Irish Art Auction by de Veres Art Auctions

Irish Art Auctioneers & Valuers

IRISH ART AUCTION Tuesday 26th March at 6pm

Irish Art Auctioneers & Valuers

AUCTION:

Tuesday 26th March at 6pm

AUCTION VENUE:

The Royal College of Physicians, No. 6 Kildare Street, Dublin 2

ON VIEW:

at de Veres, 35 Kildare Street, D2 Thursday 21st March 10am - 5pm Friday 22nd March 10am-5pm Saturday 23rd March 11am - 5pm Sunday 24th March 12pm - 5pm Monday 25th March 10am - 5pm Tuesday 26th March 10am - 5pm

CONTACT:

01 6768300

COLLECTION: From 35 Kildare Street PURCHASER FEES: 25% (incl VAT)

COVER ILLUSTRATIONS Front: Lot 25 Jack Butler Yeats RHA 1871-1957 Inside front: Lot 22 Daniel O’Neill 1920 - 1974 Inside back: Lot 6 Robert Ballagh b.1943 Back: Lot 14 Louis le Brocquy HRHA 1916-2012

de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie deveresArtAuctions

@deveresartauctions

Live Bidding available at:

the-saleroom.com 1

Irish Art Auctioneers & Valuers

John de Vere White john@deveres.ie

Rory Guthrie roryguthrie@deveres.ie

Aisling Tóth aislingtoth@deveres.ie

John deVere White and Rory Guthrie will be available at the viewing to answer any queries. We would like to thank the following with the production of this catalogue: Karen Reihill, Dickon Hall, Dr. S. B. Kennedy, Denise Ferrran

Mainie Jellet 1897-1944 ABSTRACT COMPOSITION Gouache, 10" x 8" (25.5 x 20cm). Provenance: Peppercanister Gallery, Dublin. €1500 - 2000

David Clarke 1920-2006 COL DE VENCE Gouache, 19" x 26" (48 x 66cm), signed & dated 1951. Provenance: The Frederick Gallery, Dublin (label verso). €400 - 600

Barbara Warren RHA b.1925 JULY, SLIEVE MÓR Oil on canvas, 15" x 16" (39 x 41cm), signed. Provenance: Taylor Galleries, Dublin, RHA Summer Exhibition 1992 (label verso). €800 - 1200

Pat Harris b.1953 ROCKS AT KILGALLIGAN HEAD Oil on linen, 30" x 35½" (76 x 90cm), signed, inscribed & dated 2008 verso. Provenance: Taylor Galleries, Dublin (label verso). €4000 - 6000

Nick Miller b.1962 OLIVE GROVE, FRANCE Watercolour, 22½" x 23" (57 x 58.5cm), signed & dated 2005. Provenance: The Rubicon Gallery, Dublin (label verso). €1400 - 1800

Robert Ballagh b.1943 MAN AND DELVAUX Acrylic on canvas, 32" x 16" (81.5 x 40.5cm), signed, inscribed & dated 1975 verso. €3000 - 5000

Robert Ballagh b.1943 WOMAN AND SOULAGES Mixed media collage, 32" x 16" (81.5 x 40.5cm), artist’s proof, signed & inscribed 1973. €1000 - 1500

Sean McSweeney HRHA 1935-2018 AUGUST POOL Oil on board, 40" x 48" (102 x 122cm), signed, inscribed & dated 1996 verso. €8000 - 12000

Charles Tyrrell b.1950 C15.06 Oil on canvas over timber 35" x 35" (89 x 89cm), signed & inscribed verso, dated 2006 verso. €4000 - 6000

10 Tony O’Malley HRHA 1913-2003 INSCAPE Oil on board, 24" x 48" (61 x 123cm), signed with initials, signed verso, opus No. 3260. Tony O’Malley was born in Kilkenny. He worked as a clerk for a number of years and only began painting in the 1940s while convalescing from a lung operation. His subject matter was in the main, focused around nature. He was inspired by landscapes, figures, and birds. Aside from his distinctive style, O’Malley’s work is steeped in references to cultural history, site specificity and nature. He referred to his paintings as ‘inscapes’ as they allowed one to look beyond the motif in order to visualise the organic and spiritual essence of experience. An O’Malley painting is a sensory experience, the surface of the board is deliberately scored, scraped and scratched to enhance its tactile quality, also making the viewer more conscious of the physical act of painting. €7000 - 10000

11 Sean McSweeney HRHA 1935-2018 GREY SHORELINE Oil on board, 13½" x 18" (34 x 46cm), signed, inscribed & dated 1999 verso. €1500 - 2000

12 Sean McSweeney HRHA 1935-2018 MARCH BOGLAND Oil on canvas, 18" x 24" (46 x 61cm), signed & inscribed verso. €2000 - 3000 11

13 Mainie Jellett 1897-1944 TWO ELEMENTS Oil on canvas, 33½" x 26" (85 x 66cm), signed & dated 1924; signed & titled verso. Mainie Jellett holds a distinguished place in the history of twentieth century Irish art, being Ireland’s first and most accomplished Cubist painter. In a conservative and at times hostile environment, Jellett defiantly argued the causes of Cubism and through her career became a champion of the modern movement. Only posthumously was her innovation and vital contribution to Irish art given full recognition, and her work is now found in The Hugh Lane Gallery, Irish Museum of Modern Art and the National Gallery of Ireland. Having studied in Dublin, London and Paris under the tutelage of Walter Sickert, André Lhote and Albert Gleizes – where she absorbed and accomplished herself in numerous artistic guises – it was with Gleizes, in 1922, that she came to explore the extreme forms of non-representational art. This was a pivotal period and the works of this time, including the present, are considered her most fully realised – the boldness and simplicity of her treatment of abstract form and colour rarely equalled. This particular work from 1924 is a major example of the artist’s oeuvre and shows her at the height of her powers. €40000 - 60000

14 Louis le Brocquy HRHA 1916-2012 WOMAN (1958) Oil on canvas, 36" x 28¼" (91.5cm x 72cm), signed. Provenance: Gimpel Fils Gallery, London (label verso); Christies London, 21st November 2013, Lot 208 where purchased by the present owners. Exhibited: National Gallery of Ireland (label verso). Anne Crookshank discusses the artist’s figure pictures of this period, “The form tends to concentrate towards the centre of the canvas and to build up as though revealing an image which was already inherent in its surface, an image which grows up out of the whiteness of the canvas like a human being groping its way to full reality. In this way le Brocquy seems to be able to convey the essential and almost physical presence of a human being without in any way detailing external appearance. These white pictures communicate a mysterious, poetic vision with a feeling of serenity and peace. But the longer one is in contemplation of them, the greater the sense of inner movement and disquiet conveyed by the tension between the crispness of emerged features and those fluid washes which hold this central encrusted paint. It is the inner vitality created by this tension which makes these paintings live as great works of art” (see A. Crookshank, exhibition catalogue, Louis le Brocquy: A retrospective selection of oil paintings 1939-1966, Dublin, Municipal Gallery of Modern Art, 1966, p. 9). €40000 - 60000

15 Nevill Johnson 1911-1999 ARCTIC Oil on canvas, 18" x 24" (46 x 61cm), signed with initials. Probably painted in the early 1950s, this is a remarkable example of Nevill Johnson’s ambitious and multi-layered image-making at the time, and almost seems to integrate elements of other works from the period into a conscious tour-de-force. The barren wastelands that had defined the first paintings Johnson exhibited with Victor Waddington in 1947 have evolved here into austere and ambiguous landscapes that question the physical structure of the natural world as much as they suggest post-war concerns over human nature and existence, with the sky twisted and folded as it is deconstructed in a process of formal abstraction. Yet the present picture does echo the post-atomic narratives of these slightly earlier works; the moon that emerges like a relic from another world through a fold in the sky illuminates a strange and indefinable meeting-point of land and ocean, a favoured surrealist trope, where abandoned objects seem to echo the interactions of human life. Poised between bones and a castle on a rocky outcrop, a cog-like platform has come to rest with its teeth in the ground, with a bird made of folded paper standing beside a tall cone, all objects that seem to have washed up here and taken on new, strange identities away from their everyday context. Johnson enjoyed making and then painting folded paper objects in the early 1950s, much as he had painted found objects into his work in the 1940s, so that his work of this period retains a detached and self-conscious wit despite its often unsettling mood, while his elegant and precise draughtsmanship and cool, subtle palette create an evocatively magical atmosphere.

