Fine Paintings

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FINE PAINTINGS INCLUDING PAINTINGS FROM A PRIVATE COLLECTION FORTY FIVE IRISH AND BRITISH PAINTINGS AND SCULPTURE Wednesday 6th April 2016

Part of The Stanley Gibbons Group plc

FINE PAINTINGS Wednesday 6th April, 10am

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IMPORTANT NOTICES Please see Conditions of Business and Conditions of Sale at the back of this catalogue Dreweatts & Dreweatts 1759 are trading names of The Fine Art Auction Group Limited. The Fine Art Auction Group Limited is registered in England, company number: 03839469, registered office: 399 Strand, London WC2R 0LX.

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Lots marked with a double asterisk (**) have been imported from outside the EU to be sold at auction and therefore the buyer must pay the import VAT at the rate of 5% on the Hammer Price and the Buyers Premium.

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Collection or Delivery Before being able to collect your purchases you are required to pay the hammer price, plus the applicable commissions, and obtain a receipt acknowledging payment. Collection of the purchased lots is at the purchaser’s risk and expense and whilst Dreweatts do not provide packing and despatch service we can suggest some carriers.

Dreweatts also require that all purchased items are collected within three days of the sale to avoid a storage charge being applied.

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On payment of all sales and storage costs, items will be available for collection by appointment from Snelsmore Storage, tel: 01635 248636, mobile: 07774 703749. These charges are set by Snelsmore Storage, we recommend that you contact them directly regarding queries relating to these charges and other questions relating to storage. Staff at the saleroom will be unable to answer questions relating to items that have been removed from the saleroom.

Payment

Further Information

Payment will be accepted, if you are a successful bidder, by debit card issued by a UK bank and registered to a UK billing address, by bank transfer direct into our bank account, Bank Details: Natwest, Blackboys Hill, Bristol. Account Name: Dreweatts 1759 Limited Client Account. A/C: 96633778 Sort Code: 60-17-24 BIC: NWBK GB 2L IBAN: GB25 NWBK6017 2496 6337 78; in cash up to £12,000 (subject to relevant money laundering regulations), or by all major UK issued credit cards registered to a UK billing address with the exception of American Express and Diners Club. A surcharge of 3% is payable on all payments made by credit card. This surcharge does not apply to debit card payments. Payment may also be made by Sterling personal cheques drawn on a UK bank account but Dreweatts regrets that purchases paid for by this method can not be collected until your cheque has cleared.

The colours printed in this catalogue are not necessarily a true reflection of the actual item. All weights and measures given in the catalogue should be regarded as approximate.

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FINE PAINTINGS INCLUDING PAINTINGS FROM A PRIVATE COLLECTION FORTY FIVE IRISH AND BRITISH PAINTINGS AND SCULPTURE Wednesday 6th April 2016 Sale No. 13939 For bidding and more information: + 44 (0) 1635 553 553 | pictures@dnfa.com Specialists Richard Carroll, Head of Old Master Paintings Jennie Fisher, Head of Modern and Contemporary Art Lucy Gregory, Cataloguer Carolin Rodler, Junior Cataloguer Francesca Whitham, Picture Department Administrator Paintings from a Private Collection, (lots 77-121), Viewing at Ely House, 37 Dover Street, London W1S 4NJ Saturday 19th March 11 am – 4.30 pm Sunday 20th March 11 am – 4.30 pm Monday 21st March 10 am – 5pm Tuesday 22nd March 10 am – 5pm Wednesday 23rd March by appointment only Viewing at Donnington Priory Friday 1st April 12 noon – 4.30pm Saturday 2nd April 9am – 12.30pm Sunday 3rd April 10am – 2pm Monday 4th April 9am – 6pm Tuesday 5th April 9am – 4.30pm Day of Sale from 8.30am Catalogues £15 (£17 by post)

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To register to bid: Existing clients should visit the website and create a new login, which will be verified against their existing account.

New clients should send us two forms of identification (one to be photographic) along with their registration.

Once verified, clients will be able to bid in all future auctions.

Illustrations – Front cover: lot 118 | Back cover: lot 96

Buyer’s premium is charged per lot at 24% of the hammer price (28.8% including VAT) up to and including £150,000, 18% (21.6% including VAT) of the hammer price from £150,001 up to and including £1,000,000, and 12% of the hammer price (14.4% including VAT) in excess of £1,000,001.

Dreweatts Donnington Priory Salerooms Newbury, Berkshire RG14 2JE Tel: +44 (0)1635 553 553 Fax: +44 (0)1635 553 599 donnington@dnfa.com www.dreweatts.com

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PAINTINGS FROM A PRIVATE COLLECTION FORTY FIVE IRISH AND BRITISH PAINTINGS AND SCULPTURE

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77 Charles Jervas (1675-1739) Portrait of The Right Honourable Thomas Carter Secretary of State of Ireland, three-quarter length in an interior, one hand holding letters and resting on a desk Oil on canvas Signed C. Jarvis upside-down on underside of letter 169 x 91 cm. (66 ½ x 35 ¾ in) Painted circa 1735 Literature: Cf. Walter G. Strickland, A Dictionary of Irish Artists, vol. I, 1913, p. 548 Engraved: (Possibly after another unknown variant portrait) mezzotint by John Brooks (fl. 1730-1756), circa 1735-1754, [see: Chaloner Smith 1883, no. 9] Thomas Carter (1690-1763), was an Irish politician born at Hollybrook, Co, Dublin, the only surviving son of Thomas Carter (c.1650-1726), also an MP, and his wife, Margaret, née Houghton (c.1660-1696), and descended from Thomas Carter, armiger, born in the reign of Edward VI). Carter studied at Mr Wall’s school in Dublin before he later went on to Trinity College, Dublin, where he graduated in 1710. In April 1725 William, Lord Berkeley, master of the rolls, appointed Carter his deputy and obtained permission to sell him the reversion of that office, much to the disapproval of Hugh Boulter (Anglican primate of Ireland, who was promoting the English interest) that such an important office could be purchased by an Irishman.[1] Carter was made Master of the Rolls in Ireland in 1731, which he continued to hold until 1754. During the late 1740s Carter became one of the leaders of the country of Ireland as a member of the Patriot party along with Henry Boyle, speaker of the Irish House of Commons and Anthony Malone, the Prime Sergeant. ‘Carter was still at the height of his political career when in 1745 Lord Chesterfield, as viceroy, described him as ‘the leading person in the [Irish] Parliament’ (Letters, 3.638)’.[2] Charles Jervas [Jarvis] (1675-1739) was the son of John Jervas (d. 1697), of Clonliske, in the parish of Shinrone, and Elizabeth Baldwin, daughter of Captain John Baldwin of Shinrone Castle & Corolanty, High Sheriff of County Offaly. Early in his life he went to London and purportedly worked in Kneller’s studio as a pupil and assistant for about a year. Following this he managed to develop a working relationship with Henry Norris (1682-?), the Keeper of the King’s Pictures, which allowed him to make small copies of Raphael’s cartoons, which he later sold to Dr. Clarke of Oxford, who alongside others, enabled Jervas to travel to Italy for study. In 1709 Jervas returned to London, where he began to paint the portraits of fashionable socialites, including several literary celebrities; Pope, Addison, and Swift amongst others. Jervas’s association with literary society wasn’t only to stop at painting their portraits; he made his own translation of Cervantes’ Don Quixote, which was posthumously published in 1742. On the death of Kneller in 1723 Jervas was appointed principal painter to George I, a post in which he continued under George II. Another portrait of Thomas Carter, thought to be by Charles Jervas, is known (Private collection), but it appears to be copy after John Brooks’ mezzotint, with the present portrait more likely being the source for the mezzotint, which Brooks was to adapt accordingly. The spelling of the signature ‘Jervis’ is not unusual for Jervas, who signed with the same spelling on his Self Portrait aged fifty, 1725 (Private collection; see Philip Mould, Historical Portraits Image Library).

