ART AUCTIONEERS & VALUERS
IRISH ART AUCTION Tuesday 25th March At Thomas Prior Hall, Ballsbridge, Dublin 4
ART AUCTIONEERS & VALUERS
Auction:
Tuesday, 25th March at 6pm
Venue: Thomas Prior Hall, Bewleys Ballsbridge Hotel, Dublin 4 On View:
Sunday, 23rd March: 2pm-6pm
Monday, 24th: 9.30am-8pm
Tuesday, 25th: 9.30am-3pm Contact:
087 2934439 / 086 8098648
COLLECTION: After 1pm Wednesday, 26th March from deVeres, 35 Kildare Street, Dublin 2 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
ART AUCTIONEERS & VALUERS
Auction Venue
Thomas Prior Hall
Auctioneers: John de Vere White Rory Guthrie
John de Vere White Managing Director
Rory Guthrie Director
Aisling T贸th Associate Director
john@deveres.ie
roryguthrie@deveres.ie
info@deveres.ie
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Front Cover: Lot 9: Sir John Lavery
Back Cover: Lot 46: John Doherty
Inside Front: Lot 51: Louis le Brocquy
Inside Back: Lot 56: Colin Middleton
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1 Richard Kingston RHA 1922-2003 GARDEN WICKLOW Watercolour 13" x 15" (33 x 38cm), signed. Est. €500 - 700
2 Charles Brady HRHA 1926-1997 PAINT BRUSH Oil on board 16" x 12" (40.5 x 30.5cm), signed. Est. €2,000 - 3,000
3 Charlie Whisker b.1950 FOR BELARUS... BEAN THERE Acrylic on canvas, 14" x 17¾" (35.5 x 45cm), signed and inscribed; signed, inscribed and dated 2002 verso. Est. €1,000 - 1,500
4 Robert Ballagh b.1943 ROBERT MORRIS BOX (1974) Mixed media, 12" x 16" (31 x 41cm) Provenance: David Hendriks Gallery, Dublin, March 1974 (label verso). Est. €1,400 – 1,800
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5 Joan Jameson 1892-1953 EVIE HONE IN HER STUDIO Gouache, 9½" x 14¼" (24 x 36cm). Jameson was the daughter of Richard and Lady Musgrave of Tonrin, Cappoquin, Co. Waterford. She was educated at home before going to Paris to study at the Sorbonne and the Academie Julian. Married to Captain T.O. Jameson in 1920, she lived in London until 1929. She exhibited at various solo and group shows. She returned to Ireland and exhibited at the RHA and with Victor Waddington and also The Living Art. She was a close friend of Norah McGuinness. The fact that she was financially independent possibly accounts for the rarity of her works coming for sale. Est. €800 - 1,200
6 Joan Jameson 1892-1953 NORAH MCGUINNESS IN HER GARDEN Gouache, 9½" x 14¼" (24 x 36cm). Est. €800 - 1,200
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7 James Humbert Craig RHA RUA 1877-1944 LIVERPOOL DOCKS Oil on board, 12" x 17" (30.5 x 43cm), signed, with old inscribed Exhibition label verso (No. 52, price £30). Est. €4,000 - 6,000
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8 Frank McKelvey RHA RUA 1895-1974 ON THE LAGAN Oil on canvas, 20" x 26" (51 x 66cm), signed. Est. €7,000 - 10,000
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9 Sir John Lavery RA RSA RHA 1856-1941 THE PALLADIAN BRIDGE, WILTON Oil on canvas board, 10" x 14" (25.5 x 35.5cm), signed; signed, inscribed and dated August, 1920 verso. Provenance: A birthday gift from the artist to Patricia Viscountess Hambledon, and thence by descent to the previous owner; Sothebys, London, Irish Art Auction, May 7th 2008 (Lot 152); Private Collection, Dublin. In the summer of 1920, Lavery went to Wilton near Salisbury, the home of the Herbert family to paint the famous Double Cube Room designed by Inigo Jones. The resulting “portrait interior”, known as The Van Dyck Room, Wilton, was to become his Royal Academy Diploma painting. His brief stay also provided the opportunity to paint small views of the celebrated Palladian bridge spanning the river Nadder, and constructed close to the house by the ninth Earl of Pembroke in 1737. Apart from the present canvasboard, two others of the same size, without figures, are known. The Palladian Bridge, Wilton House, shows a stretch of the river, with the bridge at some distance. It can be compared with the more conventional composition executed on the opposite bank, with much less ease by Winston Churchill, who had recently taken up painting under Lavery’s tutelage. According to the Herbert family, master and pupil worked in friendly competition on the motif. However the present picture is the most interesting of the Palladian Bridge sequence to come to light. It includes members of the Herbert family enjoying the bright summer’s day in their private park. They have been identified as Patricia Herbert, daughter of the 15th Earl, later Viscountess Hambledon, dressed in salmon pink leaning against the balustrade, and Beatrix, Countess of Pembroke seated on the bench. The boy who sits beside the countess is thought to be either of Patricia’s younger brothers, Anthony Edward George Herbert or most likely David Alexander Reginald Herbert. The family lurcher at the countess’s feet completes the group. As Lloyd George held forth at the Peace Conference and British trade struggled to revive after years of war, Lavery, with splendid economy reveals the relaxed ambiance of the English country hhouse on a summer day. Its quiet grandeur anticipates the glorious garden parties he portrayed with greater frequency on long weekends during the twenties. But the mood here is modest rather than festive – in accord with a restrained palette that comes brilliantly to life in the touches of pink given by the women’s dresses. Est. €50,000 - 70,000
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10 Alexander Jamieson 1873-1937 Scottish School THE TUILERIES GARDENS, PARIS Oil on panel, 7¼" x 10½" (18.3 x 26.6cm), signed; inscribed verso. Est. €800 - 1,200
11 James Humbert Craig RHA RUA 1877-1944 A GREEN SQUALL CUSHENDUN Oil on board, 9" x 12" (23 x 30.5cm); signed, inscribed verso. Est. €1,500 - 2,500
