Whyte's Auctioneers Important Irish Art Auction

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WHYTES SINCE 1783

IMPORTANT IRISH ART 28 NOVEMBER 2011

IMPORTANT IRISH ART MONDAY 28 NOVEMBER 2011

V IE W I N G Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4 Friday 25 November, opening reception 6pm to 8pm Saturday 26 November 10am to 6pm Sunday 27 November 10am to 6pm Monday 28 November 10am to 6pm AUC TI O N Monday 28 November at 6pm Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4 E N Q U IR I E S Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: info@whytes.ie B I DS Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: bids@whytes.ie

Front cover: lot 58, Robert Ballagh, Inside No.3 After Modernisation, 1982 Inside front cover: lot 3, Harry Kernoff, “The Handy Shop”, After Rain, Killarney, 1943 Page 4: lot 57, Edward McGuire, Owl II, 1972 Page 6: lot 25, James Humbert Craig, The Layde Road, Cushendun Page 8, 9: lot 107, William H. Bartlett, The Return From The Seal-Hunt, 1881 Page 110: lot 56, Pauline Bewick, Rook, Oak And Horse (Diptych), 1985 Back cover: lot 20, Jack Butler Yeats, The Street In Shadow, 1932

P L EA S E N O T E The exhibition of works from this sale will take place at ROYA L D U BLIN S O C IE T Y, CLYD E HA LL, ANG LE SE A R OAD, BALLSBR I D GE Friday 25 November 6pm to 8pm Saturday 26 November 10am to 6pm Sunday 27 November 10am to 6pm Monday 28 November 10am to 6pm The auction will be held on Monday 28 November at 6pm at ROYA L D U BLIN SO C IE T Y, CLYD E HA LL, ANG LE S E A ROAD, BALLS BRI D GE

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CO L L E CT IO N O F PU R C H A S E S Collection of purchases at this sale may be effected 10am to 3pm on Tuesday 29 November from Clyde Hall. After that date lots may be collected from our Molesworth Street premises.

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CO N T E N T S Important Notes

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Special Notices

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Whyte's Guarantee of Authenticity

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Glossary of Terms

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Whyte's Terms & Conditions

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IMPORTANT IRISH ART

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Abbreviations

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Topographical and General Index

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Index of Artists

inside back

This catalogue was compiled by Adelle Hughes with assistance from Ian Whyte, Sarah Gates and contributions from Ciarán Bennett, Ciarán Carty, Dr. Riann Coulter, Dr. Róisín Kennedy, Dr. S. B. Kennedy and Dr. Éimear O’Connor.

Ian Whyte Managing Director

Sarah Gates BA Director

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Copyright 2011 Whyte & Sons Auctioneers Limited. All rights reserved.

Marianne Newman Director

Adelle Hughes BA MA Associate Director

ENQUIRIES

CONTACTS

This catalogue: Sarah Gates and Adelle Hughes

E-mail info@whytes.ie

Accounts: Peter Whyte General Enquiries: Emma Betts Peter Whyte

Emma Betts BA MA

Telephone 01 676 2888 (+3531 676 2888 from UK and elsewhere) Fax 01 676 2880 (+3531 676 2880 from UK and elsewhere) Postal address 38 Molesworth Street, Dublin 2, Ireland Websites whytes.ie whytes.com whytes.net

IMPORTANT NOTES ALL LOTS ARE SOLD SUBJECT TO OUR TERMS AND CONDITIONS OF SALE PRINTED ON PAGE 7

BUYERS’ COMMISSION 16.53% (excluding VAT) is added to the hammer price of all lots.

PRICES REALISED

ROOM BIDDERS

A complete list of prices realised and unsold lots will be posted to our Internet website (www.whytes.ie) on the day after the sale.

1. Room bidders must register and obtain a bidding number on arrival. Proof of identity is required from clients new to us.

2. If successful in obtaining a lot please ensure you display your number clearly to the auctioneer and that it is your number that is called out. If there is any doubt about the hammer price or buyer, please draw this to the attention of the auctioneer immediately.

SPECIAL NOTICES CONCERNING THIS AUCTION VENUE FOR AUCTION NIGHT The venue for the auction is Clyde Hall, Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4 and the sale starts at 6pm.

3. Payment may be made by cash, bank draft, cleared cheque, or credit card – we accept Access or Visa (a charge of 1.5% is made on credit card transactions). We also accept Laser, Delta, Debit and Maestro Cash Cards (maximum of €1,500) free of charges.

Bidder registration will take place here from 5pm on Monday 28 November and the sale starts at 6pm. Complimentary tea and coffee will be served in the café.

ABSENTEE BIDDING

Collection of purchases at this sale may be effected 10am to 3pm on Tuesday 29 November from Clyde Hall. After that date lots may be collected from our Molesworth Street premises.

1. If you are unable to attend you may bid before the sale, using the form provided. Enter the maximum you are prepared to offer for each lot and the auctioneer will represent you as if you are personally attending the sale. Lots are knocked down at one step above the next highest bid, and not necessarily at your highest bid. Example: your bid is €1,000 and next highest bid is €800 – the hammer price is €850.

2. LIMIT BIDDING: Absentee bidders may limit their total purchases to a set amount by entering their limit on the bidding form. This is especially useful for bidders wishing to cover as many lots as possible while setting a maximum amount to spend.

3. “OR” BIDDING: Absentee bidders who wish to bid on two or more lots, but only wish to purchase one, may do so by entering “OR” between the bids – the lots will be bid on in catalogue order.

4. EQUAL BIDS: In the event of equal bids being received for the same lot the first received will be given preference. If the instruction “break ties” is entered on the bid form the auctioneer will increase the bid by one step in the event of equal bids being received or in the event of a tie with a room bidder.

5. “BUY” BIDS: Unless otherwise instructed bids of “Buy” or “Buy at Best” shall be taken to indicate bids of up to three times the stated higher estimate in the catalogue.

6. LIVE INTERNET BIDDING: You may watch and/or bid live with video and audio link to the saleroom on our website www.whytes.ie 7. LIVE TELEPHONE BIDDING may be arranged on request, subject to availability and given at least 24 hours notice. This facility is only available on lots estimated at €2,000 or more, and a minimum bid may be requested.

8. INVOICING AND PAYMENT: Successful absentee bidders will be sent a pro forma invoice immediately after the sale with details of payment methods. All invoices must be paid within 7 days of the date of the sale or the lot(s) may be deemed in default and any subsequent losses incurred on resale become the responsibility of the bidder. The Auctioneers and House Agents Act, under which we are licensed to hold public auctions, only allows for lots to be handed over to purchasers when paid for in full.

COLLECTION OF LOTS

Purchasers must pay for and collect all lots within 7 days of the date of sale. Note: each lot is at the buyer’s risk from the fall of the hammer. Storage charges will apply after 7 days.

MORE INFORMATION ON OUR WEBSITE whytes.ie or whytes.com Here you will find much useful information pertaining to lots in this auction, including biographies and previous results for many of the artists featured in this sale.

WHYTE’S GUARANTEE OF AUTHENTICITY Whyte’s takes especial care to ensure that all works offered in this catalogue are as described and are the work of the artists they are attributed to. In the event of any work sold from this catalogue to be subsequently proved to be a “deliberate forgery”, subject to our terms and conditions of sale (especially Clause 5c) as printed elsewhere in this catalogue Whyte’s will cancel the sale and refund to the buyer the total amount paid by the buyer to Whyte’s for the item, in the currency of the original sale. This guarantee is provided for a period of seven (7) years after the date of the relevant auction, and may be extended at Whyte’s discretion.

GLOSSARY OF TERMS The following are examples of the terminology used in this catalogue.

1 Sir John Lavery in our opinion a work by the artist.

2 Attributed to Sir John Lavery In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding paragraph.

3 After Sir John Lavery In our opinion a copy of a known work by the artist. We also use this term for prints of works by the artist.

4 The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

5 The term bears a signature and/or initials and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription has been added by another hand.

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TERMS AND CONDITIONS OF SALE NOTICE Whyte & Sons Auctioneers Limited, trading as Whyte’s, exercises all reasonable care to ensure that all descriptions are reliable and accurate, and that each item is genuine unless the contrary is indicated. However, the descriptions are not intended to be, are not and are not to be taken to be, statements of fact or representations of fact in relation to the lot. They are statements of the opinion of Whyte’s, and attention is particularly drawn to clause 5 set out below.

Comments and opinions, which may be found in or on lots as labels, notes, lists, catalogue prices, or any other means of expression, do not constitute part of lot descriptions and are not to be taken as such unless they are made or specifically verified by Whyte’s.

Clause 1 (a) Each lot is put up subject to any reserve price imposed by the vendor (b) Subject to sub-clause (a) of this clause, the highest bidder for each lot shall be the buyer thereof (c) If any dispute arises as to the highest bidder the auctioneer shall have absolute discretion to determine the dispute and may put up again and re-sell the lot in respect of which the dispute arises Clause 2 (a) The bidding and advances shall be regulated by and at the absolute discretion of the auctioneer and he shall have the right to refuse any bid or bids. NOTE: Where an agent bids, even on behalf of a disclosed client, the auctioneer nevertheless has the right at his discretion to refuse any such bid. (b) The buyer of each lot shall immediately on its sale, if required by the auctioneer, give him the name and address of the buyer and pay to Whyte’s at his discretion the whole or part of the purchase money. If the buyer of any lot fails to comply with any such requirement Whyte’s may put up again and resell the lot; if upon such re-sale a lower price is obtained than was obtained on the first sale the buyer in default on the first sale shall make good the difference in price and expenses of re-sale which shall become a debt due from him. (c) Where an agent purchases on behalf of an undisclosed client such agent shall be personally liable for payment of the purchase money to Whyte’s and for safe delivery of the lot to the said client.

Clause 3 (a) Whyte’s reserves the rights to bid on behalf of clients including vendors, but shall not be liable for errors or omissions in executing instructions to bid. (b) Whyte’s reserves the rights, before or during a sale, to group together lots belonging to the same vendor, to split up and to withdraw any lot or lots at Whyte’s absolute discretion and without giving any reason in any case. (c) Whyte’s acts as agent only, and therefore shall not be liable for any default of the buyer or vendor.

Clause 4 (a) Each lot shall be at the buyer’s risk from the fall of the hammer and shall be paid for in full before delivery and taken away at his expense within one day of the sale. The buyer will be responsible for all removal, storage and insurance charges in respect of any lot which has not been collected within 7 days of the date of sale. (b) If any buyer fails to pay in full for any lot within 7 days of the date of sale such lot may at any time thereafter at Whyte’s discretion be put up for sale by auction again or sold privately; if upon such re-sale a lower price is obtained than was obtained on the first sale the buyer in default on the first sale shall make good the difference in price and the expenses of re-sale which shall become debt due from him. (c) Interest at 2 per cent per month and legal costs (if any) for recovery of monies due shall be payable by the buyer on any overdue account.

Clause 5 (a) All lots are made available for inspection before each sale and each buyer, by making a bid, acknowledges that he has satisfied himself as to the physical condition, age and catalogue description of each lot (including but not restricted to whether the lot is damaged or has been repaired or restored). (b) All lots are sold with all faults and imperfections and errors of description and Whyte’s and its employees, servants or agents shall not be responsible for any error of description or for the condition or authenticity of any lot, save for Clause 5 (c) below.

Written or verbal condition reports may be supplied by Whyte’s on request but these are merely statements of opinion, and any error or omission in these reports may not be taken as grounds for a cancellation of sale or refund of any part of the purchase price or the cost of any repairs to the lot or lots reported on.

(c) If any lot sold at this auction is subsequently proved to be a “deliberate forgery”, Whyte’s will cancel the sale and refund to the buyer the total amount paid by the buyer for the item, in the currency of the original sale. The onus of proving a lot to be a “deliberate forgery” is on the buyer. For these purposes, “deliberate forgery” means a lot that in Whyte’s reasonable opinion is an imitation created to deceive as to authorship, where the correct description of such authorship is not reflected by the description in the catalogue (taking into account any Glossary of Terms). No lot shall be considered a deliberate forgery by reason only of any damage and/or restoration and/or modification work of any kind (including repainting or overpainting). This guarantee does not apply if (i) either the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; (ii) or the only method of establishing at the date of the sale that the item was a counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive or impractical to use; or likely to have caused damage to the lot or likely (in Whyte’s reasonable opinion) to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description. This guarantee is provided for a period of seven (7) years after the date of the relevant auction, is solely for the benefit of the buyer and may not be transferred to any third party. Whyte’s has discretion to extend the guarantee for a longer period. To be able to claim under this Guarantee, the buyer must (i) notify Whyte’s in writing within three (3) weeks of receiving any information that causes the buyer to question the authenticity or attribution of the item, specifying the lot number, date of the auction at which it was purchased and the reasons why it is thought to be a deliberate forgery; and (ii) return the item to Whyte’s in the same condition as the date of the sale to the buyer and be able to transfer good title in the item, free from the third party claims arising after the date of the sale. Whyte’s has discretion to waive any of the above requirements. Whyte’s may require the buyer to obtain at the buyer’s cost the reports of two independent and recognised experts in the field, mutually acceptable to Whyte’s and the buyer. Whyte’s shall not be bound by any reports produced by the buyer, and reserves the right to seek additional expert advice at its own expense. In the event Whyte’s decides to rescind the sale under this Guarantee, it may refund the buyer the reasonable costs of up to two mutually approved independent expert reports. (d) Any lot listed as a “mixed lot, collection, range, portfolio etc.” or stated to comprise or contain a collection or range of items which are not described shall be put up for sale not subject to rejection and shall be taken by the buyer with all (if any) faults, lack of genuineness and errors of description and numbers of items in the lot, and the buyer shall have no right to reject the lot; except that, notwithstanding the foregoing provisions of this sub-clause, where before a sale a person intending to bid at the sale gives notice in writing to, and satisfies Whyte’s that any such lot contains any item or items not described in the sale catalogue and that person specifically describes that item or those items in that notice, then that item or those items shall, as between Whyte’s and that person, to be taken to form part of the description of the lot.

Clause 6 The respective rights and obligations of the parties shall be governed and interpreted by Irish law, and the buyer hereby submits to the exclusive jurisdiction of the Irish Courts.

SPECIAL CONDITIONS (a) The buyer shall pay Whyte’s a commission at the rate of 16.52% (plus VAT under The Margin Scheme and which is not reclaimable). (b) Whyte’s or its employees, servants or agents may, on request organise packing and shipping of lots purchased or may order on the buyer’s behalf third parties to pack or ship purchases. Under no circumstances does Whyte’s accept any liability whatsoever for any loss or damage howsoever occasioned in the course of such service. (c) The buyer authorises Whyte’s to use any photographs or illustrations of any lot purchased for any or all purposes as Whyte’s may require.

The placing of a bid will be taken as full agreement to all the above conditions.

WHYTE & SONS AUCTIONEERS LIMITED 38 Molesworth Street, Dublin 2

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IMPORTANT IRISH ART Monday 28 November 2011 at 6pm Lots 1-224

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H A R R Y K ER NO F F The son of Jewish parents of mixed Russian and Spanish descent, Kernoff was born in London but moved to Dublin at an early age when his father opted to begin a cabinet-making business there. Kernoff’s artistic training began with night classes at the Dublin Metropolitan School of Art. Upon winning the prestigious Taylor Scholarship in 1923, he became a day student and henceforth devoted all his energies to art, working also for a time on designing stage sets in the company of actors such as Mícheál MacLíammóir and Hilton Edwards. Some time after this he visited Paris, staying for a month painting and sketching. In 1926 Kernoff began exhibiting at the RHA, continuing to do so nearly every year for the next five decades.

He joined the Dublin Society of Painters in 1927 and held many solo exhibitions at their studio in no. 7 St. Stephen’s Green. He

also had two solo exhibitions with the Victor Waddington Galleries in 1936 and 1937 and numerous shows abroad in London, Glasgow, Paris, Amsterdam, New York, Chicago and Toronto. In 1930 he visited Russia and later published on article on his experiences there prior to the Stalinist regime.

At home, from his Dublin studio at no. 13 Stamer Street, Kernoff supported himself largely through selling woodcuts; three books of these were published, the first in 1942. He also contributed to other publications such as James Stephen’s Crock of Gold and A Broadside (Cuala Press) among others. His depictions of working-class Dublin and smaller towns across the country are much sort after by collectors, as are his portraits of Ireland’s leading literary and theatrical figures, some of which now hang in the Dublin Writer’s Museum among other public collections.

Provenance: Lots 1-11 were purchased by the present owner c.1970-71 directly from the artist at his studio in 13 Stamer St., Dublin 1 Ha r r y Ke r n o f f RHA ( 1 90 0- 1 97 4) FIGURES DINING IN AN OUTDOOR CAFÉ, PARIS, c.1931 signed upper right oil on board 30 by 41cm., 12 by 16in.

The location for this scene could be that of Jardin du Luxembourg, the second largest public park in the French capital. The gardens, which were originally the palace ground for Marie de Medici (1611) later reconstructed by Napoleon in the 1860s. In the 1930s the garden contained a marionette theatre, a music kiosk, an apiary as well as an orangerie used to exhibit modern art and sculpture.

€3,000-€4,000 (£2,600-£3,400 approx.)

2 Ha r r y Ke r n o f f RHA ( 1 90 0- 1 97 4) OFF BAGGOT STREET, BALLSBRIDGE, 1943 signed, inscribed and dated lower right; further inscribed and numbered [11] on reverse watercolour 23 by 34cm., 9.25 by 13.25in.

Another view of this street, executed the same year, sold through Sotheby’s, London, 7 May 2008, as lot 164.

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€4,000-€5,000 (£3,400-£4,300 approx.)

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3 Ha r r y Ke r n o f f RH A ( 1 90 0- 19 74 ) “THE HANDY SHOP”, AFTER RAIN, KILLARNEY, 1943 signed and dated lower left; inscribed with title and numbered [9] on reverse watercolour 27 by 37cm., 10.75 by 14.75in.