[1] Peter Aronsson, ‘Carter, Thomas (1690–1763)’, Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Jan 2008 [http://www.oxforddnb.com/view/article/39755, accessed 3 March 2016] [2] Ibid £10,000 - £15,000

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78 William Sadler the Younger (1782-1839) An extensive view, traditionally understood to be in County Wicklow, showing a mansion, possibly with the Great Sugar loaf in the distance Oil on canvas 66 x 91 cm. (26 x 35 7/8 in) The architecture of the mansion shown in the centre of the present painting, with its three-storey Palladian style façade and pedimented breakfront supported by Ionic columns, is very similar to Charleville House, Enniskerry, County Wicklow, but the differences between the two houses are too numerous, and the location of the mountain in the distance too exaggerated, to justify any suggestion that they are possibly related. Nevertheless the Palladian mansion shown – if it isn’t just an Irish capriccio – would most likely have been constructed in the 1790s, and it is possible that Sadler was to paint the house on commission early on in his career.

William Sadler the Younger grew up in Dublin, the son of the portrait painter and engraver William Sadler (?-1788). The artist exhibited at the Royal Hibernian Academy of Arts between 1828 and 1833, and is said to have taught painting to the Irish artist James Arthur O’Connor (1792- 1841). £4,000 - £6,000

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79 John Joseph Slattery (fl. 1850-1858) Conversation Portrait of Mrs Keogh & Family Oil on Canvas Signed and dated 1857 lower left 159 x 224 cm. (62 ½ x 96 in) Provenance: Commissioned by William Nicholas Keogh (1817-1878); Thence by descent; Private collection Exhibited: Royal Hibernian Academy of Arts, 1858, no.1

The present painting would have been exhibited alongside the Portrait of the Right Honorable Judge Keogh (Private collection, unknown), who would most likely have commissioned both works.

In April 1856, on the death of Mr Justice Torrens, William Nicholas Keogh (1817-1878) was appointed a judge of the court of common pleas in Ireland. He was involved in a number of high profile cases throughout his career, most notably in 1872 when the celebrated Galway county election petition was tried before him. In 1852 Keogh, like his friend John Sadleir, accepted office in the Aberdeen Government, becoming first Solicitor-General for Ireland, and then Attorney-General for Ireland in 1855; it was this decision that tainted the rest of his career, with many in Ireland perceiving Keogh to have betrayed his political principles. The present group portrait shows his wife, Kate Rowney, and their three children.

Slattery entered the Dublin Society’s School in 1846, following which he established himself as a portrait painter in Dublin. His first painting exhibited the Royal Hibernian Academy of Arts in 1852 was a Portrait of Dr Barker (1852, no.166). In 1856 he exhibited a further four portraits at the Royal Hibernian Society, and another four in 1858, including the present group portrait. It is said that after 1858 Slattery left for America, and there are no records of further paintings exhibited in Ireland after this date. £8,000-12,000

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80 Charles Grey (c.1808-1892) Play Fellows Oil on canvas Signed and dated 1837 lower left 110 x 142.5 cm. (43 ¼ x 56 1/8 in) Exhibited: Royal Hibernian Academy of Arts, 1837, no. 59 The present painting is from the early period of Grey’s work, and was possibly exhibited at his first showing at the Royal Hibernian Academy of Arts in 1837. Grey exhibited five works at the 1837 show, and at this point was based in Lower Ormond Quay, Dublin. Originally born in Greenock, Scotland, Grey travelled to Ireland as a young man and established himself in Dublin as a portrait painter. He eventually confined himself mainly to views of Scottish scenery, but the present painting shows the youthful beginnings of his artistic endeavours. £5,000-8,000

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81 Circle of William Mulready (1786-1863) Scottish Girls on a Country Road Oil on canvas 142 x 112 cm. (56 x 44 in) £2,000-3,000

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82 After William Havell (1782-1857) Greenwich Hospital Oil on panel 29 x 38 cm. (11 ½ x 15 in) The present composition directly relates to a sepia watercolour executed by William Havell (originally in the collection of Miss Joyce Havell), that showed the same view of Greenwich from the river with the arrival of William IV and Queen Adelaide in their Royal Barge, with minor differences in the placements of some vessels. The watercolour was reproduced by steelengraving by William Havell’s brother, Frederick James Havell, and published by J. Robins & Sons, Tooley Street, circa 1833. £800 - £1,200

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83 James Arthur O’Connor (1792-1841) A Road Through an Irish Village (Figures on Wooded Roadway) Oil on canvas Signed lower centre left 62.5 x 47 cm. (24 ¾ x 18 ½ ) Provenance: The Paul Mellon Collection; The Taylor Gallery, London (label on reverse) Born in St Aston’s Quay, Dublin, O’Connor was initially taught to paint by his father, William O’Connor (d. c.1807), who was a printseller and engraver. He quickly took to landscape painting, and it is said that he received some direction from the Irish painter William Sadler (c.1782-1839).[1] In 1812 the artist met the two young landscape painters, George Petrie and Francis Danby; the three artists are recorded as having travelled to London together in 1813 where

they met the American painter Benjamin West. He exhibited regularly in Dublin, as well as at the British Institution, the Society of British Artists, and the Royal Academy (his first year being 1822), and he received important commissions, including a series of sixteen paintings for the second marquess of Sligo and Lord Clanricarde.[2] His landscapes are held in numerous important private collections, as well as international museums and institutions, including the V&A and the National Gallery of Ireland amongst others.

[1] Richard Garnett, ‘O’Connor, James Arthur (1792–1841)’, rev. Brendan Rooney, Oxford Dictionary of National Biography, Oxford University Press, 2004 [http:// www.oxforddnb.com/view/article/20517, accessed 3 March 2016] [2] Ibid. £6,000 - £8,000

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84 Richard Brydges Beechey (1808-1895) Currochs and Kerry Hookers, Dingle (Fishing Boats Around a Rock) Oil on canvas Signed and dated 1872 lower right 77 x 111 cm. (30 ¼ x 43 ¾ in) Established following the Norman invasion in the 12th century, Dingle was to become one of the main trading ports in Ireland, with a profitable trade of exporting fish and hides, and importing continental wines. As a fishing port, Dingle’s fishing trade dates back to the early part of the 19th century, and it was a regular sight for herring trawlers, and “nobby” fleets in search of mackerel. The Dingle Peninsula, arguably the westernmost point of Europe, has been the sight of numerous wrecks, some of which occured in recent times, including the Spanish ship MV Ranga that was wrecked on its maiden voyage in 1982. The present painting by Beechey gives an insight into the dramatic views near Dingle, and illustrates the unforgiving nature of the rugged and exposed coastline.

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Rear-Admiral Richard Brydges Beechey was an Anglo-Irish painter in the Royal Navy, which he joined aged only 14. Beechey was one of the 18 children of the painter Sir William Beechey (17531839), and after his time at the Royal Naval College, Portsmouth, he sailed the Pacific in HMS Blossom, which was commanded by his brother Frederick William Beechey (1796-1856), in an effort to support the Franklin Expedition. In 1828 Beechey was promoted to lieutenant, but it wasn’t until 1851 that he was promoted to Captain. In the interim Beechey became a prolific painter, and often the subjects and views that he experienced in the Royal Navy became the catalyst for his paintings. He first exhibited at the Royal Hibernian Academy of Arts in 1842, while he was living in Limerick, and he continued to exhibit up to the year before his death in 1895 showing over 50 paintings in total. £10,000 - £15,000

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85 Richard Brydges Beechey (1808-1895) South Stack Bridge and Approach to it, Holyhead Oil on Canvas Signed and dated 1872 lower right 79 x 112 cm. (31 1/8 x 44 in) Exhibited: Royal Hibernian Academy of Arts, 1872, no.41 Constructed in 1828, the iron suspension bridge seen in Beechey’s painting replaced the traditional method of crossing the channel, which was said to have been by a basket that was suspended on a hemp cable.

Holyhead, located on Holy Island, is a major sea port serving Ireland, with people having sailed between Holyhead and Ireland for possibly over 4000 years. The maritime importance of Holyhead reached its zenith in the 19th century with the construction of a 3km long sea breakwater, the longest in the UK, and was constructed in order to provide a safe harbour for vessels caught in stormy waters on their way to industrial ports such as Liverpool and Lancashire. The peripheral islands surrounding Holy Island, including the North Stack, the South Stack (depicted in the present painting), and their cliffs and jagged rocks were a great danger to sailors, even after the construction of the South Stack Lighthouse. The looming darkness and imposing cliffs in the present painting suggest a tense atmosphere, and the isolation of the sailing boats in the lower right evidently adds a sense of perspective allowing one to appreciate the scale of cliffs. £6,000 - £8,000

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86 Henry Mark Anthony (1817-1886) View of the Rock of Cashel from the Village Oil on canvas 114 x 114 cm.(44 7/8 x 44 7/8 in) Prior to the Norman invasion the Rock of Cashel had been the traditional seat of the Kings of Munster, where for several hundred years they had ruled during the Irish Iron Age until the High Middle Ages. The oldest parts of the surviving buildings are unique amongst Irish Romanesque churches, specifically Cormac’s Chapel which has an uncharacteristically sophisticated structure; although unfortunately the chapel was primarily constructed in sandstone which over the centuries has become water logged, significantly damaging the interior frescos.