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12 Frank McKelvey RHA RUA 1895-1974 FARMSTEAD, WEST OF IRELAND Oil on canvasboard, 12" x 17" (30.5 x 43cm), signed. Est. €4,000 - 6,000
13 George Russell AE 1867-1935 SUNSET, SLIGO 10 x 14 (25.5 x 35.5cm). Provenance: The Oriel Gallery, Dublin (label verso). It is believed this is a view of Lissadell, Co. Sligo. Est. €1,400 - 1,800
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14 Roderic O’Conor 1860-1940 STILL LIFE WITH A COMPOTIER OF FRUIT Oil on canvas, 26” x 21½” (65 x 54cm), signed and dated 23, inscribed verso on stretcher bar: ‘R. O’Conor 102 rue du Cherche-midi No. 3 Compotier de fruits’. This carefully composed and densely packed still life of flowers, fruit and ceramic objects disposed on a red tablecloth has only recently come to light in France. The inscription on the original canvas stretcher suggests that it is identifiable with the painting entitled Nature morte (le compotier) which was the third of O’Conor’s five submissions to the 1923 Salon d’Automne (catalogue number 1526). The painting was then priced at 1200 francs and presumably sold from the exhibition, thus bypassing the 1956 O’Conor studio sale at Paris’s Hôtel Drouot, whence the majority of the artist’s works were dispersed. For this picture O’Conor has assembled a number of his favourite possessions and lit them from the right and above with natural light from one of his large studio windows. Unusually, the windows faced south-west as opposed to the customary north – this meant that direct sunlight would stream through the windows in the afternoon, casting his props and models into strong relief, as we see in the present work. He could thus deploy bright highlights for his objects where they caught the light, picking them out against the dark window wall, whilst the shaded parts of the objects stood out from a light-flooded side wall. This strategy allowed him to heighten the drama of his studio compositions. Most of the objects featured in this still life can be found in other still lifes and figure paintings by O’Conor. The 18th-century Delft apothecary’s jar to the left is the same one that featured in Still Life 1924, which the art critic Roger Fry bought direct from the artist and bequeathed to the Courtauld Galleries, London in 1935. The centrally placed Chinese blue and white vase formed the main focus of Le vase bleu 1919, besides appearing, this time without flowers, in the background of Seated woman in a red dress c. 1923-6 (the vase survived until the 1980s when it was accidentally broken during the making of a documentary about the artist). The white compotier occupying the foreground served as a raised platform for arrangements of fruit in many of O’Conor’s later still lifes. Detail did not concern the painter in these works. Rather he sought to create richly textured and coloured surfaces that formed painterly equivalents to nature’s bounty, in the shape of ripe fruit and freshly picked flowers. The blooms in this case include roses and what appear to be sprigs of lilac, which complement the blue vase whilst interposing a cool central zone between the fiery yellows and oranges at top and bottom.
Jonathan Benington, 26 February 2014
Est. €60,000 - 90,000
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15 Maurice Mac Gonigal PRHA 1900-1979 VIEW TOWARDS ACHILL ISLAND FROM MAYO Oil on board, 14" x 18", (35.5 x 46cm), signed. Est. €2,000 - 3,000
16 Nathaniel Hone RHA 1831-1917 MALAHIDE ESTUARY Oil on canvas, 9" x 12¼" (23 x 31cm). Est. €1,400 - 1,800 16
17 Norah McGuinness HRHA 1901-1980 WICKLOW Mixed media, 9½" x 12½" (24 x 32cm), signed with initials. Est. €1,500 - 2,000
18 Gladys MacCabe HRUA ROI FRSA b.1918 AT DONEGAL FAIR Oil on board, 16" x 20" (41 x 51cm), signed. Est. €1,500 - 2,000
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19 Tony O’Malley HRHA 1913-2003 OCTOBER, ST. MARTINS Watercolour, 9½" x 16" (24 x 40.5cm), signed with initials and dated 10/76, opus no. 8910.
€800 - 1200
20 Desmond Carrick RHA 1928-2012 MEETING AT THE COPPER BEECHES AT PONDRON (OISE) Oil on canvas, 11" x 15" (30.5 x 38cm), signed, inscribed verso.
€600 - 900 18
21 Markey Robinson 1918-1999 STILL LIFE Gouache, 16" x 22" (41 x 56cm), signed. Est. €1,500 - 2,000
22 Markey Robinson 1918-1999 SHAWLIES, WEST OF IRELAND Gouache, 16" x 31" (41 x 79cm), signed. Est. €2,000 - 3,000
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Henry Healy enjoyed much success throughout his long life. His style is very much akin to Maurice MacGonigal and the Irish coast of rural farmsteads were favoured subjects. These five works come from a private collection and demonstrate how accompanished an artist he was. 23 Henry Healy RHA 1909-1982 NEAR CARRAROE Oil on board, 23" x 26" (58 x 66cm), signed. Est. â‚Ź700 - 1,000
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24 Henry Healy RHA 1909-1982 BALLINABOY, NEAR CLIFDEN Oil on board, 20" x 24" (51 x 61cm), signed, inscribed verso.
25 Henry Healy RHA 1909-1982 DOOEGA, ACHILL ISLAND Oil on board, 20" x 24" (51 x 61cm), signed, inscribed verso.
Est. €700 - 1,000
Est. €700 - 1,000
26 Henry Healy RHA 1909-1982 CURRACHS, ACHILL ISLAND Oil on board, 20" x 24" (51 x 61cm), signed.
27 Henry Healy RHA 1909-1982 NEAR ROUNDSTONE Oil on board, 20" x 24" (51 x 61cm), signed.
Est. €700 - 1,000
Est. €700 - 1,000
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28 Sean Mc Sweeney HRHA b.1935 POOLS Oil on board, 22½" x 31" (57 x 79cm), signed and dated 1998. Est. €3,000 - 4,000
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29 Barrie Cooke HRHA 1931-2014 HAZEL CLUMP Oil on canvas, 56" x 56" (142.5 x 142.5cm), signed, inscribed and dated 1985 verso.
Provenance: ex G.P.A Art Collection, sold these rooms, 2nd October, 2001 (lot 7).
