ART AUCTIONEERS & VALUERS
Irish Art Auction Tuesday, 1st December at 6pm Viewing at 35 Kildare Street, Dublin 2
ART AUCTIONEERS & VALUERS
Auction:
Tuesday 1st December, at 6pm
VENUE: The Royal Hibernian Academy Ely Place, Dublin 2 ON VIEW:
de Veres 35 Kildare Street Dublin 2
Friday, 27th November: 9.30am - 5pm Saturday, 28th: 11am - 5pm Sunday, 29th: 12pm - 5pm Monday, 30th: 9.30am - 6pm Tuesday, 1st: 9.30am - 5pm Contact:
01 6768300
COLLECTION: From 35 Kildare Street, Wednesday, 2nd and Thursday 3rd December PURCHaser 19½% plus VAT (23.985%) FEES:
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
Front Cover: Lot 38 Jack Butler Yeats RHA 1876-1957 MAN IN A TRAIN THINKING (detail)
Inside Front Cover: Lot 23 Louis le Brocquy HRHA 1916-2012 STILL LIFE, LEMONS
Inside Back Cover: Lot 19 Rowan Gillespie b. 1953 TWO
Back Cover: Lot 22 Frederick Edward McWilliam 1909-1992 BOX FOUR, 1969 (detail)
John de Vere White Managing Director john@deveres.ie
Rory Guthrie Director roryguthrie@deveres.ie
Auctioneers: John de Vere White Rory Guthrie 2
Aisling T贸th Associate Director info@deveres.ie
1 Peter Collis RHA 1929-2012 VICO ROAD, DALKEY Oil on board, 28" x 31" (71 x 79cm), signed, inscribed verso.
â‚Ź3000 - 5000
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2 Donald Teskey b. 1956 RIVERBANK II Oil on paper, 15½" x 12" (39.5 x 30.5cm), signed, inscribed verso.
Provenance: The Vangard Gallery, Cork (label verso).
€2500 - 3500
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3 Tony O’Malley HRHA 1913-2003 BAHAMAS PAINTING WITH SELF Oil on paper, 16½" x 11½" (42 x 29cm) signed & dated 1988; signed, inscribed & dated 1988 verso, opus No. 8145
Provenance: Taylor Galleries, Dublin (label verso).
€2000 - 3000
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4 Norah McGuinness HRHA 1901-1980 YELLOW FLAGS, SLIGO Oil on canvas, 28" x 36" (71 x 91.5cm), signed, inscribed verso.
Exhibited: The RHA Annual Exhibition, 1970, Cat. No. 105 (price: £205).
Provenance: The Artists Family and by descent to the previous owner; Adams Important Irish Art, 8th Dec. 2009, lot 20.
From the time she entered the Dublin Metropolitan School of Art in 1921, having won a three year scholarship, McGuinness was assured success as an artist. In 1924 she exhibited her first painting at the RHA at the tender age of 23. Throughout her life she excelled not only as a landscape painter but also in the fields of design and illustration. In 1929, following the break-up of her marriage and on the advice of Mainie Jellett, McGuinness travelled to Paris to study under Andre L’Hote. Although she never embraced cubism to the extent of Jellett, it still influenced her work particularly in this period. The characteristic use of bold colour and the exactness of her painting make this a wonderful example of her work.
fter France she lived in London and exhibited widely. In 1940 she returned to Ireland A and went on to exhibit with Victor Waddington, becoming a founding member of the Irish Exhibition of Living Art in 1943. In 1950 she was chosen to represent Ireland in the Venice Biennale.
€9000 - 12000
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5 Peter Curling b. 1955 THE OPEN DITCH Watercolour, 25" x 41" (63.5 x 104cm), signed.
â‚Ź6000 - 9000
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6 John Shinnors b.1950 BLACK SKIRT STILL LIFE Oil on canvas laid on board, 48" x 60¼" (122 x 153cm), signed; signed & inscribed verso.
€8000 - 12000
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7 John Shinnors b.1950 BIRDS OVER LOOP I Oil on canvas, 6 panels each 12" x 10" (30.5 x 25.5cm), signed; signed & inscribed verso. Provenance: Taylor Galleries, Dublin, Catalogue No. 20, Nov/Dec 2004 (label verso).
â‚Ź4000 - 6000
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8 Markey Robinson 1918-1999 BONAMARGY FRIARY, CO ANTRIM Gouache on board, 32" x 39½" (81 x 100cm), signed.
onamargy Friary is situated off the Cushendall Road, B on the approach to Ballycastle, Co Antrim.
€6000 - 9000
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9 Colin Middleton RHA RUA 1910-1983 RED LANDSCAPE (1962) Oil on canvasboard, 25" x 30" (64 x 76cm), signed with monogram; inscribed & dated 1962 verso.
Provenance: Christies, London, 4th October 1985 (front cover illustration).
I t seems likely that the present painting is Red Landscape exhibited at the Magee Gallery in Belfast in 1962 in an exhibition of Colin Middleton’s paintings from 1940 to 1962. In 1962, Middleton was living in Lisburn and teaching there at Friends School and while many of the landscapes in this group are drawn from the north coast and also from Donegal, it is interesting to note that the name Largymore also appears.
T his area on the edge of Lisburn also inspired another significant landscape that used red as a dominant element in the work, Red Landscape, Largymore (1960); not since the mid-1950s had colour played such an emotive and symbolic role in Middleton’s painting. Both works also demonstrate an interest in a more formal geometric structure that is typical of this period, but the highly organised grid arrangement of the earlier picture is less tautly controlled and more free flowing and dynamic in Red Landscape, 1962.
nother interesting comparison is with Sundown, Carnalridge III (National Museums Northern A Ireland), also painted in 1960. It builds up the composition with a similar range of loosely formed squares and rectangles in carefully related colours and both paintings create space through the shifting scale of these repeated shapes, but the solid architectural construction of the earlier painting is less central to Red Landscape, where the contrasts of juxtaposed colours and a number of forceful diagonals convey a remarkable sense of exuberance, optimism and energy. This geometric analysis of the image and the picture space with the use of non-descriptive and often intense colour is reminiscent of Paul Klee, an artist in whom Middleton was very interested.
Dickon Hall, 2015
€15000 - 20000
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10 George Campbell RHA 1917-1979 STILL LIFE WITH CANE CHAIR, 1967 Oil on board, 30" x 20" (76 x 51cm), signed; signed & inscribed verso.
Provenace: The Ritchie Hendricks Gallery, Dublin, Aug. 1967 (label verso); N. Jameson Esq.
In 1967 George Campbell still worked in an idiom dominated by cubism, with which he first appears to have become engaged around 1950, but it is also interesting to see in the present painting the effects of the more purely abstract works with which he had begun to experiment earlier in this decade. In the present still life the picture space is compressed rather than flattened and the unevenness of spatial treatment creates an effective and slightly unsettling air of ambiguity, with the table top tilted up dramatically towards the viewer and with a vase standing straight up and almost flat against the table.
T he back of the cane chair that is almost level with the table sits, however, more in relation to the room behind rather than to the picture surface but it provides a strong curve that closely mirrors that of the table, the two interlocking circles uniting the shallow foreground space with the series of rectangles that make up the far wall.
T he dramatic lighting of the interior, with its adjacent passages of light and dark and pools of shadow contrasting with reflections of light, perhaps suggests a Spanish interior rather than one in Ireland. The brown curtains relate pictorially to the vase and the patterns of the curtains recall the unusual shapes used in a number of Campbell’s abstract paintings. Dickon Hall, 2015
â‚Ź8000 - 12000
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11 Lady Beatrice Glenavy RHA 1881-1970 THE SAILORS RETURN Oil on canvas, 15" x 18" (38 x 46cm), signed with monagram; inscribed verso & priced £15.
T he artist was born Beatrice Elvery, under which name she worked as a precocious and versatile sculptor and illustrator as well as in stained glass until 1910. That year she left Dublin to study painting at the Slade School of Art in London, two years before she married the distinguished barrister and politician Gordon Campbell. From 1912, she was known as Beatrice Campbell until her husband succeeded to his father’s title of Baron Glenavy in 1931. By then, she had resumed painting in oils and tempera on canvas after raising three children while working distinctively in a variety of media.
I n her oil paintings she favoured fanciful imaginary scenes beneath trees and still-life arrangements of memorabilia set against forest backgrounds, returning over again to the same subjects. By 1935, two years after she was elected an Academician of the R.H.A., she was able to assemble fifty nine paintings for her first one-person show at The Gallery in Dublin’s St. Stephen’s Green. Romantic compositions featuring poets, nymphs, shepherds, shepherdesses, mermaids, Regency gentlemen and ladies in stage settings recur, with titles like The Vain Suit, The Dance, The Off-Shore Wind and A Sea Chanty. She exhibited The Sailor’s Return at the R.H.A. In 1941, for sale at £20, and again the following year. Her sailors are invariably tiny-waisted dressed in white skin-tight, bell-bottom breeches to reveal muscular thighs and balletic open-necked shirts with a fluttering scarf and rolled-up sleeves to display bulging strong arms. Their Byronic hair contrasts with the curly manes of their lasses whose tight dresses reveal similarly curvaceous bodies, invariably accompanied by a playfully alert collared dog – as in this painting.
