ART AUCTIONEERS & VALUERS
Irish Art Auction Wednesday 25th May at 6pm Viewing at 35 Kildare Street, Dublin 2 1
ART AUCTIONEERS & VALUERS
Auction:
Wednesday 25th May, at 6pm
AUCTION VENUE:
Physicians Hall 6 Kildare Street Dublin 2
ON VIEW:
de Veres 35 Kildare Street Dublin 2
Saturday 21st May Sunday 22nd May Monday 23rd May Tuesday 24th May Wednesday 25th May Contact:
12 - 5pm 12 - 5pm 9.30am - 5pm 9.30am - 5pm 9.30am - 5pm
01 6768300
COLLECTION: From 35 Kildare Street, PURCHaser 19½% plus VAT (23.985%) FEES:
de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie Live Bidding available at:
the-saleroom.com www.facebook.com/deveresArtAuctions 3
ART AUCTIONEERS & VALUERS
Lot 27 Mary Swanzy (detail)
John de Vere White Managing Director john@deveres.ie
Rory Guthrie Director roryguthrie@deveres.ie
Auctioneers:
John de Vere White Rory Guthrie 4
Aisling T贸th Associate Director info@deveres.ie
1 Arthur Armstrong RHA RUA 1924-1996 BLUE TABLE Oil on board, 10" x 16" (20.5 x 40.5cm), signed.
â‚Ź600 - 900
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2 Flora Mitchell 1890-1973 ENTRANCE TO CASTLE YARD, DUBLIN. Watercolour and Ink, 7½" x 7½" (19 x 19cm), signed, inscribed & dated 57 verso.
€600 - 900
3 Flora Mitchell 1890-1973 WINETAVERN STREET Watercolour and Ink, 8" x 13¼" (20.5 x 33.5cm), signed, inscribed.
€800 - 1200 6
4 Patrick Pye HRHA RHA b.1929 STILL LIFE 13 Oil on board, 24¾" x 20" (63 x 51cm), signed & dated 1970; inscribed verso. Provenance: David Hendricks Gallery, Dublin September 1973 (label verso); these rooms, 9th March 1999.
€600 - 900
5 Christopher Campbell 1908-1972 † HAY CARTS Oil on canvas, 20" x 36" (51 x 92cm), signed.
hristopher Campbell was a portrait and figure painter, as well as a stained glass C artist who went on to work at Harry Clarke Stained Glass Ltd. He exhibited over 70 works at The RHA.
€1500 - 2000 7
6 Donald Teskey RHA b. 1956 STREET WITH LETTER BOX Oil on paper, 13½" x 16¼" (34 x 41 cm), signed; signed, inscribed & dated 1994 verso.
€2000 - 3000
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7 Donald Teskey RHA b. 1956 VALENTIA ISLAND Oil on paper 9" x 9" (23 x 23cm), signed & dated 04; signed, inscribed & dated 2004 verso.
â‚Ź2000 - 3000
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8 Donald Teskey RHA b. 1956 CONVERSATION IN THE MOUNTAINS 1 Oil on card 16½" x 14" (42 x 35.5cm).
Literature: ‘Conversation in the Mountains’ by John Banville, with Paintings and Drawings by Donald Teskey, published by The Gallery Press (2008), illustrated in colour (copy of book sold with this lot).
€3000 - 4000
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9 Donald Teskey RHA b. 1956 CONVERSATION IN THE MOUNTAINS 2 Oil on card 16" x 14" (40.5 x 35.5cm).
Literature: ‘Conversation in the Mountains’ by John Banville, with Paintings and Drawings by Donald Teskey, published by The Gallery Press (2008), illustrated in colour.
€3000 - 4000
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10 John Shinnors b.1950 BADGERS, HER PLACE Oil on canvas, 39½" x 52" (100 x 131cm), signed; signed & inscribed verso.
€25000 - 35000
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11 Basil Blackshaw HRHA RUA 1932-2016 † HEADLAND 2 (1992) Oil on canvas, 20" x 24" (51 x 61cm), signed, inscribed verso. Provenance: Solomon Gallery, Dublin (label verso); Tom Caldwell Gallery, Belfast (label verso).
Brian Fallon on Blackshaw, 2003 taken from ‘Blackshaw’ edited by Eamon Mallie.
“ We are dealing with a very special case: an artist who is simultaneously straightforward and sophisticated, folkish and ultra-contemporary, with deep roots in tradition yet with antennae sensitised to the present and its vibrations. He is original without being revolutionary, continually searching without being outwardly challenging, combining a blunt earthiness with temperament and imagination. He has strong local roots, but uses a visual vocabulary that ranges far beyond strict draughtsmanship, he is also a master of paint. As such, Basil Blackshaw is always an awkward figure to place and a genuine test of a critic’s acumen. He exists inside a category that is largely of his own creation, and to compare him with other artists of his generation is a barren exercise, since he is like nobody except himself ”.
€9000 - 12000
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12 Sean McSweeney HRHA b.1935 † KELLYS BOG Oil on board, 18" x 24" (46 x 61cm), signed & dated 1990, signed, inscribed & dated 1990 verso.
€3000 - 5000
13 Charles Brady HRHA 1926-1997 SHELL 1997 Oil on linen, 9½" x 14" (24 x 35.5cm), signed.
Provenance: Taylor Galleries, Dublin (label verso).
€3000 - 4000 14
14 Sean McSweeney HRHA b.1935 APRIL POOL Oil on board, 17½" x 23¾" (44.5 x 60cm), signed & dated 2000; signed, inscribed verso.
Literature: Last Poems by Dermot Healy (illustrated).
€3000 - 5000
15 Norah McGuinness HRHA 1901-1980 † THE CUSTOM HOUSE, DUBLIN Gouache, 15" x 20½" (38 x 52cm), signed.
Provenance: The Dawson Gallery, Dublin (label verso).
€3000 - 5000 15
16 Martin Gale b. 1949 FOG IN THE WOODS 2 Oil on canvas, 9¾" x 11¾" (25 x 30cm), signed.
Provenance: Fenton Gallery Cork (label verso).
€2000 - 3000
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17 Tony O’Malley HRHA 1913-2003 SEPTEMBER WINDHOVER Oil on board, 24" x 47½" (61 x 121cm), signed, signed & inscribed verso.
Provenance: Mary ‘Boots� Redgrave, St Ives and by descent. Literature: B. Fallon, Tony O’Malley, The Arts Council of Ireland, Dublin, 1984, p.40.
Moving permanently to St Ives in Cornwall in 1960, O‘Malley rented a room in the home of Mary ‘Boots� Redgrave, a co-owner of The New Craftsman Gallery, the longest established commercial art gallery in St Ives. He was to stay with the Redgraves until 1962 when he moved to Gulval just outside Penzance. Painted in 1965, September Windhover is O’Malley’s lyrical response to Gerard Manley Hopkins 1877 eulogy to Jesus as symbolised by a kestrel soaring majestically on a thermal ‘the achieve of, the mastery of the thing‘.
This poem had an added poignancy for O’Malley as his close friend and artistic inspiration, Peter Lanyon, had tragically died in a gliding accident the previous year aged only forty six. O�Malley painted several compositions of hawks gliding following his death which have been interpreted as a phosthumous tribute to Lanyon. As Brian Fallon writes, this painting ‘is less an individual bird than an expression of elemental forces‘ (op. cit., p. 40) so central to the output not just of Lanyon but the entire St Ives School.
