Five Centuries of Fine Art, c. 1490-1941

IRISH AUCTION HOUSE

SHEPPARDS IRISH AUCTION HOUSE

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FIVE CENTURIES OF FINE ART

c.1490 – 1941

F I V E C E N T U R I E S O F F I N E A R T, c. 149 0 – 1 9 41

The Square

DURROW

County Laois

9 JULY 2014

Lot 1256: Sir John Lavery, 1856 – 1941 Portrait of Cardinal Patrick Joseph Hayes (1867 – 1938), Archbishop of New York Oil on canvas, 1927 Provenance: The Trustees of All Hallows College, Dublin, Ireland.

DURROW

Wednesday 9 July 2014 at 7pm

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SHEPPARD’S IRISH AUCTION HOUSE

Front Cover: Lot 1225 Eyre Crowe, A.R.A., 1824 - 1910 Reynolds’ First Sketch Oil on panel 61 x 91 cm. €3,000 - 5,000 SALE PREVIEW Saturday 5 July 10:00 - 5:00 p.m.

Sunday 6 July 12:00 - 5:00 p.m.

Monday 7 July 10:00 - 5:00 p.m.

SALE-DAY Wednesday 9 July 7:00 p.m. sharp

REMOVAL OF GOODS Strictly not later than 4:00pm Tuesday 16 July 2014 Uncollected goods will be removed and stored at a third party facility STORAGE CHARGES Please note our storage charges are €5 per item per day. Storage charges must be paid before we can release your goods

FIVE CENTURIES OF FINE ART C.1490

– 1941

EVENING SALE (70 LOTS)

DURROW CO. LAOIS IRELAND

ENQUIRIES: Michelle Brophy 057 874 0000 POSTMASTER: send address changes to: Sheppard’s Irish Auction House The Square, Durrow Co. Laois, Ireland CATALOGUE: Admission by catalogue only €25.00 (admits two adults) FULLY SEARCHABLE e-CATOLOGUE: www.sheppards.ie

WEDNESDAY

9 July 2014 7:00 p.m. sharp

VALUATIONS: Sheppard’s Probate & Insurance Valuation Services Michael Sheppard, 057 874 0000 or 086 805 0639 All measurements are in centimeters, height precedes width.

Contents copyright © 2014 by Sheppard’s Irish Auction House (except where otherwise stated).

Copyrighted contents may not be reproduced in any form without written permission from Sheppard’s Irish Auction House.

E-mail: info@sheppards.ie Design & Photography: In-house.

Printed in Ireland by Walshe Print, Waterford City

; BID LIVE VIA

www.sheppards.ie SHEPPARD’S IRISH AUCTION HOUSE APPLIED & FINE ART AUCTIONEERS & VALUERS

DURROW • COUNTY LAOIS • IRELAND email: info@sheppards.ie TEL: + 353 (0) 57 874 0000 FAX: + 353 (0) 57 873 6546

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Lot 1201 Charles Echard, 1748 - 1810 “Le Four” (The oven) Oil on panel 8¼ x 10 inches.

21 x 25.5 cms.

Signed “Echard” Inscribed on the reverse “A Monsieur Le Comte …”

The Four Banal, or communal oven, has been a part of daily life in France since medieval times.

They were built by the local aristocratic landlord for the use of the villagers for the purpose of bread-making.

The landlord did not however provide this facility out of a sense of pro bono publico but charged a levy for their daily use.

In parts of France, to this day, the Four Banal provides a focal point for community celebrations.

Charles Echard came from Caen. He was a noted draughtsman, etcher and painter.

Works by Charles Echard can be seen in The Cabinet des Dessins at The Louvre Museum, Paris. In 1984 a retrospective exhibition of his works was held at the Musee des Beaux-Arts in Caen. €400 - 600

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Lot 1202 Frederick Arthur Bridgman, 1847 - 1928 Study of a camel Oil on board 124 ¾ x 9 ½ inches 37.5 x 24 cm.

Signed, dated and inscribed “Cairo, April 21 1874 FA Bridgman” Frederick Bridgman (1847-1928) was the foremost American painter of Orientalist subjects. He commenced his studies at The Brooklyn Art Association. He moved to Paris in 1866, entering the studio of the important French academic artist, Jean-Leon Gerome (1824-1904). He travelled to Algeria and Egypt in 1872. He made additional trips in the 1870s and ‘80s. Although based in Paris, his work enjoyed great popularity in The United States. In 1890 he held a one-man exhibition of 400 examples of his work in New York. In 1878 he was made a Knight of The Legion of Honour. Examples of his work can be seen at The Metropolitan and Brooklyn Museums in New York. The Museum of Fine Arts in Boston and The Detroit Institute of Arts. €3,000 - 5,000

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Lot 1203 Daniel Turner, 1782 - 1817 A view of Westminster Bridge, the Abbey beyond, from the East Oil on panel 10¼ x 15¼ inches.

28 x 39 cms.

Daniel Turner was a pupil of John Jones (c. 1740 - c. 1797), the mezzotint engraver.

He specialised in detailed views along the river Thames. He exhibited 10 works at The Royal Academy. His works can be seen at The Tate Gallery, London and The Yale Center for British Art. €800 - 1,200

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Lot 1204 Daniel Turner, 1782 - 1817 The Thames at Westminster showing Westminster Bridge with the Abbey to the left Oil on panel 10 x 17 inches 25.5 x 44 cms.

Signed and dated “DanL Turner 1805” Daniel Turner was a pupil of John Jones (c. 1740 - c. 1797), the mezzotint engraver.

He specialised in detailed views along the river Thames. He exhibited 10 works at The Royal Academy. His works can be seen at The Tate Gallery, London and The Yale Center for British Art. €800 - 1,200

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Lot 1205 Sir Augustus Wall Callcott, R.A., 1779 - 1844 On the Thames at Greenwich Oil on canvas (un-lined) 24 x 36 inches 61 x 92 cm.

Sir Augustus Wall Callcott, (1779-1844) was an English painter of landscapes, seascapes and coastal scenes. He was made an ARA in 1806 and RA in 1810. He was a friend and admirer of Turner and an important figure in the Victorian art world. He was Knighted by Queen Victoria in 1837 and became Surveyor of The Queen’s Pictures in 1843. His works can be seen at The Tate Gallery and The Victoria & Albert Museum, The National Maritime Museum, Greenwich and The Manchester Art Gallery. ₏3,000 - 4,000

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Lot 1205

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Lot 1206 Paul C. Jance, 1840 - 1915 Still life of roses Oil on canvas (unlined) 32 x 26 inches 81 x 66 cms.