Poised with his parrot, the ship that has brought him anchored close to the shore behind him, the sailor kneels in suspended motion as he greets his love seated expectantly on a grassy mound. She has a beribboned bundle of his letters untied on her lap, one of which she has been reading, as she gazes up at him as though surprised. Behind her, a church is set symbolically on a clifftop promontory in the sea. In almost identical painting of the same subject and size sold by a Dublin auction house in 2007, the girl’s expression was more surprised, her dress white rather than the soft pink here, her beribboned straw hat more loosely painted and the canvas more bluish in tone.
Nicola Gordon Bowe, October 2015
€5000 - 7000
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12 Paul Henry 1876-1958 COTTAGES, CONNEMARA 1922-23 Oil on canvas 10½" x 12" (25 x 30cm).
Provenance: Major William Kirkwood and his wife Harriet Kirkwood, who received it as a gift from the artist, and by whom passed to Elizabeth May McGeown (nee Wall); thence by descent; Adams, Important Irish Art, Dec. 2009, lot 109.
E xhibited: New Irish Salon, Mills’ Hall, Dublin, 4-31 March, 1923; (?) Exhibition of Pictures by Paul and Grace Henry, Magee’s Gallery, Belfast, from 12 April, 1923; (?) Exhibition of Pictures of Ireland by Paul and Grace Henry, Dublin Painters’ Society, Dublin, 12-27 June, 1923.
T his work, with the attention focused on a detail of a group of cottages rather than on the wider scene, is a departure for Paul Henry. The picture may be another version of Henry’s Cottages in Connemara, also of 1922-3, which is illustrated in S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations (Yale University Press, 2007, p. 222, catalogue number 598), but of this one cannot be sure. Certainly, however, the two compositions have a close similarity and stylistically must relate to Henry’s Spring in Wicklow (Kennedy, 2007, p. 220, number 590). The small area of green paint seen in the middle distance also appears in the latter picture, suggesting that they were painted within a short time of one another. The handling of paint, too, in all three pictures is similar, being more concentrated and with thicker brushwork than is usual with Henry, although the brushstrokes on the gable walls of all the cottages is typical of Henry’s work. Dated 1922-3 on stylistic grounds. Dr S.B. Kennedy, November 2015
€20000 - 30000
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13 Walter Frederick Osborne 1859-1903 A SUNNY MORNING IN THE FIELDS, PONT-AVEN Oil on board, 8½" x 12½" (21.5 x 32cm), signed & dated 1883, inscribed in pencil on the board verso and also with an inscribed label.
Provenance: Collection of Francis X. Murray (Solicitor), Verbena, Lower Drumcondra Road, Dublin, and thence by descent; Important Irish Art, Adam’s, 6 April 2011, lot 64; Private Collection.
alter Osborne’s picture was painted at Pont-Aven, the beautiful village on a river estuary in Brittany which, since W the 1860’s had attracted painters and, by the 1880’s, when Osborne visited, had become one of the most popular artists’ colonies. It was notable for its old stone mills, river with large rocks, little bridges, picturesque harbour with boats, surrounding woods and farms, and the neighbouring chapel of Tremalo, and it also had some inns sympathetic to painters, and even an artists’ suppliers.
Osborne painted scenes of local women and children in the village for instance, Driving a Bargain, 1883 1, a market scene set by the bridge, and also quieter motifs in the surrounding farms and countryside. The present small picture is one such work, and is of interest in that the exact title, A Sunny Morning in the Fields, Pont-Aven, inscribed in pencil on the reverse, is one of few occasions when the exact location of the subject in Brittany, or elsewhere, is identified in a painting by Osborne.
e chooses a simple motif, a cottage set by a field with trees, but evokes the atmosphere of a peaceful green and H gold landscape, on a warm, sunny day, with skill and charm. The low stone cottage or barn, with its tall, slate roof, pink roof tiles, and chimney stack, is characteristic of Finisterre. To its right are two wiry apple trees in leaf, which, although at some distance apart, seem to tilt towards each other. Behind them is golden foliage, perhaps that of a crop, and another stone cottage or barn just visible behind the trees. In the foreground the grassy field or orchard is dappled by sunlight.
T he picture lacks figures, but the presence of a pair of geese, just visible in the grass, gives the sense of human or domestic life nearby. Here, as elsewhere, Osborne gives as much care and affection to a small landscape without figures as he does to a larger figurative composition. The picture is carefully composed, yet has a sense of spontaneity; and a richly-painted surface, yet has a sense of space and atmosphere. He conveys the feeling of warm sunlight on rough stonework, light on the grass in the foreground; the texture of wiry trunks and leaves, and a slight haze over the blue sky. The trees, as mentioned, appear to lean towards one another, while the chimney stack of the cottage is echoed by another chimney or turret behind the trees.
sborne employs a palette of olives and moss greens, greys, browns, Naples yellows, siennas, reds and blues, applied O in small dabs of paint, sometimes with the brown of the panel showing through, to give a warm, glowing surface. The subject of cottage and trees, and simple composition, are not dissimilar to American Arthur Wesley Dow, in his The Old Orchard, 1886 (Watson Gallery, Norton, Mass.) 2. However, Osborne seems to employ an almost quasi-Pointilliste style, which was original among his contemporaries. Three years later, Emile Bernard, an associate of Gauguin at Pont-Aven, was to paint a similar orchard subject, Au Soir, verger a Pont-Aven (Musée des Beaux Arts, Quimper), in a more colourful, radical Divisionist manner 3.
Osborne’s A Sunny Morning is framed by an attractive gilded frame with scallop shell and leaf motifs at the corner. The reverse of the panel provides an interesting narrative of its own, with the title of the picture inscribed in pencil on the scored wood surface, and repeated on the white label, lower left, a label from the art suppliers Bregazzi & Sons, Carvers, Gilders and Picture Makers, 10 Merrion Row, Dublin, and a red wax seal.
After leaving Pont-Aven, Osborne moved to Quimperlé, where he painted another orchard picture Apple Gathering, Quimperlé (N.G.I). A Sunny Morning adds to his rich Breton oeuvre. It may not have been exhibited during his lifetime, and belonged in the collection of a Dublin Solicitor for many years.
Julian Campbell, November 2015 €20000 - 30000
1. Irish Art, Adam’s / Bonhams, 29 May 2002, Lot 23. 2. See also Au Soir, 1888 (Ipswich School Committee, Mass) and October, Twilight, 1888 by Low. 3. Osborne’s painting A Sunny Morning has certain affinities with the small, colourful Divisionist studies by Seurat, 1881-83, although he is unlikely to have known such works.
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label verso
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14 Letitia Marion Hamilton RHA 1878-1964 THE ROAD TO ROUNDTSONE Oil on canvas, 20" x 26" (51 x 66cm), signed with initials, inscribed artist’s label verso.
Letitia Marion Hamilton was born in Dunboyne in 1878. Together with her sister Eva (see lot 16) she studied art at the Dublin Metropolitan School of Art under William Orpen. They were cousins of the watercolourist Rose Maynard Barton. Letitia went on to study in Belgium with Frank Brangwyn and the Slade School of Fine Art. Despite attending school at Dublin’s prestigious Alexandra College, the family were not well off and the two sisters helped with finances through sales of their paintings.
Letitia exhibited more than 200 works at the RHA and travelled extensively in Europe. The west of Ireland, especially Roundstone, was a favoured holiday location and she painted the harbour many times. This is a particularly good example. Her work is included in all the main civic collections in Ireland.
€10000 - 15000
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15 William John Leech RHA ROI 1881-1968 LES ENFANTS ET LES OMBRES Oil on canvas, 21½" x 28¾" (55 x 73cm), signed.
Provenance: Private Collection, Coventry, U.K. by whom acquired in the 1950’s; Private Collection, The Hague.
Exhibited: Dublin, Royal Hibernian Academy, 1920, no. 12 (£65.00); London, Cooling Galleries, William John Leech, 1927.
Literature: Denise Ferran, William John Leech, An Irish Painter Abroad, London, 1996, p.76 (as ‘present whereabouts unknown’).
Painted at a time of tremendous upheaval in Leech’s personal life, Les Enfants et Les Ombres attests to the changes wrought by his separation and divorce from his first wife, the Bostonian Saurin Elizabeth Kerlin and his nascent relationship with the married mother of three, May Botterell.
s is evident in this painting, his style and composition had moved A to a less formal and more intimiste mood than that which had immediately preceded it. While this is probably as much Leech’s response to the end of the war as anything else there is little doubt that his heightened palette and radiant subject matter express a wholly re-enlivened hand.
uch of Leech’s output from 1919-1921 clearly harks back to his M pre-war subject matter. Les Enfants et Les Ombres has distinct parallels with ’Twas Brillig (Private Collection), (fig.1) painted in 1909/10. In each painting the strong, horizontal planes of sun drenched colour are defined by bands of vertical and horizontal shadow. These bind together composition’s that are at once both carefree and cleverly structured.
