grass and the surrounding foliage, with touches of deep red, and an open vista of blue sky, evokes a balmy summer’s day. It is reminiscent in its palette and in its tranquil mood of such works as Returning from the Bathe, Mid-Day (1948, Crawford Art Gallery). The young urchin is a familiar motif in Yeats’s oeuvre stretching back to his early watercolours and oils such as Bachelor’s Walk, In Memory (1915, National Gallery of Ireland), in which, as in so many compositions, the child acts as a foil to more profound figures and events. In From the Woods Shadow the figure is allowed to dominate the ambiance, his carefree demeanour and ragged clothes indicating the temporary freedom and exhilaration of a summer’s afternoon in the park. The cap and the stick that he holds appear incongruous and playful and the latter in particular may suggest old age but equally a future life of travel and transience. Hilary Pyle has noted that Yeats hung this work in his studio in the months before his death and that although it was largely painted in July 1953, the artist examined the work the following October. On 16 June 1954 Pyle states that he retouched the eye which is in a strong blue tone, also used to pick out the shading around the cap and forehead of the figure1. The painting was acquired by Mr. and Mrs. Frank Vickerman after the artist’s death in 1957. They were among the most important collectors of Yeats’s work and over a period of 14 years acquired no fewer than 30 paintings by Yeats. In May 1999 the family sold The Wild Ones, 1947, which held the auction record for an Irish painting for many years. To quote from the Sotheby’s catalogue: ‘Mr. and Mrs. Vickerman collected no fewer than 30 paintings by Yeats over a period of 14 years, and all except From the Wood’s Shadow, which was in the artist’s studio when he died in 1957, were bought through Victor Waddington’s gallery in Dublin. Mr. and Mrs. Vickerman’s love of Yeats’ pictures arose not only out of a passion for horses which they shared with the artist, but also from their interest in and patronage of Irish art.’ The Vickerman’s most notable racehorse Cottage Rake, won the Cheltenham Gold Cup three years running starting in 1948. In 1978, they generously donated Yeats’ magnificent horse painting For the Road, 1951 to the National Gallery of Ireland.
Róisín Kennedy, February 2017
€80000 - 120000
1
Hilary Pyle, Jack B. Yeats. A Catalogue Raisonné of the Oil Paintings, Andre Deutsch, 1992, II, p. 1041.
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97 Daniel O’Neill 1920-1974 ISOBEL Oil on board, 24" x 16" (61 x 40.5cm), signed. Described by the poet John Hewitt as a tall fair handsome man, O’Neill was known to attract female company and women feature strongly in his oeuvre highlighting his female friendships and marriage to Eileen Lyle in 1943 and relationships with Sheilagh Deacon in the 1950s, Maureen O’Neill in the 1960s and Margaret Allen towards the end of his life. Throughout his career, O’Neill was interested in painting techniques. He liked to use sable, hog and camel brushes to add translucent glazes to the paint surface. To apply paint, he used a palette knife, fingers, brush handles, crumpled paper, sponges and squeezed liquid paint from an icing bag to create lace-like effects on clothes and still life studies. Natural light and perspective were abandoned in favour of a glow that permeated from the paint achieved by the artists personal technique. Remarking on O’Neill’s paintings during his solo exhibition at Waddingtons in 1955, a critic in The Independent noted “Painting with assurance and indeed authority, he [O’Neill] now reveals himself as an artist with something to say and the technique to say it beautifully. Every picture bears the signature of his very personal and distinctive outlook”.
Karen Reihill €14000 - 18000
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98† William Crozier HRHA 1930-2011 WEST CORK WATERFALL Oil on canvas, 34¼" x 36" (87 x 92cm), signed, inscribed & dated 1993 verso. Provenance: Acquired directly from the artist by the previous owner.
€7000 - 10000
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99 Donald Teskey RHA b.1956 ON AMITY ROAD 1 Acrylic on paper, 14¼" x 16¼" (36 x 41.5cm).
Provenance: Rubicon Gallery, Dublin (label verso).