Born in Manchester, of Welsh ancestry, Henry Mark Anthony became a pupil of his cousin George Wilfred Anthony, who was a drawingmaster in Manchester. In 1833 Anthony moved to London, where

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he subsequently became one of the first London artists to introduce the French style of plein-air landscape painting in the 1830s. Anthony worked directly from nature, and was admired by the Pre-Raphaelite Brotherhood, attending their ‘house-warming’ at Newman Street, London, in 1850.[1] He exhibited regularly at the Royal Academy between 1837 and 1884, showing over thirty paintings. ‘He also exhibited seven paintings at the British Institution (1841-60) and eighty-four (1841-69) at the Society of British Artists, of which he was elected a member in 1845, resigning in 1852 in the hope that this would assist his election to associateship of the Royal Academy.’[2] [1] Ronald Parkinson, ‘Anthony, (Henry) Mark (1817-1886)’, rev. Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Jan 2012 [http://www.oxforddnb.com/view/article/37119, accessed 27 Feb 2016].

[2] Ibid £1,500 - £2,500

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87 Joseph Malachy Kavanagh (1856-1918) The Salt Marsh, Portmarnock, Co. Dublin Oil on canvas Signed lower right 43.5 x 53.5 cm. (17 1/8 x 21 1/8 in) Presented in original frame with title inscribed and possible signature by the artist on reverse Exhibited: Possibly at the Royal Hibernian Academy of Arts, 1897, no. 18 (as Portmarnock Marsh)

Kavanagh studied at the Metropolitan School of Art between 1887 and 1888, and was noted in his own lifetime for his landscapes, seascapes, and the rural scenes that he painted throughout Ireland.

His paintings are particularly rare due to a fire in the Royal Hibernian Academy, caused during the Rebellion of 1916, where he worked as a Keeper of paintings and where his studio was located; both his studio and large proportion of his own paintings were destroyed. ÂŁ2,000 - ÂŁ3,000

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88 Samuel Rowan Watson (1853-1923) Wuy Yeh! (Paper Boys) Oil on canvas Signed and dated 1918 lower left 97 x 68.5 cm. (38 ¼ x 27 in) Samuel Rowan Watson worked in Dublin, and was a regular exhibitor at the Royal Hibernian Academy of Arts between the years 1910 and 1923, where he showed just under 20 paintings, mainly local landscapes and scenes of everyday life in Dublin. The present painting is an unusual and rare depiction of the tradesman of Dublin. Like Francis Wheatley’s studies of London life in the ‘Cries of London’, Watson has captured what would have otherwise been an ephemeral moment in the daily life of Dublin in the 1910s.

The importance of the dispersal of national and international

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news in Ireland, and its impact on the upheavals in Irish-British relations on political, social and economic levels, cannot be over stated. The rising awareness of alternative international potential meant the success and failures, the products of Irish emigration, were reported to an expanding Irish demographic. Similarly, the importance of the newspaper as a tool of influence was to become apparent with the changing political and social conditions during the struggle for Irish independence.

The Dublin street scene depicted in the present work is actually a view from the doorway of Watson’s studio, which was located at 34 Sackville Street (now O’Connell Street), and shows Miss J. Morris’s millinery shop and the Rotunda Hospital in the background. £8,000 - £12,000

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89 Richard Thomas Moynan (1856-1906) The Newspaper Boy Oil on canvas 46 x 35.5 cm. (18 1/8 x 13 7/8 in) Born in Dublin, the second son of Richard Moynan and his wife, Harriet Noble, Richard Thomas Moynan ‘entered himself as a pupil in the Royal Dublin Society’s School of Art, where, besides other successes, the prize for Painting in the Taylor competition in 1881 and the Cowper prize for the best drawing from life in 1882, fell to him. As a student in the Royal Hibernian Academy’s School he won a silver and a bronze medal and a prize for the best study in the painting class in 1883, and in the same year carried off the Albert Scholarship for the best picture shown in the Academy by a student, with his “Last Stand of the 24th at Isandula.” He had already exhibited, having contributed landscapes and figure subjects to the Academy in 1880, 1881 and 1882.’ [1] Moynan studied in Antwerp in 1884, under Verlat, and following around six months here, he then travelled to study in Paris ‘under Collin, Courtois, Robert-Fleury and Bouguereau,’.[2] In 1886 Moynan returned to Dublin and was to continue exhibiting paintings at the Royal Hibernian Academy of Arts up to three years before his death in 1906.

[1] Strickland, Walter G., A Dictionary of Irish Artists, 1913, pp.

143-145 [2]. Ibid £3,000 - £5,000

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90 Richard Thomas Moynan (1856-1906) Billy, A Study of a Sitting Urchin Oil on canvas 44 x 33.5 cm.(17 ¼ x 13 ¼ in) Painted circa 1880s Provenance: Possibly from the collection of the late T. Bodkin (inscribed on reverse) £3,000 - £5,000

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91 James Humbert Craig (1877-1944) Figures in a Park (with Ornamental Fountain) Oil on board 25.5 x 35.5 cm. (10 x 14 in) Exhibited: Webber Gallery, Geneva, 100 Years of Irish Painting (on loan from The Oriel Gallery), 1986 Born in Belfast, the son of tea merchant Alexander Craig, James Humbert Craig was raised in County Down and worked the majority of his career from his studio in Cushendun, County Antrim. While mainly a self-taught artist, Craig did spend some time at the Belfast School of Art. Elected to the Royal Ulster Academy and the Royal Hibernian Academy in 1928, Craig had already been exhibiting at the Royal Hibernian Academy of Arts exhibitions since 1915, and continued to exhibit until the last year of his life, and also showed 6 paintings posthumously in 1945. Craig also exhibited at the Fine Art Society, London. ÂŁ3,000 - ÂŁ5,000

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92 James Humbert Craig (1877-1944) Mount Errigal, Co. Donegal Oil on board Signed lower right 31 x 44 cm. (12 ¼ x 17 ¼ in) Donegal was to provide a continuous source of inspiration for Craig, and he repeatedly turned to the landscape of this region throughout his career, exhibiting over 20 landscapes of the area at the Royal Hibernian Academy of Arts exhibitions alone. £3,000 - £5,000

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93 Attributed to James Humbert Craig (1877-1944) Peat Stacks Oil on board Bears Paul Henry signature lower left 42.5 x 45.5 cm. (16 ¾ x 17 ½ in) £700 - £1,000

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94 δ Paul Henry (1877-1958) Belfast, from Greencastle Oil on canvas laid on board Signed lower left 38 x 35.5 cm (15 x 14 in) Painted circa 1939 Exhibited: Combridge’s Gallery, Dublin, New Pictures by Paul Henry, from 8th April 1940, no. 26; Ritchie Hendriks Gallery, Dublin, and Belfast Museum & Art Gallery, Belfast, Paul Henry: Retrospective Exhibition, May to July 1957, no. 53; Oriel Gallery, Dublin, Exhibition of Paintings by Paul Henry RHA (1876-1958) and Frank McKelvey RHA (1895-1974), 11 December 1990 to 26th January 1991, no. 34 (titled as ‘Belfast Lough’); Hugh Lane Municipal Gallery of Modern Art, Dublin, Paintings by Paul and Grace Henry, 26th November to 31st December 1991, no. 79 (titled as ‘Belfast Lough’), illus.

Literature: Seán O’Faoláin, An Irish Journey, London, 1940, illus. facing p. 272; Fintan O’Toole, The Means of Production, exhb. cat., Labour in Art, Irish Museum of Modern Art, Dublin, 1994, illus. p. 7 Greencastle is situated on the northern shore of Belfast Lough, around five miles from the city centre. The present work is understood to have been painted in the summer of 1939 when Henry travelled around Ireland with Sean O’Faoláin; the pair were looking for material and inspiration for O’Faoláin’s book, ‘An Irish Journey’. Belfast, from Greencastle is an excellent example of Henry’s reductive approach to landscape painting, which he had begun to perfect in the latter part of his career. The weight of the picture is balanced on the horizon, with a slim inclusion of the skyline of the city of his birth, but the focus and majority of the picture plane is given over, almost entirely, to the billowing cloud formations and the effects of light on the landscape in isolation.