In this scene a shawled lady strides down the street her image mirrored in the wet road while a little bob-haired girl in red stands with only one boot. The Handy Store with green painted windows and open door appears full to the brim with an assortment of wares.

To the back of the alley a bicycle rests against a wall which leads to a barn beyond. The rear of a white horse hints at its function. A fine house to the right of the scene is enclosed with metal railings.

Through the ground floor window a couple can be seen in close conversation.

The year after these Killarney watercolours [lots 3-5] were executed, Kernoff exhibited six oils at the RHA all depicting scenes from the area. The titles include, After Rain, O’Malley’s Lane, Killarney (no. 98); Hilliard’s Lane, Killarney (no. 89); Capt Doyle, Bugler, Gap of Dunloe, Killarney (no. 41) and two other unspecified landscapes of the locale.

€3,500-€4,500 (£3,000-£3,900 approx.)

4 Ha r r y Ke r n o f f RH A ( 1 90 0- 19 74 ) WET STREET, KILLARNEY, 1943 signed and dated lower right; with title inscribed in ink on reverse; also numbered [9] on reverse watercolour over pencil 27 by 37cm., 10.75 by 14.5in.

The right side of the watercolour shows the side stone wall of a church (possibly St. Mary’s) with an arched window. A shawled woman walks by carrying a child, another lady with a red shirt and black shawl ahead of her. A barefoot boy in shorts appears at the corner of the street of dilapidated houses, one with an ornate lantern towering above him. A fourth character, a mother tending to her child in a pram, draws the eye to the centre of the scene with the figure of a man beyond indicating the end of the street.

€2,500-€3,500 (£2,200-£3000 approx.)

5 Ha r r y Ke r n o f f RH A ( 1 90 0- 19 74 ) OLD GEORGIAN HOUSE OPPOSITE TOWNHALL, KILLARNEY, KERRY, 1943 signed and dated lower left; inscribed with title, dated and numbered [(6) and (9)] on reverse watercolour 27 by 37cm., 10.75 by 14.75in.

The scene shows two nuns in their traditional habits walking up a wet street in Killarney away from the square. A moustached man leans against the wall of the Townhall with a parked red cart and resting blinkered donkey by a lamppost opposite. Towards the end of the street a couple pass a lady in a yellow coat pushing a pram.

The white awning of Michael Moriarty’s drapery store can be seen clearly to the left of the scene.

€3,000-€4,000 (£2,600-£3,400 approx.)

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6 H a r r y K e r n of f R H A ( 1 9 0 0 - 1 9 7 4 ) OUTHOUSES, MORNING SUNLIGHT, NEAR DUBLIN, 1930 signed and dated lower left; titled, dated and numbered [2] on reverse watercolour 27 by 38cm., 10.75 by 15in.

Kernoff painted views of outhouses in Howth in the 1930s, one of which was exhibited (no. 34) at a show of his ‘Recent Paintings’ at Mill’s Hall, Merrion Row, Dublin in December 1937.

€2,000-€3,000 (£1,700-£2,600 approx.)

7 H a r r y K e r n of f R H A ( 1 9 0 0 - 1 9 7 4 ) OLD-BARN ON FOYNES ISLAND, LIMERICK, ÉIRE, 1930 signed and dated lower left; inscribed with title and numbered [1] on reverse watercolour 41 by 28cm., 16 by 11in.

Foynes Island is located on the Shannon just off the village of Foynes in the parish of Robertstown. The island is only accessible by boat and measures approximately 1 mile in diameter. The two cottages illustrated are some of the few buildings, most of which have been abandoned, on the Island.

Two views of Foynes Island were exhibited by Kernoff in May 1938 at the White Gallery, London (nos. 1& 10).

€2,000-€3,000 (£1,700-£2,600 approx.)

8 H a r r y K e r n of f R H A ( 1 9 0 0 - 1 9 7 4 ) CONNEMARA SUMMER, RENVYLE, IRELAND, 1933 signed and dated lower left; inscribed in green ink with title, artist’s address [13 Stamer St., Dublin 8, Ireland]; original price [£12-12-0]; also numbered [1] on reverse watercolour 25 by 36cm., 10 by 14.25in.

A view of The Twelve Bens dominates above a thatched cottage with smoke billowing from the chimney. A solitary figure can be seen stacking turf in the lower right-hand corner.

€1,500-€2,000 (£1,300-£1,700 approx.)

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9 Ha r r y Ke r n o f f RH A ( 1 90 0- 19 74 ) HOUSES NEAR JEAN-JAURÈS, PARIS, c.1931 signed lower right; with title inscribed twice on reverse; with original price [£10-0-0] and number [4] also inscribed on reverse watercolour over pencil 27 by 38cm., 10.75 by 15in.

As with his Irish scenes, Kernoff methodically records the names of the nowforgotten establishments in the foreground including, ‘Café Restaurant Lourve’ and ‘Appareillage Électrique’.

€2,000-€3,000 (£1,700-£2,600 approx.)

10 Ha r r y Ke r n o f f RH A ( 1 90 0- 19 74 ) CANAL JEAN-JAURÈS, PARIS, 1931 signed and dated lower left; with title inscribed in the artist’s hand on reverse; also with original price [£10-0-0] and numbered [3] on reverse watercolour over pencil 27 by 38cm., 10.75 by 15in.

The signage for ‘Le Popular Restaurant Hotel’ can be seen upper right.

€2,000-€3,000 (£1,700-£2,600 approx.)

11 Ha r r y Ke r n o f f RH A ( 1 90 0- 19 74 ) RUE DE SEINE, PARIS, 1931 signed, titled and dated lower left; with title inscribed again on reverse; also with artist’s address [Stamer St., Dublin] and number [5] on reverse watercolour over pencil 38 by 29cm., 15 by 11.25in.

Rue de Seine, in the district of Saint-Germain-des-Prés, began to draw the attention of artists and writers such as Manet, Balzac and Georges Sand in the 19th century. But it was after WWII that the district exploded into a hotspot for existentialist thinking, avant-garde theatre, painting and jazz and became synonymous with names like Picasso, Sartre, de Beauvoir, Beckett and Gainsbourg.

Signs for the ‘Pharmacie’, ‘Vins’ and a ‘Hotel’ beyond can be seen on the street. With the prominence of a distinct blue umbrella, this work could be read as a homáge to Renoir’s The Umbrellas (1881-6) or Gustav Caillebotte’s Rainy Day 1877 works which the artist would have been exposed to at this time.

€2,000-€3,000 (£1,700-£2,600 approx.)

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12 Ja ck B u t ler Yeats RH A (1 87 1-1 95 7 ) A YOUNG MAN’S TROUBLES signed lower right watercolour, pastel and pencil on paper 15 by 46cm., 6 by 18in.

Provenance: Clausen Galleries, New York whence purchased by John Quinn in 1904; Purchased by W. C. Murphy at the Quinn Collection Sale, American Art Galleries, New York, 10 February 1927, lot 268; Private collection; Whyte’s, 17 September 2002, lot 54; Whence purchased by the present owner Exhibited: ‘Sketches of Life in The West of Ireland’, series of exhibitions: Leinster Hall, Dublin, March 1900 Clarendon Hotel Oxford, 24-29 October 1900 Walker Art Gallery, London, February 1901 Clausen Galleries, New York, 31 March-16 April, 1904 Literature: All Ireland Review, 10 March 1900, p. 5; Hilary Pyle, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, catalogue no. 267, p. 93 This work was described in the All Ireland Review of 10 March 1900 as depicting “a shop interior in a Connaught town; a sad-faced young man stands brooding at one side of a broad board or counter; behind him pasted on the wall are a row of emigration notices; in front of him, at the far side of the counter, two elderly men stand drinking, and they watch with kindly distant disinterest the working of his thoughts”. Purchased by the famed art collector John Quinn – then Chairman of the board of the Metropolitan Museum and a great supporter of European modernists – the work was later sold as part of his collection, where it was listed in the inventory as The Bar.

€20,000-€30,000 (£17,000-£25,500 approx.)

1 3-1 4: no lots 14

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15 S e á n K e a t i n g P R H A H R A H R SA ( 1 8 8 9 - 1 9 7 7 ) IRISH FREE STATE BACON, 1928 signed lower right gouache, pencil and coloured chalk 99 by 150cm., 39 by 59in.

Provenance: Paul Conran; From whom purchased by the previous owner in October 1982; Christie’s, The Irish Sale, London, 10 May 2007, lot 74 (part); Whyte’s, 24 November 2008, lot 81; Private collection The Empire Marketing Board (EMB) was established in London in 1926 for the purpose of promoting the sale of produce from countries associated with the British Empire. The methods of advertising included posters for shop windows and outdoor billboards. Continued access to the British market was of vital economic necessity to the newly established Irish Free State, a point that was given recognition when in 1927 the EMB commissioned Seán Keating to undertake the design of three posters, Irish Free State Dairying, Irish Free State Bacon and Irish Free State Chicken, to advertise Irish produce to the English market. The three posters were used around England between June and July 1929 on specially designed outdoor billboards. Keating was familiar with the skills necessary for large-scale poster design owing to his training at the Metropolitan School of Art in Dublin. His brief was firmly controlled by the EMB, and at the same time, the artist knew that

the designs had to be visually specific and immediately legible. The drawing illustrated is Keating’s innovative design for Irish Free State Bacon, which is replete with the visual iconography that was expected of Ireland in the 1920s. However, this is a design by Keating, and therefore there is more to the image than immediately apparent. Keating’s work for the EMB appears at first glance, to reflect an imagined view of Ireland as a rural ideal and idyll, as dictated by the advertising concerns of the EMB. But arguably, there is degree of artistic subterfuge in the image. There are no green rolling hills, shamrocks, shillelaghs or white thatched cottages. Instead, Keating posited an image of a peaceful and prosperous peasantry within a well maintained farmyard, which refutes the age-old vision of misery and deprivation in Ireland of the 1920s. The close range view and the stage-like setting combined with clear architectural and figurative detail serves to further engage the viewer with the atmosphere of a real and flourishing farm. The appeal in the work is therefore premised on Keating’s ability to suitably advertise Irish Free State Bacon within the limits of the constraints set by the EMB, but without reducing the images to mere pastiche. The survival of Keating’s original design for Irish Free State Bacon, which was intentionally ephemeral, is noteworthy, and an exceptionally rare surviving example of Keating’s extensive career as an artist of ephemeral work.

Dr Éimear O’Connor HRHA TRIARC – Irish Art Research Centre, TCD

€15,000-€20,000 (£12,900-£17,200 approx.)

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16 Si r W i l l i a m O r p e n R A R I R H A ( 1 8 7 8 - 1 9 3 1 ) SIR WILLIAM ARMSTRONG READING, 1925 signed, inscribed [“To my friend Armstrong with great affection, July 1925”] lower right; with artist‘s and sitter’s names printed in the mount; with William Rodman & Co., Belfast label and printed label referencing Oriel Gallery and provenance details on reverse pencil 24 by 18cm., 9.5 by 7in.

Provenance: William Rodman & Co., Belfast; Private collection; Adam’s & Bonhams, 27 May 1998, lot 90; With the Oriel Gallery, Dublin; Private collection €800-€1,200 (£690-£1,030 approx.)

17 Si r W i l l i a m O r p e n R A R I R H A ( 1 8 7 8 - 1 9 3 1 ) THE BREEZE, 1910 and LETTER TO ‘MY DEAR ALEX’, 26 FEBRUARY 1917 signed and dated in the plate lower right; with facsimile signature and title in the margin lower right and lower left respectively; letter, signed and dated on [8 South Bolton Gardens, S.W.] headed paper print (1); letter (1); (framed) 22 by 13cm., 8.75 by 5in.

Dimensions for letter, 9.5 by 7.75ins.

The Breeze pertains to a body of work Orpen created inspired by Howth. Many of the original canvases from this series were created en plein air and involved initially a Hungarian gypsy couple and their bear and later members of his family: his wife and daughters. The letter makes reference to “Stabb”, C.T. Stabb, a fellow student of Orpen’s at the Slade school. Stabb it appears was the source of much playful teasing for his eagerness to be married.

(See: Arnold, Bruce, Orpen Mirror to an Age, p.98 for further reading).

€400-€600 (£340-£520 approx.)

18 Har r y Jo n e s T h add e u s ( 18 59 - 19 29 ) MELIN Y GOF AT TREARDDUR BAY, 1903 signed and dated lower left; inscribed on reverse oil on board 20 by 24cm., 7.75 by 9.5in.

Literature: Rooney, Brendan, The Life and Work of Harry Jones Thaddeus 1859-1912, Four Courts Press, Dublin, 2003, p.208 (illustrated) Melin y Gof lies about a kilometre from Treaddur Bay, near Holyhead, Wales. In his text on the artist Rooney describes Thaddeus’ “readiness to record, on location, scenes from his travels” and continues, “The precise spot from which the windmill is seen..[is from] a footpath between a point called Four Mile Bridge and a house called Penybont... Thaddeus is likely to have sketched the scene on one of his painting excursions from Maesmawr Hall, in mid-Wales, where he was living with his family in the early years of the century.” (Rooney, p.208-209)

€1,200-€1,500 (£1,030-£1,300 approx.)

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19 S i r J o h n L a v e r y R A R SA R H A ( 1 8 5 6 - 1 9 4 1 ) THE HOUSE-TOPS, TANGIER, 1912 signed lower left; signed again and inscribed with title in pencil on reverse; also with title and provenance details on reverse; with partial Rodman & Co., Ltd inscribed label on reverse oil on board 25 by 36cm., 10 by 14in.

Provenance: Presented by the artist to the Belfast Red Cross Fund, 1917; Collection of Molly Laurence, Belfast; The Laurence Collection Sale, Ross’s, Belfast, 6 February 2002, lot 66; Whyte’s, 17 February 2004, lot 57; Whence purchased by the present owner.

Lavery first visited the so called ‘White City’, Tangier, in 1891, possibly as an antidote to the demands placed on him as a society portraitist. Morocco was then becoming a Mecca for British artists who were attracted to the brilliant white light, exotic colours, and “the abstract drama of shape...found in its slab-like architecture” From thereon Lavery made repeated trips to Tangier, basing himself and his family at the small hillside property called Dar El Midfah, a little way out from the main town, and becoming a well-known feature of the expatriate community’s social scene. The House-Tops Tangier shares much in common with a number of works

which Lavery exhibited in London at the Goupil Gallery in 1908. Kenneth McConkey records that for many of the smaller works from this exhibition, “Lavery positioned himself upon rooftops overlooking the city. Invariably the foreground was occupied by one or two Arab musicians sitting on or behind a parapet wall. As he discovered, the rooftops of Tangier generated their own form of life. Beyond them, the slab-like tower of the Green Mosque became a familiar landmark. Lavery’s repeated engagement with this subject at different times of the day amounted almost to an obsession”.

Unlike a number of his genre scenes from Morocco which were painted in the studio, The House-Tops Tangier was painted en plein air, around dusk. The high horizon reveals a sky imbued with pale violet tints, whilst the whitewashed buildings have taken on the subtle shell-pinks and warm creams of the setting sun’s last rays. The distant hillside of buildings at the left of the composition is suggested by mere notation: rapid impasto strokes indicating the mass of walls and roofs. In contrast, the Mediterranean Sea is painted with long smooth strokes in cerulean streaked with mauve. For all its rapid execution, Lavery evidently considered the work complete, for in 1917 he donated it to the Belfast Red Cross Fund, most likely at the instigation of his wife Hazel who was then heavily involved with war charity work.

€20,000-€25,000 (£17,200-£21,500 approx.)

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20 J ack B u tler Yeat s RH A ( 18 71 -19 57 ) THE STREET IN SHADOW, 1932 signed lower right oil on panel 24 by 36cm., 9.5 by 14.25in.

Provenance: Sold through the Victor Waddington Galleries, Dublin, in 1943 to Mrs Chase for a wedding present to Miss Post and M. Block, United States; Private collection, Ireland; Whyte’s, Important Irish Art, 24 November 2008, lot 72; Private collection Exhibited: ‘Ireland and the Irish in Paintings’, Leger Galleries, London, 5-25 October 1932, catalogue no. 14 Literature: Pyle, Hilary, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsch, London, 1992, Vol. I, p.394, catalogue no. 436 In The Street in Shadow Jack Yeats depicts himself, accompanied by his wife, Cottie, standing on O’Connell Street, looking directly out at the viewer. Cottie wears a distinctive black cloche, similar to the one she is shown wearing in the 1925 painting, O’Connell Bridge (private collection). The shadowy form of a passer-by, a man in a cap, interjects between the two figures. Their pose, silhouetted against two of the city’s most famous landmarks, Clerys department store and Nelson’s Pillar, is reminiscent of the kind of portrait snapshot taken by on street photographers, a familiar feature of O’Connell Street until relatively recently. The distinctive profile of Clerys dominates the right hand side of the background. Immediately behind the artist’s head can be seen the spiralling form of Nelson’s Pillar, with its normally solid structure appearing elongated and tenuous in the clear daylight. Mr. and Mrs. Yeats, by contrast, stand in the shade of two buildings, one of which is the GPO, on the west side of the street. The faces of Cottie and Jack are depicted in dark green and yellows which suggest the effects of shadow on their features. The passer-by stands further back towards the street and his form, which appears to be almost transparent, is dissolved by its exposure to direct sunlight. Yeats’ daring exaggeration of colour and ebullient application of paint elucidates the spatial relationships of the different elements in the painting. In spite of its seeming complexity his use of paint guides the viewer and enables him to read the shapes and forms in terms of tangible reality. The myriad of colours used in the depiction of the sky and in the streetscape evoke the sense of movement and excitement which the modern city encapsulated. Yeats saw this energy as parallel to the vitality of nature. The opaque murky colours so evident in parts of this work are typical of this period in Yeats’ oeuvre when the artist was moving from his early realist style to his later expressionist approach. In this regard it is interesting to note that Yeats chose to exhibit the work along with other Dublin scenes in London rather than Dublin. The exhibition at the Leger Galleries in 1932 attracted a great deal of critical interest with the London press praising Yeats’ work for its unity of purpose and joyousness of colour and craftsmanship. The dramatic handling of paint and colour and the theme of urban life in The Street in Shadow is reminiscent of the work of expressionist artists working on the Continent. This is particularly evident in the way in which Yeats has transformed the features of Cottie. Her black hat, pearl necklace and red collar take on a primitive appearance as if she was part of an exotic tribe. While the city often evoked an anxious response on the part of the expressionist artists, Yeats does not respond to modern Dublin with apprehension. It was for him a familiar and accessible space in which one could observe the interaction of different social groups and types, and in which for a moment, like Cottie, one could become an unfamiliar and anonymous figure.