Cooke moved to the US as a teenager and studied Art History at Harvard University. In 1954, he moved to Ireland and had his first solo exhibition in Dublin the following year. He received a scholarship to study with Oskar Kokoschka in Salzburg in 1955 and represented Ireland at the Paris Biennale in 1963. Though Cooke had been based in Ireland ever since, he was widely travelled and his richly expressionist, semi-abstract paintings have been strongly influenced by time spent in such far-flung places as Lapland, New Zealand, Borneo and Malaya. Nature in its infinite variety and irresistible flux was Cooke’s chosen environment and subject matter. His paintings offer us profoundly immediate and visceral accounts of such an environment, both of its vitality and decay. In the words of Chief Arts Critic of the Irish Times, Aidan Dunne, “It’s hard to see [his paintings] without receiving an intimation of what it is to be intensely alive. ”Over several decades, Cooke collaborated with a number of prominent poets including Seamus Heaney, as well as the British Poet Laureate Ted Hughes. Nobel laureate Heaney referred to his ‘aqueous vision’ and shared his fascination with the elemental. Barrie Cooke has exhibited widely throughout Europe, the US and New Zealand. Major retrospectives include the Royal Hibernian Academy Gallery, Dublin in 2003, LAC, Perpignan, France in 1995, the Haags Gemeentemuseum in 1992 and the Douglas Hyde Gallery in 1986. Recent exhibitions include the Irish Musuem of Modern Art, Dublin, Crawford Art Gallery, Cork (2011), the Butler Gallery, Kilkenny; (2009) and Model Arts and Niland Gallery, Sligo (2002). His work is represented in the collections of the Irish Museum of Modern Art, the Ulster Museum, the Stedelijk Museum, Amsterdam, the Haags Gemeentemuseum, The Hague, Holland and in many other public and private collections worldwide. Barrie Cooke was a member of Aosdana. Piece written by The Kerlin Gallery following the recent passing of the artist
Est. €6,000 - 9,000 23
30 Tony O’Malley HRHA 1913-2003 LA GERIA (1990-1993) Oil on board, 48" x 36" (122 x 91.5cm), signed with initials; signed, inscribed and dated verso, Opus No. 3231. This painting was inspired by one of O’Malley’s visits to Lanzarote and, like so many of his works, drew on his memory of a specific place. Le Geria is the wine growing region of that island, with vines cultivated in rich volcanic soil, though this artist rarely painted exactly what his eyes observed. He liked to look, feel, digest and then remember the overall sensation of a locale, his personal ‘inscape.’ This painting has captured the density of the soil, the nourishing moisture of flowing water and, most importantly, a vivid sense of growth. The dominating motif is the strong intertwining verticals at the centre of the composition. The sweeping curve of blue behind this reinforces the upward thrust of the design. This sense of flowing movement and growth is echoed throughout the painting. O’Malley delighted in the movement of water, birds, fish and leaves and one can easily find traces of these once you begin to look more closely. Fragments of the original experience (seeing plus feeling) are reconstructed in a personal way that defies logic, making Le Geria truly dream-like.
Frances Ruane HRHA, February 2014
Est. €20,000 - 30,000
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31 Hughie O’Donoghue b.1953 FAR COUNTRY 2005 Oil and mixed media on board, 23½" x 35" (59.5 x 89cm), signed; signed, inscribed and dated 2005 verso. Est. €7,000 - 10,000
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32 John Noel Smith b. 1952 OGHAM SERIES (1999) Oil on canvas, 20" x 27" (51 x 68.5cm), signed, inscribed and dated ’99 verso. Opus no. 992H Est. €1,500 - 2,000
33 Barrie Cooke HRHA 1931-2014 GLACIER II Oil on canvas, 30" x 30" (76 x 76cm); signed, inscribed, dated ’91 verso. Est. €3,000 - 5,000
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34 Eric Patton RHA 1925-2004 HILLSIDE Oil on canvas, 46½" x 58" (118 x 147.5cm), signed, inscribed and dated 1998 verso. Est. €800 - 1,200
35 Gerald Davis 1938 - 2005 THE WAY HOME Oil on canvas, 48" x 36" (122 x 91.5cm), signed and dated 1980; signed and inscribed verso. Est. €800 - 1,200
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36 Arthur K. Maderson b.1942 CROSSING THE FORD (WITH VIGOROUS APOLOGIES TO A. MUNNINGS) Oil on panel, 28" x 41" (71 x 104cm), signed; signed and inscribed verso. Est. €2,500 - 3,500
37 Arthur K. Maderson b.1942 WINTER SUNSHINE, ST.ANDRE DE MAJENCOULES, FRANCE Oil on board, 43½" x 31½" (110.5 x 80cm), signed; signed, inscribed verso. Est. €1,500 - 2,000
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38 Brian Ballard RUA b.1943 POPPIES IN A JUG Oil on canvas, 24" x 30" (61 x 79cm), signed; inscribed verso. Provenance: The Frederick Gallery, Dublin (the final show 2005), label verso. Est. €3,000 - 5,000
39 Kenneth Webb RWA FRSA RUA b.1927 BLUE FOREST II Oil on canvas, 20" x 24" (51 x 61cm) Est. €1,500 - 2,500
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40 Gladys MacCabe HRUA ROI FRSA b.1918 THE SALEROOM Oil on board, 16" x 20" (41 x 51cm), signed. Est. €1,500 - 2,000
41 Richard Kingston RHA 1922-2003 Supper time, Irish Tinkers, Connemara Watercolour, 9" x 10¼" (23 x 26cm), signed. Est. €500 - 700
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42 Fergus O’Ryan RHA ANCA 1911-1989 THE CANAL AT BAGGOT STREET Oil on canvas, 25" x 30" (63.5 x 76cm), signed, inscribed and dated April 1969 verso. Est. €1,400 - 1,800
43 Fergus O’Ryan RHA ANCA 1911-1989 THE ANTIQUES SHOP, ST MICHAELS HILL, DUBLIN Oil on board, 15" x 19½" (38 x 49.5cm), signed, inscribed verso. Est. €1,000 - 1,500 32
44 Peter Collis RHA 1929-2012 WICKLOW Oil on canvas board, 7¾" x 9¼" (19.5 x 23.5cm), signed. Est. €600 - 900
45 James S Brohan b.1952 FAIR DAY Oil on panel, 9" x 12" (23 x 30cm), signed. Est. €600 - 900 33
46 John Doherty b.1949 ARKLE RACING, MARLBOROUGH STREET, DUBLIN Acrylic on canvas, 39¼" x 58½" (100 x 148.5cm), signed, inscribed and dated 1981 verso. Born in Kilkenny in 1949, Doherty initially studied architecture at Bolton Street in Dublin. He then left Ireland and spent five years in Sydney before deciding to follow a full time career as an artist. He still spends several months a year in Sydney. Described once in a conversation by Art Critic Brian Fallon, as the finest photo realist artist in Ireland and England. His work is immediately appealing for it’s benign normality with which he captures his subject matter, abandoned corner shops, rusting petrol pumps, landmark shop fronts and various subject matters linked to the sea. This particular work is a view of Marlborough Street in Dublin in the early 1980s, showing the front of a bookmakers shop, one of the Arkle Racing chain open at that time. A man reads the horseracing results of the day, a familiar scene captured by the artist, but due to computerisation now long gone. Moments in time like this, in essence, are what make Doherty such a popular artist. The name of ‘Arkle’ is legendary in the horseracing world and March 2014 will mark the 50th anniversary of his first Cheltenham Gold Cup win. This work was acquired directly from the artist in the 1980s and has never been on the open market before.
