International Art Auction

ART AUCTIONEERS & VALUERS

Irish & International Art Auction Tuesday, 14th May 2013

TUESDAY, 14th may 2013

35 Kildare Street, Dublin 2 Tel: 676 8300 Fax 676 8305 info@deveres.ie www.deveres.ie

Front Cover 21 Anne

Redpath ARA, OBE, RWA, RSA, RBA 1895-1965

STILL LIFE – FLOWERS IN A VASE

Inside Front Cover 16 William

Scott RA 1913-1989

GREEN PEARS AND PAN

Inside Back Cover 15 Louis le

Brocquy HRHA, 1916-2012

GARLANDED GOAT (1950)

Back Cover 19 Frederick

Edward McWilliam RA HRUA 1909-1992

LEGS PROFESSIONAL I

www.deveres.ie

John de Vere White Managing Director john@deveres.ie

Rory Guthrie Director roryguthrie@deveres.ie Catalogue enquiries: Ali Roche info@deveres.ie

Aisling T贸th Associate Director info@deveres.ie

R nd erla mb rthu no

ne Ln Landsdow

d

e wn do

rk pa

Landsdowne

s

n La

AUCTION VENUE d eR

wn do

The Clyde Court Hotel

Rd

shelbourne Ave

s an

L

Crampton Ave

br

m pe

Ln

rn ou elb sh

d

Cl

yd

e

Ln

te p

l

Rd

Auctioneers: John de Vere White

Rory Guthrie

2

Gr ani

de

Cly

Bal lsbr id

elgin R

ge p ark

Bea

tty’s

Ave

d

eR

ke Ln

e

ok

pembro

shelbourne Rd

pem broke Rd

Auction: Tuesday 14th May at 6pm Session 1: Irish & International Art, 6pm Session 2: 20th Century Design Furniture Auction, 8.15pm Venue: The Clyde Court Hotel (formerly The Berkeley Court Hotel), Lansdowne Rd, Dublin 4.

On View: Sunday

Monday Tuesday Contact:

12th May 13th May 14th May

11am-6pm 9am-8pm 9am-3pm

087 2934439 / 087 9787396 (viewing times only).

COLLECTION: Clyde Court Hotel, Wednesday 15th May, 9am-3pm FEES: 19½% plus VAT (23.985%) de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie Live Bidding available at: the-saleroom.com www.facebook.com/deveresArtAuctions 3

Session 1: 6pm

International Art Auction

Session 2: 8.15pm

20th Century Design Furniture Auction

1 Donald Teskey b. 1956 SCHOOLHOUSE PLACE, dublin Oil on canvas, 9½" x 9½" (24 x 24cm), signed; signed, inscribed & dated 2001 verso.

Est. €1,500 – 2,000

5

2 Charles Brady HRHA 1926-1997 BUS TICKET Oil on canvas, 12" x 17½" (30.5 x 44.5cm), signed.

Provenance: Taylor Gallery, Dublin (Exhibition Label, 1987 verso).

Est. €3,000 – 4,000

3 Mainie Jellet 1897-1944 LOOKING ACROSS LISMORE Gouache, 8¼" x 10" (21 x 25.5cm), signed; signed, inscribed & dated 1941 (label verso).

Est. €800 – 1,200

7

4 Nano Reid 1900-1981 BLACK SOD BOY Oil on canvas, 19" x 15" (48.5 x 38cm), signed.

Provenance: Ex collection of Howard Robinson.

Est. €3,000 – 5,000

8

5 Basil Blackshaw HRHA RUA b.1932 BROWN HEAD Oil on canvas, 23½" x 19½" (60 x 49.5cm).

Exhibited: Arts Council of Northern Ireland Retrospective, 1995 (label verso).

Est. €10,000 – 15,000

9

6 Martin Gale RHA b.1949 COW IN A FIELD Oil on canvas, 11½" x 12½" (29 x 32cm), signed.

Est. €1,400 – 1,800

7 Thomas Ryan PPRHA b.1929 ROSE STILL LIFE Oil on canvas, 6" x 8" (15 x 20cm), signed; inscribed verso.

Est. €600 - 900 10

8 Martin Gale RHA b. 1949 RIVERWALK (2006) Oil on canvas, 12" x 16" (30.5 x 40.5cm), signed.

Provenance: Taylor Galleries, Dublin (label verso).

Est. €1,400 – 1,800

9 Hilda Van Stockum HRHA (1908-2006) STRAWBERRIES AND PEWTER PITCHER Oil on canvas board, 10" x 12½" (25.5 x 32cm), signed; signed, inscribed & dated 1988 verso.

Est. €600 – 900 11

10 Hector McDonnell RUA b.1947 BANJO PLAYERS IN THE SKERRY INN Oil on canvas, 36" x 24" (91.5 x 61cm), signed; signed, inscribed & dated ’93 verso.

Provenance: Pyms Gallery, London (label verso); Galeria Ynguanzo, Madrid (label verso).

Est. €7,000 – 10,000 12

11 Nano Reid 1900-1981 PORTRAIT OF A YOUNG MAN Oil on canvas, 24" x 20" (61 x 51cm), signed.

Provenance: Dawson Gallery (label verso); ex collection of Howard Robinson.

Est. €5,000 – 7,000

12 Frank McKelvey RHA, RUA, 1895-1974 WOMAN FEEDING CHICKENS (c.1920/1922) Oil on canvas, 18" x 24" (46 x 61cm), signed.

Provenance: The Oriel Gallery, Dublin, where purchased by the present owner’s father in the 1970’s.

From 1911 Frank McKelvey attended the Belfast College of Art where he had a distinguished career and where the painting master, Alfred Rawlings Baker (1864-1939), greatly influenced his handling of paint – which was loosely Impressionistic – and his choice of subject matter.

In Woman feeding Chickens, which is a fine example of McKelvey’s early work, the setting is probably a scene at the Maze, near Hillsborough in County Down, where the artist had a cottage and where the valley of the river Lagan provided constantly changing subject matter. At the Maze cottage McKelvey and his wife kept a flock of about sixty hens – doubtless this picture represents that flock – and apart from their domestic use they provided constant subject matter for him. ‘It was through this opportunity,’ he wrote, ‘that I was able to study poultry in all effects of sunlight – a subject in which I have always been deeply interested’ (McKelvey, unpublished biographical note, artist’s papers), a comment that illustrates his seriousness about his work. Such pictures have a homely, genre feeling about them and represent a bygone age. The moderate impasto employed in much of the composition, and notably in the foreground and middle distance, is characteristic of McKelvey’s early work, whereas in later years his application of paint became thiner, at times being almost stained onto the canvas. Compositions such as this cast McKelvey in the tradition of Walter Osborne (1859-1903) and Dermod O’Brien (1865-1945), who followed an essentially English tradition of plein-air painting derived, ultimately, from Constable. McKelvey was gifted with a superb technical fluency and an inquisitive mind. For him painting represented a sense of discovery and this imbues his work with a constant freshness. He was a regular exhibitor at the RUA and RHA exhibitions in Belfast and Dublin.

Dr SB Kennedy Est. €15,000 – 20,000 14

13 Charles Lamb RHA RUA 1893-1964 A HARBOUR AT CARRAROE Oil on canvas, 10" x 14" (25 x 35.5cm), signed; signed and inscribed verso.

Est. €2,000 – 3,000

14 Letitia Marion Hamilton RHA 1878-1964 MARKET SCENE Oil on board, 12" x 17" (30.5 x 43cm), signed with initals.

Provenance: The Eakin Gallery, Belfast.

Est. €3,000 – 5,000 15

15 Louis le Brocquy HRHA, 1916-2012 GARLANDED GOAT (1950) Aubusson tapestry, 60½" x 49½" (154 x 126cm), signed & dated 1950; Signed Tabard Freres et Soeurs label verso no. 1006.

Provenance: Ex collection Howard Robinson.

Louis le Brocquy’s introduction to tapestry making originated in 1948 when the Edinburgh Tapestry weavers, an ancient industry under the patronage of then Marquis of Bute invited a number of painters working in London to design tapestries. It was a formidable group that included Stanley Spencer, Jenkel Adler, Graham Sutherland and Louis le Brocquy who later continued working in this medium in collaboration with the Tabard Workshop at Aubusson in France. Two figures that were influential were Jean Lurcat, the great French tapestry designer and Pablo Picasso.