Dr. Róisín Kennedy Dublin, November 2011

€50,000-€70,000 (£43,000-£60,200 approx.)

L ot 2 1 No Lot

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22 Jam es H u mber t C r ai g R HA RUA (18 77 -1 94 4) RIVER AT SUNSET signed lower right oil on canvas laid on board 24 by 34cm., 9.5 by 13.5in.

Provenance: Whyte’s, 2 March 2009, lot 193; Where purchased by the present owner €2,000-€3,000 (£1,700-£2,600 approx.)

23 Jam es H u mber t C r ai g R HA RUA (18 77 -1 94 4) THE DUN RIVER, CUSHENDUN, COUNTY ANTRIM signed lower left; with original inscribed John Magee [4 Donegall Square, Belfast] label on reverse detailing artist’s name, title and reference number [8514.29] oil on board 30 by 42cm., 11.75 by 16.5in.

Provenance: John Magee, Belfast; Private collection €3,000-€4,000 (£2,600-£3,400 approx.)

24 Mi chael Au gu st ine Po wer O ’ Mall ey ( 18 70 -19 46 ) COTTAGES, WEST OF IRELAND signed lower right oil on canvas 51 by 61cm., 20 by 24in.

Provenance: Whyte’s, 8 May 2002, lot 214; Private collection Michael Augustine Power O’Malley of Dungarvan, County Waterford studied art in France and Italy and later emigrated to the USA. In 1904 he went to New York and did book illustrations and covers for Life, The Literary Digest, Harper's and Puck. He travelled to the west coast where he advised John Ford on film settings and painted sets for Cecil B. de Mille's epic The King of Kings. O'Malley made regular painting trips back to Ireland. In October 1912 Maud Gonne attended an exhibition of O’Malley’s work in Dublin. Her opinion of his work was ‘as clever and far more sincere than most of the paintings I have seen in France’. She subsequently wrote a letter of introduction for the artist to New Yorker John Quinn, an Irish-American lawyer, art collector and Celtic enthusiast in which she drew comparisons between Power O’Malley and Édouard Manet. Power O’Malley exhibited widely and with great success in New York City, Fort Worth, Los Angeles, San Antonio, London (Beaux Arts Gallery) and in Ireland in Dublin and in the Crawford in Cork (1940).

Memorial exhibitions were held in New Rochelle and Rochester New York in 2002-03 and 2010 respectively. His work can be found in public and private collections in both countries.

For further reading see Snoddy pp.486-487.

€1,000-€1,500 (£860-£1,300 approx.)

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25 Ja mes Hu mbe r t Cr ai g RHA RUA (1 87 7-1 94 4) THE LAYDE ROAD, CUSHENDUN signed lower left; inscribed with title on reverse oil on panel 30 by 39cm., 12 by 15.5in. €5,000-€6,000 (£4,300-£5,200 approx.)

26 Ma bel Yo u ng (18 89 -1 97 4) WICKLOW SCENE signed lower left; inscribed with title on reverse; with Dawson Gallery framing label on reverse oil on board 30 by 51cm., 12 by 20in.

Provenance: Dawson Gallery, Dublin; Where purchased by the family of the present owner Contained in original Dawson Gallery frame.

€1,000-€1,500 (£860-£1,300 approx.)

27 Ma ur i ce C anni ng W ilk s RUA ARH A ( 1 91 0- 1 98 4) GLEN HEAD, GLENCOLUMBKILLE, COUNTY DONEGAL signed lower left; with title inscribed on reverse oil on canvas 51 by 69cm., 20 by 27in. €1,500-€2,000 (£1,300-£1,700 approx.)

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28 Pau l He n r y R HA (1 876 -1 958 ) ALTAN LOUGH, DONEGAL c.1933-34 signed lower right; with title hand-written on label on reverse; also partial number [16] label on reverse; with Winsor & Newton stamp also visible on reverse oil on canvas 38 by 46cm., 15 by 18in.

Provenance: ‘The Irish Sale’, Sotheby’s, 21 May 1999, lot 329; Whence purchased by the present owner Exhibited: Thought to have been exhibited as In Connemara, ‘Paintings by Paul Henry, R.H.A.’, Fine Art Society, London, from 11 April 1934 (catalogue no. 43) Literature: Kennedy, Dr. S.B., Paul Henry, Paintings Drawings Illustrations, Yale University Press, New Haven & London, 2007, p.266, catalogue no. 828 (illustrated) Lough Altan, or ‘Lake of the Hillock’, a mountain tarn virtually inaccessible by road, is situated some five or six miles south of the village of Gortahork in north County Donegal. The view represented in this picture almost certainly looks to the south, the hills in the background being the Derryveagh Mountains and the peak at the centre of the composition being Dooish, which rises to a height of 2,147 ft. Henry painted in the area a number of times over the years as, for example, his Lough Altan, Co. Donegal, 1918-19 (collection Allied Irish Bank), testifies, and he and his elder brother Bob holidayed at McFadden’s Hotel in Gortahork in the late 1920s (see Kennedy, 2007, catalogue no. 231). The view depicted here, while similar to the AIB work and another, In the West of Ireland (Kennedy, nos. 515 and 510 respectively), is more dramatic in execution and thus must be of a later date, as the bold use of strong colours and modelling of light on the distant mountains – which is quite different from the Whistler-esque treatment of the artist’s earlier pictures of the same scene – also suggests. The brushwork in the foreground, with its recognisable impasto, also suggests a latish date of execution. The composition is very similar to that in Henry’s Landscape, c. 1934-8 (Kennedy, number 899), although the latter picture is probably a scene in County Kerry. The Altan Lough composition is titled on a label on the stretcher, but is dated c.1933-4 on stylistic grounds.

Dr. S.B. Kennedy November, 2011

€40,000-€50,000 (£34,400-£43000 approx.)

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29 L ou i s l e B r oc q u y H R H A ( b . 1 9 1 6 ) TINKER CHILDREN AT A FAIR, 1946 signed lower right; with Dawson Gallery framing label on reverse watercolour with ink 28 by 23cm., 11 by 9.25in.

Provenance: Acquired by private treaty through James Adam’s Saleroom, Dublin, 1978 by the present owner The Tinker Period in le Brocquy’s oeuvre represents a very important and distinct body of work within the artist’s career to date spanning the years c.1945-1948. Tinker Children at a Fair is a striking early example of the artist’s interpretation of the travelling community and captures aptly his enthusiasm and passion for their independent and inimitable way of life. It was the summer previous to the execution of this work when le Brocquy first encountered the tinkers near Tullamore, County Offaly and like John Millington Synge and artists on the Continent such as Picasso, le Brocquy’s interest in this particular society was born out of a wider re-discovery and renewed interest in “primitive” cultures. However, for le Brocquy the tinkers came to symbolise more; the individual’s struggle against ordered and settled culture and he drew parallels between their struggle and that of the artist. Tinker Children at a Fair typifies the artist’s style from the period in colour and composition. The children, who dominate the work, all actively engage the viewer each with an inquisitive and lively gaze. The background comprises other figures; a horse and rider, and a stationary male figure and cow, but these presences are cropped by the artist’s cut-off composition, rendering their presence in the work secondary to that of the children. The children carry sticks in their hands perhaps a reference to the ritual of sign making in tinker culture.

Le Brocquy, in an interview with Yvonne Scott, 28 April, 2006, commented, “...People were always suspicious of them and they had to contend with that and they had various ways of contending with it. Amongst others they made signs for each other when they left the sites. They left ‘twig’ signs behind them and some of these were of a prosaic kind, such as: there are some good chickens up there in the bohereen - that kind of thing. But other signs were made to cast spells, so that local farmers hesitated to disturb them.”

Testament to the artist’s continued advocacy for this isolated community is the recent use of images from his Tinker Period for the Pavee Point Travellers Centre, Dublin 2007 calendar which was published in association with Ireland Embracing Cultural Diversity.

Paintings from this period can be found in the collection of the Tate, London and the National Gallery of Ireland among others.

€20,000-€25,000 (£17,200-£21,500 approx.)

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30 M ar y S wa n z y H RH A ( 1 88 2 - 19 78 ) WAR with studio stamp lower left oil on canvas laid on board 30 by 38cm., 12 by 15in.

With an unfinished scene of boats by water on reverse.

Mary Swanzy’s eclectic style drew on trends she discovered upon her many travels throughout her lengthy career spanning almost eighty years. This view stems from the latter years of WWII when the tone of her work adopted a distinct symbolic and fantastical edge. It reflects a darker, moodier Swanzy contrasting greatly with her soft, rhythmic cubist landscapes. With its arresting use of colour and powerful composition, both constants throughout her oeuvre, this painting demands the viewer’s attention.

€2,000-€3,000 (£1,700-£2,550 approx.)

31 N o r a h M c G ui n n e s s H R H A ( 1 9 0 1 - 1 9 8 0 ) FIGURE ON A BALCONY OVER A BEACH signed with initials lower right pastel, ink and coloured pencils 20 by 28cm., 8 by 11in. €700-€900 (£600-£770 approx.)

32 Fat her J ack P. Ha nlo n ( 19 13 -19 68 ) THE BIRDS signed lower right; with title in pencil on reverse watercolour over pencil 29 by 39cm., 11.5 by 15.5in. €800-€1,000 (£690-£860 approx.)

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33 G e ra rd D i l l o n ( 1 9 1 6 - 1 9 7 1 ) BATHERS, c.1951 signed lower left watercolour 24 by 32cm., 9.5 by 12.5in.

In 1951 Gerard Dillon visited Spain with artist George Campbell and his wife Madge. For Campbell, the connection he made there was to have a lasting effect on his style and subject matter and he forged an instant bond with the south of the country returning annually to the small fishing village of El Palo, outside Málaga.

For Dillon, the Mediterranean light made the greatest impression. Here the light coupled with the subjects, the athletic standing figures, the Moorish looking man seated on a canoe and a costumed female bather in the distance, all point to a Continental scene, most likely on the Costa del Sol.

€4,000-€5,000 (£3,400-£4,300 approx.)

34 G e ra rd D i l l o n ( 1 9 1 6 - 1 9 7 1 ) COTTAGE AND COW bearing signature in pencil lower right; with hand-written label on reverse detailing artist name and title watercolour 24 by 34cm., 9.5 by 13.25in.

Provenance: Dawson Gallery, Dublin; Private collection The original frame and mount for this work accompanies this lot.

€2,000-€3,000 (£1,700-£2,600 approx.)

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35 G e r ar d D il lo n ( 1 91 6 - 19 71 ) GIRL ON BEACH signed lower right oil on hessian sackcloth 56 by 66cm., 22 by 26in.

Provenance: Gifted to the previous owner’s mother c.1956; Whyte’s, 26 November 2007, lot 57; Whence purchased by the present owner With a copy of a letter from James White to the present owner, dated 14 February 1994, in which he states that he had included it as Beach Scene in his catalogue, and noting the resemblance to Grey Beach (illustrated p. 56 of his book) and On the Beach (illustrated p. 57), both of which were painted on Inishlacken, off the coast of Roundstone, circa 1950-1. He might also with good reason have noted the similarity in composition to Mid-day Rest, Inishlacken, c.1951 (fig. 1) in which a monumental figure reclines in the foreground.

This is one of a series of paintings by Gerard Dillon that depict figures in a beach setting. Like On the Beach, c.1950 and Stones on the Beach, c.1951-53 (CIÉ Collection) this work probably dates from the early 1950s, when Dillon spent periods painting in Connemara.

These beach scenes are some of the most enigmatic images of Dillon’s oeuvre. In each case figures occupy a landscape that is both the western seaboard and a marginal space where the laws of everyday life seem to falter.

In this image the barren beach setting concentrates attention on the three figures. While the man and woman in the background appear to be engaged in conversation, the dark-haired girl, whose reclining body fills the foreground, twists her torso to gaze back out of the canvas towards the viewer. The man’s moustache, balding head and brightly coloured shirt resemble contemporary pictures of Dillon and suggest that this image is a self-portrait.

Self-portraiture and the inclusion of figures who address the viewer are recurring themes within Dillon’s art. Self-contained Flat, c.1953 (Ulster Museum), contains three self-portraits, including one image of Dillon as the artist gazing out at his audience. This painting also features a reclining figure, a nude, whose long dark hair and twisted torso are reminiscent of Girl on Beach. While the figure in Selfcontained Flat has been linked to the nude in Gauguin’s Manao Tu Tapu, the girl in this painting is more reminiscent of myth than art history.1 Despite the flat expanse of sand between them, the couple do not appear to notice her presence. It is not clear whether she is visible to them or reserved for our eyes only.

In Irish legend the West coast is a site of contact between the world of men and the world of the Sidhe. Tír na nÓg, the land of youth where Oisín spent three hundred years, is perceived to be off the West coast and there are many tales of contact between mortals and Selkies or Merrows, the bewitching Irish mermaids who would occasionally become trapped in human form. Whether or not Dillon intended the mysterious figure in Girl on Beach to be interpreted as an otherworldly being, he certainly left the interpretation of this scene open, a sense that is enhanced by setting this picture in the wide open spaces of the western shoreline.

Dr. Riann Coulter 1

Gerard Keenan, ‘Farset and Gomorrah’, Honest Ulsterman, no. 57, 1977, pp. 84-5.

€30,000-€40,000 (£25,800-£34,400 approx.)

Fig 1: Mid-day Rest, Inishlacken, c.1951, oil on board, 17 by 22.5in., Private collection

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36 D an i e l O ’N e il l ( 1 92 0- 1 97 4) FLOWER TREE signed lower right; with inscribed label detailing title and provenance on reverse oil on board 50 by 38cm., 19.75 by 15in.

Label on reverse reads: “Flower Tree; by Dan O’Neill: oil on board. This was painted sometime in the early 1950s and is one of a number of contemporary pictures on a similar theme. It was amongst an assortment of paintings, sketches and drawings given to and left with Sheilagh Deacon, the artist’s friend and model. On her death in 1980 the painting came to Deacon’s sister of Woolwich, the [then] present owner. It has not previously been shown or offered for sale.” Inscription dated May 1996.

€5,000-€7,000 (£4,300-£6000 approx.)

37 G e ra rd D i l l on ( 1 9 1 6 - 1 9 7 1 ) THE BROTHERS signed lower right inscribed [“To Dan / The Brothers” / Gerard Dillon”] on reverse oil on board with coloured pencil 10 by 32cm., 4 by 12.75in.

Provenance: Family of Dan O’Neill; Private collection This work shows the particular influence of Matisse with its bold use of colour and découpage-style technique.

€1,500-€2,000 (£1,300-£1,700 approx.)

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38 D an i e l O ’N e il l ( 19 20 - 19 7 4) THE BEACHCOMBERS signed lower left; faintly titled on reverse oil on board 51 by 69cm., 20 by 27in. €12,000-€15,000 (£10,300-£12,900 approx.)

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39 Lo u is le B ro cqu y HR HA (b. 19 16 ) “...AND DISAPPEARED WITH A CURIOUS PERFUME AND MOST MELODIOUS TWANG.” signed lower left; with poem inscribed in the right-hand margin; with poem printed and affixed verso pen and ink with gouache over pencil 11 by 17cm., 4.5 by 6.75in.

Provenance: Private Collector Gallery, Cork; Private collection Poem reads, “Anno 1670, not far from Cirencester, was an apparition; being demanded whether a good spirit or a bad? returned no answer, but disappeared with a curious perfume and most melodious twang.

Mr. W. Lilly believes it was a fairy.”

John Aubery, “Apparition”, Miscellanies (1696) John Aubery (1626-1697) was an English antiquary, natural philosopher and writer. Miscellanies was a collection of twenty-one short chapters on supernatural phenomena and the occult.

€2,000-€3,000 (£1,700-£2,600 approx.)

40 J a m e s D i xo n ( 1 8 8 7 - 1 9 7 0 ) THE SHEPHERD DRIVING HIS FLOCK TO THE EAST END OF TORY ISLAND, 1967 signed, inscribed and dated in pencil lower right oil on paper 55 by 74cm., 21.5 by 29in.

James Dixon was the first of the Tory Islanders to begin painting, spurred on by the example of Derek Hill, who first visited the island c.1959. After watching Hill at work on a view of West End village, Dixon commented, “I think I could do better”. Hill immediately offered the fisherman paints, paper and brushes; although the latter were politely declined in favour of brushes that Dixon constructed himself using donkey hairs. The majority of Dixon’s subjects are local scenes and events on Tory such as this one.

€2,000-€3,000 (£1,700-£2,600 approx.)

41 Patr ick Pye ( b. 19 29 ) PIPERSTOWN SANDPITS, 1973 signed with initials and dated lower right; with typed David Hendriks Gallery label on reverse pastel 43 by 65cm., 17 by 25.5in.

Provenance: David Hendriks Gallery, Dublin; Private collection Exhibited: ‘Patrick Pye’, David Hendriks Gallery, Dublin, 5-21 September 1974, catalogue no. 8 [£90] €600-€800 (£520-£690 approx.)