Signed and dated 1880 Jance was born in Lyon. From 1855 to 1861 he studied at The Beaux Arts Academy of Lyon. From 1863 he exhibited at The Paris Salon. He painted portraits and genre scenes but is best known for his paintings of floral arrangements. â‚Ź3,000 - 5,000

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Lot 1206

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Lot 1207 Follower of Charles Jervas, 1675 - 1739 Portrait of a young girl in a landscape setting, holding a rose Oil on canvas 29½ x 25 inches.

75 x 64 cms. €2,000 - 3,000

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Lot 1208 Jean Pierre Thiboust, 1763 - 1824 Portrait of a young lady in French Empire dress, leaning on a balcony Oil on panel Signed and dated ‘Thiboust 1805’ 7 x 4¾ inches 18 x 12 cm. €1,500 - 2,500

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Lot 1209 Charles Jervas, 1675 - 1739 Portrait of Dorothy Walpole, 1686-1739 Wife of Charles 2nd Viscount Townsend Half length, wearing a blue satin gown Oil on canvas 30 x 25 inches 76 x 64 cm.

In a carved gilt-wood frame Inscribed verso Dorothy Walpole was the sister of Sir Robert Walpole (1676-1745) who is generally regarded as Britain’s first Prime Minister.

He worked as a Studio Assistant to Sir Godfrey Kneller (1646-1723).

He succeeded Kneller as Principal Portrait Painter to King George 1st in 1723.

A version of this portrait is recorded in the collection of The Earl of Leicester.

Jervas was born at Clonliske, Co. Offaly. At an early age he travelled to London and entered the studio of Sir Godfrey Kneller. He spent some time in Italy, studying the works of the Italian Masters. In 1709 he returned to London to set up practice as a portrait painter and soon was patronised by fashionable society. He became friends with the literary celebrities of the day, including Addison, Pope and Jonathan Swift, who he painted on numerous occasions. In 1723 Jervas was appointed Principial Painter to King George I and after to King George II. His works can be seen at The National Gallery, Dublin and at The National Portrait Gallery, London. â‚Ź5,000 - 8,000

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Lot 1210 Attributed to Sir John Lavery, 1856 - 1941 The Pearl Necklace Oil on canvas 40 x 30 inches 102 x 76 cm. â‚Ź4,000 - 6,000

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Lot 1210

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Lot 1211 Attributed to William Hoare, 1707 - 1792 English School, eighteenth-century Portrait of a gentleman, in blue velvet jacket with gold braid Pastel 23 x 17 ½ inches 58.5 x 44 cm.

Enclosed within an ornate gilt frame â‚Ź2,000 - 3,000

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Lot 1212 William Edward Webb, 1862 - 1903 Harbour scene, possibly the Isle of Man Oil on canvas 22 x 37ž inches 56 x 96 cms.

Signed William Webb specialised in coastal scenes, many on The Isle of Man. He resided in Manchester and there exhibited his first painting in 1889. He also exhibited at Liverpool and at The Royal Academy, London. â‚Ź3,000 - 5,000

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Lot 1212

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Lot 1213 David Mordaunt Nineteenth-century Portrait of King Edward VII as a young man in Naval uniform HMS Victory in the distance, Portsmouth Harbour Pastel and coloured chalks Signed and dated 1851 44.5 x 35.5 cm.

18 x 14 inches. â‚Ź500 - 800

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Lot 1214 Joseph Finnemore, 1860 - 1939 A portrait of the future King Edward VIII, as Prince of Wales.

Drawn at Buckingham Palace, December, 10th 1912 Watercolour 15 x 12 inches 38 x 30 cm.

Signed by the Artist Signed by the Prince of Wales, ‘Edward P.’ Inscribed “Preliminary sketch for portrait in robes of The Garter” The Royal Collection have confirmed that a sitting with Joseph Finnemore took place on this date The present whereabouts of the finished oil painting is unknown Joseph Finnemore was a portrait painter and book illustrator. He was born in Birmingham and studied at The Birmingham School of Art. He resided for the most part of his life in London. He was a Member of the Society of Illustrators and The Royal Society of British Artists. He worked in watercolours and oil paints. In 1901 he painted “The Proclamation of King Edward VII at St. James’s Palace”. €1,500 - 2,500

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Lot 1215 Follower of Richard Parkes Bonington, 1801 - 1828 View of Rochester from the Downs Oil on canvas 9 x 12 inches 23 x 30.5 cm.

Exhibited: Galerie Siot-Decauville, Paris, 26 January – 7 February, 1926. No.10 Titled “Ville au bord de la mer” €1,500 - 2,500

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Lot 1215

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Lot 1216 Chinese School, c. 1830 A village on a river with boats, houses, terraces and numerous figures, mountains beyond Oil on canvas Provenance: The Gilbey Collection 30 ¾ x 44 ¾ inches 78 x 114 cm.

In a carved wood frame €30,000 - 50,000

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Lot 1216

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Lot 1217 After Anthony Van Dyck Portrait of Charles I Oil on board 23½ x 18½ inches 59 x 47 cm. €600 - 800

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Lot 1218 Walter Dendy Sadler, 1854 - 1923 The Love Note Signed and dated 1878 Oil on canvas 29½ x 36 inches 71 x 91 cms.

Walter Dendy Sadler was born in Dorking, Surrey. At the age of sixteen he enrolled in Heatherly’s School of Art in London. He exhibited at The Dudley Gallery from 1872 and at The Royal Academy, 35 works between 1872 and 1893. He specialised in genre scenes, mainly interior scenes from Victorian daily life. He was fond of depicting the mores of nineteenth-century life, these episodes placed in Inns, home interiors, legal offices, etc. Many of his works were engraved. His paintings can be seen in The Tate Gallery, London and the Art Galleries of Liverpool, Manchester and Cardiff €7,000 - 10,000

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Lot 1218

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Lot 1219 After Marinus Van Reymerswaele Nineteenth-century The Money Changers Oil on panel 24 x 20 inches 60 x 51 cm. â‚Ź600 - 800

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Lot 1220 Dutch School Seventeenth-century Two ships unloading cargo off-shore with numerous figures on the beach in the foreground Oil on canvas c. 1660 - 1670 55 x 75 ½ inches 140 x 192 cm. €6,000 - 8,000

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Lot 1220

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Lot 1221 Admiral Richard Brydges Beechey, H.R.H.A., 1808 - 1895 “The Flower of the Yarrow” – a cutter belonging to the Marquess of Conyingham Oil on canvas 18 x 24 inches 46 x 61 cm.

Provenance: The Marquess of Conyingham Admiral Richard Brydges Beechey, H.R.H.A. (1808-1895) was born in London, the son of the portrait painter, Sir. William Beechey, R.A. He entered the Royal Naval College in 1821 and went to sea the following year. He became Captain in 1857 and Admiral in 1885. In 1835 he took part in a survey around the coast of Ireland. This produced many Irish scenes in both oil and watercolour. It was his career in the Navy which gave him such knowledge of the sea, in all weathers and in the construction of ships.

