Irish Art & Design by de Veres Art Auctions

ART AUCTIONEERS & VALUERS

IRISH ART & DESIGN AUCTION Tuesday 30th September At Thomas Prior Hall, Ballsbridge, Dublin 4

Front Cover: Lot 39 Sir John Lavery RA RHA RSA 1856-1941, THE VISCOUNTESS CASTLEROSSE, PALM SPRINGS, 1938 Back Cover: Lot 71 A ROSEWOOD THREE PIECE SUITE BY GRETE JALK Inside Front Cover & Title Page: Lot 59 Daniel O’Neill 1920-1974, SUMMER Inside Back Cover: Lot 77 THE KONKYLIE (CONCH SHELL) PENDANT LIGHT

ART AUCTIONEERS & VALUERS

Auction:

Tuesday, 30th September, 6pm

Venue: Thomas Prior Hall, Bewleys Ballsbridge Hotel, Dublin 4 On View: Sunday, 28th Sept: 2pm-8pm Monday, 29th: 9.30am-8pm Tuesday, 30th: 9.30am-3pm Contact:

087 2934439 / 086 8098648

COLLECTION: Wednesday, 1st October 9.30am-2pm from Bewleys FEES:

19Â˝% plus vat (23.985%)

de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie Live Bidding available at:

the-saleroom.com

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ART AUCTIONEERS & VALUERS

Auction Venue

Thomas Prior Hall

Auctioneers: John de Vere White Rory Guthrie

John de Vere White Managing Director john@deveres.ie

Rory Guthrie Director roryguthrie@deveres.ie

Aisling T贸th Associate Director info@deveres.ie

1 Thomas Ryan PPRHA b.1929 ROSE SILVER MEDAL Oil on board, 6’’ x 8’’ (15 x 20cm), signed.

Est. €600 - 900

2 George K Gillespie RUA 1924-1995 MORNING SUNLIGHT, MAAM VALLEY, CONNEMARA Oil on canvas, 17½’’ x 23½’’ (44 x 60cm), signed, inscribed label verso.

Est. €1,500 - 2,500 3

3 Harry Epworth Allen RBA 1894-1958 A COUNTRY VILLAGE Tempera on board, 19” x 24” (48 x 61cm), signed.

Est. €3,000 - 5,000

Grace Henry HRHA 1868-1953 ACHILL COTTAGES Oil on canvas, 15" x 18" (38 x 46cm), signed.

Est. €3,000 - 5,000

5 Peter Collis RHA 1929-2012 VIEW THROUGH SALLY GAP, WICKLOW Oil on board, 16” x 20” (40.5 x 51cm), signed.

Est. €1,000 - 1,500

6 Kieran McGoran 1932-1990 AT THE START Oil on card 19’’ x 16’’ (48cm x 41cm), signed.

Est. €300 - 500

7 Charles Brady HRHA 1926-1997 FOLDED ENVELOPE Oil on canvas, 16" x 20" (41 x 51cm), signed. Provenance: Taylor Galleries, Dublin (label verso).

Est. €3000 - 5000

8 Arthur Armstrong RHA 1924-1996 STILL LIFE WITH FRUIT Oil on board, 20’’ x 16’’ (51 x 41cm), signed. Provenance: Taylor Galleries, Dublin (label verso).

Est. €800 - 1,200

9 Louis le Brocquy HRHA 1919-2012 STUDY FOR CLASSIC THEME 3 Pencil and pastel, 7½” x 4¾” (19 x 12cm), signed & dated January 1944; signed, inscribed & dated 1944 on a label verso.

Est. €3,000 - 5,000

10 Patric Stevenson RUA 1909-1983 COTTAGES, ACHILL Gouache, 12½” x 19” (32 x 48cm), signed & dated 1954.

Est. €300 - 500

11 Grace Henry HRHA 1868-1953 WOMAN TENDING A HAYSTACK Oil on panel, 10” x 7” (25.5 x 19cm).

Est. €1,000 - 2,000 9

12 Paul Henry RHA 1876-1958 COTTAGES IN THE WEST Oil on panel, 7½” x 10” (19 x 25.5cm), signed.

This appears to be a later variation of a composition that Henry first made in 1923-4, namely Connemara, which in 1925 was reproduced and widely placed by the London Midland and Scottish Railway Company in travel bureaux throughout Great Britain and Ireland. The original picture (see S. B. Kennedy, Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale University Press, New Haven and London, 2007, p. 223, catalogue number 602, illustrated) – which was exhibited at the Fourteenth Venice Biennale in 1924-shows a broader view of the landscape, with the land to the left hand side falling steeply, but the massing of the clouds, the profile of the mountains, the cottages and the roadway remain much as before. The handling of the paint, however, is now looser than in the original composition and the impasto is heavier, the brush strokes too being more precise in application. Cottages in the West is numbered 1287 in S. B. Kennedy’s ongoing cataloguing of Paul Henry’s oeuvre.

Dated c. 1940s on stylistic grounds.

Dr. S B Kennedy, August 2014.

Est. €20,000 - 30,000

13 William John Leech RHA ROI 1881-1968 CHURCH VIEW Oil on canvas, 30½” x 27 (77.5 x 68.5cm), signed.

Est. €5,000 - 7,000

14 Basil Blackshaw HRHA RUA b.1932 THE ROAD TO THE WEST (2) Oil on paper, 39½” x 26½” (100 x 67cm), signed & dated 1986.

Provenance: Hendriks Gallery, Dublin (label verso).

Est. €4000 - 6000

15 Fergus O’Ryan RHA 1911-1989 CURRACHS, ACHILL ISLAND Oil on board 11’’ x 17½ (28 x 44cm), signed.

Est. €600 - 900

16 Fergus O’ Ryan RHA 1911-1989 GRAND CANAL AT SHERLOCKSTOWN Oil on board, 14’’ x 14½’’ (36 x 37cm), signed.

Est. €400 - 600 14

17 Norman J McCaig 1929-2001 EBB TIDE Oil on canvas board, 13’’ x 18” (34 x 46cm), signed, inscribed verso.

Est. €1,000 - 1,500

18 George K Gillespie RUA 1924-1995 COASTAL VIEW TOWARDS CROAGH PATRICK Oil on canvas, 16” x 20” (41 x 51cm), signed.

Est. €1,000 - 1,500 15

19 Ivan Sutton b.1944 THATCHED COTTAGES, KILMORE QUAY Oil on board, 16” x 20” (40.5 x 51cm), signed, inscribed verso.

Est. €800 - 1,200

20 Geraldine Hone, Contemporary THE BANKS OF THE RIVER NORE AT MOUNT JULIET, CO KILKENNY Oil on canvas, 16” x 20” (41 x 51cm), signed; signed & inscribed verso.

21 Anne Tallentire b. 1949 REFLECTIONS Oil on Canvas, 23’’ x 15’’ (58 x 38cm), signed & dated verso 1972; inscribed verso.

Est. €300 - 500 16

Est. €400 - 600

22 William Carron ARHA b.1930 ACHILL BOATYARD Mixed media, 13” x 18½” (33 x 47cm), signed & dated 1988.

23 Paul Kelly b.1968 STILL LIFE WITH FISH Oil on canvas, 10” x 12” (25.5 x 30.5cm), signed & dated 1991.

Est. €400 - 600

Est. €600 - 900

24 Anne Tallentire b.1949 IN REFLECTION Oil on canvas, 24’’ x 16’’ (61 x 41cm), signed.

Est. €300 - 500 17

25 Patrick Touhy 1894-1930 COCKLE PICKER, WEST OF IRELAND Oil on canvasboard, 10” x 15½” (25.5 x 39cm), signed. Provenance: Gifted by the artist to friend, fellow artist and art critic for newspaper The Leader, John Kennedy Ryan c.1912, after a painting holiday together on The Aran Islands and the West of Ireland; by descent to the previous owner (letter of provenance attached). Dublin born, Tuohy was the son of a highly regarded surgeon from a poor background in Co. Mayo. It was Padraig Pearse who encouraged Tuohy to go to the Metropolitan School of Art where he studied under Sir William Orpen. Tuohy suffered from depression. He left Ireland for Columbia, South Carolina in 1927, thereafter settling in New York where he died at a tragically young age in 1930.

Tuohy was a painter of real quality and it is a pity he was not afforded the opportunity to fulfill his undoubted potential.