Dickon Hall, February 2019 €4000 - 6000 16

16 Terence P Flanagan PRUA RHA 1929-2011 VIEW OF BANGOR Oil on canvas, 18" x 22¾" (47.5 x 58cm), signed & dated 1960. While this townscape is an unusual subject for T.P. Flanagan, it illustrates the abstract geometry that runs through much of his early work, as well as showing his enduring interest in the subtleties of light and, particularly, its shifting effect on water. Flanagan picks out a number of the notable landmarks and features of the town, including two spires and the Tower House, but in general the muted depiction of buildings seems secondary to the two areas of sky and sea which balance each other. Both are built up in a series of pale blocks, with occasional high-toned flashes of light establishing a dialogue between them. The architecture of the town provides verticals that connect the sky and sea and create a rhythmic dynamic against the horizontal patches of the boats and rocks and the long wall of the harbour. A row of orange street lights strings a warm and subtle horizontal glow across the centre of the canvas, perhaps acting as a gentle suggestion of human activity. T.P. Flanagan was friendly with two painters of the generation just preceding his own, Colin Middleton and Daniel O’Neill, who had lived and worked in and around Bangor, and Middleton had painted similar views across Bangor harbour in the early 1950s.

Dickon Hall, February 2019 €4000 - 6000 17

17 Markey Robinson 1918-1999 SHAWLIES, WEST OF IRELAND Gouache on board, 24" x 32" (61 x 81cm), signed. €4000 - 6000

18 Brian Ferran HRHA HRUA b.1940 KINGS Mixed media on canvas laid on board, 24" x 24" (61 x 61cm), inscribed verso. €800 - 1200

19 Brian Ferran HRHA HRUA b.1940 BLUE FIGURES Oil on canvas, 24" x 24" (61 x 61cm), signed & dated, inscribed verso. €800 - 1200

20 Daniel O’Neill 1920-1974 WAITING WOMEN Oil on board, 22" x 32" (56 x 81cm), signed; inscribed verso. ‘Waiting Women’ was most likely executed in the mid 1960’s when Daniel O’Neill was living in South West London with his partner, Maureen O’Neill. London’s 1960’s culture revolution of music, fashion, abstract Expressionism and British Pop Art held little interest for O’Neill. Fascinated by painting techniques from an early age his focus was the discovery of acrylic paint. It’s fast drying time, vibrant colour and plasticity allowed him to experiment with ‘impasto’ techniques which led him to create new raised textured surfaces using brushes, palette knife, fingers, brush handles, crumpled paper and sponges. Moving away from calm domestic scenes, O’Neill embarked on a series of subjects depicting a single figure or group of figures in landscapes employing impasto effects. From 1963, the artist’s style became expressionistic and figures are typically depicted standing near a shore in silhouette against a vast sky. Following the breakdown in his marriage O’Neill left Belfast in 1958 to start a new life and to be close to his dealer, Victor Waddington. Waddington had left Ireland to take his gallery in London in another direction. Although he never exhibited O’Neill’s work, Waddington continued to send O’Neill’s work to the Dawson Gallery in Dublin and to his brother George Waddington in Montreal in Canada. Despite lengthy research no catalogues are available from Montreal but we do know that O’Neill held a solo exhibition in Montreal in 1965. ‘Waiting Women’ represents the artist’s mature style in the mid 1960’s which is characterized by greater spontaneity and application with a brush and palette knife. ‘Waiting Women’ centers on women waiting on a grassy bank in fading light for the return of their husbands from fishing in turbulent seas. The figures standing in a seascape in silhouette against a sky creates a strong vertical in the composition. In other non-figurative paintings, O’Neill uses the same device with a skeleton like tree. The artists invite empathy by juxtaposing light and shade dividing a group of women. In the foreground three women are bathed in light. Eerily the light gives little descriptive detail about who these women are or where they are located. Other titles from this period, ‘Resting’, ‘Waiting’, ‘Land, Sea and Sky’ are reflective and may recall a tragic event the artist experienced visiting a coastal fishing village on a sketching holiday in Kerry, Donegal or the Channel Islands. Maureen O’Neill referred to these paintings as ‘emotion recollected in tranquility’ (‘Daniel O’Neill (1920-1974) An Appreciation’, 2008, pg.10). The figure on the left is leaning slightly backwards and vigorous brushwork suggests movement within the group as they act in a supportive role to one another. The viewer is engaged as the group waits in anticipation of a sighting on the heaving seas. The central figure’s head directs our attention to the emotionless women in the background obscured in darkness. Hope fades as their wait has been longer and despite standing together their statuesque poses signify resignation and loss. Remarking on O’Neill’s landscapes Susan Stairs remarked that, “O’Neill felt deeply about life and drew on his own life’s experiences as subject. He was a human response to a human experience… he used the theme of groups and families waiting on the shore for the return of fishing boats,” adding the “focus is not on the actual arrival of the boats, but on the extended and lonely waiting for them.” (‘A sense of the forlorn’, Fortnight 1992, pg. 15).

Karen Reihill, February, 2019 €15000 - 20000

21 Colin Middleton RHA RUA MBE 1910-1983 LOUGH ERNE – MARCH (1969) Oil on board, 36" x 36" (90 x 90cm), signed. Provenance: Viola, Duchess of Westminster, Ely Lodge, Lough Erne, Co. Fermanagh. Exhibited: Colin Middleton Exhibition, David Hendriks Gallery, Dublin, October 1970, Cat. No. 32; Colin Middleton Retrospective, The Ulster Museum, Belfast, Jan-Feb 1976; The Hugh Lane Gallery, Dublin, March-April 1976, Cat. No. 111. The Duchess had a number of works by Colin Middleton in her collection and donated ‘An Ulster Landscape’ by him to the National Trust’s property ‘Florence Court’ nearby in Co. Fermanagh. This house has close associations with the Duchess as she is credited with saving the wonderful rococo plasterwork ceiling in the dining room and much of the houses contents when she organised a human chain to remove them during the fire there in 1955. It is appropriate that she is remembered there through a work by Middleton which hangs upstairs in the house. The 1960s were a period of re-building for Colin Middleton after the setbacks of the second part of the 1950s. He began again to exhibit regularly, moved back to Belfast and was by now regarded one of the leading painters working in Ireland. His work had also become increasingly concerned with landscape and even the paintings that have clear references to the figure, almost always female, usually relate it to forms associated with the landscape. Lough Erne was a favourite subject for Middleton at this time; he had a caravan at Castle Archdale and visited it for family holidays when he fished and painted. His Lough Erne paintings suggest recollections of the landscape built up over a long period of familiarity and the experience of changing light and weather conditions and indeed Middleton never actually painted outdoors, preferring to make small drawings and watercolours to record motifs and colour, before working on paintings in the caravan or at home. ‘Lough Erne, March’ is on one of the largest formats on board on which Middleton painted. Like many of these square landscape paintings from the 1960s and 1970s a strong series of horizontals dominate and create a sense of space, while subtler repeated vertical strokes suggest gradations of light and texture within a more detailed exploration of the place. A strong shaft of sunlight draws the eye to the horizon where it illuminates a narrow blue line of hills, but it also adds a luminous sheen to the reedy edge of the lake in the foreground and middle distance. While clearly derived from the experience of specific places and moments, the present painting exemplifies how Middleton’s landscapes of this period are also explorations of abstract forms and effects that interested the artist.