He exhibited 19 works at the R.A., 13 at the B.I., and 58 at the R.H.A. Between 1868 and 1873 he lived in Ireland. Examples of his work can be seen in The National Maritime Museum, Greenwich. €4,000 - 6,000

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Lot 1221

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Lot 1222 Follower of Jean Baptiste Van Mour, 1671 - 1737 A Turkish pageant with a Sultan, numerous figures and animals, elephants, camels etc.

Oil on canvas 35 ½ x 46 ½ inches 89 x 119 cm.

A scene depicting an Ottoman pageant, held, most likely, for a visting Head of State.

The Sultan on the left surrounded by a multitude of people.

In the middle distance a jousting scene before a crowd of spectactors.

Numerous animals: elephants, dogs, horses, and camels.

In the middle distance tents and beyond the sea. €8,000 - 12,000

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Lot 1222

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Lot 1223 Italian school Early nineteenth-century Still life of flowers and doves Micromosaic panel enclosed in a birdseye maple frame 4 x 5.25 inches 10 x 13.5 cms. â‚Ź1,400 - 1,800

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Lot 1224 Pierre-Marie Beyle, 1838 - 1902 Lovers in a Garden Oil on panel Signed 26 x 20 inches 66 x 51 cms.

Beyle was born in Lyon, France. He moved to Paris and exhibited at The Paris Salon from 1867 to 1900. He also exhibited at The Grafton Gallery, London and The Glasgow Institute of Fine Arts. He painted coastal scenes, Orientalist subjects and romantic genre scenes. His work can be seen in The Victoria & Albert Museum, London. â‚Ź4,000 - 6,000

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Lot 1225 Eyre Crowe, A.R.A., 1824 - 1910 Reynolds’ First Sketch Oil on panel 24 x 26 inches 61 x 91 cm.

Artist’s hand-written exhibition label on the reverse “Eyre Crowe, 33 Langham Street, Gt. Portland St. W Reynolds making his first sketch of his father’s grammar school at Plymouth” Exhibited at the Royal Academy in 1866, No.394 Provenance: The Wurlitzer Collection.

Provenance: Paramount Studios.

The original caption read, “When but eight years old, he had made himself sufficiently master of perspective, from the Jesuit treatise, to draw the school house according to rule, no easy matter, as the upper part is half supported by a range of pillars” A review from the Athenaeum, dated 19th May 1866: “The architectural part of this picture has evidently been painted “on the spot” and is thus made doubly interesting.

Though rather hard it is bright and clear, the figures tell the story with completeness and are artistically treated.”

A review from the Art Journal, 1866, pg.166: “Reynolds’ first sketch (394) is better than “Competitive Examination” the arched and columned corridor is well painted” Eyre Crowe was a Victorian painter of genre and historical subjects. He was a pupil of the French historical painter, Paul Delaroche in Paris. He travelled to America in 1852, as a companion and secretary to the novelist, William Thackeray. In 1876 he was elected as an Associate of the Royal Academy. He exhibited 84 works at The Royal Academy. Examples of his work can be seen at The Fitzwilliam Museum, Cambridge, Manchester City Art Gallery, Liverpool Art Gallery, and The Victoria & Albert Museum. €3,000 - 5,000

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Lot 1225

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Lot 1226 Dutch School, seventeenth century Portrait of a young girl wearing black costume with a cart-wheel ruff Oil on panel c. 1640 29 x 24 inches 74 x 60.5 cm. â‚Ź4,000 - 6,000

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Lot 1227 Caroline, Lady Carlow, 1750 - 1813 Dunluce Castle, Co. Antrim, with figures in the foreground Oil on canvas 24½ x 29½ inches 62 x 75 cms.

She was the daughter of The 3rd Earl of Bute. She was described, by a contemporary observer, as “a most capital painter of oils”. €2,000 - 3,000

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Lot 1228 André Derain, 1880 - 1954 Le Modèle Oil on canvas (un-lined) 36 x 28¾ inches 92 x 73 cm.

Provenance: Private Collection, Paris Painted c. 1924-5 A certificate of authenticity from the Comité Derain, Paris will be made available to the purchaser.

This work will be included in a forthcoming Catalogue Raisonné on the artist.

The model depicted is most probably Rogi Andre (1905-1970), who posed frequently for Derain and Picasso.

Derain was born near Paris. When attending the classes of Eugene Carriere, he met Henri Matisse. In 1905 the two artists became the founders of the Fauve movement.

In 1906 he travelled to London and painted a series of views of The Thames. Using vivid colours and vibrant brush-strokes, these works became his most admired images. The Dealer Kahnweiler bought his entire out-put, which gave Derain financial security. In 1907 he moved to Montmartre to be near his friend Picasso. Here his style changed and he painted with a more muted palette. In 1920 he visited Italy and was greatly influenced by the painters of the High Renaissance. His works at this time became known as his “Classical” period. In the 1920s he exhibited in London, Berlin and New York. Derain painted landscapes, still-lifes and nudes. A collection of his nude paintings can be seen at the Musée de l'Orangerie, Paris. His work can be seen in the important museums of the world: Paris, London, Saint Petersburg, and New York. €150,000 - 250,000

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Lot 1228

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Lot 1229 Italian, eighteenth-century Set of four Grand Tour cast metal roundels ‘The Four Doctors of the Church’ Each enclosed in a moulded veined and Carrara marble frame Diameter: 5¼ inches; 13 cms.

Overall: 10¼ inches; 26 cms. €1,500 - 2,500

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Lot 1230 Jules Monge, b. 1855 The Rendezvous Oil on canvas Signed and dated 1884 29 x 24 inches.

74 x 61 cms.

Monge was a French painter of landscapes, portraits and Orientalist subjects. â‚Ź4,000 - 6,000

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Lot 1231 Follower of Francesco Albani, 1578 - 1660 The Rest on the Flight Into Egypt Oil on copper Enclosed in a seventeenth-century Italian carved gilt-wood frame 8 x 6 ½ inches 20 x 16 cm. €1,200 - 1,500

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Lot 1232 William Fisher, 1817 - 1895 Portrait of Percy Ellen Frederick William Smythe, 8th and last Viscount Strangford (1826-1869) Portrait of the Hon. Philippa Eliza Sidney Smythe (died 1859), daughter of the 6th Viscount Strangford, after wife of the Hon. Henry James Baillie MP (1803 – 1885).

Oils on panel - a pair 21 x 17¾ inches (oval) 54 x 45 cms.

Inscribed with the identity of the sitters on contemporary labels on the reverse.