“Travellers” in 1948 was the first of these produced by le Brocquy at the Tabard workshop. The second and perhaps le Brocquys best known tapestry is “The Garlanded Goat” produced in 1949/50. The Goat is the embodiment of the leering King Puck, hero of the ancient Puck fair in Killorglin, Co. Kerry. London critic Robert Melville has written of it “apart from a few of Lurcat’s, it is the most successful tapestry I have seen and a superb latter-day example of Celtic art of surface decoration”.

Est. €60,000 – 90,000

16

17

16 William Scott RA 1913-1989 GREEN PEARS AND PAN Watercolour and gouache, 22" x 30" (56 x 76.2cm), signed & dated 1975, Archive No. 1093.

Provenance: Santa Barbara Museum of Art, California 1976, Martha Jackson Gallery, New York 1976, St. Matthew’s Gallery, Texas 1978, Gimpel and Weitzerhapper, 1983, John Reward, New York, Gimpel Fils & Co., London.

In the early 1970’s after a retrospective at the Tate Gallery in London, Scott continued to explore this neoclassical version of the still life in both large and small oils, as well as in gouache. New forms came in and old forms were revisited, pears, grapes, eggs, napkins etc. had featured in earlier still lifes and then had been shunned for many years. From 1973 they return – writing an introduction to a 1976 Exhibition, the Japanese critic Chui Ikehamci, refers to Scott’s claim to find “beauty in plainness, in simplicity and continuity: but these recent paintings were not produced in a day. Like the cows he breeds today at the farm in Coleford, he seems to tumble over forms and line, colours and constructions continuously, and as a result can produce works in which is incorporated the clarity of his insight”.

A well-established pear tree flourishing outside the house at Coldford meant that pears were around seasonally, ripening on and then off the tree. For a while they became Scott’s only sitters.

(See William Scott by Robert Lynton, Pages. 333-334) Est. €30,000 – 40,000

18

19

17 Tony O’Malley HRHA 1913-2003 STUDIO TABLE Oil on board, 24" x 36" (61 X 91.5cm), signed; signed and inscribed verso, opus no. 612.

Exhibited: “Tony O’Malley Exhibition”, IMMA, July 2001 - Jan 2002.

Provenance: Ex Collection George McClelland.

O’Malley spent most of the 1960s within the artistic fabric of St. Ives, Cornwall, working alongside the leading figures there. The style of painting at that time showed a tendency to build a palette around stark harmonies of black and white and the lower range of the colour spectrum. The other Irishman associated with the group, William Scott, is an obvious example of this, as can be seen in this work.

see Tony O’Malley edited by Brian Lynch Est. €6,000 – 9,000

20

18 Tony O’Malley HRHA 1913-2003 MORNING LIGHT (1989) Oil on board, 29½" x 55" (75 x 140cm), signed lower left.

Provenance: Solomon Gallery (label verso).

From 1974 until the late 1980’s O’Malley and his wife, Jane, spent some of the winter in the Bahamas.

A wonderful contrast can be found between the bright, exotic colouring of the Bahamian paintings in contrast to the cool dark Irish paintings. O’Malley responded to climate and Aidan Dunne writes in the 2005 book on the artist “There is no question but that the Bahamas were important to his work. At the very best they broadened his palette- even in a direction that he didn’t particularly relish a he noted in conversation with friends in 1980: ‘There were kinds of yellows and pinks. Not the colours that I liked actually, but they did come in – demanded to be done’. At the most they provided him with a new series of challenges that led him in an unexpected and immensely rewarding direction”.

Tony O’Malley ed. By Brian Lynch Est. €20,000 – 30,000

21

19 Frederick Edward McWilliam RA HRUA 1909-1992 LEGS PROFESSIONAL I Bronze, 16" high, signed 1/5.

Literature: No. 458 in ‘The Sculptor F E McWilliam’.

Exhibited: Taylor 1979; Arts Council of Ireland 1981, cat. no. 141, illus. p. 91; Banbridge 2008, exh.cat., illus. p. 113.

After the emotional and political comment of the ‘Women of Belfast’ and the ‘Banners’ McWilliam reverted to a series of ‘Legs’ in 1978, which extolled the beauty and elegance of women’s legs and providing the sculptor with the means to excel in his detail of feet. He had, in his studio, posters advertising women’s nylon stocking and photographs of ballet dancers, which he could source to produce highly expressive drawings, which he modelled in clay and plaster before casting in bronze. When he began casting these small bronzes, McWilliam kept detailed notebooks with a drawing of each work, alongside details of the numbers cast, at which foundry and then the subsequent exhibitions and sales.

In ‘Legs Professional 1’ the truncated body focuses on the lithe right leg with its expressive pointing of the foot which captures the agility of the leg movement which is stabilized by the other strong leg, firmly placed on the floor.

This work combines McWilliam’s love of feminine beauty, frivolity and the play of light on the highly polished bronze surface.

Dr Denise Ferran, April 2013 Est. €10,000 – 15,000

22

23

20 Frederick Edward McWilliam RA HRUA 1909-1992 FORWARDS Bronze, 15" high, signed 1/5.

Literature: No 412 in ‘The Sculptor F.E. McWilliam’ Lund Humphries 2012.

Exhibited Waddington 1975 and Banbridge 2008 – 2009, exh.cat. illus. p. 105.

Although McWilliam was trained in Fine Art at the Slade School, London, with sculpture as a subsidiary subject, he began his long career as a sculptor in 1932 carving the human figure from fallen cherry trees in the garden in Buckinghamshire on his return from France and marriage to fellow art student Beth Crowther. Even though the sculptor changed his themes every three years, and moved from carving in wood and stone to modeling and casting in bronze from the late 40’s and 50’s onwards, the figure remained constant in McWilliam’s work.

Born in Banbridge before partition and then growing up in Northern Ireland, his experience of the ‘Troubles’ affected him deeply and resulted in the ‘Women of Belfast’ series of 1972/73 after the bomb in the Abercorn restaurant. This was followed up by the witty ‘Banner’ series of 1975, which depicted the women of the North who marched for peace. McWilliam, who had an abhorrence of sectarianism since childhood, regarded these women as survivors and campaigners, united in pain as mothers, grandmothers, aunts and sisters.

The series also gave vent to McWilliam’s intrinsic sense of humour in the midst of pathos, with titles ‘Mange Tout’ (Man get out), ‘No Life before Death’ (a play on the Belfast wall messages ‘Is there Life before death’.

This illustrated work, of a lone figure of a woman, holding on high a banner optimistically proclaiming ‘Forwards’ captures the energy, faith and hope we women held onto in the darkest days which did bring peace and the beginning of reconciliation, albeit twenty years later.

Dr Denise Ferran, April 2013 Est. €10,000 – 15,000

24

25

21 Anne Redpath ARA, OBE, RWA, RSA, RBA 1895-1965 STILL LIFE – FLOWERS IN A VASE Oil on board, 24" x 20" (61 x 51cm), signed; with a complete work, ‘Still Life - Table Top’ on reverse.

Provenance: Acquired directly from the artist by the present owner’s father.

This joyous still life, painted in the early 1950s, represents the period of Redpath’s work when she achieved a satisfying balance between structure and exuberance. It is at the point when she moves beyond the lessons she had learnt from her distinguished predecessors The Scottish Colourists – where their compositions had been considered and deliberate hers had become intuitive and dynamic. She had always been a natural colourist herself. This she attributed to the influence of her father who had been a designer of tweed – ‘I do with a spot of red or yellow in a harmony of grey what my father did in his tweeds’. A comment particularly apt to the present painting.

By the time that this still life was painted Redpath’s reputation was established both in Edinburgh and London and the fact that the board is painted on both sides would be due to natural thrift or impatience rather than necessity. When she had returned from living in France for fourteen years with her husband and three young sons in 1934 they were very poor and many of her best paintings are double-sided because of her lack of materials. In this instance it would be more of a case of Redpath, deciding on the floral composition, not having the patience to wait to acquire a fresh board. Although unsigned the reverse side stands on its own as a finished composition.

Patrick Bourne Est. €80,000 – 120,000

Still Life – Table Top (verso)

26

27

22 Damien Hirst b. 1965 ALL YOU NEED IS LOVE LOVE LOVE (2008) Silk-screen print with 25 colours including a glaze and pearlised tinter on 410gsm Somerset Tub sized paper 60" x 60" (152.5 x 152.5cm), signed. Edition 32/50.