Est. €2,000 - 4,000

26 Patrick Touhy 1894-1930 COASTAL LANDSCAPE Oil on canvasboard, 12” x 15” (20.5 x 38cm), signed.

Est. €1,500 - 2,000

27 Niccolo d’Ardia Caracciolo RHA 1941-1989 TRAIN STATION Oil on board, 10” x 15½” (25.5 x 39cm), signed.

Est. €1,500 - 2,500

28 Niccolo d’Ardia Caracciolo RHA 1941-1989 ON THE RIVERBANK Oil on board, 8¼” x 12½” (21 x 32cm), signed & inscribed.

Est. €1,000 - 1,500

The following seven works come from a private collection and the catalogue notes are provided by Bruce Arnold 29 Mainie Jellett 1897-1944 PEACE Oil on canvas, 24” x 32” (61 x 81cm). The subject set for the 1920 Taylor Prize, awarded by the Royal Dublin Society, was “Peace”. The title was announced in the spring of the previous year. Mainie Jellett went on holiday in the summer of 1919 with the family to Fintragh House, near Killybegs. William Morgan Jellett was not with them. He was canvassing in the 1919 general election for the Trinity College seat at Westminster. He stood in the Unionist interest and won the seat. Bay Jellett, his second daughter, wrote a diary that summer holiday and recorded the family excitement about his being returned to Parliament. Mainie had conceived of a painting for the Taylor Prize based on her holiday friends and two sisters, Bay in blue dress in the centre and Betty on the rock behind. The other figures are the German governess and Judith Weir, a family friend. Mainie did several sketches in pencil, a squared off drawing for the painting and oil sketches of individual figures. There had been controversy over the poor quality of work submitted for the Taylor Prize and Mainie was determined to make a challenge. She won the prize in the year following the 1919 holiday at Fintragh. She had completed her studies at the Westminster Art School in London. Nevertheless she went on painting in the style she had learnt from Walter Sickert, who had been influential as a teacher. His decision to retire from the school, made in 1919, may have persuaded her to seek a new style for her painting in Paris. Under persuasion from Evie Hone she decided to enrol under André Lhote. Evie joined her at his academy. “Peace” marked the end of the first phase in her work, of realism under English teaching. She moved on to the severe but representational work taught by André Lhote and then to the even more severe, non-representational Cubism for her third, longest-lasting and most powerful work as a painter.

Est. €20,000 - 30,000

30 Mainie Jellett 1897-1944 NUDE STUDY Oil on canvas board, 14” x 10” (35.5 x 25.5cm).

31 Mainie Jellett 1897-1944 PORTRAIT OF WALTER BAYES Oil on canvas, 15” x 12” (38 x 30.5cm).

Exhibited: Irish Museum Of Modern Art, December 1991-March 1992, Cat. No. 8, ref. 3 (label verso).

Walter Bayes was active among the teachers at the Westminster School together with Mervyn Lawrence. Mainie did a spirited pencil portrait of Lawrence who knew Donegal and travelled there to paint. Walter Bayes is the subject of this portrait. He was a dynamic teacher and effectively in charge after Sickert announced his retirement. He later wrote The Art of Decorative Painting, an influential guidebook for artists in the 1920s. He illustrated it with a number of works by his students at the Westminster Art School.

Painting the nude was a major part of the art education at the Westminster School as is shown by the significant number of works by Mainie in which the figures are posed against the background of the familiar arched Life Class Room.

Est. €1,500 - 2,500

Est. €2,000 - 4,000

32 Mainie Jellett 1897-1944 NORFOLK SQUARE, LONDON Oil on canvas, 22” x 15” (56 x 38cm), signed. Exhibited: Irish Museum Of Modern Art, December 1991-March 1992, Cat. No. 19, ref. C10 (label verso). Norfolk Square, between Praed Street and Sussex Gardens in the Paddington area of West London, was where she and Evie Hone lodged while studying at the Westminster School. The house they lived in was Number 34. The square, though not as stylish as the Jellett home in Fitzwilliam Square, Dublin, but with houses of the same period, would have reminded her of her family home.

Est. €4,000 - 6,000

33 Mainie Jellett 1897-1944 STUDY OF A WOMAN ON A CHAISE Oil on canvas, 14” x 10” (35.5 x 25.5cm); together with the pencil sketch (2).

34 Mainie Jellett 1897-1944 PORTRAIT OF A MAN Oil on canvas, 12” x 10” (30.5 x 25.5cm).

Est. €3,000 - 5,000

35 Mainie Jellett 1897-1944 WORCESTERSHIRE LANDSCAPE Oil on board, 10” x 8” (25.5 x 20cm), inscribed & dated c. 1918 verso.

Despite the similarity to Walter Sickert, in appearance Provenance: The Neptune Gallery, Dublin. of the sitter for this painting, sketches done by Mainie Jellett at the school make clear he was a Mainie Jellett and Evie Hone visited the Cotswolds after working model in the Life Class Room at the school. the end of the First World War and painted country scenes near Stow on the Wold and in other parts of Est. €1,500 - 2,500 Gloucestershire and further west, in Worcestershire. During the war itself, for security purposes, painters were regulated and had to carry licences because of the threat of German spies. This was particularly the case in the northern part of the country where a close watch was maintained during the hostilities for German U Boats.

Est. €1,400 - 1,800

36 William Percy French 1854-1920 ACROSS THE BOG Watercolour, 8½” x 12¾” (21.5 x 32.5cm), signed with initials.

Est. €2,500 - 3,500

37 John Henry Campbell 1757-1828 MONKSTOWN, CO DUBLIN Watercolour, 5¼” x 6½” (13.3 x 16.5cm).

38 American School, 20th Century ON THE SHORE Oil on board, 24” x 32¼” (61 x 82cm).

Est. €200 - 400

Est. €600 - 900

39 Sir John Lavery RA RHA RSA 1856-1941 THE VISCOUNTESS CASTLEROSSE, PALM SPRINGS, 1938 Oil on canvas board, 20” x 24” (50.8 x 61cm), signed lower right, J Lavery.

Literature: Kenneth McConkey, Sir John Lavery, 1993 (Canongate Press), p. 202. Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), p. 205, 245.

Est. €50,000 - 70,000

It was said of Viscountess Castlerosse that she was notable for three things – her beauty, her legs and her vocabulary. Although he could only demonstrate the first two, Lavery is likely to have appreciated all three, for although Doris Delavigne was charming, she had, according to her husband’s first biographer, ‘regal beauty with a viper’s tongue’1. She was born in Streatham in 1901 the daughter of an English mother and an immigrant Belgian merchant 2. In her late teens she found employment in the rag trade, selling second-hand designer gowns to showgirls. As she made her way in the world an early talent for music was abandoned as she acquired ‘Louis’, a high class hairdressing establishment on the Champs Elysées. At this time she shared rooms with the then unknown Gertrude Lawrence in Park Lane and through her met Noel Coward. Thereafter she moved to 6 Deanery Street, Mayfair, a house which became a mecca for young men.

Her entrée into society was however confirmed by her marriage in May 1928 to Valentine Edward Charles Browne, Viscount Castlerosse, later sixth Earl of Kenmare (1891-1943), who helped to establish the world renowned Killarney Golfclub. His first meeting with Lavery is likely to have occurred around the time of the painter’s tour of Killarney in 1913 when he stayed at Kenmare House at the invitation of Castlerosse’s father 3. Severely wounded in the Great War, Castlerosse first took up banking in the early twenties before switching to journalism. Renowned as a bon viveur, and disastrously overweight, he became a successful gossip columnist in the Sunday Express and Director of Beaverbrook’s newspapers 4. Although both he and Doris were counselled against marriage, they were equally headstrong, and within weeks of the union, humiliating public rows were reported 5. Doris’s extravagance in clothes and parties increased wildly at her husband’s expense, one society columnist wryly reporting, ‘no bottles of champagne were being drunk, only magnums’6. Affairs were later rumoured – one extraordinary seduction occurred with the bisexual Cecil Beaton – and by 1933 the Castlerosses were signing a deed of separation, a prelude to their divorce five years later 7.

If marriage conferred status but not stability on Doris, it also brought her celebrity. She was regularly photographed for the popular society papers in all of the fashionable watering holes (fig 1). She fascinated the young Randolph Churchill, by whom she was introduced to Winston – indeed in 1933, both Lavery and Churchill, master and pupil, painted her portrait (figs 2 & 3) 8. The Sketch dubbed Lavery’s portrait ‘a delightful example of the art of the President of the RA’ 9.

Fig 1 Viscountess Castlerosse with a friend at Deauville, 1936, from Mosley, 1956, p. 65

Fig 2 Winston Spencer Churchill, Viscountess Castlerosse, c1933, National Trust, Chartwell

Fig 3 Sir John Lavery, Viscountess Castlerosse in Eighteenth Century Riding Costume, 1933, unlocated

he 1933 work, exhibited in the Royal Academy, was in fact, Lavery’s second portrait of the Viscountess – the first having been T executed at the time of her marriage 10. When he returned to the sitter five years later, it seems almost that he was documenting the major moments in her disastrous marriage. We do not know if he sought her out at this point, or if she made contact with him in the early weeks of 1938, but circumstances drew them together. In the autumn of 1937 the recently widowed Gertrude Coutts had invited the painter to spend the winter at her villa in Palm Springs and, recalling with pleasure his previous visit, Lavery set off for the States with his granddaughter, Ann Forbes-Sempill and his new secretary, Katherine FitzGerald 11. From New York they flew to New Orleans where Mrs Coutts met them and drove them back, some three thousand miles across the desert, to her house. At some point, it appears that Lady Castlerosse, in her short, signature shorts joined them to pose by the pool for the present work 12.

As was his usual practice, Lavery first planned the large picture on a small canvas – the present work (figs 4&5).