Trade labels on the reverse from the panel maker, Charles Roberson, 51 Long Acre, London. These labels can be dated between 1828 and 1855.

William Fisher exhibited a group portrait of the Children of Henry Baillie MP at The Royal Academy in 1850.

William Fisher was born in Cork and showed promise as an artist from an early age. In his youth he travelled to Italy and became a Member of the Florentine Academy. He moved to London in 1840 and exhibited at The Royal Academy and The British Institution. Between 1843 and 1862 he sent 15 works to The Royal Hibernian Academy. He painted portraits and figure subjects. His work can be seen in The Cork Art Gallery and The National Portrait Gallery in London. €2,000 - 3,000

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Lot 1233 William Fisher, 1817 - 1895 “Molly Bawn” portrait of a young girl seated by the fireside, in a cottage interior. A spinning wheel to the left. Her suitor standing outside by the window, under the moonlight.

Oil on canvas (unlined) 40 x 50 inches 102 x 127 cms.

Exhibited R.H.A. 1850 No. 37 The scene depicts the tale of Molly Bawn who made for herself a cloak of white wool.

One evening, under moonlight she went off for a surprise rendezvous with her beau, sometimes called Johnny Randle. On returning from an unsuccessful days shooting, he spotted a white form amongst the bushes. Mistaking this shape for a swan (in some versions, a young deer), he fired and killed his beloved Molly Bawn. At his subsequent trial, Molly appeared as a ghost and explained that it was an honest and tragic mistake. The story of Molly Bawn has been told in verse and song since the eighteenth-century and still features in the repertoire of artistes.

William Fisher was born in Cork and showed promise as an artist from an early age. In his youth he travelled to Italy and became a Member of the Florentine Academy. He moved to London in 1840 and exhibited at The Royal Academy and The British Institution. Between 1843 and 1862 he sent 15 works to The Royal Hibernian Academy. He painted portraits and figure subjects. His work can be seen in The Cork Art Gallery and The National Portrait Gallery in London. €6,000 - 9,000

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Lot 1234 Italian Renaissance School The Madonna and Child in a landscape setting Oil on canvas c. 1520 17 ½ x 15 inches (arched top) 44.5 x 38 cm.

In an Italian 16th century carved wood frame Provenance: Private collection, since the nineteenth-century â‚Ź20,000 - 30,000

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Lot 1235 Otto Dill, 1884 - 1957 Die Parade Ring - Baden-Baden Oil on canvas (un-lined) 28 x 31 ½ inches 72 x 80 cm.

Inscribed on the stretcher rail “Otto Dill 1941” Otto Dill was a German expressionist artist whose oeuvre consisted of works depicting wild-life and race-course scenes. From 1908-14, he studied at The Akademie in Munich. He was a pupil of the important German animal painter, Heinrich Johann von Zügel. He exhibited his first works in 1917. He travelled extensively throughout Italy, France, Spain, and North Africa. He was greatly influenced by the French Impressionists , see for example Degas’s paintings of horse racing scenes. He moved to Neustadt in 1930 where he concentrated on landscape painting. In 1943 an air-raid destroyed his studio, consequently his work is rare. The Otto Dill Museum in Neustadt has, on display, approximately 100 oil paintings and 50 drawings and watercolours. €3,000 - 5,000

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Lot 1236 Charles F. Pecrus, 1826 - 1907 A lady with her favourite hound Oil on panel Signed 16 x 9ž inches 41 x 25 cms.

Charles Pecrus was a painter of landscapes, marines and portraits. He trained at The Academy of Paris. The artist was a friend of the French Impressionist painters, Eugene Boudin and Johan Jongkind. â‚Ź3,000 - 5,000

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Lot 1237 Attributed to John Singleton Copley, R.A., 1738 - 1815 Portrait of a gentleman half length; wearing a green coat, white lace stock and tricorn hat Oil on canvas 30 x 25 inches.

76 x 64 cm. €4,000 - 6,000 Copley, one of the foremost portrait painters of the eighteenth-century, was born in Boston in 1738. His family had recently emigrated from Ireland. His father was from Limerick and his mother from Co. Clare. He soon became the most important portrait aritst in New England, depicting most of the prominent citizens, for example, Paul Revere, John Hancock and Samuel Adams. He left Boston in 1774 and travelled to Europe. He studied in Rome before returning to England in 1775 and remained there for the rest of his life. He exhibited at The Royal Academy from 1776 to 1812. He painted portraits throughout his career but is equally well-known for his large historical scenes, for example, “The Death of Major Pierson” in the Tate Gallery, London and “The Siege of Gibraltar” in The Guildhall Art Gallery, London. His works are to be seen in The National Gallery, Washington, The Metropolitan Museum, New York and The Tate Gallery and National Gallery in London.

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Lot 1238 Attributed to John Singleton Copley, R.A., 1738 - 1815 Portrait of a gentleman facing to the left Charcoal. Black and white chalk on watermarked paper 14 x 11 inches 35.5 x 28 cms. €1,500 - 2,000 Copley, one of the foremost portrait painters of the eighteenth-century, was born in Boston in 1738. His family had recently emigrated from Ireland. His father was from Limerick and his mother from Co. Clare. He soon became the most important portrait aritst in New England, depicting most of the prominent citizens, for example, Paul Revere, John Hancock and Samuel Adams. He left Boston in 1774 and travelled to Europe. He studied in Rome before returning to England in 1775 and remained there for the rest of his life. He exhibited at The Royal Academy from 1776 to 1812. He painted portraits throughout his career but is equally well-known for his large historical scenes, for example, “The Death of Major Pierson” in the Tate Gallery, London and “The Siege of Gibraltar” in The Guildhall Art Gallery, London. His works are to be seen in The National Gallery, Washington, The Metropolitan Museum, New York and The Tate Gallery and National Gallery in London.

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Lot 1239 Attributed to John Singleton Copley, R.A., 1738 - 1815 Portrait of a young man facing to the right Charcoal. Black and white chalk on grey paper 14 x 11 inches 35.5 x 28 cms. €1,500 - 2,000 Copley, one of the foremost portrait painters of the eighteenth-century, was born in Boston in 1738. His family had recently emigrated from Ireland. His father was from Limerick and his mother from Co. Clare. He soon became the most important portrait aritst in New England, depicting most of the prominent citizens, for example, Paul Revere, John Hancock and Samuel Adams. He left Boston in 1774 and travelled to Europe. He studied in Rome before returning to England in 1775 and remained there for the rest of his life. He exhibited at The Royal Academy from 1776 to 1812. He painted portraits throughout his career but is equally well-known for his large historical scenes, for example, “The Death of Major Pierson” in the Tate Gallery, London and “The Siege of Gibraltar” in The Guildhall Art Gallery, London. His works are to be seen in The National Gallery, Washington, The Metropolitan Museum, New York and The Tate Gallery and National Gallery in London.