A sense of fun emanates from Les Enfants et Les Ombres. Set in a wood beyond fields and the village of Concarneau, children play beneath a tree as a younger child darts out from behind another, possibly playing hide and seek. Yet more children meander down from the village at the top of the composition to join their friends in the wood. This summer idyll is underscored by both Leech’s palette and technique which owe a considerable debt to Van Gogh. Indeed, The Times, reviewing this painting in Leech’s critically acclaimed exhibition at Cooling Galleries, London in 1927 says “Children and shadows of trees painted against the sun, is a little like Van Gogh”. Denise Ferran in her biography of the artist recounts “Mrs Cecil Leech (the artists sister-in-law), herself a capable artist, remembered it as one of his most beautiful paintings” Denise Ferran, Leech, An Irish Painter Abroad, London 1996.
Clearly it was a work in which the artist took considerable pride bearing an asking price of £65 at the RHA in 1920.
€40000 - 60000
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16 Eva Henrietta Hamilton 1876-1960 DUNBOYNE VILLAGE Oil on canvas, 25" x 29" (63.5 x 74cm). Exhibited: Royal Hibernian Academy, 1911 (no. 145, £15-15s).
Dunboyne, Co Meath is the village next to Hamwood, the Hamilton’s family home. The sketch for this oil was sold at the Christies Stackallan House Auction in 2002, lot 226 (see image).
€7000 - 10000
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17 Letitia Marion Hamilton RHA 1878-1964 RAIN AT KILKEE, CO. CLARE Oil on canvas, 16" x 20" (41 x 51cm), signed, inscribed verso; inscribed artist’s label verso.
€6000 - 9000
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18 Louis le Brocquy HRHA 1916-2012 JAMES JOYCE (1977) Charcoal on paper, 13¼" x 11½" (34 x 29cm), opus no. C293, inscribed by artist verso “for Ha... Jameson with admiration and good wishes always, Louis, 12 May 1979”. Exhibited: Gimpel & Fils, Jan/Feb 1978, No. 24 (label verso).
Despite not knowing him, le Brocquy regarded James Joyce and Yeats as ‘real heroes, heroes of courage, Promethean’. He painted over 100 studies of Joyce, in oil, watercolour and charcoal.
“I could have kept on indefinitely, because I never felt there was anything definitive or conclusive about them. I think Joyce’s own works are like that, cyclic rather than linear, ending as it began, a circle to be entered at any point. It was the product of a remarkably Celtic mind, a counterRenaissance mind in a sense perhaps comparable in its minute patience, in its constant circularity, to the interlacing’s of the Book of Kells”. Louis le Brocquy, 1979 €6000 - 9000
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19 Rowan Gillespie b. 1953 TWO Bronze, 17Âź" high (44cm), signed, inscribed & dated 2003, ed. 2/9.
T his is a study for an 8ft high sculpture made for the 2003 Bad Ragaz Sculpture Biennale in Switzerland. The large version is in a private collection in the Principality of Liechtenstein.
â‚Ź6000 - 9000
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20 Hughie O’Donoghue b. 1953 MARSH OF THE COW III Oil on linen canvas, 22" x 26" (56 x 66cm), signed, inscribed & dated 2001 verso.
Provenance: Rubicon Gallery, Dublin (label verso).
€6000 - 9000
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21 William Crozier HRHA 1930-2011 THE POOL 11 Oil on canvas 16" x 20" (40.5 x 51cm), signed; signed verso.
Provenance: Taylor Galleries, Dublin (label verso).
â‚Ź4000 - 6000
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22 Frederick Edward McWilliam 1909-1992 BOX FOUR, 1969 Bronze, 15" (h) x 13½" (w) x 12" (d), (38 x 34 x 30cm), ed. 3/5. Cast by Fiorini Foundry.
o 353 in ‘The Sculptor F.E. McWilliam’ published by the Henry Moore Foundation and N Lund Humphries 2012.
Exhibited: Waddington Gallery, 1971; Arts Councils of Ireland, 1981, cat. No. 88; Gordon Gallery 1984; Shambles 1988; New Art Centre 1989.
cWilliam regarded sculpture primarily as a means of personal expression and as Roland M Penrose wrote in 1964 that “McWilliam is an inventor of styles” and added that “He has above all the understanding and instincts of a poet.”
McWilliam, who evolved a new series every three years, began his playful Girl Series in 1969 which ended in 1971 when he began his emotionally charged Women of Belfast in response to the bomb at the Abercorn restaurant in Belfast. His Girl Series included his Box Series, of which Box Four is one. The series combined the seated movement of two girls in various poses of listening and chatting, within the confines of a box base, walls and top. McWilliam brings movement into the seated pair by using contrasting surfaces of polished bronze against textured, darkened bronze, with the arm movement of each girl, yet still retaining the box shape. These arm movements are forerunners for his next series Women of Belfast but in Box Four the women’s faces are clearly defined beneath textured, flowing hair. Whereas in Women of Belfast no faces are visible, hidden beneath torn garments, flung over their faces so no victim is identified.
McWilliam trained at the Slade School of Art in London after a year at Belfast Art School, and his Slade training is evident in the fine drawn lines, etched in the legs and hands of the two women, differentiating their anatomy in a solid facing of polished bronze.
cWilliam’s lifelong friend, the Irish landscape painter, the late T.P. Flanagan, believed that M these box figures best exemplified McWilliam’s drawing ability, his mastery of form, his creative use of texture in the clothes and hair, contrasted with smooth surfaces of flattened backs and arms and legs and his introduction of a fourth dimension in the voids created by the encircling women in the confines of an invisible box.
Dr Denise Ferran, November 2015
€14000 - 18000
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23 Louis le Brocquy HRHA 1916-2012 STILL LIFE, LEMONS Oil on canvas, 15" x 18" (38 x 45.5cm), signed; signed & dated 1993 verso. Opus no. 609.
Le Brocquy’s still-life paintings originate in the early 1940’s. Inspired by the cornucopia of life at Les Combes the artist embarks on an ongoing series of life and still-life paintings. Dorothy Walker writes: “Le Brocquy’s intention is to transmute the reality of an object into the reality of an image by the medium of oil paint. The medium is rich, palpable, almost luscious”.
Regarding the art of Still Life le Brocquy commented:
“Perhaps this is simply a temporary release from the heads and their rather intense reflective consciousness, their tragic aspect. A return to a simple state of being, emerging in its own nature, filling out its volume of reality with the natural possibilities of its form”.
€15000 - 20000
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24 Basil Rakoczi 1908-1979 FACES – LEMONS & BOTTLES Oil on canvas, 22" x 27" (56 x 68.5cm), signed.
Provenance: de Veres Irish Art Auction, June 2007 (lot 44); Private Collection, Northern Ireland.
€3000 - 5000
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25 Louis le Brocquy HRHA 1916-2012 STILL LIFE WITH LEMONS Oil on board, 10½" x 13¾" (27 x 35cm), signed, opus No. 243.
€7000 - 10000
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26 Patrick Collins HRHA 1911-1994 FLOWER PIECE Oil on board, 18" x 24" (46 x 61cm), signed.
Provenance: Ritchie Hendriks Gallery where purchased by Sir Basil Goulding.
Exhibited: One Man’s Meat - The Collection of Sir Basil Goulding, The Municipal Gallery, Dublin December 1961 Catalogue No.7.
Patrick Collins was a self-taught artist, aside from the evening classes he took at the National College of Art while working for an insurance company. In the 1940s he took a tower in Howth Castle as his home and it fast became a meeting place for a select group of artists and writers. Collins flourished within this cultural circle and by 1950 he had begun exhibiting at the Irish Exhibition of Living Art. In 1958, his Liffey Quayside, now housed in the National Gallery of Ireland, won the National Award at the Guggenheim International Show in New York. Five years later his work appeared again in New York when he was one of twelve artists in a group show organised by the Arts Council, Dublin. In the interim, a solo show was held of Collins’ work at the Ritchie Hendriks Gallery, and he had begun to exhibit at the RHA. Following the success of these shows his work was included at the Oireachtas Art Exhibition, The Arts Council of Belfast and the Mercury Gallery in London, as well as solo shows at David Hendriks and Tom Caldwell Galleries in Dublin and Belfast. In 1980, Collins was elected HRHA, and a member of Aosdana the following year. His works can be found in the Irish Museum of Modern Art, Hugh Lane Municipal Gallery, Crawford Municipal Gallery and Ulster Museum. Sir Basil Goulding bought a number of his works in the 1950s and 1960s some of which we have offered over the years. This is a good example of the artist’s work. Collins exhibited with the Hendriks Gallery from their first exhibitions in 1956, the year this work was painted.