Shortly after graduating from Goldsmiths (1989), Hirst began work on a series of paintings after seeing flies get stuck on primed canvases in his Brixton studio. Taking this idea, but wanting to create something beautiful, Hirst started fixing the bodies of dead butterflies to monochrome gloss-painted canvases. The following year, he incorporated a number of similar works into ‘In and Out of Love (Butterfly Paintings and Ashtrays)’ (1991). The choice of household gloss is integral to the works, intended

by Hirst to “look like an accident of paint with butterflies stuck on it”. [1].

For the artist, the appeal of butterflies is created largely by the appearance of life they retain in death. The monochrome paintings are the earliest example of his use of the insects, which were to become one of his most recognisable motifs. On their repeated appearance in his work he explains: “I think rather than be personal you have to find universal triggers: everyone’s frightened of glass, everyone's frightened of sharks, everyone loves butterflies.” [2].

[1] Damien Hirst cited in Damien Hirst and Gordon Burn, ‘On the Way to Work’ (Faber and Faber, 2001), 133.

[2] Damien Hirst cited in Damien Hirst, ‘I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now’ (Booth-Clibborn Editions; Reduced edition, 2005), 132.

Est. €15,000 – 20,000

28

29

23 Basil Blackshaw HRHA b. 1932 BIRDS-FOOT Watercolour and acrylic on paper, 40" x 33½" (101.5 x 85cm), signed.

Provenance: Fenton Gallery Cork (label verso).

Accident plays a big part in the life of Blackshaw as a painter. A trip to Letterfrack in County Galway some years ago by Basil and his devoted partner Helen Falloon resulted in Helen spotting a school jotter abandoned in a puddle of water. On picking it up Helen opened it up to discover it was a little fellow’s school jotter of ‘dried flowers.’ She considered leaving it on the bridge to dry out in the hope that someone might eventually reclaim it. Basil liked it and made it clear to Helen he’d like to keep it. But why “anything out of the ordinary attracts me.” replied Blackshaw. A vision was born. Out of this happy accident emerged Blackshaw’s version of ‘Bird’s Foot’ a common wild flower seen in parts of Ireland. One senses he ‘made’ the painting assisting its birth using a little plaster to pin it down on his surface.

In his execution of the work Blackshaw revisited another feature which crept into his work from early 2000 onwards. The suggestion of using an inch rule down the side of the page. This again is akin to journeying back to childhood, marking off the page as we all did as children. Marks slip into this composition almost without our seeing them. To Blackshaw each and everyone of these marks is central to the painting as a whole.

Eamonn Mallie

Est. €10,000 – 15,000 30

24 Louis Le Brocquy HRHA 1916-2012 FIGURE 1960 Oil on board, 10" x 6¾" (25.5 x 17cm), signed and dated 1960.

Provenance: Gimpel Fils, London (label verso). “le Brocquy paints as though he is searching for something, a hidden sense lurks powerfully within and behind his painted images, something tentative and pure” Colm Toíbín, Representing Art in Ireland 2008.

This quote from Toíbín gives one an insight into LeBrocquy’s figure studies that became known as his Presences in which the human figure/torso emerges from an intense white background. The driving force behind these paintings was the artist’s wife, Anne Madden, whom had suffered major operations in the late 1950s following a riding accident.

Her torso was encased in white plaster following the operations and hence this series of delicately executed works emerged.

Est. €8,000 – 12,000 31

25 Mary Lohan Contemporary SEA, DONEGAL (2005) Oil on canvas (diptych), each panel 30" x 42" (76 x 107cm).

Provenance: Vangard Gallery, Cork (label verso).

Dublin born, Lohan has established a deserved reputation as an outstanding seascape painter since her first exhibition at the Riverrun Gallery, Dublin in 1990. She has exhibited extensively and has had several acclaimed exhibitions at Taylor Galleries, Dublin.

Est. ₏4,000 – 6,000

32

26 Martin Gale RHA b. 1949 SATURDAY EVENING, SUNDAY MORNING Oil on canvas, 54" x 72" (137 x 183cm),Triptych, signed and inscribed verso.

Provenance: Taylor Galleris, ?DDublin The main theme running though Gale’s work is contemporary Irish landscape and new people interacting with it. His paintings often create a dark commentary on rural life in Ireland. He has always been very conscious of the inroads, often to urgent effect, that urban expansion has on the rural countryside.

Gale has an extensive C.V., having exhibited extensively throughout Ireland and further afield.

He has won numerous awards and is regarded by many as one of the finest painters working in Ireland today.

Est. €10,000 – 15,000

33

27 William Crozier HRHA 1930-2012 CUT FIELD Oil on canvas, 16" x 20" (40.5 x 51cm), signed; signed verso.

Provenance: Taylor Galleries, Dublin, March 2004 (label verso).

Est. €3,000 – 5,000

28 William Crozier HRHA 1930-2012 LOUGH HYNE ROAD Oil on canvas, 16" x 20" (40.5 x 51cm), signed; signed verso.

Provenance: Taylor Galleries, Dublin, March 2004 (label verso).

Est. €3,000 – 5,000

34

29 Conor Fallon HRHA 1939-2007 SHIELD BIRD Brushed steel 24½" high x 19” wide (62 x 48cm), signed & dated 2005.

Est. €4,000 – 6,000

35

30 Hughie O’Donoghue b. 1953 PARABLE OF THE DUTIFUL SON 2 Oil and mixed media with photographic content on board, 23¾" x 35¾" (60.5 x 91cm), signed, inscribed & dated 2005 verso.

Est. €7,000 – 10,000

36

31 John Shinnors b. 1950 BIRDS OVER LOOP Oil on canvas laid on board, 48" x 72" (122 x 183cm), signed verso.

Provenance: Taylor Galleries Dublin.

Est. €8,000 – 12,000

37

32 Louis Le Brocquy HRHA 1916-2012 CUCHULAINN IX Aubusson tapestry, 71¾" x 71¾" (182 x 182cm), signed on a René Duché label attached verso, ed. 3/9.

Le Brocquy carried out a series of wonderful black brush drawings as illustrations to Thomas Kinsella’s book The Táin (1969). The impact created by these drawings led on to a series of lithographs and then to tapestry. The first of these Táin tapestries was commissioned by architects Swift Tallon Walker for P.J. Carroll’s factory in Dundalk. The Táin, which is the Irish word meaning ‘hosting’ or ‘gathering’ of a large crowd for a raid, gave the theme to the tapestry.

Le Brocquy has said in reference to these tapestries “I have tried to produce a sort of group or mass emergence of human presence, features uncertain – merely shadowed blobs or patches – but vaguely analogous perhaps in terms of woven colour to the weathered, enduring stone boss-heads of Clonfert or Entremont – of Dysert O’Dea... This poses a difficult pictorial problem. Pictorially a mass of individuals, conscious of each other, implies incident – better left to photography perhaps. In Clonfert each individual head is conscious only of the viewer vertically facing it.”

To this series of tapestries executed in 1973 and 1977 le Brocquy added three further designs in 1999 including Cuchulainn IX. (See Louis le Brocquy, Aubusson Tapestries, Taylor Galleries Dec 2000. Extracted from Exhibition Catalogue)

Est. €20,000 – 30,000 38

33 Tony O’Malley HRHA 1913-2003 AN FOMHAR – AUTUMN (1992) Oil and collage on board, 12" x 34" (30.5 x 86.4cm), signed & dated 1992; signed inscribed & dated verso.

Provenance: Taylor Galleries, Dublin (label verso).

Est. €3,000 – 5,000

34 Sean McSweeney HRHA b.1935 EVENING BOGLAND Oil on paper, 14½" x 22" (37 x 56cm), signed; signed, inscribed verso.

Est. €2,000 – 3,000 39

35 Louis le Brocquy HRHA 1916-2012 HEAD (F.89) Oil on canvas, 10" x 7" (25.5 x 18cm), signed and dated 1962; signed, inscribed & dated 1962 verso.

Provenance: The Dawson Gallery, Dublin (label verso).

Est. €7,000 – 10,000

40

36 Patrick Scott HRHA b. 1921 GOLD PAINTING 0511 Gold Leaf, acrylic and tempera on unprimed canvas, 51" x 51" (130 x 130cm), signed & inscribed verso.