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Lot 1240.

A rare late fifteenth century portable altarpiece.

The painted panels by a Follower of Dieric (Dirk) Bouts. c.1415-1475.

The scenes depicted; Left wing(outer) The Temple Right wing (outer) St.Martha.

Left wing (inner) The Road to Calvary.

Right wing (inner) The Resurrection.

The central polychrome carved wood group depicts The Lamentation within a frame of Gothic tracery.

Overall size,with wings extended 52 ¼ x 39 ½ x 8 ¼ inches 133 x 100 x 21 cm.

Size of painted panels: 34 ½ x 9 ½ inches 88 x 24 cm.

The central carved wood sculpture: 33 x 23 ¾ inches 84 x 60.5 cm. €80,000 - 120,000 The paintings are by an artist of The Flemish Primitive School.This group of artists was active in the 15th and 16th centuries and worked notably in the cities of Bruges,Ghent, and Brussels, in what is now modern-day Belgium.The principal artists were,Jan Van Eyck,Robert Campin,Rogier Van Der Weyden,Dieric Bouts and Hans Memling.Their counterparts,working in Italy,were the artists of The Renaissance.

While the subject matter of The Flemish Primitives was,for the most part,religious,other themes included portraits and mythological scenes.Typically, the works convey a deep sense of emotion and spiritual feeling in the faces of the subjects.Furthermore, a feature of many of these works is a naturalistic landscape setting, that displays a sophisticated understanding of aerial perspective,as shown here.

The medium used is normally oil on wood.The works being on a single panel or multiple panels-Triptychs,diptychs or polyptychs.

The scale of this piece would suggests it was originally commissioned for use in a private chapel or perhaps on a side altar.

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Lot 1241 Italian School, seventeenth-century Follower of Giovanni Battista Moroni (1520-1578) Portrait of a gentleman in a black coat, trimmed with fur and a white lawn collar.

Oil on panel.

16½ x 12¼ inches (oval) 42 x 31 cms. €500 - 1,200

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Lot 1242 Antoine Bouvard, b. 1870 A Venetian backwater Oil on canvas 19¾ x 25½ inches.

50 x 65 cms.

Signed A prolific French painter of Venetian scenes, Bouvard exhibited throughout France and Italy. His works gained considerable popularity during his lifetime. This popularity has continued to the present day. €3,000 - 5,000

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Lot 1243 Nicholas Joseph Crowley, R.H.A., 1819 - 1857 “Keeping Warm” Oil on canvas 30 x 25 inches.

76 x 64 cms.

In a carved gilt-wood frame.

Crowley was born in Dublin. In 1832 he became a student in The Royal Hibernian Academy. In 1835-6 he was a resident of Belfast. He was elected an Associate of the RHA and a full Member in 1837. In 1837 Crowley travelled to London and remained there for the rest of his life. During this time he made numerous visits back to Dublin.

He was a regular exhibitor at the London Galleries showing 47 works at the Royal Academy and 17 at the British Institution. He continued to exhibit regularly at the R.H.A. throughout his life, showing 89 works in total. He is known for his portraits and genre scenes. His works can be seen in The National Gallery of Ireland and The Ulster Museum. €2,000 - 3,000

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Lot 1244 Italian School, early eighteenth-century The Madonna and Child seated with St. Francis kneeling before them Oil on canvas; laid on board In a carved gilt-wood frame 16 x 12 inches 41 x 31 cms. â‚Ź600 - 800

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Lot 1245 Flemish School, seventeenth-century Follower of Anthony Van Dyck The Adoration of the Shepherds Oil on canvas 71 x 52 inches 180 x 12 cm.

Provenance: Private collection, Ireland since the 19th century €3,000 – 5,000

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Lot 1246 Hugh Douglas Hamilton, 1740 - 1808 Portrait of Sir John Coxe Hippisley, 1st Baronet (1746-1825) Half length, seated in an interior, a view of St. Peters, Rome beyond, a document to the left with the Hippisley and Vatican coat of arms Oil on canvas 40 x 30 inches 102 x 76 cm.

Inscribed and dated 1795 Hamilton was one of the leading portrait painters in Ireland in the eighteenth-century.

He commenced his career in Dublin making pastel portraits. These are usually on a small scale and oval in format. Walpole described these works as: “They are very pretty. These drawings are upon a flesh-coloured paper, black and white chalk and here and there a touch of crayons.” He also executed pastel works on a larger scale. He moved to London in about 1764 and commenced in practice as a artist in pastel and oil paint. He painted members of society from Ireland and England, namely Lord Castlereagh, The Earl of Clare, Lord Edward Fitzgerald and members of the La Touche family. In 1778 Hamilton travelled to Italy and settled in Rome. Whilst here he painted members of the artistocracy, in the city, as part of The Grand Tour. He returned to Dublin to continue painting. Although primarily a portrait painter, Hamilton also painted historical and mythological subjects. His works can be seen at The National Gallery of Ireland, The British Museum, The Ulster Museum and The National Portrait Gallery, London. €8,000 – 12,000

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Lot 1247 Dutch School, eighteenth-century Young girl at a window Oil on canvas 13 x 12 inches 36 x 30 cms.

Enclosed in a gilt frame â‚Ź1,200 - 1,500

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Lot 1248 Charles Chaplin, 1825 - 1891 Lady with cherubs Oil on canvas Signed 18 x 11 inches 46 x 28 cms.

Chaplin was a French painter of landscapes and portraits. He studied at The Ecole des Beaux-Arts in Paris from 1840. In 1845 he entered The Salon de Paris, later becoming a teacher there. The American impressionist artist, Mary Cassatt was a pupil of his. He was appointed Court Painter to The Emperor Napoleon III. He exhibited regularly at The Paris Salon. He became a Chevalier de la Legion d’honneur in 1879. He is best known for his elegant portraits of young females. His works can be seen in The Hermitage Museum, Saint Petersburg and The Metropolitan Museum, New York. ₏2,000 - 3,000

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Lot 1249 Dutch school, seventeenth-century Figures and animals on a ferry Oil on panel 7½ x 10 inches.

19 x 25½ cms.

Provenance: Kilcooley Abbey, Co, Tipperary, Ireland, : Inventory Number, Ky 80 Enclosed in a gilt frame €200 - 300

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Lot 1250 Follower of Aert van der Neer, 1603 - 1677 Dutch School, seventeenth-century River scene at moonlight, with a round tower, figures around a fire, and a further fig ure in a boat Oil on panel 6½ x 7¾ inches.

16.5 x 19.5 cms.