€25,000 - 35,000
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47 John Doherty b.1949 THE CHANNEL WADER Acrylic on canvas, 22" x 24" (56 x 61cm); signed, inscribed and dated 2006 verso. Provenance: RHA Annual Exhibition, 2006 (label verso).
â‚Ź6,000 - 9,000
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48 Donald Teskey b.1956 LAYER TILT II, VALENCIA Acrylic on card, 30" x 30" (76 x 76cm), signed and dated 2008.
€6,000 - 9,000
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49 Brian Ballard RUA b.1943 DAFFODILS AGAINST BLUE Oil on canvas, 24" x 18" (61cm x 46cm); signed, inscribed and dated ’91 verso.
50 Cecil Maguire RUA b.1930 THE CORMORANT Oil on board, 24" x 17" (61 x 43cm), signed and dated 71, inscribed verso.
€1,400 - 1,800
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€2,000 - 3,000
51 Louis le Brocquy HRHA 1916-2012 FANTAIL PIGEONS (1985) Oil on canvas, 15" x 18" (38 x 46cm), signed; signed, inscribed and dated 1985 verso, No. 533.
Provenance: Taylor Galleries, Dublin (label verso), where acquired by the presnt owner.
Pablo Picasso’s globular, iconic spirit was preoccupying Louis le Brocquy when he took time out to paint this lyrical Fantail Pigeon. While Picasso was “a being in whom the power and joy of life were uniquely personified” for the artist, the pigeons perch on a playful line of inquiry where apparent lightness of touch screens deep painterly intent. Here is sheer, effervescent pleasure in life and liveliness hovering at a fleeting instant between flight and rest. Urgent swathes of oil, applied as though breathlessly, must achieve the almost impossible task of picturing fluttering, feathery beings. Slow, laborious matter – the heavy oil – meets rapid, gestural action. The art is in the moment. The very delightfulness of the image and the sight that inspired it draw attention away from the challenge at stake. How can oil paint make movement appear? Viewers may wonder how such flickering, flirtatious fantails seem to scatter lines of movement in internally mirrored arcs, using painted marks that echo the moving pictures of the twentieth-century cinema as well as Duchamp’s early experiments in capturing motion and velocity in two dimensions. “Perhaps this is simply a temporary release from the heads and their rather intense reflective consciousness, their tragic aspect,” le Brocquy thought aloud to an interviewer that year, “a return to a simple state of being, emerging in its own nature, filling out its little volume of reality with various natural possibilities of its form.” Picasso’s own painted doves had worked allegorically as a way of picturing peace and love, of imaging aspirations beyond everyday limitations. Not for nothing did the cliché speak of being ‘free as a bird’. The birds signalled wonder. Yet le Brocquy’s pigeons reached further back into decaying Georgian streets of his Dublin childhood as well to the Parisian boulevards he would stroll later. An early dove painting appeared in 1955. Then in 1956, le Brocqquy found himself feeding a flock of white doves who deigned to reside in the courtyard of Casa Pezzoli, his lodgings while staying in Foggia-Ischia. He sketched them and made images in oil. At Les Combes, Le Brocquy’s French home, his house and studio hung on a vine-clad valley where fantail pigeons soared and dived by day, gliding back to their dovecotes each evening for an interlude of billing and cooing. Here began the specific series to which this painting belongs. Considering the pigeons broadly within a life/still life tradition over whose shoulder Edouard Manet beckons, the lemons and apples, lilies, peonies and even goldfish le Brocquy paints throughout his practice offer close encounters with his aesthetic and technical interests at various times. No less ambitious, they open a painterly space into the little incidents the world sometimes offers, chance encounters glimpsed if you’re willing to look.
(catalogue extract taken from Medb Ruane’s piece on “Fantail Pigeons” (1984)), sold at Adams, Dec. 2006, lot 59) €40,000 - 60,000
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52 Camille Souter HRHA b.1929 ACHILL SERIES Oil on paper, 23" x 15¼" (58.5 x 38.5cm), signed and dated 1959. Born in Northampton Souter was raised in Ireland. She lived in Wicklow for many years before moving to Achill where she still lives and paints. Her painting has a magical quality that few can equal. In circa 89 a reviewer wrote of Souter, who had a joint show with Nano Reid “Camille Souter’s paintings have a statuesque elegance to them , even when the subject is something as banal as silage bags. She is an artist who avoids prettiness while seeking beauty”. Numerous acclaimed exhibitions of her work have taken place over the years and her paintings included in many public collections. She was elected Saoi of Aosdana in 2008. This particular work is from and important series of “Achill Paintings” she did in 1959.
€14,000 - 18,000 40
53 Father Jack P. Hanlon 1913-1968 NOSSA SENHORA DO MONTE (OUR LADY OF THE MOUNTAIN) Oil on board, 23½" x 19½" (60 x 49.5cm), signed, inscribed ’65.
€4,000 - 6,000
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54 Gerard Dillon 1916-1971 WALKING – EVENING Oil on board, 12" x 16" (30.5 x 40.5cm), signed; inscribed verso. Influenced by Seán Keating’s illustrations in J.W. Synge’s Playboy of the Western World, Dillon first visited Connemara before War broke out in 1939 holidaying with a close companion, Ernie Atkins. Unable to return to London due to travel restrictions, he remained in Ireland till the end of the War encouraging friends, George and Madge Campbell and later James MacIntyre, Thomas McCreanor and Arthur Armstrong to travel to the West to depict their own vision of the people and the landscape. Living in London, Dillon continued to visit the area throughout the 1950’s and 60’s. The lives of the people in the West evoked strong feeling for the artist, and he expressed this throughout his life in a style that was both personal and idiosyncratic.
alking – Evening may have been inspired following Dillon’s commission in 1957 to create illustrations for Stephen Rynne’s W Walking The Farm in the summer edition of Ireland of the Welcomes (Vol. 6 No.2). Exhibited at the Dawson Gallery several months later this work was one of several Dillon was working on for two exhibitions in 1957. In a letter to John Hewitt, dated 17th July 1957, Dillon stated “At the moment I’m working hard getting ready two shows one in the Dawson Gallery in October, and the other with CEMA (The Council for the Encouragement for Music and The Arts) in November. I have enough work for both.”