Dickon Hall March 2014 €8000 - 12000

22 Daniel O’Neill 1920-1974 NEAR BALLYFERRITER, CO KERRY Oil on board, 18" x 24" (45.7 x 61cm), signed, inscribed verso. Provenance: The Taylor Gallery Belfast (label verso). When Victor Waddington was closing his gallery in Dublin, Daniel O’Neill met his future partner, Maureen Boyce in Belfast in 1957. O’Neill followed Victor Waddington to London to start a new life but like his Belfast friends, Gerard Dillon, George Campbell and Arthur Armstrong who were also living in London, he similarly returned to Ireland to seek out subject matter for his exhibitions. In the 1950’s O’Neill’s painting style changed a number of times but subject matter typically related to human nature. His nonfigurative landscapes alluded to the forlorn; stranded empty beaches, barren rocks, isolated cottages, dried river beds, and skeleton like trees infused with eerie lighting providing the subjects with a distinctive romantic quality. ‘Near Balliferriter’ is similar in style to O’Neill’s landscapes from the late 1950s when compositions contain mystery and drama with elements of surrealism but are quintessential Irish scenes. O’Neill returned to favourite locations which contained the perfect conditions for his images. In the north west, he enjoyed painting the area on the ruggedly beautiful Fanad Peninsula where cottages are bathed in surreal light snugly sheltered against the dark Knockalla mountains. In Tyrella, Co. Down empty cornfields are bathed in golden light framed by disturbing dead tree stumps. In this landscape in Kerry, O’Neill brings the same elements to the composition. These locations were not idyllic landscapes but were wild and rugged and as the weather changed the landscape could be imbued with drama stirring an emotional response from the viewer. These images were a pervasive aspect of the artist’s personality and evoke an emotional fusion between colour, mood and illusion. In late 1959 O’Neill contributed to a joint exhibition ‘Bronzes and Paintings’ at the Little Theatre in Brown Thomas on Grafton Street in Dublin. The exhibition consisted of bronzes by Jacob Epstein and paintings by Daniel O’Neill. Two of O’Neill’s paintings listed in the catalogue have Kerry titles which point to the artist visiting the Dingle Peninsula. Ballyferriter is a Gaeltacht village in the west of the Dingle Peninsula, a known scenic area for tourists. Attracted to its remoteness, inlets and dramatic cliffs, O’Neill has in ‘Near Balliferriter’ depicted barren thatched cottages on a cliff bathed in warm light. Tuffs of golden grass droop over the rocks against a blue sky. A secluded empty beach is revealed below the rocks. On the left the scene is serene but on the right the atmosphere is forlorn. A blanket of menacing clouds sweeps in from the left across a sky behind a leafless tree, an indicator of an impending storm. No smoke appears from the chimney tops of the thatched cottages. The skeleton like tree relieves the horizontal line but it soon becomes clear that life has departed from this beautiful place. Despite the surreal quality of this image, O’Neill makes us believe this place exists. Reviewing one of O’Neill’s exhibitions in the 1950’s, one critic referenced the artist’s ability to make us believe, “O’Neill excels at making lonely skies of deep blue which create the atmosphere he requires to bewitch us into believe in the absurdly mystical world of his fancy. The fact remains that he makes us believe.’ (‘An Artist who makes us Believe’ Irish Press, 21.5.51 pg.3).

Karen Reihill, February 2019 €10000 - 15000

23 Jack Butler Yeats RHA 1871-1957 THE NOBLE THREE Pen, ink & watercolour, 3¼" x 5¼" (8 x 13.3cm) signed. Provenance: The Waddington Galleries, London (label verso) with inscription from Victor Waddington, 1961. €4000 - 6000

THE NOBLE THREE (To the air of ‘The Black Horse’) One time when walking down a lane As night was drawing nigh, I met a colleen with three flowers And she more young than I. ‘Saint Patrick bless you, dear,’ said I ‘If you’ll be quick and tell The place where you did find those flowers I seem to know so well’

She took and kissed the next flower twice And softly said to me, ‘This flow I culled in Antrim’s fields, Outside Belfast’ said she; ‘The name I call it is Wolfe Tone’ The bravest flower of all. But I’ll Keep it fresh beside my breast If all the world should fall.’

She took one flower and kissed it thrice And softly said to me: ‘This flower I found in Thomas Street, In Dublin Fair,’ said she; ‘Its name is Robert Emmett The youngest flower of all. But I’ll keep it fresh beside my breast If all the world should fall.’

She took and kissed the next flower once And softly said to me, ‘This flower comes from the Wicklow Hills, Its name is Dwyer,’ said she. ‘But Emmett, Dwyer and Tone I’ll keep For I do love them all. And I’ll Keep it fresh beside my breast If all the world should fall.’ G.N. Reddin

24 Grace Henry HRHA 1868-1953 ACHILL GIRL Oil on canvas, 20" x 14" (51 x 36cm), signed. This picture painted on Achill Island is reminiscent of ‘The Long Grey Road of Disting’, 1915. It is also similar to ‘Mallaranny’, 1918-1919. Grace’s work shows the typical life on Achill. This picture is of a young dark haired local girl riding side saddle with creels on both sides of the pony. Her ruddy complexion, face and hair look wind swept and weather beaten. Grace was initially happy on Achill when they first went there in 1910 but she eventually became bored with life on the island and this caused dissention with Paul and soon led to their subsequent break-up.

Dr. S.B. Kennedy, February 2019 €6000 - 9000 27

25 Jack Butler Yeats RHA 1871-1957 TRALEE (1924) Oil on canvas, 14" x 18" (35.5 x 20.3cm), signed. Provenance: Leo Smith, Dawson Gallery, Dublin; J.P. Reihill, Dublin; Sean Lemass; C. J Haughey. Exhibited: London, Gieves Art Gallery, Jack B. Yeats, Pictures of Irish Life, 1924, no. 32; Dublin, Engineers Hall, Jack B. Yeats – Pictures of Life in the West of Ireland, 1924, no. 8; Birmingham, Ruskin Gallery, Jack B. Yeats, Paintings of Ireland, 1927, no. 21; Dublin, National College of Art, National Loan Exhibition, 1945, no. 39. Literature: Hilary Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil Paintings, André Deutsch, London, 1922, p.201, no. 224, pl. 271, illustrated in colour. T.G. Rosenthal, The Art of Jack B. Yeats, André Deutsch, London 1933, p. 276, no. 26, pl. 73, illustrated in colour. Painted in 1924, Tralee shows Jack Yeats in the last and most romantic phase of his early style. The picture belongs to a small group which show him on the cusp of change, poised between the humour and observation of his early works and the full-fledged expressionist of his mature style. As such it is a rare and highly important work. The picture is set on the western fringes of the town of Tralee, in Co. Kerry, where the river that winds through the town from Stack’s mountains enters the head of Tralee Bay. The sun has just set to the west, over the Atlantic, and although the bowel of the sky is still luminous and the clouds glow pink and violet the light is fast leaving the land. The masts of the boats beached by the low tide are starkly silhouetted against the horizon. On the river-bank sits an old man, shoulders hunched against the evening chill as he stares silently at the still water where the clouds are reflected. A party of younger people ignore him as they pass by, headed towards an old stone house, chattering and flirting as they go. Jack always resisted attempts to label his pictures with meaning; after one such attempt by a group of critics, he angrily pined a paper rose to his easel and declared that “thence forward all my work would be sub rosa; I would never again discuss the meaning of my pictures”. Paintings such as ‘Tralee’ defy easy analysis, but Hilary Pyle remarks upon ‘Tralee’s’ “gentle and elegiac note”, and the delicate blue harmonies of the picture reinforce the sense of wistfulness and separation inherent in the subject matter. The strolling figures seem to represent brash youth passing on its way, impatient and disdainful of the older generation whom they leave behind. Equally, Hilary Pyle suggests that they may represent rich tourists who have come to sample the life of the West, not pausing to understand the ancient rhythms of life which lie below its surface. It is possible also to go further and to see ‘Tralee’ as an allegory for the siren lure of emigration upon the younger generation. The motif of the young emigrant, either leaving his home town or returning in prosperous triumph, reoccurred regularly in Jack’s watercolour work before 1910 and he was to paint his most explicit statement on the subject only five years after the present picture, with ‘A Farewell to Mayo’ of 1929 (sold in Christies, The Irish Sale, 16th May 1996, lot 502). Emigration had been largely halted since 1914, both by the British authorities during the First World War and by Sinn Fein during the war that followed in Ireland, so that the eventual peace in 1923 brought cheap fares to America and saw a flood of young people leaving the country. Too old or too timid to follow, the seated figure can only sit in silent anguish as the party sets off in the direction of the new continent, upon which the sun rises as it sets on Ireland. In stylistic terms, ‘Tralee’ belongs to a critical time of change for Jack: although it retains all the narrative power of earlier panels such as ‘The Sleeping Tinker’ (lot 368), the picture has gained in addition a broader and more visionary symbolism which prefigures his mature expressionist style. The sharp-eyed precision and boldly drawn outlines of the earlier panels have softened. Instead, there is a new freedom in the handling of the paint. And a fresh sensitivity to the fading sky; blue violet and primroses yellow. Although this new resonance foreshadows Singing ‘Oh, had I the Wings of a Swallow’ (lot 376), painted only the following year, Jack has not yet taken the final step with Tralee. It is one of a small number of major works which show him at the very point of the transformation that was fundamentally to change his work – the moment that he described a ‘a kind of new birth’. €150000 - 200000 28