€2000 - 3000
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100 Patrick O’Reilly b.1957 BEAR WITH MANDOLIN, EGG AND SPOON Bronze, 13" x 17" (33 x 43cm), signed & dated 2010, edition 1/1. Reference: Robert O’Byrne, Dictionary of Living Irish Artists, (ill. p. 313). €3000 - 5000
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101 Patrick Scott HRHA 1921-2014 UNTITLED Gold Leaf & tempera, on unprimed canvas, 24" x 24" (61 x 61cm). €6000 - 9000
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102 Tony O’Malley HRHA 1913-2003 SPRING ROOKS Oil on canvas, 36" x 30" (91.5 x 76cm), signed & dated; signed, inscibed & dated 1991 verso, opus no. 1975. O’Malley’s starting point for a painting was always the visual world around him, which he then interpreted freely so that, rather than describing something literally, the picture expresses some elemental part of his experience. Spring Rooks conveys the frenetic movement of birds, with glimpses of beaks, wings and tails. In the upper left there’s an all-seeing eye that introduces an unsettling totemic presence. Crows and rooks often appear in O’Malley’s work and he often mentioned how he’s always liked them, respecting them as ‘the epitome of nature.’ O’Malley also conjures up a cacophony of sound, and once explained: ‘There is music in nature all the time. Sometimes I make a landscape with the caw of a crow… the crows are over in the wood there now and I love that sound, so I might make a painting out of that and make it visual. I’ve often painted what I call a tumble of crows… the squalling and the squawking and the crows tumbling out of one another.’ Spring Rooks, with its fresh colours, luminosity, lightness of touch and pulsating energy, is a celebration of the coming of Spring and its promise of warmth, sunshine and new growth. Frances Ruane, February 2017
€14000 - 18000
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103† George Russell AE 1867-1955 FIGURES BY THE SHORE Oil on canvas, 21¼" x 31¼" (54 x 79.5cm), signed with monogram. €7000 - 10000
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104 Meriel Lambart Barrett 1912-1982 SEAFARERS Oil on canvas, 36½" x 28" (93 x 71cm), signed. Exhibited: The Royal Hibernian Academy, Dublin, 1934. Meriel Lambart Barrett exhibited a total of 10 works at The RHA between 1934 and 1937 and later as Mrs Meriel L Campbell, Middlesex (1957). This work was exhibited in 1934, when she resided at Hollywood House, Palmerston Park. The quality that is evident in this composition very much echoes Sean Keating. ₏4000 - 6000
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105 Charles Vincent Lamb RHA RUA 1893-1964 FIGURES, CONNEMARA HARBOUR Oil on canvas, 28" x 36" (71 x 91.5cm), signed. Charles Lamb was a landscape, portrait and figure painter. Born in Portadown, County Armagh, he was educated at the Belfast School of Art and the Metropolitan School of Art in Dublin. He settled in Carraroe in County Galway in 1922 and thereafter painted scenes of life in the West of Ireland, often with heroic figure subjects as here. The setting for this work is Carraroe, a remote Irish-speaking area. In the late 1920s Lamb visited Brittany and his well known Breton Peasants at Prayer is in the Waterford Municipal collection. Artists such as Paul Henry, Sean Keating and Charles Lamb helped to create a visual corporate identity for independent Ireland. In this picture, which is characteristic of Lamb’s work, the figures, which at first may appear a little stiff and formal are nevertheless typical western peasants, their stiffness being natural, their evident joy at bringing home the ‘catch of the day’, to use a modern phrase, is complete as they wait to send it off to Galway and thence to Dublin. The boats awaiting the catch moored at the end of the pier. In terms of the handling of paint Lamb is seen as a latter-day Impressionist, the tight treatment of the figures themselves contrasting with the ‘looseness’ of the pier on which they stand, are all handled in a broadly Impressionist manner of great bravura, as are the sea and sky.