Paul Henry was born in Belfast, and in 1898 he travelled and studied in Paris with Jean-Paul Laurens, before working as an illustrator and book jacket designer in London. Following this period in London Henry spent a significant period of time on Achill Island, from 1912 and until his departure to Dublin in 1920, where he worked and stayed for the majority of his career. It was in the 1920s when Henry came to be one of Ireland’s most recognizable artists, with prints of his paintings of the West of Ireland being utilised by railway companies for advertising the beauty and appeal of the region.

We are grateful to S.B Kennedy for his assistance with the catalogue entry for the present lot. £10,000 - £15,000

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95 Sir William Orpen (1878-1931) Portrait of William Martin Murphy Oil on canvas Signed lower right 126 x 101 cm. (49 5/8 x 39 ¾ in) Provenance: William Martin Murphy; Anonymous sale; Private collection Exhibited: National Gallery of Ireland, Orpen Centenary Exhibition, 1978 William Martin Murphy was founder of the Independent Newspapers and this portrait was presented to him by his newspaper employees. Born in Bantry, Co, Cork in 1844, Murphy studied in Dublin before taking over the family business aged only 19. He successfully expanded the business over time, building churches, schools and bridges throughout Ireland, as well as railways and tramways in Britain and Africa. He was elected Nationalist MP for St Patrick’s, Dublin from 1885 to 1892, and in 1904 he bought three Dublin newspapers and replaced them in 1905 with the Irish Independent. In 1906 he founded the Sunday Independent, the same year that he refused a Knighthood from King Edward VII. Orpen was one of the financially most successful painters working in Britain in the twentieth century, and eventually established himself as one of the most revered portrait painters. Born in Stillorgan, Ireland, he studied at the Metropolitan School of Art, Dublin between the years 1891 to 1897, before travelling to London to study at the Slade School of Art between 1897 and 1899. Orpen was a prolific draughtsman, and drew almost every day, and his painted body of work is similarly prolific. He was appointed an Official War Artist in 1917, and despite his paintings that dealt with the realities and implications of warfare, it is his bold and impactful portraits of Edwardian society that are often considered his lasting legacy. £20,000 - £30,000

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96 δ Jack Butler Yeats (1871-1957) ‘Possible Remedies’: The Emigrant Pen and black ink Signed lower right, inscribed Co. Mayo 32 x 23 cm. (12 5/8 x 9 1/8 in) Drawn circa 1905 Provenance: Karl Mullen, Dublin; Dawson Gallery, Dublin Private collection Exhibited: Possibly at Mills Halls, Dublin, Drawings and Pictures of Life in the West of Ireland, 26th April to 10th May, no. 34 Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats, His Cartoons and Illustrations, 1994, p. 133, no. 712 (illustrated) Engraved: ‘Possible Remedies’, Manchester Guardian, 26th July 1905, p. 5 Born in London, the youngest son of Irish portraitist John Butler Yeats, and brother to W.B. Yeats, the artist grew up in Sligo with his maternal grandparents. During the first ten years of Yeats’s career in London he worked as a black-and-white illustrator, drawing cartoons for London journals, and illustrating books for his brother, WB Yeats, amongst others.

The present drawing is the original illustration for ‘Possible Remedies’, and relates to a number of studies of young men and women forced to emigrate; it is possible that the figure depicted is Michael McGowan, a character who Yeats produced two fully worked watercolours of on his departure from Sligo and return from the ‘New World’.[1] As Pyle notes, these two watercolours of McGowan highlight Yeats’s interest in the effect of environment on character, and the present drawing further displays the artist’s interest in the circumstances and potential that is dependent on geographic location.

[1] See: Hilary Pyle, Jack B. Yeats, His Watercolours, Drawings and Pastels, nos. 397 and 398 £8,000 - £12,000

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97 δ Jack Butler Yeats (1871-1957) ‘The Fancy’: study of a Victorian man Pen and black ink Signed lower right 7.5 x 11.5 cm. (3 x 4 ½ in) Provenance: Waddington Galleries, London; Private collection Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats, His Cartoons and Illustrations, 1994, p. 183, no. 1357 (illustrated) Engraved: J.H. Reynolds, The Fancy, 1906, p. 72; Irish Arts Review 2, no. 1, Spring 1985 £1,500 - £2,000 98 δ Jack Butler Yeats (1871-1957) Dublin cottage interior with mother and child Pen and black ink 6.5 x 11.5 cm. (2 ½ x 4 ½ in) With original text layout design pasted on reverse, for accompanying poem by Katharine Tynan. The present study was presumably an illustration intended for a publication by Cuala Press, Dundrum on the literary work of Tynan.

“Now set the hearth alight, Twine shamrock with the holly, For three abroad on Christmas night, Poor simple folk and lowly.

There’s a robin by the sill Prays for an alms, good people!

The Star is bright on vale and hill And twelve rings from the steeple.

Now be your table spread, Your guest-chamber be ready, Lest some should knock and go unstayed, Poor tramping folk and needy!

To all poor women and men, Open your hearts in pity, Lest one should ask a roof in vain For the Prince of the Heavenly City!

[Katharine Tynan] £1,000 - £1,500

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99 δ Jack Butler Yeats (1871-1957) Boys swimming in a Canal Pen and black ink Monogrammed lower right 7 x 11 cm. (2 ¾ x 4 3/8 in) Provenance: Waddington Galleries, London; Private collection Literature: Hilary Pyle, The Different Worlds of Jack B. Yeats, His Cartoons and Illustrations, 1994, p. 183, no. 1358 (illustrated) £1,200 - £1,800

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100 δ Jack Butler Yeats (1871-1957) Quayside, 1907 Graphite and wash Monogrammed lower right 8.5 x 12.5 cm. (3 3/8 x 5 in) From a sketchbook, circa 1907 £1,000 - £1,500

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101 δ Rowan Gillespie (b.1953) Study for William Butler Yeats Bronze, edition No.1/9 Signed and dated 1990 on ‘neck’ and limestone base Height: 52.1 cm. (20 ½ in) The present bronze was produced as a study for the head of a unique public sculpture commission, that was given to Gillespie, to produce an eightfoot tall bronze statue of Yeats for the writer’s childhood home of Sligo, located on Bridge Street. The commission marked the 50th anniversary of Yeats’s death, and was funded by the local community and the Ulster Bank. Gillespie has also more recently returned to Yeats in his work, where in 2012 he produced the series of sculptures ‘The Four Irish Literary Nobel Laureates: Yeats, Shaw, Beckett and Heaney’. £8,000 - £12,000

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102 δ Rowan Gillespie (b.1953) If Bronze Unique casting, signed and dated 2001 216 x 28 x 12.5cm (85 x 11 x 5 in) Provenance: Commissioned directly by the present owners £15,000 - £25,000

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“Sculpting is my reaction to life. It is not planned, analysed or contained.

It’s a passion - it needs to happen.”

[Rowan Gillespie, Solomon Gallery, travelling exhb. cat., 1994]

If you can keep your head when all about you Are losing theirs and blaming it on you, If you can trust yourself when all men doubt you, But make allowance for their doubting too; If you can wait and not be tired by waiting, Or being lied about, don’t deal in lies, Or being hated, don’t give way to hating, And yet don’t look too good, nor talk too wise: If you can dream-and not make dreams your master; If you can think-and not make thoughts your aim; If you can meet with Triumph and Disaster And treat those two impostors just the same; If you can bear to hear the truth you’ve spoken Twisted by knaves to make a trap for fools, Or watch the things you gave your life to, broken, And stoop and build ’em up with worn-out tools: If you can make one heap of all your winnings And risk it on one turn of pitch-and-toss, And lose, and start again at your beginnings And never breathe a word about your loss; If you can force your heart and nerve and sinew To serve your turn long after they are gone, And so hold on when there is nothing in you Except the Will which says to them: ‘Hold on!’

If you can talk with crowds and keep your virtue, Or walk with Kings-nor lose the common touch, If neither foes nor loving friends can hurt you, If all men count with you, but none too much; If you can fill the unforgiving minute With sixty seconds’ worth of distance run, Yours is the Earth and everything that’s in it, And-which is more-you’ll be a Man, my son!