Est. €4,000 – 6,000

41

37 Tony O’Malley HRHA 1913-2003 NOCTURNE Oil on board, 47½" x 23½" (121 x 59.5cm), signed; signed, inscribed & dated 1965 verso.

Opus no. 2817.

Est. €8,000 – 12,000 42

38 Bernadette Kiely b.1958 SKY WITH SUNSET NO III Oil and wax on canvas, 30" x 48" (76 x 122cm), inscribed verso & dated 1999/2000.

Est. €1,500 – 2,000

39 Bernadette Kiely b. 1958 THE RIVER I Oil and wax on canvas, 30" x 48" (76 x 122cm), signed, inscribed & dated 1999/2000 verso.

Est. €1,500 – 2,000 43

from a corporate collection (lots 40-46)

40 Barrie Cooke HRHA b. 1931 LOUGH ARROW (1999) Oil on canvas, 80" x 95½" (203 x 243cm), signed, inscribed & dated 1999 verso.

Provenance: The Kerlin Gallery, Dublin (label verso).

Est. €8,000 – 12,000 Barrie Cooke is undoubtedly one of the finest expressionist painters in Ireland. He is best suited to painting on a grand scale and these are superb examples of Cooke at his strongest. Lough Arrow shows the landscape of Sligo. Similarly Little Wanganui River depicts the scenery of the river located on the North Island of New Zealand.

He has exhibited widely throughout Europe and the U.S. in major retrospective exhibitions.

His work is included in the Museum of Modern Art, The Ulster Museum and the Crawford Gallery in Cork as well as numerous other prestigious collections.

A major retrospective of his work was held in the RHA in 2003. He is represented by the Kerlin Gallery Dublin.

44

41 Barrie Cooke HRHA b. 1931 LITTLE WANGANUI RIVER (1998) Oil on canvas, 54" x 60" (137 x 152cm), signed, inscribed & dated 1998 verso.

Provenance: The Kerlin Gallery, Dublin (label verso).

Est. €4,000 – 6,000

45

42 Martin Gale RHA b. 1949 INDIAN SUMMER (2002) Oil on canvas, 42" x 48" (107 x 122cm), signed; signed & dated 2002 verso.

Provenance: Taylor Galleries, Dublin (label verso).

Est. €4,000 – 6,000

46

43 John Noel Smith b. 1952 KNOTS: UNITED FIELD PAINTING II Oil on canvas, 70½" x 35¼" (179 x 89.5cm), signed, inscribed & dated 2001 verso.

John Noel Smith attended Dun Laoghaire School of Art followed by postgraduate studies in Berlin. He lived in Berlin for twenty two years where he was an important member of its vibrant art community, returning to Ireland in 2002.

Long regarded as one of Ireland’s foremost contemporary painters, this artists’ work forms part of important public, private and corporate collections across the world.

A member of Aósdana, recent solo exhibitions include Cacciola Gallery in New York’s Chelsea district and a twoperson show on London’s Cork Street with renowned international sculptor Sir Anthony Caro.

Smith usually produces his works in series.

Within these series he revisits many symbols used since the beginning of his career such as the knots present in Knots: United Field Painting II in the Field Series.

In this series the knots, the three leaved shamrock, signifies complicated connection.

The painting is divided into three rectangular sections, which adds to its complexity and interest. Smith’s physicality in paint handling heightens the drama in the painting and the interaction between the three fields.

John Noel Smith is represented by Hillsboro Fine Art, Dublin, who specialise in Contemporary and 20th Century Irish Art. Est. €4,000 – 6,000

47

44 Darren Murray Contemporary JAPANESE TEMPLE GARDEN Oil on canvas, 60" x 84" (152.5 x 213.5cm).

Provenance: Kevin Kavanagh Gallery.

Represented Northern Ireland at the Venice Biennale 2005.

Est. €3,000 – 5,000

45 Stephen McKenna PPRHA b. 1939 BASKET Oil on canvas, 25¾" x 20" (65.5 x 51cm), signed.

Est. €2,000 – 3,000

48

46 Barrie Cooke HRHA b. 1931 CLIFF AND FOUR PEAKS Oil on canvas, 54" x 50" (137 x 127cm), signed, inscribed & dated 1990 verso.

Est. €4,000 – 6,000

49

47 Jill Dennis b. 1957 CRONODY Oil on canvas, 60½" x 71" (154 x 180), signed & dated verso.

Jill Dennis has lived in Cork for many years and now teaches in the Crawford Gallery of Art and Design. She has exhibited extensively and held several highly acclaimed exhibitions at the Taylor Galleries, Dublin. Painting both in the studio and ‘en plein air’, her work is characterised by her use of expressive brush strokes and rich colours, so evident in this work.

Cronody is situated just west of Cork City.

Est. €2,000 – 4,000

50

48 William Crozier 1930-2011 TREES Oil on canvas, 40" x 32" (102 x 81.5cm), signed; signed verso.

Est. €5,000 – 7,000

51

49 Sean McSweeney HRHA b. 1935 WOODLAND SPACE Oil on canvas, 24" x 28" (61 x 71cm), signed & dated ‘64.

Provenance: Ex collection Howard Robinson.

Est. €6,000 – 9,000

52

50 Sean McSweeney HRHA b.1935 YELLOW HILL Oil on canvas, 23" x 30" (58.5 x 76cm), signed & dated 1964.

Provenance: Dawson label verso, ex collection Howard Robinson.

Est. €6,000 – 9,000

53

51 Daniel O’Neill 1920-1974 THREE CHILDREN Oil on canvas, 15" x 12" (38 x 30.5cm), signed; signed & inscribed verso.

Est. €10,000 – 15,000

54

52 Edward McGuire RHA 1932-1986 DEAD BIRD Oil on canvas, 14" x 12" (36 x 30.5cm), signed; dated 1959 label verso.

Provenance: Dawson Gallery (label verso).

Edward McGuire, former member of Aosdána, was the son of Edward McGuire senior, a senator and amateur artist. For this reason McGuire signed his name Edward Augustine initially but quickly found acclaim and dropped his middle name in his signature. He underwent training in Florence, Rome and the Slade School in London and spent time living in France, as well as the Aran Islands off the coast of Galway. McGuire was a wellknown portraitist but the greatest section of his work was dedicated to his paintings of dead birds such as this one.

On his colour, Dorothy Walker notes that he takes no specific pleasure in the use of colour and was influenced by Rene Magritte. This painting is typical of this restraint in colour with its narrow range of dull blues and greens.

Upon being asked why he painted dead birds McGuire wittily replied “because they do not move”. However, success in McGuire’s paintings is, in part, due to the artist making these dead birds appear alive.

(See Sailing to Byzantium: The Portraits of Edward McGuire by Dorothy Walker in Irish Arts Review Winter 1987)

Est. €2,000 – 3,000

53 John Luke RUA 1906-1975 LANDSCAPE Watercolour, 10" x 14½" (25.5 x 37cm), signed.

Est. €2,000 – 3,000

55

54 Frank McKelvey RHA RUA 1895-1974 COTTAGES BESIDE THE SEA Oil on canvas, 19½" x 23½" (49. x 59.5cm), signed.

Est. €5,000 – 7,000

56

55 James Humbert Craig RHA RUA 1877-1944 THE END OF THE DAY Oil on board, 15" x 19" (38 x 48cm), signed; inscribed verso.

Est. €4,000 – 6,000

57

56 Kathleen Fox RHA 1880-1963 DINING ROOM INTERIOR Oil on canvas, 18" x 25" (46 x 63.5cm), signed K Fox. Kathleen Fox studied art under Sir William Orpen at the Dublin Metropolitan School and acted for a while as Orpen’s assistant. From an early age she won several awards, and went on to continue her training in London and Paris where she set up studios. Between 1911 and 1957 she exhibited more than eighty works at the R.H.A. and also exhibited in London and at the Scottish Academy.

She was a painter of great skill as can be seen in this beautifully executed interior.

Est. €3,000 – 5,000

57 Frank McKelvey RHA RUA 1895-1974 COASTAL LANDSCAPE Oil on canvas, 20" x 26½" (51 x 67.5cm), signed.

Est. €4,000 – 6,000 58

58 Roy Petley English School b. 1951 MARKET BRIDGETOWN Oil on board, 20" x 30" (50.8 x 76.2cm), signed.

Est. €1,500 – 2,000

59 Henry Robertson Craig RHA 1916-1984 SANDYMOUNT STRAND Oil on canvas, 9½" x 13½" (24 x 34cm), signed.

Provenance David Hendriks Gallery (label verso).