Dr. S. B Kennedy, February 2017
€15000 - 20000
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106 Frances J Kelly ARHA 1908-2002 EARLY POST Oil on canvas, 44" x 28" (112 x 71cm). Frances Kelly was married to the Irish diplomat, Frederick Boland and studied at the Metropolitan School of art from 1932-1935. She studied in Paris with the cubist painter Leopold Survage and exhibited several works at The RHA between 1929-1937. Kelly had a very distinctive palette and this sensitive interior shows what an accomplished artist she was. â‚Ź2000 - 4000 90
107 William Percy French 1854-1920 BOGLAND, EVENING Watercolour, 10" x 15" (25.5 x 38cm), signed. €4000 - 6000
108 Patrick Hennessy RHA 1915-1980 JOSEPHINE BRUCE AND RED CONTE Oil on canvas, 18" x 14" (46 x 35.5cm), signed. Provenance: The Ritchie Hendriks Gallery, Dublin (label verso). €4000 - 6000 91
109† Conor Fallon RHA 1939-2007 COCKEREL Stainless steel, 10" high (25cm), signed & dated 1988, unique.
110 Rowan Gillespie b.1953 FAMINE SERIES Bronze, 9" high (23cm), signed, ed.8/9. Provenance: Purchased from The Solomon Gallery’s Art Miami Booth (1998); Private Collection, Palm Beach.
€3500 - 4500
This figure forms part of Gillespie’s haunting portrayal of The Famine, situated on Custom House Quay in Dublin. Completed in 1997 this is a major series in the artist’s career. €3000 - 5000
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111 Conor Fallon RHA 1939-2007 BILLY GOAT Polished steel, 8¾" x 21¼" (22.5 x 54cm), including base, unique, signed and dated 1978 to the base. €6000 - 9000
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112 Basil Blackshaw HRHA 1932-2016 HEAD OF A TRAVELLER V (FAT BOB) Oil on canvas, 18" x 14" (46 x 35.5cm), signed, inscribed & dated 1984 verso. Provenance: ex Collection of Vincent Ferguson, Northern Ireland; Christies ‘Vincent Ferguson Collection’, 8 May 2009 (lot 260), where purchased by the present owner; Private Collection, Dublin. Exhibited: RHA Dublin, Jan - Mar 1993, No.8; Belfast, Arts Council of N. Ireland Basil Blackshaw – Painter: Tour 1995 - 1998; Sligo, Model Arts and Niland Gallery, The Vincent and Noeleen Ferguson Collection, Nov. 2005 - Feb. 2006 Literature: B. Ferran, Basil ‘Blackshaw – Painter’, Belfast, 1995, p.53, pl.53 (illustrated); E. Mallie, ‘Blackshaw’, Belfast, 2003, p.166, pl.64 (illustrated). Blackshaw’s Head of Travellers are important during this time for several reasons. Here we have the artist empathising with people on the edge of society. They are non-conformist, partly to be feared and admired at the same time. Their colourful disposition strikes a chord with Blackshaw, who in many ways is ‘l’etranger’, or the ‘outsider’ himself, by the dint of being a loner and an artist. What fired Blackshaw was the rawness in their heads, just the way they would ’paint their wagons up’. Art critic Mike Catto wrote of them in Basil Blackshaw – Painter, 1985: “The superb Head of Travellers were far from lovely – no stage Irish rustics these; instead the artist gave us stripped-down, direct faces. There was an effect almost of a blurred out-of-focus photograph in these faces, a sensation which has echoed in many of his figures over the years”. American art critic Elliott Sherman who wrote of these heads which went on tour in the nineties said: “Head of Travellers series evinces an