From 1955, Dillon’s work developed as he began to experiment with other mediums. The busier narrative theme was stripped away and replaced with a two-dimensional representation of space with the focus on a single figure. In a letter dated 10th May 1955 to his friend, James White, the artist explained how his work was changing “…They are all new and I think my work has changed a bit-more spacious-more breathing room. At least that is what I’m trying to do.” A white moon dominates a rural landscape with a single figure. Influenced by Van Gogh’s sun-drenched landscapes, Dillon also liked to capture the essence of rural life. In another work from the exhibition in 1957, My Delight, cottages are depicted with a single girl and an orange moon. Following the exhibition, a critic in The Irish Times remarked, “the new vein of calm, almost placid contemplation of patterns… has crept in his work…” The single male figure may symbolize the artist. In between visits from his friends, Dillon was isolated and alone. Cottages in villages were more expensive to rent so Dillon often found accommodation in remote areas. In 1955, Gerard Dillon penned a letter, “Dear Tourist” for Ireland of the Welcomes. Concluding his letter he remarked, “One could live here forever, but being neither a fisherman nor farmer but only a painter, I’m forced to come back to city life to sell work – and hope to save enough to come back to Connemara. You don’t know the wonderful holiday in store for you, over here. Why don’t you come over and give your eyes a thrill?”
Karen Reihill is currently researching Gerard Dillon & Friends. €20,000 - 30,000
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55 Gerard Dillon 1916-1971 SWEET SIR Mixed media, 24" x 18" (61 x 45.5cm), signed. Provenance: The Dawson Gallery, Dublin (label verso), where acquired by the present owners father many years ago. This work was executed in the late 1960’s when Dillon introduced complex symbolism into his masked Pierrot images to evoke messages that are ambiguous and are open to interpretation. Anxiety of his mortality following a heart attack in 1967 after the death of his three brothers may have caused the artist’s preoccupation with Carl Jung’s dream theory to find answers to these traumatic events. The artist commented, “I have been able to use my subconscious and yet control it. It’s poetic, and yet more colourful…” (Belfast Newsletter, 21/4/67). The central theme of this composition may relate to the death of his brother Joe Dillon. In a letter circa 1969 to Patrick Kelly, Dillon stated, “As you can imagine I’m well, or well enough. And I’m happy – contented – and still don’t want to die yet. Tho’ the other night-the anniversary of Joe’s death I lay all night thinking it’s 7 years ago …poor Joe!” Executing several works in memory of his brother, Joe’s Bog and The Time Passes, this dream may have offered a solution to Dillon’s anxiety in his waking life. Seven years older than Gerard, Joe Dillon was an aspiring tenor singer who also shared his brother’s interest in music, drama and the visual arts. Unable to succeed in the musical world, Joe Dillon was forced to seek out alternative work to supplement his income. In the early 1960’s, on a cold and wet November night, Joe Dillon went out in search for his missing dog, ‘Heine’. Living alone the Dachshund offered him physical, emotional and social canine companionship. Becoming ill, Joe was admitted to Victoria Hospital in Belfast where he died of a heart attack on the 1st December 1962 with his nephew, Gerard Dillon junior by his bedside. Dillon often divided his compositions into sections to convey a message. He adapted this technique over time initially seen years earlier from the figurative stone carvings on Muirdeach High Cross, Monasterboice. Influenced by Chagall, whose works were a dreamy reverie of life in his home village of Vitebsk, Dillon has created a stylized circus scene. The viewer is drawn into the romantic act by vibrant colour. A male Pierrot has wheeled his bag of tricks into a dark landscape. He faces forward wearing a hat, matching brown top over striped trousers. The three floating shapes may relate to the artist’s brothers. Perhaps in Dillon’s dream world, he imagined his brother at the end of a performance accepting the gesture of delight from the kneeling female Pierrot and applause from us, the audience. Protected in a coat, his dog stands protected between the two Pierrots. Above the figures, two birds and another shape appear in a sky. In confronting Joe’s death and fearing his own mortality the shapes might be birds in the afterlife. Influenced by the avant-Garde artist Pablo Picasso, the artist loved to experiment with techniques and different approaches to image making. The artist has deliberately created different effects by combing the paint while still wet, the various lines accentuate rhythms, and the pattern of cut outs add texture giving drama and depth to a flat image.
Karen Reihill is currently researching Gerard Dillon & Friends €15,000 - 20,000
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56 Colin Middleton RHA 1910-1983 GIRL WITH STRIPES Oil on canvas, 30" x 24" (76 x 61cm), signed and dated 1941, inscribed verso. Exhibited: Colin Middleton Exhibition IMMA, Jan - June 2001.
Literature: ‘Colin Middleton’ - A Study by Dickon Hall, 2001, illustrated p.11.
From this early period through to as late as 1982, images of the single female figure recur frequently in Colin Middleton’s painting. Their type is wide ranging, but figures in the first half of the 1940’s tend to be more elusive and seductive and this is a particularly beautiful and delicate example. The background is divided into two predominant blocks, whose tones recur in the girl’s clothes. A single stem and flowers to her left maintains a stillness and simplicity of mood. The girls head and clothes are closely interrelated; the red of the earrings leads down to the edging of the shawl, whose simplicity balances the rhythmic pattern of the top beneath it. The folds give a shape and contours to the shawl, whose simplicity balances the rhythmic pattern of the top beneath it. The folds give a shape and contours to the shawl that add tonal range to the blue, and they also direct the eye down towards the hand that holds the shawl in place at the very bottom of the painting, a very common device in these early single figures to maintain a movement around the entire composition. The painting’s power lies in the girl’s gaze, which is challenging yet gives up nothing. Her features are clearly defined and modelled in strong colours. Girl with Stripes formed part of the same group as paintings such as Muriel and Girl with a Fringe in the major exhibition of Colin Middleton’s work in Belfast Museum and Art Gallery held when it re-opened after the blitz in 1943.
Dickon Hall €60,000 - 90,000
46
47
57 Jack Butler Yeats RHA 1871-1957 THE SISTERS (1919) Oil on board, 9" x 14", (23 x 35.5cm), signed. Exhibited: 1919 London International; 1920 Dublin; 1921 New York. Provenance: Sold through John Sloan to George Otis Hamlin, New York; Waddington Galleries London, bought by T.E. Waddington c.1965, Pymms Gallery, London, where acquired by the present owner. Two women with a donkey in the square of a Galway town, believed to be Clifden, at the end of the day, when long shadows are cast on the ground. The closely worked grey and yellow of the street is counterbalanced by the warm brown/reds and grey in the rest of the painting.