Fig 4 The Viscountess Castlerosse, c. 1938, the present picture

Fig 5 The Viscountess Castlerosse, c. 1938, 101.5 x 127 cm, Private Collection, image courtesy Sotheby’s

Invariably the small version was painted rapidly on-the-spot, vividly recording the impression of the moment. Lavery captured his quarry when her legendary legs were on show, to the delight of a male admirer. It was a provocative pose that courted controversy – the man in this case being unidentified. But by 1938, neither the sitter, nor the eighty-one year old artist had much to lose and photographed at her side, it is clear that they enjoyed one another’s company (fig 6) 13. The large version, The Viscountess Castlerosse, was exhibited at the Royal Academy in 1938 to some acclaim for Lavery’s late works were much admired and, following the magisterial portrait of Lady Wimbourne the previous year, he was no stranger to noteriety 14. The painter, in these years was fêted by Beverley Nichols who reported his maxim, ‘I paint what I see’. Nichols realised of course that pictures such as the present example were not so simple as they appear for, He judges by the surfaces which are before him. His reaction is purely aesthetic and it is always instantaneous. He sees a face and he – well, I can only repeat the apparently simple, but really complex formula – he paints it as he sees it 15. Doris’s divorce settlement had recently been achieved and henceforth she would become chatelaine of Palazzo Venier dei Leoni on the Grand Canal. However, her fame or infamy Fig 6 Jessie Doris (née Delevingne), Viscountess Castlerosse and Sir John Lavery, 1938, National Portrait Gallery, London. was as short-lived as that happy moment when she dangled her delicate feet over the pool. Returning to London in 1942, having escaped the worst of the Blitz, she was ostracized, and while staying in the Dorchester took an over-dose of sleeping pills. Castlerosse was by her side at the end, but Lavery alas, was no longer available to pay his respects. Kenneth McConkey

1 Leonard Mosley, Castlerosse, 1956 (Arthur Barker Ltd), p. 79. See also George Malcolm Thomson, Lord Castlerosse, His Life and Times, 1973, (Weidenfeld and Nicolson) and the Kenmare Papers at www.proni.gov.uk/records/private/ kenmare.htm 2 Thomson, 1973, p. 95 records that her father, Edward de le Vingne, was from a Belgian noble family and that Doris apparently altered the spelling of her surname to ‘Delavigne’. She had three siblings. 3 On this occasion Lavery painted the portrait of Lady Dorothy Browne (unlocated), Valentine’s sister, as well as a number of landscapes of the house and its magnificent setting. 4 Beaverbrook appears to have taken an almost paternalistic interest in Castlerosse, baling him out when his gambling debts got out of control and attempting to manage his social life. He was nevertheless unable to control Castlerosse’s love of good food, fine wines, whisky and cigars. When he died on 20 September 1943, Castlerosse was, according to one account, “overtaken by obesity”. 5 It is claimed that Doris Castlerosse was the model for Amanda in Noel Coward’s Private Lives, and that some of its scenes were derived from clashes between her husband and she. 6 Mosley, 1956, p. 99. 7 Hugo Vickers, Cecil Beaton, The Authorized Biography, 1985 (Weidenfeld and Nicolson), pp. 161-3. Vickers recounts that Doris ‘instructed him [Beaton] in the arts of love making’. When he saw the pair together in a restaurant, Castlerosse apparently muttered, ‘I never knew Doris was a Lesbian!’ 8

Churchill was of course, Lavery’s pupil; see McConkey, 2010, pp. 126, 150-2.

9 Mosley, 1956, p. 115. At that time Lavery was thought to be in line for the Royal Academy presidency – an honour he was keen to avoid. The Daily Express (5 September 1933) reported that Churchill was seeking to rival Lavery’s portrait when he painted Lady Castlerosse’s portrait at Maxine Elliot’s villa at Golfe Juan a few months later. In all Churchill produced three portraits of Doris; the Chartwell version (fig 2) appears to be a study. 10 Both 1928 and 1933 portraits remain unlocated. Thomson 1973, p. 110 records that Doris was nervous about the Lavery sittings, wondering that if she was divorced it would make a difference to the Academy jury and that the picture might not be accepted for this reason. Both Castlerosse biographers (Mosley, 1956, p. 115 and Thomson 1973, p.111) record the Viscount’s verdict on the 1933 picture that‘ it may be art, but it isn’t Doris’. 11 Lavery’s first visit to California occurred during the early months of 1936. 12 There has always been an element of confusion around where precisely the present picture was painted. In 2010, on the basis of Lady Sempill’s recollections I concluded that Doris’s poolside portrait was likely to have been painted on the return journey to New York, when the Lavery entourage travelled back across the desert following Mrs Coutts’ tragic death on 19 December 1937. Lavery apparently flew up to New York from Florida on this return trip, leaving Ann and Katherine to make the long drive from Florida with his cache of recent work including both versions of the present picture (McConkey 2010, pp. 203-5). Lady Sempill recalled, c. 1990, that on one occasion they were obliged to use the Academy version of the poolside portrait as a mattress when they had to sleep in the car – a large American shooting-brake. However, from close comparison of the poolside photographs it now seems likely that the picture was indeed painted at Palm Springs. 13 I t will be noted that in fig 6, Doris Castlerosse adopts the same pose as that in the portrait, while in the Academy version the metal supporting structure for the diving board – clearly visible in the present work and in the photograph, has been removed. In both paintings the board is lengthened and the sitter placed over the pool. 14 This picture, 40 x 50 ins, (RA 1938, no. 238), was sold Sotheby’s 22 May 1997. See also The Royal Academy Illustrated, 1938, p. 58.

40 Liam Treacy 1934-2004 TOWARDS CHRIST CHURCH Oil on board, 18” x 14” (46 x 35.5cm), signed; inscribed & dated 1984 artist’s studio label verso.

Est. €1,000 - 1,500

41 Gerald Bruen RHA, Contemporary DUNMORE EAST Oil on canvas, 17” x 21” (43 x 53.5cm), signed, inscribed verso.

42 Desmond Carrick RHA 1928-2012 JUNE AFTERNOON AT HAZELHATCH Oil on board, 12” x 16” (30 x 40.5cm), signed.

Est. €800 - 1,200

Est. €600 - 900

43 Gerard Dillon 1916-1971 ARTIST, CANVAS AND EASEL Pen and crayon, 16” x 20” (41 x 51cm), signed.

Provenance: Taylor Galleries, Dublin (label verso).

Est. €2,000 - 4,000

44 Maurice Canning Wilks RUA ARHA 1910-1984 CHILDREN ON A RIVERBANK Oil on canvas laid on board, 12” x 15½” (30.5 x 39.5cm), signed.

45 Walter Verling HRHA b. 1930 SARSFIELD BRIDGE, LIMERICK Oil on board, 10” x 14” (25.5 x 35.5cm), signed.

Est. €1400 - 1800

Est. €500 - 700

46 James Nolan RHA b.1929 TWO APPLES Oil on Board, 10” X 11½” (26 x 29cm), signed.

Est. €300 - 500

47 Patrick Leonard HRHA 1918-2005 ON THE PIER Oil on board, 20” x 16” (51 x 40.5cm), signed; signed verso.

48 George K. Gillespie RUA 1924-1996 LAKE LANDSCAPE Oil on board, 16” x 20” (41 x 51cm), signed.

Est. €1,400 - 1,800

48A Father Jack Hanlon 1913-1968 CONTINENTAL CHATEAU Watercolour, 10¼” x 11” (26 x 28cm). Provenance: Taylor Galleries, Dublin (label verso).

Est. €1,000 - 1,500

Est. €600 - 900 32

49A Niccolo d’Ardia Caracciolo RHA 1941-1989 KENWOOD HOUSE, LONDON Watercolour, 7” x 10¼” (17.8 x 26.2 cm).

49 Niccolo d’Ardia Caracciolo RHA 1941-1989 THE BRIDGE AT SALLINS, CO. KILDARE Watercolour, 8½” x 12½” (22 x 32 cm), signed with initials.

Est. €400 - 600

50 Maurice MacGonigal PPRHA 1900-1979 THE POPLARS Oil on canvas, 24” x 16” (61 x 41cm), signed.

51 Grace Henry HRHA 1868-1953 ALTERPIECE Oil on canvas, 24” x 20” (61 x 51cm), signed.

Est. €2,000 - 4,000 33

Est. €2,000 - 3,000

52 Peter Collins, Contemporary WAITER Oil on canvas, 36” x 52” (91.5 x 130cm), signed.

Est. €2,000 - 3,000

53 Markey Robinson 1918-1999 THE WEST WIND Gouache, 18½” x 27” (47 x 68.5cm), signed. Provenance: The Oriel Gallery, Dublin, where purchased by the present owner.

Est. €2,500 - 3,500

54 Markey Robinson 1918-1999 FORGOTTEN DREAMS Gouache, 8½” x 19¾” (21.5 x 50cm), signed. Provenance: The Oriel Gallery, Dublin, where purchased by the present owner.