Est. €2,000 – 3,000 59

60 Makiko Nakamura b.1951 UNTITLED (2002) Oil on canvas, 48" x 48" (122 x122cm), signed, inscribed “9 July ‘01 Dublin” and dated verso.

Est. €2,000 – 3,000

61 Makiko Nakamura b.1951 UNTITLED TRIPTYCH (2001) Oil on canvas, each 18" x 18" (46 x 46cm), signed & inscribed verso.

Est. €1,000 – 1,500 60

62 Felim Egan b. 1952 UNTITLED Oil on canvas, 30" x 30" (76 X 76 cm), signed with initials & dated ‘07 verso.

Est. €2,000 – 3,000

63 Chung Eun-Mo b.1946 CANAL I Oil on canvas, 29" x 59½" (73.5 x 151cm), signed, inscribed, dated 2000 verso.

Provenance: Kerlin Gallery label 2000 verso.

Est. €1,500 – 2,000 61

64 Marc Handelman American b.1975 TRADEMARK Oil on canvas, (102.1 x 208.3cm), signed verso.

Provenance: Rubicon Gallery Dublin (label verso).

Adopting the languages and motifs of iconic images, Handleman’s paintings crop, manipulate and invert their sources to formulate abstracted and fragmented fields that resound with the uncanny. Through this re-ordering Handleman draws parallels between media, kitsch and spirituality inspired by American luminists such as Frederic Edwin Church and Fitzhugh Lane. Handleman’s canvasses incorporate light as a dramatic tool, simultaneously configuring associations of grandeur, heraldry and divinity, while underscoring their representation as artificial constructions. Handleman has exhibited extensively in Los Angeles and New York and critical acclaim. He has also exhibited at the Saatchi Gallery, London. He lives and works in New York.

Est. €10,000 – 15,000

62

65 Patrick O’Reilly b.1957 COTTON FIELD (2004) Mixed media, 58½" x 39" (148.5 x 99cm), signed & inscribed label verso.

Est. €1,500 – 2,500

63

66 Louis le Brocquy HRHA 1916-2012 NELSON MANDELA (1983) Lithograph, 27" x 23" (68.5 x 58.5cm), signed & dated 1983; edition 1/9 (artist’s proof).

Est. €3,000 – 5,000

67 Mark O’Neill B. 1963 STILL LIFE WITH TURNIPS AND FIGS Oil on board, 13" x 20" (33 x 51cm), signed & dated 2006, inscribed verso.

68 George Gillespie RUA 1924-1996 IRISH FARMSTEAD, CO MAYO Oil on canvas, 19½" x 23½" (49.5 x 60cm), signed.

Est. €2,000 – 3,000

Est. €2,000 – 3,000 64

69 Tony O’Malley HRHA 1913-2003 PHYSICIANSTOWN LANDSCAPE AND SOUTH WEST WIND AND CROWS AND CATTLE Oil on paper, 18" x 11½" (46 x 29cm), signed & dated 22/1/92, opus no. 7560.

Est. €2,000 – 3,000

70 Peter Curling b. 1955 TWO HORSES AND THEIR JOCKEYS Watercolour on paper, 16½" x 24" (42 x 61cm), signed.

71 Brian Ballard RUA b. 1943 OBJECTS AND GERBRAS Oil on board, 17½" x 23" (44.5 x 58.5cm), signed & dated ‘90; inscribed verso.

Est. €1,000 – 2,000 Est. €1,500 – 2,000 65

72 Martin Gale RHA b. 1949 CANON PYON Watercolour, 24” x 23” (61 x 58.5cm) signed & dated 88.

Est. €2,000 – 3,000

73 Felim Egan b. 1952 OCEAN ‘A’ 2009 Oil on canvas, 30" x 30" (76 x 76cm), signed & dated ‘09 verso.

Est. €2,000 – 3,000

66

74 Neil Shawcross RUA ARHA b. 1940 COCA COLA BOTTLE Oil on canvas, 79" x 35" (201 x 89cm), signed & dated 2006.

Est. €5,000 – 7,000 67

75 Neil Shawcross RUA ARHA b. 1940 WORCESTERSHIRE SAUCE Oil on canvas, 79" x 35" (201 x 89cm), signed & dated 2006.

Est. €5,000 – 7,000 68

76 Brian Ballard RUA b. 1943 ROSES AGAINST GREY BACKGROUND Oil on canvas board, 7½" x 9½" (19 x 24cm), signed & dated ‘79.

Est. €600 – 1,000

77 Markey Robinson 1918-1999 RURAL COTTAGES Gouache, 6½" x 11½" (16.5 x 29cm), signed.

Est. €600 – 900

69

78 Charles Tyrrell b. 1950 C7.05 Oil on canvas laid on timber, 35" x 35" (89 x 89cm), signed & inscribed “Allihies 2005” verso.

Provenance: Fenton Gallery, Cork (label verso).

Est. €4,000 – 6,000

79 Rita Duffy RUA b.1959 DÚN Oil on canvas, 36"x 35" (91.5 x 89cm), signed; signed, inscribed & dated 1998 verso.

Born in Belfast, Duffy is one of Northern Ireland’s foremost artists. Her work deals with a variety of themes from the domestic and personal to political, and ranges from careful realism to quirky expressionism that owes much to the influence of Otto Drix.

In much of her early work, Duffy transmutes the raw material of her experiences growing up as a Catholic woman in 1970’s Ulster. She is a highly regarded artist with something to say and her work is included in numerous private and public collections.

Est. €2,000 – 3,000

70

80 Felim Egan b. 1952 WINTER LINE Mixed media on canvas, 47¼" x 47¼" (120 x 120cm), signed & dated 2005 verso.

Provenance: The Vangard Gallery, Cork (label verso).

Est. €3,000 – 5,000

81 Felim Egan b. 1952 PINK DESCENDING Oil on canvas, 30" x 30" (76 x 76cm), signed with initials & dated ‘08 verso.

Est. €2,000 – 3,000

71

82 Ciaran Lennon b.1947 COLOUR COLLECTION (9) Acrylic on copper, a series of nine, each panel 21" x 12¼" (53 x 31cm), signed verso.

Ciaran Lennon does not use the obvious colour, a primary red or blue, but instead a layering of colour to produce complex tones, each layer revealing itself at different times, in changing light to give the viewer an interactive experience; an ever changing view.

Est. €8,000 – 12,000

72

73

83 Basil Blackshaw HRHA b.1932 STUDIO DOOR Acrylic and collage on canvas, 72" x 54" (183 x 137cm), signed & inscribed verso.

Provenance: Fenton Gallery, Cork, where purchased by the present owners.

Exhibited: Cork, Fenton Gallery, Basil Blackshaw, 23 September-21 October 2005.

Blackshaw’s paucity of comments and observations about ‘Studio door’ is matched by the sparseness of details of his creation. ‘Studio door’ houses so much mystery.

Is this the inside or the outside of a door? The suggestion of a knob might imply the outside but this is not convincing. Is this the door leading into Blackshaw’s barn studio in County Antrim or the contrary? We are not sure. “It could have been any door” remarks Blackshaw. “I just remember visions of things I’ve seen” added the reticent Blackshaw. “It’s the relationship of marks. That’s all painting is.” Is this a studio door at all?

“And what of the low key earth colours deployed in realising your vision”, I asked. “They were probably the only ones I had.” replied Blackshaw. Don’t give too much away Basil!

This large late painting ‘Studio door’ which was sold in a Fenton gallery exhibition in Cork in the 2000s is part of a body of work which art critics like Brian Fallon sees as Blackshaw’s ‘third phase.’ Now in his eighties, Aidan Dunne, Fallon and Patrick Murphy of RHA contend this phase of Blackshaw's 'picture-making' lifts him up onto a world stage.

Eamonn Mallie Est. €30,000 – 40,000

74

75

84 Frederick Edward McWilliam RA HRUA 1909-1992 LEGS STANDING, 1978 Bronze, 11¼" high (28.5cm), signed & inscribed Ed. 2/5.

Provenance: New Art Centre, Wiltshire (The British agents for the McWilliam Estate); Private collection.