Yeats explained the picture in a note in the “Lady of the House” (op. cit.):
“The two sisters came into a town in western Galway every market day, with creels of fish carried on the back of a pleasant little ass. The ass gently munched his hay and dozed during the day. The sisters sat side by side and sold their shining fish to the townspeople. In fine, clear weather, or in drizzling sea fog, the sisters were always the last to leave the market. All day they seldom altered their position. But as the evening came on the younger sister would lean more affectionately against the elder, and just at the close of day first would go and get a cup of tea, then she would come back, and the other would go. Then the creels, with very few fish left in them, I hope, would be lifted again to the ass’s back. And he and the two sisters would trudge away home.” The picture accompanied Susan L. Mitchell’s article of personal memories, “An Irish Country Town”.
Reference: Pyle, Hilary; Jack B. Yeats, a catalogue raisonné of the oil paintings, volume I, Andre Deutsch 1992.
€50,000 - 70,000
48
49
58 Roderic O’Conor 1860-1940 MODEL READING, c.1907-08 Oil on panel 147/8 " x 183/8 " (37.8 x 46.7cm), stamped verso: ‘atelier / O’CONOR’. Provenance: Hôtel Drouot, Paris, Vente O’Conor, 7 February 1956; Roland, Browse & Delbanco, London; William E. and Elizabeth Wallace, Christies, London, 1990, where acquired by the present owner. Exhibited: Roderic O’Conor, Norman Adams, Roland, Browse & Delbanco, London, 1964, no. 8; Roderic O’Conor, a selection of his best work, Roland, Browse & Delbanco, London, 1971, no. 19.
Literature: Jonathan Benington, Roderic O’Conor, a biography with a catalogue of his work, 1992, p. 204, no. 119.
Following his departure from Brittany in 1904, O’Conor moved the centre of his activities to Paris, where he operated out of a capacious first floor studio-cum-flat in Montparnasse. It was at this juncture that he started to hire models and have them pose in his studio – clothed, unclothed or (as here) in a state of undress. He purchased an armchair and a chaise longue, both upholstered in red material, as well as bookcases and a large mirror to use as props and make the model feel at ease. By focusing in quite closely on the subject and editing out the cavernous recesses and roof beams of the studio, O’Conor was able to create a sense of domestic intimacy, the model being shown reading, dressing, sewing or sleeping, oblivious to the viewer’s gaze. Because of the seemingly casual nature of these compositions they are generally ascribed to the Parisian style known as intimisme, whose chief protagonists included Bonnard and Vuillard – artists who were both well represented in O’Conor’s private collection of paintings and prints. In Model reading, however, the harnessing of a rich palette of reds and pinks and a highly fluid paint application to the recreation of the robust forms of a young model, clad in a chemise, may be seen as recalling not so much the work of the intimiste painters as that of Auguste Renoir. Around the turn of the 20th century Renoir was frequently mentioned in the letters sent by Armand Seguin to O’Conor, implying a mutual admiration for the French painter whose advancing arthritis obliged him to work in the warm South. The active brushwork of Model reading may not bear comparison with the thin glazes favoured by Renoir in the late studies he made of his servant Gabrielle, for example, yet a similar monumentality of form is achieved. O’Conor’s new style found favour with art critics such as Clive Bell, whilst the celebrated Russian collector of modern art Ivan Morozov purchased a painting of a sleeping model holding a book in 1905 for 500 Francs (now State Hermitage Museum, St Petersburg).
Jonathan Benington, 26 February 2014 €30,000 - 40,000
50
51
59 Jack Butler Yeats RHA 1871-1957 A PUB IN DEVON (1890) Indian ink, 14½" x 21" (37 x 53.3cm), signed and dated 1890.
Provenance: Theo Waddington Fine Art, London (label verso), where acquired by the present owner.
A young man, smartly dressed in riding breeches, is being confronted by a stern pub landlord. Yeats provides clues to the nature of the dispute. Two prominent signs above the bar refer to payment and to the rules of the establishment in this regard, based on past experience. ‘Chalk is useful say what you will. But it don’t pay....’ and ‘Old Trust is Dead. Bad Pay Killed Him’. Clearly the naive young man has not paid his account and the fact that his hands are thrust deep into his pockets suggests that he is not in a position to do so. Above the wide gap between the two men, hanging over the fireplace, is a large picture of a volcano erupting. This indicates that the barman’s calm exterior will not last long. The fact that the regular clients have retreated outside the door from where they can safely observe the proceedings also suggests that an outbreak of temper is expected. This inclusion of onlookers is a typical trope of Yeats. It alleviates the tension and allows the viewer to participate in the drama by empathising with these figures. The final confirmation of a showdown comes from the two large settees which have been turned inwards to the fireplace, barricading those seated on them off from the inevitable tirade. This detailed drawing alludes to Yeats’s time in Devon where he bought a house in 1895, and where he sketched the antics of local farmers and labourers. Carefully scrutinized, it conveys his ability to extract drama and humour from his observations of contemporary life. Similar to the type of wit displayed in his cartoons, the complexity of the detail makes this a more ambitious work, in which many of the themes of his later art is evident. It is an early exploration of the world of consumerism that he was to develop in later works such as the Country Shop (1912, National Gallery of Ireland) and in several oil paintings. It is also a delightful representation of an encounter between youth and age and between different social classes in which the arrogance of youth clearly does not know what it has let itself in for. Roisin Kennedy, October 2013
€8,000 - 12,000 52
60 Patrick O’Reilly b.1957 CHARIOT Bronze, 98" high (249cm), signed and dated 2007, edition 1/1.
61 Patrick O’Reilly b.1957 BIRD IN A TREE Bronze, 19" high x 15" wide (48 x 38cm), signed and dated 2010, ed. 1/1.
€3,00 - 4,000
€3,000 - 5,000
62 Patrick O’Reilly b.1957 HORSE Bronze, 18½" high (47cm), signed and dated 2013, ed.1/1. Est. €1,000-1,500
53
63 William Bingham McGuinness RHA 1849-1928 CONTINENTAL HARBOUR Watercolour, 20½" x 13½" (52 x 34cm), signed, inscribed verso.
64 William Bingham McGuinness RHA 1849-1928 CONTINENTAL STREET SCENE Watercolour, 9¼" x 6½" (23.5 x 16.5cm), signed, inscribed verso.
€600 -
900
€400 - 600
65 Irish School VIEW TOWARDS THE CUSTOM HOUSE Watercolour, 6" x 12½" (15 x 32cm).
€300 - 500
54
66 Harry Kernoff RHA 1900-1974 Portrait of Hilton Edwards Oil on board, 16" x 12" (41 x 30.5cm), signed and dated 1928.
€1,000 - 1,500
67 George K. Gillespie RUA 1924-1996 FARMHOUSE Oil on board 15" x 18" (38cm x 46cm), signed.
68 Maurice Canning Wilks RUA ARHA 1910-1984 REFLECTIONS, SIX MILE WATER Oil on canvas, 20" x 26" (51 x 66cm) signed, inscribed verso.