[Rudyard Kipling, If, 1895]

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103 δ Christopher Campbell (1908-1972) Carts Oil on canvas Signed lower left 51.5 x 92 cm. (20 ¼ x 36 ¼ in)

104 Christopher Campbell (1908-1972) Landscape, County Dublin Oil on canvas board Signed lower left 47.5 x 60 cm. (18 ¾ x 23 5/8 in)

The present work, and following two paintings, belong to the early part of the 1950s; often argued as the period in Campbell’s career when the florid tones and techniques of the 1930s and 1940s are most successfully united. Christopher Campbell was the eldest of three children, working before and after the Second World War, he ultimately focussed more of his time on his stained glass work. His brother, Laurence Campbell, was a sculptor and taught in the Metropolitan School of Art, followed by National College of Art.

£600 - £800 105 δ Christopher Campbell (1908-1972) The Pond Oil on board Signed lower left 43 x 40 cm. (17 x 15 ¾ in) £600 - £800

£800 - £1,200

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106 δ Stephen McKenna (b.1939) Rossbeg Light Oil on canvas Signed lower right and dated on reverse 1999 41 x 50.5 cm. (16 1/8 x 19 7/8 in) Born in London, McKenna studied at the Slade School of Art, before moving to Donegal, Ireland, in 1973. He has shown many paintings at the Royal Hibernian Academy, Dublin, and in 2001 was made an associate member of the RHA, before becoming a full member in 2002. Examples of McKenna’s work can be found in numerous international museums and institutions, including the Tate Galleries, the British Council, and the Imperial War Museum.

In 1983, McKenna had a solo exhibition at the Museum of Modern Art, Oxford, which went on to be shown in Van Abbemuseum, Eindhoven; the artist also had a one man exhibition in 1993 at the Irish Museum of Modern Art, Dublin, Stephen McKenna, Paintings 1985-1993. £2,000 - £3,000

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107 δ Stephen McKenna (b.1939) Fort Knox Oil on canvas Signed, dated 1967, and titled on reverse 57 x 74 cm. (22 ½ x 29 1/8 in) £2,000 - £3,000

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108 δ Sean McSweeney (b.1935) Seafields Oil on canvas Signed lower right 24.5 x 33 cm. (9 5/8 x 13 in) Sean McSweeney lives and works in Sligo, Ireland, with the shoreline and outlying landscapes of this area being constant source material for his paintings. Originally born in Dublin, McSweeney was largely a self-taught artist, and had his first solo show at the Dawson Gallery in 1965. Examples of McSweeney’s work can be found in numerous public collections, including Trinity College, Dublin, the Ulster Museum, Belfast, the Arts Council of Northern Ireland, and many others. £1,000 - £1,500

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109 δ Sean McSweeney (b.1935) Kelly’s Bog Oil on board Signed and dated 90’ lower left 45.5 x 60.5 cm. (17 7/8 x 23 7/8) £2,000 - £3,000

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110 δ Norah McGuinness (1901-1980) Customs House from across the Liffey Watercolour Signed lower right 38 x 52.5 cm. (15 x 20 ¾ in) Customs House, often considered to be one of the most important buildings in Dublin, was first built in 1707 by Thomas Burgh, but the building was later considered unsafe, and a new building was begun down river in 1781 with the Rt. Hon. John Beresford (1738-1805) as the Chief Commissioner of the project. The building was constructed in the neo-classical style, with strong Irish themes throughout the sculptures to the facade, with Irish rivers being symbolised in a series of keystones, and Hibernia in the main pediment sculpture.

The sculptures and coat of arms were executed by Thomas Banks, Agnostino Carlini, and Edward Smyth. During the Irish Civil War of 1921-1922 the building’s interiors were partly destroyed by a fire begun by the IRA, but it later went under restoration in order to regain the buildings original architectural splendour. £1,500 - £2,500

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111 δ Mary Swanzy HRHA (1882-1978) A View of Semur-en-Auxois Oil on canvas Signed lower right 54 x 46 cm. (21 ¼ x 18 1/8 in) Provenance: Solomon Gallery, Dublin (label on reverse) Pyms Gallery, London (label on reverse) Born in Dublin, Swanzy was to become one of Ireland’s most independent female advocates of the avant-garde, and is largely regarded as Ireland’s first cubist artist. Following her initial studies in Ireland Swanzy attended Alexandra College, Earlsfort Terrace, a finishing school at the Lycée in Versailles, France, and a day school in Freiburg, Germany; in turn becoming fluent in French and German. She was to return to France in 1905, where she spent time working in Paris at the Delacluse studio. In 1906 she went on to work in Antonio de La Gandara’s studio, and also took classes at the Académie de la Grande Chaumière and Académie Colarossi. Her painting style often reflected the contemporary developments in Paris, and the influence of Gauguin, Matisse, and Picasso were to make a lasting impression.

Swanzy was to travel extensively, and in the 1920s she travelled to Hawaii, and later Samoa, but was back in Europe by October 1925 where she had a one woman show in the Galerie Bernheim Jeune, Paris.

Swanzy first exhibited at the Royal Hibernian Academy in 1905, and exhibited portraits each year until 1910; in 1949 she was made an honorary member of the Academy. She had two one woman shows at the Dawson Gallery in 1974 and 1976, and continued to paint until her death. £6,000 - £8,000

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112 Roderic O’Conor (1860-1940) Reclining Nude Oil on canvas 54.5 x 65.5 cm. (21 ½ x 25 ¾ in) Provenance: The Oriel Gallery, Dublin; Private collection Exhibited: The Barbican Art Gallery, London, 1985, no. 68; The Ulster Museum, Belfast, 1986, no. 68; National Gallery of Ireland, Dublin, 1986, no. [?]68; Whitworth Art Gallery, Manchester, 1986, no. [?]68 Literature: cf. Roy Johnston, Roderic O’Conor (1860-1940); Barbican Arts Centre exhibition catalogue, London, no. 68 (illustrated); Dr Roy Johnston has noted that the nude model appears frequently in the studio work of O’Conor after 1905, but the present painting differs somewhat in that through the composition employed, O’Conor has managed to present the nude form filling the entirety of the rectangular space of the canvas; through this, the figure manages to achieve a sense of monumentality in a painting, where its physical size would normally contradict such an impact. The application of paint, the loose brushstrokes, and the layers of colours highlight the intended immediacy of O’Conors' working method, and the instant of artistic creation is crystalized in the nude figure depicted.

Born in Milltown, Castleplunket, County Roscommon, Ireland, O’Conor studied at the Metropolitan School of Art in Dublin and at the Royal Hibernian Academy between the years 1879 to 1883, before attending the Académie Royale des Beaux-Arts in Antwerp, 1883-84. He later travelled to Paris, where he exhibited into the first decade of the 20th century, and became profoundly influenced by the Impressionists, and the techniques of Neo-Impressionists. Examples of his work are held in numerous international museums and institutions including five landscapes and still lifes in Tate, London. £20,000 - £30,000

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113 δ Nevill Johnson (1911-1999) Untitled - Abstract Nude Oil on board Signed and dated 78’ lower left 58 x 49.5cm. (22 7/8 x 19 ½ ) Following the first part of his life having been spent in England, in 1949 Johnson relocated to Dublin. He was a largely self-taught artist, but for a period of time he shared a studio with the John Luke, whom he was most certainly influenced by. Johnson exhibited regularly alongside Colin Middelton, Gerard Dillon, and Louis le Brocquy, often at Victor Waddington’s gallery. £2,000 - £3,000

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114 δ Nevill Johnson (1911-1999) Compotier Acrylic on board Titled and dated 1981 on reverse 51 x 40.5 cm. (20 x 16 in) £2,000 - £3,000

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115 δ Basil Rakoczi (1908-1979) Portrait of an Odalisque, seated in an interior Oil on board Signed and dated 46’ lower right 54.5 x 46 cm. (21 ½ x 18 1/8 in) With further unfinished study on reverse of two women in Turkish dress reclining in an interior, one holding a mandolin.

Born in London, Rakoczi was educated at the Jesuit College of St Francis Xavier in Brighton, before going to the Brighton School of Art and, later, to the Académie de la Grande Chaumière in Paris. Fascinated with psychology, in 1935 Rakoczi and his friend Herbrand Ingouville-Williams established the Society for Creative Psychology, which had weekly events focused on group therapy and psychoanalysis. It was at one of these events where Rakoczi first met Kenneth Hall (1913-1946), with whom he later went on to form the White Stag Group. The group was intended to strive for the advancement of subjectivity in art and psychological analysis.