Est. €4,000 – 6,000 76

85 John Behan RHA b. 1938 FAMINE SHIP Bronze, 23" high x 20" wide.

Est. €3,000 – 5,000

77

86 John Coll Contemporary HEAD OF SAMUEL BECKETT Bronze, 18½" high x 15" wide (excl. base).

Est. €2,000 – 3,000

87 John Behan b. 1938 BULL Bronze, 5" high (12.5cm) incl. base.

88 John Behan b. 1938 BOAT Bronze 7½" (19cm) high.

Est. €800 – 1,200

Est. €800 – 1,200

78

89 Eamonn O’Doherty 1939-2011 PIKE MEN Bronze, 34" high x 17½" wide, signed & dated ’99. Ed. Est. €3,500 – 4,500

79

90 Sandra Bell b. 1954 FANFARE Bronze, 106" high (269cm), signed, ed 3/8.

Est. €4,000 – 6,000

80

91 John Shinnors b.1950 SWALLOW ROOM (2003) Oil on linen on panel, triptych (framed separately), each 23¼ x 30½ (59 x 77.5cm), signed.

Provenance: The Vangard Gallery, Cork (label verso).

Est. €10,000 – 15,000

92 Hughie O’Donoghue b. 1953 BETA VULGARIS II Oil on canvas, 22" x 26" (56 x 66cm), signed, inscribed & dated 2005 verso.

92a Hughie O’Donoghue b. 1953 BETA VULGARIS III Oil on canvas, 22" x 26" (56 x 66cm), signed, inscribed & dated 2005 verso.

Provenance: Fenton Gallery, Cork (label verso).

Provenance: Fenton Gallery, Cork (label verso).

Est. €4,000 – 6,000

Est. €4000 - 6000

81

93 John Doherty b. 1949 SKELETON CREW Oil and acrylic on canvas, 12" x 12" (30.5 x 30.5cm), signed, inscribed & dated 07/08 verso.

Est. €2,000 – 3,000

94 William Crozier 1930-2011 AUTUMN Oil on panel, 9" x 7" (23 x 18cm), signed.

Provenance: Blains Ltd. London, Ref. no.1538 (label verso).

Est. €1,000 – 2,000

82

95 Sean Scully b.1945 DARK FOLD 2003 Aquatint, 23¼" x 17½ (95.9 x 44.5 cm) (image size), signed, inscribed & dated 03, ed. 29/40.

Provenance: Kerlin Gallery, Dublin (label verso).

Est. €3,000 – 4,000

83

96 William Scott RA 1913-1989 COMPOSITION (1965) Watercolour on paper, 17" x 21" (43 x 53.4cm), signed.

Est. €8,000 – 12,000

84

97 Sean Scully b.1945 VERTICAL BRIDGE Aquatint, 15½" x 12½" (39.3 x 31.8cm) (image size), signed inscribed & dated ’03, ed. 23/40.

98 Patrick O’Reilly b. 1957 BLOCKS Bronze, 20" h x 17" w (51 x 43cm), signed, unique, inscribed 1/1.

Est. €3,000 – 4,000

Provenance: Kerlin Gallery, Dublin label verso.

Est. €2,000 – 3,000

85

99 Donald Teskey b.1956 CHURCH STREET, DUBLIN Oil on canvas, 15" x 11" (38 x 28cm), signed & dated ’01; signed, inscribed & dated verso.

Est. €1,500 – 2,000

100 Neil Shawcross RUA ARHA b.1940 BASKET OF FRUIT Watercolour, 22½" x 29½" (57 x 75cm), signed & dated 1989.

Est. €2,000 – 3,000

86

101 Richard Kingston RHA 1922-2003 INTO THE LIGHT Oil on canvas, 16" x 20" (40.5 x 51cm), signed.

RHA Annual Exhibition 2002 label verso.

Est. €1,500 – 2,000

102 Richard Kingston RHA 1922-2003 LEMONS Oil on board, 18" x 12½" (46 x 32cm), signed, inscribed verso.

103 Richard Kingston RHA 1922-2003 PLUMS Oil on board, 18" x 15" (46 x 38cm), signed, inscribed verso.

Est. €700 – 1,000

Est. €700 – 1,000 87

104 Stephen Lawlor b. 1958 HORSE Bronze, 9¼" (23.5cm) high, signed & dated, ed. 3/9.

Est. €1,400 – 1,800

106 Eamonn O’Doherty 1939-2011 QUINCENTENNIAL Bronze, 28" h x 15" wide, signed & dated ’84. Ed 1/8.

A maquette for the installation at Eyre Square, Galway.

Est. €3,000 – 4,000

105 Anna Linnane b. 1965 BIRD Bronze, 13½" (34cm) high (incl. base).

Est. €1,000 – 1,500 88

107 Markey Robinson 1918-1999 FIGURE IN LANDSCAPE Stained glass, 20½" x 31½" (52 x 79cm), signed & dated ‘Markey 1 Dublin 1976’, inscribed ‘Geordie’.

Est. €2,000 – 3,000

108 Charles Tyrrell b.1950 C9.05 Oil on canvas laid on timber, 35" x 35" (89 x 89cm), signed & inscribed “Allihies 2005” verso.

Provenance: Fenton Gallery, Cork (label verso).

Est. €4,000 – 6,000 89

109 Ian McAllister b. 1966 STILL LIFE WITH BREAD AND PEACHES Oil on canvas board, 19" x 29½" (48 x 75cm), signed with initials.

Provenance: Jorgensen Gallery label verso.

Est. €1,500 – 2,000

111 Arthur Armstrong RHA 1924-1996 IN THE BAY Oil on board, 19" x 23" (48.3 x 58.4cm), inscribed verso .

110 Arthur K. Maderson b.1942 THE OLD BRIDGE, LE VIGNAN Oil on canvas, 37" x 25" (94 x 63.5cm), signed; signed & inscribed verso.

Est. €1,500 – 2,000

Est. €2,000 – 3,000

90

112 Olive Henry RUA 1902-1989 BEACH HUTS Watercolour on paper, 9½" x 13" (24 x 33cm), signed.

Est. €400 – 600

113 Peter Curling b. 1955 GERANIUMS STUDY Oil on board, 15" x 11" (38 x 28cm), signed.

114 Mark O’Neill b. 1963 STILL LIFE ON WINDOWSILL Oil on board, 10½" x 12" (26.5 x 30.5cm), signed & dated 1998.

Est. €1,500 – 2,000

Est. €800 – 1,200

91

115 Neil Shawcross RUA ARHA b. 1940 FLOWER ON A BAMBOO TABLE Watercolour 44" x 36" (112 x 91.5cm), signed & dated 1982.

Est. €3,000 – 5,000

116 Barrie Cooke HRHA b.1931 NUDE Watercolour, 19" x 25" (48 x 63.5cm), signed & dated ’87.

Est. €600 – 900 92

117 Orla de Brí Contemporary GIRLS ON HIGH MUSHROOMS Bronze 17" high, signed, dated, ed. 5/5.

118 Enzo Plazzota 1921-1981 BALLERINA Bronze, 11½" high (excluding base), with foundary stamp.

Est. €2,000 – 3,000

Est. €800 – 1,200

93

120 Melanie le Brocquy RHA b. 1916 FIGURE Bronze, 7" (18cm) high, signed & inscribed Ed.2/6.

Est. €800 – 1,200

121 Abigail O’Brien b.1957 SODA BREAD Bronze, 2½" (6.5cm) high, signed, inscribed & dated.

Est. €600 – 900

122 Colm Brennan Contemporary SALMON LEAP Bronze, 8½" (21.5cm) high incl. base.

Est. €1,000 – 1,500

94

123 Patrick O’Reilly b.1957 PEGASUS Bronze, 67" x 35½" x 23¾" (170 x 90 x 60cm), unique, signed & dated.

Est. €8,000 – 12,000

124 Graham Knuttel b.1954 PUNCH Bronze, 19½" high (49.5cm) (incl. base 6" high), signed, AP. Est. €1,500 – 2,000

125 Patrick O’Reilly b.1957 CROW ON SCALES Bronze with found object, unique, signed.

Est. €1,000 – 2,000 96

126 Louis le Brocquy HRHA 1916-2012 HEAD Lithograph, 21½" x 16" (54.5 x 40.5cm), signed, ed. 59/75.

Est. €500 – 700

127 Gerard Dillon 1916-1971 LANDSCAPE Crayon, 15" x 22" (38 x 56cm), signed.

128 Norah McGuinness HRHA 1901-1980 DRYING THE NETS, PORTOFINO Gouache, 10" x 14¼" (25.5 x 36cm), inscribed.

Provenance: From the artist’s estate.