Est. €800 - 1,200 55
€2,000 - 3,000
69 Ivan Sutton b.1944 GOING TO MASS ON ARAN MÓR, ARAN ISLANDS, CO. GALWAY Oil on board 16" x 20" (40.5 x 51cm), signed; signed, inscribed verso.
€700 - 1,000
70 Gerald Bruen RHA 1908-2004 COLLIEMORE HARBOUR, DALKEY Oil on board 13" x 17" (33 x 43cm), signed.
€600 - 900
71 Markey Robinson 1918-1999 HOOKERS RETURNING Gouache on board, 12½" x 17" (32 x 43cm), signed.
56
€800 - 1,200
72 Liam Treacy 1934-2004 VIEW OVER THE BAY Oil on board, 11" x 15" (28 x 38cm), signed.
€600 - 900
73 Markey Robinson 1918-1999 LANDSCAPE Gouache on board, 9½" x 15¼" (24 x 39cm).
€500 - 700
74 Elizabeth Brophy, Contemporary CHILDREN ON THE BEACH Oil on board
€600 - 900
57
75 Letitia Marion Hamilton RHA 1878-1964 FLOWERS Watercolour, 19" x 15" (48 x 38 cm), signed with initials.
Provenance: The Dawson Gallery, Dublin (label verso).
€800 - 1,200
76 Gerard Marjoram b.1936 TURF CUTTERS Oil on canvas, 22½" x 35" (57 x 89cm), signed.
77 Gerard Marjoram b.1936 RIVER LANDSCAPE Oil on canvas, 23" x 35" (58.5 x 89cm), signed.
€300 - 500
58
€300 - 500
78 Yvonne Moore, Contemporary DRESSER Oil on canvas, 29½" X 19¾" (75 x 50cm), signed.
€1,500 - 2,000
80 Max Maccabe STILL LIFE Oil on board 9½" x 13" (24 x 33cm), signed.
79 Ivan Sutton b.1944 VIEWING AT THE GALLERY Oil on board, 20" x 30" (51 x 76cm), signed; signed, inscribed verso.
Est. €1,200-1,800 59
€200 - 300
81 Robert Ballagh b.1943 LIBERTY ON THE BARRICADES Lithograph, 19½" x 24½" (4.5 x 62.2cm), artists stamp.
Provenance: David Hendriks Gallery label verso.
€400 - 600
82 Piet Sluis 1929-2012 STILL LIFE – FLOWERS IN A VASE Acrylic on canvas board, 16" x 12" (41 x 31cm), signed.
€300 - 500
83 William Murphy, 20th Centurary FRENCH LANDSCAPE Oil on board, 20½" x 20" (52 x 51cm), signed.
60
€300 - 500
84 Jack Cudworth 1930-2010 CORNER SHOP Watercolour, 9” x 13½” (23 x 34cm), signed and dated 1978.
Provenance: Tom Caldwell Gallery (label verso).
Est. €200 - 300
85 Cian McLoughlin, Contemporary THE SPECTATOR Oil on canvas, 24" x 20" (61 x 51cm), signed, inscribed verso.
86 John Brobbel ARBA b.1950 FLOWERPIECE Oil on gesso 12" x 15" (30.5 x 38cm), signed; signed, inscribed and dated 1995 verso. Provenance: Jorgensen Fine Art. €400 - 600
61
€1,400 - 1,800
87 William Conor RHA RUA ROI 1881-1968 OLD KATE Crayon, 19" x 13" (48 x 33cm), signed; inscribed artists label verso.
Provenance: Private Collection, Meath.
Belfast born, Conor has endeared himself to the art world by his sympathetic portrayals of working class life in Belfast. From a working class background Conor’s ability to draw was noticed at an early age and arrangements were made for him to attend the College of Art . He was commissioned during World War I, by the British Government to produce official records of soldiers and munition workers. He moved to London in 1920 and became friendly with Sir John Lavery and Augustus John. He exhibited with the victor Waddington Galleries in 1944 and 1948. In 1957 he became President of the RUA. He is represented in the Ulster Museum by a large body of work.
â‚Ź6,000 - 9,000 62
88 Markey Robinson 1918-1999 THE TUILERIES GARDENS, PARIS Gouache on board, 17" x 22" (43 x 56cm), signed.
€3000 - 5000
89 Colin Middleton MBE RHA 1910-1983 LANDSCAPE Watercolour 7¼" x 10¼" (18.5 x 26cm), signed with monogram.
€600 - 900
63
90 Felim Egan b. 1952 OCEAN BLUE Oil on canvas, 55" x 55" (140 x 140cm); signed, inscribed and dated 2010 verso.
â‚Ź6000 - 9000
64
91 Evie Hone HRHA RHA 1894-1955 ORIGINAL DESIGN FOR ROSE WINDOW Gouache 10½" diameter (26.5cm), signed.
€600 - 900
92 Sean Scully b.1945 BLOCK Woodblock, 37" x 43¼" (94 x 110cm) signed, inscribed and dated 1986, ed. 5/30.
€2000 - 3000 65
93 Jimmy Lawlor b.1967 HOME TO ROOST, NIGHT SKY Oil on canvas, 24" x 36" (61 x 91.5cm) signed.
Provenance: The Molesworth Gallery, (label verso).
€2000 - 3000
94 Eamon Colman, Contemporary ABSTRACT Oil on paper laid on board, 27½" x 38½" (70 x 98cm) signed.
€1400 - 1800 66
95 William Crozier HRHA 1930-2011 TABLE TOP Oil on paper, 23" x 32" (58.5 x 81.5cm) signed and dated May 1982.
€1500 - 2000
96 Basil Rakoczi 1908-1979 TWO FIGURES Oil on paper 21¾" x 29½" (54.5 x 75cm), signed.
€2000 - 3000
67
97 Edwin Hayes RHA RI ROI 1819-1904 IRISH TRAWLERS, DUBLIN BAY Oil on canvas, 10½" x 16" (26.5 x 40.5cm), signed; signed and inscribed verso; with correspondance verso from Reginald Webberley, detailing this work as a ‘Chancery Purchase for the Tate in 1894’.