Provenance: Kilcooley Abbey, Co, Tipperary, Ireland, : Inventory No. Ky 64 €200 - 300

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Lot 1251 Pierre-Jules Mêne, 1810 - 1879 Vainqueur du Derby (Derby Winner) Signed bronze 16½ inches high 42 cm. high €4,000 - 6,000

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Lot 1252 Attributed to Francesco de Mura, 1696 - 1782 The Lamentation Oil on canvas 51 x 40 ½ inches 130 x 103 cm.

Provenance: Private collection, Ireland since the 19th century A smaller version (75 x 62 cm.) is at Hatchlands, Surrey, on loan to the National Trust from the Cobbe Collection.

A variation of this composition, by de Mura, 25 x 19 inches (64 x 49.3 cm.), c. 1725-30 is at the Walters Art Gallery, Baltimore, Maryland.

Francesco de Mura was a Neopolitan painter of the late Baroque period. He was a pupil of Francesco Solimena and Domenico Viola. He commenced his career painting frescoes, see for eample his work, dated 1715, in San Nichola alla Carita, in Naples. His works on canvas consist of religious and mythological subjects. He also painted portraits. His works can be seen in The Louvre Museum, The Fitzwilliam Museum, Cambridge. The Courtauld Institute of Art, Manchester City Art Gallery, and The Walters Art Gallery, Baltimore, Maryland. â‚Ź7,000 - 10,000

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Lot 1253 Adam Willaerts, 1577 - 1664 An extensive river landscape with castle and numerous figures in the foreground Oil on panel Signed with initials and dated 1637 18¼ x 29¼ inches 45 x 73 cms.

Willaerts was born in London to Flemish parents. By 1585 the family were living in Leiden and from 1597 the artist had moved to Utrecht. He became a member of The Guild of St. Luke in that city in 1611. He painted battle scenes, coastal scenes and depictions of Dutch daily life. His works can be seen in The Rijksmuseum, Amsterdam, The Kunsthistoriches Museum in Vienna. The Metropolitan Museum, New York and The National Maritime Museum, London. €2,000 - 3,000

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Lot 1254 Heywood Hardy, 1842 - 1933 ‘Waiting’ hunting dogs in a landscape Oil on canvas Signed 20 x 30 inches 50 x 76 cms. €6,000 - 8,000

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Lot 1255 Italian school, seventeenth-century Follower of Guido Reni.

Apollo in his chariot preceded by Dawn Oil on canvas Unframed 26¾ x 58½ inches 68 x 149 cms. €3,000 - 5,000

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Lot 1256 Sir John Lavery, 1856 - 1941 Portrait of Cardinal Patrick Joseph Hayes (1867 – 1938) Archbishop of New York Oil on canvas, 1927 €8,000 - 12,000 Provenance: The Trustees of All Hallows College, Dublin, Ireland.

Exhibited Royal Academy 1928

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Lot 1257 Leo Whelan R.H.A., 1892 - 1956 Portrait of Archbishop [later Cardinal] John Joseph Glennon, 1862 – 1946, of St. Louis, Missouri, USA Oil on canvas (unlined) 56 x 41 inches 142 x 104 cm.

Signed, lower right “Leo Whelan” Provenance: the Trustees of All Hallows’ College, Dublin, Ireland Leo Whelan was born in Dublin. He attended The Metropolitan School of Art. He was a pupil of William Orpen, whose influence can be seen in his paintwork and use of colour. He painted some landscapes but is best known for his formal portraits. Sitters including Michael Collins, Liam Cosgrove, John F. Costello and his friend, Count John McCormack. He exhibited 255 works at the R.H.A. between 1911 and 1957. His works can be seen at The National Gallery of Ireland, The Ulster Museum, Belfast and The National Portrait Gallery, London. €1,500 - 2,500

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Lot 1258 Leo Whelan, R.H.A., 1892 - 1956 Portrait of Archbishop William Walsh, 1841 – 1921, of Dublin, Ireland Oil on canvas (unlined) 56 x 41 inches 142 x 104 cm.

Signed “Leo Whelan 1923” Provenance: the Trustees of All Hallows’ College, Dublin, Ireland Inscribed on reverse “posthumous portrait of his Grace Most Rev. Dr. Walsh DD Archbishop of Dublin painted by Leo Whelan, ARHA studio 64 Dawson St. Dublin” €1,500 - 2,500

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Lot 1259 Irish School, late nineteenth-century Portrait of Reverend Father John Hand (founder of All Hallows College, Dublin, Ireland in 1841) Oil on canvas 50 x 37 inches 127 x 94 cm.

Provenance: the Trustees of All Hallows’ College, Dublin, Ireland Carved wood frame €1,500 - 2,500

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Lot 1260 Leo Whelan, R.H.A., 1892 - 1956 Portrait of Rev. William Fortune, D.D., 1834 – 1917, seated on a garden bench Oil on canvas (unlined) Inscribed on reverse “Very Rev. William Fortune D.D. painted by Leo Whelan ARHA 1928 studio 64 Dawson St.” Signed “Leo Whelan 1920 ARHA” 64 ½ x 45 ½ inches 164 x 116 cm.

Provenance: the Trustees of All Hallows’ College, Dublin, Ireland €1,500 - 2,500

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Lot 1261 Leo Whelan, R.H.A., 1892 - 1956 Portrait of Bishop Edmond Heelan, 1868 – 1948, of Sioux City, Iowa, USA Oil on canvas (unlined) 60 x 40 inches 153 x 102 cm.

Signed, lower left “Leo Whelan” Provenance: the Trustees of All Hallows’ College, Dublin, Ireland €1,500 - 2,500

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Lot 1262 Leo Whelan, R.H.A., 1892-1956 A priest seated in a garden Oil on canvas (unlined) 64 x 44½ inches 163 x 113 cm.

Provenance: the Trustees of All Hallows’ College, Dublin, Ireland Inscribed on the reverse “Posthumous Portrait of the Rev. James Moore Cay”, Leo Whelan RHA €1,500 - 2,500

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Lot 1263 Leo Whelan, R.H.A., 1892 - 1956 Portrait of Bishop Thomas Grace, 1841 – 1921, of Sacramento, California, USA Oil on canvas 72 x 54 inches 183 x 137 cm.

Signed, lower left “Leo Whelan” Provenance: the Trustees of All Hallows’ College, Dublin, Ireland €1,500 - 2,500

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Lot 1264 Leo Whelan, R.H.A., 1892-1956 Portrait of Archbishop Joseph Clune, 1864 – 1935, of Perth, Western Australia, Australia Oil on canvas (unlined) 72 x 54 inches 183 x 137 cm.

Signed and dated lower left “Leo Whelan 1913” Provenance: the Trustees of All Hallows’ College, Dublin, Ireland €1,500 - 2,500

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Lot 1265 Leo Whelan, R.H.A., 1892 - 1956 Portrait of a bishop in purple seated Oil on canvas (unlined) 72 x 54 inches 183 x 137 cm.