€6000 - 9000
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27 Patrick Scott HRHA 1921-2014 GOLD PAINTING Gold Leaf and oil on unprimed linen, 24" x24" (61 x 61cm).
Provenance: Acquired directly from the artist by the present owner.
â‚Ź5000 - 7000
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28 Patrick Scott HRHA 1921-2014 FONTANA II Tempera with palladium leaf on unprimed canvas, 24" x 24" (61 x 61cm), signed & inscribed verso.
Provenance: Acquired directly from the artist by the present owner.
â‚Ź4000 - 6000
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29 Hughie O’Donoghue b.1953 ANZIO, THE OVERPASS III Oil and mixed media, 44½" x 65¾" (113.5 x 167cm), signed & inscribed; inscribed label verso.
Provenance: Purdy Hicks Gallery, London, where purchased by the present owner.
€15000 - 20000
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30 Nick Miller b.1962 PORTRAIT OF KEVIN VOLANS AS A STILL LIFE Oil on linen, 38" x 40" (97 x 102cm), signed; signed, inscribed & dated 2004 verso.
Provenance: Rubicon Gallery, Dublin (label verso).
â‚Ź4000 - 6000
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31 Conor Fallon RHA 1929-2005 BIRD Steel, 11½" high (29cm), signed & dated 1999.
€2000 - 3000
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32 Melanie le Brocquy HRHA b.1919 FAMILY GROUP Bronze, 11¾" high (30cm), signed with initials & numbered 2/5, DAF stamp.
Provenance: From the Estate of Dr. Carmel Long and Richard Dennis Esq; Private Collection.
€4000 - 6000
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33 Frank McKelvey RHA RUA 1895-1974 FARMYARD Watercolour 14½" x 20½" (37 x 52cm) signed.
€1400 - 1800
34 William John Leech RHA ROI 1881-1968 ON THE SEINE, PARIS Oil on board, 6" x 8" (15 x 20cm), signed, inscribed verso.
€3000 - 5000 46
35 Frank McKelvey RHA 1895-1974 LAGAN VALLEY Oil on canvas, 20" x 25½" (51 x 65cm) signed.
€2000 - 3000
36 Aloysius O’Kelly RHA 1850-1929 FRENCH FARMHOUSE Oil on board, 9½" x 13" (24 x 33cm), signed.
native of Roscommon, O’Kelly travelled to Paris in 1874 and enrolled at Ecole A des Beaux-Arts. In 1876 he travelled to Britany where the coastlines, fishing ports and villages became the subject matter for many of his paintings. He lived in Concarneau, returned to Connemara and ended his days in the United States painting rural scenes around New York.
€2000 - 4000 47
37 Walter Frederick Osborne 1859-1903 The Old Fountain, Madrid Watercolour and body colour on paper; 13¾" x 9½" (35 x 24.5cm), signed.
Provenance: Given to the Jameson family, Sutton House; Important Irish Art, Adam’s 4 October, 2006, lot 56; Important Irish Art, Adam’s, 6 April 2001, lot 65.
E xhibited: Royal Hibernian Academy, Dublin, 1897 no. 240; Royal Birmingham Society of Artists, Autumn Exhibition, 1897 no. 541; Walter Osborne Memorial Exhibition, Dublin 1903, no. 171.
Literature: Jeanne Sheehy, ‘Walter Osborne’, Ballycotton, 1974, p.140; Cat. No. 452; J. Campbell, Adam’s 2006. P. 52-53.
alter Osborne’s visit to Spain in 1895 provided a short but fascinating interlude in his busy career as a painter of W Dublin scenes and portraits. He had also visited the Netherlands in that year, and the opportunity arose for him to travel to Spain with his friend Walter Armstrong, who had recently been appointed Director of the National Gallery of Ireland. Armstrong was interested in the work of the Spanish master Velasquez, on whom he was writing a book, and whose paintings he wished to see in Madrid, and was keen to share his enthusiasm with Osborne 1.
Unlike some of his contemporaries Osborne does not seem to have visited the South of France or Italy 2 , so the journey to Spain may have been the furthest south that he travelled in his career. Less popular than Italy, where artists studied the treasures of Classical and Renaissance civilizations, copied Old Master painting, or studied in Rome, nevertheless many individual 19th Century French, British and Irish artists made the journey to the Iberian Peninsular.
Osborne and Armstrong travelled by train, via Paris and Bordeaux, to Madrid, in December 1895. Crossing the border may have entailed the slow procedure of changing trains to accommodate railway lines of different gauges. In Bordeaux Osborn had written to his colleague and fellow portraitists Sarah Purser, regretting that he had not brought his painting colours with him3. This is a surprising comment, because he painted a watercolour of the Markets in Bordeaux 4 , and the present painting in Madrid, carried a sketchbook with him, and also executed a couple of oil paintings. It is thus likely that he did carry some basic materials with him, or purchased some en route!
sborne made pencil sketches of Armstrong in the train and in a café. He was enthralled by Spanish life, and made O lively studies of figures in the street, the café and railway station, watching a game of pelota, some of them dated December 1895. He also made sketched of horses, oxen and a cart 5 . He made a copy of Velasquez’s Mercury and Argus at the Prado. Osborne also visited Brincola, Alcodor and Toledo, where he sketched figures outside a synagogue. Also extant from the journey is a delightful small oil sketch An Interior of a Coach House 6 , showing a girl standing beside carts in the shady courtyard of an inn, perhaps where Osborne and Armstrong stayed en route.
T he present watercolour An Old Fountain, Madrid is one of Osborne’s most detailed Spanish paintings extant. It shows a busy street scene with cobbled foreground, local people at a fountain, and tall buildings behind, with a glimpse of blue sky at the top of the picture. Much of the painting is in shadow, yet Osborne represents figures and setting with great delicacy. We can see, for example, the woman with blue shawl and skirts, a man with beret, some children, the donkey with paniers, and the pulley mechanism of the well.
T he Little brushstrokes and watery blots used to indicate the cobbled foreground indicate how quickly Osborne worked. Traces of blue on the cobbles suggest reflections of the figures, perhaps indicating pale terracotta roofs, and blue sky, in the upper right – hand corner are painted with a delicacy that recalls John S Sargent’s watercolours. An Old Fountain, Madrid combines a care in composition with a spontaneity of execution, the transparency of watercolour with a glowing depth of colour, perhaps given by Osborne’s use of body colour with thinner watercolour.
Madrid contained several famous fountains, notably, the Fuente de Cibeles and Fuente de Neptune. That in Osborne’s painting seems to be a more simple neighbourhood fountain where local people fetched their water. A similar meridional scene can be seen in Thomas Macquoid’s charming At the Fountain, Spain, 18917.
An Old Fountain, Madrid was exhibited at the Royal Hibernian Academy in Dublin, and again at the Royal Birmingham Society of Artists’ Autumn Exhibition, in 1897. It was loaned by Andrew Jameson to the Walter Osborne Memorial Exhibition at the R.H.A. in 1903. Julian Campbell, November 2015
€15000 - 20000
48
1. Jeanne Sheehy, ‘Walter Osborne’, NGI 1983 p.181 2. Some venetian paintings have been attributed to Osborne, see J. Sheehy, ‘Walter Osborne’, 1974, p.158,; Paul Caffrey, Catalogue of Paintings, University Club Dublin Collection 2003. 3. Sheehy, 1974 p.37 4. Exhibited Watercolour Society of Ireland, 1897 no.86 5. Osborne’s Spanish sketches are in collection of NGI and private collections. 6. See Kenneth McConkey, ‘An Interior of a Coach House’, in The Art of a Nation, Pyms Gallery, London, 2002, p.82 – 84; and in Morgan O’Driscoll, Skibbereen, 2008, p.40 and following Osborne also exhibited, ‘A Spanish Inn’, possibly a larger picture, at RHA in 1896. 7. Exhibited Royal Institute of Painters in Watercolours, 1891, no.182. Compare also Well scenes by Richard W. West, West Gallery, Alassio; and ‘Street Scene in Naples’ by Vincenzo Migliaro, in How to Give It project for Save the Children, Christies’s, 2014.
49
38 Jack Butler Yeats RHA 1876-1957 MAN IN A TRAIN THINKING Oil on canvas, 18" x 24" (46 x 53.5cm), signed.
Provenance: Ex-collection Terence deVere White; Private Collection Dublin; Adams Important Irish Art Auction, 5th December 2006, Lot 34; Private Collection Dublin.