Rakoczi’s works can be found in numerous international public collections including the University of Sussex, Derby City Art Gallery, Manchester City Art Gallery, Dublin’s Trinity College, the Ulster Museum in Belfast, the Queensland Australia National Collection and Auckland City Art Gallery. His work is said to have featured in over 160 exhibitions, including over 60 of which were solo exhibitions. £2,000 - £3,000

Image of reverse

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116 δ Seán Keating (1899-1977) Nil si ag Éisteacht (She is not listening) Oil on canvas Signed lower left 35.5 x 47 cm. (14 x 18 ½ in) Exhibited: The Kenny Gallery, Salthill, Co. Galway, Paintings by Sean Keating and Sculptures by Carolyn Mulholland, July 1968, no. 17 Nil si ag Eisteacht (She is not listening) is a study for a larger painting entitled An Beinsín Luacra, which was first exhibited at the Royal Hibernian Academy, Dublin, in 1953, (no. 23), and later at the RSA in 1954, no. 324, and then sold at the Royal Academy exhibition of 1955. The subject of the painting is the Irish poet and dramatist John Millington Synge (1871-1909), and it is traditionally understood that the lady is one of the Gillan family from the Aran Islands; but it is possibly more plausible that the lady is a romanticised portrait of a contemporary known to Synge. £8,000 - £12,000

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117 δ Micheal Farrell (1940-2000) La Fête Oil and acrylic on canvas 169 x 391 cm. (66 ½ x 154 in) Painted in 1984 Literature: Gerry Walker and Aidan Dunn, Gandon Editions, Profile 9: Michael Farrell, illus. p. 25 Engraved: La Rencontre [The Encounter], lithograph and etching, 1984

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A monumental painting in size and subject, where Farrell portrays three of the most influential men in the arts of the 20th century: James Joyce, Marcel Proust and Pablo Picasso. The painting is part of a larger body of work associated under the series title Café Triste, where the spirits of various artists are set within an imagined interior setting filled with external references, such as in the present painting where international locations as diverse as Howth Head, Dublin, Paris with the Eiffel Tower, and a camel suggesting North Africa are inserted. Aidan Dunn suggests that the series can be thought of as ‘imaginative playgrounds’, where ‘the repetitious, even obsessively repetitious café encounters also suggest the collapse and suspension of time, not that far removed, in a sense, from [Farrell’s] earlier evocation of Celtic decorative art.

The implication is that, separated on many levels as they are, these artists live in the same world and speak the same language.’ [1] Furthermore, the possibility that these great literary and artistic characters could have met in Paris, clearly fascinated Farrell.

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“... I often experienced great loneliness in Paris. I spent a lot of time away from my apartment working and also drinking a lot. Around 1979/1980 I produced the Cafe Tristé series of works. This is the point at which the work became much more personal; the objective has receded and the personal tends to predominate. I also began to work on more literary themes. Joyce, Proust, Picasso begin to feature in the paintings and prints, and I became more interested in literary ideas. The whole tone of the work is more subjective.”[2] [1] Aidan Dunn, Gandon Editions, Profile 9: Michael Farrell, p. 11 [2] Gerry Walker, ibid., interview with Farrell, p. 43 £20,000 - £30,000

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118 δ Colin Middleton (1910-1983) An Enigma - Ahead of the seashore Oil on canvas Signed lower left 51 x 76 cm. (20 x 30 in) Painted circa 1949 Provenance: Sale. Christie’s London, Modern British and Irish Paintings, Watercolours and Drawings, 14th May, 1992, lot 149 Exhibited: Victor Waddington Gallery, Dublin, Colin Middleton, 1949, no. 63 Following the completion of his studies at the Belfast Royal Academy in 1927, Middleton on one of his holiday visits to London was to see the work of Van Gogh for the first time. John Hewitt notes how the exhibition at the Leicester Galleries in 1928, and Middleton’s subsequent further exposure to Van Gogh on a trip with his father to Belgium in 1931, was to leave a lasting impact on his work, which is particularly apparent in the following decade after which ‘An Enigma: Ahead of the seashore’ was executed.

[1] The handling of the paint in An Enigma, and the inclusion of the recurring motif of the sea, which Middleton was exploring in similar works of the period (See: Black-backed Gull, c. 1950, and Point of Phenick, c. 1950), places the present painting as part of the larger body of Middleton’s oeuvre where mutated mask-like faces, often made up of brutally layered textures of thick impasto, are placed alongside, or rather on top of, an over-whelming expanse of ocean. The physicality of the landscape in the paintings, and the physcological depth found in the oversized faces, creates a complicated and challenging subject matter that clearly occupied Middleton for a large part of his painting in the late 1940s and early

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1950s. Furthermore, the inclusion and exploration of the idea of the sea at this point in Middleton’s work, interestingly correlates with his temporary residence at Ardglass, where his proximity to the sea clearly appears to have been influential.

Jacob Wrestling with the Angel, painted in 1948, shares similar characteristics to An Enigma, but with Jacob there appears to be a redemption from the intensity of the gaze of the hollowed out face of the figure, found in the butterfly placed on Jacob’s thumb; in An Enigma the direct confrontation with the head doesn’t allow for anything but a direct engagement with the paintings core subject matter. Yet despite this, the painting’s vivid palette of blues and reds suggests a sense of unreality, and the figure and the seascape blend into an almost dream-scape where time is suspended; the painting manages to find neutral space rather than be completely consumed by the overwhelming focus on the figure’s head.

Colin Middleton was born in Belfast in 1910, and his work first appeared at the Royal Hibernian Academy in 1938, with his first solo exhibition taking place in 1944 at the Grafton Gallery. He initially worked as a damask-designer, like his father before him, but after studying at the Belfast Royal Academy, Middleton focused exclusively on painting. He was awarded an MBE in 1969, and in the same year, appointed an associate at the Royal Hibernian Academy, before becoming a full member in 1970. Middleton’s works are held in numerous international museums, institutions, and private collections, including Ulster Museum, Cambridge and Oxford University, amongst many others.

[1] John Hewitt, Colin Middleton, published by the Arts Council of Northern Ireland, 1976, p. 12 £20,000 - £30,000

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119 δ Louis Le Brocquy (1916-2012) Study for a Thousand Heads Oil on canvas 45.5 x 64.5 cm. (17 7/8 x 25 3/8 in) Painted circa 1970 Provenance: The Dawson Gallery, Dublin Exhibited: Possibly New York State Museum, Albany, 1970 (label on reverse) The present work is part of the Ancestral Head series that Le Brocquy was working on between the years circa 1964 to 1975. It has been suggested that following his marriage to the painter Anne Madden in 1958, and his subsequent move to France, that the origin of the idea for the Ancestral Head series began.[1] Alistair Smith notes how while on a trip to the Musée de l’Homme, in Paris 1964, Le Brocquy came across a group of Polynesian decorated skulls, which provoked a ‘despairing year’ for the artist, and ‘ended in his destruction of approximately forty paintings - the year’s output of 1963.’[2] “These head images suggested to him a new significance. He felt the over-modelling and painting implied a ritualistic laying on of hands, a recognition of the ancestor’s entity, palpable marks from the outside which defined and celebrated the spirit within the reconstituted ancestral head.”[3]

Unlike the heads of Yeats, Joyce, and Nelson Mandela (see the subsequent lot) that one typically associates with Le Brocquy, the mass of anonymous faces, or heads, in the present work suggests a moment in Le Brocquy’s artistic production set aside from the isolated analytical study of the singular face. We see a body of faces, a unified totality that suggests a different method of interpretation and thus resulting in a different impact; within the grid-like pattern of heads, it is possible to see an exploration into the power of the anonymous human face, and an attempt to ascertain a more literal image of the mass, rather than the individual.

