Sheppard's Evening Art Sale, December 2014

SHEPPARD’S IRISH AUCTION HOUSE DUBLIN & PROVINCIAL: Evening Art Sale at Durrow

THE PERFECT CHRISTMAS GIFT FOR ART LOVERS

• Student €35 • Concession €70 • Individual €80 • Family €100; • Patron of Irish Art €450 • Corporate €650 To buy or for more information, telephone +353 (0)1 661 9877, email: friends@ngi.ie www.nationalgallery.ie/supportus

THURSDAY 4 DECEMBER 2014

Give a Gift of Membership of the Friends of the National Gallery of Ireland, which may be enjoyed all year round. Membership combines fine art with a wealth of benefits including access to the Friends’ Room in No.5 South Leinster Street, Dublin: Free Weekly Gallery Tours; Exclusive Previews; Lectures; Day Outings, Trips Overseas and getting to know like-minded people with an interest in the visual arts.

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DUBLIN & PROVINCIAL EVENING SALE AT DURROW

A Gallery of Pictures

Two Winged Angels in Profile, 1924 (detail), Harry Clarke, Irish, 1889-1931 Oil on canvas, 193 x 86 cm. Photograph © National Gallery of Ireland.

IRISH AUCTION HOUSE

Lot 1940: Michael Flatley, Rossmore Island, Mixed media on board, 106 x 104 cm.

A Gallery of Pictures

THURSDAY 4 DECEMBER 2014 AT 7:00PM

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IRISH AUCTION HOUSE

sheppards FRONT COVER Lot 1940: Michael Flatley Rossmore Island Mixed media on board 106 x 104 cm. €20,000 - 30,000

SALE PREVIEW Saturday 29 November 10:00 - 5:00 p.m.

Sunday 30 November 10:00 - 5:00 p.m.

Monday 1 December 10:00 - 5:00 p.m.

SALE-DAY Thursday 4 December 7PM GMT REMOVAL OF GOODS Strictly not later than 4:00pm Thursday 11 December 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 ENQUIRIES: Michelle Brophy +353 (0)57 874 0000 michelle@sheppards.ie POSTMASTER: send address changes to: Sheppard’s Irish Auction House The Square, Durrow Co. Laois, Ireland CATALOGUE: Admission by catalogue only €20.00 (admits two adults) FULLY SEARCHABLE eCATOLOGUE: www.sheppards.ie 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

DUBLIN & PROVINCIAL EVENING ART SALE A Gallery of Pictures DURROW, CO. LAOIS

Thursday 4 December 2014 7PM GMT

2PM EST 3AM CST

; BID LIVE VIA

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

DURROW • COUNTY LAOIS TEL: + 353 (0) 57 874 0000 FAX: + 353 (0) 57 873 6546

1976: Augustus Burke R.H.A., (1838­1891) Breton Reapers Signed Oil on canvas 80 x 64 cm.

Exhibited RHA, 1877, No. 175, £50 €15,000 ­ 25,000

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1901 Charles Napier Kennedy, (1852­1898) Young woman with flowers at a grotto Signed oil on panel 20 x 13 ¾ inches 50 x 35 cm. €800 ­ 1,200 Charles Napier Kennedy was a Victorian artist of portraits, genre and mythological subjects. He studied at the Slade School of art. He commenced exhibiting at the Royal Academy in 1872. He was made an Associate of the Royal Hibernian Academy in 1896. He exhibited 18 works at the Royal Academy, 10 at the Royal Hibernian Academy, 12 at the Walker Art Gallery, Liverpool and 8 at the New Gallery. His works can be seen at the National Gallery of Ireland, Manchester City Art Gallery and the Walker Art Gallery, Liverpool.

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1902 English School Nineteenth­century Young shepherd and two young girls feeding a lamb Signed oil on canvas 65 x 50 inches 165 x 126 cm. €3,000 ­ 5,000

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1903 Attributed to John Singleton Copley, RA (1738­1815) Portrait of a gentleman Pencil and charcoal on grey paper 14 x 11 inches 35.5 x 27 cm. €1,500 ­ 2,500 Copley, one of the foremost portrait painters of the eighteenth­century, 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 well­known for his large histori­ cal 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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1904 Charles Cousin, (1904­1972) Venice lagoon Oil on canvas 20 x 24 inches 51 x 61 cm. €1,500 ­ 2,500

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1905 Attributed to John James Hill, (1811­1822) Returning home Connemara Oil on canvas 11 x 19 inches 28 x 48 cm. €3,000 ­ 4,000

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1906 Charles Taylor, Jnr., (fl. 1843­1866) Two watercolours Framed in matching frames A three master returning to port after a storm Signed 15¾ x 30 inches 40 x 71 cm.

A three master in full sail 14¼ x 18¼ inches 36.5 x 46.5 cm. €1,500 ­ 2,000 Charles Taylor was a watercolour artist who painted views on the Thames, Yarmouth and Portsmouth. His works were known for their technical accuracy. He worked with the lithographer Thomas Goldsworth Dutton (circa 1819­1891). He exhibited four works at the Royal Academy, eight at the British Institution, and fifty­one at Suffolk Street. His works can be seen at the National Maritime Museum, Greenwich.

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1907 Ernest Gambier­Parry, OBE., (1853­1936) Suffolk Salt Marshes Oil on panel Signed, dated and inscribed on reverse: Sufflolk Salt Marsh. E. Gambier Parry 1904 also signed on the front, lower left 5½ x 9¼ inches; 14 x 23.5 cm.

5 x 8½ inches; 12.75 x 21.5 cm.

Suffolk Salt Marshes Signed with initials on the reverse, dated 1903 5½ x 9¼ inches; 14 x 23.5 cm.

5 x 8½ inches; 12.75 x 21.5 cm. €400 ­ 600 Major Ernest Gambier­Parry, OBE (25 October 1853 ­ 15 April 1936) was a British mili­ tary officer who participated in an expedition to the Sudan in 1885. However, the wounds he sustained in that campaign ended his military career. Gambier­Parry was an accomplished musician and artist. Son of Thomas Gambier Parry, a renowned col­ lector of early Italian works of art whose collection was eventually bequeathed to the Courtauld Institute of Art. He exhibited several works of art at the Royal Academy, London.