Provenance: Taylor Galleries, Dublin.

Est. €1,000 – 1,500

Est. €1,400 – 1,800 97

129 Gladys Maccabe ROI FRSA MA HRUA b.1918 SMITHFIELD MARKET, BELFAST Oil on canvas, 19" x 14" (48 x 35.5cm), signed.

Est. €3,000 – 5,000

130 Markey Robinson 1918-1999 GABLE ENDS Gouache, 8½" x 15" (21.5 x 38cm), signed.

131 Barbara Warren RHA b.1925 SWANS Oil on board, 11½" X 17½" (29 x 44.5cm), signed.

Est. €600 – 900

Est. €400 – 600

98

132 Cian McLoughlin Contemporary SELF PORTRAIT Oil on canvas, 27" x 21" (68.5 x 53cm), signed.

Est. €4,000 – 6,000

133 Evie Hone HRHA 1894-1955 FRENCH GARDEN Gouache, 6½" x 8¼" (16.5 x 21cm), signed.

134 Markey Robinson 1918-1999 SAILING BOATS Gouache,10" x 12" (25.5 x 30.5cm), signed.

Provenance: Taylor Galleries, Dublin.

Est. €600 – 900

Est. €600 – 900 99

135 Markey Robinson 1918-1999 FIGURES IN LANDSCAPE Gouache, 6¼" x 19" (16 x48cm), signed.

Est. €600 – 900

136 Patrick Leonard HRHA 1918-2005 ARTANE Oil on canvas, 20" x 16½" (51 x 42cm), inscribed verso.

137 Markey Robinson 1918-1999 MOULIN ROUGE Gouache, 20" x 12½" (51 x 32cm), signed.

Provenance: Taylor Galleries, Dublin.

Est. €800 – 1,200

Est. €1,400 – 1,800

100

138 Hilda Van Stockum HRHA 1908-2006 STILL LIFE WITH TOMATOES & VASE Oil on canvas board, 18" x 27½" (46 x 70cm), signed with initals.

Est. €2,000 – 3,000

139 Markey Robinson 1918-1999 PALM TREES Gouache, 19½" x 14½" (49.5 x 37cm), signed.

Provenance: Taylor Galleries, Dublin.

Est. €1,000 – 1,500

140 Patrick Leonard HRHA 1918-2005 THE LANE Oil on canvas, 27½" x 24¼" (69.8 x 61.5cm), signed & dated 1962; signed & inscribed verso.

Est. €1,400 – 1,800 101

141 Patrick Cahill Contemporary HEAD Bronze, 17½" (44.5cm) high (including base).

142 John Behan b.1938

Daedalus Bronze 9½" high (incl. base 1.6") (24cm).

Thought to be maquette for Wings of the World.

Est. €1,500 – 2,000 Est. €800 – 1,200

144 John Behan b.1938 TWO FIGURES PLAYING A GUITAR AND A TRUMPET Bronze, on white marble base,16" high (incl. base) x 9" wide (41 x 23cm).

Est. €1,000 – 1,500

143 John Behan b.1938 GUITAR PLAYER Bronze on black marble base, 23" (58.5cm) high, (incl. base).

Est. €1,000 – 1,500

102

145 Sean Keating PRHA HRSA 1889-1977 SELF PORTRAIT Pastel, 15" x 12" (38 x 30.5cm), signed.

Est. €3,000 – 5,000

146 Elizabeth Taggart b. 1943 BIRDS OF A FEATHER Oil on canvas, 16" x 16" (40.5 x 40.5cm), signed; signed and inscribed verso.

Est. €2,000 – 3,000

103

147 Alfred Grey RHA 1845-1926 COWS IN A FIELD Oil on canvas, 12½" x 17½" (32 x 44.5cm), signed & dated 1896.

148 Maurice Canning Wilks ARHA RUA 1911-1984 ON THE SHIMMA RIVER, CO. DOWN Oil on canvas, 14" x 18" (36 x 46cm), signed, inscribed verso.

Est. €1,000 – 2,000

Est. €800 – 1,200

149 Ivan Sutton Contemporary THE GRAND CANAL, VENICE Oil on canvas, 19½" x 29" (49.5 x 74cm), signed; signed & inscribed verso.

150 Maurice Canning Wilks ARHA RUA 1911-1984 TRINITY COLLEGE and another (2) Watercolour on paper, 10¼" x 14½" (26 x36cm), signed.

Est. €1,800 – 2,400

Est. €700 – 1,000

104

151 Father Jack P. Hanlon 1913-1968 A WALK THROUGH THE SEMINARY Oil on board, 13¼" x 9¼" (33.5 x23.5cm), signed.

152 Louis Sargent English School 1881-1965 TRAVESSE COVE, NORTH CORWALL Oil on board, 13" x 16" (33 x 40.5cm), signed, inscribed verso.

Est. €400 – 600

Est. €600 – 900

153 Mabel Young RHA 1889-1974 WICKLOW LANDSCAPE Oil on canvas, 11½" x 15½" (29 x 39.5cm), signed.

154 George Gillespie RUA 1924-1996 COASTAL LANDSCAPE Oil on canvas, 24" x 29½" (61 x 75cm), signed.

Est. €700 – 1,000

Est. €1,400 – 1,800

105

155 Douglas Alexander 1871-1945 NEAR RECESS, CONNEMARA Oil on canvas, 15½" x 17½" (39.5 x 44.5cm), signed.

156 James Nolan b. 1929 RHA BEACH SCENE – Grey Summer’s Day Malahide Oil on canvas board, 10" x 12" (25.5 x 30.5cm), signed ‘Nolan’.

Provenance: Victor Waddington Gallery label verso.

Est. €300 – 500

Est. €600 – 900

157 James Le Jeune RHA 1910-1983 OUTSIDE THE CATHEDRAL Gouache on 18½" x 14" (47 x 35.5cm), signed.

158 Paul Egerstorff 1906-1995 LIGHTHOUSE Gouache and watercolour on paper, 10" x 14" (25.5 x 35.5cm), signed.

Est. €1,500 – 2,000

Est. €300 – 500

106

159 William Conor RHA RUA ROI 1881-1968 GIRL AT WINDOW Watercolour, 5" x 4" (13 x 10cm), signed.

160 John Shinnors b.1950 LANDSCAPE Oil on canvas board, 10½" x 12½" (26.5 x 32cm), signed.

Sold these rooms November 2005.

Est. €2,000 – 3,000 Est. €600 – 900

161 Elizabeth Taggart b. 1943 STRONG MAN Watercolour and ink on paper, 12½" x 9½" (32 x 24cm), signed & dated ’74.

162 Desmond Hickey 1927-1998 ROUNDSTONE Oil on canvas board, 20" x 16" (51 x 40.5cm), signed.

Est. €400 – 600

Est. €600 – 900 107

163 John Behan b.1938 BIRDS RESTING ON A TREE Bronze, 20½" h x 16" w (52 x 40.5cm).

Est. €1,500 – 2,000

164 Les Manning Contemporary THE LAST CORAL REEF Bronze, 14" high (incl. base).

Exhibited: RHA Annual Exhibition 1995.

Est. €800 – 1,200

108

165 Sarah Walker Contemporary POPPY FIELD Oil on canvas, (100 x 120cm), signed & dated 2008 verso.

Est. €2,000 – 3,000

166 Dermot Seymour b. 1956 ‘SOME MARGINAL SUBSIDED, PERIPHERAL COHESION, IN THE DISADVANTAGED FRINGE OF WEST MAYO’ Oil on canvas, 44" x 52½" (112 x 133.5cm), signed & dated ’92, inscribed verso.