26 Patrick Hennessy RHA 1915-1980 BROCADE AND FRUIT Oil on canvas, 33½" x 23½" (85 x 60cm), signed. Provenance: Guild Hall Galleries, Chicago (label verso). Patrick Hennessy never tired of painting still lives. Every exhibition had its quota and they were commercially successful. His admiration for the 17th Century Dutch members of that genre, and Chardin and Vermeer, painters of quiet mood and emotion, fuelled his desire to emulate them. This was paramount to his success. His clients wanted simple decorative still lives, not broody contentious subject matter. Hennessy fulfilled this need perfectly. €8000 - 12000

27 Lady Beatrice Glenavy 1883-1970 THE SAILOR’S RETURN Oil on board, 18" x 19" (46 x 48cm), signed with monogram. The following note was written by the Late Nicola Gordon-Bowe for a similar composition titled ‘The Sailor’s Return’. Sold these rooms 1st December 2015. The 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. In 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 although surprised. Behind her, a church is set symbolically on a clifftop promontory in the sea. In an 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 painting and the canvas more bluish in tone. €6000 - 9000

28† William John Leech 1881-1968 A BALCONY, GRASSE Oil on panel, 18" x 14" (46 x 35.5cm), signed; signed & inscribed with title to the reverse “No. 213 / A balcony, Grasse / W J Leech”. Provenance: Hazel, Lady Lavery (1880-1935), to her daughter, Alice Gwynne, and by descent. Exhibited: The RHA, Dublin 1930, No.173. It is probable that Leech met the Belfast born artist Lavery (1856-1941) in the colony of artists in Concarneau, Brittany in 1903, when Lavery came to visit Alexander Harrison and again when Lavery returned in 1904, to paint with his friend Joseph Milner-Kite (1862-1945) who was also a friend of Leech. The group of English speaking artists, Irish, English, American and New Zealand were closely knit, painting and dining together in the evening, in the small picturesque fishing village. Leech was accompanied by his future wife, the American, Elizabeth Saurin as indeed did Lavery meet his future wife Hazel Martyn, who had come to Brittany to paint with other artists, as had Elizabeth after meeting Leech in Paris. When Lavery arrived in Concarneau, his friend Milner-Kite was painting Hazel’s older sister, Dorothy and when he reached a difficult stage, Lavery took over the painting, much to the admiration of Hazel, who became his wife in July 1909. However, when they met in Concarneau, Hazel, was engaged to a young American doctor, Edward Livingston Trudeau, who she married soon afterwards but then was tragically widowed when pregnant and subsequently gave birth to her daughter, Alice. Lavery had been a great admirer of Whistler, who influenced Leech’s early work but Lavery’s later work fully embraced all the colour and fluidity of Impressionism, which parallel the development of Leech’s work. During the First World War, confined to London, Leech’s marriage to Elizabeth was in difficulty. Leech’s life changed irrevocably when Leech was commissioned, by Percy Botterell to paint his wife, May. This led to the break up of Leech’s marriage to Elizabeth and of May’s marriage to Percy. After Leech had painted May Botterell’s portrait in 1919, the couple formed a lifetime attachment and made trips together to France for Leech to paint the landscape. They chose the South of France, above Nice, in the hillside town of St. Jeannet. Here Leech rented a house for seven years but afterwards he and May continued to visit the area, staying in Cagnes-sur-mer and then in Grasse where he painted ‘Steps of the Cours, Grasse’ and this work ‘A Balcony, Grasse’. It is probable that the Laverys and the Leech families kept in contact, as both lived in London and May and Bill Leech holidayed in the South of France each year from the 1920’s until the 1930’s and the outbreak of the 2nd World War. The Laverys stayed in Mougins in 1926, in Cannes 1929-30 and again in 1931. Leech painted several works in Grasse and one of these, a study of ‘The Steps to the Cours Grasse’ he exhibited in the RHA exhibition in 1930, alongside this work. ‘A Balcony, Grasse’ was acquired by Hazel Lavery and then bequeathed to her daughter Alice Gwynne, who lived in Kilkenny, after her marriage to Peter McEnery. ‘A Balcony, Grasse’ is a freely painted view from the balcony of the house that Leech stayed in in Grasse, painted in the harmonious pastel palette Leech used at this period. He captures the heat and the sun on the vegetation beyond and on the palm tree leaves encroaching from the left. The edge of the balcony creates Leech’s trademark diagonal leading into the work and carrying the viewer’s eye to the traditional Grasse house beyond with its shutters, the entire scene depicted with free brushworks, with layers of colour blending into the passages beyond.

Dr Denise Ferran, February 2019 €20000 - 30000

29 Charles Lamb RHA RUA 1893-1964 CARRAROE Oil on panel, 10" x 14" (25.5 x 36cm), signed. €1500 - 2000

30 Samuel Connolly Taylor 1870-1944 MARKET SQUARE, BRITTANY Oil on board, 10" x 12½" (25.5 x 30.5cm). Provenance: Sold these rooms, 16th June 1998. Born in Belfast in 1870, Samuel Taylor attended the Belfast School of Art and in 1920 he began teaching art at the Municipal Technical Institute, Belfast. His most productive period was 1911- 1913 when he went to paint in Concarneau for several months each summer. Taylor stayed at the same hotel as William John Leech, the Grand Hôtel des Voyageurs, Concarneau, and he also knew Milner-Kite, Norman Garstin and Frances Hodgekins during this period. €2000 - 4000 36

31 James Humbert Craig RHA RUA 1877-1944 THE BLUE HILLS OF ANTRIM, THE ANTRIM COAST Oil on board, 15" x 20" (38 x 51cm) signed, inscribed verso. €1000 - 1500

32 H.C. Tisdell, 20th Century THE RED BOWL Oil on Board, 10" x 12" (25.5 x 30.5cm), signed & inscribed verso. €400 - 600

33 Aloysius O’Kelly 1853-1936 BRETON GARDEN Oil on canvas, 32" x 39" (81 x 99cm), signed; indistinctly inscribed & signed label verso. €8000 - 12000

34 Douglas Alexander RHA 1871-1945 TURF STACKS Oil on canvas board, 9" x 11" (23 x 28cm), signed, with Victor Waddington framing label verso. €300 - 500

35 Douglas Alexander 1871-1945 NEAR DHU LOUGH, CONNEMARA Watercolour, 15" x 20" (38 x 52cm) signed; signed & inscribed label verso. €500 - 700 39

36 Ciaran Clear 1920-2000 FISHERMEN CO. KERRY Oil on board, 10" x 23" (25.5 x 58.5cm), signed & inscribed verso. €600 - 900

37 Norman J McCaig 1929-2001 ON THE KILLARY Oil on canvas, 12" x 16" (30.5 x 40.5cm) signed; inscribed label verso. €600 - 900