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1908 Follower of Ben Marshall, (1768­1835) Two hunters with a groom in a landscape setting Oil on canvas 25 x 29½ inches 61 x 75 cm. €1,500 ­ 2,500

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1909 Dutch School Seventeenth­century Two boors drinking in an interior Oil on panel 4¾ x 4 inches 12 x 9 cm. €200 ­ 300

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1910 Markey Robinson, (1918­1999) Trees in a landscape Signed mixed media on card 8½ x 11 inches 21.5 x 28 cm. €400 ­ 600 Provenance: Belfast, 1997/98. Markey Robinson was present at the auction and died the following year, January 28, 1999. The auction featured his own personal collection of favourites, that he still owned at that stage.

Robinson was a painter, sculptor and stained glass designer. He was born in Belfast and trained at the Belfast College of Art. His paintings for the most part depict land­ scape scenes in Ireland, but he also painted marine and still­life subjects. He became widely known to the public and art critics with over twenty one­man exhibitions at the Oriel Gallery in Dublin. He also exhibited at the RHA.

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1911 English School, circa 1800s Three dogs in an interior Oil on canvas 17¼ x 22¾ cm.

44 x 58 cm. €400 ­ 600

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1912 Anne­Louis Girodet de Roussy­Trioson, (1767­1824) Thesius entering the lair of the minotaur (recto) Full length study of a male nude (verso) Charcoal and grey wash heightened with white gouache A double­sided sheet Inscribed TL on the reverse French watermark paper 17¼ x 21¾ inches 44 x 55.5 cm. €800 ­ 1,200 Girodet, born in Montargis, was one of the principal painters of the Napoleonic era.

He was a pupil of Jacques­Louis David. He travelled to Rome, circa 1789 and remained there until 1795. He first exhibited at The Paris Salon in 1793. He was first and fore­ most a history painter and in 1810 was awarded a prize for the finest history painting of the past decade. He was employed by Napoleon to decorate the Imperial Apartments at Compiegne and provided illustrations for editions of the writings of Virgil and Racine. Works by Girodet can be seen in The Louvre, The Hermitage, St. Petersburg, The Rijksmuseum, Amsterdam, The J. Paul Getty Museum, Los Angeles, and the Metropolitan Museum of Art, New York. the Musee Girodet at Montargis hold a large collection of his work, including a similar male nude drawing of circa 1783­90. A reclining male nude, circa 1793 is in the Metropolitan Museum, New York.

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1913 Follower of John Constable, (1776­1837) The new shoes Portrait of a young boy seated in a landscape trying on shoes Oil on canvas (unlined) 12 x 10 inches 31 x 25.5 cm. €800 ­ 1,200

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1914 Attributed to Simone Cantarini, (1612­1648) The Mystic Marriage of St. Catherine Oil on canvas 26 x 22 inches 67 x 56 cm. €2,000 ­ 3,000

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1915 Italian Renaissance Sixteenth­century The Madonna lactens

Polychrome gesso bas relief panel 17¾ x 14½ inches 45 x 37 cm. €2,500 ­ 3,500

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1916 Markey Robinson, (1918­1999) The Madonna and child Signed mixed media on card 9½ x 11 inches 24 x 28 cm. €400 ­ 600 Provenance: Belfast, 1997/98. Markey Robinson was present at the auction and died the following year, January 28, 1999. This auction featured his own personal collec­ tion of favourites that he still owned at that stage.

Robinson was a painter, sculptor and stained glass designer. He was born in Belfast and trained at The Belfast College of Art. His paintings for the most part depict land­ scape scenes in Ireland, but he also painted marine and still­life subjects. He became widely known to the public and art critics with over twenty one­man exhibitions at The Oriel Gallery in Dublin. He also exhibited at the RHA.

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1917 Follower of Nicolas Mignard, (1606­1688) The Madonna and child Oil on copper 9½ x 7¼ inches 24 x 18.5 cm. €400 ­ 600

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1918 A. Roland Knight (fl. 1880­1920) The Final Rise Oil on academy board Signed 17¾ x 22 inches 45 x 56 cm. €1,500 ­ 2,000

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1919 Alfred Pollentine, 1836 ­ 1890 The Dogana Venice Oil on canvas 20 x 30 inches 51 x 76 cm. €3,000 ­ 5,000 Pollentine was a painter of marine and coastal scenes but is primarily known for his popular views of Venice. He exhibited two works at the British Institution and 23 at Suffolk Street, London. Examples of his works can be seen at the Laing Art Gallery, Newcastle.

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1920 William Shayer, (1787­1879) The cottage pie Oil on canvas 17¾ x 16 inches 45 x 41 cm. €400 ­ 600 William Shayer was painter of landscapes, genre and coastal scenes. He first trained as a coach­painter. He worked in Chichester until 1810 when he returned to his native Hampshire. Throughout his career he painted local scenes, the coast around Southampton and woodland scenes in The New Forest. He exhibited 6 works at the Royal Academy, 82 at the British Institution, and 338 at Suffolk Street. His works can be seen at the Victoria & Albert Museum, the Fitzwilliam Museum, Cambridge. York Art Gallery and Southampton Art Gallery.

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1921 Markey Robinson, (1918­1999) The Clown Signed mixed media on card 12½ x 10¼ inches 26 x 32 cm. €400 ­ 600 Provenance: Belfast, 1997/98. Markey Robinson was present at the auction and died the following year, January 28, 1999. This auction featured his own personal collec­ tion of favourites that he still owned at that stage.

Robinson was a painter, sculptor and stained glass designer. He was born in Belfast and trained at the Belfast College of Art. His paintings for the most part depict land­ scape scenes in Ireland, but he also painted marine and still­life subjects. He became widely known to the public and art critics with over twenty one­man exhibitions at the Oriel Gallery in Dublin. He also exhibited at the RHA.

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1922 Michael Angelo Hayes, RHA., (1820­1877) The Battle of Sobraon, 1846 Watercolour 20 x 30 inches 51 x 76 cm. €1,000 ­ 1,500 Michael Angelo Hayes was the son and pupil of Edward Hayes, the Irish portrait painter. He specialised in racing and military subjects and first exhibited at the RHA in 1837. In 1842 he was appointed Military Painter­in­Ordinary to The Lord Lieutenant.

He worked for a time in London before returning to Dublin and became a full Member of the RHA in 1854. He worked in oil and watercolours, also executing some miniatures. Hayes exhibited 50 works at the RHA from addresses in Westmorland St. and Adelaide Road. His large exhibition water­colour of The Battle of Aliwal (1846) is in the collection of the National Army Museum, London.