“My aim was to lift the image out of the context of humour and ordinary social intercourse, to place it outside time and circumstance [...] [the faces] might be described as instances of the idea of immortality. The idea is contained in a metaphysical attitude of mind [...] As I try to paint an image of a person - be he alive or dead - he remains part of a continuum, and that continuum is something that forms a whole...”[4] [1] Alistair Smith, Louis Le Brocquy: Paintings 1939-1996, Irish Museum of Modern Art exhb. cat., 1996, p. 91 [2] ibid [3] Anne Madden Le Brocquy, Louis Le Brocquy, Seeing his Way, 1994 [4] Louis Le Brocquy in an interview by George Morgan, Louis Le Brocquy, The Head Image: Interviews with the artist, 1996, p. 18 £20,000 - £30,000

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120 δ Louis Le Brocquy (1916-2012) Head study of Nelson Mandela Watercolour Signed and dated 1982 lower right 59 x 45 cm. (23 ¼ x 17 ¾ in) Provenance: Taylor Galleries, Dublin (label on reverse) Following on from his Ancestral Heads series, where largely anonymous heads came to represent a history or ‘continuum’ of mankind - partly stemming from the ideas of the Celtic head, where Le Brocquy was inspired by the tri-faced Corlech Head, or the two headed ‘Hermes’ Celto-Ligurian sculpture of Rocquepertuse came the individual.[1] Alistair Smith notes that Le Brocquy began making studies of Joyce’s head in the early sixties, but that the catalyst for the ensuing decades of artistic production, that was to be focused on singular individual’s heads, was from a commission that came in 1975.[2] A Swedish gallery owner, Per-Olov Borjeson, commissioned Le Brocquy to make an aquatint portfolio of portraits of Nobel prize-winners; Le Brocquy chose to focus on Yeats, and it was this project that marked the beginning of a long series of studies, that was to also produce the present study of Nelson Mandela.

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Like the head studies of Joyce, Yeats, and Beckett, which Le Brocquy produced in the late 1970s and early 1980s, the study of Nelson Mandela isolates the head. This isolation on the white ground inevitably focuses ones attention on Le Brocquy’s idiosyncratic application of paint that allows the idea of space and time to breathe through the depiction of the sitter; the layering of paint and texture, surrounded by space and light suggests on the one hand the passing of time and the idea of isolation, but also the sitter’s personal identity and achievements drifting outside of one fixed moment in the general continuum of time.

“I first used a white background in 1956 when I was doing a series of torsos or what I called ‘presences’. [...] All substance seemed penetrated and eaten up by this brilliance, so I came to see everything as existing in a matrix of pure white light. Then, later, I had the idea of conjuring up images out of nothing, out of light, out of the depths of the blank canvas, as it were.”[3] Nelson Rolihlahla Mandela (1918-2013) served as South Africa’s President from 1994 to 1999, and amongst other achievements dismantled the previous government’s legacy of apartheid through tackling institutionalised racism and fostering racial reconciliation. He was awarded the Nobel Peace Prize in 1993. £8,000 - £12,000

www.dreweatts.com tel. +44 (0) 1635 553 553

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121 δ Basil Blackshaw (b.1932) Headland II Oil on canvas 50.5 x 61 cm. (19 7/8 x 24 in) Provenance: Solomon Gallery, Dublin; Tom Caldwell Galleries, Dublin Born in Glengormley, County Antrim, and raised in Port Mills in County Down, Blackshaw began his studies at the Methodist College Belfast, before going on to the Belfast College of Art between 1948 and 1951, aged only 16. He studied in Paris following a scholarship from the Committee for the Encouragement of Music and the Arts, but has spent the majority of his career working in the Lagan Valley. Blackshaw received the Glen Dimplex Award for a Sustained Contribution to the Visual Arts in Ireland in 2001, and had a major retrospective of his work in 1995, organised by the Arts Council of Northern Ireland. Another major exhibition of his work was organised by The Ulster Museum in 2002, and in 2006 the artist’s work was exhibited at the Centre Culturel Irlandais, Paris. In 1977 Blackshaw was elected as an associate of the Royal Ulster Academy of the Arts, and in 1981 he was elected an Academician. £6,000 - £8,000

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www.dreweatts.com tel. +44 (0) 1635 553 553

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These Conditions of Sale and Business constitute the contract between Dreweatts and Bloomsbury Auctions (the “Auctioneer”) and the seller, on the one hand, and the buyer on the other. By bidding at the auction, you agree to be bound by these terms.

INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. Buyer’s Premium. The Buyer agrees to pay a buyer’s premium on the hammer price of each lot purchased. The buyer’s premium is charged per lot at 24% of the hammer price (28.8% including VAT) up to and including £150,000, 18% (21.6% including VAT) of the hammer price from £150,001 up to and including £1,000,000, and 12% of the hammer price (14.4% including VAT) in excess of £1,000,001. VAT at the prevailing rate of 20% is added to all of these premiums and additional charges as defined below.

5. VAT. (*) indicates that VAT is payable by the purchaser at the standard rate (presently 20%) on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

6. Descriptions and Conditions. Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections. The detail in a report will reflect the estimated value of the lot, and large numbers of such requests received shortly before the sale may not receive a response to all lots. Members of staff are not trained restorers or conservators and, particularly for higher value lots, you should obtain an opinion from such a professional. We recommend that you always view a lot in person.

We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order.

However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export= licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory. Ask us if you need help.

9. Bidding. Bidders may be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax.

11. Methods of Payment. The following methods of payment are acceptable.

Debit Card drawn on a UK bank and registered to a UK billing address. There is no additional charge for purchases made with these cards.

Bank transfer direct into our bank account, all transfers must state the relevant sale number, lot number and your bid / paddle number. If transferring from a foreign currency, the amount we receive must be the total due in pounds sterling (after currency conversion and the deduction of any bank charges). Our bank details can be found on the front or your invoice or in the sale catalogue under ‘Important Notices’.

Sterling cash payments of up to £12,000 (subject to money laundering regulations). All major UK issued credit cards registered to a UK billing address with the exception of American Express and Diners Club. A surcharge of 3% is payable on all payments made by credit cards. Sterling personal cheques drawn on a UK bank account and made payable to ‘Dreweatts 1759’. It will be necessary to allow at least six working days for the cheque to clear before collecting your purchases.

12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

13. Droit de suite royalty charges. From 1st January 2012 all UK art market professionals (which includes but is not limited to; auctioneers, dealers, galleries, agents and other intermediaries) are required to collect a royalty payment for all works of art that have been produced by qualifying artists each time a work is re-sold during the artist’s lifetime and for a period up to 70 years following the artists death. This payment is only calculated on qualifying works of art which are sold for a hammer price more than the UK sterling equivalent of EURO 1,000 – the UK sterling equivalent will fluctuate in line with prevailing exchange rates.

It is entirely the responsibility of the buyer to acquaint himself with the precise EURO to UK Sterling exchange rate on the day of the sale in this regard, and the auctioneer accepts no responsibility whatsoever if the qualifying rate is different to the rate indicated.

All items in this catalogue that are marked with δ are potentially qualifying items, and the royalty charge will be applied if the hammer price achieved is more than the UK sterling

equivalent of EURO 1,000.The royalty charge will be added to all relevant buyers’ invoices, and must be paid before items can be cleared. All royalty charges are passed on to the Design and Artists Copyright Society (‘DACS’), no handling costs or additional fees with respect to these charges will be retained by the auctioneers.

The royalty charge that will be applied to qualifying items which achieve a hammer price of more than the UK sterling equivalent of EURO 1,000, but less than the UK sterling equivalent of EURO 50,000 is 4%. For qualifying items that sell for more than the UK sterling equivalent of EURO 50,000 a sliding scale of royalty charges will apply – for a complete list of the royalty charges and threshold levels, please see www.dacs.org.uk. There is no VAT payable on this royalty charge.

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Warranty. The Seller warrants that possession in the lots can be transferred to the Buyer with good and marketable title, free from any third party right and encumbrances, claims or potential claims. The Seller has provided all information concerning the items ownership, condition and provenance, attribution, authenticity, import or export history and of any concerns expressed by third parties concerning the same.

3. All commissions and fees are subject to VAT at the prevailing rate.

4. Commission is charged to sellers at the following rates:- please enquire at our salerooms.

5. Removal costs. Items for sale must be consigned to the saleroom by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

6. Loss and damage of goods. (a) Loss and Damage Warranty - Dreweatts is not authorised by the FSA to provide insurance to its clients, and does not do so. However Dreweatts for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until the hammer falls. To justify accepting liability, Dreweatts makes a charge of 1.5% of the hammer price plus VAT, subject to a minimum charge of £1.50, or if unsold 1.5% of our lower estimate. The liability assumed by Dreweatts shall be limited to the lower presale estimate or the hammer price if the lot is sold. (b) If the owner of the goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owners risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 6 (a) is inapplicable.