€3000 - 5000
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18 Patrick Scott HRHA 1921-2014 GOLD PAINTING Oil and gold leaf on unprimed linen, 51" x 51" (129.5 x 129.5cm), signed & dated 8/84 verso.
â‚Ź10000 - 15000
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19 John Shinnors b.1950 ENGLISH ALLOTMENT, SNOW Oil on canvas, 14¼" x 14¾" (36 x 37.5cm), signed; signed & inscribed verso.
€4000 - 6000
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20 John Brian Vallely b. 1941 BODHRAN PLAYERS Oil on canvas, 20" x 30" ( 51 x 76cm), signed with initials.
â‚Ź8000 - 12000
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21 John Brian Vallely b.1941 VIOLINS Oil on canvas, 20" x 24" (51 x 61 cm) signed with initials.
€4000 - 6000
22 John Brian Vallely b.1941 THE ACCORDIAN PLAYER Oil on canvas, 12" x 14" (30.5 x 35.5cm), signed with initial.
€2500 - 3500 21
23 Nick Miller b.1962 WINTER TREE Oil on linen, 36" x 40" (91.5 x 101.5cm), signed, inscribed & dated 2001 verso.
â‚Ź4000 - 6000
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24 Hughie O’Donoghue b.1953 SOUVENIR FOR ST. VALERY-TOUS DERRIÈRE, LONDRES. Oil & mixed media on wooden construction 20¾" x 29" (53 x 74cm), signed, inscribed & dated 2005/6 verso.
Provenance: Purdy Hicks, Gallery, London (label verso).
Artist’s note from Souvenir of St Valery Exhibition, Purdy Hicks, London 2006:
I arrived in St Valery-en-Caux on 7 July 2005 having travelled from London the day before. The purpose of my visit was to see the place where the 51st Highland Division surrendered in 1940. As things turned out most of the day was spent listening to radio reports of the events taking place in London. During the same trip I came across the photograph album recording the holiday in St Valery-en-Caux made one hundred years earlier. I discovered it by chance in an antique shop in the town of St Valery-sur-Somme, forty or so miles to the north east.
T he 51st Highland division was captured at St Valery-en-Caux on 12 June 1940: eight days after the last troops had left the Dunkirk beaches. It is highly probable that the division could have been evacuated successfully. However, political decisions made away from the battle-field sealed their fate. A reformed 51st Highland Division re entered St Valery-en-Caux on on 3 September 1944. A memorial to the soldiers of 1940 is located on the cliffs above the town.
€8000 - 12000
23
25 Hilary Heron 1923-1997 GIRL WITH PIGTAILS Carved walnut, 14" high (35.5cm), signed with initials to the base.
ilary Heron was the pioneering figure in modern sculpture in Ireland in the 1940s, 1950s and 1960s. H She exhibited at the first Irish Exhibition of Living Art in 1943 and continued to show with them for over twenty years. Heron spent most of 1948 in Paris and was influenced by the Post War existentialist art she encountered. It was here that she became enamoured with welding as a sculptural medium having seen works by Pablo Picasso, Alexander Calder, and Julio González. The medium of ambitious modern sculpture between 1945 and 1960 was welded iron and Heron was the first Irish artist to exhibit welded sculpture. In doing so she influenced future generations of Irish sculptors. She was also something of a pioneer in two dimensional relief work using lead and other media.
hen her gallery Waddingtons moved to London in the mid-fifties she was one of only two Dublin artists who W had London solo shows with them. By this time reviewers and commentators were universally positive, writing that Heron was Ireland’s only modern and most promising sculptor and in touch with outside influences. Her stature as Ireland’s foremost sculptor was re-enforced when she was selected with Louis le Brocquy to represent Ireland at the important Venice Biennale in 1956 where she exhibited nine carvings and three welded pieces. In the late 1950s and early 1960s she shared a studio in London with the English sculptor Elisabeth Frink.
eron first attended the National College of Art in Dublin in 1941 and as a student she won the Taylor H Art Scholarship Prize in three successive years. Henry Moore is cited as her first major influence, in an interview in the 1960s she states it was impossible not to be influenced by him. Moore was a firm follower of the modernist ideal of ‘direct carving’ and ‘truth to materials’ and it was this approach that was to first mark Heron’s sculpture as modern. Lot 25 in this sale is an early piece by Heron and is a fine example of direct carving with the natural shape of the wood determining the final form and the truth to materials emphasised by the natural features of the wood being exposed rather than hidden.
uch of Heron’s work was purchased by international collectors. This piece was part of an American M collection, that of Purdon Smith Hall, mother of the important collector Emily Hall Tremaine who purchased two of her works and whose papers in the Smithsonian Archive of American Art include a file on Heron.
William Shortall, who is currently compiling a Catalogue Raisonee of Hilary Heron
€3000-5000
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26 Jack Butler Yeats RHA 1871-1957 A RIVERSIDE INN (1946) Oil on panel, 9” x 14” (23 x 35.5cm), signed, inscribed verso.
Exhibited: 1948 Leeds; 1948 London (71).
Provenance: Sold through Victor Waddington Galleries in 1946 to R. N Flynn; Leslie Dacus, Dublin; Sotheby’s (London) Sale 8 July 1970, lot 83 (repro); M. Jones; Sotheby’s (London) Sale 10 May 1989, lot 156; Waddington Galleries, London; Christies (London) May 2007, lot 95; Private Collection, Dublin.
Literature: Jack B Yeats: A Catalogue Raisonne of the Oil Paintings, by Hilary Pyle, Cat. No. 790, p.711
ivers and riverside inns provided a rich source of subject matter for Yeats. The theme recurs in many of his oil paintings, a R large group of them dating, like this example, to the mid 1940s. As a child he was said to have loved standing on the bridge in the centre of Sligo town, gazing into the Garavogue River below. His father, John Butler Yeats, remembered how Jack always regretted not spending more time engaged in this therapeutic activity 1. The constant flow of the water was a reminder of the force of nature and the relative insignificance of human life. In A Riverside Inn the river is contrasted with the man-made environment that surrounds it. The luscious application of paint and the strong bright colours suggest the pleasure and enjoyment of the peaceful riverside rather than any metaphysical meaning.
The deep impasto painting depicts a river with a steep bank. A terrace with tables and seats is set out in front of an inn. To the right a stone bridge closes off the view. To the left a rowing boat is tied to the bank. The surface of the painting is built up in thick layers of oil paint. The strong yellows suggest warm sunlight while the blues denote the coolness of the shade. The murky reds and browns of the fast flowing river add a more subdued note to the painting, setting off the sparkling surfaces of its banks and vibrant surroundings. Yeats forces the viewer to engage with the painting and to decipher the different parts of the composition through close contemplation of its surface. Above all it evokes the physical sensation of standing in this location on a warm summer’s day. Roisin Kennedy
€70000 - 90000
1. Quoted in H. Pyle, Jack B. Yeats. A Biography, (1970), p.19, and N. McGuinness, The Literary Universe of Jack B. Yeats, (1992), p.115. 26
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27 Mary Swanzy HRHA 1882-1978 † A VIEW OF SEMUR-EN-AUXOIS Oil on canvas, 21" x 18" (53 x 46cm), signed, inscribed label verso. Provenance: Pyms Gallery, London (label verso); Solomon Gallery, Dublin (label verso). Mary Swanzy was one of the earliest Irish artists to absorb a thorough knowledge of Modernism. In David Lee’s words (Arts Review, October 1986), “she was one of the last surviving artists with first-hand experience of Paris in the first thrilling decades of the [twentieth] century when new and almost immediately discarded styles lay thick under foot”. But unlike, say, Roderic O’Conor, who was in thrall to Gauguin, she never embraced any one influence to the exclusion of others – she is “delightfully unconventional”, the Irish Times commented of her in 1922 – choosing rather to draw upon whatever sources she felt most comfortable with.