The Battle of Sobraon took place on 10th February 1846, between the forces of The East India Company and The Sikh Army. The Sikhs were defeated. This was the deci­ sive battle of The First Anglo­Sikh War. Lieutenant­General Sir. Joseph Thackwell (1781­1859), 3rd Light Dragoons was in command of the cavarly at Sobraon. Shortly after the battle, on November 9th 1846, he was promoted to Major­General. After an illustrious career in the army, Thackwell died on 8th April 1877 at Aghada Hall, Co. Cork.

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1923 George Allsop, circa early­1800s The barn door Oil on panel Signed, inscribed with title, dated 1839 In contemporary frame 9¼ x 12 inches 23.5 x 30.5 cm. €400 ­ 600

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1924 William Duffield, (1816­1863) Still life of grapes, apples, a melon and plum on a table Oil on canvas Enclosed in a gilt frame Signed and dated 1849 21¼ x 17¼ inches 54 x 43.5 cm. €800 ­ 1,200 William Duffield was born in Bath, and was a student of the still­life painter George Lance, he painted still­life subjects and also portraits. Duffield exhibited ten works at the Royal Academy and 30 at the Society of Artists, Suffolk St. His wife was also a still­ life painter and they sometimes collaborated. Paintings by Duffield can be seen at the Victoria Art Gallery, Bath and the Leicester Art Gallery.

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1925 Mildred Anne Butler, RA RWS., (1858­1941) Shady pasture Watercolour Signed 4¾ x 7 inches 12 x 18 cm. €1,500 ­ 2,000 Provenance: Wellesley Ashe Gallery, South Frederick St., Dublin Mildred Anne Butler was raised at Kilmurry, Co. Kilkenny. Her father Captain Edward Butler, (1805­1881) was an accomplished watercolourist. Butler studied in London under Paul Jacob Naftel, (1817­1891) and in 1881 she began to exhibit at the Dudley Gallery, Piccadily. She also exhibited at The New Watercolour Society. In 1894 she moved to the artist colony at Newlyn, Cornwall where she worked with Norman Garstin and Stanhope Forbes. On her return to Kilmurry, she painted and exhibited many watercolours of garden scenes and bird studies. A cache of her work was dis­ covered at Kilmurry after her death and sold at auction with considerable success.

She exhibited 7 works at the Royal Academy, London. Examples of her work can be seen in the National Gallery of Ireland. A miniature watercolour was commissioned for Queen Mary’s Dolls House.

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1926 Abraham Bisschop, (1670­1729) Poultry in a landscape with an earthenware container in the foreground Oil on canvas Signed and dated 1684 20 x 26½ inches 51 x 67.5 cm. €3,000 ­ 5,000 Abraham was the youngest son of Cornelis Bisschop (1630­1674). He was registered with The Guild of Middelburg in 1715. He was primarily known for his paintings of exotic birds and domestic fowl. Some of these were painted on a large scale and were commissioned by wealthy Dutch merchants for use as wall panels

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1927 Martin Cregan, PRHA., (1788­1870) Portrait of Mary Redmond Oil on canvas 29 x 24 inches 75 x 62 cm.

Exhibited: RHA 1828 No.10 €1,000 ­ 1,500 Provenance: Sir Thomas Nicholas Redington KCB, 1815­1862, Kilcornan House, Co. Galway At an early age, Martin Cregan was sent to study drawing at the Dublin Society’s School. He showed great promise and as a result was sent to London and entered The Studio of Sir Martin Archer Shee. He first exhibited at The Royal Academy in 1812 and was a friend of the principal artists of the day, including John Constable and Sir Edwin Landseer. In 1822, he returned to Dublin and became one of the original Members of The Royal Hibernian Academy. He contributed to the opening exhibition in 1826 and continued to exhibit regularly until his death. In total, Cregan showed 346 works. His subjects included portraits of Arthur Guinness, The Dukes of Northumberland and Leinster, and Viscount Bangor. He also exhibited 37 works at the Royal Academy and 6 at The British Institution. He was elected a Life Member of the RDS and served on the Fine Arts Committee from 1834 to 1854. A portrait of Cregan by Sir George Hayter is in the National Gallery of Ireland, alongside six of his own portraits.

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1928 Attributed to Sir Godfrey Kneller, (1646­1723) Portrait of Mary Haye in a landscape setting with an arrangement of flowers Oil on canvas 30 x 25 inches 76 x 61 cm. €1,500 ­ 2,000

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1929 Manner of Daniel Mytens Portrait of Henry Wriothseley, Earl of Southampton Oil on canvas, laid on board 11¼ x 8¼ inches 28.5 x 20.5 cm. €800 ­ 1,200 Henry Wriothesley, 3rd Earl of Southampton, (1573­1624) The Earl of Southampton was an Elizabethan, courtier, soldier, and Patron of Poets, particularly William Shakespeare. Shakespeare’s two poems, Venus and Adonis and The Rape of Lucrece were dedicated to Southampton. He is generally accepted to be the “Fair youth” of Shakespeare’s sonnets. In 1581, Southampton inherited the Earldom. In 1585, he entered St. John’s College, Cambridge, and Gray’s Inn in 1588.

He was a courtier in the entourage of Queen Elizabeth the 1st. In 1603 he was made a knight of The Garter. After he was a member of the Court of King James 1st. He took part in the expedition to Virginia in 1605. He died of fever in Holland while in charge of the English volunteer contingent helping the Dutch against the Spanish Forces.

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1930 Rosa Corder, (1853­1893) Portrait of Fred Archer seated wearing a black suit and pearl cravat pin Oil on canvas Contained in a 'Watts type' frame Signed and dated 1883 26 x 24 inches 66 x 61 cm. €3,000 ­ 5,000 Rosa Corder, (1853­1893) Rosa Frances Corder was a painter of portraits and racehorse scenes. She studied under Felix Moschelles and Frederick Sandys and had a studio in London and Newmarket. She was described by the famous actress, Ellen Terry as “one of those plain beautiful women who are far more attractive than some of the pretty ones. She had wonderful hair like a fair pale veil, a white waxen face and a very good figure.”

Corder was a friend of the great American artist, James McNeill Whistler (1834­1903).

His full­length portrait of her “Arrangement in Black & Brown” is one of the treasures of the Frick Collection, New York. Works by Corder are in the Walker Art Gallery, Liverpool and Keble College, Oxford.