Est. €1,400 - 1,800 35

55 Micheal Farrell 1940-2000 A SHORTER HISTORY OF IRELAND Oil on canvas, 57½” x 76” (146 x 193cm), signed, inscribed & dated 1980 verso. Born in Kells, Co. Meath, Farrell studied at the St Martin’s and Colchester Colleges of Art. His work has been exhibited all over the world. A retrospective of his work was held in the Douglas Hyde Gallery in 1979 and was accompanied by a monograph by Cyril Barrett. His work can be found in the Hugh Lane Municipal Gallery, IMMA , the Ulster Museum, the Georges Pompidou and The Museé d’Art Moderne de Paris. Farrell was Ireland’s foremost political painter. These works come from a series produced in 1981/82. When exhibited in 1982 Cyril Barrett commented on A Shorter History of Ireland;

‘Michael Farrell returns, twelve years later, to a much more mellow view of the Irish situation than the Pressé Poitique series, and even the Miss O’Murphy series. One could describe it as cynical, but it might be better described as mature. In fact, it is a depiction of a view of Ireland of that mature, humane, slightly cynical, troubled observer of the Irish Situation and eminent writer Jonathan Swift. The situation has not changed much since Swift wrote in the 1720s. His satire was lost on the British government, as, no doubt, Micheal Farrell’s will be now – even if it ever comes to their attention. But, while governments come and go, art has a way of persisting’.

See ‘Micheal Farrell – The life and Work of an Irish Artist’ by David Farrell Est. €14,000 - 18,000

56 Micheal Farrell 1940-2000 A SHORTER HISTORY OF IRELAND Oil on canvas, 41” x 33” (104 x 84cm).

57 Basil Rakoczi 1908-1979 NARCISSE (1947) Mixed media, 30” x 20” (76 x 51cm), signed.

Est. €3,000 - 5,000

Est. €1,500 - 2,500

58 Patrick Swift 1927-1983 STILL LIFE – WOODCOCK AND FLOWERS Oil on canvas, 24” x 30” (61 x 76cm), signed. Dublin born Swift was largely self-taught, though he did attend the National College of Art in 1946 and 1948 (under Sean Keating). In the late 40s he had a studio in Baggot Street and also in Hatch Street. Swift struck up a friendship with Lucien Feud and they worked together in Swift’s studio in Dublin from time to time. In 1952 he held his first one man exhibition at the Waddington Galleries. The power of his painting immediately struck a chord with critics. The Irish Press critic wrote “An almost embarrassing candour… Here is a painter who seems to have gone back to the older tradition and to have given the most searching consideration to the composition of his painting”. Swift was on friendly terms with Samuel Beckett and the painter, Edward McGuire. In 1952 he moved to London and in 1953 shared a flat with Anthony Cronin. In 1954 he was awarded a grant by the Irish Cultural Relations Committee to study art in Italy. Swift later moved to Portugal where he set up the Porches Pottery in a small fishing village. Swift lived out the rest of his life in Portugal. A painter of outstanding talent his work was seen on a large scale at the very well received retrospective exhibition at the Irish Museum of Modern Art in 1993 which coincided with the publication of “P.S… of Course” by Veronica O’Mara, which gives a detailed account of the painter.

Est. €7,000 - 10,000

59 Daniel O’Neill 1920-1974 SUMMER Oil on board, 24” x 36” (61 x 91cm), signed.

During the 1940’s a young Dan O’Neill worked as an electrician in Belfast by night so that he could find time to paint in daylight. Largely self-taught, O’Neill haunted public libraries to read about art and study reproductions of the Italian Primitives and Old Masters, which influenced his early work. O’Neill’s big break came in 1946 when he had a solo exhibition at the Victtor Waddington Gallery in Dublin. The success of his first one man show brought O’Neill much needed publicity and critical acclaim both in Dublin and Belfast. Late in 1948 O’Neill visited Paris (his only trip to the Continent) and the trip was a revelation to him. By the time he returned his work had been transformed. His earlier work, which could be described as dark and brooding, changes into a new colour palette.

SUMMER is set in a landscape of the imagination. O’Neill’s Arcadia with its poplar trees, winding river and misty horizon, pays homage to Poussin et al, while the strong colours, the contrasts of dark and light and the shallow depth of field, all reflect O’Neill’s new found interest in Post Impressionism, and in Gauguin in particular, with the exotic females in various poses. What cuts across these two references is the central figure of the formal composition, the girl with the red hair, an incongruous Irish cailin. As with so many of O’Neill’s works there is a narrative in play – the mysterious shaded figure on the right, the tall figure on the left which dominates the canvas – who are they? Are they the women in his life or symbolic characters? O’Neill’s landscape leaves us wondering. SUMMER was probably painted around 1950/51. Similar works (in Mediterranean theme and colour palette) are “On the Beach” (deVeres Art Auction catalogue, June 2008) and “Figure on the Beach, Tyrella” (Adams/Bonhams Art Auction catalogue, Dec 2008). Gena Lynam, Sept 2014

Est. €30,000 - 50,000

60 Attributed to George Grattan 1787-1819 A TRAVELLER RESTING BY A ROAD Oil on canvas, 30” x 24” (76 x 61cm). Purchased by the previous owner at at Rathescar House Auction, Dunleer, Co. Louth, 2 February 1982, lot 455, where attributed to William Mulready; Whytes, Irish Art Auction, 28th November, 2006 (lot 122), which catalogue entry read: Born in Dublin, George Grattan entered the Royal Dublin Society’s Drawing Schools as a young boy and by the age of ten had gained a medal for his drawing ability. Further prizes and premiums ensued. In 1803 the Lord Lieutenant of Ireland, the Earl of Hardwicke, commissioned crayon portraits and topographical views from the young artist. The following year Grattan established a studio in Chatham Street. At this time he painted mostly large historical subjects, as well as rural and domestic scenes. His Blind Beggar Woman with Child, 1807, was bought immediately by the RDS. The Society granted the artist permission to take it to London; he was too late for the Royal Academy’s exhibition, but showed it privately in England. After six months he returned to Dublin and applied for the position of Drawing Master at the RDS. He was passed over in favour of Robert West, although the committee conceded that Grattan’s submitted drawings were superior to West’s and subsequently purchased them for one hundred guineas. In 1812 Grattan exhibited at the RA in London and from 1809-13 was a regular exhibitor in Dublin. Thence on he is believed to have fallen into ill health and ceased exhibiting. He died at Cullenswood in 1819 and was buried at Glasnevin cemetery (see Strickland, volume I, pp. 404-7). Grattan is best known for his large oil, Blind Beggar Woman with Child, 1807, in the collection of the RDS and illustrated in Crookshank and Glin (Ireland’s Painters 1600-1940, Yale, 2002, p. 191). In addition examples of his watercolours can be found in the National Gallery of Ireland. One work, The Pilgrim (NGI 3379), is painted in the style of Salvatore Rosa (1615-73). However, as Crookshank and Glin have noted, the figure is dressed not in the traditional pilgrim’s robes with a shell around his neck, but rather in a wide-lapelled cloak, such as was worn by contemporary travellers (op. cit., p. 191). Interestingly, the same cloak reappears in the present composition, with the slight variant of a patched elbow. The figure of the traveller also leans on a long wooden staff, similar to that held by the pilgrim in the NGI watercolour. Strickland lists a painting, The Tired Traveller, as being in the possession of Henry Harrington of 5 Great Denmark Street, Dublin, until 1832, when it was bought by Robert Murphy, whose collection was in turn dispersed in Dublin in 1837. After this nothing further is known of the painting’s whereabouts. It is possible that this and the present work may be one and the same.

Cleaned and re-lined by the Gorry Gallery in 1983 and re-attributed to Grattan by Professor Crookshank.

Est. €6,000 - 9,000 42

61 William Conor RHA RUA ROI 1881-1988 MOTHER AND CHILD Crayon, 4” x 3” (10 x 7.5cm).

62 Kathleen Fox RHA, 1880-1963 STILL LIFE – DAFFODILS Oil on canvas, 30” x 24” (76 x 61cm), signed.

Est. €600 - 900

63 John Faulkner RHA 1835-1894 DONAGH STRAND, ACHILL Watercolour, 17” x 31” (43 x 78.7cm), signed & inscribed.

Est. €1500 - 2500

64 Elizabeth (Lolly) Yeats 1868-1940 CARRAGH LAKE Watercolour, 10½” x 15¾” (26.5 x 40cm), signed & dated 1926.

Est. €600 - 1,000

Est. €800 - 1200

65 A CHROME ROCKING CHAIR, BY RENATO ZEVI, 1970s, upholstered in brown suede, 71cm wide.

Est. €400 - 600

66 A STAINLESS STEEL AND MIRRORED COCKTAIL TABLE BY WILLY RIZZO, with sliding top revealing a fitted mirrored bar interior, 131cm long x 80cm wide, bearing Cidue label.