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42 Pa t ri ck S co tt H RH A (b.1 92 1)

43 C ami ll e S o u ter HR HA (b. 19 29 )

STRAW MAN, c.1950 signed lower right charcoal with pastel and wash on paper 127 by 102cm., 50 by 40in.

THE NUN, 1956 signed and dated lower right; with title printed in the mount lower right; inscribed with title, medium and address [Upper Mount Street] on label on reverse ink and watercolour on Japanese paper 58 by 39cm., 23 by 15.25in.

€1,000-€1,500 (£860-£1,300 approx.)

Provenance: Formerly in the Collection of Sir Basil Goulding; Private collection Exhibited: ‘Irish Exhibition of Living Art’, 1957, no. 58; ‘Two Painters’, 1965, no. 1 Literature: Cormican, Garrett, Camille Souter, The Mirror in the Sea, Whyte’s Dublin, 2006, catalogue no. 26, p.216 This painting may have also been exhibited in El Habano Restaurant under the title Two Nuns. Its whereabouts until now had been unknown to author Garrett Cormican. The reference to Mount Street on reverse would date this work to the latter half of 1956 as, some months after July, Cormican notes a change of address for the artist and her family. The move to Upper Mount Street brought Souter into a dense artistic community, “Nearly every painter and writer lived between Mount Street, Herbert Street, Upper and Lower Fitzwilliam Street and Lesson Street before they were all done up for business. It was an artistic hub.

One knew everybody…. Anne Yeats, Patrick Hickey, Patrick Pye, Patrick Collins and, for a time, Charles Brady were all virtually next-door neighbours.”

€6,000-€8,000 (£5,200-£6,900 approx.)

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43 A Lo u is le B ro cqu y HRH A (b. 19 16 ) RECONSTRUCTED HEAD OF A YOUNG WOMAN, 1968 signed, inscribed and dated on reverse; also with original exhibition label on reverse oil on canvas 100 by 100cm., 40 by 40in.

Provenance: Gimpel Fils Gallery, London; Taylor Galleries, Dublin; Whence purchased by the present owner in 1989 Exhibited: ’Louis le Brocquy: Recent Paintings’, Gimpel Fils Gallery, London, 1-26 October 1968, and Gimpel and Hanover Galerie, Zurich, 10 January – 12 February, catalogue no. 29 (illustrated in catalogue) Artist’s archival no. 217 Louis le Brocquy has long been interested in the ancient Celtic conception of the human skull as a “magic box that holds the spirit prisoner”. This idea first stirred his imagination during a visit in 1964 to the Musée de l’Homme in Paris, where he was intrigued by a collection of Polynesian heads modelled in clay and decorated with vegetable paints and cowrie shells. Some months later he visited the archaeological site of Entremont, near Aix-en-Provence, where he sketched the remains of Celtic steles (or commemorative stones) carved with symbolic ancestral heads. As Dorothy Walker has observed, this encounter with the artist’s “own vestigial culture” – that of the Celtic people – “strengthened and brightened the personal revelation of the Oceanic heads”. Le Brocquy set to work on a series of ancestral heads, adding to the “double revelation” of the Oceanic and Celtic heads his own “vivid sense of the loneliness of Palaeolithic man” (Dorothy Walker, Louis le Brocquy, Ward River Press, 1981, p. 44).

With Louis le Brocquy, and particularly the head series, the iconography of the Neolithic temple of Entremont in France and the cult of the severed head, is equally pertinent to Willem de Kooning’s interest in ancient fetishes of the female deity. Le Brocquy’s body of work with the head, which has been a source of exploration and engagement for him, has direct parallels to the head of de Kooning’s painting in Woman (MoMA, New York). The discovery in Paris of the decorated craniums from ancient cultures by le Brocquy in 1964 was a seminal moment in his practice as an artist. This paralleled the momentous epoch in New York, where the European avantgarde had been in exile through WWII, and out of which had developed Abstract Expressionism or the New York School.

Like Bacon, de Kooning decided to continue the exploration of body in space and the iconographic aspects of its physical presence as a motif, and integrate the apparent extremes of paint and application into a more formally constructed but deliberately eviscerated surface quality. The paint has its own internal dynamic, as in abstraction, but the consideration of the motif has a challenging identity which responds to our historical relationship with classical western art and ancient symbolism.

It is this parallel tradition to late modernist abstraction that places Louis le Brocquy’s work of this period succinctly within the tradition of Bacon and de Kooning. The brushstrokes emote a sense of deconstructed internal dialogue, yet succinctly articulate an image: the human head.

Ciarán Bennett Pollock Krasner Research Fellow, New York

€50,000-€70,000 (£43,000-£60,200 approx.)

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44 S e án M c S we e n e y H RH A ( b.1 93 5) BOGLAND FIELD, 1996 signed and dated in pencil lower left; signed again and with title on reverse; with typed Taylor Galleries label on reverse egg tempera on paper 56 by 76cm., 22 by 30in.

Provenance: Taylor Galleries, Dublin; Private collection Exhibited: ‘Seán McSweeney’, Taylor Galleries, Dublin, c.1998, catalogue no. 48 €2,500-€3,500 (£2,200-£3000 approx.)

45 Se á n M c Sw e e n e y H R H A ( b . 1 9 3 5 ) DANNY MAC’S, 1994 signed and dated [194] lower left; inscribed with title, signed and dated on reverse acrylic on paper 33 by 50cm., 13 by 19.5in.

Provenance: Taylor Galleries Dublin; Whence purchased by the present owner Exhibited: ’Seán McSweeney’, Taylor Galleries Dublin, December 1994 to January 1995, catalogue no. 31 €1,500-€2,000 (£1,300-£1,700 approx.)

46 Se á n M c Sw e e n e y H R H A ( b . 1 9 3 5 ) SHORELINE, SLIGO, 1992 signed and dated in pencil lower right; with typed Frederick Gallery label on reverse oil over watercolour with pencil on paper 13 by 19cm., 5 by 7.5in.

Provenance: Frederick Gallery, Dublin; Private collection Exhibited: Frederick Gallery, Dublin, October, 1995, catalogue no. 8 €600-€800 (£520-£690 approx.)

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47 To ny O’ Ma lley HR HA (19 13 -2 00 3) LA GRACIOSA, 1989 signed with initials lower left; dated lower right; with typed Taylor Galleries label on reverse; also with photocopied image affixed on reverse indicating the artist’s archival number [6296] beneath the backing board oil on board with collage element 15 by 30cm., 6 by 11.75in.

Provenance: Taylor Galleries, Dublin; Private collection; La Graciosa (Spanish for graceful) is a Volcanic Island in the Canary Islands located 2km north of Lanzarote. In 1973 O’Malley married his artist wife, Jane Harris, and together they made regular visits to the isles of Sicilly, the Bahamas and the Canary Islands.

€2,000-€3,000 (£1,700-£2,600 approx.)

48 To ny O’ Ma lley HR HA (19 13 -2 00 3) UNTITLED ABSTRACT (BLUE), 1968 signed and dated lower right watercolour, crayon and ink on paper 23 by 28cm., 9 by 11in.

Exhibited: Peterloo Gallery, Manchester, c.1968, catalogue no. 41 Both lots 48 & 49 were painted at the Ship Studio, St. Ives, Cornwall.

€1,000-€1,500 (£860-£1,300 approx.)

49 To ny O’ Ma lley HR HA (19 13 -2 00 3) UNTITLED ABSTRACT (GREEN), 1968 signed and dated lower right watercolour, crayon, gouache and ink on paper 23 by 28cm., 9 by 11in.

Exhibited: Peterloo Gallery, Manchester, circa 1968, catalogue no. 40 €1,000-€1,500 (£860-£1,300 approx.)

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50 Ter ence P. Fla naga n R HA PPRUA (1 92 9-2 01 1) MORNING IN THE MOUNTAINS, 1982 signed lower right; with inscribed Caldwell Galleries label on reverse; with title and date on reverse watercolour 56 by 76cm., 22 by 30in.

Provenance: Tom Caldwell Gallery, Belfast; Private collection Exhibited: ‘New Watercolours by TP Flanagan’, Tom Caldwell Gallery, Belfast, 18 May -14 June 1982, exhibition no. 1, as Distant Islands, [£630] (illustrated in colour on exhibition invitation and on cover of exhibition listing) €2,000-€3,000 (£1,700-£2,600 approx.)

51 Ter ence P. Fla naga n R HA PPRUA (1 92 9-2 01 1) TREE LINED AVENUE, 1985 signed and dated lower right; with blind stamp [BWS Paper] lower right watercolour 54 by 76cm., 21.25 by 30in.

Possibly a view of the avenue at Lissadell House, Co. Sligo, the childhood home of Countess Constance Markievicz and her sister Eva Gore Booth, immortalised in the arts through the work of W.B. and Jack Yeats among others.

Views of the house and lands were painted by T.P. Flanagan in the 1980s and variously exhibited at the David Hendriks Gallery, Dublin.

€2,000-€3,000 (£1,700-£2,600 approx.)

52 Ter ence P. Fla naga n RH A P PRUA (19 29 -2 01 1) LANDSCAPE WITH TREES, 1983 signed lower right watercolour 53 by 73cm., 20.75 by 28.75in. €2,000-€3,000 (£1,700-£2,600 approx.)

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54 Ter ence P. Flana gan RH A PPR UA ( b. 19 29 ) CORNER OF A GARDEN, 1985 signed and dated lower right watercolour 32 by 19cm., 12.5 by 7.5in.

Provenance: The Estate of John Green, Belfast

53 Terence P. Fl anaga n R HA PPRUA (1 92 9-2 01 1)

€600-€800 (£520-£690 approx.)

HOLY WELL ON THE ISLAND OF INISHMURRAY, COUNTY GALWAY, c.1981 signed lower right; with label on reverse watercolour 74 by 53cm., 29 by 20.75in.

From a series of works on the Holy Well.

€2,000-€3,000 (£1,700-£2,600 approx.)

55 Terence P. Fl anag an RHA PPR UA ( 1 92 9- 2 0 11 ) A LARGE DEMESNE, 1980 signed and dated lower right watercolour 55 by 75cm., 21.5 by 29.5in.

Possibly a view of Lissadell House, Co. Sligo.

€2,000-€3,000 (£1,700-£2,600 approx.)

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56 Pa ul ine B ewi ck R HA (b. 19 35 ) RO OK, OAK AND H ORSE (DIP T YC H ), 1 985 signed upper left and lower right; dated lower right [November 1984 and October 1999]; bearing original typed artist’s label and label detailing medium on reverse watercolour and acrylic on hand-made paper; (diptych) 117 by 80cm., 46 by 31.5in.

Literature: White, James, Pauline Bewick, Painting a Life, Wolfhound Press, Dublin, 1985, p.152-153, plate no. 47 (full-colour illustration p.142) Inscribed lower right ‘[November 1984 and later more work on this in October 1999] Diptych’. Contained in ornate frame with hand-carved and painted oak leaves at each corner.

“What tend to be regarded as her most dynamic and striking works are those which engage the more violent conflicts in nature. The vibrant Rook, Oak and Horses is a diptych and it brings together those elements with which Pauline has been in touch almost all her life. The main figures are dealt with in detail. The oak tree is the one at the end of her garden, its pattern of leaves is outlined in several shades of green and grey; up it the honey suckle climbs for support. The horse in the centre bares his teeth in a malevolent gesture as he chews at a spray of honeysuckle and he looks up at the rook, wings outstretched as it clatters back threateningly at the horse and chews acorns from the tree. As in certain of her sexual pictures, Pauline seems excited by these expressions of noise and activity, as well as irritated by their poses of aggression. She makes a dramatic contrast between the two. Within the head of the horse and the bird, both painted in close-up, she has devised patterns of contrasting tones of colour, in the cubist manner, which add to the sense of energy she wishes to generate.” 1 1 White, James, Pauline Bewick, Painting a Life, Wolfhound Press, Dublin,

James White’s text, published the same year this work was executed, reflects in detail on this painting.

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1985, p.152-153

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Edward McGuire, Sandycove, 1972 Photograph by Jonathan Harsch, from the frontispiece to Edward McGuire, RHA by Brian Fallon

57 E d w a r d M c G ui re R H A ( 1 9 3 2 - 1 9 8 6 ) OWL II, 1972 signed and dated lower right; with inscribed Dawson Gallery label and typed RHA labels on reverse oil on canvas 91 by 64cm., 36 by 25in.

Provenance: Dawson Gallery, Dublin; John Stafford (Co-editor, Martello); Collection of Terry Keane; Thence by Descent Exhibited: ‘Oireachtas’, 1973, catalogue no. 37 (nfs); RTE film, 1977; ‘Memorial Section’, RHA, Dublin, 1988, catalogue no. 245; ‘Retrospective Exhibition’, RHA, Dublin, 30 October - 17 November 1991, catalogue no. 23 Literature: Murray, Hayden, Edward Maguire [sic] - A Profile, The Arts in Ireland. Vol. 2, 1974, pp.38-50, illustrated p.42; Collins, Penelope, An Appreciation of Edward McGuire, Martello, Sageston Ltd., Dublin, 1988, pp.15-17, p.17 (illustrated); Fallon, Brian, Edward McGuire, RHA with a catalogue by Sally McGuire and Poems & Memoirs, Irish Academic Press, Dublin, 1991, catalogue no. 52, p.120 (listed) (illustrated)

Owls have always had a recurring presence in McGuire’s oeuvre whether they are the dominant subject or an accessory to a portrait or still life. His interest in these creatures can be traced to the early 1950s when he purchased a stuffed owl, a lapwing and duck from a Mr. Williams in the Natural History Museum for 5 shillings apiece. Decades later he wrote: “Owl has been with me for thirty years. He is my favourite sitter, my friend. Owl is dead”.1 These ill-fated fowl were a constant for McGuire, so perfect in their stillness they never appear life-less but rather aristocratic and tranquil. His careful craftsmanship and hyper-realistic attention to detail is what attracts the eye, but what is not so obvious is how deep-rooted his meticulousness goes. In his foreword to Brian Fallon’s text on the artist, James White highlights McGuire’s insistence on quality; how he carefully selected his materials, shunning the convenient ready-made in favour of custom-made resources of a superior standard. This demand for excellence together with his minute attention to detail and colour has propelled McGuire’s legacy firmly into the Museum worthy category where already his many portraits, among them Seamus Heaney, can be found in the collection of the Ulster Museum, Belfast and the National Gallery of Ireland.

1 Gallagher Patrick, ‘Mysterious Presence of Owls’, The Sunday Independent,

3 November 1991

€12,000-€15,000 (£10,300-£12,900 approx.)

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58 Ro b er t B all agh (b. 19 43 ) INSIDE NO. 3 AFTER MODERNISATION, 1982 signed right of centre [in notebook on table]; with Arts Exchange, Madison, Wisconsin exhibition label on reverse [inscribed “Lent by the artist”]; also with inscribed label detailing title on reverse acrylic and oil on canvas 213 by 152cm., 84 by 60in.

Exhibited: ‘No. 3: A Series of Paintings by Robert Ballagh’, David Hendriks Gallery, Dublin, 11 March - 2 April, 1983; ‘Divisions, Crossroads, Turns of Mind: Some New Irish Art’, curated by Lucy Lippard, toured US 1985-87;‘Robert Ballagh: The Complete Works’, Arnotts, Dublin, February 1992; RHA Retrospective, 15 September - 20 October, 2006 Literature: Carty, Ciarán, Robert Ballagh, Magill, Dublin, 1986, p.222 (listed), (full-page illustration) (republished, 2010 in limited edition box-set with Robert Ballagh: Citizen Artist); Carty, Ciarán and Kiberd, Declan, Robert Ballagh - Artist and Designer, A Retrospective, Zeus, Dublin, 2006, p.97 (listed), p.74 (full-page illustration); Robert Ballagh, Works from the Studio 1959-2006, Gorry Gallery & Damien Matthews, Dublin, 2006, catalogue no. 63, p.80 (giclée print, illustrated); Carty, Ciarán, Robert Ballagh: Citizen Artist, Zeus, Dublin, 2010, p.173 (full-page illustration) One afternoon in May 1982, I climbed several flights of stairs to Robert Ballagh’s attic studio overlooking Dublin’s City Hall. I expected to find him working on Upstairs No. 3 which was to be the final picture in a series of four paintings featuring his home at 3 Temple Cottages, an artisan’s dwelling near the Four Courts where he lived with Betty Carabini. The series, an articulation of the process by which art happens, was suggested by earlier attempts in My Studio, 1969 and Studio with a Modigliani Print to deal directly with his own personal environment.

The initial No. 3 painting in 1977, depicting his family outside their home in a conventional manner structured within the traditional framework of Renaissance perspective, was a radical change in style. The very ordinariness of the setting was a statement on the role of art and the artist in late 20th century society. Art was not for art’s sake as Modernism had decreed. Like everything else it was a social product. Its integrity depended on its ability to respond honestly and accurately to the artist’s experience. Ballagh was reconnecting with a tradition that never died and that continued through the modernist era with painters like Balthasar Klossowski (Balthus), David Hockney, Edward Hopper and Lucien Freud.

Two years later Inside No. 3 brought us inside his home showing Betty on their spiral stairway, a recurring theme in Western painting inspired by Marcel Duchamp’s Nude Descending a Staircase. It defied the conventional architectural perspective of his previous paintings by using several vanishing points to achieve the effect of pulling the eye around in a circular motion, as with a fisheye lens, symbolising the turning round of his own approach to painting.

Upstairs No. 3, reluctantly put to one side for a portrait of Charles Haughey, was to complete the No. 3 series: this time reversing roles with a nude Ballagh coming up the stairway into a bedroom where a reclining Betty reads a pillow book of Japanese erotic art. His intention was to overturn the tradition in Western art of the female nude, frontally exposed to the viewer as an object, something to be admired and owned.