Fred Archer, (1857­1886) Fred Archer has been described as the greatest flat race jockey of all time. He won a total of 3728 races, including The Derby on five occasions, The St. Leger six times, The Oaks four times, The 1,000 Guineas twice, and the 2,000 Guineas four times. He won the most prestigious race in France, the Prix du Jockey Club, in 1880 and 1883. He was Champion Jockey from 1871 to 1886. Half of his classic wins were on horses owned by Lord Falmouth. Like Rosa Corder, he lived in Newmarket, Cambridgeshire, the centre of equestrian sport in England.

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1931 William Gillard, (circa 1812­1897) Portrait of a young girl holding a posy Oil on canvas, unlined Signed on the reverse with the artists address: 33 Lower Abbey Street, Dublin 22½ x 19 inches 58 x 48 cm. €400 ­ 600 William Gillard was a painter of landscapes, portraits and still­life subjects. He worked in Chester and Liverpool. He was resident in Dublin in 1860, in Belfast in 1864, and again in Dublin from 1866 to 1870. He exhibited a total of 72 works at the RHA between 1831 and 1876. He was resident at 60 Middle Abbey St., Dublin between 1869 and 1870.

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1932 Attributed to George Henry Harlow, (1787­1819) Portrait of a young gentleman, wearing a brown jacket and cravat in a landscape set­ ting Oil on canvas 30 x 25 inches 76 x 64 cm. €1,500 ­ 2,500

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1933 After Anthony van Dyck, (1599 ­ 1641) Portrait of a Stuart gentleman in a landscape setting Oil on canvas 24 x 20 inches 61 x 51 cm. €500 ­ 700

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1934 Thomas Temple (fl. 1865­1871) Portrait of a stallion in a stable Oil on canvas Signed 16 x 24 inches 60 x 40 cm. €1,000 ­ 1,500 By family repute, this a portrait of the racehorse Isinglass.

See Sally Mitchell's Equestrian Artists, page 421.

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1935 John Paul, (1830­1890) Portrait of a stallion in a stable Oil on canvas Signed 25 x 29½ inches 64 x 74 cm €2,000 ­ 3,000 John Paul, son of the Norwich landscape artist Joseph Paul, (1804­1887), was most notable for his equestrian paintings. See Sally Mitchell Equestrian Artists, page 345

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1936 Follower of Kees van Dongen, (1877­1968) Portrait of a society lady, wearing a black gown, string of pearls, and solitaire emerald ring Oil on canvas, unlined 25½ x 19½ inches 65 x 49.5 cm Painted on a canvas supplied by Sennelier, Quai Voltaire, Paris, circa 1920 Maison Sennelier have confirmed the dating of this canvas.

Van Dongen famously said, "you just paint women smaller and their jewellery bigger" €3,000 ­ 5,000

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1937 Attributed to Thomas Hickey, (1741­1824) Portrait of a mother and child Oil on canvas Enclosed in a contemporary giltwood frame 18½ x 16 inches diameter 47 x 40.5 cm. diameter Ward family book plate verso with the motto sub cruce salus­salvation under the cross, pertains to the Viscounts Bangor of Castle Ward, Co.Down €2,000 ­ 3,000

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1938 Charles Gomien, circa 1867 Portrait of a lady Oil on canvas Signed and dated 1867 36 x 30 inches 91 x 71 cm. €3,000 ­ 4,000 Charles Gomien was a French portrait artist and a pupil of Paul Delaroche. He entered L’Ecole des Beaux­Arts in Paris in 1828 and exhibited at the Paris Salon from 1831 to 1875. Gomien enjoyed great success as a portrait painter to the nobility and gentry of France and also painted miniatures. An exhibition of his works was held in his home­ town, Villers­les­Nancy in 2008.

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1939 Hugh Douglas Hamilton, (1740­1808) Portrait of Lady Believed to be Elizabeth Harriet Warren, (circa 1760­1826) Pastel and crayon 9.5 x 8 inches 24 x 20 cm. €1,200 ­ 1,500 Elizabeth Harriet Warren, (circa 1760­1826), after Viscountess Bulkeley of Cashel.She married Thomas James Warren­Bulkeley,7th Viscount Bulkeley of Cashel.Her portrait was also painted by Sir Joshua Reynolds.

Hugh Douglas Hamilton, born in Dublin, was one of the foremost portrait painters in Ireland in the eighteenth­century. He first studied under Robert West before moving to London in 1764, where he soon established himself as one of the most fashionable portrait painters of the day. Usually, he favoured pastel and chalk works, which were normally of an oval format and of small dimensions, typically 9 by 7 inches. These pas­ tel portraits were recognised at the time, for their quality of execution and accuracy in depicting the sitters. Hamilton was patronised by the Royal Family, the aristocracy and politicians of the day. In 1799, Hamilton travelled to Italy where he remained for 12 years. Here he was encouraged by John Flaxman to paint in oil colours. He painted portraits of The Grand Tour visitors to Rome, and local dignitaries, such as Charles Edward Stuart, The Earl Spencer and The Countess Cowper. He returned to Dublin in 1791 and continued to practice as an eminent portrait painter. His sitters included The Earl of Charlemont, The Earl of Clonmel, Richard Dawson, Lord Edward Fitzgerald, and various members of The La Touche Banking Family. His works can be seen in the National Gallery of Ireland, the Ulster Museum, the National Portrait Gallery, London, and the National Gallery of Scotland

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1940 Michael Flatley (1958­ ) Rossmore Island Mixed media on board Signed 41¾ x 41 inches 106 x 104 cm. €20,000 ­ 30,000 The painting, which successfully pushes the boundaries of contemporary art, reflects the artist’s ongoing engagement with the Great Famine, a tragedy that decimated Ireland during the second quarter of the nineteenth­century. The ghostly landscape of a once vibrant island now devoid of people, lends its name to the title.

Icy blue waters make up the torrents of waves that crash against the Kerry coast: waves that have carried both the living and the dead. The work explores a sea of plenty that simultaneously teased and tormented the famine­stricken land.

Broad strokes of blue run diagonally and horizontally in an endless flow of tears that merges with a sea obliterating the amber richness of the land. The dark black beneath serves to symbolise the plagued and tortured islanders as they struggle to escape from the vice­grips of death. The mighty sea beguiles the living as the relentless waves – like sinister hands of greed – snatch mercilessly from the island.