Signed, lower right “Leo Whelan” Provenance: the Trustees of All Hallows’ College, Dublin, Ireland €1,500 - 2,500

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Lot 1266 Leo Whelan, R.H.A., 1892 - 1956 Leo Whelan, R.H.A., 1892 - 1956 Portrait of Edward Patrick Roche, (1874-1950) Archbishop of Newfoundland Oil on canvas (unlined) 72 x 54 inches 183 x 137 cm.

Signed, lower right, “Leo Whelan 1914” Inscribed on the reverse “Most Rev. Dr. Roche, Archbishop of Newfoundland painted

by Leo Whelan 1917-18” Provenance: the Trustees of All Hallows’ College, Dublin, Ireland €1,500 - 2,500

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Lot 1267 Leo Whelan, R.H.A., 1892-1956 Portrait of Bishop Richard Scannell, 1845 – 1916, of Omaha Nebraska, USA Oil on canvas (unlined) 96 x 54 inches 244 x 137 cm.

Signed “Leo Whelan 1915” Provenance: the Trustees of All Hallows’ College, Dublin, Ireland €1,500 - 2,500

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Lot 1268 George Collie, R.H.A., 1904 - 1975 George Collie, R.H.A., 1904 - 1975 Portrait of a seated bishop Oil on canvas (unlined) 50 x 40 inches 127 x 102 cm.

Signed, lower left “George Collie” Provenance: the Trustees of All Hallows’ College, Dublin, Ireland George Collie was born at Carrickmacross, Co. Monaghan. He studied at The Metropolitan School of Art in Dublin. He painted genre scenes but is perhaps best known for his formal portraits of such sitters as Eamon de Valera, Liam Cosgrave and Cardinal D’Alton. In 1929 he was painting in Paris after a brief and not totally happy experience of living in London. From 1922 to 1976 he exhibited 290 works at the R.H.A. His works can be seen at The National Gallery of Ireland and The Ulster Museum, Belfast. €800 - 1,200

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Lot 1269 William Magrath, 1838 - 1918 ‘Cabin Comfort’ Oil on canvas (un-lined) Signed and dated 1880 Contemporary label on the reverse “Cabin comfort Wm Magrath 125 Gower Street WC. London.”

16 x 12 inches 41 x 31 cms.

William Magrath was a landscape and figure painter from Cork.

He exhibited 6 works at The RA and 2 at The RHA. He died in New York.

Examples of his work can be seen in The Crawford Art Gallery, Cork. €800 - 1,200

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Lot 1270 Italian school, eighteenth-century A set of six black and white engravings of architectural scenes taken from Robert Woods’ ‘The Ruins of Palmyra’. First edition.

11¼ x 17 inches 28.5 x 43.5 cms. €1,500 - 2,500

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Lot 1228

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Index Albani, Francesco, follower of

1231

Italian Renaissance School

1234

Beechey, Admiral Richard Brydges

1221

Jance, Paul C.

1206

Beyle, Pierre-Marie

1224

Jervas, Charles

Bonington, Richard Parkes, follower of

1215

1207 1209

Bouts, Dieric, follower of

1240

Lavery, Sir John

1256

Bouvard, Antoine

1242

Lavery, Sir John, attributed to

1210

Bridgman, Frederick Arthur

1202

Magrath, William

1269

Callcott, Sir Augustus Wall

1205

MĂŞne, Pierre-Jules

1251

Caroline, Lady Carlow

1227

Monge, Jules

1230

Chaplin, Charles

1248

Mordaunt, David

1213

Chinese School

1216

Moroni, Giovanni Battista, follower of

1241

Collie, George

1268

Pecrus, Charles F.

1236

Crowe, Eyre

1225

Reni, Guido, follower of

1255

Crowley, Nicholas Joseph

1243

Reymerswaele, Marinus Van, after

1219

De Mura, Francesco, attributed to

1252

Sadler, Walter Dendy

1218

Derain, AndrĂŠ

1228

Singleton Copley, John, attributed to

Dill, Otto

1235

Thiboust, Jean Pierre

1237 1238 1239 1208

Dutch School

1220 1226 1247 1249

Turner, Daniel

1203 1204

Dyck, Anthony Van, after

1217

Van Der Neer, Aert, follower of

1250

Dyck, Anthony Van, follower of

1245

Van Mour, Jean Baptiste, follower of

1222

Echard, Charles

1201

Webb, William Edward

1212

Finnemore, Joseph

1214

Whelan, Leo

Fisher, William

1232 1233

Hamilton, Hugh Douglas

1246

Hardy, Heywood

1254

Hoare, William, attributed to

1211

1257 1258 1260 1261 1262 1263 1264 1265 1266 1267

Irish School

1259

Willaerts, Adam

1253

Italian School

1223 1229 1244

Woods, Robert

1270

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Bid slip 04-14_Bid Slip p.119; Notes, p. 120 22/06/2014 20:02 Page 1

S H E P PA R D ’ S I

R I S H

A

U C T I O N

H

O U S E

Fax 057 873 6546

ABSENTEE BID FORM FIVE CENTURIES OF FINE ART c.1490 – 1941 WEDNESDAY 9, JULY 2014 Pre-booked Telephone Bids:TELEPHONE 057 874 0000 Please bid on my behalf for the undermentioned lots up to the prices shown which do not include the buyer’s premium. These bids are to be executed as cheaply as is permitted by other bids, or reserves, if any, and subject to the Conditions of Sale printed in the Catalogue.

Signed: NAME (Block Capitals please) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ADDRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................

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Lot

Description

MAXIMUM BID

FOR OFFICE USE ONLY Successful Unsuccessful

Please bid early. We cannot guarantee that bids left less than one hour before the sale will be executed. Telephone bids should be confirmed in writing, preferably on this bid form. Buy-bids are not accepted. Your limit should be the amount at which you would stop if you were bidding in the room. 20% Buyer’s Premium + V.A.T. @23% will be added to your successful bid.

Bid slip 04-14_Bid Slip p.119; Notes, p. 120 14/04/2014 13:20 Page 2

S H E P PA R D S IRISH AUCTION HOUSE

CONDITIONS OF SALE 1. Definitions in these Conditions, Sheppard’s, who act only as auctioneers and agents for the vendor, are called ‘the Auctioneers’ and the representatives of Sheppard’s conducting the auction is called ‘The Auctioneer’.