But this was not the work in progress on his easel confronting me that day. The redecoration of the interior of their house prompted a visual pun he couldn’t resist on the situation of contemporary art after Modernism. Taking shape amid scaled preparatory drawings and stacks of black and white photographs strewn on his work bench was a self-portrait showing him seated at a table in his changed room with a book titled After Modernisation, and a copy of Das Kapital nearby providing a reminder of the social responsibility of the artist. The figure was painted in a realist manner, but the room around it was a plethora of styles. A Jackson Pollock pastiche provided a splurge of abstract expressionism. Leopard-skin covers echo the punk imagery of his kitsch show in the 1971. The number 3 in the top corner was pure Art Deco. The furniture was delineated with the formalist black line he once shared with Patrick Caulfield. The whole composition had a Cubist tilt, relating the idea of modernising a home to the whole concept of post-Modernism. The plurality of styles reflected and perhaps satirised the reality artists were then experiencing: no longer under the pressure to fit in with any particular ‘ism’ they could draw on all sorts of different influences to make images they considered relevant.

On a purely practical level, Inside No. 3 After Modernisation was a break from the minutely detailed work of his celebrated portraits: here he could again use acrylics and work in bold shapes and colour. Within months, he also painted the much-delayed Upstairs No. 3 and in 1989 Upstairs No. 4: The Studio – after he acquired the cottage next door as a studio - to complete a series that would confirm his ground-breaking position in Irish art.

Ciarán Carty Dublin, November 2011

€50,000-€70,000 (£43,000-£60,200 approx.)

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59 R ob e r t B a l l a g h ( b . 1 9 4 3 ) PORTRAITS OF THE LEADERS OF THE 1916 RISING (SET OF SEVEN) each signed and dated [1996] lower right; with leaders’ names printed lower centre; each numbered [1-7] on reverse pencil 33 by 24cm., 13 by 9.5in.

Provenance: Collection of the Druids Glen Resort, Newtownmountkennedy, Co. Wicklow The leaders portrayed include, Thomas J. Clarke, Seán MacDiarmada, Thomas McDonagh, Pádraig H. Pearse, Eamonn Ceannt, James Connolly and Joseph Plunkett. All framed and mounted uniformly.

Commissioned by Hugh (“Hugo”) Flinn, who had a passionate interest in modern Irish history. Hugh V. Flinn, (1922-2010) founder of the Ireland Institute, international engineering concern, the PW Group, and the Druids Glen Resort, was the son of a well known Fianna Fáil politician Hugo Flinn, who was first elected to the Dáil in 1927 and served as Parliamentary Secretary in a number of Eamon de Valera’s administrations.

€8,000-€10,000 (£6,900-£8,600 approx.)

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60 R ob e r t B a l l a g h ( b . 1 9 4 3 )

61 R o be r t B a l l a g h ( b.1 94 3)

PORTRAIT OF EAMON DE VALERA signed lower right; with subject’s name printed lower centre pencil 30 by 23cm., 11.75 by 9in.

PORTRAIT OF JOHN COSTELLO signed lower right; with subject’s name printed lower centre pencil 29 by 23cm., 11.5 by 9in.

Provenance: Collection of the Druids Glen Resort, Newtownmountkennedy, Co. Wicklow

Provenance: Collection of the Druids Glen Resort, Newtownmountkennedy, Co. Wicklow

€1,500-€2,000 (£1,300-£1,700 approx.)

€1,500-€2,000 (£1,300-£1,700 approx.)

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62 Ro b er t B all agh (b. 19 43 ) BATTLE OF THE BOGSIDE, PORTRAIT OF BERNADETTE DEVLIN, 1999 signed with initials [RB] and dated [1999] within image of bullhorn lower centre oil on canvas laid on board; (lunette) 36 by 81cm., 14 by 31.75in.

Provenance: Collection of the Druids Glen Resort, Newtownmountkennedy, Co. Wicklow Exhibited: ‘Robert Ballagh - Artist and Designer, A Retrospective’, RHA, Dublin, 15 September - 22 October, 2006, catalogue no.32 Literature: Carty, Ciarán and Kiberd, Declan, Robert Ballagh - Artist and Designer, A Retrospective, RHA, Dublin, 2006, p.64 (illustrated) Carty, Ciarán, Robert Ballagh - Citizen Artist, Zeus Media Publishing, Dublin, 2010, p.84 referenced.

In the text Citizen Artist (p.84) the author notes Ballagh’s use of the, “...half circle, or lunette - to portray Bernadette Devlin, iconic leader of 1968 Civil Rights marches. She is shown here leaning forward, clutching a bull-horn in her fist. Behind her it is possible to make out details that evoke the Battle of the Bogside of 1969: Some BSpecials approaching a group of youths and graffiti on a wall proclaiming ‘You Are Now Entering Free Derry”.

Bernadette Devlin was born in Cookstown, Co. Tyrone in 1947. As a student at Queen’s University Belfast she was a prominent member of People’s Democracy, a civil rights organisation. She was excluded from Queen’s because of her antiestablishment activities. In 1969 she was elected as “Unity” Member of Parliament for Mid Ulster, becoming the youngest representative at Westminster at the time, and still holds the record as the youngest female MP ever. Unlike traditional republicans she took her seat and took a very active part in debates about Northern Ireland and social issues. She once, famously, in the House of Commons, punched the Home Secretary, Reginald Maudling, after he claimed that British troops were acting in self defence on “Bloody Sunday” in Derry in1972.

She was jailed for incitement to riot in 1969. In 1970 she was re-elected as an independent socialist to Westminster. She married Michael McAliskey in 1973. In 1974 she was, with Seamus Costello, a founder member of the Irish Republican Socialist Party (IRSP), a splinter group from Official Sinn Féin. Having served on the IRSP executive she resigned in 1975 and joined the Independent Socialist Party in 1977 but it disbanded in 1978. She was a leading activist for the “Smash the H Blocks Campaign” and the Hunger Strikers. In 1981 she and her husband were attacked in their home by members of the Ulster Defence Association. Despite suffering several gunshot wounds the couple survived.

Bernadette Devlin McAliskey is currently involved in social issues in Northern Ireland including immigrant workers’ rights and empowerment of minority groups.

€8,000-€10,000 (£6,900-£8,600 approx.)

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63 R ob er t B all agh (b.1 94 3) and Jo sep h E. Kel ly ( b. 19 36 ) DRUIDS GLEN (FIVE GOLFING SCENES) watercolour and oil on paper 39 by 108cm., 15.5 by 42.5in.

Provenance: Collection of Druids Glen Resort, Newtownmountkennedy, Co. Wicklow All framed and mounted uniformly.

We are grateful to the artist, Robert Ballagh, for his assistance in cataloguing these scenes which were comissioned by Druids Glen former owner, Hugo Flinn and later reproduced as limited edition prints which have been gifted to celebrated members of the golfing world over the years.

Druids Glen owner Hugo Flinn presented his designers Pat Ruddy and Tom Craddoch with the brief: “Build me the finest parkland course in Ireland, whatever the cost”. The course is certainly in a league with heavyweights such as the K Club, Mount Juliet or Fota Island. Only opened in 1995, it had been chosen as the venue for the Murphy’s Irish Open in 1999. In 2000 Druids Glen won the European Golf Course of the Year award. Nestling between the Irish Sea and the Wicklow Mountains, the course enjoys an abundance of wildlife as it takes centre stage in the Garden County of Ireland. It is a magnificent, undulating and well-wooded parkland course and well deserving of its label as Europe’s answer to Augusta. The liberally distributed water hazards, bunkers and the length of the course make this a challenging test for golfers. Druids Heath is a spectacular new addition to the already impressive Druids Glen and opened in September 2003, with the front nine overlooking the Irish Sea and the back nine nestling in the Wicklow Mountains. Rolling fairways, natural rock quarries, lakes, trees, streams, gorse, pot bunkers and gently undulating greens are just some of the characteristics of this is links style heathland course. With an incredible 275 yards, it boasts one of the world longest Par 3s.

€12,000-€15,000 (£10,300-£12,900 approx.)

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The Plough and the Stars

64 R o be r t B a l l a g h ( b.1 94 3) The Global Embrace

SILICON SUITE, I, II, III, 1986 each signed, numbered and dated in the lower margin silkscreen and etching on copper plate (no.26 from an edition of 286) 61 by 97cm., 24 by 38in.

James Gorry, in the exhibition catalogue for `Robert Ballagh - Works from the Studio 1959-2006’, describes these pieces as follows, “...Silicon Suite is a threefold meditation on the potentially destructive imbalance in Western Culture between science and creativity but also a reflection on Ireland’s contribution to Technology and Art. The Ambidextrous Paradigm (Suite III), whose somewhat tongue-in-cheek title alludes to the so called opposition of functions in the left and right of the human brain, ingeniously and provocatively juxtaposes images such as Einstein’s Head, a music sheet by Bach and a nuclear mushroom cloud seen at the end of a series of classical, piranesian arches.

€1,200-€1,500 (£1,030-£1,300 approx.)

The Ambidextrous Paradigm

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65 Ji m Fit z pa tr i ck ( b. 19 46 ) STRANGE DAYS [PORTRAIT OF SINÉAD O’CONNOR], 2003 signed, inscribed and dated upper left; also signed on reverse by Sinéad O’Connor oil on canvas 122 by 183cm., 48 by 72in.

Provenance: Collection of Sinéad O’Connor; Whyte’s, 22 February 2005, lot 226; Private collection This portrait of singer-songwriter Sinéad O’Connor was originally commissioned for a Dublin nightclub, Lillie’s Bordello, that was being refurbished due to a fire, but was ultimately purchased by the sitter. Compositionally it references Roderic O’Conor’s Reclining Nude (NGI) – in turn a tribute to Velázquez’ Rokeby Venus. The view through the window shows the Pigeon House area of Dublin, an area of particular significance for O’Connor, and was included at her request. Jim Fitzpatrick is a Dublin born painter and graphic designer whose work draws strongly on Ireland’s Celtic mythology. For the past thirty years his work has become familiar to many in the form of posters, book jacket designs and album covers. He has also written and illustrated numerous books and designed a stained-glass window for Bewley’s Café‚ in Mary Street, Dublin. His murals in Captain America’s restaurant in Dublin are now a city landmark and he created the graphic reproduction of Alberto Korda’s photograph of Ché Guevara that has become a worldwide icon. He has long been a friend of O’Connor’s and designed the cover of her album, Faith and Courage, which was released in June 2000.

€10,000-€15,000 (£8,600-£12,900 approx.).)

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66 W i l l i a m C ro z i e r H R H A ( 1 9 3 0 - 2 0 1 1 ) STILL LIFE WITH BLUE POLKA DOT VASE AND GREEN FLUTE VASE, 2002 signed and dated in pencil lower left watercolour with gouache and gold paint over crayon on paper 28 by 38cm., 11 by 15in. €1,000-€1,500 (£860-£1,300 approx.)

67 W i l l i a m C ro z i e r H R H A ( 1 9 3 0 - 2 0 1 1 ) GARDEN, 1997 signed and dated in pencil lower left; with typed label detailing title and catalogue number [13] affixed on reverse gouache on paper 37 by 37cm., 14.5 by 14.5in. €1,000-€1,500 (£860-£1,300 approx.)

68 W i l l i a m C ro z i e r H R H A ( 1 9 3 0 - 2 0 1 1 ) DRAWING, No. 17, 2005 signed and dated lower left oil bar on paper 28 by 33cm., 11 by 13in.

Provenance: Fenton Gallery, Cork; Private collection €800-€1,200 (£690-£1,030 approx.)

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69 W i l l i a m C r oz i e r H R H A ( 1 9 3 0 - 2 0 1 1 ) AUTUMN GARDEN, LISHEEN, WEST CORK, 2008 signed and dated on reverse; with title and inscribed Hillsboro Fine Art label also on reverse oil on canvas 36 by 46cm., 14 by 18in.

Provenance: Hillsboro Fine Art, Dublin; Private collection €4,000-€5,000 (£3,400-£4,300 approx.)

70 W i l l i a m C r oz i e r H R H A ( 1 9 3 0 - 2 0 1 1 ) THE ISLAND, 1994 signed and dated lower right; with title on reverse watercolour 57 by 75cm., 22.5 by 29.5in.

Provenance: Private Collector Gallery, Cork; Private collection €4,000-€5,000 (£3,400-£4,300 approx.)

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71 Anne Madd en ( b.1 93 2) AURORA BOREALIS, I, II & III, 2005 each signed in pencil in the margin lower right; inscribed [A/P] lower left; with typed Taylor Galleries label on reverse carborundum print; (all artist’s proofs) 67 by 47cm., 26.5 by 18.5in.

Provenance: Taylor Galleries, Dublin; Private collection Sheet size, 35.5 by 26ins. Each mounted and framed uniformly.

€1,500-€2,000 (£1,300-£1,700 approx.)

72 S e a n S c u l l y ( b.1 94 5) PARIS RED WALL, 2004 signed and dated lower right; titled centre; numbered lower left lithograph (no. 34 from edition of 40) 76 by 93cm., 30 by 36.5in. €3,000-€4,000 (£2,600-£3,400 approx.)

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73 P a t r i c k Sc o t t H R H A ( b.1 9 21 ) GOLD PAINTING 7/92 signed and with title on reverse gold leaf and tempera on canvas 61 by 61cm., 24 by 24in.

Provenance: Estate of James O’Driscoll S.C. €5,000-€7,000 (£4,300-£6,000 approx.)

74 C i ar án Lenno n ( b. 19 47 ) HAPAX IX, 1999 signed, titled and dated on reverse; also with inscribed Hillsboro Fine Art label on reverse acrylic on canvas 33 by 30cm., 13 by 12in.

Provenance: Hillsboro Fine Art, Dublin; Private collection; Morgan O’Driscoll, 8 February 2010, lot 41; Private collection €1,000-€1,500 (£860-£1,300 approx.)

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75 Do nal d Tesk ey R HA (b. 19 56 ) PORTMAGEE, COUNTY KERRY signed lower left; with title on reverse oil on paper 34 by 40cm., 13.5 by 15.75in. €2,500-€3,500 (£2,200-£3000 approx.)

76 Peter C ol li s RHA (b.1 92 9) COASTAL LANDSCAPE BY MOONLIGHT signed lower left; with Combridge Fine Arts label on reverse oil on canvas 76 by 81cm., 30 by 32in. €2,000-€3,000 (£1,700-£2,600 approx.)

77 R i c h a r d K i n g s to n R H A ( 1 9 2 2 - 2 0 0 3 ) CAUSEWAY SUNRISE FROM ANTRIM COAST signed lower right; signed again and titled on reverse oil on board 43 by 51cm., 17 by 20in. €1,500-€2,000 (£1,300-£1,700 approx.)

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78 Do nal d Tesk ey RHA (b.1 95 6) TRAIN STATION AT DÚN LAOGHAIRE, 2002 signed lower right; with title inscribed on reverse oil on canvas 81 by 102cm., 32 by 40in.

Provenance: Rubicon Gallery, Dublin; Private collection; Taylor Gallery, Belfast; Private collection €8,000-€10,000 (£6,900-£8,600 approx.)

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79 Jo hn Beha n R HA (b. 19 32 ) CAMEL, c.1980 bronze; (unique) 33 by 241cm., 13 by 95in. €2,000-€3,000 (£1,700-£2,600 approx.)

80 S o nja La ndweer (b. 19 52 )

81 G e r ar d D ill o n ( 1 91 6- 1 9 71 )

ROSEBUD bronze with green patina on black wooden base 19 by 13cm., 7.5 by 5in.

HEAD OF MOLLY, THE ARTIST’S SISTER signed at base bronze on a black marble plinth 32 by 15cm., 12.5 by 6in.

Provenance: Greenacres Galleries, Wexford; Private collection

Dimensions of base 3 by 4ins.

Dillon is thought to have cast three examples in bronze of Molly from the original in terracotta.

Nine years older than her brother, Molly Dillon worked as a young girl in a cloth mill in Belfast.

In the 1930s she moved to London, where she and Gerard shared a flat in Alexander Road, St John’s Wood. There she worked as a dressmaker and eventually bought a house in Abbey Road, London, the basement of which she rented to her brother. The Abbey Road house was a regular haunt of many artists and writers, not to mention Molly’s menagerie of stray cats and dogs, until London Borough Council ordered it demolished in 1963.

Exhibited: ’Sonja Landweer and Liam Roberts’, Greenacres, Wexford, 14 May 2009, catalogue no. 22 €600-€800 (£520-£690 approx.)

82 S a ndr a Bel l (b. 19 54 ) LOVING CUP, 2001 signed with initials, dated and numbered at the base bronze; (no. 1 from an edition of 8) 25 by 10cm., 10 by 4in. €1,000-€1,500 (£860-£1,300 approx.)

58

€3,000-€4,000 (£2,600-£3,400 approx.)

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WHYTES SINCE 1783

83 J ohn Co en (b. 19 41 ) FIGURES UNDER A CANOPY OF LEAVES bronze 36 by 27cm., 14 by 10.5in.

Provenance: Aer Rianta Arts Festival Dublin; Where acquired by the present owner Exhibited: ’Gateway to Art’, Aer Rianta Arts Festival Dublin Airport, c.late 1990s Dimensions of base 9.5 by 13ins.

€800-€1,000 (£690-£860 approx.)

84 Mela nie le Br o cqu y H RH A ( b.1 91 9) ADMIRING ART, c.1996 signed and numbered at the base; also bearing foundry stamp [DAF 96] at the base bronze; (no. 4 from an edition of 6) 30 by 25cm., 12 by 9.75in.

Provenance: Aer Rianta Arts Festival Dublin; Where acquired by the present owner Exhibited: ’Gateway to Art’, Aer Rianta Arts Festival Dublin Airport, c.1996 Dimensions of base 5 by 10ins.

€1,500-€2,000 (£1,300-£1,700 approx.)

85 Mela nie le Br o cqu y HRH A ( b. 19 19 ) FIGURATIVE GROUP signed with initials and numbered on reverse bronze on granite base; (no. 1 from an edition of 6) 22 by 18cm., 8.5 by 7in.

Dimensions of base 4 by 8ins.