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1941 Follower of Sir Godfrey Kneller, (1646­1723) Portrait of a gentleman wearing a wig and a russet gown In a painted oval Oil on copper 15 x 12 inches 38 x 30.5 cm. €400 ­ 600

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1942 Egbert van der Poel, (1621­1664) Oyster stall Oil on copper 12 x 10 inches 30 x 25 cm. €800 ­ 1,200 Egbert van der Poel was the son of a Delft goldsmith and the brother of Adriaen van der Poel. He painted landscapes, marine, architectural, genre and nocturnal scenes. He was a student of Cornelis Saftleven. Examples of his work can be seen in the National Gallery of Ireland and National Gallery, London. The Detroit Institute of Arts and the Stadel Museum, Amsterdam.

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1943 Thomas Edwin Mostyn, (1864­1930) On the Samule, Longpree Oil on canvas, unlined Signed 20 x 27 inches 51 x 88.5 cm. €800 ­ 1,200 Thomas Edwin Mostyn painted landscapes, portraits, and genre scenes. He was born in Liverpool and raised in Manchester. He studied at the Manchester Academy of Fine Arts and first exhibited at the Royal Academy in 1893. In 1918 he moved to Devon where he concentrated on painting enchanting garden scenes. During the 1920s the Fine Art Society of Bond Street mounted a series of one­man exhibitions of his work, which proved very popular with both critics and the public. He also exhibited at The Paris Salon and The Carnegie Institute in Pittsburgh, 36 works at the Royal Academy, 4 at the RHA and 223 at the Fine Art Society. Examples of his work can be seen in the Manchester Art Gallery, the Laing Art Gallery, Newcastle, and the Walker Art Gallery in Liverpool.

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1944 Spanish Colonial School Eighteenth­century The arrival of Mark Anthony Oil on canvas 73 x 96½ inches 185 x 245 cm. €8,000 ­ 12,000

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1945 Spanish Colonial School Eighteenth­century Cleopatra in a palace interior with numerous attendants Oil on canvas 73 x 96½ inches 185 x 245 cm. €8,000 ­ 12,000

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1946 Follower of Maurice Utrillo, (1883­1955) Notre Dame de Clignancourt, sous la neige Oil on canvas, laid on panel 8¼ x 10½ inches 20.5 x 26.75 cm. €400 ­ 600

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1947 After J.M. W. Turner, (1775 ­ 1851) View of Venice, Bacino di San Marco Nineteenth­century English School Oil on canvas 23¾ x 35½ inches 60 x 90 cm. €1,500 ­ 2,000

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1948 Follower of Cornelius van Poelenburgh, (1594­1667) Landscape with classical urns and figures Provenance: Kilcooley Abbey, Tipperary, Inventory no. KY 79 Oil on panel Enclosed in a contemporary carved giltood frame 7½ x 9¼ inches 19 x 23.5 cm. €400 ­ 600

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1949 Alfred­Arthur­Brunel de Neuville, (1851­1941) Kittens with saucer of milk Oil on canvas 18 x 15½ inches.

46 x 39 cm. €4,000 ­ 6,000 Brunel de Neuville was a French painter of domestic animal subjects, cats and dogs.

He also painted still­lives featuring fruit and flowers. He was born in Paris. He exhibit­ ed at the Societe des Artistes Francais from 1879, before becoming a full Member in 1907. His works can be seen in the Museums of Beziers, Brest and Louviers.

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1950 French School, circa 1590 Head of Christ Oil on copper, with a gold ground Verso preparatory work, portrait of a French Monarch 8 x 5¾ inches 20.5 x 15 cm. €8,000 ­ 12,000

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1951 Circle of Thomas Gainsborough, FRSA., (1727­1788) Half length portrait of a gentleman wearing a blue jacket and gold waistcoat, in a painted oval Oil on canvas, contained within a carved limewood frame 30 x 25 inches 76 x 64 cm. €2,000 ­ 3,000 Provenance: Harris & Sons, Plymouth, 13 March 1934 Mr W.R.Fox Christies, 2 August 1956

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1952 Sean McSweeney, HRHA (1935­) Gray house, Lugglass Signed oil on canvas, dated and inscribed verso, no.68 Exhibited Art Council of Ireland, Exhibited aspects of landscape by Irish artists, no. 16 Provenance: The Dawson Gallery, Dublin 40 x 43½ inches 100 x 110 cm. €2,500 ­ 3,500 Sean McSweeney was born in Dublin in 1935. Despite having no formal training as an artist, he began exhibiting in the 1960s and had numerous one­man shows at the Dawson Gallery,the Taylor Gallery in Dublin, and the Kenney Gallery in Galway. His works have been included exhibitions in London (Austin Desmond Fine Art Gallery) and the Fenderesky Gallery in Belfast.

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1953 Gaston Hippolyte Boucart, (1878­1962) Grand canal a Venise Oil on canvas signed 11 x 14 inches 28 x 36 cm. €1,600 ­ 2,200 Boucart was a French painter, etcher and lithographer. He is primarily known for his brightly coloured depictions of Venice. He also painted French port scenes.

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1954 George Barret, R.A., (1730­1784) Glen of the downs ­ a wooded river landscape with sheep, goats in the foreground, a cottage and distant mountains Oil on canvas 32 x 40 inches 81.5 x 102 cm. €3,000 ­ 5,000 George Barret was one of the most renowned Irish landscape painters of the eigh­ teenth­century. He was born in Dublin and commenced his studies at the Royal Dublin Society. His early work consisted of topographical scenes, mostly in County Wicklow, notably his large views of the Powerscourt Estate. He also painted Romantic land­ scapes, showing the Irish landscape in all its natural glory. He moved to England and was employed by the Landed Gentry to depict their estates. He worked in Scotland and produced a set of paintings for the Duke of Buccleuch, which remain with the family to this day. He was a founding member of The Royal Academy, showing 31 works at their Annual Exhibition, and also, exhibited at the Society of Artists and the Free Society. On the recommendation of Edmund Burke, Barret became Master Painter of the Chelsea Hospital. He was greatly influenced by the Dutch painters of the “Golden Age”, notably Jacob Isaacksz van Ruisdael. Barret’s works can be seen in the National Gallery of Ireland, the Victoria and Albert Museum, and the Walker Art Gallery, Liverpool, and in the collections of the stately homes of Ireland, England, and Scotland.