E xhibited: ‘Jack B Yeats’ exhibition, The Tooth Gallery, London, March-April 1928, Cat No. 14; The Royal Hibernian Academy Annual Exhibition, 1929, Cat No. 27; ‘Jack B Yeats - Later Work’ exhibition, Contemporary Picture Galleries, Oct-Nov 1941, Cat No. 8 where purchased by Terence de Vere White; Jack B Yeats - National Loan Exhibition', National College of Art, Dublin, June-July 1945, Cat No. 60; ‘Society of Scottish Artists 52nd Exhibition’, Royal Scottish Academy, Edinburgh, Spring 1946, Cat No. 147; ‘Jack B Yeats Loan Exhibition’, Temple Newsam House, Leeds, June-Aug 1948; ‘Jack B Yeats Loan Exhibition’, The Tate Gallery, London, August-September 1948, Cat No. 11, This exhibition was organised by the Arts Council of Great Britain and travelled on to the Aberdeen Art Gallery and Edinburgh, Royal Scottish Academy; ‘Jack B Yeats - A Selection of Paintings’ exhibition, Sligo County Library and Museum, August-September 1960, Cat No. 19; ‘Jack B Yeats - Loan Collection’ exhibition presented by Sligo Arts Society, The Town Hall, Sligo, August 1961, Cat No. 56; ‘Jack B Yeats - A Centenary Exhibition’, The National Gallery of Ireland, Dublin, September - December 1971, Cat No. 47; ‘Jack B Yeats - A Centenary Exhibition’, The Cultural Centre, New York, April-June 1972, Cat No. 47.
Literature: Hilary Pyle, ‘Jack B Yeats’ – A Catalogue Raisonne of the oil paintings Vol I No. 349, page 317 – full page black and white illustration Vol III, page 146.
‘Yeats told a story about Man in a Train Thinking at the Royal Hibernian Academy dinner in 1929, reported in the Irish Times (17th April 1929). Travelling from Dublin to the West of Ireland, he said, he watched a man in the corner of the carriage, who had a woebegone expression, and whose coat and collar were buttoned up to his ears. He looked so wan and sad that the artist said to him: “Are you ill? Can I do anything to help you?” “No sir, thank you,” replied the man. “You see, it’s like this, sir,” he continued. “I bought a ticket for the Calcutta Sweepstake for a pound note. Then I sold it to a man for two pounds. And now that ticket has won a prize for a hundred thousand,” and he sighed dolefully. “Great heavens,” exclaimed Mr Yeats, “if that had happened to me I’d have cut my throat,” and then, to the artist’s consternation, his sickly-looking fellow-traveller moaned, “That’s just what I have done sir!”
T he dark colours of the railway carriage, and the man’s pale face, are lit by the yellow-green through the window from the corridor. Contemplative figures of this kind become more common during the 40s (617, 925, etc.), often involving groups of people (663), and in the 50s tend to esotericism, as A Man with a Secret (1169)’.
€200000 - 300000
50
51
39 William Percy French 1854-1920 LAKE LANDSCAPE, CONNEMARA Watercolour, 14" x 20½" (36 x 52cm), signed & dated 1911.
€5000 - 7000
52
40 Niccolo d’Ardia Caracciolo RHA 1941-1989 DUBLIN MEWS Oil on board, 7" x 9" (18 x 23cm), signed.
Provenance: The Artist’s Estate.
€800 - 1200
41 Niccolo d’Ardia Caracciolo RHA 1941-1989 RUINED ABBEY Oil on board, 7¼" x 9½" (18.5 x 24cm), atelier stamp verso.
Provenance: The Artist’s Estate.
€600 - 900 53
42 Patrick O’Reilly b.1957 BULL Bronze, on a cylinder base, 61" high, including base (155cm) signed & dated 2014 ed. 1/1.
â‚Ź4000 - 6000
54
43 Louis le Brocquy HRHA 1916-2012 THE TAIN - LEAPING WOLFHOUND Brush lithograph, paper size 15" x 21¼" (38 x 54cm), signed, inscribed & dated 1969, ed. 53/70.
€1500 - 2000
44 Louis le Brocquy HRHA 1916-2012 THE TAIN - WOMEN WATCHING Brush lithograph, paper size 15" x 21¼" (38 x 54cm), signed, inscribed & dated 1969, ed. 53/70.
€1500 - 2000 55
45 Sir John Lavery RA RSA RHA 1885-1941 STEAMERS IN THE HARBOUR, ST JEAN DE LUZ Oil on canvas, 24" x 29½" (61 x 75cm), signed.
Provenance: Dublin, James Adam, 1 June 1989; London, Sotheby’s, 16 May 2003; Whyte’s Dublin, 14 March 2011; Private Collection, Co Louth.
Exhibited: Edinburgh, Royal Scottish Academy, 1920, no 187 (?).
In April 1917 John and Hazel Lavery embarked on a spring holiday – their first since the outbreak of war. Fear of U-boat attack on passenger vessels following the sinking of the Lusitania two years earlier, was intense and the painter’s studio at Tangier was permanently out of bounds. Although the German Navy remained active, by this time supply routes across the English Channel were less risky and with Lavery’s commission as an Official War Artist looming in a few weeks, the couple set off. Travelling first to Paris, they visited the painter’s old friend Jacques-Emile Blanche, and then journeyed south to the Duke of Westminster’s shooting lodge at Mimizan on the Atlantic coast, before finally repairing to the Grand Hotel de l’Angleterre at St Jean de Luz 1 . The town that, along with neighbouring Biarritz, had been a fashionable watering hole for King Edward VII, was now merely a safe haven for ships sailing north and south through the hostile seas of the Bay of Biscay. During their stay, the spacious natural harbour was filled with Norwegian cargo vessels, their bows painted with the bold flags of neutrality.
s always, Lavery travelled with an ample supply of canvases, and at the southern resort he painted the famous A Maison Louis XIV in the central square. Being close to the Spanish border, he also made a brief foray to Fuenterrabia to paint the Good Friday celebrations 2 . However, his main task during the holiday was a suite of six pictures, all painted from the same location looking south over the harbour at St Jean de Luz. Each contains the strip of distant headland with its ancient tower. Throughout the series, the boats change position and the artist, echoing Cezanne on the motif at Mont St Victoire, only needed to move his line of sight to create a new composition. The Harbour, St Jean de Luz, Early Morning, (Sheffield City Art Galleries), and A Still Morning, (Ferens Art Gallery, Kingston-upon-Hull), indicate the painter’s fascination with changing light effects. Working throughout the day, Lavery was obliged to change his palette for the sharper ceruleans of the côté de l’atlantique at midday in The Sands (Private Collection), and in the present example, while in Twilight, St Jean de Luz, (Private Collection), he returns to the more muted mauves and pinks of evening 3. One further picture, Norwegian Cargo Boats, (Private Collection), exclu des the foreground beach and concentrates upon ships pulling out into the deep channel and setting off along the coast. It could almost act as a prelude to the present work in which the lead vessel approaches the harbour entrance with its breaking waves.
S urveying this important interlude, it is impossible not to appreciate the artist’s sense of liberation. Having been confined in London since his last visit to Morocco at the beginning of 1914, opportunities to ‘wash the studio light from his eyes’ were few. Gazing on the majestic sweep of the bay at St Jean de Luz, he clearly recalled the early work of Whistler who, in his youth, had painted on the shore at Biarritz. But it was the magical softness and fluidity of Whistler’s Valparaiso seascapes and nocturnes that haunted him here, as the still morning turned to a bright, blustery midday and the coasters steamed off into hostile waters.
€20000 - 30000
1. 2.
Kenneth McConkey, ‘John Lavery, A Painter and his World’, 2010, (Edinburgh, Atletier Books), pp. 133-6. The Procession, Fuentarrabia, 1917 (Merrion Hotel Collection, Dublin) along with Jaixquibel, A Mountain in Spain, (sold Dreweatt-Neate, 18 September 2002) and The Basque Country, (formerly Art Gallery of New South Wales, Sydney) were also painted on this part of the holiday. See McConkey 2010, figs 156 and 157 for comparison.
3.
56
57
46 Nathaniel Hone RHA 1831-1917 ESTUARY, MALAHIDE Oil on board, 12" x 18" (20.5 x 45.5cm), signed.
Provenance: Cynthia O’Connor (label verso).
€2000 - 4000
58
47 Patrick Hennessy RHA 1915-1980 STILL LIFE Oil on canvas, 20" x 16" (51 x 41cm), signed (later), inscribed verso. Provenance: Adams 1970s; A.D Tomlinson, Hendricks Gallery; Private Collection.
â‚Ź2000 - 3000
59
48 Jack Butler Yeats RHA 1871-957 A Hooker and a Nobbie (by Roundstone Quay) (1911) Oil on panel, 9" x 14" (23 x 35.5cm), signed.
This was painted on Yeat’s first visit to Roundstone in the Summer of 1911.
Provenance: purchased from The Victor Waddington Galleries 1942 by the previous owner’s father and thence by descent; Adams Important Irish Art, 30th May 2012, Lot 33; Private Collection Louth.