2. General: Whilst Sheppard’s make every effort to ensure the accuracy of their catalogue and the descripton of any lot. (a) Each lot as set out in the catalogue or as divided or combined with any other lot or lots is sold by the vendor with all faults, imperfections and errors of descriptions. (b) Sheppard’s do not accept responsibility for the authenticity, attribution, genuineness, origin, authorship, date, age, period, condition or quality of any lot, unless they have been instructed in writing by the vendor so to certify, and in such case the Auctioneers do so as agents of the vendor are not themselves responsible for such claims. (c) All statements, whether printed in the catalogue or made orally, as to any of the matters set out in (b) above are statements of opinion only and are not to be taken as being or implying any warranties or representations of fact by Sheppard’s, unless they have been instructed in writing by the vendor so to certify and in such case the Auctioneers do so as agents of the vendor and are not themselves responsible for such claims.

3. The Auction: (a) The Auctioneer has absolute discretion to divide any lot, to combine any two or more lots or to withdraw any lot or lots from the sale, to refuse bids, regular bidding or cancel the sale without in any case giving any reason or without previous notice. He may bid on behalf of the vendor for all goods which are being offered subject to reserve or at the Auctioneer’s discretion. (b) The highest bidder shall be the buyer except in the case of a dispute. If during the auction the Auctioneer considers that a dispute has arisen, he has absolute discretion to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid. (c) All conditions, notices, descriptions, statements and other matters in the catalogue and elsewhere concerning any lot are subject to any statements modifying or affecting the same made by the Auctioneer from the rostrum prior to any bid being accepted for the lot.

4. Recission: Notwithstanding any other forms of these Conditions. If within fourteen days after the sale Sheppard’s have received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within twenty-one days after such notification the buyer returns the same to Sheppard’s in the same condition as at the time of sale and by producing evidence, the burden of proof to be upon the buyer, satisfies Sheppard’s that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded.

5. Default: Sheppard’s disclaim responsibility for default by either the buyer or the vendor because they act as agents for the vendor only and therefore do not pay out to the vendor until payment is received from the buyer. Instructions given by telephone are accepted at the sender’s risk and must be confirmed in writing forthwith.

6. In the event of a sale by private treaty both the vendor and the buyer agree to be bound by the General and any Special Conditions of Sale.

BUYERS’ CONDITIONS 7. Inspection: Each buyer by making a bid for a lot acknowledges that he has satisfied himsellf fully before bidding by inspection or otherwise as to all the Sale Conditions the physical condition of and description of the lot including but not restricted to whether the lot is damaged or has been repaired or restored.

8. Property and Risk Legal title will not pass to the buyer until the lot(s) has been paid for in full and the Auctioneers shall he entitled to a lien on any lot sold until the purchase price (as defined in 11 below) is paid in full but each lot is at the sole risk of the buyer from the fall of the hammer. Each buyer shall forthwith give his full names and permanent address and if called upon to do so by the Auctioneer shall forthwith pay to Sheppard’s such proportion of the purchase price as the Auctioneer may require. If the buyer fails to do so, the lot may at the Auctioneer’s sole discretion be put up again and re-sold.

9. Every bidder shall be deemed to act as principal unless there is in force a written acknowledgment by Sheppard’s that he acts as agent on behalf of a named principal.

10. Removal of Goods. (a) No purchase shall be claimed until it has been paid for and the sale has been concluded. All purchases shall be paid for and removed at the buyer’s risk and expense, failing which the Auctioneer shall not be responsible if the same are lost, stolen, damaged, or destroyed and all lots not so removed shall remain at the risk of the buyer and subject to a minimum warehousing charge of €5 per item per day. If they are not paid for and removed within seven days of the Sale the Auctioneer may re-sell them by auction or privately without notice to the buyer. Any liability which there may be on the part of the Auctioneer in respect of any loss shall be restricted to a maximum of the price paid by the buyer of the lot. (b) In the event of any failure of the buyers to comply with any of the conditions the damages recoverable by the seller or the Auctioneers from the defaulter shall include any loss arising on any re-sale of the lot, together with the charges and expenses in respect of both sales, and any money deposited in part payment shall be held by the Auctioneers on account of any liability of the defaulter to them or to the seller. The Auctioneers are unable to accept payment from successful bidders other than in cash or by the bidder’s own cheque. Cheques drawn by third parties whether in the Auctioneer’s favour or requiring endorsement, cannot be accepted.

11. Purchase Price: The purchaser shall pay the hammer price together with a premium of 20%+ VAT at standard rate. The premium attracts VAT at the standard rate and is payable by all purchasers. The vendor authorises the Auctioneer to deduct commission and expenses at the stated rates from the hammer price and acknowledges the Auctioneer’s right to retain the premium payable by the purchaser. Payment by cash or guaranteed cheque.

Although every effort is made to report damage and restoration to lots in this catalogue, absence of condition does not imply a lot is free from damage, and prospective purchasers must in all cases be responsible for determining condition themselves.

COMMISSION BIDS If instructed we will execute bids and advise intending Purchasers. The service is free. Lots will always be bought as cheaply as is allowed by other bids and reserves. Bids, when placed by telephone, are accepted only at the sender’s risk, and must be confirmed by letter.

IMPERFECTIONS NOT STATED Special Condition: All purchases to be paid for the evening of sale.

EXPLANATION OF CATALOGUING PRACTICE: A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist in other cases, the following expressions, with the following meanings are used: “Attributed to . . .’’ in our opinion probably work by the artist in whole or in part.

“Studio of . . .” in our opinion a work executed in the studion or workshop of the artist, possibly under his supervision.

“Workshop of . . .’’.

“Circle of . . .’’ in our opinion a work of the period of the artist and showing his influence.

“Follower of . . . ” in our opinion a work executed in the artist’s style but not necessarily by a pupil.

“Manner of . . . ’’ in our opinion a work executed in the artist’s style but of a later date.

“After . . .’’ in our opinion a copy (of any date) of a work of the artist.

“Signed . . .’’ in our opinion the work has been signed/dated/inscribed by the artist. The addition of a question mark indicates an element of doubt.

“With signature . . ’’ in our opinion the signature/date/inscription is by a hand other than that of the artist.

“With date . . .’’

“With inscription . . .’’

FINE ART SHIPPING AND STORAGE National and International Ms.Teresa Morrissey, Shipping Co-ordinator; Telephone +353 (0) 57 874 0000, shipping@sheppards.ie

IRISH AUCTION HOUSE

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FIVE CENTURIES OF FINE ART

c.1490 – 1941

F I V E C E N T U R I E S O F F I N E A R T, c. 149 0 – 1 9 41

The Square

DURROW

County Laois

9 JULY 2014

Lot 1256: Sir John Lavery, 1856 – 1941 Portrait of Cardinal Patrick Joseph Hayes (1867 – 1938), Archbishop of New York Oil on canvas, 1927 Provenance: The Trustees of All Hallows College, Dublin, Ireland.

DURROW

Wednesday 9 July 2014 at 7pm