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1955 Hermann David Salomon Corrodi, (1844­1905) Girl with scythe Oil on canvas Signed and inscribed Rome 21¼ x 17¼ inches 54 x 44 cm. €3,500 ­ 5,500 Hermann David Salomon Corrodi was an Italian painter of coastal scenes, Italian genre and orientalist subjects. He studied at the Academy of St.Luke, Rome and in Paris. He was commissioned to paint mythological scenes for the British Royal Family and paint­ ed works for European Royalty. He enjoyed a friendship with Queen Victoria. He paint­ ed in the Far East, Egypt and Istanbul. He became Professor of the Academy of St.Luke, Rome. His paintings can be seen in the Dahesh Museum of Art, New York and the Qatar National Museum.

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1956 Jean­Paul Haag, (1854­1906) Girl with doll Oil on canvas Signed 10½ x 8¼ inches 27 x 21 cm. €3,000 ­ 4,500 A French artist of portraits and genre scenes, normally on a small­scale and mostly painted on panel.

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1957 Follower Jacob Van Ruisdael, (1629 ­ 1682) Seventeenth­century Dutch School Figures in an extensive landscape Boating party in the foreground, with a village in the distance Oil on panel 21 x 32½ inches 54 x 83 cm. €800 ­ 1,200

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1958 Paul Hannaux, (1897­1954) Flowers in vase Oil on canvas Signed and dated 1939 39¼ x 25½ inches 100 x 65 cm. €2,000 ­ 3,000 Paul Hannaux was a painter, illustrator and decorator. He studied at L’Ecole des Beaux­Arts in Paris. He was awarded the Prix de Rome in 1924. He was influenced by the painterly technique of Oscar Kokoschka (1886­1980). He made numerous painting trips to Spain and also travelled to North Africa, South America, Italy and Yugoslavia.

His work can be seen in the Museums of Paris, Metz, Madrid, Rio de Janeiro, Cologne, and Salzburg.

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1959 François Louis Joseph Watteau, (1758­1823) Figures dancing and sitting outside an inn Watercolour, heightened with gouache Enclosed in a gilt frame 8 x 11 inches 20 x 28 cm.

Huntsmen resting outside an inn Watercolour, heightened with gouache Enclosed in a gilt frame 8 x 11 inches 20 x 28 cm. €600 ­ 800 Provenance: Thos. Agnew & Son, Ltd, Old Bond Street, London, No. 24921 and 24922

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1960 Jean­Baptiste Huet, (1745­1811) Fashionable figures in an idyllic river landscape Watercolour heightened with gouache Signed and dated 1779 14 x 17¼ inches 35 x 44 cm. €1,200 ­ 1,600 Provenance: Thos, Agnew & Sons Ltd, Old Bond Street, London, No. 24914 Jean­Baptiste Huet was a painter and engraver of landscapes and figure subjects in the Rococo fashion, and commenced exhibiting at the Paris Salon in 1769, many of his works show the influence of François Boucher. In the 1780s he was working on tapes­ try designs at Beauvais and Gobelins. Ten of his tapestries are in the Louvre, Paris.

Examples of his paintings can be seen in the Louvre Museum, Paris, the Metropolitan Museum, New York, the National Gallery, Washington, the Victoria and Albert Museum and the Courtauld Institute of Art, London.

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1961 Ernest Walbourn, (1871­1927) Farm with a young lady at a duck pond Oil on canvas (unlined) Signed 24 x 36 inches 61 x 91.5 cm. €2,000 ­ 3,000 Ernest Walbourn was a Victorian landscape painter, specialising in cottage and farm scenes. These paintings were mostly set around Chingford in Essex. He exhibited 9 works at the Royal Academy, 12 works at the Royal Society of Artists, Birmingham, and 6 at the Walker Art Gallery, Liverpool. Walbourn’s wife, Eva, was a proficient land­ scape painter and features in many of his paintings. Works by Walbourn can be found at the Bolton Art Gallery, the Kirklees Museum, and Herbert Art Gallery, Coventry.

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1962 Lionel Edwards, (1878­1966) and Lance Thackeray, (1869­1916) Every Couple is Not a Pair Every Dog Has its Day Last But Not Least Fools Rush in Where Angels Fear to Tread Set of 4 Ink and watercolour Each signed by both artists In original oak frames Each 12¼ x 19¼ Each 31 x 49 cm. €4,000 ­ 6,000 Lionel Edwards, (1878­1966) Lionel Edwards was born in North Wales. He enrolled in the Heatherly School of Fine Art. At the age of nineteen he became the youngest Member of The London Sketch Club. He became a Member of the Royal Cambrian Academy of Art in 1926 and the Royal Institute in 1927. He worked almost entirely in watercolour. Between 1925 and 1966 he wrote and illustrated nearly thirty books on sporting subjects, mainly featur­ ing equestrian sport. He also provided designs for Punch and The Graphic. He exhibit­ ed at the Royal Academy, the Royal Cambrian Academy, 41 works, and 38 pictures at the Royal Institute.

Lance Thackeray, (1869­1916) Lance Thackeray was born in Darlington. He was a founding member of the London Sketch Club. He produced the designs for over 950 postcards, working for Raphael Tuck & Sons of London. He published The Light Side of Egypt in 1908, which contains 36 humorous illustrations of daily life there. He had a studio in Chelsea at 169 Ebury Street and collaborated with Lionel Edwards painting watercolours of sporting subjects racecourse, billiards and golf. He exhibited 2 works at the Royal Academy, 60 at the Fine Art Society of Bond Street, 72 at The Leicester Gallery, 39 at the Royal Society of British Artists and 112 at Walker’s Gallery, London.

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1963 Limoges

Late seventeenth­century Profile portrait of Christ Oval enamelled panel 4.75 x 3½ inches 12 x 9 cm Enclosed in a contemporary panelled frame €1,500 ­ 2,500

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1964 Indian School Eighteenth­century Boar hunting Lion hunting Each painting on silk 18½ x 13¾ inches 47 x 34 cm. €1,000 ­ 1,500

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1965 Mildred Anne Butler, RA RWS., (1858­1941) Ducks Pencil sketch 10 x 17¼ inches 25 x 44 cm. €800 ­ 1,200 Provenance: Cynthia O'Conner & Co., Kildare St. Dublin Mildred Anne Butler was raised at Kilmurry, Co. Kilkenny. Her father Captain Edward Butler, (1805­1881) was an accomplished watercolourist. Butler studied in London under Paul Jacob Naftel, (1817­1891) and in 1881 she began to exhibit at the Dudley Gallery, Piccadily. She also exhibited at the New Watercolour Society. In 1894 she moved to the artist colony at Newlyn, Cornwall where she worked with Norman Garstin and Stanhope Forbes. On her return to Kilmurry, she painted and exhibited many watercolours of garden scenes and bird studies. A cache of her work was dis­ covered at Kilmurry after her death and sold at auction with considerable success.