E xhibited: 1912 The Walker Art Gallery, London “Jack B. Yeats: Pictures of Life in The West of Ireland”, Cat. No. 15; 1914 Mills Hall, Dublin “Jack B. Yeats: Pictures of life in The West of Ireland” Cat. No. 4; 1942 Munster Fine Art Club, 20th Annual Exhibition, Cork (Group Show); 1977 Wexford Arts Centre, “Irish Art from Private Collections 1870-1930”, Cat No. 41.
Literature: “Jack B. Yeats – A Catalogue Raisonne of the oil paintings”, Vol. 1 Cat. No. 24, p24. Illustrated again Vol III p12.
T his early oil depicts a scene in Roundstone Harbour, the setting of another work by Yeats of the same year. It depicts two traditional West of Ireland vessels, a Galway hooker and a nobbie, which was used for carrying turf, tied together at the quayside. Yeats who was passionate about boats and sailing has managed to let aesthetic concerns stand over any technical presentation of the boats and their rigging. The dramatic cut-off composition results in an almost abstract painting dominated by geometric forms of colour and line. The blue elements of the sea and the sky are separated by the expanse of the pink of the harbour wall. The resulting painting is extraordinarily modern in the simplicity of its subject and in the formal tension that builds up between the different elements of its construction. It demonstrates Yeats’s innate sense of design and his early willingness to experiment with the medium of oil. Applying the paint very thickly Yeats creates an intricate arrangement of forms in which constant variations in brushstroke are evident. This, as in Yeats’s later work, draws attention to the process of painting and makes the viewer aware of the decisions made by the artist in his creation of the artwork. Dr. Róisín Kennedy, April 2012
€40000 - 60000
60
61
49 Mainie Jellett 1897-1944 PAINTING, 1930 Oil on canvas, 30" x 35.5" (76 x 90cm), signed & dated 1930.
Provenance: Mr & Mrs James Creed Meredith K.C., LL.D. (1875-1942); thence by descent to the previous owner; Private Collection, Dublin.
E xhibited: Irish Art Exhibition, Brussels, May 1930; ‘Mainie Jellett Retrospective Exhibition’, Hugh Lane Gallery Dublin, July - October 1962, catalogue no. 3.
Notes: Handwritten label verso reads: 34. / oil / 30 x 36 / A054 / Painting Brussels / Ref Abstract.
The years 1930/31, the year in which this present work Painting 1930, was executed, mark the development of a rather severe linear style with the use of careful surface dotting and geometric patterns. The paintings are confined to tones of predominantly one colour and there is a return to one-element works. The subject matter remains ambiguous. Some of the works appear to be religious, others may be based on Renaissance art or forms from nature, while still others are pure abstract compositions. This ambiguity is consistent with her statement “A picture to me is primarily the harmonious filling of space with rhythmic forms, the subject being of secondary importance.”
See Mainie Jellett, Irish Museum of Modern Art Dublin 1991
€12000 - 16000
62
63
50 Basil Blackshaw HRHA RUA b.1932 TREE Oil on board, 16" x 11" (41 x 28 cm).
Provenance: Ex collection of Cherith McKinistry (label verso).
â‚Ź3000 - 5000
64
51 Basil Blackshaw HRHA RUA b. 1932 HOMAGE TO MURILLO Oil on board, 38" x 22" (96.5 x 56cm).
Provenance: Ex collection of Cherith McKinistry (label verso).
â‚Ź4000 - 6000
65
52 John B. Vallely b.1941 SESSION Oil on canvas, 12" x 16" (30.5 x 41cm), signed.
€2000 - 4000
53 Gerard Dillon 1916-1971 STILL LIFE WITH CANDLE Gouache on paper, 14" x 17" (35.5 x 43cm), signed.
€2000 - 3000 66
54 Cecil Maguire RHA RUA b.1930 CONNEMARA VILLAGE Oil on board, 14¼" x 35" (36 x 89cm), signed & dated ’68; signed & inscribed verso. It has been suggested that this is Ballyconneely Church.
€3000 - 5000
55 Pauline Bewick RHA b. 1935 THE CATS CAUGHT A BIRD Watercolour and acrylic laid on board, 23" x 31½" (58.5 x 80cm), signed & inscribed.
€3000 - 5000 67
56 Barrie Cooke HRHA 1931-2014 HOT TUB Oil on canvas, 72¾" x 72¾" (185 x 185cm), signed, inscribed & dated 2003 verso.
€5000 - 7000
68
57 Barrie Cooke HRHA 1931-2014 DIDYMO Oil on canvas, 27½" x 32" (70 x 81.5cm).
Provenance: Solomon Gallery, Dublin (label verso).
€4000 - 6000
69
58 John Shinnors b.1950 OVER LOOP, JULY Oil on linen, 11¾" x 11¾" (30 x 30cm), signed.
Provenance: The Vangard Gallery, Cork (label verso).
€2500 - 3500
59 Sean McSweeney HRHA b.1938 EVENING BOGLAND Oil on paper 14¾" x 21¾" (37.5 x 55.5cm), signed.
€1500 - 2000 70
60 Makiko Nakamura, Contemporary SOME TIME AGO Oil on canvas, 24" x 24" (61 x 61cm), signed, inscribed & dated Christmas 2001 verso.
Provenance: Peppercanister Gallery, Dublin (label verso).
€1000 - 1500
61 Chung Eun-Mo, Contemporary UNTITLED Oil on canvas 12" x 16" (30.5 x 40.5cm), signed & dated 2005 verso.
€800 - 1200 71
62 Patrick O’Reilly b.1957 BALLET BEAR Bronze, 13" high (34cm).
Please note this bear is being offered on behalf of Ballet Ireland, who will receive the full proceeds of the sale. There is no buyers premium to be paid on the hammer price.
â‚Ź3000 - 5000
72
63 Patrick O’Reilly b.1957 BEAR CARRYING A PAINTING Bronze, 9½" high (24cm), signed & dated 2002.
€3000 - 5000
73
64 Pat Harris b.1953 ROCKS AT KILGALLIGAN (2004) Oil on linen, 24" x 29½" (61 x 75cm), signed, inscribed & dated 2004.
Provenance: Taylor Galleries Dublin (label verso).
€3000 - 5000
65 Pat Scott HRHA 1921-2014 UNTITLED 2009 Intaglio, Carborundum Print, 14½" x 14½" (37 x 37cm) (image size), signed & inscribed 3/100; with limited edition book signed by the artist.
€1500 - 2000 74
66 Charles Brady HRHA 1926-1997 MY WALLET Oil on canvas, 15" x 18" (38 x 46cm) signed.
Provenance: The Tom Caldwell Gallery, Belfast (label verso).
€2000 - 3000
67 Peter Collis RHA 1929-2012 STILL LIFE WITH FRUIT Oil on canvas, 10½" x 15" (27 x 38cm ) signed, inscribed, artist’s label verso. Provenance: The Peppercanister Gallery, Dublin, 2000 (label verso).
€1000 - 1500 75
68 Kenneth Webb RWA FRSA RUA b.1927 FAIRY THORN Oil on canvas, 30" x 20" (76 x 51cm), signed, inscribed verso. Painted circa 1960.
Provenance: Veerhoff Galleries, Washington DC; Private Collection, Cape Cod.
â‚Ź4000 - 6000
76
69 Jim Flavin 1961-2004 PLATEAU Bronze, 27" wide x 10" high (68.5 x 25.5cm), signed, ed. 2/5.
Provenance: The artist’s estate.
Plateau is a work of poise and balance and counter-balance. Dating to the year 2000 Plateau brings together many of the considerations Flavin worked with in the inter-relationship between abstract expressionism in sculpture and his love of bronze as a medium. In 1993 Flavin, who was living in Dublin, set up his own art foundry ‘Bronze Art Ltd’. It was a calling which enabled him to immerse himself in the exploration of the qualities of bronze. In the present work an organic form swells upward and extends out an encompassing arm carrying the eye to a higher plane, a mini plateau levelling out into space. In Plateau, as in his other works, Flavin harnesses the tensile strength of cast bronze, on one hand honouring the thrust and power of the material on the other celebrating it’s fluidity in harmonious flowing lines. There is tension in the two points straining towards each other ‘almost’ touching, a tension redolent of the work of Henry Moore his primary influence. There are echoes too of Barbara Hepworth, seen in the concavity in the form and the attention he has given to texture and colour there. However Flavin has a language of his own, borne of his deep understanding of his material and the process that melds it into sculpture. His work seeks to defy the weightiness of mass and matter and uplifts the form. He balances it, confidently, on one point, he makes mass and volume elevate with lightness and elegance. It reaches to a higher plane.
Flavin was born in Co. Limerick and went on to study at NCAD, The Crawford School of Art in Cork and the Lasallian International Art & Culture Centre, Florence. He was a regular exhibitor at the RHA, Dublin in the 1990s and is represented in private and corporate collections including AIB, Aras an Uachtarain, and in public work commissioned by Dublin and Limerick City Corporations.