eye for the survivor. Whether the blonde with a smear of mouth distinctly at odds with demure clothes, or the profile of a weathered man with a porkpie hat set atop an unruly bush of yellow hair, the most defined aspect of each traveller is their eyes. Never quite meeting ours, their eyes are slightly downcast and guarded, yet clearly canny and not missing a thing. All of Blackshaw’s portraits, while divergent in style, remind us why people watching can be so interesting”. Blackshaw knew each and every one of these characters intimately. While these heads are the heads of notional people they were heads burnt into his memory. He drank with them. He communed with them. He identified with their way of life on the edge of society. These were characters whose existence he wanted to record in paint simply because they interested him. He said “I knew Boswells. I used to drink with them. Many of these people came and camped for months on what we called ‘the gypsy road’”. These were different characters from different families. Head of Traveller V (Fat Bob) “was more of a markets man than a traveller” Eamonn Mallie, February 2017 €15000 - 20000
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113 Louis le Brocquy HRHA 1916-2012 EDEN, 1951 (AKA Woman’s Heel) Tapestry, 46½" x 72¾" (118 x 185cm), with signed Artists Certificate. Woven at The Golden Targe Tapestry Studio, Edinburgh (c.1952) under the supervision of master weaver Ronald Cruikshank, who had previously been at the Edinburgh Tapestry Company. Edition of 9 (The Golden Targe Tapestry Studio, Edinburgh / Tabard frères et souers, Aubusson – all-included) however it is thought by the artist’s son Pierre that this is a unique version in this reversed format. Dorothy Walker in her monograph on the artist (1981) states Eden remains one of le Brocquy’s most interesting works; the vibrant colourful design is based on a series of subdivisions of the classical golden section, yet the design bleeds off the tapestry in a most unclassical manner. The womans heel, which the angel promised would crush the serpent, continues to writhe below. The leaves of the tree mingle with the tears of Adam and Eve while the fatal apple is discarded, bitten and segmented. Pierre le Brocquy has recently written “Eden is based on a series of subdivisions of the Golden Mean. The subject-matter is reflective rather than religious. Louis once told me that he had chosen the legend of Adam and Eve to conceive an allegorical tapestry depicting the awakening of human consciousness, the birth of the mind.” €25000 - 35000
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114 Patrick Leonard HRHA 1908-2005 SUNBATHING, RUSH BEACH Pastel on paper, 16" x 27¼" (40.5 x 69cm), signed. €1500 - 2000
115 Maurice MacGonigal PPRHA 1900-1979 HIKERS RESTING (DINGLE) Oil on board, 15" x 29½" (38 x 75cm), signed. €3000 - 5000
98
116 Hector McDonnell b.1947 SAWERS, BELFAST Oil on canvas, 40" x 30" (102 x 76cm), signed, signed, inscribed & dated 2001 verso. €5000 - 7000
99
117 Kenneth Webb RWA FRSA RUA b.1927 TRANQUILITY Oil on canvas, 30” x 40” (76 x 101.5cm), signed, inscribed verso. €7000 - 10000
100
118 Kenneth Webb RWA FRSA RUA b.1927 HOMAGE Oil on canvas, 26" x 40" (66 X 101.5cm), signed, inscribed verso. €5000 - 7000
101
119† Carey Clarke HRHA b.1938 CONNEMARA Oil on canvas, 20" x 24" (51 x 61cm), signed. €1000 - 1500