Semur-en-Auxois is situated just off the present day autoroute du soleil, south of Auxerre near Vézelay, with its famous abbey, which is a masterpiece of Romanesque architecture. In the painting one can see the architecture of the eclectic church of Notre Dame (1218), standing in the east on high ground, which even now manages both to offend purists while delighting others. The church is notable for its two square towers. In front of the church is one of four solid round defence towers which are still extant, while the river Armançon winds its way, in a ravine, through the town.
When Swanzy would have visited Semur-en-Auxois is unknown, but it was probably in the late 1910s or sometime in the 1920s. To Thomas MacGreevy, writing in 1949, she was the first Irish artist whose work showed the influence of Cézanne.* The town still retains the flavour of a medieval fortress town, over which watches the imposing dungeon tower.
T he picture well demonstrates the character of Swanzy’s Cubism, which at the time was new to Irish painting. The contrast between the red roofs, with their angular qualities, and the houses clinging to the hillside, and the green of the foliated trees is both particularly striking and a frequent Swanzy compositional motif. Dr. S. B. Kennedy
*Thomas MacGreevy, ‘Fifty Years of Irish Painting’, Capuchin Annual, 1949, p. 508.
€30000 - 50000
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28 Jack Butler Yeats RHA 1871-1957 THE FERRY BOAT (1943) Oil on board, 9” x 14” (23 x 35.5cm), signed, inscribed verso.
Provenance: Sold through Victor Waddington Galleries in 1943 to a private collector; Christies Sale 10 March 1961, bought by Waddington Galleries, London; T. E. W. Waddington, London: de Veres Art Auction, Nov 2007, lot 89; Private Collection, Dublin.
Literature: Jack B Yeats: A Catalogue Raisonne of the Oil Paintings, by Hilary Pyle, Cat. No. 546, p.503.
The Ferryboat was painted at the same time as other waterside scenes such as Nearing the Canal (Clondalkin) and The Lake at Coole. Like the latter it is based strongly on Yeats’s imagination and memory rather than a direct topographical landscape. A number of these landscapes refer to journeys and a sense of changing perspectives. Hilary Pyle has described these works of the 1940s as having ‘a strong sense of human presence, of seeing the landscape through particular human eyes, which are aware of other people approaching, of events about to happen’ 2. In this work, a large ferryboat speeds off in the middle foreground of the painting. In its wake it leaves a narrow canal, lined on one side by Georgian style houses. Yeats has inscribed their distinctive fanlights in white paint.
Large paddle steamers like the one in this work ran between Dublin and Holyhead and Liverpool in the 19th and early 20th centuries and Yeats may be referring to one of these boats in the painting. But the flooded streets are more reminiscent of Venice which Yeats visited in 1898. He recorded the canals and the gondolas in his sketchbook. It was typical of his later practice to refer to the sketchbooks of his youth for ideas for his paintings. The contrast between the narrow darkness of the buildings and the open sky of the horizon is typical of the topography of Venice. The dark tonalities of the painting and the stormy skies and water suggest a tempestuous and stormy day rather than the calm pervasive sunlight that artists conventionally use in depicting the city. The painting is an exploration of how a combination of open water and confined urban space impact on form. It is constructed from a myriad of brushstrokes that create a dramatic surface in which the atmosphere of movement and changing light overwhelms the topographical details of the scene. Roisin Kennedy
€50000 - 70000
2. Hilary Pyle, Jack B. Yeats. A Catalogue Raisonné of the oil paintings, Andre Deutsch, 1992, II, p.502. 30
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29 May Guinness 1863 -1955 STILL LIFE FLOWERS Oil on canvas, 43" x 26½" (109 x 67.5cm).
32
Provenance: Purchased Tormey�s, Dublin 1970s.
ay Guinness was born into a large well-off M family on March 11th, 1863. In 1894 she travelled with Mildred Butler to study paintings under Norman Garstin at Newlyn in Cornwall. She exhibited 6 works at the RHA between 1897 and 1911; however, she obviously took umbrage to the academic nature of the Academy and refused to exhibit there again.
In around 1910, she made the first of many painting trips to France. She was particularly taken by scenes of fairs and weddings in Brittany and she painted several works that depict these events. At the age of fifty-one she left Ireland in 1914 and joined the French Army as a military nurse, a brave and courageous thing to do. She went on to be awarded the Croix de Guerre and the Medáille de la Reconnaissance Francais.
S he studied for a time under Andre L’hote (1885-1962) and he wrote the catalogue introduction to an exhibition she held at the Galerie Visconti in Paris in January 1925. She was a close associate of Evie Hone and Mainie Jellet who also studied under L’hote.
I n her eighties, she was still exhibiting. The Bell found ‘jollity’ in “Wedding in Brittany” at the Irish Exhibition of Living Art in 1945. She died on the 16th July 1955 at the age of ninety-two. A year later The Dawson Gallery held a Memorial Exhibition of her work. May Guinness was a wonderfully imaginative painter whose work has been perhaps neglected over the years.
See “Dictionary of Irish Painters” by Theo Snoddy
€4000 - 6000
30 George Campbell RHA RUA 1917-1979 STILL LIFE, SPANISH INTERIOR Oil on board, 21" x 16" (53.5 x 40cm), signed.
€4000 - 6000
33
31 Colin Middleton MBE RHA 1910-1983 BALLYWILLAN CHURCH Oil on card, 7" x 9" (18 x 23cm), signed and dated 51.
â‚Ź2000 - 3000
34
32 Daniel O�Neill 1920-1974 RECLINING NUDE Oil on panel, 20" x 24" ( 50 x 60cm), signed.
Provenance: Solomon Gallery, Dublin: Adams Irish Art Auction, 4th Dec. 2007 (lot 122), which catalogue note read:
T he traditional genre of the nude is rendered here in a strange mix of styles that draw on mannerism, romanticism and various facets of modernism. It is intimate in scale, composition and subject matter. The pose of O’Neill’s figure is strangely contorted and elongated in a way that is reminiscent of Jean-Auguste-Dominique Ingres’ famous Odalisque, aimed not at anatomical accuracy but visual pleasure. Her torso is smooth, tangible yet delicate, while the expression of her hazy visage implies her thoughts are elsewhere – bored by her apparently blank book, or impatiently awaiting a lover. O’Neill renders the drapery rough and heavy, yet cushioning her impossible and somehow modest pose. Intensity here stems from the close-cropped composition and the passionately applied pigment. Yet it is not overpowering – her reclining position, unfocused gaze and serpentine curves evoke a mood that is both meditative and calming.
€10000 - 15000
35
33 Roderic O’Conor 1860-1940 STILL LIFE WITH APPLES ON A WHITE CLOTH Oil on board, 14" x 18" (35.5 x 45.8cm), stamped with studio stamp ateleier/O’CONOR verso.