€3000 - 5000
77
70 Liam Belton RHA b.1947 STILL LIFE – VESSELS Oil on canvas, 20" x 16" (51 x 41cm), signed.
€2000 - 3000
71 Liam Belton RHA b.1947 LEGANANNY DOLMEN, CO DUBLIN Oil on canvas, 10¼" x 27½" (26 x 70cm), signed, inscribed verso.
Provenance: The Peppercanister Gallery, Dublin (label verso).
€2000 - 3000 78
72 Charles Brady HRHA 1926-1997 PAINT BRUSH Oil on paper, 15¼" x 11¾" (39 x 30cm), signed.
€1500 - 2000
73 Cecil Maguire RHA RUA b.1930 WINTER MORNING ON THE LOUGH Oil on board, 16" x 24" (40.5 x 61cm), signed & dated ’76; signed & inscribed verso.
€2000 - 3000 79
74 Louis le Brocquy HRHA 1916-2012 HUMAN IMAGE III Screenprint on Velin d’Arches, 40" x 29½" (101.5 x 75.2cm), signed & inscribed ed 50/75.
Provenance: Fenton Gallery, Cork (label verso).
€2000 - 3000
75 Ciaran Lennon b.1947 COLOUR COLLECTION (5) Oil on copper, each 9" x 5½" (23 x 14cm), signed & numbered verso, with studio labels.
€3000 - 5000 80
76 Louis le Brocquy HRHA 1916-2012 HUMAN IMAGE I Screenprint on Velin d’Arches, 39" x 29½" (100.2 x 75.2cm), signed & inscribed ed 49/75.
Provenance: Fenton Gallery, Cork (label verso).
€2000 - 3000
77 Ciaran Lennon b.1947 COLOUR COLLECTION (6) Oil on copper, each 9" x 5½" (23 x 14cm), signed & numbered verso, with studio labels.
€3000 - 5000
81
78 Robert Ballagh b.1943 ADOLPH GOTTLIEB BOX Mixed media, 12" x 16" (30 x 40cm). Provenance: David Hendriks Gallery, Dublin, 1974 (Exhibition label verso).
€1500 - 2000
79 Barrie Cooke HRHA 1931-2014 BALLYPORTRY CASTLE Oil on board, 14½" x 16" (37 x 41 cm) signed verso.
Provenance: David Hendriks Gallery, Dublin (label verso).
€2000 - 3000 82
80 Padraig Macmiadhachain RWA b.1929 AFTER THE STORM – ONE BOAT UPSIDE DOWN Oil on canvas, 10" x 12" (25.5 x 30.45cm), signed.
Provenance: The Molesworth Gallery, 1998 (label verso).
€600 - 900
81 Patrick Scott HRHA 1921-2014 UNTITLED VI Carborundum with gold leaf, 57½" x 57½" (146 x 146cm), signed & inscribed 3/40.
Provenance: Taylor Galleries, Dublin (label verso).
€5000 - 7000 83
82 Trevor Geoghegan b.1946 WICKLOW MOUNTAINS Acrylic on canvas, 30" x 42" (76 x 107cm), signed.
€800 - 1200
83 Markey Robinson 1918-1999 STILL LIFE Gouache on board 8½" x 12½" (21.5 x 32cm), signed.
€1000 - 1500
84
84 Mary Theresa Keown b.1974 IMBEDDED Oil on canvas, 29½" x 47¼" (75 x 120 cm), signed; signed, inscribed & dated 12/2/06 verso.
€1500 - 2000
85 Markey Robinson 1918-1999 STILL LIFE Gouache on board, 5" x 11" (12.5 x 28cm), signed.
€600 - 900
85
86 John Minihan, Contemporary FRANCIS BACON, PARIS 1977 Photograph, 26" x 40" (66 x 102cm), signed, inscribed verso A/P 2/6.
€2000 - 3000
87 John Minihan, Contemporary SAMUEL BECKETT PHOTOGRAPHED AT THE CAFE FRANCAIS, BOULIVARD ST., JACQUES Photograph, 40" x 35½" (102 x 90cm), signed & inscribed.
€2000 - 3000 86
88 David Martin RSW RGI b.1922 STILL LIFE WITH ROSE Oil on canvas, 38" x 30" (96.5 x 76cm), signed; signed verso.
Provenance: John Martin Gallery, London, 2001 (label verso), Fredrick Gallery, Dublin (label verso).
â‚Ź2000 - 4000
87
89 Camille Souter HRHA b.1929 ACHILL UP THE BRAE Black enamel and spirit aluminium on paper, 19" x 28" (48.2 x 72.5cm), signed, inscribed & dated 1960.
E xhibited: Dublin, Municipal Gallery of Modern Art, One Mans Meat: Sir Basil Goulding Collection, 1961, Cat. No. 56; Belfast, Ulster Museum, Two Painters: Camille Souter & Barrie Cooke, Jan/Feb 1965, Cat. No. 25; Dublin, The Carroll Building Grand Parade, Two Deeply, One Hundred Paintings by Barrie Cooke & Camille Souter, Cat. No. 18; Wexford, YMCA as part of Festival, Camille Souter Exhibition Oct/Nov 1972, Cat. No. 16; Dublin, Douglas Hyde Gallery TCD, Camille Souter Retrospective, June/July 1980, Cat. No. 11; Dublin, The Taylor Galleries, From the Collection of Sir Basil Goulding, December 1982, Cat. No. 52.
Provenance: The Basil Goulding Collection sale, Adams, March 2005, Cat. No. 66; where purchased by the previous owner; Private Collection.
ho better than Sir Basil Goulding, Camille Souter’s biggest patron, to give us an insight into the artist? Not alone did W he choose all the work for the 1961 Exhibition “One Man's Meat”, which featured Souter on the cover and included this work, but he also wrote a short personal piece on each artist which is worth reprinting here over 50 years later:
“ Camille Souter is a painter of the most rotund delicacy. It must be very rare for an artist to possess or attain to – and in this case they seem to coincide – powers of unfailing sensitivity as transmitted by techniques of unfailing discrimination – and all without much popular notice. One way of verifying a statement of this extremity is to see the artist’s whole stock of paintings: if almost none are exceptions, and they only partial, one may speak. It is intriguing, by the way, to notice how inadequate materials, brown paper, newspaper, spirt-aluminium, printers ink, bicycle enamel, etc in these few pictures – are powerless to inhibit surely evocative artistry”.
€6000 - 9000
88
90 Basil Blackshaw HRHA RUA b.1932 LANDSCAPE II Gouache, 8½" x 11" (21.5 x 28cm).
Provenance: Ex collection of Cherith McKinistry (label verso).
€1500 - 2000
91 Gerard Dillon 1916-1971 NUDE STUDY Mixed media 17½" x 24¼" (44.5 x 62 cm) signed.
€2000 - 4000 89
92 Arthur Maderson b.1942 POINT OF SUNSET, DORDOGNE Oil on canvas laid on board, 32" x 37" (81 x 94cm) signed; signed & inscribed verso.
€2000 - 3000
93 Michael Cullen b.1946 BERLIN SERIES Oil on paper, 27½" x 39¼" (70 x 100cm) signed, inscribed & dated 1986 verso.
€800 - 1200 90
94 Arthur Maderson b.1942 TOWARDS EVENING, STROUD POOL (NEAR LISMORE, CO. WATERFORD) Oil on board, 38" x 38" (96.5 x 96.5cm), signed; signed & inscribed verso.
€2000 - 3000
95 Rosaleen Davey, Contemporary STILL LIFE WITH CONE AND PAPER Acrylic on canvas, 35½" x 35½" (90 x 90cm), signed & dated 2006. €1000 - 2000 91
96 Liam Treacy 1934-2004 THE FLOWER SELLER AND THE BUSKER Oil on canvas 13½" x 17" (34 x 43cm), signed; inscribed verso.
Provenance: The Eakin Gallery, Belfast (label verso).
€800 - 1200
97 Brett McEntaggart RHA b.1939 SUNFLOWER FIELDS, FRANCE Oil on board, 16" x 24" (40.5 x 61 cm), signed.
€800 - 1200
98 Martin Mooney b.1960 THE VIEW FROM THE GARDEN, RADI, TUSCANY Oil on board, 6¾" x 9" (17 x 23cm), signed with initials; signed, inscribed & dated 2003 verso.