She exhibited 7 works at the Royal Academy, London. Examples of her work can be seen in the National Gallery of Ireland. A miniature watercolour was commissioned for Queen Mary’s Dolls House.

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1966 Follower of John Hoppner, (1758­1810) Portrait of a gentleman, wearing a brown jacket and white cravat Oil on canvas In a carved giltwood frame 30 x 25 inches 76 x 64 cm €800 ­ 1,200

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1967 Attributed to Firmin Massot, (1766­1849) Family portrait group, father, mother,and child with a dog in a landscape setting Oil on canvas 40 x 34 inches 102 x 86.5 cm. €3,000 ­ 5,000 Massot was a successful Swiss portrait and genre painter. He worked in Italy between 1787 and 1788 and while there, was a close friend of Jacques­Laurent Agasse, (1767­ 1849) and Wolfgang­Adam Topffer, (1767­1847). They often collaborated on works, one artist painting the portrait content, another the landscape background. In 1828, Massot made an extensive tour around England and received numerous commissions.

He exhibited at the Paris Salon. He exhibited in London in 1830 and 1836. In 1844 he was appointed Member Emeritus of the Societe des Arts.

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1968 English School Nineteenth­century Courting couple Oil on canvas 18 x 15¼ inches 46 x 39 cm. €2,000 ­ 3,000

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1969 Henry Milbourne, (1797 ­ 1826) Cattle and figures in a mountain landscape Oil on canvas Signed 22½ x 29 inches.

74 x 55 cm. €2,000 ­ 3,000 Milbourne was a landscape painter who painted views in Wales, Suffolk and Cornwall.

He exhibited 20 works at the Royal Academy and 15 at the British Institution. A bucolic landscape can be seen in the Auckland Art Gallery.

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1970 Markey Robinson, (1918­1999) Female nude Signed mixed media on card 9 x 14 inches 22.5 x 36 cm. €400 ­ 600 Provenance: Belfast, 1997/98. Markey Robinson was present at the auction and died the following year, January 28, 1999. This auction featured his own personal collection of favourites that he still owned at that stage.

Robinson was a painter, sculptor and stained glass designer. He was born in Belfast and trained at the Belfast College of Art. His paintings for the most part depict land­ scape scenes in Ireland, but he also painted marine and still­life subjects. He became widely known to the public and art critics with over twenty one­man exhibitions at the Oriel Gallery in Dublin. He also exhibited at the RHA.

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1971 Eugenio Zampighi, (1859­1944) Children with dog and puppies Oil on canvas Signed 40 x 25 inches 102 x 63 cm. €2,500 ­ 3,500 Eugenio Zampighi was an Italian painter, primarily of genre scenes. He entered the Academy of Fine Arts in Modena. He continued his studies first in Rome then in Florence. He enjoyed great success with his scenes of Italian daily life and gained an international reputation. His works can be seen in Museums in Italy, America and England.

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1972 Attributed to John Frederick Herring Jnr., (1820–1907) Beeswing, Chestnut race horse in a stable Oil on canvas Signed and dated 1818 and inscribed 11½ x 14 inches 29 x 36 cm. €800 ­ 1,200

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1973 Follower of Constant Troyon, (1810­1865) Cattle watering Oil on canvas 31½ x 40½ inches 80 x 103 cm. €4,000 ­ 6,000

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1974 F. Fahano Can­can dancers Oil on canvas Signed 24 x 20 inches 61 x 51 cm. €1,500 ­ 2,500

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1975 Charles Napier Kennedy, (1852­1898) Young woman carrying water jars Oil on panel Signed 20 x 13¾ inches 50 x 35 cm. €800 ­ 1,200 Charles Napier Kennedy was a Victorian artist of portraits, genre and mythological sub­ jects. He studied at the Slade School of art. He commenced exhibiting at the Royal Academy in 1872. He was made an Associate of the Royal Hibernian Academy in 1896.

He exhibited 18 works at the Royal Academy, 10 at the Royal Hibernian Academy, 12 at the Walker Art Gallery, Liverpool and 8 at the New Gallery. His works can be seen at the National Gallery of Ireland, Manchester City Art Gallery and the Walker Art Gallery, Liverpool.

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1976 Augustus Burke R.H.A., (1838­1891) Breton Reapers Oil on canvas Signed 31 ½ x 25 inches 80 x 64 cm.

Exhibited RHA, 1877, No. 175, £50 €15,000 ­ 25,000 Augustus Joseph Nicholas Burke was born into a landowning family in Co. Galway. He began his artistic career in London, and from 1863 exhibited at the Royal Academy.

Later, in 1871, he became a Member of the Royal Hibernian Academy. Burke resided in the Netherlands between 1870 and 1872, and in 1875 was one of the first Irish painters to move to Pont­Aven, France, to be followed by Aloysius O’Kelly, Stanhope Forbes, Walter Osborne (his pupil), Joseph Kavanagh, and Nathaniel Hill. Many paint­ ed­en plain air and showed the influences of French Realism in their works at the RHA’s Annual Exhibitions. Augustus Burke showed 16 Breton subject paintings at The RHA between 1876 and 1878. His scenes of Breton daily life reflect the influence of the great French Social Realist artist, Jean­François Millet (1814­1875), for example Millet’s paintings, The Angelus of 1857 (Musee d’Orsay, Paris) and The Gleaners, also of 1857 (Musee d’Orsay, Paris). His Breton figures are depicted with the same dignity, workers in the field carrying out their daily tasks. Augustus Burke exhibited a total of 149 works at the Royal Hibernian Academy. A portrait of him, by Alfred Grey, RHA, is to be found together with his own works in The National Gallery of Ireland. Burke’s other work, On the Feast Day of Notre Dame in Tremalo, Brittany is on display in the Royal Hibernian Academy, Dublin.