Est. €800 - 1,200

67A A PAIR OF CHROME LOW TABLES, IN THE STYLE OF PHILIPPE STARCK, of rectangular form on square legs, 46cm wide x 25cm deep and 55cm high. Est. €300 - 500

67 AN ART DECO STYLE WALL MIRROR, 157 x 90cm.

€200 - 400

68 A LARGE BURR WALNUT LOW TABLE, 1970s, in the style of Willy Rizzo, of tablet form with brass banding, 190cm long x 120cm wide x 20cm high.

Est. €600 - 1,000

69 A SQUARE LACQUERED LOW TABLE, 1970s, in Willy Rizzo style, with brass indented corners, on a brass banded square base, 80.5cm x 80.5cm x 30cm.

Est. €400 - 600

70 A ROSEWOOD BUREAU DESK, DANISH, 1960s, with let-down front revealing a fitted interior, above three drawers, on square legs, 90cm wide x 110cm high x 42cm deep.

Est. â&#x201A;Ź600 - 900

71 A SUPERB ROSEWOOD THREE PIECE SUITE BY GRETE JALK, FOR FRANCE & SON, DANISH, 1960s, the open shaped backs with curved armrests, on tapering supports, each piece with applied stamp of ‘France & Son’ and also stamped with France & Son monogram and ‘Made in Denmark’, comprising: A three seat settee, 192cm wide x 70cm high x 70cm deep; A pair of easy chairs, 79cm wide x 70cm high x 70cm deep. (3) Grete Jalk was formally trained at the School of Arts and Crafts, going on to study with Danish master Kaare Klint at the Royal Academy of Arts in Copenhagen. Though she took part in exhibitions such as the Milan Triennial outside of Denmark, she made a name for herself with the work she did from her own design office for Fritz Hansen and Poul Jeppesen and for her annual appearance at the Cabinetmakers’ shows. Founded in 1950 by a British businessman Charles France and his Danish partner Inger Daverkosen. France and Son was the first Danish design company to have its own factory. They made furniture of the highest calibre and Charles France, the company’s founder, refused to join the association for quality in Denmark after its creation, saying that their standards would never match those of his factory. The company came to epitomise the Danish modern aesthetic, working with the major designers of the day including Arne Vodder, Grete Jalk, Peter Hvidt and Finn Juhl.

he sleek and modern look is a testament to Denmark’s designers of the 1960s, who defined modern T furniture and created a new wave of decoration with simple lines and quality manufacture.

Est. €3,000 - 5,000

72 A ROSEWOOD EXTENDING DINING TABLE, DANISH, 1960s. by H W Klein for Bramin, of rectangular form, raised on tapering legs and with one removable leaf, bearing label, 195cm long x 91cm wide x 72cm high (extended).

Est. €800 - 1,200

72A A SET OF SIX ROSEWOOD RAIL BACK DINING CHAIRS, 1960s DANISH, on tapering rounded legs, each bearing ‘Bramin, Denmark’ labels. Est. €400 - 600

73 A PAIR OF CHROME ARA LAMPS BY PHILIPPE STARCK FOR FLOS, 1988, each 55cm (h).

Est. €600 - 900

74 A PAIR OF ROSEWOOD UPHOLSTERED CLUB CHAIRS, DANISH, c.1970, on tapering rounded legs. (2)

Est. €300 - 500

74A A PAIR OF ROSEWOOD UPHOLSTERED CLUB CHAIRS ENSUITE, DANISH, c.1970, on tapering rounded legs. (2) Est. €300 - 500 51

75 A PAIR OF MAHOGANY FRAMED EASY ARMCHAIRS, DANISH, 1960s, with shaped arms on tapering legs.

Est. €800 - 1,200

76 A STEEL PROPELLER TABLE, 1960’s by Knut Hesterberg for Ronald Schmitt, with glass top, 107cm (diameter).

Est. €300 - 500

77 THE KONKYLIE (CONCH SHELL) PENDANT LIGHT, A PAIR, by Louis Weisdorf, Danish 1960s, each stamped, 15” diameter. These classic lights were originally designed for Copenhagen’s Tivoli Gardens, where they hung from trees in glorious fiery clusters. They were produced by Lyfa as a prestige light. The shell form is created by multiple layers of bands of gold anodized metal strips forming a geometrical shell shaped form, with the inner in orange and mellow yellow to reflect a warm and inviting glow.

Est. €1,000 - 1,500

78 A ROSEWOOD EXECUTIVE DESK, DANISH, with two drawers to each suspended pedestal, on square supports, 190cm wide x 90cm deep x 72cm high.

Est. â&#x201A;Ź600 - 1000

79 A ROSEWOOD SIDE CABINET, ITALIAN, 1950’s, of rectangular form, with two sliding cupboard doors, on brass tapering legs, 173cm wide x 76cm high x 43cm deep.

Est. €800 - 1,200

80 THE SIESTA CHAIR, BY INGMAR RELLING FOR WESTNOFA, Norway, a pair, each with cantilevered bentwood frames, canvas seats and black leather seat cushions, bearing labels. (2)

he ‘Siesta Chair’ was Ingmar Relling’s masterpiece and won him first prize at the T Norwegian Furniture Council Competition in 1965. It represented a new thinking in terms of construction and form. Clean lines, flexible seating comfort and exceptional strength make it a triumph in modern design and very much in the classic 1960s Scandinavian tradition of design and function. A chair designed for comfort and relaxation.

Est. €800 - 1,200

81 A PAIR OF LOUNGE ARMCHAIRS, by Ingmar Relling, Norway, c.1970, with cantilevered bentwood frames, canvas seats and black leather seat cushions and armrests. (2)

Est. â&#x201A;Ź800 - 1,200

82 A CHROME DINING TABLE, FRENCH, 1970s, the black glass top on a base of geometric form, 200cm long x 100cm wide x 72cm high.

Est. €800 - 1200

83 A SET OF EIGHT ROSEWOOD TABLET BACK DINING CHAIRS, 1970s, the shaped back above upholstered seats, on rounded legs.

Est. €600 - 1,000

84 A WALNUT ART DECO COCKTAIL TABLE, with metamorphic rising drinks compartment, 76cm diameter x 58cm high.

Est. €600 - 900

85 AN ART DECO ‘WESTMINSTER BELCANTO’ MANTEL CLOCK, 66cm wide x 22cm high.

Est. €200 - 300

86 AN OVAL DINING TABLE, c.1970s, with smoked glass top on twin metal supports, 200 x 95cm.

Est. €400 - 600

87 A TALL FREESTANDING BRASS AND CHROME SET OF OPEN SHELVES, BY RENATO ZEVI, 1970s, with smoked glass shelves, 201cm high x 76cm wide x 37cm deep.

88 A CHROME AND BRASS FRAMED UPRIGHT TWO DOOR CABINET, 1970s, 140cm high x 76cm wide x 45cm deep.

Est. €300 - 500

Est. €200 - 300

89 A LEATHER SWIVEL CHAIR, DANISH, 1960s, on simulated rosewood star base.

Est. €300 - 500

91 THE AJ FLOOR LAMP, BY ARNE JACOBSEN, FOR LOUIS POULSEN, DENMARK, steel/zinc in graphite grey, sold with original certificate 130cm high.

Few floor lamps have greater appeal than the iconic AJ lamp. Designed in 1957 for the SAS Royal Hotel in Copenhagen, Denmark, this modern floor light has a distinct asymmetrical shape with a tiltable head which makes it a perfect reading lamp. The cut out circle in the base of the lamp was originally intended to accommodate an ashtray but now contributes solely to the unique and stylish design. The AJ Floor Lamp is a classic icon of mid century modern Scandinavian design.

Est. €400 - 600

90 A PAIR OF HANGING LIGHTS, FRENCH, 1970s, with frosted globular shades, 30cm diameter.

Est. €200 - 300

92 THE GHOST SUITE, BY PHILIPPE STARCK FOR KARTELL, A SET OF EIGHT, comprising a pair of ‘Louis Ghost’ armchairs and a set of six ‘Victoria Ghost’ single chairs,each a unique single mold polycarbonate, each stamped to the seat rail (8). The Louis Ghost was Starcks remake of the classic Louis XVI armchair, an infusion of technical innovation and historical style. He believes the chair is based on ‘shared memories’. “We all own this piece in a way”. The Ghost series is one of Kartells most popular, also available in translucent and usable outdoors, they are fully stackable and sell today for between €300 and €400 each.

Est. €600 - 1,000

93 THE HUDSON CHAIR, BY PHILIPPE STARCK FOR EMECO, A SET OF SIX, thermal treated brushed aluminium, each stamped to the seat rail (6). Created in 2000 by Philippe Starck for Ian Schrager’s Hudson Hotel in New York, The Hudson Chair was selected by the Chicago Athenaeum as one of the top designs for 2000,winning the prestigious ‘Good Design Award’. It is now included in the Design Collection of the Museum of Modern Art (MOMA). Three times stronger than steel and amazingly light weight, these chairs were Starck’s take on the Navy Chair produced by Emeco in 1944, Designed to last, a chair very much of the day, but built for the future.