38 Markey Robinson 1918-1999 STILL LIFE WITH ONIONS Gouache on board, 18¼" x 36¼" (46.5 x 92cm), signed. €2000 - 3000

39 Norman J McCaig 1929-2001 TRAWLERS, BANGOR HARBOUR Oil on canvas board, 14" x 18" (35.5 x 45.7cms), signed; inscribed verso. €800 - 1200

40 Kenneth Webb RWA FRSA RUA b.1927 STONE CIRCLE NEAR CONG Oil on canvas, 36” x 46” (91.5 x 117cm), signed; inscribed on stretcher verso. €8000 - 12000

41 Paddy Lennon, Contemporary BLOOD HORSES SERIES Mixed media, 30" x 42" (76 x 107cm), signed with initials. €1500 - 2500

42 Ivan Sutton b.1944 KINVARA HARBOUR, CO. GALWAY Oil on canvas board, 20" x 30" (51 x 76cm), signed; signed & inscribed verso. €1400 - 1800

43 David M Martin, 20th Century STILL LIFE WITH VIOLIN Oil on canvas, 30" x 30" (76 x 76cm), signed; signed & dated 2001 verso. €1500 - 2000

44 Sean McSweeney HRHA 1935-2018 TREES LISSADELL Oil on board, 24" x 32" (61 x 82cm), signed & inscribed verso. €3000 - 5000

45 Felim Egan b.1952 DIVIDE Acrylic on canvas, 47¼" x 47¼" (120 x 120cm), signed & dated 1997 verso. €3000 - 5000

46 Felim Egan b.1952 UNTITLED Acrylic on canvas, 31½" x 39" (80 x 99cm), signed & dated 1984 verso. €1400 - 1800

47 Liam Belton RHA b.1947 EIGHT EGGS (2018) Oil on canvas, 20" x 30" (51 x 76cm), signed. Provenance: Peppercanister Gallery Dublin. €5000 - 7000

48 Geraldine O’Neill, Contemporary PEPPA PIG Oil on canvas, 48" x 60" (122 x 152.5cm), signed. Geraldine O’Neill studied at the National College of Art and Design between 1989 and 1993. In 2013 she was elected as an associate of the RHA. She has exhibited extensively in Ireland and abroad including the Irish Museum of Modern Art, The National Portrait Gallery in London as well as both the Frankfurt and Florence Biennale. Among O’Neill’s many awards are the Henry Higgins Travel Scholarship, an Arts Council Bursary and the Gerry Tornsey Prize for Portraiture. Her work is included in numerous private and public collections. O’Neill lives in Dublin and is represented in Ireland by Kevin Kavanagh Gallery. She is one of the most original artists painting in Ireland today. €6000 - 9000

49 John Doherty b.1949 M.C. BUTLER & CO Acrylic on canvas, 39½" x 59" (100 x 150cm), signed & dated 1982 verso. €20000 - 30000

50 Louis Le Brocquy HRHA 1916-2012 IMAGES OF W.B. YEATS Watercolour & crayon, diptych, each 20" x 14" (51 x 36cm), each signed & inscribed; each signed, inscribed & dated 1989 verso, opus Nos.W929-930. €15000 - 20000

51 Joseph Walsh, Contemporary ENIGNUM II (2012) Olive Ash &suede, 87.5cm (h) x 53cm (w) x 76cm (d), signed & dated label attached. €8000 - 12000 From the book ‘Joseph Walsh Enignum and other stories’ published in 2011 by the Oliver Sears Gallery, on the occasion of the exhibition of the same name. ‘In my experience almost all artists who work in Ireland are touched if not influenced by the local topography and the climate. Joseph Walsh’s practice owes much to his upbringing in Cork, observing the dramatic effect of the Atlantic on the coastline and the ever changing weather on the land around him. The hardwoods he employs are the perfect foil to tell his personal story. With extraordinary technical skill the material is allowed to reveal its mystery. Wondrous free form design has created a body of work in a language of its own. The functionality of the tables and chairs is never compromised nor simply paid lip service.

52 Joseph Walsh, Contemporary ENIGNUM I (2012) Olive Ash & leather, 118.5cm (h) x 56cm (w) x 75 cm (d), signed & dated label attached. €8000 - 12000

But such is the seeming impossibility of the designs that the viewer is left believing that he is seeing something for the very first time. Van Gogh does this with landscape, Morandi with still life and Hockney with flowers. Hackneyed subjects that have been so populated by artists that one cannot imagine the possibility of a fresh take. But Joseph’s works are so much more that the artifice of conjuring jaw- dropping amazement. Here is a precocious talent that has immersed itself in the history of design. Whose first works paid homage to the classical, the art deco and a dozen post war heroes from America, Europe and Japan. Has understood the ground-breaking work of his friend John Makepeace and has gone on to find his own lyrical voice. In the oldest Irish tradition of story – telling Joseph Walsh has mastered the art and delivers contemporary tales unearthed from the deepest places.

53 Patrick O’Reilly b.1957 BEAR WITH TOP HAT Bronze, 14½" high (37cm), signed & dated 2013, ed. 1/1. €3000 - 5000

54 Patrick O’Reilly b.1957 BEAR SKIING Bronze, 16½" high (42cm). €3000 - 5000

55 Victor McCaughlin, Irish School HEAD OF JAMES JOYCE Bronze, 12" high (30.5cm). €1000 - 1500

56 Melanie le Brocquy RHA 1919-2018 LAUGHING BOY Bronze, 9½" high (24cm), signed, inscribed & dated 1998, label to the base. €600 - 900

57 Tony O'Malley HRHA 1913-2003 BLACK AND AMBER Oil and collage on canvas, 16" x 12" (40.6 x 30.5cm), inscribed & dated 1995 verso, opus No. 3237. €1500 - 2000

58 Felim Egan b.1952 WOODNOTE AA (2003) Mixed media on wood, 18¾" x 18¾" (48 x 48cm), signed & dated 2003 verso.

59 Charles Tyrrell b.1950 WB1.05 Woodblock print, 40½" x 40½" (103 x 103cm), edition of 75.

€800 - 1200

€1000 - 1500 55

The following works (lots 60-81) come from the Collection of singer Brian Kennedy

60 Colin Davidson b.1968 BRIAN KENNEDY Charcoal, 30" x 22¼" (76 x 56.5cm), signed. €2000 - 3000

61 Patrick Scott HRHA 1921-2014 UNTITLED, 2009 Carborundum & gold leaf 29¼" x 24¾" (74.5 x 63cm) signed & dated 2009, 1/75. €2000 - 3000

62 Patrick Scott HRHA 1921-2014 UNTITLED (FROM MEDITATIONS, 2007) Carborundrum and gold leaf, 28½" x 27½" (72.5 x 76cm), signed & dated 2007, ed. 16/50. €2000 - 3000

63 Patrick Scott HRHA 1921-2014 UNTITLED (FROM MEDITATIONS, 2007) Carborundum, gold leaf and palladium, 25½" x 27½" (72.5 x 76cm), signed & dated 2007, ed. 16/50. €2000 - 3000

64 Patrick Scott HRHA 1921-2014 UNTITLED (FROM MEDITATIONS, 2007) Carborundum & gold leaf 28½" x 27¾" (72.5 x 70.5cm) signed & dated 2007, ed. 16/50. €2000 - 3000

65 Patrick Scott HRHA 1921-2014 UNTITLED (FROM MEDITATIONS, 2007) Carborundum & gold leaf 28½" x 27¾" (72.5 x 70.5cm) signed & dated 2007, ed. 16/50.

66 Patrick Scott HRHA 1921-2014 UNTITLED (FROM MEDITATIONS, 2007) Carborundum & gold leaf 28½" x 27¾" (72.5 x 70.5cm) signed & dated 2007, ed. 16/50.

€2000 - 3000

67 Patrick Scott HRHA 1921-2014 UNTITLED (FROM MEDITATIONS, 2007) Carborundum & gold leaf 28½" x 27¾" (72.5 x 70.5cm) signed & dated 2007, ed. 16/50.