Est. €500 – 700 109

167 Desmond Carrick RHA b.1928 AFTERNOON ON BURIANNA BEACH, 1981 Oil on board, 18" x 24" (46 x 61cm), signed.

Est. €1,000 – 1,500

168 Markey Robinson 1918-1999 STILL LIFE WITH JUG AND APPLES Gouache on board, 9¾" x 13.1" (24.8 x 33.5cm), signed.

Est. €600 – 900

169 Geraldine O’Brien b.1922 FLOWER STILL LIFE Oil on canvas, 29½" x 33" (75 x 84cm), signed.

Est. €700 – 1,000

110

170 Seamus O’Colmain 1925-1999 THE BELLMAN, MEATH STREET Oil on board, 15" x 19½" (38 x 49.5cm), signed.

Est. €600 – 900

171 Markey Robinson 1918-1999 STILL LIFE WITH JUG AND GLASS Gouache on board, 9¾" x 13.1" (24.8 x 33.5cm), signed.

Est. €600 – 900

172 Geraldine O’Brien b. 1922 DAFFODILS Oil on canvas, 24" x 31" (61 x 79cm), signed.

Est. €700 – 1,000

111

173 Elizabeth Taggart b. 1943 THE CHOICE Oil on canvas, 30 x30" (76 x 76cm), signed; signed, inscribed dated 2002 verso.

Est. €3,000 – 5,000

174 Patrick Scott HRHA b.1921 UNTITLED Carborundum print, embossing with gold leaf, 45" x 45" (114.4 x 114.4cm), signed & dated ’05, ed 3/50.

Est. €1,500 – 2,000

112

175 Pauline Bewick RHA b.1935 SOUTH SEAS WOMAN AND PIG Watercolour on paper, 41" x 28" (104 x 71cm), signed, inscribed & dated 1997.

176 Sean McSweeney HRHA b. 1935 BOGLAND, SLIGO Pastel on paper, 29½" x 21½" (75 x 54.5cm), signed & dated ’86; inscribed verso, no. 545.

Est. €2,000 – 3,000

Est. €800 – 1,200

113

177 Maurice Canning Wilks ARHA RUA 1911-1984 AT RENVYLE , CONNEMARA CO. GALWAY Oil on canvas, 14½" x 18½" (37 x 47cm), signed; inscribed verso.

Est. €2,000 – 3,000

178 Sean Keating PRHA HRSA 1889-1977 SOLDIER Pastel on paper, 25" x 14½" (63.5 x 37cm), signed.

Est. €1,500 – 2,000

114

179 George Gillespie RUA 1924-1995 COSTAL LANDSCAPE Oil on board, 15½" x 21½" (39.5 x 54.5cm), signed.

Est. €1,000 – 1,500

180 Maurice Canning Wilks ARHA RUA 1910-1984 MORNING CALM, CONNEMARA Oil on canvas, 15½" x 19½" (39.5 x 49.5cm), signed; signed & inscribed verso.

Est. €1,000 – 1,500 115

181 M Calvet French School APRÉS LA COURSE Oil on board, 13” x 16” (33 x 40.5cm), signed, inscribed verso.

Est. 600 – 900

182 Fergus O Ryan RHA 1911-1989 FOUNTAIN, TOSSA, SPAIN Oil on board, 8" x 10½" (20 x 26.5cm), signed; inscribed artists label verso.

Est. 600 – 900 116

183 Andrew Hood Contemporary GOVERNMENT BUILDINGS Oil on board, 13” x 13” (33 x 33cm), signed; inscribed verso.

Est. 500 – 700

184 Liam Treacy 1935-2004 STILL LIFE Oil on board, 8” x10” (20 x 25.5cm), signed, artists label verso.

Est. 300 – 500 117

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.

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. Payment: 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. 19.5%+ VAT will be added to the hammer price for each lot.

2. All accounts must be discharged by certified cheque, bank draft or cash.

3. The responsibility for items purchased passes to the purchaser on the fall of the hammer.

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

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

BID FORM All pre-auctions bids should be registered by 2pm on Auction Day in order to ensure accuracy of submission into our system.

Please bid on my behalf for the undermentioned lots up to the prices shown which do not include the buyer’s commission.

These bids are to be executed as cheaply as is permitted by other bids or reserve, if any, and subject to the Conditions of Sale printed in this catalogue

PLEASE NOTE that we cannot always guarantee the order of the bidding thus the pictures may be sold in the room for the same amount as your pre-auction bid and we therefore advise you to indicate if you wish to allow us discretion with your bid.

(Note: buyer’s premium 19½% + VAT).

Signed:..............................................................................................................................................................................................

Name (please print):..........................................................................................................................................................................

Address:............................................................................................................................................................................................ .........................................................................................................................................................................................................

Telephone No. (Daytime)...................................................................................................................................................................

Lot No

Description

Limites excl. Comm & VAT

A Alexander, D. Armstrong, A.

155 111

B Ballard, B. Behan, J. Bell, S. Bewick, P. Blackshaw, B. Brady, C. Brennan, C.

71, 76 85,87 ,88 ,142 ,143 ,144 ,163 19 175 5, 23, 83 2 122

C Cahill, P. Calvet, M. Canning Wilks, M. Carrick, D. Coll, J. Conor, W. Cooke, B. Craig, J.H. Crozier, W. Curling, P. D De Brí, O. Dennis, J. Dillon, G. Doherty, J. Duffy, R. E Egan, F. Egerstorff, P. Eun-Mo, C. F Fallon, C. Fox, K. G Gale, M. Gillespie, G. Grey, A. H Hamilton, L.M. Handleman, M. Hanlon, J.P. Henry, O. Hickey, D. Hirst, D. Hone, E. Hood, A. J Jellett, M. K Keating, S. Kiely, B. Kingston, R. Knuttel, G.

141 181 148, 150, 177, 180 167 86 159 40, 41, 46, 116 55 27, 28, 48, 94 70, 113 117 47 127 93 79 62, 73, 80, 81 158 63 29 56 6, 8, 26, 42, 72 68, 154, 179 147 14 64 151 112 162 22 133 183 3 145, 178 38, 39 101, 102 ,103 124

L Lamb, C. 13 Lawlor, S. 104 Le Brocquy, L. 15, 24, 32, 35, 66, 126 Le Brocquy M. 120 Le Jeune, J. 157 Lennon, C. 82 Leonard, P. 136, 140 Linnane, A. 105 Lohan, M. 25 Luke, J. 53

M MacCabe, G. Maderson, A.K. Manning, L. McAllister, I. McDonnell, H. McGuinness, N. McGuire, E. McKelvey, F. McKenna, S. McLoughlin, C. McSweeney, S. McWilliam, F.E. Murray, D. N Nakamura, M. Nolan, J.

129 110 164 109 10 128 52 12, 54, 57 45 132 34, 49, 50, 176 19, 20, 84 44

60, 61 156

O O’Brien, A. 121 O’Brien, G. 169, 172 O’Colmain 170 O’Doherty, E. 89, 106 O’Donoghue, H. 30, 92, 92A O’Malley, T. 17, 18, 33, 37, 69 O’Neill, D. 51 O’Neill, M. 67, 114 O’Reilly, P. 65, 98, 123, 125 O Ryan, F. 182 P Petley, R. Plazzota, E.

58 118

R Redpath, A. 21 4, 11 Reid, N. 59 Robertson Craig, H. Robinson, M. 77, 107, 130, 134, 137, 139, 168, 171 Ryan, T. 7 S Sargent, L. Scott, P. Scott, W. Scully, S. Seymour, D. Shawcross, N. Shinnors, J. Smith, J. N. Sutton, I. T Taggart, E. Teskey, D. Treacy, L. Tyrrell, C. V Van Stockum, H.

152 36, 174 16, 96 95, 97 166 74, 75, 100, 115 31, 92, 160 43 149

146, 161, 173 1, 99 184 78, 108

9, 138

W Walker, S. Warren, B.

165 131

Y Young, M.

153

Front Cover 21 Anne

Redpath ARA, OBE, RWA, RSA, RBA 1895-1965

STILL LIFE – FLOWERS IN A VASE

Inside Front Cover 16 William

Scott RA 1913-1989

GREEN PEARS AND PAN

Inside Back Cover 15 Louis le

Brocquy HRHA, 1916-2012

GARLANDED GOAT (1950)

Back Cover 19 Frederick

Edward McWilliam RA HRUA 1909-1992

LEGS PROFESSIONAL I

ART AUCTIONEERS & VALUERS

Irish & International Art Auction Tuesday, 14th May 2013

TUESDAY, 14th may 2013

35 Kildare Street, Dublin 2 Tel: 676 8300 Fax 676 8305 info@deveres.ie www.deveres.ie