Est. €600 - 1,000

94 A PAIR OF 1950’s ITALIAN OPEN ARMCHAIRS, on tapering legs.

Est. €400 - 600

95 A 1950s ITALIAN THREE SEAT SOFA EN SUITE, with outsplayed arms on tapering legs, 178cm wide x 94cm high x 74cm deep.

Est. €400 - 600

97 THE SASSO VASE, BY ANTONIO DA ROS, MADE BY CENEDESE MURANO, 1965, SOMMERSO GLASS, signed and dated 1965, 28cm high x 18.5cm wide.

€1,000 - 1,500

96 AN ADJUSTABLE BRASS AND METAL TABLE LAMP, IN THE MANNER OF LOUIS KALFF, 50cm high

Est. €300 - 500

97A A SET OF THREE SOMMERSO GLASS CANDLESTICKS, BY ANTONIO DA ROS, MADE BY CENEDESE MURANO, c.1960s, 38cm high, 33cm high and 28cm high. Adjacent to the city of Venice, is the island of Murano, home to Italian glassmaking since the late 13th century when the glassmakers were banished for fear their furnaces would set Venice on fire.

lthough innovative for most of the 19th Century, it is the post war glass of the 1950s and 60s that A is most sought after. In 1946 Gino Cenedese formed the company Cenedese & Co and in 1959 Antonio Da Ros became artistic director.

The technique used in these two works is Sommerso, from the Italian for submerged. Layers of contrasting glass are formed by dipping a gather o f coloured glass into another molten glass and blowing the gather into the desired shape. The outer casing is most often clear. The technique was developed in the thirties and became more popular in the fifties.

Est. €1000 - 1500

98 A SET OF TEN CHROME DINING CHAIRS, with upholstered seats.

Est. €600 - 900

99 A SET OF FOUR CHROME FRAMED ARM CHAIRS, with upholstered seats.

Est. €300 - 500

99A A RARE TEAK DRESSING TABLE, 1960s, BY BRENDAN DUNNE, 107cm wide x 151cm high x 40cm deep. Brendan Dunne was a Dublin based furniture designer who established a workshop in the early 50s. Opposed to the prevalence of reproduction antique furniture he took his inspiration from the modern Scandinavian design. A child prodigy in music he compared woods to musical notes, oak suggested the key of ‘C’ major and his oak dining suite he called the ‘C’ major suite. While a mahogany bedroom suite is called the ‘A’ minor. Dunne said that “Designing furniture is like composing music, you must bring to each a sense of rhythm and line and good workmanship.” His work is represented at the National Museum of Ireland. Est. €400 - 600

99B A PAIR OF KAISER IDELL 6556 DESK LAMPS, designed by Christian Dell, 1936 and manufactured by Kaiser Leuchten, 45 cm high.

Est. €400 - 600

100 Patrick Redmond, Contemporary LIQUORICE ALLSORTS Oil on canvas laid on board, 12” x 16” (30.5 x 41cm). Provenance: The Molesworth Gallery, Dublin, 2004 (label verso). Est. €700 - 1,000

101 Joe McGill, Contemporary GLEANER Oil on canvas board, 10¾” x 12” (27 x 30.5cm), signed & dated 2006. Provenance: The Molesworth Gallery, Dublin, 2006 (label verso). Est. €500 - 700 68

102 Martin Gale RHA, b.1949 PARTY (NO. 1) Oil on canvas, 16” x 20” (40.5 x 51cm), signed; signed & dated 2005. Est. €1,500 - 2,000

103 John Noel Smith, Contemporary U.F.P (UNITED FIELD PAINTING) Oil on canvas, diptych, 20” x 11¾” (51 x 30cm), signed, inscribed & dated 2007 verso. Est. €1,000 - 1,500 69

104 Conor Fallon HRHA 1939-2007 FOUR CIRCUS HORSES TURNING (1993) Bronze, 4½” x 6¾” (11.5 x 17.2cm), on a polished granite base. Provenance: Theo Waddington Fine Art Ltd, London (label to the underside). Est. €3,000 - 5,000

105 Diarmuid Delargy, Contemporary BULL Bronze, 18” high x 34” wide (46 x 86.5cm), signed & dated 2003. Provenance: Acquired from the Taylor Gallery by the present owner. Est. €3,000 - 5,000

106 Mark Francis b.1962 COMPRESSION (UNTITLED) Oil on canvas, 84” x 72” (213.5 x 183cm), signed, inscribed & dated 1995 verso. Over the past thirty years, Mark Francis has made paintings of singular optical intensity – powerful, apparently abstract combinations of concentrated patterning and stark colour contrasts that are in fact principally based on what the unaided human eye lacks the power to see. His work draws significantly on discoveries about the form and substance of reality that result from technologically enhanced vision. An enduring fascination, for instance, has been the visual worlds made accessible by the matter-penetrating gaze of electron microscopes: the dark, scattered, interconnecting orbs or the variously taut and slack lines of his paintings have drawn their strange forms from imagery of the miniature universe, the realm of molecular structure and cellular association out of which all life is assembled. More recently, too, Francis’ art has looked outwards, taking as points of pictorial reference the graphic interpretations of data received by radio telescopes as part of astronomers’ efforts to chart distant zones of the cosmos. Such scientific advances in the power of perception have for Francis come to present vital challenges – and opportunities – for the practice of painting. If the grid structures of his paintings suggest continuing alertness to the legacy of artistic modernism – and so to its influential arguments about the specific, limited capacities of painting as a medium – this is a burden of history always understood in relation to the revelatory insights generated by contemporary science. Mark Francis is represented in numerous collections including Irish Museum of Modern Art, Dublin; Tate Gallery, London; Victoria & Albert Museum, London; Metropolitan Museum of Art, New York; de Young Memorial Museum, San Francisco; Museum of Modern Art, Miami; The Saint Louis Art Museum, St. Louis, Missouri; and Hugh Lane Municipal Gallery, Dublin. Est. €10,000 - 15,000 71

107 Ciaran Lennon b.1947 9 PART ARBITRARY COLOUR COLLECTION (9) Oil on copper, each 12½” x 9” (31.7 x 22.8cm), signed, inscribed & dated 2005 to one panel verso. Est. €6,000 - 9,000

108 John Shinnors b.1950 BLACK SKIRT STILL LIFE Oil on canvas laid on board, 48” x 60¼” (122 x 153cm), signed; signed & inscribed verso. Est. €12,000 - 16,000

109 Ciaran Lennon b.1947 COLOUR COLLECTION (5) Oil on ground aluminum, each 11” x 9” (28 x 22.8cm), signed & dated 2004 verso. Est. €3,000 - 5,000

110 Makiko Nakamura, Contemporary UNTITLED TRIPTYCH (2001) Oil on canvas laid on board, each 17¾” x 17¾” (45 x 45cm), signed, inscribed & dated 2001 verso. Est. €2,000 - 4,000

111 Barrie Cooke HRHA 1931-2014 LITTLE WANGANUI RIVER (1998) Oil on canvas, 54” x 60” (137 x 152cm), signed, inscribed & dated 1998 verso. Provenance: The Kerlin Gallery, Dublin (label verso); Private Collection, Dublin. Est. €5,000 - 7,000

112 Donald Teskey RHA b.1956 ROAD THROUGH THE BOG Oil on canvas, 6” x 6¾” (15 x 17cm).

113 Donald Teskey RHA b.1956 GALLOWSHILL 1 Oil on canvas, 6” x 6¾” (15 x 17cm).

Est. €800 - 1,200

114 Yvonne Moore, Contemporary DRESSER Oil on canvas, 27” x 27” (68.5 x 68.5cm), signed with initials. Est. €1,500 - 2,500 76

115 Neil Shawcross RHA RUA b.1940 PIER 42 Oil on canvas, 78” x 36” (198 x 91.5cm); signed & dated 2007. Est. €5,000 - 7,000

116 Neill Shawcross RHA RUA b. 1940 HEINZ TOMATO KETCHUP Oil on canvas 78” x 36” (198 x 91.5cm); signed & dated 2006. Est. €5,000 - 7,000

117 Pauline Bewick RHA b.1935 HOLY WELL Pen and Watercolour, 30’’ X 22¾’’ (76cm x 58cm), signed & dated ‘79. Est. €1,400 - 1,800

118 Stephen McKenna PPRHA b.1939 UNDER WATER Oil on canvas, 33” x 42” (84 x 107cm), signed & dated 1967/68 verso. Est. €3,000 - 5,000 79

119 Yvonne Moore, Contemporary PURPLE FLOWERS Oil on canvas, 14 x 10” (35.5 x 25.5cm), signed with initials.

120 Yvonne Moore, Contemporary SORRENTO TERRACE AND DALKEY ISLAND Oil on canvas, 8” x 8” (20 x 20cm), signed with initials. Est. €500 - 700

Est. €600 - 900

121 Sarah Longley, Contemporary SLEEPING NUDE Charcoal on paper, 43” x 36” (109 x 91.5cm), signed & dated 2001. Provenance: The Peppercannister Gallery, Dublin (label verso). Est. €1,000 - 2,000

122 Deborah Browne b.1927 WHITE GLASS FIBRE FORM ON YELLOW GROUND Fibreglass on canvas, 40 x 50” (101.5 x 127cm), signed & dated 1967 verso.