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1977 Flemish School Seventeenth­century Adoration of The Shepherds Oil on copper 5 inches diameter 12.75 cm. diameter €300 ­ 500

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1978 Follower of Sir Lawrence Alma­Tadema, (1836­1912) Young girl in classical costume resting on a marble bench, the sea beyond Oil on card 15¼ x 12½ inches 39 x 32 cm. €300 ­ 500

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1979 Frans Swagers, (1756­1836) Wooded landscape with driver and livestock crossing a bridge, a town beyond Oil on canvas Signed 26 x 39 inches 66 x 99 cm. €3,000 ­ 5,000 Frans Swagers, born in Utrecht, was a painter of pastoral and coastal scenes, normally including figures and animals. He painted in the Dutch romantic manner. His works seem to be divided between those executed in the Netherlands and his latter works painted in France. He died in Paris. A collection of his paintings is in the Bowes Museum, County Durham, England

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1980 Attributed to John Inigo Richards, (1731­1810) View of Gloucester with figures in the foreground Oil on panel 12½ x 16 inches 32 x 41 cm. €300 ­ 500

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1981 Frederick James Aldridge, (1850­1933) View of Dartmouth Harbour Watercolour Signed and inscribed on old label with title on reverse In original Watts­style frame 20 x 29½ inches 50 x 75 cm. €1,000 ­ 1,500 Aldridge was a watercolour artist who was born in Worthing, Sussex. He was based in the town for most of his life, founding the successful Aldridge Gallery. He painted scenes in Holland and Venice but was primarily known for his coastal scenes around England. He exhibited 12 works at Suffolk Street and 7 at the New Watercolour Society.

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1982 Attributed to Alexandre­François Desportes, (1661­1743) Still­life of birds, grapes in a blue and white porcelain bowl, and a façon de Venise on a stone ledge, a spaniel to the foreground Oil on canvas 33 x 26 inches 65 x 82 cm. €7,000 ­ 9,000 Desportes was the foremost French Painter of still­lives of the period. He enjoyed the Royal Patronage of King Louis X1V and The House of Bourbon, which lasted for nearly fifty years. Desportes was clearly influenced by Dutch still­life painters, most notably Frans Snyders (1579­1657). He worked at the Gobelins Tapestry Factory and also exhibited frequently at the Paris Salon until 1742. His works can be seen in the National Gallery of Ireland, the National Gallery, London and the Louvre, Paris.

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1983 Jean­Jacques Henner, (1829­1905) Nude girl reclining by a river Oil on panel 5 x 7½ inches 10 x 19 cm. €400 ­ 600 Jean­Jacques Henner was a painter of landscapes, portraits, and mythological scenes and is particularly noted for his small­scale depictions of nudes, painted in an almost Symbolist style. Henner was a pupil of the Romantic portrait painter, Martin Drolling and first exhibited at the French Salon in 1863. Later in 1900, he was awarded a prize at the Paris Exposition Universalle, prior to which he was made a Commander of the Legion d’Honneur in 1889. Museums holding his work include Musee D’Orsay, Paris, the National Gallery of Art, Washington, and the Hermitage, Saint Petersburg.

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1984 Jean­Jacques Henner, (1829­1905) A nude girl kneeling by a riverbank Oil on panel 6 x 4 inches 15 x 10 cm. €400 ­ 600 Jean­Jacques Henner was a painter of landscapes, portraits, and mythological scenes and is particularly noted for his small­scale depictions of nudes, painted in an almost Symbolist style. Henner was a pupil of the Romantic portrait painter, Martin Drolling and first exhibited at the French Salon in 1863. Later in 1900, he was awarded a prize at the Paris Exposition Universalle, prior to which he was made a Commander of the Legion d’Honneur in 1889. Museums holding his work include Musee D’Orsay, Paris, the National Gallery of Art, Washington, and the Hermitage, Saint Petersburg.

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1985 Irish School Early nineteenth­century Farm with figures and sheep near a barn Oil on panel 17 x 22 inches 43 x 57 cm. €1,500 ­ 2,500 Provenance: Sir Charles Henry Coote, 9th Baronet (1792­1864), Ballyfin House, Co. Laois Sir Charles was the eldest Son of Chidley Coote of Ash Hill, Co. Limerick. In 1814 he married Caroline Whaley of Whaley Abbey, Co. Wicklow. In 1815 he assumed control of the Montrath Estates in Queen’s County. Shortly afterwards he purchased from William Wellesley Pole the neighbouring seat of Ballyfin. Ballyfin House was construct­ ed between 1821­26. The Coote Family were the biggest landowners in Co. Laois with over 47,000 acres. Lewis, in his Topographical Dictionary of Ireland, describes Ballyfin as "one of the finest mansions" in Ireland, "filled up in the most costly style, contain­ ing a fine collection of paintings, sculptures and busts."

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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

Bid slip 12-12_Bid Slip p.119; Notes, p. 120 18/11/2014 12:54 Page 1

IRISH AUCTION HOUSE

sheppards ABSENTEE BID FORM DUBLIN & PROVINCIAL SALE

2 - 5 December 2014 Fax 057 873 6546

|

bids@sheppards.ie

PRE-BOOKED Telephone Bids: +353 (0)57 874 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.

NAME (Block Capitals please) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

E-mail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Telephone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mobile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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.

SHEPPARD’S IRISH AUCTION HOUSE DUBLIN & PROVINCIAL: Evening Art Sale at Durrow

THE PERFECT CHRISTMAS GIFT FOR ART LOVERS

• Student €35 • Concession €70 • Individual €80 • Family €100; • Patron of Irish Art €450 • Corporate €650 To buy or for more information, telephone +353 (0)1 661 9877, email: friends@ngi.ie www.nationalgallery.ie/supportus

THURSDAY 4 DECEMBER 2014

Give a Gift of Membership of the Friends of the National Gallery of Ireland, which may be enjoyed all year round. Membership combines fine art with a wealth of benefits including access to the Friends’ Room in No.5 South Leinster Street, Dublin: Free Weekly Gallery Tours; Exclusive Previews; Lectures; Day Outings, Trips Overseas and getting to know like-minded people with an interest in the visual arts.

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DUBLIN & PROVINCIAL EVENING SALE AT DURROW

A Gallery of Pictures

Two Winged Angels in Profile, 1924 (detail), Harry Clarke, Irish, 1889-1931 Oil on canvas, 193 x 86 cm. Photograph © National Gallery of Ireland.

IRISH AUCTION HOUSE

Lot 1940: Michael Flatley, Rossmore Island, Mixed media on board, 106 x 104 cm.

A Gallery of Pictures

THURSDAY 4 DECEMBER 2014 AT 7:00PM