120 William Percy French 1854-1920 SEASCAPE Watercolour, 10" x 14" (25.5 x 35.5cm), signed & dated 1911. €1400 - 1800 102
121 Maurice MacGonigal PRHA 1900-1979 HARBOUR VIEW Watercolour, 10" x 14" (25.5 x 35.5cm), signed & dated ’76. €800 - 1200
122 John Skelton 1925-2009 THE BIG CURRACH, INNISMORE Oil on board, 17½" x 28½" (44.5 x 65cm), signed & dated 1981; signed & inscribed verso. €2000 - 3000 103
123 Neil Shawcross RHA RUA b.1940 STILL LIFE – FLOWERS Oil on canvas, 24" x 16" (61 x 40.5cm), signed & dated 2014. €800 - 1200
124 Peter Curling b.1955 RATTLING THE LAST Oil on canvas, 16" x 22" (40.5 x 46cm), signed, inscribed verso. Provenance: The Tryon Gallery, London (label verso). €3000 - 5000 104
125 Victor Richardson b.1952 CROSSHAVEN Pastel, 32½" x 44½" (82.5 x 113cm), signed; inscribed & dated 1998 verso. €1500 - 2000
126 James Le Jeune RHA 1910-1983 CHILDREN THROUGH A WOOD Oil on board, 16" x 20" (40.5 x 51cm), signed. €2000 - 3000 105
127 Neil Shawcross RHA RUA b.1940 OREGON FRUIT PRODUCTS – PIE CHERRIES Oil on paper, 53" x 37" (135 x 94cm), signed & dated 2004. €4000 - 6000
106
128 Brian Ballard RHA b.1943 STILL LIFE WITH TEAPOT Oil on canvas, 24" x 30" (61 x 76cm), signed & dated 1993. €2000 - 4000
129 Brian Ballard RUA b.1943 STILL LIFE Oil on canvas, 24" x 30" (61 x 76cm), signed & dated 1993. €2000 - 4000 107
130 Felim Egan b.1952 RED DEEPENING Acrylic on canvas, 18" x 18" (46 x 46cm), signed & dated verso. Provenance: Purdy Hicks Gallery (label verso). €1000 - 1500
131 Barbara Rae CBE RA RSA b.1943 LOW TIDE, DOWNPATRICK Mixed media, 22½" x 22½" (57 x 57cm), signed & inscribed. Provenance: Jorgensen Fine Art, Dublin (label verso). €1500 - 2000 108
132 Felim Egan b.1952 DESERT NIGHT Oil on canvas, 30" x 30" (76 x 76cm), signed, inscribed & dated 2010 verso. €1500 - 2000
133 Barrie Cooke HRHA 1931-2014 LOOP HEAD 1 Oil on canvas, 15" x 18½" (38 x 47cm), signed, inscribed & dated 2008 verso. Provenance: The Kerlin Gallery, Dublin (label verso). €2000 - 3000 109
134 Edward Delaney RHA 1930-2009 WOMEN IN CONVERSATION Bronze, 14½" (37 cm) high, (including base). €3000 - 5000
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135 Edward Delaney RHA 1930-2009 FORM Bronze on a marble base, 22" (56cm) high, including base.
136 James McCarthy, Contemporary THE JUGGLER Bronze 17½" x 8" (44.5 x 20.5cm), signed. €2000 - 3000
€2000 - 3000
111
Lots 137-141A come directly from the artist’s family
137 Melanie Le Brocquy HRHA b. 1919 CHILD ON SHOULDER 1994 Bronze, 25cm (h) x 15cm (w), edition 6/6. €2000 - 3000
138 Melanie Le Brocquy HRHA b. 1919 LADY ON STONE WALL Bronze, 29cm (h) x 18cm (w), an edition of 6, Artist’s Cast. €2000 - 3000
112
139 Melanie Le Brocquy HRHA b. 1919 WOMAN WITH SHAWL 1971 Bronze, 15cm (h), an edition of 6, Artist’s Cast.
140 Melanie Le Brocquy HRHA b. 1919 HEAD OF CHILD 1942 Bronze, 22cm (h), an edition of 6, Artist’s Cast.
€800 - 1200
€2000 - 3000
141 Melanie Le Brocquy HRHA b. 1919 LAUGHING BOY 1998 Bronze, 22cm (h), an edition of 6, Artist’s Cast.
141A Melanie Le Brocquy HRHA b. 1919 TALL FIGURE MOTHER AND CHILD 1984 Bronze, 25cm (h), an edition of 10, Artist’s Cast. €1000 - 1500
€1500 - 2000 113
142 Patrick Hennessy RHA 1915-1980 WOODED RIVER LANDSCAPE Oil on canvas, 27½" x 22" (70 x 56cm) signed, in its original plaster frame.