Provenance: The Artist’s Studio Sale, Hôtel Drouot, Paris, 7 February 1956;Crane Kalman Gallery, London; Mr and Mrs E Brunner, Wilmslow; anonymous sale, Christie’s, London, 9 March 1990, Lot 257.
Literature: J. Bennington, Roderic O’Conor, a Biography with a Catalogue of his Work, Dublin 1992. P. 221, no. 261.
T his simple but lyrical still life is of a family with a group of pictures O’Conor made is 1926-7 featuring objects such as cauliflowers, parsnips, shallots, loaves of bread, plates of fruit and unpatterned draperies. The refined sculptures, flowers and Chinese vases of earlier pictures were put to one side, allowing him to graft a highly painterly approach onto a range of everyday objects that belong more in the scullery than in the living room.
These pictures stand in the well – established tradition of ‘kitchen’ still lifes by masters like Chardin, Courbet and Cézanne, with whose work O’Conor was certainly familiar. The absence of artifice and demonstrative gestures in such paintings – mass, volume, colour and light – of the objects he was studying. A return to basics, truthfulness on the part of the painter. As so often in his work, O’Conor’s composition is constructed within a pyramidal shape, the apex of which is formed by a blue and white ceramic juicier (the same object appears in Still Life with A Compotier of Apples, 1923, formerly owned by Somerset Maugham). The geometry, though only subtly suggested, is sufficiently apparent to lend stability to a design that is otherwise composed mainly of curves. The fact that the objects have been placed in a series of receding parallel planes suggests that the artist is treating them, in effect as a surrogate landscape, calling to mind the practice of Poussin who mocked up his landscapes in miniature form using wax models.
T he light in O’Conor’s Rue du Cherche – Midi Studio is steady but muted (he hung material in his windows to reduce the glare), allowing him to exploit the contrast between the softly undulating white drape and the darker, firmer shapes of the fruit and bread. The plain, earthen background has been cropped level with the top of the juicer, thus ensuring that our gaze cannot stray too far from the items arranged on the tabletop.
’Conor was in his mid-sixties when he painted Still Life with Apples on a White Cloth. Still living and working in Paris, he O had worked solidly through the 1920s on scores of still lifes and nudes, making it one of the most productive periods of his career. And yet he sought little recognition apart from the plaudits of close friends and acquaintances. The few who knew him well were astute enough to appreciate his continuing propensity for painterly brilliance. Hence still lifes from this period passed into the distinguished collection not only of Maugham, but also of Roger Fry, Maxilmilien Luce, Matthew Smith and the French State (the latter now in the Musée d’Orsay). Jonathan Bennington (catalogue entry taken from Christie’s Irish Sale, Friday 12th May 2006)
€50000 - 70000
36
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34 Roderic O’Conor 1860-1940 WOMAN IN A TURQUOISE CARDIGAN Oil on canvas, 23" x 19" (58.5 x 48cm).
Provenance: Studio of the artist, Hôtel Drouot, Paris, 7 February 1956; Sotheby’s, 23rd May 1984, lot 87; Taylor Gallery, London.
Exhibited: Taylor Gallery, London. Irish Art in the 20th Century, 1989, No. 23.
Literature: Jonathan Bennington, Roderic O’Conor: a Biography, with a Catalogue of his work Dublin 1992 no. 214. Irish Academic Press, Dublin 1992, p.215, catalogue no. 214.
This serene and carefully observed portrait is one of a pair devoted to the same sitter, a young woman wearing a turquoise cardigan. The smaller version is a head and shoulders portrait showing the model’s face in semi-profile. In this larger, halflength version she is viewed full face, holding a book in her left hand.
T he contours and features of the woman’s face have been subtly evoked by means of the lighting which, unusually for O’Conor, enters the room from both sides of the composition. Thus the centre of the woman’s face and neck are framed by bright highlights, giving her skin a radiance which is lacking in the smaller version of the portrait.
T he lighting of the figure from both sides raises the question: where was this picture painted? It can not have been done in O’Conor’s Paris studio since it had windows along one wall only.
The house the artist owned at Neuil-sur-Layon, Maine-et-Loire, might be a possibility, however he did not purchase the property until 1933, which would mean the picture would have to be a later work than was previously thought. This theory is lent credence by the fact that the sitter’s dress and hairstyle are consistent with fashion of the mid-1930s
T he care that O’Conor lavished on this portrait prompts comparison with certain of his portraits of Breton women. The beginning and end of his spell in Brittany, namely 1891 and 1903-4 were marked by a number of highly wrought and beautiful depictions of the opposite sex. ‘Portrait de bretonne’ of around 1891 recalled the artist’s training in Antwerp and his exposure to the work of the Dutch old masters. ‘Young Breton Girl’ of 1903 represented a young girl in mourning clothes and was donated by the artist to the Hugh Lane Municipal Gallery of Modern Art in Dublin. This moving picture with its classically constructed composition was a far cry from the daring modernist statement O’Conor had painted in 1892-94. And yet, the artist clearly made a conscious choice to be represented by such a conservative work in a new museum of modern art. In some respects, the gift was indicative of a reining-in of the experimental urge during the second half of his career. Intimiste interiors and landscapes aside, the paintings of O’Conor dating from the 20th century are essentially realist in their approach.
‘ Woman in a turquoise cardigan’ exploits to the full the amazing capacity of oil paint to capture an illusion, just as ‘Young Breton Girl’ had done at the start of the century. Both pictures even adopted the same symmetrical arrangement of the figure within an equilateral triangle. Unlike the Breton girl, however, the more mature sitter of the later portrait does not quite meet our gaze. She preserves her feelings, quite possibly in deliberate denial of conventional expectations. This stark objectivity marks the painting out as highly typical of its time, for many artist had embarked on a return to traditional values following the horrific world war of 1914-18.
Jonathan Benington
€15000 - 20000
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35 Jill Dennis b.1957 CARAVAN Oil on canvas, 60" x 50" (152.5 x 127cm), signed, inscribed & dated 1989 verso.
â‚Ź3000 - 5000
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36 James LeJeune RHA 1910-1983 STORMY SEA Oil on board, 20" x 25" (51 x 65cm), signed.
Provenance: The Artist�s Family.
€2000 - 4000
37 James LeJeune RHA 1910-1983 ROUNDING UP Oil on canvas board, 12" x 16" (30 x 40cm), signed.
Provenance: The Artist�s Family.
€1000 - 1500 41
38 Letitia Marion Hamilton RHA 1878-1964 TWO OXEN AND A CART, ITALY Oil on board, 12" x 16" (30.5 x 40.5cm), signed with initials.
Provenance: Irish Art Sale, Adams, 11th December 1996 (lot 35).
â‚Ź1500 - 2500
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39 Letitia Marion Hamilton RHA 1878-1964 WIND BLOWN TREE, KILLARY Oil on board, 13" x 16" (33 x 40.5cm), signed with initials.
â‚Ź3000 - 5000
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40 Gladys Maccabe HRUA ROI FRSA b.1918 THE FRUIT STALL Oil on board, 17½" x 29¼" (44.5 x 55cm), signed.