92
€500 - 700
99 Markey Robinson 1918-1999 THE TREE LINED ROAD Gouache on board, 9¼" x 14" (23.5 x 35.5cm), signed. €1500 - 2000
100 Frank McKelvey RHA RUA 1895-1974 RIVERBANK Watercolour, 9" x 11½" (23 x 29cm), signed. €600 - 900
101 Thomas Ryan PPRHA b.1929 TRAIGH NA REILIGE Watercolour, 12" x 16" (30.5 x 40.5cm), signed. €600 - 900
93
102 Nick Miller, Contemporary LOUGH KEY – TRUCK VIEW Watercolour, 22" x 30" (56 x 76cm), signed & dated 2005; signed, inscribed & dated 2005 verso. Provenance: Rubicon Galllery, Dublin (label verso). €1000 - 1500
103 Mark O’Neill b.1963 EVENING LIGHT Oil on board, 15½" x 16½" (39.5 x 42cm), signed.
€2000 - 3000 94
104 Patrick Redmond, Contemporary BUTTERFLY Oil on canvas lasid on board, 15" x 17" (38 x 43cm), signed & dated 2003. €400-600
105 Mike Fitzharris b.1952 DUBLIN Oil on board 11¾" x 11¾" (30 x 30cm), signed & dated ’05. €600 - 900 95
106 Evie Hone 1894-1955 LAKE AT MARLAY 1943 Oil on board, 13½" x 17½" (34.5 x 44.5cm), signed; inscribed verso.
Provenance: Dawson Gallery, Dublin, (label verso).
€2000 - 3000
107 Gerard Dillon 1916-1971 JOE’S BOG Crayon, 12" x 19" (30.5 x 48cm), signed.
E xhibited: Gerard Dillon Retrospective, Municipal Gallery of Modern Art, Dublin, 5th Jan-4th Feb 1973. Cat No. 79 (label verso).
Provenance: Ex Collection George Campbell; Private Collection, Kildare.
€1500 - 2000 96
108 James Humbert Craig RHA RUA 1877-1944 CONNEMARA LANDSCAPE Oil on canvas, 20" x 25" (51 x 63.5cm), signed. Provenance: The Bell Gallery (label verso).
€3000 - 5000
109 Evie Hone HRHA 1894-1955 HILLSIDE LANDSCAPE Pastel, 14" x 17½" (35.5 x 44.5cm), signed & dated 1948. €1500 - 2000 97
110 Hilda Van Stockum 1908-2006 FLOWERS ON A WINDOWSILL Oil on board, 21½" x 27" (53 x 69), signed with initials; signed, inscribed & dated 1988 verso. €2000 - 3000
111 Arthur Maderson b.1942 SEPTEMBER EVENING – RIVER DORDOGNE Oil on board, 41½" x 29½" (105.5 x 75cm), signed; signed & inscribed verso. €1500 - 2000
98
112 Maurice MacGonigal PPRHA 1900-1979 WILD HORSES, KERRY Oil on board, 20" x 24" (51 x 61cm), signed.
Provenance: The Dawson Gallery, Dublin (label verso).
€2500 - 3500
114 Gerda Frömel 1931-1975 TREE Bronze. 25½" high (65cm).
113 James English RHA b.1946 STILL LIFE WITH PAINT POT Oil on board, 9¾" x 9¾" (25 x 25cm), signed.
€3000 - 4000
€500 - 700 99
115 Jack B. Yeats RHA 1871-1957 ILLUSTRATIONS X 3 Ink, 5" x 4" (10.75 x 10.2cm), each, signed with monogram.
T hree illustrations, two from “Apparitions” and one from “Rattle”, both plays written by Yeats and published in a book by Jonathan Cape, London, 1933. Two lace antimacassars (Illustrated. p. 40) “Apparitions”. Quote (p.43) (Illustrated p.43) “Apparitions”. Illustration p.134 “Rattle”.
€1400 - 1800
116 Mary Swanzy HRHA 1882-1978 BANANA TREES Crayon, 10" x 7" (25.5 x 17.5cm). Provenance: Pyms Gallery, London (label verso).
117 Mary Swanzy HRHA 1882-1978 A GOOD CATCH, DUBLIN BAY Mixed media, 5" x 6½" (13 x 16.5cm). Provenance: The Peppercanister Gallery, Dublin (label verso).
€600 - 900 €600 - 900
100
118 Colin Middleton RHA RUA 1910-1983 STREET SCENE Crayon, 7¾" x 5¾" (20 x 15cm), signed & dated 27 March 1946. €600 - 900
119 Norah McGuinness HRHA 1901-1980 GREEN VALLEY WITH CHURCH Gouache, 9½" x 13" (24 x 33cm), signed with initials. €1000 - 1500
120 Colin Middleton RHA RUA 1910-1983 LACKENAGH – APRIL 1971 Watercolour 3" x 3" (7.5 x 7.5cm), signed, inscribed & dated 1971.
121 Ivan Sutton b.1944 GALWAY HOOKERS, KILRONAN PIER Oil on board, 20" x 30" (51 x 76cm), signed; signed& inscribed verso.
€300 - 500
€1000 - 1500
101
122 Arthur Armstrong RHA 1924-1996 AUTUMN LANDSCAPE Mixed media, 17" x 13¾" (43 x 35cm).
123 Colin Middleton RHA RUA 1910-1983 SEATED WOMAN Pen, 13½" x 9½" (34 x 38cm), signed with monogram.
€1000 - 1500 €600 - 900
124 Colin Middleton RHA RUA 1910-1983 SHAWLIE Crayon, 7" x 8½" (18 x 22cm), signed & dated 1944. €600 - 900 125 Jack B. Yeats RHA BOOK, three plays Apparitions, The Old Sea Road, Rattle.
Published London, Jonathan Cape, 1933. Illustrated by the author. First edition, original blue cloth. Loosely inserted letter from Yeats to the famed British author John Drinkwater. “Many thanks for sending me your gleaming Sunner harvests carried on their wain of melodious wheels. I am proud and happy to have then. I now send you a novel I wrote, Jack B. Yeat”, letter is dated February 4, 1937 from 18 Fitzwilliam Square.
€750 - 800 102
126 Markey Robinson 1918-1999 TURF STACKS AND COTTAGES Gouache, 6¾" x 16" (17 x 41cm), signed. Provenance: Acquired directly from the artist by the present owner. €800-1200
127 Markey Robinson 1918-1999 COASTAL LANDSCAPE Gouache, 6½" X 9" (16.5 x 23cm), signed. Provenance: Acquired directly from the artist by the present owner. €600 - 900
128 Markey Robinson 1918-1999 RETURNING HOME Gouache, 4½" x 12" (11.5 x 30.5cm), signed. Provenance: Acquired directly from the artist by the present owner.
€400 - 600
103
129 Sean Scully b.1945 FIVE UNIONS A boxed portfolio of five diptychs, aquatint on copper plate, ed. 17/40; one signed & dated 1996, four initialled & dated 1996. Sheet size 149/16" x 111/16" (37 x 28.1cm), image size 3½" x 5" (8.9 x 12.7cm). €4000 - 6000
130 Jennifer Kingston, Contemporary THE SHALLOWS Oil on board, 30" x 36" (76 x 91.5cm), signed & inscribed label verso. €600 - 900
104
131 William Percy French 1854-1920 STORM CLOUDS, CO CAVAN Watercolour, 14½" x 21½" (55 x 37cm), signed, inscribed verso. Provenance: Acquired from The Oriel Gallery, Dublin (label verso). €4000 - 6000
105
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. 19½%+ 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.
Armstrong, A
122
Ballagh, R Belton, L Bewick, P Blackshaw, B Brady, C
78 70,71 55 50,51,90 66,72
Caraciolo, N Campbell, G Collins, P Collis, P Cooke, B Crozier, W Cullen, M Curling, P
40,41 10 26 1,67 56,57,79 21 93 7
Davey, R Dillon, G
111 53
English, J Eun-Mo, C
113 61
Fallon, C Fitzharris, M Flavin, J French, W.P Geoghegan, T Glenavy, B
31 105 69 39 82 11
Hamilton, E Hamilton, L.M Harris, P Hennessy, P Henry, P Hone, E
16 14,17 64 47 12 106,109
Jellett, M
49
Keown, M.T
84
Lavery, J LeBrocquy, L LeBrocquy, M Leech, W.J Lennon, C
45 18,23,25,43,45,46 32 15,34 75,77
Madderson, A Maguire, C Martin, D MacMiadhachain, P MacGonigal, M McEntaggart, B McGuinness, N McKelvey, F McWilliam, F.E McSweeney, S Middleton, C Miller, N Minihan, J Mooney, M Nakamura, M O’Donoghue, H O’Kelly, A O’Neill, M O’Malley, T O’Reilly, P Osborne, W.F
92,94,95 54,73 88 80 112 97 4,119 33,35, 100 22 59 9,118,123,124 30,102 86,87 98 60 20,29 36 103 3 42,62,63 13,37
Rackoczi, B 24 Redmond, P 104 Robinson, M 8,83,85,99,126,127,128 Ryan, T 101 Scott, P Shinnors, J Souter, C Sutton, I Swanzy, M Teskey, D Treacy, L Vallely, J.B Van Stockum, H Webb, K Yeats, J.B
27,28,65,81 5,6,58 89 121 116,117 2 96 52 110 68 38,48, 115,125
ART AUCTIONEERS & VALUERS
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