143 Mary Swanzy HRHA 1882-1978 EVENING STROLL Oil on canvas, 14" x 10" (35.5 x 25.5cm), signed, inscribed verso.
€3000 - 5000
€2500 - 3500
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144 Kenneth Webb RWA FRSA RUA b.1927 QUIET WATERS, STRANGFORD LOUGH Oil on canvas, 15" x 36" (38 x 91.5cm) signed. €3000 - 5000
145 Markey Robinson, 1918-1999 FIGURES ON THE ROAD Gouache on board, 4½" x 18¼" (11.5 x 46cm), signed. €600 - 900
146 Markey Robinson 1918-1999 MOUNTAIN BAY Gouache on board, 24" x 36" (61 x 91.5cm), signed. Provenance: The Oriel Gallery, Dublin (label verso). €3000 - 5000 115
147 Sarah Henrieta Purser HRHA 1848-1943 RIVER BANK Oil on board, 8¼" x 11¼" (21 x 28.5cm). €600 - 900
148 Charles Lamb RHA RUA 1893-1964 HARBOUR VIEW Oil on Board, 10½" x 14" (27 x 35.5cm), signed lower left. €1500 - 2500 116
149 Norah McGuinness HRHA 1901-1980 THE SALMON LEAP, LEIXLIP Mixed media on canvas, 28" x 36" (71 x 91.5cm), signed & dated 1945. €4000 - 6000
150 Mildred Anne Butler RWS RUA 1858-1941 FIGURES IN A PASTORAL LANDSCAPE Watercolour, 10¼" x 6¾" (18 x 26cm). €700 - 1000 117
151 Donald Teskey RHA b.1956 CASTLETOWNSHEND, LOOKING UP NO.1 Oil on paper laid on canvas, 30" x 23¼" (59.5 x 77cm), signed. Provenance: Rubicon Gallery, Dublin (label verso). €4000 - 6000
152 John Shinnors b.1950 HALF MOON – LOOP HEAD Oil on board, 12" x 13" (30.5 x 33cm), signed, inscribed and dated 1996 verso. €2000 - 3000
118
153 Mary Lohan b.1954 UNTITLED Oil on board, 44" x 41½" (112 x 105.5cm), signed & dated 1996 verso. €4000 - 6000
154 Sean McSweeney HRHA b.1935 SHORELINE FIELD Oil on board, 10" x 12" (25.5 x 30.5cm), signed & dated 2002, signed, inscribed verso. Provenance: Taylor Galleries (label verso). €1400 - 1800
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155 Neil Shawcross RHA RUA b.1940 PORTRAIT OF VINCENT CAMPBELL Oil on canvas, 48" x 35" (122 x 89cm), signed & dated 1990. This work was used as the cover illustration for the 1992 Channel 4 production ‘The Magic Fiddle’. €6000 - 9000
156 Kenneth Webb RWA FRSA RUA b.1927 FLOWERS IN A VASE Oil on canvas, 20" x 24" (51 x 62cm), signed. €3000 - 5000
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157 Sarah Longley b.1975 INTERIOR WITH FLOWERS Oil on board, 20" x 13" (51 x 33cm), signed & dated ’01. Provenance: Peppercanister Gallery (label verso). €600 - 900
158 Kenneth Webb RWA FRSA RUA b.1927 RED AND WHITE POPPIES Oil on canvas, 20" x 24" (51 x 61cm), signed, inscribed verso. €3000 - 5000
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159 Neil Shawcross RHA RUA b.1940 AUTOBIOGRAPHY OF MARGOT ASQUITH Watercolour, 17¾" x 22¾" (45 x 58cm). €2000 - 3000
160 Maurice MacGonigal PPRHA 1900-1979 RED BULL, CO KERRY Oil on canvas, 15" x 15" (38 x 38cm), signed. Provenance: The Dawson Gallery, Dublin (label verso). €2000 - 3000 122
The Design Auction
Monday 22nd May at 6pm
On View: Friday 19th - Monday 22nd May at The Royal College Physicians, No. 6 Kildare Street, Dublin 2
An auction of Classic 20th Century and Contemporary Design furniture, including high quality pieces by: Arne Jacobsen, Philippe Stark, Greta Jalk, Hans Wegner, Gio Ponti, Ligne Roset, etc. Also contemporary art including a major collection of Patrick Scotts
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Standard Conditions of Business 1. Definitions In these Conditions, de Veres Art Auctions, who act as auctioneers and agents for the vendor, are called ‘the auctioneers’ (which expression shall be deemed to include their servants and agents) and the representative of de Veres conducting the auction is called ‘The Auctioneer’. 2. Third Party Liability Every person at or on the ‘Auctioneers’ premises or at any premises being used by the Auctioneer at any time shall be deemed to be there entirely at his/her own risk and shall have no claim whatsoever against the Auctioneers or their servants or agents in respect of any accident or incident which may occur nor any injury, damage or loss howsoever arising and whether or not same is the subject of any allegation of negligence. 3. General Whilst the Auctioneers make every effort to ensure the accuracy of their catalogue and the description of any lot: (a) Each lot as set out in the catalogue or as divided or combined with any other lots or lots is sold by the vendor with all faults, imperfections and errors of description. (b) Any claim under any Statute must be received in writing by the Auctioneers within three months of the sale. (c) The Auctioneers shall not be liable for consequential or resultant loss or damage whether sustained by a Vendor or a Purchaser or the owner of any item or their respective servants and agents arising in any circumstances whatsoever and irrespective of any claim made by any party as to negligence or lack of care of the Auctioneers or any part acting on their behalf. (d) Lots marked with † are those which deVeres hold a financial interest in. 4. The Auction (a) The Auctioneer has absolute discretion to divide any lot, to combine any two or more lots or to withdraw any lot or lots from the sale, to refuse bids, regulate bidding or cancel the sale without in any case giving any reason or previous notice. He may bid on behalf of the vendor for all