123 Breon O’Casey ARUA, b.1963 ENVELOPE Gouache, 17½” x 15½” (44 x 39cm), signed & dated 2004. Est. €800 - 1,200

Est. €800 - 1,200

124 Hughie O’Donoghue b.1953 DESCENT VI Charcoal on paper, 60” x 48” (152.5 x 122cm), signed & dated 1989. Provenance: Art Now Gallery, Gothenburg (label verso). Est. €2,000 - 4,000

125 Hughie O’Donoghue b.1949 THE DRUNKENNESS OF NOAH – FALLING CUP / THE BIRD ON NOAH’S HEAD (2) Carborundum prints, each 14½” x 21½” (37 x 54.5cm), signed, inscribed & dated 2005. ed. 4/20. Est. €600 - 900

126 Hughie O’Donoghue b.1949 THE DRUNKENNESS OF NOAH – NOAH REMEMBERS / NOAHS CAP (2) Carborundum prints, each 14½” x 21½” (37 x 54.5cm), signed, inscribed & dated 2000. ed. 4/20. Est. €600 - 900

129 John Coen b.1941 DANCERS Bronze, 16” high (40.5cm). 127 Patrick O’Reilly b.1957 JUG Bronze, 37¾” high (96cm), signed & dated 2006, unique. Est. €2500 - 3500

128 Patrick O’Reilly b.1957 SPIRIT Bronze, 37¾” high (96cm), unique. Est. €1000 - 1500

Provenance: Taylor Galleries, Dublin. Est. €800 - 1,200

130 John Schwatschke b. 1943 TOWN TRAFFIC Oil on canvas, 24” x 30” (61 x 76.2cm), signed; signed & inscribed verso.

131 Norman J McCaig 1929-2001 ST STEPHEN'S GREEN – LATE OCTOBER Oil on canvas, 18" x 22" (46 x 56cm), signed.

Est. €700 - 1,000

Est. €1,400 - 1800

132 Ivan Sutton b.1944 GALWAY HOOKERS SAILING, ROUNDSTONE BAY, CONNEMARA Oil on board, 20" x 30" (51 x 76cm), signed, inscribed verso. Est. €1,200 - 1,800

133 David Goldberg, Contemporary CARROWTEIGUE, CO MAYO Oil on board, 9½” x 13½”' (24 x 34cm), signed.

134 Caroline Mulholland, Contemporary GLIMPSE II, “MAN WITH A KITE”, SANDYMOUNT Bronze, 12” x 20½” (30.5 x 52cm), signed inscribed & dated ’01.

Est. €300 - 500 Est. €400 - 600

135 Cian McLoughlin, Contemporary THE MOURNER Oil on canvas, 24" x 18" (61 x 46 cm), signed. Est. €1000 - 1500 85

136 James Butler RA b.1931 RECLINING NUDE ON A CHAISE Bronze, 22½” wide x 10¼” deep x 11¼” high (57 x 26 x 28.5cm), signed & dated 1972, ed. 6/8. Provenance: Purchased from a London Gallery in the 1970s; private collection. James Butler studied at Maidstone School of Art from 1948 to 1950, St Martin’s School of Art from 1950 to 1952 and subsequently at the Royal College of Art, London. After two years of National Service in the Royal Corps of Signals, he spent the following ten years as a professional stone carver, working on architectural sculptures such as the Queen’s Beasts at Kew Gardens and restoration work on the Albert Memorial. From 1960 to 1975, he taught drawing and sculpture at the City and Guilds of London Art School.

B utler’s work is very much commission based, his first major assignment being a twice life size statue of President Kenyatta of Kenya for the city of Nairobi in 1973. Following this, he gave up teaching in order to work on numerous public commissions and works for private collections throughout the world, ranging from monumental pieces to small-scale sculptures of dancers, children and female nudes. He cites the works of Rodin, Dalou, Degas, Jagger and Manzù as sources of inspiration.

He was elected a Royal Academician in 1972, a Member of the Royal West of England Academy in 1980 and Fellow of the Royal Society of British Sculptors in 1981. Butler lives and works in Warwickshire. Est. €2,000 - 4,000

137 Hillary Heron 1923-1977 IDOL (1955) Walnut, 15¾” high x 21” wide (40 x 53.3cm), artists label to the base. Provenace: Victor Waddington Gallery; Private Collection, Dublin. Exhibited: Venice Biennale, 1956, No.79 (label attached). Born in Dublin Heron spent her childhood in New Ross, Co. Wexford. She won three Taylor Prizes while attending the National College of Art. For sculpture in wood, limestone and marble she was awarded the first Mainie Jellett memorial travelling scholarship in 1947. She was very involved in founding the Irish Exhibition of Living Art and first exhibited there in 1943. She represented Ireland at the Venice Biennale with Louis Le Brocquy in 1956 with this piece. She travelled throughout the world and she is included in numerous public collections. Many critics regarded her as one of Ireland’s foremost sculptors. Est. €3,000 - 5,000

138 William Scott OBE RA 1913-1989 UNTIITLED Lithograph, image size 20” x 25” (51 x 63.5cm) signed & dated ’66, ed. 32/75.

138A Markey Robinson 1918-1999 STILL LIFE – FRUIT AND JUGS Gouache, 12” x 18” (30.5 x 46cm), signed.

Est. €800 - 1,200

139 Louis le Brocquy HRHA 1916-2012 IMAGE OF WB YEATS Lithograph, image size 12” x 10¼” (30.5 x 26cm), signed & dated 1984, ed. 4/30.

140 Robert Armstrong, Contemporary GREEN, GREEN Oil on Canvas, 12” x 11½” (30 x 29cm), signed and dated ’91.

Provenance: Taylor Galleries, Dublin (label verso).

Est. €200 - 300

Est. €500 - 700

Gerald Davis was a well-known semi abstract artist who led a colourful life amidst the Dublin artistic community. He was also a Gallery owner, critic and Joycean scholar. He was a prominent member of the Jewish Community and was a regular contributor to the National Newspapers, radio and television. Davis was often seen in costume as Leopold Bloom to celebrate Bloomsday. His gallery on Capel Street was the starting point for numerous talented artists including Edward Delaney, Charles Harper and Martin Gale. He was an accomplished artist as this small private collection aptly conveys.

141 Gerald Davis 1935-2005 IN FLIGHT Oil on Canvas, 28” x 43” (71 x 109cm), signed; signed inscribed & dated 1973 verso. Est. €1,000 - 1,500

142 Gerald Davis 1935-2005 ACROSS THE BAY Oil on board, 20” X 24” (51 x 61cm), signed & dated 1982; inscribed verso. Est. €700 - 1,000

143 Gerald Davis 1935-2005 ACROSS THE BAY II Oil on board, 20” X 24” (51 x 61cm), signed & dated 1982; inscribed verso. Est. €700 - 1,000

144 Gerald Davis 1935-2005 HYBRASIL Oil on canvas, 20” x 24” (51 x 61cm), signed & dated 1982. Est. €700 - 1,000

145 Gerald Davis 1935-2005 VISITOR Oil on board, 16” x 12” (41 x 30.5cm), signed & dated 1980; signed, inscribed & dated verso.

146 Gerald Davis 1935-2005 GOODBYE Oil on canvas, 10” x 8” (25.5 x 20.5cm), signed, inscribed & dated 1982 verso. Est. €300 - 500

Est. €300 - 500

147 Gerald Davis 1935-2005 ABSTRACT COMPOSITION Oil on paper, 20” x 24” (51 x 61cm), signed & dated 1986. Est. €400 - 600

148 Gerald Davis 1935-2005 LANDSCAPE Oil on board, 3½” x 15” (9 x 38cm), signed & dated 1968. Gallery label verso. Est. €200 - 300

149 Gerald Davis 1935-2005 LA DONNA Oil on Board, 10” X 8” (25.5 x 20.47cm), signed & dated 1982; signed, inscribed verso. Est. €200 - 400

151 Gerald Davis 1935-2005 DEPARTING Oil on board, 10” x 8” (25.5 x 20.4cm), signed & dated 1982, signed & inscribed verso.