€2000 - 3000
41 Gladys Maccabe HRUA ROI FRSA b.1918 AT THE RACES Oil on board, 15¾" x 19½" (40 x 50cm), signed.
€2000 - 3000 44
42 Eamon Coleman b.1957 ABSTRACT COMPOSITION Oil on paper, 21" x 28¾" (53.5 x 73cm), signed.
€1000 - 1500
45
43 Markey Robinson 1918-1999 RETURNING HOME Gouache, 28¼" x 29½" (71.5 x 100.5cm), signed.
€5000 - 7000
44 Markey Robinson 1918-1999 THE SLEEPING VILLAGE Gouache, 15" x 30" (38 x 76cm), signed.
€2000 - 3000
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45 Arthur K Maderson, b.1942 RIVER DORDOGNE, TOWARDS SUNSET 36" x 48 (91.5 x 122cm), signed; signed & inscribed verso.
€3000 - 5000
46 Richard Kingston RHA 1922-2003 GOAT ALONE, ROCKY VALLEY Oil on board, 28¼" x 65¼" (72 x 166cm), signed, inscribed verso.
€3000 - 5000
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47 George Campbell RHA RUA 1971-1979 DIVERSE FORMS Mixed media, 27½" x 21½" (70 x 55cm), signed & dated 71.
Provenance David Hendricks Gallery, Dublin (label verso).
€2000 - 3000
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48 James Taylor b.1930 ARTIST�S TABLE Oil on board, 24¾" x 35½" (63 x 90cm), signed & dated 1959.
Provenance: Lefevre Gallery, London (label verso).
€1000 - 2000
49
49 Norah McGuinness HRHA 1901-1980 BLUSHED ROSES Oil on canvas, 18" x 16" (46 x 41cm), signed.
Provenance: The Dawson Gallery, Dublin (label verso). Gorry Gallery, Dublin, 1998, where acquired by the present owner.
â‚Ź3000 - 5000
50
50 Patrick Hennessy RHA 1915-1980 PORTRAIT OF A YOUNG MAN Oil on canvas, 24" x 18" (61 x 46cm), signed.
€1500 - 2000
51
Lots 51-54 Makiko Nakamura Makiko Nakamura is a considerable artist whose international reputation has still a long way to travel, in my opinion. Her grid-based zen minimalist paintings have a quiet beauty that repays repeated viewing. Her severely abstract art is a combination of mathematical order and intuitive, emotional originality. Memory is a fruitful sense of inspiration. The vertical rigid composition of either squares or rectangles is then overpainted by as many as up to thirty different coats of paint of varying colours, before the final form emerges. After this she burnishes the paint surface to achieve a unique metallic finish. She has stated that she likes to paint with black when she is happiest, and considers some of the large black canvas to be her best work. Her white paintings recall for me the pale minimal striped paintings of the great Canadian-American artist Agnes Martin whose ‘blank canvas’ in the Rosc’80 international exhibition so upset the audience on the Late Late Shows. Martin’s paintings nowadays sell at auction for millions of dollars. Nakamura’s own favourite artist of the past is the American minimalist Barnett Newman whose hard-edge linear compositions and close colour combinations spoke to her most deeply. During her sojourn in Ireland she came to admire most the work of fellow artists Ciaran Lennon, Charles Tyrell and Graham Gingles.
51 Makiko Nakamura b.1951 FIRST LOVE Oil on canvas, 23¾" x 23¾" (60 x 60cm), signed, inscribed & dated 2006 verso. Provenance: Peppercanister Gallery, Dublin (label verso).
Patrick Murphy, April 2016
€1400 - 1800
52 Makiko Nakamura b.1951 SAKURA 1 Oil on canvas, 15¾" x 15¾" (40 x 40cm), signed, inscribed & dated 2005 verso.
53 Makiko Nakamura b.1951 SAKURA 11 Oil on canvas, 15¾" x 15¾" (40 x 40cm), signed, inscribed & dated 2005 verso.
€600 - 900 52
€600 - 900
54 Makiko Nakamura b.1951 BEAT Oil on canvas, 48" x 48" (122 x 122cm), signed & inscribed verso.
Provenance: Tori Collection (label verso).
â‚Ź3000 - 5000
53
55 Felim Egan b.1952 MACAW Oil on canvas, 47¼" x 47¼" (120 x 120cm), signed, inscribed & dated 2003 verso.
Provenance: Sothebys, May, 2010 (lot 94).
€3000 - 5000
54
56 Felim Egan b.1952 BARRIER Acrylic & mixed media on canvas, 47" x 47" (120 x 120cm), signed & dated 2000 verso.
Provenance: The Kerlin Gallery, Dublin (label verso).
â‚Ź3000 - 5000
55
57 Martin Gale b. 1949 THE RIVERBANK FIELD Oil on canvas, 11¾" x 15¾" (30 x 40cm), signed.
T his painting appeared in The Riverbank Field by Seamus Heaney with paintings and drawings by Martin Gale, published in a limited edition by The Gallery Press in 2007.
€2500 - 3500
58 Martin Gale b. 1949 THE RIVERBANK FIELD I Oil on canvas, 11¾" x 15¾" (30 x 40cm), signed.
T his painting appeared in The Riverbank Field by Seamus Heaney with paintings and drawings by Martin Gale, published in a limited edition by The Gallery Press in 2007.
€2500 - 3500 56
59 Sean McSweeney HRHA b.1935 MAY DAY Oil on canvas, 13¾" x 17¾" (37.5 x 45cm), signed & dated 2000; signed, inscribed & dated 2000 verso.
€3000 - 5000
60 Pat Harris b.1953 FROM ROSSPORT Oil on canvas, 29¾" x 35½" (75.5 x 90cm), signed; signed, inscribed & dated August 1998 verso.
€3000 - 4000 57
61 Louis Le Brocquy HRHA 1916-2012 PORTRAIT OF SEAMUS HEANEY Lithograph, 23" x 17½" (58.5 x 44.5cm), signed & inscribed edition 36/75. Signed by Seamus Heaney. This is possibly the only copy of this print signed by Seamus Heaney.
€4000 - 6000
58
62 Louis LeBrocquy HRHA 1916-2012 ACHILL Watercolour & ink, 4" x 7¼" (10 x 21.5cm), signed, inscribed & dated 46; inscribed verso.
Provenance: The Artist�s Family.
€3000 - 5000
63 Louis LeBrocquy HRHA 1916-2012 MOUNT VENUS Pen and watercolour, 4¼" x 6¼" ( 11 x 16cm), signed & inscribed.
Provenance: The artist�s family.
€2000 - 3000 59
64 Pat Harris b.1953 PEAR Oil on linen, 23¾" x 19¾" (60 x 50cm), signed, inscribed & dated 2003 verso. Provenance: Taylor Galleries October 2003 Cat. 16 (label verso).
€1500 - 2000
65 John Shinnors b.1950 WHITE SCARECROW HEAD Oil on canvas, 8" x 12" (20.5 x 30.5cm), signed; signed & inscribed verso.
60
€2000 - 3000
66 Cecil King 1921-1986 PAINTING Oil on board, 12" x 8" (30.5 x 20cm), signed. Provenance: The Ritchie Hendricks Gallery, Dublin October 1965 (label verso).
T hese rooms Auction November 2000.
€800 - 1200
67 Sean McSweeney RHA b.1935 SHORELINE BOG Oil canvas, 14" x 18" (35.5 x 45.75cm), signed & dated 92; signed, inscribed & dated 92 verso.
€2000 - 4000
61
68 Basil Ivan Rákóczi 1908-1979 COTTAGE NEAR LEENANE, 1943 Oil on board, 20" x 24" (51 x 61cm), inscribed verso.
Provenance: Lucy Wertheim Collection; Private Collection.