68 Patrick Scott HRHA 1921-2014 UNTITLED (FROM MEDITATIONS, 2007) Carborundum & gold leaf 28½" x 27¾" (72.5 x 70.5cm) signed & dated 2007, ed. 16/50.

€2000 - 3000

€2000 - 3000 60

69 Patrick Scott HRHA 1921-2014 MEDITATIONS SERIES COVER, 2009 Gold leaf on canvas, 30" x 29" (76 x 74cm). €500 - 700

70 Sean Scully RA b.1943 VERTICAL BRIDGE, 2003 Aquatint, 29½" x 24¼" (75 x 62cm), signed, inscribed & dated 2003, 32/40. €3000 - 5000

71 Louis Le Brocquy HRHA 1916-2012 HUMAN IMAGE XI (2005) Screenprint, 40" x 28¼" (102 x 72cm), signed, ed. 18/25. €1500 - 2000

72 Louis Le Brocquy HRHA 1916-2012 CHUCULAINN Intaglio print, 23" x 17" (58 x 43cm), signed, ed. 47/75.

73 Louis Le Brocquy HRHA 1916-2012 HEAD AND HANDPRINT Intaglio print, 25½" x 19¾" (65 x 50cm), signed, ed. 18/75.

€1000 - 1500

74 Louis Le Brocquy HRHA 1916-2012 SAMUEL BECKETT Intaglio print on Japanese kozu natural paper, 23" x 17½" (58.5 x 44.5cm), signed, ed. 2/40. €1000 - 1500

75 Colin Watson b.1966 WOMAN Oil on board, 12" x 12" (30.5 x 30.5cm), signed & dated 1998 verso. €600 - 900

76 Colin Watson b.1966 LANDSCAPE II Oil on board, 10" x 12" (25.5 30.5cm), signed with initials; signed & dated, 1998 verso.

77 Colin Watson b.1966 LANDSCAPE III Oil on board, 10" x 12" (25.5 x 30.5cm), signed with initials; signed, inscribed & dated 1998 verso.

€600 - 900

78 Walter Verling b.1930 THE WINDING ROAD (ROSSAVEAL) Oil on canvas board, 12" x 16" (30.5 x 40.5cm), signed. €400 - 600

79 Martin Mooney b.1960 FLOWER STUDY III Oil on canvas board, 7" x 5" (17.5 x 12.5cm), signed with initials; signed, inscribed & dated 2008 verso.

80 John Behan RHA RHA b.1938 MOLLY AND POLDY Coloured etching, 15¾" x 19¾" (40.5 x 50cm), signed, inscribed & dated 2004, ed. 2/50. €200 - 300

81 Gered Mankowitz ELIZABETH TAYLOR Limited edition photographic print, 18" x 12" (46 x 30cm), signed, ed.2/50. €800 - 1200

Provenance: Portland Gallery, London (label verso). €400 - 600

82 Louis Le Brocquy HRHA 1916-012 BEING Aquatint, 24" x 19" (61 x 48cm), signed, ed. 52/75. €1000 - 1500

83 William Crozier 1930 - 2011 THE REPLANTING Coloured engraving, image size 15¾" x 21¼" (40 x 54cm), signed, inscribed & dated 2008, ed. 3/40.

84 William Crozier 1930 -2011 GARDEN Coloured engraving, image size, 8" x 9" (20 x 23cm), signed & inscribed, ed. 19/30.

€600 - 900

€300 - 500 68

85 John Kingerlee 1922-2014 HEAD Oil on board, 9½" x 6" (24 x 15.24cm), signed & dated 2007. €600 - 900

86 Geraldine M O’Brien 1922-2014 GARRYKENNEDY, LOUGH DERG, CO TIPPERARY Oil on canvas, 18" x 24" (46 x 61cm), signed. €600 - 900

87 Stephen McKenna PPRHA 1939-2017 TUSCAN LANDSCAPE Oil on board, 12" x 18" (30.5 x 46cm), signed; signed & dated 1995 verso. €800 - 1200

88 Norah McGuinness HRHA RHA RUA 1901-1980 A HYACINTH Oil on canvas, 16" x 8" (41 x 20.5cm), signed. Provenance: The Dawson Gallery, Dublin; Sotheby’s Slane Castle, 26 June 1979, lot 559.

89 George Campbell RHA RUA 1917-1979 SPANISH LANDSCAPE Oil on board, 18½" x 12½" (48 x 32cm), signed. Provenance: The artist’s estate. €1000 - 1500

€3000 - 5000

90 George Campbell RHA RUA 1917-1979 SPANISH FIGURES Oil on board, 24" x 20" (61x 51cm).

91 George Campbell 1917-1979 FIGURES Gouache, 10" x 7¼" (25.5 x 18.5cm), signed.

Provenance: The artist’s estate.

€1500 - 2500

€300 - 500

92 Markey Robinson 1918-1999 FAMILY ACROSS THE SEA Gouache on board, 23" x 41" (58.5 x 104cm), signed. There is a note attached verso, explaining the painting and where acquired by the previous owner. €3000 - 5000

93 Noel Murphy, Contemporary HORSE STUDY Gouache, 48" x 32" (122 x 81cm), signed & dated 2007. €800 - 1200

94 Markey Robinson 1918-1999 CONNEMARA COTTAGES Gouache on paper, 14" x 19¾" (35.5 x 50cm), signed. €800 - 1200

95 Gladys Maccabe HRUA ROI FRSA 1918-2018 CLOWN Oil on board, 22¼" x 18" (57 x 46cm), signed. €1000 - 15000

96 Padraig MacMiadhachain 1929-2017 ANNA’S MOON ABOVE THE BRIDGE Oil on canvasboard, 9½" x 13" (24 x 33 cm), signed & dated �62; signed & inscribed verso. Provenance: A gift from the artist to the present owner. €400 - 600

97 Padraig MacMiadhachain 1929-2017 FINCA MAJORCA Oil on canvasboard, 10" x 14" (25.5 x 36cm), signed & dated �62; inscribed verso. Provenance: A gift from the artist to the present owner. €400 - 600

98 Jacqueline Stanley, Contemporary ACROSS ROARING WATER BAY Oil on canvas, 22" x 28" (56 x 71cm), signed, inscribed label verso. €600 - 900

99 Anthony Murphy, Contemporary CYPRUS TREES Oil on canvas, 18" x 25½" (45.7 x 64cm). €600 - 900

100 Mabel Young 1889-1974 PRIMROSES Oil on board, 9" x 12" (23 x 30cm) signed; inscribed label verso. €400 - 600

101 Claude Hayes RI ROI 1852-1922 SHIRE HORSES Oil on canvas, 40" x 30" (102 x 76cm), signed, in a gilt frame. €4000 - 6000

102 Maurice Canning Wilks 1910-1984 ANTRIM COAST AT CUSHENDUN Oil on canvas, 12" x 16" (30.5 x 40.5cm), signed; inscribed verso. €400 - 600

103 Maurice Canning Wilks 1910-1984 LOUGH DERRYCLARE, CO GALWAY Oil on canvas, 18½" x 24" (46 x 61cm); signed; inscribed verso. €600 - 900

104 Roderic O’Conor 1860-1940 NUDE Pencil, 13" x 16" (30.5 x 40.5cm). Provenance: Collection of Reneé O’Conor (neé Honta); thence bequeathed to Mme. Bellard; from whom acquired by Dr Robelet, Brittany. €1000 - 1500

106 Mary Swanzy HRHA 1882-1978 ARTIST WITH PINK HAT Pencil and crayon on paper, 5½" x 3" (14 x 8cm). Provenance; Peppercanister Gallery, Dublin. €800 - 1200

105 Roderic O’Conor 1860-1940 NUDE Pencil, 10" x 13" (25.5 x 33cm). Provenance: Collection of Reneé O’Conor (neé Honta); thence bequeathed to Mme. Bellard; from whom acquired by Dr Robelet, Brittany. €1000 - 15000