€1,500-€2,000 (£1,300-£1,700 approx.)

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86 S e am u s M u r ph y R HA ( 1 90 7- 1 97 5)

87 J oh n R y a n R H A ( 1 9 2 5 - 1 9 9 2 )

DEATH MASK OF PATRICK KAVANAGH (1904-1967), 1967 with engraved brass plaque affixed to support with subject’s name and dates plaster; (mounted on oval wooden support) 25 by 17cm., 10 by 6.5in.

PATRICK KAVANAGH, 1950 signed, inscribed and dated in the margin pencil 18 by 15cm., 7 by 6in.

The location, Inniskeen, Co. Monaghan, is detailed lower right.

Provenance: Collection of artist, Liam Proud (1920-1995); Thence by descent Exhibited: ‘The Work of Seamus Murphy, Sculptor (1907-1975)’, Douglas Hyde Gallery, Trinity College, Dublin, 2 December - 5 January 1983, catalogue no. 70 (an edition) Literature: Seamus Murphy 1907-1975 – A Complete Catalogue of Works, Cahill Printers Ltd, 1988; catalogue no. 380 (listed with two other death masks, those of Arnold Bax, 1953 and Seán Ó Riada, 1971) Depth 6.5ins., dimesions of support, 24 by 18.5ins.

Two other plaster examples of this death mask have been recorded in the following public collections: The Writer’s Museum, Dublin and The Patrick Kavanagh Centre, Monaghan with a third in private hands. The latter was in the collection of singer songwriter Roger Whitaker and sold at Sheppard’s , Durrow in September this year for E8,500.

€5,000-€7,000 (£4,300-£6,000 approx.)

60

€300-€400 (£260-£340 approx.).)

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WHYTES SINCE 1783

88 Ma rj o r ie Fi tzgi bb o n H RHA (b.1 93 0) HENRY GUINNESS, 1972 signed with initials [MF] and dated lower right at edge of collar bronze 44 by 44cm., 17.5 by 17.5in.

Provenance: Guinness Mahon Bank, Trinity Street, Dublin; Private collection, Dublin Henry Samuel Howard Guinness (1888-1975) was a director and later Chairman of Guinness Mahon. The banking firm was founded in Dublin in 1836 by brewer Robert Rundell Guinness, cousin of the brewer Arthur Guinness, and John Ross Mahon, an estate agent. A London office opened in 1873, closed in 1916 during World War I and then re-opened again in 1923. This became Guinness Mahon Holdings, which merged with Lewis & Peat Ltd in 1974 The bank became embroiled in several investigations including those into Charles J Haughey’s affairs.

The group ran into difficulties in the late 1980s, was demerged and incorporated into various international entities including Investec.

€2,000-€3,000 (£1,700-£2,600 approx.)

89 S e am u s M u r ph y R HA ( 1 90 7- 1 97 5) SEÁN O’RIORDAN, 1957 signed and dated at base bronze on marble base; (an edition of 4) 41 by 20cm., 16 by 8in.

Exhibited: ’Oireachtas’, Dublin 1957; RHA, Dublin 1972, catalogue no. 161 (nfs); ‘Memorial Exhibition’, RHA, Dublin, 1976, catalogue no 96 (Lent by Mr & Mrs Louis Marcus); ‘The Work of Seamus Murphy, Sculptor (1907-1975)’, Douglas Hyde Gallery, Trinity College Dublin, 2 December 1982 - 15 January 1983, catalogue no. 43 (on loan from UCC) Literature: Seamus Murphy 1907-1975, A Complete catalogue of Works, Cahill Printers Ltd, 1988, catalogue no. 262 Dimensions of base, 5.5 by 5ins.

There were four casts made of Seán O’Riordan, these were recorded as being in the following collections: The Ó Muirceartaigh Family; Seán Ó Mordha; Mr & Mrs Louis Marcus and University College, Cork.

(See: Seamus Murphy 1907-1975, ‘Portrait Busts and Allegorical Heads’, catalogue no. 262, p.52)

€3,000-€4,000 (£2,600-£3,400 approx.)

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90 Ro wl an d Hi ll A RU A ( 1 91 5- 1 97 9) RATHLIN ISLAND, WHITE PARK BAY, ANTRIM COAST signed lower right; with title inscribed on label on reverse oil on canvas 61 by 102cm., 24 by 40in. €1,500-€1,800 (£1,300-£1,500 approx.)

91 Ro wl an d Hi ll A RU A ( 1 91 5- 1 97 9) WHITE PARK BAY, PORTBRADDEN, BALLINTOY, COUNTY ANTRIM signed lower right oil on board 47 by 62cm., 18.5 by 24.5in. €800-€1,000 (£690-£860 approx.)

92 Geo r ge K . G il lesp ie RUA (1 92 4-1 99 5) COASTAL SCENE with typed exhibition label and provenance details on reverse oil on board 24 by 34cm., 9.5 by 13.25in.

Provenance: Bonham’s, Chelsea, 10 November 1980; Paul Conran Fine Art, London; Private collection; Milmo-Penny Fine Art; Where purchased by the present owner €800-€1,000 (£690-£860 approx.)

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93 G eo rge K. Gi lles pi e R UA (1 92 4- 19 95 ) EVENING REFLECTIONS, KILLARY, COUNTY GALWAY signed lower left; with title inscribed on label on reverse oil on canvas 61 by 91cm., 24 by 36in. €3,000-€4,000 (£2,600-£3,400 approx.)

94 G eor ge K. Gil les pi e RUA (1 92 4-1 99 5) EVENING LIGHT, KILARY, CONNEMARA signed lower left; with title inscribed on label on reverse oil on canvas 61 by 76cm., 24 by 30in. €2,500-€3,500 (£2,200-£3000 approx.)

95 G eo rge K. Gi lles pi e R UA (1 92 4- 19 95 ) MAAM VALLEY, COUNTY GALWAY signed lower left; with title inscribed on original label on reverse oil on board 39 by 51cm., 15.5 by 20in.

Provenance: Combridge Fine Arts, Dublin; Private collection; Whyte’s, 8 May 2002, lot 165; Whence purchased by the present owner €2,000-€3,000 (£1,700-£2,600 approx.)

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96 Be a O r p e n H RH A ( 1 91 3- 1 9 80 ) PORT ORIEL, CLOGHERHEAD, COUNTY LOUTH signed lower right; inscribed with title on reverse gouache 36 by 52cm., 14.25 by 20.5in. €600-€800 (£520-£690 approx.)

97 Attr i bu ted to Eva Henr i etta Hami lto n (1 87 6- 19 60 ) FIESOLE, FLORENCE signed with artist’s name and title on reverse; with Daniel Egan [38 St. Stephen’s Green, Dublin] label on reverse oil on panel 18 by 23cm., 7 by 9in.

In original Daniel Egan frame.

This same view was painted by the artist’s sister Letitia. The picturesque town of Fiesole on the outskirts of Florence was celebrated for its beautiful landscape and panoramic views and became a popular location and subject for visiting artists.

€600-€800 (£520-£690 approx.)

98 Ev a H e n r i e t t a H a m i l t o n ( 1 8 7 6 - 1 9 6 0 ) HOLY ISLAND FROM MOUNTSHANNON HOUSE, COUNTY CLARE, 1947 with letter of provenance on reverse oil on canvas 30 by 41cm., 12 by 16in.

Provenance: Gift from the artist to Lady Joyce Talbot de Malahide; Mountshannon, Co. Clare; Thence by descent; Southgate Fine Art, Cork; Private collection €1,000-€1,500 (£860-£1,300 approx.)

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99 M i l d re d A n n e B u t l e r R W S ( 1 8 5 8 - 1 9 4 1 ) KILMURRY GARDEN signed lower left watercolour 19 by 37cm., 7.5 by 14.5in.

Kilmurray was the artist’s home near Thomastown, Co. Kilkenny.

€2,000-€3,000 (£1,700-£2,600 approx.)

1 00 F ra n k E g g i n t o n R C A ( 1 9 0 8 - 1 9 9 0 ) LATE EVENING, CONNEMARA signed lower left; with original inscribed William Rodman & Co., Belfast label on reverse watercolour 25 by 36cm., 10 by 14in.

Provenance: Whyte’s 18 May 2009, lot 15; Whence purchased by the present owner €800-€1,000 (£690-£860 approx.)

10 1 F ra n k E g g i n t on R C A ( 1 9 0 8 - 1 9 9 0 ) GREEN CASTLE, COUNTY DOWN signed lower left; with title faintly inscribed on reverse watercolour 25 by 35cm., 10 by 13.75in. €600-€800 (£520-£690 approx.)

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102

1 02 G eo rge Ru ss ell “AE” (1 86 7-1 93 5) TWO GIRLS BEFORE A RING FORT oil on canvas 41 by 53cm., 16 by 21in.

Provenance: Gift from the artist to author Frank O’Connor (1903-1966); Gift from Frank O’Connor to Nancy McCarthy Allitt, Co. Cork; By whom bequeathed in 1988 to Frank O’Connor’s widow, Harriet O’Donovan Sheehy; Private collection; Whyte’s, 28 April 2008, lot 117; Private collection The friendship between Irish writer Frank O’Connor (pen name of Michael O’Donovan) and George Russell is attested to in O’Connor’s autobiography, My Father’s Son. Accompanying this lot is a letter of provenance from O’Connor’s widow, Harriet O’Donovan Sheehy.

€4,000-€6,000 (£3,400-£5,200 approx.)

1 03 D ou g l a s A l e x a n d e r ( 1 8 7 1 - 1 9 4 5 ) BOGROAD WITH COTTAGES and RIVER THROUGH A VALLEY (A PAIR) signed lower right and lower left respectively watercolour 38 by 54cm., 15 by 21.25in.

Framed and mounted uniformly.

€800-€1,000 (£690-£860 approx.)

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10 4 Wa lt er Fred er ick Os bo r ne R HA RO I ( 18 59 -19 03 ) THREE GIRLS WINDING WOOL, 1887 inscribed on the stretcher on reverse oil on canvas 41 by 56cm., 16 by 22in.

Exhibited: ‘The Irish Revival’, Pyms Gallery, London, 1982, catalogue no. 1; ‘An Ireland Imagined’, Pyms Gallery, London, 27 October to 26 November, 1993, catalogue no. 11 (illustrated p. 21 of catalogue) €10,000-€15,000 (£8,600-£12,900 approx.)

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10 5 Ed w i n H a y e s R H A R I R O I ( 18 19 - 19 04 ) PORTLAND BILL, WEYMOUTH, 1880 signed lower right; with title, date and artist’s name on gilt plaque affixed to frame lower centre; signed, titled and dated again on reverse; with partial J.G. May Carver & Gilder label on reverse oil on canvas 25 by 40cm., 10 by 15.75in.

Provenance: Phillips, Bath, Avon, UK, 27 March 2000, lot 163; Private collection Contained in what appears to be its original gilt frame.

€4,000-€6,000 (£3,400-£5,200 approx.)

1 06 1 9 t h Ce n t u r y Co n t i n e n t a l S c h o o l 17th CENTURY STYLE SEASCAPE WITH FISHERMEN AND VESSELS, c.1880 oil on canvas 58 by 81cm., 23 by 32in.

Provenance: From the Collection of the Druids Glen Resort, Newtownmountkennedy, Co. Wicklow Contained in what appears to be its original ornate gilt frame.

€1,500-€2,000 (£1,300-£1,700 approx.)

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10 7 W i l l i a m H . B a r tl e t t R B A ( 1 8 5 8 - 1 9 3 2 ) THE RETURN FROM THE SEAL-HUNT, 1881 signed and dated lower right; with title and artist’s name on gilt plaque affixed to frame lower centre oil on canvas 50 by 75cm., 19.5 by 29.5in.

Exhibited: Royal Academy, London, 1881, no. 375 Contained in what appears to be its original frame.

Seal hunting was commonplace in 19th century Ireland and earlier. Their skins made excellent coats and waistcoats and they were also in demand for making floats for fishing net and for covering boats. The hunting was dangerous and difficult as Tomás Ó Criomhthainn recounted in his book, An tOileánach (The Islandman). The hunters on the Blasket Islands would often have to swim into caves in pursuit of their quarry. Bartlett himself recounts in graphic detail how the inhabitants of Connemara tracked the seals in parties by boat and on foot to uninhabited islands off the mainland for their prized oil which was said to be ‘grand for rheumatics’.

For Bartlett’s full account see, Campbell Julian, Walter Osborne In the West of Ireland, A Centenary Publication, Adam’s, 2004, Appendix 1: Coast Life in Connemara by William H. Bartlett from ‘The Art Journal 1894’, pp.117-120.

1880s include Going to Market at Roundstone from Deer Island, West Coast of Ireland, An Evicted Tenant, Connemara and Waiting for the Turf Boats, Roundstone. Bartlett’s prominence stems from these innovative early views of daily life in the West as well as from his formation of “…an important link between the essentially Victorian, and often sentimental, work of other visiting artists such as Howard Helmick and the figurative work of Charles Lamb and Paul Henry in the early decades of the twentieth century.”1 He returned to Ireland frequently showing three works at the RHA (in 1897 and 1905) and in 1911 was recorded with an address in Donegal. From 1880 onwards he exhibited more than forty works at the RA. His inaugural exhibition saw six works shown, however, in 1881 The Return from the Seal-Hunt was the only work exhibited by Bartlett from an address at Park Lodge, Church St., Chelsea. He exhibited a total of 28 works with the RA from 1880 to 1904. Other exhibiting venues included the Fine Art Society in London and the Royal Institute of Oil Painters. He is represented in the Brighton and Hove Museum and in the Ulster Museum, Belfast. In 2007 the National Gallery of Ireland (NGI) acquired His Last Work, 1885 from the Gorry Galley, Dublin.

As is the case with the NGIs picture, this work is boldly signed and dated 1881, the year that it was exhibited by Bartlett at the Royal Academy. This is a clear sign he was pleased with the work, which, similarly to His Last Work, was the only painting he exhibited that year.

1

Bartlett studied at the École des Beaux Arts in Paris under Gérôme, Bouguereau and Fleury and was elected RBA in 1879, around which time he also first visited Irish soil recording scenes both in print and paint. Works exhibited in the early

‘An Exhibition of 18th - 21st Century Paintings’, 14th March – 31st March 2007, Gorry Gallery, Dublin, exhibition catalogue, pp. 4-5.

€8,000-€12,000 (£6,900-£10,300 approx.)

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108 J o h n L a po r t e ( 1 76 1- 1 83 9) BLACKROCK CASTLE, CORK, 1801 signed and dated lower centre; titled, incorrectly as Dublin, on reverse pencil and watercolour 29 by 52cm., 11.5 by 20.5in.

Provenance: Phillips and Joly, Bath; Private collection; Christie’s, 19 May 2000, lot 116; Private collection Laporte first appeared as an exhibitor at the Royal Academy in 1785, and from that year with few exceptions was a constant contributor of landscape scenery there. He was one of the masters of the Military Academy at Addicombe.

€900-€1,200 (£770-£1,030 approx.)

109 A n d re w N i c h ol l R H A ( 1 8 0 4 - 1 8 8 6 ) STEAMER OFF THE ANTRIM COAST WITH DUNLUCE CASTLE BEYOND signed lower right; with framing label of William Mol & Son, Belfast on reverse watercolour heightened with white 41 by 56cm., 16 by 22in. €2,000-€3,000 (£1,700-£2,600 approx.)

110 J o hn Fau l k ner RHA (1 83 5-1 89 4) SCHOONERS IN A SEASCAPE signed lower left watercolour heightened with white 25 by 38cm., 10 by 15in. €600-€800 (£520-£690 approx.)

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11 1 A f te r J a m e s B a r r y R A ( 1 7 4 1 - 1 8 0 6 ) AN EARLY SKETCH OF JAMES BARRY’S A GRECIAN HARVEST-HOME [FROM THE PROGRESS OF HUMAN CULTURE] c.1777-1784 bears inscription [“Barry’s drawing of picture at Adelphi”] in pencil on the mount lower left pen and ink with wash over pencil heightened with white 36 by 47cm., 14 by 18.5in.

This precise, highly finished drawing is an early sketch of James Barry’s painting, A Grecian Harvest-Home, in the collection of Royal Society of Arts, London (RSA). The painting forms part of a series of six murals, The Progress of Human Knowledge and Culture, commissioned for the Society’s Great Room in 1774.

The RSA was founded in a coffee shop in Covent Garden in 1754 and was based in a number of locations in this area in its early years. In 1774 it moved to what remains its current home in John Adam Street. The House was designed for the Society by Robert Adam as part of the major Adelphi development undertaken by Adam and his brothers.

The murals were exhibited in 1783 and 1784. The first exhibition was accompanied by a text explaining the murals’ content and included numerous prints on same. A Grecian Harvest-Home, the second in the series, (each 11ft 6ins. high; the longest two 42ft.) outlines the development of Greek society. In James Barry ‘The Great

Historical Painter’, William Pressly describes it as showing, “a fecund, agrarian society, best understood in the conventions of the Georgian pastoral and its seductive imagery of rural retirement…underlying the festivities is the melancholy sense that this ‘state of happiness …is only a stage of societies progress’… The ominous break in the chain of dancers, and the central dancer’s pensive expression, foreshadow the more stressful period to come.” 1 Pressly notes that Barry was continuously preoccupied with the murals from their first showing until his death and that he retouched the canvases themselves as well as publishing prints on alternatives readings of same. 2 This drawing bears subtle differences with the finished mural in the RSA. Some differences evident in this example include; the omission of a scythe and fork (centre), different headdresses on the girls at the base of the ladder and in the loft and some detail visible in the distant landscape in the background.

For further reading on James Barry see Strickland, Vol. I, pp.34-45 and James Barry 17411806 ‘The Great Historical Painter.

1

Dunne, Tom (Ed.), James Barry 1741-1806 ‘The Great Historical Painter’, Crawford Art Gallery & Gandon Editions, 2005, p.48.