Lucy Carrington Wertheim (1883–1971) was a British Gallery owner and Rakoczi’s first agent, who ran galleries in London, Brighton and Derbyshire and was known for encouraging many young artists and sculptors. In the 1920s she bought many works by Henry Moore and encouraged Cedric Morris. In 1930 she opened her first gallery at 3-5 Burlington Gardens, Mayfair.
asil Rákóczi and Kenneth Hall came to Ireland in 1939 and travelled to the west where they took a cottage B in Delphi and painted in nearby Leenane & Tully Cross. They later moved to Dublin and became part of the bohemian lodging in Baggot Street and drawing together a like-minded set of artists, known as The White Stag Group, who greatly stimulated artistic life in the city.
€2000 - 3000
62
69 Helen Mabel Trevor RHA 1831-1900 THE OLD HOUSE, PONT-AVEN Oil on canvas, 26” x 18” (66 x 46cm), signed and dated 1882
Provenance: Gorry Gallery, Dublin, May 2012 (Cat. No. 27), where acquired by the present owner.
T he Old House, Pont-Aven, set in the village square adjacent to the famous Pension Gloanec, was demolished in the 1890s, but is here depicted as seen by the throng of artists who went to Pont Aven in the 1870s and 80s. About a day and a half’s journey from Paris, Pont-Aven comprised a small community of farmers, millers and fishermen. During the summer months many artists decamped from Paris to Brittany where they stayed in one of the three Inns: The Hotel des Voyageurs, Hotel du Lion d’Or, or the Pension Gloanec. In the Gloanec, the more radical artists – Gauguin and Serusier – resided. Henry Blackburn, in ‘Breton Folk: An Artistic Tour in Brittany’ declared it ‘the true Bohemian home at Pont-Aven’, frequented by artists ‘whose works are known the world over’. Aloysius O’Kelly is known to have lodged there.
rittany was a real favourite of Trevor, in particular the people and their customs. She visited there B many times. (extracts taken from the Gorry Gallery Catalogue)
€3000 - 5000 63
70 Edwin Hayes 1819-1904 LOW TIDE HAY BARGE, QUEENBORO Oil on panel, 14" x 10", signed, inscribed verso.
€1500 - 2000
71 Edwin Hayes 1819-1904 STORMY SEA Oil on canvas, 15" x 28" (38 x 71cm), signed & dated 1861.
64
€2000 - 4000
72 William Sadler 1782-1839 SOLDIERS BY A RIVER Oil on panel, 8½" x 12" (21.6 x 30.5cm).
€1000 - 1500
65
73 James Humbert Craig RHA RUA 1877-1944 RETURNING HOME Oil on board, 9" x 13", signed, inscribed verso.
€1000 - 2000
74 Nathaniel Hone RHA 1831-1917 VIEW TO THE SEA Watercolour, 4½" x 8½" (11.4 x 21.6cm), with artist’s initials stamped.
€600 - 900
66
75 Phoebe Donovan 1902-1998 IN THE GALLERY Oil on canvas, 19½" x 23½" (49.5 x 59.5cm), signed with monogram.
€800 - 1200
76 Frank McKelvey RHA RUA 1895-1974 ARDS BAY, CO DONEGAL Oil on canvas, 22" x 27" (56 x 68.5cm), signed, inscribed label verso.
Provenance: Dromin House, Co Louth, sold Hamilton Osborne King Auction 25th September 1990 (lot 104); Private Collection.
€3000 - 5000 67
77 Donald Teskey RHA b. 1956 COTTAGE, KERRY Oil on paper 8½" x 9¼" (21.5 x 23.5cm), signed.
€2000 - 3000
78 Peter Collis RHA 1929-2012 SUNSET IN THE DUBLIN MOUNTAINS II Oil on canvas, 22" x 24" (56 x 61cm), signed; inscribed label verso.
€1000 - 1500 68
79 Francis Mathews, Contemporary JOHN DILLON STREET Oil on canvas, 27½" x 27½" (70 x 70cm), signed & dated 2015.
Provenance: The RHA Annual Exhibition, 2015 (label verso).
€3000 - 5000
80 Mike Fitzharris b.1952 LEAVING PORT Oil on board, 15¾" x 17¾" (40 x 45cm), signed and dated 2008.
€2000 - 3000 69
81 Patrick Scott HRHA 1921-2014 GOLD PAINTING Oil and gold leaf on paper, 18½" x 24¾" (47 x 63cm), signed; inscribed verso.
€2000 - 3000
82 Louis LeBrocquy HRHA 1916-2012 RIVERRUN PROCESSION WITH LILLIES Lithograph, 22½" x 30½" (57 x 78cm), signed & inscribed ed.20/75.
Provenance: Taylor Galleries, Dublin 1991 (label verso).
€800 - 1200 70
84 Daniel O�Neill 1920-1974 MOTHER & CHILD Oil on board, 28¾" x 16¾" (52.5 x 42.5cm), signed.
83 Daniel O�Neill 1920-1974 HAT OF FLOWERS Oil on board, 29¾" x 11¾" (75.5 x 29.5cm), signed.
€3000 - 5000
71
€3000 - 5000
85 Melanie Le Brocquy HRHA b.1919 BROTHERS Bronze, 5½" (h) x 7"(w), (14 x 18cm), signed & inscribed ed. 1/6.
Provenance: The Artist�s Family.
€2000 - 3000
86 Melanie Le Brocquy HRHA b.1919 BOY Bronze, 8½" (h) (21.5cm).
72
Provenance: The Artist�s Family.
€1800 - 2200
88 Jim Flavin 1961-2004 SCULPTURE IN TWO PARTS Bronze, 6½" high, signed, ed. 2/15.
87 Jim Flavin 1961-2004 ZEPHYR Bronze, 9½" high, signed, ed. 4/15.
€800 - 1200
€800 - 1200
89 Michael Warren b.1950 COUNTER MOVEMENT Bronze, sculpture, 21" wide.
Maquette for the sculpture at Trinity College, Dublin.
€1500 - 2000
73
90 Mary Lohan b. 1954 EVENING, MAYO Triptych, oil on canvas, each 14" x 12" (35.5 x 30.5cm), signed, inscribed & dated 2002 verso of panel III.
€2000 - 3000
91 Martin Gale b. 1949 SRALAGAGH Watercolour, 8½" x 11" (21.5 x 28cm), signed & dated 2001; inscribed label verso.
€800 - 1200
74
92 Basil Blackshaw HRHA RUA 1932-2016 FARMHOUSE IN A LANDSCAPE Oil on paper, 10" x 8½" (25.5 x 21.5cm), signed.
T his painting appeared in A Man’s World, stories by Brian Friel, with drawings and paintings by Basil Blackshaw, published in a limited edition by The Gallery Press in 2010.
€3000 - 5000
75
93 Charles Tyrrell b.1950 C8.08 Oil on canvas laid on board 53" x 35½" (135 x 90cm), signed, inscribed & dated 2008.
â‚Ź6000 - 9000
76
94 Martin Gale b. 1949 BY-PASS No.4 Oil on canvas, 35½" x 41¼" (90 x 105cm), signed; signed, inscribed & dated 2013.
€8000 - 12000
77
95 Charles Tyrrell b.1950 W3.11 (2011) Oil on timber, (40 x 40cm), signed & inscribed verso. Provenance: Taylor Galleries, Dublin (label verso).