goods which are being offered subject to reserve or at the Auctioneer’s discretion. (b) The highest bidder shall be the buyer except in the case of a dispute. If during the auction the Auctioneer considers that a dispute had arisen. He has absolute discretion to settle it or to re-offer the lot. The Auctioneer may at his sole discretion determine the advance or bidding or refuse a bid. (c) Each lot is put up for sale subject to any reserve price placed by the vendor. Whether or not there is a reserve price the seller has the right to bid either personally or by any one person (who may be the Auctioneer). (d) All conditions, notices, descriptions, statements and other matters in the catalogue and elsewhere concerning any lot are subject to any statements modifying or affecting the same made by the Auctioneer from the rostrum prior to any bid being accepted for the lot. 5. Recession Notwithstanding any other terms of these Conditions, if within 12 months after the sale, the Auctioneers have received from the buyer any notice in writing that in his view the lot is a deliberate forgery and within twenty-one days after such notification the buyer returns the same to the Auctioneers in the same condition as at the time of sale and by producing evidence, the burden of proof to be upon the buyer satisfies the Auctioneers that considered in the light of the entry in the catalogue the lot is a deliberate forgery, then the sale of the lot will be rescinded and the purchase price of the sale refunded. In the event of a dispute then the matter shall be settled by the President of the Institution of Chartered Surveyors in the Republic of Ireland. Both the buyer and the vendor agree to be bound by the decision . 6. Default The Auctioneers disclaim responsibility for default by - either the buyer or the vendor because they act as Agents for the vendor only and therefore do not pay out to the vendor until payment is received from the buyer. Instructions given by telephone are accepted at the sender’s risk and must be confirmed in writing forthwith. 7. In the event of a sale by private treaty both the vendor and the buyer agree to be found by these and any Special Conditions of Sale. 8. Retention of Title All goods remain the property of the vendor until paid for in full. The Auctioneers will not assume liability to discharge nett proceeds arising from the sale of goods until those goods have been paid for in full.
VENDOR’S CONDITIONS 9. Instructions All goods delivered to the Auctioneers’ premises will be deemed to be delivered for sale by auction and will be catalogued and sold at the discretion of the Auctioneer and accepted by them subject to all the Sale Conditions. By delivering the goods to the Auctioneers for inclusion in their auction sales the vendor acknowledges that he or she has accepted and agreed to be bound by all these Conditions. 10. Collection and Deliveries The Auctioneers do not normally undertake the packing, collection or delivery of goods but will if requested use their best endeavors as Agent of the Owner to arrange for an independent contractor on the owner’s behalf to deal with packing, collection and/or delivery. The Auctioneer will not in any event arrange insurance of the goods and will accordingly not be liable for any loss or damage to goods howsoever arising including breakages or for any damage to premises, fixtures or fittings therein caused by such contractor or otherwise and the owner is responsive for all arrangements to verify that any such contractor and the goods is/are appropriately insured. Unless instructions are received to the contrary, charges (including VAT) for such services will be charged to the vendor’s account or discharged through the Auctioneers by the purchaser as the case may be. The Auctioneers’ liability (if any) will rise only where they themselves carry out packing and collection/delivery and only in the case of breakage or loss caused through deliberate negligence of their employees and in any event in one single contract and the Auctioneers’ liability will not exceed £500. Provided further than the Auctioneers will not be liable for consequential loss in any circumstances whatsoever. 11. Loss or Damage and Storage The Auctioneers reserve the right to store or arrange for the storage of goods held by them or delivered to them either on their own premises or elsewhere at their sole discretion and entirely at the owner’s risk. The Auctioneers shall not be liable for any loss (including consequential loss) howsoever caused of damage to goods of any kind including breakages, or for unauthorised removal of goods. Should the owner of goods so wish it will be his/her goods while they are in the possession of the Auctioneers. 12. Right to Re-sell The Auctioneer reserves the right to re-sell any item which has not been collected within thirty days of purchase. 13. 3% commission due to saleroom.com for lots purchased using Live Bidding. 14. P ayment: Cash, bankers draft or cheque. With the exception of American Express, Credit cards are also accepted, subject to a charge 0f 1.5% on the invoice total. Debit and Laser cards are also accepted, at no charge, but are subject to daily limits as determined by your bank.