108 Mary Swanzy HRHA 1882-1978 MARKET SCENE Coloured crayon on paper, 7½" x 9½" (19 x 24cm). Provenance: Peppercanister Gallery, Dublin. €400 - 600

107 Alethea Garstin RWA 1894-1978 BRETON MAN WITH SON Watercolour and pencil, 7½" x 4½" (19 x 11cm). Provenance: Molesworth Gallery, Dublin (label verso). €300 - 500

109 Mainie Jellett 1897-1944 THE DANCING CLASS 1918 Pencil on paper, 9½" x 9" (24 x 23cm). Provenance: The Peppercanister Gallery, Dublin. €500 - 700

110 Norman J McCaig 1929-2001 PILOT BOATS ON THE LAGAN Oil on canvas board, 20" x 16" (51 x 41cm), signed. €1000 - 1500

111 Dermod O’Brien PRHA 1865-1945 COASTAL LANDSCAPE Oil on canvas, 10" x 14" (25.5 x 36cm). €800 - 1200

112 Douglas Alexander 1871 - 1945 AT LEENANE, CO. GALWAY Watercolour, 10" x 14" (25.5 x 35.5cm) signed; inscribed verso. €200 - 300

113 William H Conn 1895-1973 MARKET DAY Watercolour, 14½" x 10½" (37 x 26cm) signed. €200 - 400

114 Desmond Carrick RHA 1928-2012 CATTLE ENTERING A COVE, RUSHEEN, INISH BOFIN ISLAND Oil on board, 18" x 24" (46 x 61cm), signed.

115 Liam Treacy 1934-2004 NEAR LEESON STREET BRIDGE Oil on board, 20" x 16" (51 x 40.5cm), signed; inscribed and dated �90, artists label verso.

€600 - 900

116 Louis Le Brocquy HRHA 1916-1912 HEAD Watercolour 7" x 7" (18 x 18cm), signed; dated label verso. Provenance: Taylor Galleries, Dublin. €1500 - 2000

117 Henry Healy RHA 1909-1982 FIGURE Watercolour, 12" x 6" (30.5 x 15cm), signed.

118 Stephen McKee b.1961 SUMMER DRESS Mixed media, 19” x 15” (48.5 x 38.5cm), signed & dated 2019, with artist’s atelier stamp verso.

€300 - 500

€500 - 700 82

119 Francis Tansey b.1959 TRANSITION IN RED Acrylic on canvas, 18" x 18" (45.7 x 45.7cm), signed, inscribed & dated 2001 verso. €400 - 600

120 Francis Tansey b.1959 TUBULAR DIALOGUE Acrylic on canvas, 18" x 18" (45.7 x 45.7cm), signed, inscribed & dated 2001 verso. €400 - 600 83

121 Makiko Nakamura b.1951 UNTILTED Oil on canvas, 24" x 24" (61 x 61cm), signed, inscribed & dated 2002 verso. €800 - 1200

122 Makiko Nakamura b.1951 UNTILTED Oil on canvas, 18" x 18" (45.7 x 45.7cm), signed, inscribed & dated Feb 13th 2002 verso. €600 - 900

123 Makiko Nakamura b.1951 UNTILTED Oil on canvas, 18" x 18" (45.7 x 45.7cm), signed, inscribed & dated Feb 13th 2002 verso.

124 Makiko Nakamura b.1951 UNTILTED Oil on canvas, 18" x 18" (45.7 x 45.7cm), signed, inscribed & dated Feb 13th 2002 verso.

€600 - 900

125 Cecil King 1921-1986 SEGMENT Pastel, 10" x 8" (25.5 x 20cm), signed.

126 Cecil King 1921-1986 PASTEL GREEN Pastel, 13" x 9½" (33 x 24cm), signed.

Provenance: The Richie Hendricks Gallery, Dublin, ex collection Norah McGuinness (label verso).

Provenance: Ritchie Hendricks Gallery, Dublin, April 1970 (label verso).

€600 - 900

€1000 - 1500

127 William Crozier 1930-2011 GARDEN Coloured engraving, image size, 8" x 9" (20 x 23cm), signed & inscribed, ed. 19/30. €300 - 500 86

128 Jack Packenham RUA b.1938 AUTUMN LANDSCAPE Oil on canvasboard, 10" x 12" (25.5 x 30.5 cm), signed; inscribed verso.

129 Jack Pakenham RUA b.1938 AUTUMN LIGHT Oil on canvasboard, 14" x 12" (36 x 30.5cm), signed; inscribed verso.

€300 - 500

130 Lily Williams ARHA 1874-1940 DUBLIN STREET Pastel, 9½" x 7" (24 x 18cm), inscribed verso. €200 - 300 87

131 Sean McSweeney HRHA 1935-2018 TOOR, CO WICKLOW Oil on board, 40" x 47" (102 x 120cm), signed. Provenance: The Taylor Gallery, Belfast, where purchased by the present owner. €8000 - 12000

131A Hughie O’Donoghue b.1953 SOUVENIR OF ST VALERY, RED CLIFFS, 2006-07 Oil & mixed media on board, 19" x 29½" (48 x 75cm), signed; signed, inscribed & dated 2007 verso. €8000 - 12000 88

132 George Campbell RHA 1917-1979 STILL LIFE Oil on board, 20" x 24" (51 x 61cm). Provenance: The artist’s Estate. €2000 - 3000

133 Paul Nietsche RUA 1885-1950 FLORAL STILL LIFE Oil on canvas, 20" x 24" (51 x 61cm), signed & dated 1943. €2000 - 3000 89

134 Brian Bourke HRHA b.1936 ITALIAN WOMAN Pastel, 30" x 21" (76 x 53.5cm), signed & inscribed. €600 - €900

135 Ger Sweeney, Contemporary SOLSTONE Oil on canvas, 34" x 32" (86 x 81.5cm), signed, inscribed & dated 2002 verso. €700 - 1000 90

136 Basil Blackshaw RHA RUA 1932-2016 FRANCES MCCORMACK Oil on canvas, 24" x 20¾" (61 x 50cm), signed & dated 1955, inscribed verso. Exhibited: Arts Council Northern Ireland (label verso). €1500 - 2500

137 Gerard Dillon RHA RUA 1916-1971 LANDSCAPE Mixed media, 16½" x 28" (42 x 71cm), signed. €5000 - 7000 91

138 Barbara Warren RHA 1925-2016 YOUNG PRINCE Slate, 9½" x 10" (24 x 35.5cm), inscribed verso. Provenance: Acquired directly from the artist by the present owner. €400 - 600

139 Gary Coyle, Contemporary TWILIGHT FOREST – STUDY Watercolour, 15" x 22" (38 x 56cm). Provenance: Kevin Kavanagh Gallery, Dublin (label verso). €300 - 500 92

140 Markey Robinson 1918-1999 ON THE THIRD DAY HE ROSE AGAIN Gouache 16" x 13¼" (40.5 x 34cm), signed. €800 - 1200

141 Douglas Alexander 1871-1945 BOG STREAM, CONNEMARA Watercolour, 9" x 11" (23 x 28cm) signed; signed & inscribed label verso.