€1500 - 2000
96 Patrick Scott HRHA 1921-2014 BOG PAINTING Acrylic on board, 34¼" x 47¼" (87 x 120cm), signed. Exhibited Venice Biennale 1960 catalogue number 45 (labels verso).
78
T he artist represented Ireland at the Venice Biennale in 1960 and included were the seminal Bog Paintings evoking the waterlogged terrain of the bog and lakeshore.
€2000 - 3000
97 Felim Egan b. 1952 SETTING Oil on canvas 29¾" x 29¾" (75.5 x 75.5cm), signed & dated 01.
€2500 - 3500
98 Sean McSweeney HRHA b.1935 ISLAND WATERS Oil on board, 11" x 14" (28 x 35.5cm) signed & dated 02; signed, inscribed & dated 02 verso. Provenance: Taylor Galleries, Dublin (label verso).
€1000 - 1500
79
99 Patrick Leonard HRHA 1918-2005 FARM HOUSE, MESSONGHI, CORFU Oil on board, 19" x 23¼" (48 x 59cm), signed, inscribed & dated Sept. 1986 verso.
€1500 - 2000
100 Peter Collis RHA 1929-2012 LOUGH TEY, CO. WICKLOW Oil on canvas, 7" x 12" (17.75 x 35cm), signed.
Provenance: John Martin Gallery, London (label verso).
€800 - 1200 80
101 Paul Kelly b.1968 FISHING BOATS Oil on board, 10½" x 6¼" (15 x 19.5cm), signed & dated 97 verso. €500 - 700
102 Paul Kelly b.1968 SNOW WATERFORD Oil on board, 5¾" x 7¾" (15 x 19.5cm), signed. Provenance: Exhibited Gorry Gallery, Sept. 1993 (label verso). €400 - 600
81
103 Daniel O�Neill 1920-1974 FIGURES Oil on card, 4¾" x 6¾" (12 x 17cm), signed. €1500 - 2000
104 Neil Shawcross RHA RUA b.1940 TEACUP Watercolour, 18" x 22½" (46 x 56.5cm), signed & dated 2002. €800 - 1200 82
105 Gerard Dillon 1916-1971 A TREE IN THE LANDSCAPE Watercolour and collage, 15" x 21" (38 x 53.5cm) signed; inscribed verso. Provenance: The Dawson Gallery, Dublin (label verso). â‚Ź4000 - 6000
83
106 William MacBride 1856-1913 PORTRAIT OF A YOUNG LADY Oil on canvas, 27½" x 22" (70 x 57cm), signed.
W illiam MacBride was a portrait, landscape painter and stained glass artist. He attended the Belfast School of Art and continued his studies at the Metropolitan School of Art and exhibited at the Royal Hibernian Academy. In 1910 Joshua Clarke, ecclesiastical decorator and manufacturer of stained glass, gave him employment as a painter of glass.
S hortly after the end of the First World War, MacBride and colleagues opened The Craftworkers Limited, a cooperative company at 39 Harcourt Street, Dublin, in which all the artist and craftsmen were shareholders.
M acBride’s stained glass work can be seen in St Patrick’s Cathedral, Dublin and depicts St Patrick, St George and St Michael in memory of three soldiers killed in the First World War and also in his Pro Patria window in St John’s Church, Malone Road, Belfast.
See Dictionary of Living Artists by Theo Snoddy
€2000 - 3000 84
107 Sean Keating 1889-1997 WOMAN OF CONNEMARA Charcoal, 13¾" x 12", (35 x 30.5cm) signed.
108 Lily Williams ARHA 1874-1940 ARTHUR GRIFFITH (DRAWING FROM LIFE) Pencil, 6½" x 5" (18.5 x 14cm), signed with initials
€2000 - 3000
Provenance: Gorry Gallery, Dublin, June 1997, Cat No. 53.
€400 - 600
109 Maurice Canning Wilks ARHA RUA 1911-1984 FISHERMEN, CONNEMARA Oil on canvas, 11" x 15 ½" (28 x 38cm), signed. €1000 - 1500 85
110 William Sadler II c. 1782-1839 ERUPTION OF MOUNT VESUVIUS Oil on panel, 15¾" x 19½" (40 x 49.5cm). €2500 - 3500
111 William Sadler II c. 1782-1839 FIGURE BY A LAKE Oil on panel, 12½" x 14½" (31.7 x 36.8cm). €2000 - 3000 86
112 Roderic O�Conor 1860-1940 FEMALE NUDE WITH LEGS CROSSED Black crayon, 12¼" x 9½" (31.5 x 24.5cm).
113 Patrick McElroy 1923-2008 SHEELA NA GIG Bronze, 10" high (25cm), signed.
Provenance: Taylor Gallery, London (label verso).
€600 - 900
€1000 - 1500
114 Roderic O�Conor 1860-1940 FEMALE NUDE WITH RIGHT LEG DRAWN UP Black crayon, 12½" x 9¾" (31.5 x 24.5cm).
114A Jack Butler Yeats RHA 1871-1957 DESIGN FOR A CHRISTMAS CARD Ink, 3¾" x 7" (10 x 18cm), signed & inscribed. €1500 - 2000
Provenance: Taylor Gallery, London (label verso). €1000 - 1500 87
116 Markey Robinson 1918-1999 WAITING ON THE SHORE Gouache, 5½" x 8" (14 x 20.5cm), signed. €600 - 900
115 Markey Robinson 1918-1999 STILL LIFE WITH GRAPES Gouache, 16" x 12" (40.5 x 30.5cm), signed. €1500 - 2000
117 Carey Clarke HRHA b.1938 CONNEMARA Oil on canvas, 20" x 24" (51 x 61cm), signed. €1500 - 2500
88
118 John Skelton 1925-2009 VIEW TOWARDS THE FOUR COURTS Watercolour, 13½" x 19" (34 x 48cm), signed.
119 Desmond Carrick HRHA 1928-2012 SPANISH HILLSIDE Oil on canvasboard, 14" x 18" (35.5 x 45.5cm), signed.
€400 - 600
€600 - 900
120 Desmond Hickey 1937-2007 THE BOAT RACE Oil on canvasboard, 13½" x 17" (34 x 43cm), signed.
121 Paul Kelly b.1968 CLOUD REFLECTIONS – EVENING, RUSH Oil on board, 18¾" x 12" (47.5 x 30.5cm), signed.
Provenance: Waldock Gallery, Blackrock.
€600 - 900
€500 - 700
89
Provenance: James Gorry, Dublin.
122 Brian Ballard RUA b.1943 LANDSCAPE GREECE Oil on board, 28½" x 22½" (72.5 x 57cm), signed & dated 1988.
123 Arthur Armstrong RHA RUA 1924-1996 A PART OF THE CITY Oil on card, 18¾" x 14" (47.5 x 35.5cm), signed with monogram; inscribed verso.
Provenance Adams, Dublin, 8th December 2009, Lot 195.
€800 - 1200
€1400 - 1800
124 Sean McSweeney HRHA b.1935 LOW TIDE Oil on card laid on board, 4½" x 9½" (11.5 x 24cm), signed & inscribed verso. €2000 - 3000 90
126 Hilda Van Stockum HRHA 1908-2006 PARIS GARDEN Oil on canvas, 23¾" x 18" (58 x 46cm), signed with initials. €2000 - 3000
127 Harry Kernoff 1900-1974 FLOATING CUBES Oil on paper, 6" x 8" (15 x 20cm), signed. Provenance: Gorry Gallery, Dublin, 2002, where acquired by the present owner. 125 Conor Walton b. 1970 UNTITLED Oil on canvas, 48" x 18" signed. €800 - 1200
H arry Kernoff commented on this series of works in a radio interview “some people would call them abstract but I’d call them fantastic, you see, with such titles as floating cubes. If you see the picture you’ll see what I meant, that it could be nothing else but floating cubes. If it was abstract you couldn’t tell what it was. It’s not abstract, its fantastic, if you like.”