€3000 - 5000
98 John Faulkner RHA 1835-1894 HARVEST Watercolour, 19" x 39" (48 x 99cm), signed and inscribed.
€1000 - 2000
68
99 Michael Canning, Contemporary THE VEES AND ARCS Oil and wax on canvas, 36" x 48" (91.5 x 122cm), signed, inscribed and dated 2003 (label verso).
â‚Ź3000 - 5000
69
100 Brian Bourke HRHA b.1936 OWER SPRING VI Mixed media on paper, 20" x 16" (51 x 41cm) signed, inscribed and dated 2008. €800 - 1200
101 Barrie Cooke HRHA 1931-2014 DIDYMO II Oil on canvas, 18" x 21½" (46 x 55cm); signed, inscribed and dated 2007 verso. €1500 - 2000 70
102 Charles Cullen b.1939 STILL LIFE WITH PLATFORM SHOE Mixed Media 29½" x 22½" (75 x 57cm), signed and dated 2003.
103 John Kingerlee b.1936 THE RED BOARDER Oil on board, 33" x 23" (84 x 58.5cm); inscribed, dated 1986 verso.
€300 - 500
€1000 - 1500
104 Louis le Brocquy HRHA 1916-2012 ST. STEPHENS GREEN Watercolour, 7" x 10¼" (18 x 26cm), signed; no. W1277. Provenance: Taylor Galleries Dublin (label verso) Est. €6,000-9,000 71
105 William Scott OBE RA 1913-1989 UNTIITLED Lithograph, image size 20" x 25" (51 x 63.5cm) signed and dated ’66, ed. 32/75. Est. €1,500 - 2,000
106 George Dunne, Contemporary THE CIRCUS Oil on canvas, 48" x 36" (122 x 91.5cm), signed.
107 Mary Swanzy HRHA 1882-1978 BOATS MOORED Crayon, 10½" x 7½" (27 x 19cm). €600 - 900
€800 - 1,200 72
108 Michael Gemmell b.1950 WINTER FIELDS, CO CLARE Oil on canvas, 35½" x 35½" (90 x 90cm), signed and dated 2003. Provenance: The Taylor Gallery, Belfast (label verso). Est. €1,500 - 2,000
109 Arthur K, Maderson b.1942 TWO OLD BOYS (AT TALLOW HORSE FAIR) Oil on board, 15" x 11½" (38 x 29cm), signed; signed and inscribed verso. Est. €700 - 1,000 73
110 Louis le Brocquy HRHA 1916-2012 HUMAN IMAGE Lithograph, image size 28" x 22" (71 x 56cm) signed, ed. /75. Est. €1,500-2.500
111 Frank Egginton RCA 1908-1990 NEAR MAAM CROSS, CONNEMARA Watercolour, 15" x 21" (38 x 53cm), signed and dated 78; with letters of correspondence verso. Est. €700 - 1,000 74
112 Kenneth Webb RWA FRSA RUA b.1927 BLACK CURRACHS, CONNEMARA Oil on canvas, 20" x 24" (51 x 61cm), signed and dated 1960s. Est. €1,000 – 1,500
113 Cliodhna Cussen, Contemporary EALO Bronze and stone, 14" high x 21" wide (35.5 x 53cm), unique.
114 Kathleen Fox 1880-1963 WOMAN SEATED IN AN INTERIOR Oil on canvas, 18” x 15” (46 x 38cm), signed, inscribed verso. Est. €2,000 – 3,000
Est. €2,000 - 3,000 75
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Lot No
Description
Limites excl. Comm & VAT
ART AUCTIONEERS & VALUERS
The Design Auction Sunday, 13th April at 2pm At The Pavilion, Leopardstown Racecourse, Dublin 18 On View: Thursday 10th - Sunday, 13th April
Catalogue Available Soon A Set of Eight Mahogany Dining Chairs, attributed to Carlo di Carli 78
A Danish Rosewood Desk, 1960s, by Svend Madsen
A Pair of Art Deco Fauteuiles, by George de Bardyere
A Pair of Swan Chairs, by Arne Jacobsen, for Fritz Hansen
An Auction of 20th Century Design and Contemporary furniture including licensed pieces by Arne Jacobsen, Charles & Ray Eames, Mies van der Rohe, Philippe Starck, Sir Norman Foster, Danish pieces from 1960s, Art Deco from the 1920s plus modern designer furniture by B + B Italia, Techno, Kartell, etc. A sale not be missed by any buyer with an eye for Design Louis le Brocquy HRHA, 1916-2012, ALLEGORY, Aubusson tapestry
79
INDEX B Ballagh, R. Ballard, B. Bourke, B. Brady, C. Brobbel, J. Brohan, J.S. Brophy, E. C Canning, M. Carrick, D. Collis, P. Colman, E. Conor, W. Cooke, B. Craig, J.H. Crozier, W. Cudworth, J. Cullen, C. Cussen, C . D Davis, G. Dillon, G. Doherty, J. Dunne, G.
4, 81 38, 49 100 2 86 45 74.
99 20 44 94 87 29, 33, 101 7, 11 95 84 102 113
35 54, 55 46, 47 106
E Egan, F. Eggington, F
90 111
F Faulkner, J. Fox, K.
98 114
G Gemmell, M.
108
H Hamilton, L. M. Hanlon, J. P. Hayes, E. Healy, H. Hone, E. Hone, N.
75 53 97 23, 24, 25, 26, 27. 91 16
J Jameson, J. Jamieson, A.
5, 6 10
K Kernoff, H. Kingerlee, J. Kingston, R.
66 103 1
L Lavery, J. Lawlor, J. Le Brocquy, L.
9 93 51, 104,110
M MacCabe, G. MacCabe, M. MacGonigal, M. Maderson, A. K. Maguire, C. Marjoram, G. McGuinness, N. McGuinness, W.B. McKelvey, F. McLoughlin, C. McSweeney, S. Middleton, C. Moore, Y. Murphy, W.
18, 40 80 15 36, 37, 109 50 76, 77 17 63, 64 8, 12 85 28 56, 89 78 83
O O’Conor, R. O’Donoghue, H. O’Malley, T. O’Neill, M. O’Reilly, P. O’Ryan, F. P Patton, E. R Rakoczi, B. Robinson, M. 2 Russell, G. S Scott, W. Scully, S. Sluis, P. Smyth, J. N. Souter, C. Sutton, I. Swanzy, M. T Teskey, D. Treacy, L.
14, 58 31 19, 30 67 60, 61 42, 43 34 96 1,22, 71, 73 13 105 92 82 32 52 69, 79 107 48 72
W Webb, K. Whisker, C. Wilks, M. C.
39,112 3 67, 68
Y Yeats,
57, 59
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