142 VANISHING DUBLIN, by Flora Mitchell, 1890-1973, single copy.

€200 - 300

€100 - 200

143 Louis Le Brocquy HRHA 1916-2012 EIGHT IRISH PORTRAITS IN WORD AND WATERCOLOUR (1990) Eight lithographic prints, with outer case, 10½" x 8¾" (26.7 x 22.2cm), signed, ed. 468/1000. €600 - 900

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DESIGN AUCTION Tuesday 14th May

AXA AUCTION Tuesday 14th May Approx 200 works of Irish Art and prints

IRISH ART AUCTION Tuesday 11th June

IMPORTANT SCULPTURE AUCTION Tuesday 11th June Viewed in the garden of The Merrion Hotel

Currently Inviting Entries 94

Standard Conditions of Business 1. Definitions In these Conditions, de Veres Art Auctions, who act as auctioneers and agents for the vendor, are called ‘the auctioneers’ (which expression shall be deemed to include their servants and agents) and the representative of de Veres conducting the auction is called ‘The Auctioneer’. 2. Third Party Liability Every person at or on the ‘Auctioneers’ premises or at any premises being used by the Auctioneer at any time shall be deemed to be there entirely at his/her own risk and shall have no claim whatsoever against the Auctioneers or their servants or agents in respect of any accident or incident which may occur nor any injury, damage or loss howsoever arising and whether or not same is the subject of any allegation of negligence. 3. General Whilst the Auctioneers make every effort to ensure the accuracy of their catalogue and the description of any lot: (a) Each lot as set out in the catalogue or as divided or combined with any other lots or lots is sold by the vendor with all faults, imperfections and errors of description. (b) Any claim under any Statute must be received in writing by the Auctioneers within three months of the sale. (c) The Auctioneers shall not be liable for consequential or resultant loss or damage whether sustained by a Vendor or a Purchaser or the owner of any item or their respective servants and agents arising in any circumstances whatsoever and irrespective of any claim made by any party as to negligence or lack of care of the Auctioneers or any part acting on their behalf. (d) Lots marked with † are those which deVeres hold a financial interest in. 4. The Auction (a) The Auctioneer has absolute discretion to divide any lot, to combine any two or more lots or to withdraw any lot or lots from the sale, to refuse bids, regulate bidding or cancel the sale without in any case giving any reason or previous notice. He may bid on behalf of the vendor for all goods which are being offered subject to reserve or at the Auctioneer’s discretion. (b) The highest bidder shall be the buyer except in the case of a dispute. If during the auction the Auctioneer considers that a dispute had arisen. He has absolute discretion to settle it or to re-offer the lot. The Auctioneer may at his sole discretion determine the advance or bidding or refuse a bid. (c) Each lot is put up for sale subject to any reserve price placed by the vendor. Whether or not there is a reserve price the seller has the right to bid either personally or by any one person (who may be the Auctioneer). (d) All conditions, notices, descriptions, statements and other matters in the catalogue and elsewhere concerning any lot are subject to any statements modifying or affecting the same made by the Auctioneer from the rostrum prior to any bid being accepted for the lot. 5. Recession Notwithstanding any other terms of these Conditions, if within 12 months after the sale, the Auctioneers have received from the buyer any notice in writing that in his view the lot is a deliberate forgery and within twenty-one days after such notification the buyer returns the same to the Auctioneers in the same condition as at the time of sale and by producing evidence, the burden of proof to be upon the buyer satisfies the Auctioneers that considered in the light of the entry in the catalogue the lot is a deliberate forgery, then the sale of the lot will be rescinded and the purchase price of the sale refunded. In the event of a dispute then the matter shall be settled by the President of the Institution of Chartered Surveyors in the Republic of Ireland. Both the buyer and the vendor agree to be bound by the decision . 6. Default The Auctioneers disclaim responsibility for default by - either the buyer or the vendor because they act as Agents for the vendor only and therefore do not pay out to the vendor until payment is received from the buyer. Instructions given by telephone are accepted at the sender’s risk and must be confirmed in writing forthwith. 7. In the event of a sale by private treaty both the vendor and the buyer agree to be found by these and any Special Conditions of Sale. 8. Retention of Title All goods remain the property of the vendor until paid for in full. The Auctioneers will not assume liability to discharge nett proceeds arising from the sale of goods until those goods have been paid for in full.

VENDOR’S CONDITIONS 9. Instructions All goods delivered to the Auctioneers’ premises will be deemed to be delivered for sale by auction and will be catalogued and sold at the discretion of the Auctioneer and accepted by them subject to all the Sale Conditions. By delivering the goods to the Auctioneers for inclusion in their auction sales the vendor acknowledges that he or she has accepted and agreed to be bound by all these Conditions. 10. Collection and Deliveries The Auctioneers do not normally undertake the packing, collection or delivery of goods but will if requested use their best endeavors as Agent of the Owner to arrange for an independent contractor on the owner’s behalf to deal with packing, collection and/or delivery. The Auctioneer will not in any event arrange insurance of the goods and will accordingly not be liable for any loss or damage to goods howsoever arising including breakages or for any damage to premises, fixtures or fittings therein caused by such contractor or otherwise and the owner is responsive for all arrangements to verify that any such contractor and the goods is/are appropriately insured. Unless instructions are received to the contrary, charges (including VAT) for such services will be charged to the vendor’s account or discharged through the Auctioneers by the purchaser as the case may be. The Auctioneers’ liability (if any) will rise only where they themselves carry out packing and collection/delivery and only in the case of breakage or loss caused through deliberate negligence of their employees and in any event in one single contract and the Auctioneers’ liability will not exceed £500. Provided further than the Auctioneers will not be liable for consequential loss in any circumstances whatsoever. 11. Loss or Damage and Storage The Auctioneers reserve the right to store or arrange for the storage of goods held by them or delivered to them either on their own premises or elsewhere at their sole discretion and entirely at the owner’s risk. The Auctioneers shall not be liable for any loss (including consequential loss) howsoever caused of damage to goods of any kind including breakages, or for unauthorised removal of goods. Should the owner of goods so wish it will be his/her goods while they are in the possession of the Auctioneers. 12. Right to Re-sell The Auctioneer reserves the right to re-sell any item which has not been collected within thirty days of purchase. 13. 3% commission due to saleroom.com for lots purchased using Live Bidding. 14. 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. 25% incl. VAT will be added to the hammer price for each lot. 2. All accounts must be discharged by certified cheque, bank draft or cash. 3. The responsibility for items purchased passes to the purchaser on the fall of the hammer. 4. The Auctioneers reserve the right to look for 25% deposit on all goods. VAT Regulations: All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers’ premium must be invoiced at a rate which is inclusive of VAT. This VAT is not recoverable by any VAT registered buyers. 96

Alexander, D

34,35,112,141

Ballagh, R Behan, J Belton, L Blackshaw, B Bourke, B

6,7 80 47 136 134

Campbell, G Carrick, D Clarke, D Clear, C Conn, W.H Coyle, G Craig, J.H Crozier, W

89,90,91,132 114 2 36 113 139 31 83, 84

Davidson, C Doherty, J Dillon, G

60 49 137

Egan, F

45,46,58

Ferran, B Flannagan, T.P

19,18 16

Garstin, A Glenavy, Lady B

107 27

Harris, P Hayes, C Healy, H Hennessy, P Henry, G

4 101 117 26 24

Jellett, M Johnson, N

1,13,109 15

King, C Kingerlee, J

125,126 85

Lamb, C Le Brocquy, L Le Brocquy, M Leech, W.J Lennon, P

29 14, 50,71,72 73,84,82,143 56 28 41

Mankowitz, G 81 Martin, D 43 Maccabe, G 95 McCaig N.J 37, 39, 110 McCaughlin, V 55 McGuinness, N 88 McKee, S 118 McKenna, S 87 MacMiadhachain, P 96,97 McSweeney, S 8, 11,12,44, 131 Middleton, C 21 Miller, N 5 Mooney, M 79 Murphy, M 99 Murphy, N 93 Nakamura, M Nietsche, P

121, 122, 123, 124 133

O’Brien, D O’Brien, G.M O’Conor, R O’Kelly, A O’Malley, T O’Neill, D O’Neill, G O’Reilly, P

111 86 104,105 33 10, 57 20, 22 48 53, 54

Pakenham, J

128,129

Robinson, M

17,38,92,94,140

Scott, P Scully, S Stanley, J Sutton, I Swanzy, M Sweeney, G

61-69 70 98 42 106,108 135

Tansey, F Taylor, S Tisdell, H.C Treacy, L Tyrrell, C

119,120 30 32 115 9, 59

Verling, W

Walsh, J Warren, B Webb, K Williams, L Wilks, M.C

51,52 3, 138 40 130 102, 103

Yeats, J.B Young, M

23, 25 100

Irish Art Auctioneers & Valuers

35 Kildare Street, Dublin 2. Tel: 01 676 8300 info@deveres.ie www.deveres.ie

Irish Art Auction

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Irish Art Auction