150 Gerald Davis 1935-2005 YELLOW LANDSCAPE Oil on board, 9” x 14” (23 x 35.5cm), signed; signed, inscribed & dated 1967 verso. Est. €200 - 400

151A Gerald Davis 1935-2005 GREY LANDSCAPE Oil on board, 8½” x 13¼” (21.5 x 33.5cm), signed & dated 1967; signed inscribed verso. Est. €300 - 500

Est. €200 - 400 92

152 Gerald Davis 1935-2005 SUMMER SONG Oil on board, 7” x 7” (17.7 x 17.7cm), signed & dated 1973; inscribed verso.

153 Irish School ROBIN Oil on canvas, 20” x 24” (51 x 61cm). Est. €200 - 300

Est. €150 - 200

154 Irish School STILL LIFE Oil on canvas, 24” x 20” (61 x 51cm). Possibly Clifford Collie.

155 John Kelly RHA 1932-2006 CELESTIAL BEING Oil on canvas, 60” x 36” (152.5 x 91.5cm), signed; signed verso.

Est. €800 - 1200

156 John Kelly RHA 1932-2006 ABSTRACT Oil on canvas, 36” x 28” (91.5 x 71cm), signed. Est. €500 - 700

Est. €800 - 1200

157 Nick Miller b.1962 SNOW LEOPARD Oil on paper, 40" x 60" (102 x 152.5cm), signed.

Est. €2,000 - 3,000

158 Bernadette Madden b.1948 Abstract Batik (triptych), each 40” x 19¾” (102 x 50cm), signed. Est. €300 - 500

159 Bernadette Madden b.1948 Abstract Batik, 36¼” x 36¼” (92 x 92cm), signed. Est. €100 - 200

Standard Conditions of Business 1. Definitions In these Conditions, de Veres Art Auctions, who act as auctioneers and agents for the vendor, are called ‘the auctioneers’ (which expression shall be deemed to include their servants and agents) and the representative of de Veres conducting the auction is called ‘The Auctioneer’. 2. Third Party Liability Every person at or on the ‘Auctioneers’ premises or at any premises being used by the Auctioneer at any time shall be deemed to be there entirely at his/her own risk and shall have no claim whatsoever against the Auctioneers or their servants or agents in respect of any accident or incident which may occur nor any injury, damage or loss howsoever arising and whether or not same is the subject of any allegation of negligence. 3. General Whilst the Auctioneers make every effort to ensure the accuracy of their catalogue and the description of any lot: (a) Each lot as set out in the catalogue or as divided or combined with any other lots or lots is sold by the vendor with all faults, imperfections and errors of description. (b) Any claim under any Statute must be received in writing by the Auctioneers within three months of the sale. (c) The Auctioneers shall not be liable for consequential or resultant loss or damage whether sustained by a Vendor or a Purchaser or the owner of any item or their respective servants and agents arising in any circumstances whatsoever and irrespective of any claim made by any party as to negligence or lack of care of the Auctioneers or any part acting on their behalf. 4. The Auction (a) The Auctioneer has absolute discretion to divide any lot, to combine any two or more lots or to withdraw any lot or lots from the sale, to refuse bids, regulate bidding or cancel the sale without in any case giving any reason or previous notice. He may bid on behalf of the vendor for all goods which are being offered subject to reserve or at the Auctioneer’s discretion. (b) The highest bidder shall be the buyer except in the case of a dispute. If during the auction the Auctioneer considers that a dispute had arisen. He has absolute discretion to settle it or to re-offer the lot. The Auctioneer may at his sole discretion determine the advance or bidding or refuse a bid. (c) Each lot is put up for sale subject to any reserve price placed by the vendor. Whether or not there is a reserve price the seller has the right to bid either personally or by any one person (who may be the Auctioneer). (d) All conditions, notices, descriptions, statements and other matters in the catalogue and elsewhere concerning any lot are subject to any statements modifying or affecting the same made by the Auctioneer from the rostrum prior to any bid being accepted for the lot. 5. Recession Notwithstanding any other terms of these Conditions, if within 12 months after the sale, the Auctioneers have received from the buyer any notice in writing that in his view the lot is a deliberate forgery and within twenty-one days after such notification the buyer returns the same to the Auctioneers in the same condition as at the time of sale and by producing evidence, the burden of proof to be upon the buyer satisfies the Auctioneers that considered in the light of the entry in the catalogue the lot is a deliberate forgery, then the sale of the lot will be rescinded and the purchase price of the sale refunded. In the event of a dispute then the matter shall be settled by the President of the Institution of Chartered Surveyors in the Republic of Ireland. Both the buyer and the vendor agree to be bound by the decision . 6. Default The Auctioneers disclaim responsibility for default by - either the buyer or the vendor because they act as Agents for the vendor only and therefore do not pay out to the vendor until payment is received from the buyer. Instructions given by telephone are accepted at the sender’s risk and must be confirmed in writing forthwith. 7. In the event of a sale by private treaty both the vendor and the buyer agree to be found by these and any Special Conditions of Sale. 8. Retention of Title All goods remain the property of the vendor until paid for in full. The Auctioneers will not assume liability to discharge nett proceeds arising 95 from the sale of goods until those goods have been paid for in full.

VENDOR’S CONDITIONS 9. Instructions All goods delivered to the Auctioneers’ premises will be deemed to be delivered for sale by auction and will be catalogued and sold at the discretion of the Auctioneer and accepted by them subject to all the Sale Conditions. By delivering the goods to the Auctioneers for inclusion in their auction sales the vendor acknowledges that he or she has accepted and agreed to be bound by all these Conditions. 10. Collection and Deliveries The Auctioneers do not normally undertake the packing, collection or delivery of goods but will if requested use their best endeavors as Agent of the Owner to arrange for an independent contractor on the owner’s behalf to deal with packing, collection and/or delivery. The Auctioneer will not in any event arrange insurance of the goods and will accordingly not be liable for any loss or damage to goods howsoever arising including breakages or for any damage to premises, fixtures or fittings therein caused by such contractor or otherwise and the owner is responsive for all arrangements to verify that any such contractor and the goods is/are appropriately insured. Unless instructions are received to the contrary, charges (including VAT) for such services will be charged to the vendor’s account or discharged through the Auctioneers by the purchaser as the case may be. The Auctioneers’ liability (if any) will rise only where they themselves carry out packing and collection/delivery and only in the case of breakage or loss caused through deliberate negligence of their employees and in any event in one single contract and the Auctioneers’ liability will not exceed £500. Provided further than the Auctioneers will not be liable for consequential loss in any circumstances whatsoever. 11. Loss or Damage and Storage The Auctioneers reserve the right to store or arrange for the storage of goods held by them or delivered to them either on their own premises or elsewhere at their sole discretion and entirely at the owner’s risk. The Auctioneers shall not be liable for any loss (including consequential loss) howsoever caused of damage to goods of any kind including breakages, or for unauthorised removal of goods. Should the owner of goods so wish it will be his/her goods while they are in the possession of the Auctioneers. 12. Right to Re-sell The Auctioneer reserves the right to re-sell any item which has not been collected within thirty days of purchase. 13. 3% commission due to saleroom.com for lots purchased using Live Bidding. 14. Payment: Cash, bankers draft or cheque. With the exception of American Express, Credit cards are also accepted, subject to a charge 0f 1.5% on the invoice total. Debit and Laser cards are also accepted, at no charge, but are subject to daily limits as determined by your bank. TERMS Purchaser 1. 19½%+ VAT will be added to the hammer price for each lot. 2. All accounts must be discharged by certified cheque, bank draft or cash. 3. The responsibility for items purchased passes to the purchaser on the fall of the hammer. 4. The Auctioneers reserve the right to look for 25% deposit on all goods. VAT Regulations: All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers’ premium must be invoiced at a rate which is inclusive of VAT. This VAT is not recoverable by any VAT registered buyers.

Lot 58 Patrick Swift 1927-1983, STILL LIFE – WOODCOCK AND FLOWERS

www.deveres.ie

A Armstrong, A Armstrong, R

8 140

B Bewick, P Blackshaw, B Brady, C Browne, D Bruen, G Butler, J

117 14 7 122 41 136

C Campbell, JH Caracciolo, N Carron, W Coen, J Cooke, B Collis, P Collins, P Conor, W D Davis, G Delargy, D Dillon, G E Epworth Allen, H

37 27,28,49,49A 22 129 111 5 52 61 141-152 105 43 3

F Fallon, C Farrell, M Faulkner, J Fox, K Francis, M Gillespie, GK Goldberg, D Grattan, G

104 55,56 63 62 106 2,18,48 133 60

H Hanlon, Fr. J Henry, G Henry, P Heron, H Hone, G

48A 4,11,51 12 137 20

J Jellett, M 29,30,31,32,33,34,35 K Kelly, J Kelly, P

155,156 23

L Lavery, Sir J LeBrocquy, L Leech, W.J Lennon, C Leonard, P Longley, S M Madden, B Martin, G McCaig, NJ MacGonigal, M McLoughlin, C McGill, J McGoran, K McKenna, S Miller, N Moore, Y Mulholland, C

39 9,139 13 107,109 47 121 158,159 102 17,131 50 135 101 6 118 157 114,119,120 134

N Nakamura, M Nolan, J

110 46

O O’Casey, B 123 O’Donoghue, H 124,125,126 O’Neill, D 59 O’Reilly, P 127,128 O’Ryan , F 15,16

R Rakoczi, B 57 Redmond, P 100 Robinson, M 53,54,138A Ryan, T 1 S Schwatschke, J Scott, W Shawcross, N Shinnors, J Smith, JN Stevenson, P Sutton, I Swift, P

130 138 115,116 108 103 10 19,132 58

T Tallentire, A Teskey, D Touhy, P Treacy, L W Wilks, MC Yeats, E

21,24 112,113 26 40 44 64

ART AUCTIONEERS & VALUERS

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