€800 - 1200 91
128 Barrie Cooke HRHA 1931-2014 DARK LAKE SURFACE, 1980 Oil on canvas, 60" x 60" (152 x 152cm), signed, inscribed and dated verso.
Provenance: Hendriks Gallery, Dublin (label verso); ex-collection James O�Driscoll, Cork.
€5000 - 7000
92
129 Brien Vahey, Contemporary SPRING GARDEN, GLASNAMULLEN Oil on canvas 6 panels, overall 25½" x 61½" (63.5 x 156.5cm). Awarded the deVeres Prize for Outstanding Work, RHA Annual Exhibition 2000.
€2000 - 4000
129A Gerard Dillon 1916-1971 LEAVES Mixed media, 22" x 48" (56 x 122cm).
Provenance: Ex Arthur Armstrong Collection, Studio Sale, deVeres 1998.
€2000 - 3000 93
130 Basil Blackshaw HRHA RUA 1932-2016 EVENING LANDSCAPE Oil on canvas, 12" x 9" (30.5 x 24cm), signed. €3000 - 5000
131 Basil Blackshaw HRHA RUA 1932-2016 WHEATEN TERRIER Oil on paper, 6¼" x 5½" (16 x 14cm), signed.
Personal inscription from the artist to the present owner verso.
132 Patrick Pye RHA 1929 MY ARABIA Oil on board, 13" x 23¼" (63 x 51cm), signed & dated 1980. €500 - 700
€1500 - 2000 94
133 Barbara Warren RHA b.1925 LILIES Oil on board, 23½" x 13½" (59.5 x 34.5cm), signed.
134 James Le Jeune RHA 1910-1983 TREES IN A LANDSCAPE Oil on canvas board, 12" x 9" (30.5 x 23cm), signed.
€600 - 900
€800 - 1200
135 Father Jack P Hanlon 1913-1968 AMELIA EARHART Oil on canvas board, 16" x 16" (41 x 41cm), signed, inscribed verso.
136 Louis LeBrocquy HRHA 1916-2012 PABLO PICASSO Lithograph, 26¾" x 19¾" (68 x 20cm), signed, inscribed & dated 89 ed.15/29. €1000 - 1500
€800 - 1200 95
137 Aidan Bradley, Contemporary CAPEL STREET BRIDGE Oil on board, 23¾" x 23¾" (60 x 60cm), signed & dated 2007.
€600 - 900
138 Anne Yeats 1919-2001 YELLOW CLOTH ON THE SAND Oil on paper, 15¾" x 22¾" (40 x 58cm), signed. Provenance: Taylor Galleries, Dublin 17th Feb-4th Mar 1981 (label verso). €600 - 900
139 Henry Healy RHA 1909-1982 VIEW OVER HOWTH HARBOUR Oil on canvas, 14" x 18" (36 x 46cm), signed.
140 Piet Sluis 1929-2009 AUTUMN 92 Gouache, 13¾" x 15¾" (35 x 40cm), signed. Exhibited: European Modern Art, 5 Clare Street, Dublin, March/April 1993, Cat. No.6 (label verso).
€800 - 1200
€300 - 500
96
141 Mabel Young RHA 1889-1974 TUSCAN VILLAGE Oil on board, 12" x 15½" (30.5 x 39cm), signed.
142 Gretta Bowen 1880-1981 SWAN IN THE PARK Pastel with mixed media on card, 12" x 18" (30.48 x 45.72cm).
€700 - 1000 €500 - 700
143 Eric Patton RHA 1925-2004 WINTER SEA Oil on canvasboard, 9¼" x 13¼" (23.5 x 34cm), signed; signed & dated 1962 verso.
144 Charles Cullen b.1939 LESTRYGONIANS Mixed media, 30¾" x 31¼" (78 x 79.5cm), signed & dated 1996.
€400 - 600
Exhibited: Hugh Lane Gallery, Dublin, Feb-April 1997 (label verso). €800 - 1200
97
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.
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TERMS Purchaser 1. 19½% + VAT will be added to the hammer price for each lot. 2. All accounts must be discharged by certified cheque, bank draft or cash. 3. The responsibility for items purchased passes to the purchaser on the fall of the hammer. 4. The Auctioneers reserve the right to look for 25% deposit on all goods. VAT Regulations: All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers’ premium must be invoiced at a rate which is inclusive of VAT. This VAT is not recoverable by any VAT registered buyers. 98
Armstrong, A
1,123
122 Ballard, B Blackshaw, B 11,92, 130,131 Bowen, G 142 Bradley, A 137 Brady, C 13 Campbell, C Campbell, G Carrick, D Clarke, C Coleman, E Cooke, B Collis, P Craig, J.H
5 30,47 119 117 42 128 78,100 73
Dennis, J Dillon, G Donovan, P Egan, F Flavin, J Fitzharris, M
35 105,129A 75 55,56,97 87,88 80
Gale, M 16,57,58,91 Guinness, M 29 Hamilton, L.M Hanlon, Fr. J Harris, P Hayes, E Heron, H Hennessy, P Hickey, D Hone, N
38,39 135 60,64 70,71 25 50 120 74
Keating, S 107 Kingston, R 46 Kelly, P 101,102,121 Kernoff, H 127 66 King, C LeBrocquy, L 61,62,63, 82,136 LeBrocquy, M 85,86 LeJeune, J 36, 37, 134 Leonard, P 99 Lohan, M 27
MacBride, W 106 40,41 Maccabe, G Maderson, A 45 Matthews, F 79 McElroy, P 113 McKelvey, F 76 McGuinness, N 15, 49 McSweeney, S 12,14,59, 67,98,124 Middleton, C 31 Mitchell, F 2,3 Miller, N 23 Nakamura, M 51,52,53,54 O’Conor, R 33,34,112,114 O’Donoghue, H 24 O’Neill, D 32,83,84,103 O’Malley, T 17 Patton, E Pye, P
143 4
Rakoczi 68 Robinson, M 43,44,115,116
Cover illustrations Front cover: Lot 33, Roderic O’Conor 1860-1940, STILL LIFE WITH APPLES ON A WHITE CLOTH Inside front cover: Lot 94, Martin Gale b. 1949, BY-PASS No.4 Inside back cover: Lot 26, Jack Butler Yeats RHA 1871-1957, A RIVERSIDE INN (1946) Back cover: Lot 18, Patrick Scott HRHA 1921-2014, GOLD PAINTING
Sadler, W 72,110,111 Scott, P 18,81,96 Shawcross, N 104 10,19,65 Shinnors, J Sluis, P 75 Taylor, J Teskey, D Trevor, H,M Tyrrell, C
48 6,7,8,9,77 69 93,95
Vahey, B 129 Vallely, J.B 20,21,22 126 Van Stockum, H Walton, C Warren, Williams, L Wilks, M Yeats, A Yeats, J.B Young, M
125 89 108 109 138 26,28,114A 141
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