2

Ibid., p.49-50

€1,500-€2,000 (£1,300-£1,700 approx.)

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11 2 J o h n H e n r y C am p be l l ( 17 57 - 18 28 ) A VIEW OF THE SCALP, COUNTY WICKLOW, c.1920 with inscribed Bell Gallery label on reverse watercolour 15 by 20cm., 6 by 7.75in.

Provenance: Bell Gallery, Belfast; The Estate of John Green, Belfast €600-€800 (£520-£690 approx.)

11 3 W i l l i a m B i n g h a m M c G ui n n e s s R H A ( 1 8 4 9 - 1 9 2 8 ) COTTAGE BY A RIVER and FIGURE CARRYING STRAW, 1875 (A PAIR) the first signed and dated lower centre watercolour heightened with white 25 by 34cm., 9.75 by 13.5in.

Provenance: The Estate of John Green, Belfast Framed and mounted uniformly.

€1,500-€2,000 (£1,300-£1,700 approx.)

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11 4 J a m e s Bu t le r Br e n an RH A ( 1 82 5- 18 89 )

1 15 A u g u s t u s N i c h o l a s B ur k e R H A ( 1 8 3 8 - 1 8 9 1 )

PORTRAIT OF A DIPLOMAT, 1864 signed and dated lower right; with label of A. Reed Carver, Gilder & Picture Frame Maker [5 Upper Arcade, The Barton, Bristol] on reverse oil on canvas 51 by 39cm., 20.25 by 15.25in.

CATTLE DRIVER signed lower right oil on canvas 30 by 25cm., 12 by 10in.

Contained in what appears to be its original gilt frame.

The sitter is wearing the uniform of a French diplomat.

Contained in what appears to be the original ornate gilt frame.

€3,000-€4,000 (£2,600-£3,400 approx.)

€2,000-€3,000 (£1,700-£2,600 approx.)

11 6 S e á n K e a t i n g P R H A H R A H R SA ( 1 8 8 9 - 1 9 7 7 ) SAINT PATRICK, c.1937 signed lower left charcoal 34 by 27cm., 13.5 by 10.5in.

Provenance: Waddington Galleries, Dublin c.late 1940s early 1950s; Private collection Contained in what appears to be its original Waddington frame. St. Patrick is the model for a painting entitled St. Patrick Lights the Paschal Fire at Slane, commissioned by the Haverty Trust in 1932 and given to the Irish college in Rome in 1937. Leo Whelan and Margaret Clarke were commissioned for work in the same theme, the Eucharistic Congress 1932, to celebrate the quincentennial of St. Patrick’s arrival in Ireland. More recently, the striking image of St. Patrick Lights the Paschal Fire at Slane was selected for use on an Irish postage stamp to celebrate St. Patrick’s Day in 2006.

We are grateful to Dr. Éimear O’Connor HRHA for her assistance in cataloguing this lot.

€1,000-€1,500 (£860-£1,300 approx.)

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1 17 S tep hen Pear se (1 81 9-1 90 4)

1 18 1 9 t h C e n t u r y Ir i s h / B r i t i s h S c h o o l

PORTRAIT OF CAPT. DENIS WILLIAM PACK-BERESFORD ESQ., 1871 signed, titled and dated on reverse; with indistinct inscribed label on reverse [“Pack Beresford - Present to my wife...”]; also with C. James, Carver & Gilder [35 Princes St., Leicester Sq., London, W.] on reverse; with gilt plaque affixed to frame lower centre detailing date and sitter’s name oil on canvas 76 by 64cm., 30 by 25in.

PORTRAIT OF LADY ELIZABETH PACK, c.1850s with stamp of C. Davys [83, Newman St., Oxford St., London] on reverse oil on canvas; (tondo) 84 by 70cm., 33 by 27.5in.

Provenance: From the Collection of the Druid’s Glen Resort, Newtownmountkennedy, Co. Wicklow

Contained in what appears to be its original ornate gilt frame.

The sitter is thought to be Elizabeth Louisa Reynell (1783-1856) neé De La Poer and formerly wife of Sir Denis Pack (the father of the sitter lot 117).

Contained in its original gilt frame.

Captain Denis William Pack-Beresford (1818-1881) of Fennagh House in the parish of Lorum, County Carlow served for several years in the Royal Artillery, and, on the death of his god-father, Field-Marshal Lord Viscount Beresford, G.C.B. in 1864, he assumed the name and arms of Beresford, in compliance with his will. The tombstones for the sitter and his ancestors can be found within the burial-grounds of Fennagh House.

€1,500-€2,000 (£1,300-£1,700 approx.)

€1,500-€2,000 (£1,300-£1,700 approx.)

74

Provenance: From the Collection of the Druid’s Glen Resort, Newtownmountkennedy, Co. Wicklow

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11 9 Var io u s COLLECTION OF FIVE PORTRAIT MINIATURES, c.1800s variously signed and dated oils, watercolours on card or enamel; framed individually (all oval); presented as one within a single frame 6 by 5cm., 2.5 by 2in. (average size) Features three-quarter portraits of three men and two women, all elegantly dressed.

First (top) inscribed “T.i.f. Hau pinx. 1796”. Possibly a depiction of a politician, it shows a gentleman with detailed grey-hair dressed in black with a white neck tie. After 1800, it was fashionable for men to ‘wear’ their own hair rather than wigs as is visible in this depiction. The second and third portraits are double-sided held within a red leather travelling case. The portrait of the man is attributed to Frederick Buck (Cork, 17711840), a sought after miniaturist in the city during the Napoleonic Wars, supplying the demand for keepsakes between officers and ladies. This gentleman can be identified as an Irish Major of the 81st Regiment (See NGI 7144 for a comparable work). The lady is elegantly dressed with low cut décolletage and elaborately styled hair. The fourth miniature, also possibly of a politician, is precisely painted and held in a gilt-metal frame (glazed) with brooch pin on reverse. The last portrait depicts a lady, similarly attired to the previous example; contained in a metal frame with pendant setting (glazed) this work is indistinctly signed [Mliy?] lower right.

For further reading see: Caffrey, Paul, Treasures to Hold, Irish and English Miniatures 16501850 from the National Gallery of Ireland, NGI, 2000.

€1,200-€1,800 (£1030-£1,500 approx.)

12 0 H a r r y E rn e s t J . B r o w n e ( f l . 1 8 8 9 - 1 9 1 7 ) TIRED OUT with original inscribed label on reverse detailing price [£84-0-0] and artist’s studio address [4 Greek Lane, Shaftesbury, Avenue, London]; also with Southport [1912] label and a note from James A. Gorry [Dublin] on reverse oil on canvas 66 by 69cm., 26 by 27in.

Exhibited: possibly exhibited at the Royal Academy, London, 1901, exhibition no. 12 as Repose Contained in its original ornate gilt frame.

Harry Ernest J. Browne, a London landscape, genre and figure painter exhibited regularly in a variety of institutions from the late 1880s to the first decade of the 1900s including the Royal Society of British Artists (Suffolk Street), the Dowdeswell Galleries, West Cornwall, Glasgow Institute of Fine Art Walker Art Gallery, Liverpool, the Royal Institute of Painters in Watercolour and in Oil from addresses in Kensington and the West End among others. He is listed as exhibiting six paintings with the Royal Academy between 1891 and 1904 where subjects including nymphs and mermaids dominated. Tired Out, possibly exhibited there in 1901 under the title Repose, falls in line with these other exhibits with its charming rendering of a dozing child and her cat.

€600-€800 (£520-£690 approx.)

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1 21 Jo se ph W il li am C ar ey RUA ( 18 59 -19 37 )

1 24 J os eph W il li am Ca rey RUA (18 59 -19 37 )

ORMEAU GOLF CLUBHOUSE, 1921 signed and dated lower right; titled lower left watercolour 20 by 43cm., 8 by 17in.

CROAGH PATRICK, COUNTY MAYO, 1931 signed and dated lower right; titled lower left watercolour over pencil 24 by 36cm., 9.5 by 14.25in.

Provenance: Emer Gallery, Belfast; Private collection

Provenance: Emer Gallery, Belfast; Private collection

Exhibited: ‘The Watercolours and J.W. Carey’, Emer Gallery, Belfast, 2 April - 11 March, 2009

Exhibited: ‘The Watercolours and J.W. Carey’, Emer Gallery, Belfast, 2 April - 11 March, 2009

The Ormeau Golf Club is located a mile from Belfast on Park Road, it was formed in 1893 - one of the oldest courses in Ireland - and has been described as “the course in the heart of the city”. The clubhouse and course are situated on a parkland, which was once part of the Marquis of Donegall’s Ormeau demesne.

€600-€800 (£520-£690 approx.)

€1,500-€1,800 (£1,300-£1,500 approx.)

1 22 Jo se ph W il li am C ar ey RUA ( 18 59 -19 37 ) THE GOBBINS, ANTRIM, 1926 signed and dated lower left; with title lower right watercolour 19 by 43cm., 7.5 by 17in.

Provenance: Emer Gallery, Belfast; Private collection Exhibited: ‘The Watercolours and J.W. Carey’, Emer Gallery, Belfast, 2 April - 11 March, 2009 €600-€800 (£520-£690 approx.)

1 23 Jo se ph W il li am C ar ey RUA ( 18 59 -19 37 ) GLENVEAGH CASTLE, CREESLOUGH, DONEGAL, 1927 signed and dated lower right; with title lower left; with inscribed Emer Gallery label on reverse watercolour over pencil 14 by 46cm., 5.5 by 18in.

Provenance: Emer Gallery, Belfast; Private collection

76

Exhibited: ‘The Watercolours and J.W. Carey’, Emer Gallery, Belfast, 2 April - 11 March, 2009 €600-€800 (£520-£690 approx.)

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12 5 Jo sep h W il lia m C ar ey R UA ( 18 59 -19 37 ) CASTLE OF KIVITER, SLIEVE COMMEDAGH, COUNTY DOWN, 1924 signed and dated lower left; titled lower right; with inscribed Emer Gallery label on reverse watercolour over pencil 18 by 25cm., 7 by 9.75in.

Provenance: Emer Gallery, Belfast; Private collection

12 7 Fr ank Egg int on RC A (1 90 8-1 99 0) STREAM THROUGH LANDSCAPE WITH TREES signed lower right watercolour 36 by 53cm., 14.25 by 20.75in. €800-€1,000 (£690-£860 approx.)

Exhibited: ‘The Watercolours and J.W. Carey’, Emer Gallery, Belfast, 2 April - 11 March, 2009 €400-€600 (£340-£520 approx.)

12 6 Jo s e p h Wi ll ia m C ar e y RU A ( 1 85 9- 1 93 7) KENBANE CASTLE, COUNTY ANTRIM, 1921 signed and dated lower left; with title lower right watercolour over pencil 22 by 35cm., 8.75 by 13.75in.

Provenance: Emer Gallery, Belfast; Private collection Exhibited: ‘The Watercolours and J.W. Carey’, Emer Gallery, Belfast, 2 April - 11 March, 2009

12 8 Wi lli am Per cy Fr ench (18 54 -1 92 0) BOG RIVER WITH TURF STACK IN THE DISTANCE signed lower left watercolour 17 by 23cm., 6.5 by 9.25in. €1,500-€2,000 (£1,300-£1,700 approx.)

€500-€700 (£430-£600 approx.)

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1 29 Terence P. Fl anag an RHA PPR UA (1 92 9- 20 11 ) COTTON BOG, 1974 inscribed in pencil on reverse; with typed David Hendriks Gallery label on reverse oil on board 29 by 30cm., 11.5 by 12in.

Provenance: David Hendriks Gallery, Dublin; Where purchased by the previous owner Exhibited: ‘T.P. Flanagan’, David Hendriks Gallery, Dublin, December 1974 It was in this same year, 1974, that the artist won the Painting Prize in the prestigious Oireachteas exhibtion.

€1,000-€1,500 (£860-£1,300 approx.)

1 30 B asi l Bl ack shaw HRH A R UA ( b.1 93 2 ) MONAGHAN LANDSCAPE, c.1977 signed upper left titled in the artist’s hand on reverse; with typed Caldwell Gallery label on reverse oil on wood 19 by 25cm., 7.5 by 10in.

Provenance: Caldwell Gallery, Belfast; The Estate of John Green, Belfast Exhibited: Caldwell Gallery, Belfast, May 1977, no. 29 €2,000-€3,000 (£1,700-£2,600 approx.)

1 31 B asi l Bl ack shaw HRH A R UA ( b.1 93 2 ) AUTUMN LANDSCAPE, c.1981 with inscribed Bell Gallery label on reverse oil on board 11 by 22cm., 4.25 by 8.75in.

Provenance: Bell Gallery, Belfast; The Estate of John Green, Belfast €1,500-€2,000 (£1,300-£1,700 approx.)

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13 2 M a r t i n M o o n e y ( b.1 96 0)

1 34 Ma r ti n Mo o ney ( b. 19 60 )

PINETREES, LA CASCADE, 1998 signed and dated lower right; signed, dated and inscribed on reverse; with typed Solomon Gallery label on reverse oil on board 18 by 25cm., 7 by 10in.

THE LAKE AT CLANDEBOYE, 2000 signed lower right; signed, titled and dated on reverse oil on board 14 by 20cm., 5.5 by 8in. €600-€800 (£520-£690 approx.)

Provenance: The Estate of John Green, Belfast Further inscription reads, “Pinetrees ‘Les Cascades’ near Agadir”.

€600-€800 (£520-£690 approx.)

13 3 M a r t i n M o o n e y ( b.1 96 0) LANDSCAPE NEAR CASHEL, CONNEMARA dated lower right; signed, inscribed, titled and dated on reverse; with typed Solomon Gallery label on reverse oil on board 15 by 30cm., 6 by 12in.

Provenance: Solomon Gallery, Dublin; Private collection €600-€800 (£520-£690 approx.)

1 35 N o r man Teeli ng ( b.1 94 4) ROWING BOAT ON A RIVER signed lower left oil on board 60 by 75cm., 23.5 by 29.5in. €800-€1,200 (£690-£1030 approx.)

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1 36 C om h g h a l l C a s e y ( b . 1 9 7 6 ) TEAPOT, 2000 signed and dated lower right; inscribed on reverse oil on canvas 43 by 48cm., 17 by 18.75in. €2,500-€3,500 (£2,200-£3,000 approx.)

13 7 Jo n at h an Wade ( 1 94 1- 1 97 3) DEVICE III with typed Arts Council exhibition label on reverse oil on canvas 147 by 85cm., 58 by 33.5in.

Exhibited: 'Jonathan Wade Retrospective', Trinity College Dublin, 23 May - 21 June, 1975, no. 32 €800-€1,000 (£690-£860 approx.)

1 38 W i l l i a m Sc o t t C B E R A ( 1 9 1 3 - 1 9 8 9 ) BROWN FIELD DEFINED, 1972 signed and dated lower left; numbered lower right screenprint (no. 56 from an edition of 72) 58 by 79cm., 23 by 31in.

Literature: Brian Balfour-Oatts, William Scott: A Survey of His Original Prints, Archeus Fine Art, London, 2005, listed as no. 34, illustrated p. 27 Printed at the Kelpra Studio and published by Leslie Waddington Prints Ltd for the portfolio A Poem for Alexander.

€1,500-€2,000 (£1,300-£1,700 approx.)

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13 9 L ou i s l e B r oc q u y H R H A ( b.1 91 6) DUBLIN ROOFTOPS IN SNOW (2), 1986 signed and dated with catalogue and edition number lower right lithograph; (no. 32 from an edition of 35) 46 by 64cm., 18 by 25in.

Provenance: Taylor Galleries Dublin; Whence purchased by the present owner €1,500-€1,800 (£1,300-£1,500 approx.)

14 0 L ou i s l e B r oc q u y H R H A ( b . 1 9 1 6 ) PEACE DOVE signed lower left; numbered lower right photolithograph (no. 133 from an edition of 250) 23 by 29cm., 9 by 11.5in.

Printed to commemorate the 30th Anniversary of Amnesty International.

€500-€700 (£430-£600 approx.)

14 1 L ou i s l e B r oc q u y H R H A ( b . 1 9 1 6 ) EIGHT PORTRAITS IN WORD AND WATERCOLOUR, 1990 signed and numbered on the colophon off-set lithograph print (no. 0217 from an edition of 1000) 27 by 23cm., 10.5 by 9in.

Commissioned by Marie Donnelly on behalf of the Irish Hospice Foundation. Each print is loosely inserted in a glassine sleeve on which is printed a written profile of the sitter. The 8 Irish art collectors featured in the set include; Dermot Desmond, Vincent Ferguson, Charles Haughey, Paul McGuinness, Martin Naughton, Vincent O’Brien, Tony O’Reilly and Michael Smurfit. The entire set is presented in a folding case of black linen and papered boards with a matching slipcase. A very fine production.

€1,000-€1,500 (£860-£1,300 approx.)

81

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1 42 S e a n S c u l l y ( b.1 94 5)

14 4 S ean Sc ul ly (b. 19 45 )

”SHE WEEPS OVER RAHOON” [#13], 1993 signed and dated in the margin lower right; numbered lower left etching, sugarlift, spitbite, aquatint (no. 21 from an edition of 33) 15 by 20cm., 6 by 8in.

”TUTTO È SCIOLTO” [#4], 1993 signed and dated in the margin lower right; numbered lower left etching, sugarlift, spitbite, aquatint (no. 21 from an edition of 33) 15 by 10cm., 6 by 4in.

Literature: Sean Scully, Print Catalogue Raisonné 1968-1999, Galerie Bernd Klüser, Munich, 1999, p.99 (listed)

Literature: Sean Scully, Print Catalogue Raisonné 1968-1999, Galerie Bernd Klüser, Munich, 1999, p.99 (listed)

Sheet size: 22 by 16.25ins.

From a portfolio of thirteen prints for Poems Penyeach by James Joyce published by Bernd Klüser, Munich, 1993.