7. Illustrations. The cost of any illustrations is borne by you. If we consider that the Lot should be illustrated your permission will be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

8. Minimum bids and our discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 9. We may sell Lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to 10% below the formal reserve.

9. Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and loss and damage warranty charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. (d) Reserves are not usually accepted for lots expected to realise below £100 10. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors.

Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale.

They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

11. Soft furnishings. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense.

The rights of disposal referred to in clause 10 and 11 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request 12. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds.

13. Unsold. Unsold. If an item is unsold it may at our discretion be re-offered at a future sale.

Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

14. Withdrawn and bought in items. These are liable to incur a charge of 15% commission, 1.5 % Loss and Damage Warranty and any other costs incurred including but not limited to illustration and restoration fees all of these charges being subject to VAT on being bought in or withdrawn after being catalogued.

15. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. We will also, at our discretion, and as far as practicable, confirm that an item consigned for sale does not appear on the Art Loss register, which is administered by an independent third party.

16. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

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(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business 48 hours after the day of sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply.

17. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £10 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

18. Settlement. After sale settlement of the net sum due to you normally takes place within 28 days of the sale (by crossed cheque to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 12 above.

You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE Dreweatts carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. Definitions In these Conditions: (a) “auctioneer” means the firm of Dreweatts or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an authorship, origin, date, age, described in the catalogue as date of the sale had a value accordance with the description;

imitation made with the intention of deceiving as to period, culture or source but which is unequivocally being the work of a particular creator and which at the materially less than it would have had if it had been in

(c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Dreweatts and Bloomsbury Auctions accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f ) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. Bidding procedures and the Buyer (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be | the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals.

(2) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. Increments. Bidding increments shall be at the auctioneer’s sole discretion.

4. The purchase price. together with a premium thereon of 28.8% which shall include VAT on the premium at the rate imposed by law. The buyer will also be liable for any royalties payable under Droit de Suite as set out under Information for Buyers.

5. Value Added Tax. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to “Information for Buyers” for a brief explanation of the VAT position).

6. Payment (1) Immediately a Lot is sold you will: (a) give to us, if requested, proof of identity, and (b) pay to us the total amount due or in such other way as is agreed by us.

(2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

(3) Buyers who utilise the services of ATG Live Auctions or any other live internet services are hereby informed that the payment method details that are provided to ATG Live Auctions or any other live internet services as part of the process of registration will, in the absence of compliance with paragraph (1) of this clause, be utilised by us to settle any amounts owing by such buyers to us.

7. Title and collection of purchases (1) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges.

(3) No purchase can be claimed or removed until it has been paid for.

(4) Dreweatts can accommodate packing and shipping for certain items. For lots they are unable to provide this service for, successful buyers must make these arrangements independently, though the saleroom may be able to suggest specialist shipping companies who can advise buyers, this advice is not a recommendation and the saleroom is not liable for any aspect of the packaging and shipping process. Please note that the cost of packaging and shipping depends on the size/weight of the item(s) purchased, insurance requirements, and the shipping destination, not on the value of the item(s) purchased. Please note that any items not collected within one week of the sale date may be automatically removed to commercial storage and subject to a storage charge.

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8. Remedies for non-payment or failure to collect purchases (1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that Lot and/or any other Lots sold by us to you; (c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (f ) to retain that or any other Lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of ) any of your property in our possession for any purpose until the debt due is satisfied.

(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. Third party liability. All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. Commission bids. Whilst prospective buyers are/\strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so.

Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

11. Warranty of title and availability. The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign for sale and is able to transfer good and marketable title to the property free from any third party claims.

12. Agency. The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. Terms of sale. The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot. 14. Descriptions and condition (1) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf ) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”.

(2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

15. Forgeries. Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition.

The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

General 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

17. (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.

(2) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail, email or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.

20. Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

21. English law applies to the interpretation of these Conditions.

GROUP DEPARTMENTS

LONDON – MADDOX STREET Bloomsbury House 24 Maddox Street London, W1S 1PP Tel: +44 (0) 20 7495 9494 info@bloomsburyauctions.com

LONDON – 399 STRAND 399 Strand London WC2R 0LX Tel: +44 (0) 20 7930 6879 info@baldwin.co.uk

NEWBURY – DONNINGTON PRIORY Donnington Priory Newbury, Berkshire, RG14 2JE Tel: +44 (0) 1635 553 553 donnington@dnfa.com

BOOKS AND MANUSCRIPTS Rupert Powell Deputy Chairman (Bloomsbury Auctions), Travel, Natural History & Science Dido Arthur Director, Art & Architecture, Private Press & Illustrated Justin Phillips Director, Continental & Early Printing Simon Luterbacher Director, Manuscripts & English Literature Clive Moss Director, Children’s Books Max Hasler Modern First Editions Roxana Kashani Middle Eastern Books & Manuscripts Michael Heseltine Consultant Stephen Massey Senior International Consultant Dr Timothy Bolton Head of Western Manuscripts and Miniatures

MODERN AND CONTEMPORARY ART AND PRINTS Shane Xu Specialist Alexander Hayter Consultant Phoebe Wilkinson Cataloguer Carolin Rodler

PICTURES AND MAPS James Harvey International Head of Traditional Art Robert Hall Director Richard Carroll Specialist

AUTOGRAPHS AND MEMORABILIA Lydia Wilkinson Valentina Borghi

NUMISMATICS Edward Baldwin Chairman of Baldwin’s, European, Russian, Colonial and Oriental Coins Stephen Hill Director, English hammered and milled Coins Seth Freeman Director, Banknotes and Tokens Graham Byfield Indian & Islamic Coins & Commemorative Medals Paul Hill Ancient Greek, Roman and Byzantine Coins Andre de Clermont Islamic, Indian & South American Coins David Kirk Military Medals and English hammered and milled Coins Caroline Holmes Numismatic Books Julie Lecoindre World Coins Randy Weir Consultant, Canada Ma Tak Wo Consultant, Hong Kong Daniel Fearon Commemorative Medals, Consultant Peter Donald Byzantine Coins, Consultant Peter Brooks Consultant, Australia

PHILATELICS Rick Warren Director, UK & World Stamps Tim Francis Director, UK & World Stamps Colin Avery UK & World Stamps Heather Babington Smith Mixtures Olivia Odell Autographs Peter Elwood Approvals

ASIAN CERAMICS AND WORKS OF ART Mark Newstead Head of Asian and European Ceramics and Works of Art

JEWELLERY, SILVER, WATCHES AND OBJECTS OF VERTU James Nicholson Deputy Chairman (Dreweatts) David Rees Director, Silver & Objects of Vertu Ian Pickford Silver Consultant Nick Mann Alexandra Francis Tessa Parry

CLOCKS AND SCIENTIFIC INSTRUMENTS Leighton Gillibrand Director COUNTRY SPORTING Geoffrey Stafford Charles Director DECORATIVE ARTS David Rees Director ENGLISH AND CONTINENTAL CERAMICS Mark Newstead Head of Asian and European Ceramics and Works of Art Geoffrey Stafford Charles Director FURNITURE AND CARPETS Will Richards Deputy Chairman (Dreweatts) Richard Madley Senior Director Cristian Beadman Associate Director Ben Brown Associate Director Emma Terry Associate Director Elaine Binning Consultant Ashley Matthews

ROME / MILAN For further information, please contact: Dott. Luciana Scarpa Tel: +39 388 8813070 roma@bloomsburyauctions.com

PHOTOGRAPHS Justine Gruser Cataloguer John Cumming Consultant VINTAGE POSTERS Richard Barclay Consultant

PICTURES James Harvey International Head of Traditional Art Richard Carroll Lucy Gregory STEAM MODEL ENGINEERING Michael Matthews Consultant WINE Chris Hambleton Consultant Jack Chapman

We are pleased to continue our joint venture in Italy. Together with Philobiblon Auctions, a subsidiary of the highly respected antiquarian books and manuscripts dealership, we are able to offer a first class service throughout Italy from premises in both Rome and Milan. We have Italian speaking specialists in all major departments and offer a regular calendar of both valuation events and sales in Rome and Milan.

DONNINGTON PRIORY

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Part of The Stanley Gibbons Group plc

www.dreweatts.com tel. +44 (0) 1635 553 553