TERMS Purchaser 1. 25% incl. VAT will be added to the hammer price for each lot. 2. All accounts must be discharged by certified cheque, bank draft or cash. 3. The responsibility for items purchased passes to the purchaser on the fall of the hammer. 4. The Auctioneers reserve the right to look for 25% deposit on all goods. VAT Regulations: All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers’ premium must be invoiced at a rate which is inclusive of VAT. This VAT is not recoverable by any VAT registered buyers.
ART AUCTIONEERS & VALUERS
William Scott CBE RA 1913-1989 PERMUTATION ORANGE Wool pile tapestry, 59" x 96" (150 x 244cm), ed. 19/25 Est. €10000 - 15000
This will be included as part of our major Design Auction on May 22nd. Also included will be the entire contents of Peter Johnson Interiors.
Catalogue available in early May.
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B Ballard, B Ballagh, R Barrett, M.L Blackshaw, B Bourke, B Brady, Butler, M.A
128,129 70 104 84,85,112 47, 48 9, 17,41,90,91 150
C Campbell, G Casey, M Castle, B Clarke, C Cooke, B Collins, P Collis, P Crozier, W Curling, P
20,51 73 86 119 28,133 33 63 82,98 77, 124
D Delaney, E Doherty, J Dillon, G
134,135 60 25,42
E Egan, F
69 109,111 59,61 107,120
G Gillespie, R Guinness, M
110 79
J Jellett, M K Kelly, O Kelly, F. J Kernoff, H King, C
M MacGonigal, M 3,50,65 115,121,160 45 McAleer, C McCarthy, J 136 McDonnell, H 116 McGoran, K 52 McGuiness, N 2,27,93,149 McSweeney, S 5,7,37,53,92,154 N Nicol, E
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O O’Donoghue, H 80,83 O’Malley, J 10,55,68 O’Malley, T 11,13,43, 44,62,102 O’Neill, D 97 O’Reilly, P 100 P Pye, P Purser, A Rae, B Reid, N Richardson, V Robinson, M Russell, G
38,130,132
F Farrell, M Fallon, C Flaherty, M French, W.P
H Hamilton, L. M Hanlon, Fr. J Harrison, C Healy, H Hennessy, P Heron, H Hill, D Hone, E
L Lamb, C 105,148 114 Leonard, P LeBrocquy, L 6,8,113 LeBrocquy, M 137,138,139,140 141,141A Le Jeune, J 126 Leech, W. J 19,21,39,40,95 153 Lohan, M Longley, S 157
S Scharf, W Scott, P Scott, W Souter, C Shawcross, N Sheridan, N Shinnors, J Skelton, J Swanzy, M
22,24 16 54 66 75,76,108,142 74 4,23,57 1,14
T Teskey, D
46 147 131 26A, 31 125 67,145, 146 103 30 12,87,88,89,101 34,35,36 15 123,127,155,159 32 81,152 122 18,143 99,151
W Warren, B 29 Webb, K 117,118,144 156,158 58 Williams, A Y Yeats, J.B
26 71,72 106 56,94 49,64
126
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ART AUCTIONEERS & VALUERS
35 Kildare Street, Dublin 2. Tel: 01 676 8300 info@deveres.ie www.deveres.ie