Sheet size: 21.5 by 16ins.

From a portfolio of thirteen prints for Poems Penyeach by James Joyce published by Bernd Klüser, Munich, 1993

€1,000-€1,500 (£860-£1,300 approx.)

€1,000-€1,500 (£860-£1,300 approx.)

14 3 Co l i n M i d d l e t o n M B E R H A ( 1 9 1 0 - 1 9 8 3 ) ABSTRACT COMPOSITION WITH EYE with artist’s studio sale stamp on reverse pen and ink with wash 46 by 38cm., 18 by 15in.

Provenance: ‘The Colin Middleton Studio Sale’, Christie’s, 4 October 1985, lot 167; Private collection €1,000-€1,500 (£860-£1,300 approx.)

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1 47 Pe ter Fi t zG era ld (b.1 95 6) 14 5 D o n a l O ’ Su l l i v a n ( 1 9 4 5 - 1 9 9 1 ) PORTRAIT OF FRANCIS BACON signed lower right oil with pastel on paper 56 by 37cm., 22 by 14.75in.

Portraiture comprised a large segment of Donal O’Sullivan’s oeuvre. Executed in a variety of mixed media, O’Sullivan steered clear of conventional representation or commissioned portraits, preferring to only paint a face which has a special interest or appeal to him. O’Sullivan met with Francis Bacon both in London at The Colony Room Club and on his rare visits to Dublin.

€1,000-€1,500 (£860-£1,300 approx.)

ADELHEIDSTR 10: R, A, B; CHILD AND FIELD; MAYO SEA; FIELD; PARTY; WEDDING DANCE, 1995 signed and dated lower right; inscribed on reverse; also with original exhibition poster on reverse oil on canvas (six panels framed as one) 69 by 64cm., 27.25 by 25in.

Exhibited: ‘Eight Ducks & Other Paintings: A new exhibition by Peter Fitzgerald’, Kenny’s, Galway, 15 September to 6 October 1995, catalogue no. 31 Each panel measures 7.75 by 11.5in. and is based on a snapshot donated to the artist by various art students of his.

€900-€1,200 (£770-£1,030 approx.)

14 8 Pet er Fitz gera ld (b.1 95 6)

14 6 Mi k e Fi tzhar r i s ( b.1 95 2 )

PHOTOGRAPHER inscribed on reverse; also with original exhibition catalogue on reverse oil on canvas 21 by 30cm., 8.25 by 12in.

THE ISLAND signed lower left oil on board 61 by 76cm., 24 by 30in.

Exhibited: ‘Eight Ducks & Other Paintings: A new exhibition by Peter Fitzgerald’, Kenny’s, Galway, 15 September to 6 October 1995, catalogue no. 14

€600-€800 (£520-£690 approx.)

€500-€700 (£430-£600 approx.)

83

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1 49 C e c il K in g ( 1 92 1- 19 86 ) OPENING signed lower right; with typed Oliver Dowling Gallery label on reverse oil on paper 18 by 18cm., 7 by 7in.

Provenance: Oliver Dowling Gallery, Dublin; Private collection Exhibited: Oliver Dowling Gallery, Dublin (catalogue untraced) €400-€600 (£340-£520 approx.)

1 50 C e c il K i n g ( 19 21 - 19 86 ) INTRUSIONS, 1973 signed lower right; with typed Hendriks exhibition label on reverse oil on paper laid on board 46 by 69cm., 18 by 27in.

Provenance: David Hendriks Gallery, Dublin; Whence purchased by the present owner Exhibited: Hendriks Gallery, Dublin, 22 February 16 March 1974, catalogue no. 1; ‘Kilkenny Arts Week ‘75’ (in association with David Hendriks Gallery), Kilkenny College, 17-31 August 1975, catalogue no. 25 €1,500-€2,000 (£1,300-£1,700 approx.)

1 51 E d w a rd D e l a n e y R H A ( 1 9 3 0 - 2 0 0 9 ) HUNTERS SERIES signed in pencil lower right; David Hendriks Gallery label on reverse oil on paper 55 by 75cm., 21.75 by 29.5in.

In original David Hendriks Gallery frame.

€800-€1,000 (£690-£860 approx.)

84

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15 2 Jo hn C ro nin (b. 19 66 ) THE NIGHTGALE (No. 25) 2002 signed, dated and with title etched and in marker on reverse; with inscribed exhibition label on reverse oil on aluminium 91 by 122cm., 36 by 48in.

Provenance: Green on Red Gallery, Dublin; Private collection Exhibited: ‘Nightingale, John Cronin’, Green on Red Gallery, Dublin, 13 March 13 April 2003, catalogue no. 25 ‘The Nightingale’ was Cronin’s seventh solo show at Green On Red Gallery and charts the artist’s continuing preoccupation with paint as a means of expression in an increasingly modern world. Cronin’s distinctive style of dragging and scoring the paint is accentuated by his vibrant and varied use of colour.

€3,500-€4,500 (£3,000-£3,900 approx.)

15 3 Pa ul D or an (b. 19 72 ) UNTITLED, 2006 signed, titled and dated on reverse oil on board 41 by 71cm., 16 by 28in.

In 2005 Paul Doran was awarded the AIB Award for Visual Artists. This substantial prize was fundamental to the artist’s development and in facilitating the creation of his subsequent body of work for his solo exhibition, ‘Man in A Shed’, at the Sligo Art Gallery, 28 March - 29 April, 2006. Although Doran’s visibly sensual application of paint was what first attracted attention, it is his use of colour which continues to incite and excite. Enrique Juncosa, Director of the Irish Museum of Modern Art, sees colour in Doran’s works as, “...an integral part of the material and the brushstroke. Thus, Doran’s canvases have the sense of being living organisms...

More than evoking the memory of an emotion in a particular situation they show a kind of physical manifestation of emotion.” (2004)

€2,500-€3,500 (£2,200-£3000 approx.)

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1 54 B r ia n B al lar d RUA (b. 19 43 ) SEA AND ISLANDS, INNISFREE, 2008 signed and dated lower right; with title inscribed on reverse oil on canvas 50 by 70cm., 19.5 by 27.5in. €1,500-€2,000 (£1,300-£1,700 approx.)

1 55 B r ia n B al lar d RUA (b. 19 43 ) RED POPPIES, 2000 signed and dated lower left; with archival number on reverse [BALB0132] oil on canvas 61 by 75cm., 24 by 29.5in. €1,800-€2,200 (£1,500-£1,900 approx.)

1 56 M a u ra C o ro n a AUTUMN signed lower right oil on canvas 58 by 58cm., 23 by 23in.

The proceeds of this sale will go to the Beaumont Hospital Foundation.

Dr. Maura Corona is an established Italian artist and medical professional living in Ireland. She has studied art, both theoretical and practical and her work can be found in numerous public and private collections in Ireland and internationally. Among them, Adam’s Apple, in Dublin’s Dental Hospital in Lincoln Place, Sleeping Cat, acquired by the Office of Public Works and Tranquillity at Bunratty Castle, Co. Limerick. Of her solo exhibitions, her 2006 winter show in the Royal Dublin Society was a feature in Circa Art Magazine in December of that year.

€300-€500 (£260-£430 approx.)

86

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15 7 K ennet h Web b R WA FR SA RUA (b.1 92 7) UISCE GORM signed lower right; with title inscribed on reverse oil on canvas 51 by 154cm., 20 by 60.5in. €7,000-€9,000 (£6,000-£7,700 approx.)

15 8 K ennet h Web b R WA FR SA RUA (b.1 92 7) THE LONG WALK, GALWAY signed lower right oil on canvas 41 by 102cm., 16 by 40in. €5,000-€7,000 (£4,300-£6,000 approx.)

87

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1 59 Peter C o ll is RH A (b.1 92 9)

1 61 M ic h e á l d e Bu r c a RH A ( 1 91 3- 1 98 5)

CLEGGEN BAY, CONNEMARA signed lower left; with title on reverse oil on canvas board 30 by 36cm., 12 by 14in.

FIGURE BY A LAKE WITH MOUNTAIN BEYOND signed lower left; with Combridge Gallery label on reverse oil on board 41 by 51cm., 16 by 20in.

€800-€1,000 (£690-£860 approx.)

€1,000-€1,500 (£860-£1,300 approx.)

1 60 J o h n Sk e l t on ( 1 9 2 3 - 2 0 0 9 )

1 62 D a v i d Ho n e P P R H A ( b.1 92 8)

ABOVE THE COVE, ST. FINIAN’S BAY, COUNTY KERRY signed lower left; signed and titled on reverse oil on canvas 41 by 56cm., 16 by 22in.

SUMMER, KINSALE signed lower right; with title inscribed on reverse oil on canvas board 20 by 25cm., 8 by 10in.

€2,500-€3,500 (£2,200-£3,000 approx.)

€800-€1,000 (£690-£860 approx.)

88

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16 3 I v a n Su t t o n ( b . 1 9 4 4 ) THE OLD CLADDAGH FISHMARKET, GALWAY signed lower right; signed again and titled on artist’s label on reverse oil on canvas board 51 by 76cm., 20 by 30in. €2,000-€3,000 (£1,700-£2,600 approx.)

16 4 I v a n Su t t o n ( b . 1 9 4 4 ) SHAWLIES AND CURRAGHMEN, ARAN MÓR, COUNTY GALWAY signed lower right; signed again and titled on artist’s label on reverse oil on canvas board 51 by 76cm., 20 by 30in. €2,000-€3,000 (£1,700-£2,600 approx.)

16 5 He n r y He a ly RHA ( 1 90 9- 1 98 2) HOWTH HARBOUR signed lower right; with gallery labels on reverse oil on board 49 by 60cm., 19.25 by 23.5in.

Provenance: Oisín Gallery, Dublin; Private collection €800-€1,000 (£690-£860 approx.)

89

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16 6 Ar thu r K . M ader so n (b. 19 42 ) EVENING, SAN MARCO (SAINT MARK’S SQUARE) VENICE signed lower right; signed and titled on reverse oil on board 81 by 113cm., 32 by 44.5in. €3,000-€4,000 (£2,600-£3,400 approx.)

16 7 Ar thu r K . M ader so n (b. 19 42 ) FROSTY DAWN signed lower right; signed and titled on reverse oil on board 55 by 81cm., 21.5 by 32in.

With partially finished oil on reverse entitled Winter Sunshine, Glensitelane. €1,500-€2,000 (£1,300-£1,700 approx.)

16 8 Gl adys Mac cab e H RUA RO I F RS A (b.1 91 8) FRUIT AND FLOWERS signed lower right; with title and artist’s archival number [AV/GMC/0012] inscribed on reverse; with inscribed Gormley’s label on reverse oil on board 41 by 51cm., 16 by 20in.

Provenance: Gormley’s Fine Art, Dublin; Private collection €1,000-€1,500 (£860-£1,300 approx.)

90

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16 9 Ce cil Ma gu ir e R HA RUA (b. 19 30 )

17 0 L i a m O ’ Ne i l l ( b . 1 9 5 4 )

BACINO ORSEOLO, VENEZIA, 2007 signed and dated lower right; inscribed with title and artist’s [Roundstone] address on reverse oil on board 91 by 61cm., 36 by 24in.

HORSE AND JOCKEY signed lower left oil on canvas 76 by 51cm., 30 by 20in.

€3,000-€4,000 (£2,600-£3,400 approx.)

Provenance: Purchased directly from the artist by the present owner €4,000-€6,000 (£3,400-£5,200 approx.)

91

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Ex 173

1 71 Pat r i ck Leo nar d H RH A (1 91 8 -20 05 )

1 73 Pat r ick Leo nar d HR HA (19 18 -20 0 5)

BUS STOP, MAIN ROAD TO CORFU FROM KOWTOKALI, CORFU, 1990 signed lower left; signed again, inscribed and dated [June] on reverse oil on board 41 by 51cm., 16 by 20in.

McGEE’S BOAT, RUSH, 1942 and STORMY SKIES, NORTH BEACH, RUSH, 1939 (A PAIR) each signed, titled and dated in the lower margin pastel on tinted paper 36 by 55cm., 14 by 21.5in.

Provenance: Family of the artist

Provenance: Family of the artist Dimensions of second title; 13.75 by 21.5ins. Framed and mounted uniformly.

With oil sketch of a hilly landscape and castle ruins visible on reverse.

€1,000-€1,500 (£860-£1,300 approx.) €1,200-€1,500 (£1030-£1,300 approx.)

Ex 174

1 72 Pat r i ck Leo nar d H RH A (1 91 8 -20 05 )

1 74 Pat r ick Leo nar d HR HA (19 18 -20 0 5)

DASSIA, CORFU, 1990 signed lower left; signed again, titled and dated [22 June] on reverse oil on canvasboard 34 by 44cm., 13.5 by 17.5in.

SCOUT’S TENT, NORTH BEACH RUSH, 1941 and NORTH BEACH RUSH, 1939 (A PAIR) each signed, titled and dated in the lower margin pastel on tinted paper 36 by 51cm., 14.25 by 20in.

Provenance: Family of the artist

Provenance: Family of the artist

€1,200-€1,500 (£1030-£1,300 approx.)

Dimensions of second title: 13.75 by 21.5ins. Both mounted and framed uniformly.

€800-€1,200 (£690-£1,030 approx.)

92

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1 75 Patr ick Leo nar d HR HA (19 18 -20 05 )

1 76 Pat r ick Leo nar d HRH A (19 18 -20 05 )

DOREEN, RUSH, 1947 signed lower right; signed again, titled and dated on reverse oil on board 38 by 34cm., 15 by 13.5in.

DOREEN, THE ARTIST’S WIFE, 1953 signed and dated lower right pastel on buff-coloured paper 52 by 39cm., 20.5 by 15.5in.

Provenance: Family of the artist

€600-€800 (£520-£690 approx.)

€600-€800 (£520-£690 approx.)

17 7 Pat r i ck Leo nard H RH A ( 1 91 8- 2 00 5)

177

178

MASS GRIFFITH AVENUE, 1974 signed lower right; signed, titled and dated [April-August] on reverse oil on board 58 by 38cm., 23 by 15in.

Provenance: Family of the artist €1,500-€1,800 (£1,300-£1,500 approx.)

17 8 B ar ba ra War r en R HA (b. 19 25 ) MOTHER AND SON signed lower left oil on canvas 61 by 41cm., 24 by 16in.

Provenance: Brock Fine Art, Auction of Irish Art, Blackrock, 10 March 2008, no. 72; Private collection €1,500-€1,800 (£1,300-£1,500 approx.)

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1 79 K e n H a m i l t on ( b . 1 9 5 6 )

1 80 T h o m a s R y a n P P R H A ( b.1 92 9)

THE VEIL or SPANISH GIRL signed in monogram lower left; inscribed with title on reverse oil on board 41 by 30cm., 16 by 12in.

HONOR, 1973 signed and titled lower right; signed again titled and dated [July] on reverse; also with archival number [53] on reverse; with artist’s inscribed studio label also affixed on reverse oil on canvas 51 by 47cm., 20 by 18.5in.

Provenance: Apollo Gallery, Dublin; Private collection

€800-€1,000 (£690-£860 approx.)

€1,500-€2,000 (£1,300-£1,700 approx.)

18 1 Stu a r t Mo rl e ( b. 19 60 ) THE BED, 2011 signed lower right oil on canvas board 25 by 30cm., 10 by 12in.

Known for his prolific output in portraiture and still life painting, Stuart Morle has begun a series of works based on the elusive and innate sensuous qualities of the human body. Recalling the French master Edgar Degas and his contemplation of private and ‘intimiste’ scenes – in which the model appears unaware of being observed – The Bed is the evocation of a demure eroticism, materialized in the relationship between texture and contour – the swirling drapes and the sinuous forms – in a minimalist eulogy of the feminine.

Ana Patrícia Dias, Lisbon, November 2011

€800-€1,000 (£690-£860 approx.)

94

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18 2 Mar k O’ N eill ( b. 19 63 )

1 83 S tua r t Mo r le (b. 19 60 )

COW HAND, 2000 signed and dated lower left; with typed Frederick Gallery exhibition label on reverse oil on board 55 by 39cm., 21.5 by 15.5in.

DELPHINIUMS IN A GREEN VASE, 2011 signed lower right oil on copper 30 by 25cm., 12 by 10in. €800-€1,000 (£690-£860 approx.)

Provenance: Frederick Gallery, Dublin; Private collection Exhibited: ‘Mark O’Neill’, Frederick Gallery, Dublin, May 2000, catalogue no. 39 €2,500-€3,500 (£2,200-£3000 approx.)

18 4 D e s m o n d Sn e e DUBLIN HOUND signed lower left oil on board 50 by 60cm., 19.5 by 23.5in. €800-€1,000 (£690-£860 approx.)

95

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WHYTES SINCE 1783

1 85 Ma r ti n Mo o ney ( b.1 96 0)

18 6 Stu ar t Mor l e ( b. 19 60 )

FLOWER STUDY, 2008 signed and dated lower right; signed again, titled and dated on reverse oil on board 25 by 20cm., 10 by 8in.

HOMAGE TO CHARDIN - STILL LIFE WITH ARTIST’S PALETTE signed lower right oil on canvas board 44 by 32cm., 17.5 by 12.5in.

Provenance: The Estate of John Green, Belfast

€1,000-€1,500 (£860-£1,300 approx.)

€1,000-€1,500 (£860-£1,300 approx.)

18 7 Ro nal d Os so r y Du nlo p RA RB A NE AC ( 18 94 - 1 97 3) NO. 52 KITCHEN STILL LIFE signed lower right; titled on reverse oil on canvas 28 by 34cm., 11 by 13.5in. €800-€1,000 (£690-£860 approx.)

96

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WHYTES SINCE 1783

1 88 Ji mmy Lawl o r (b.1 96 7) NEEDLE IN A HAYSTACK signed lower right; with inscribed gallery label on reverse acrylic on board 42 by 60cm., 16.5 by 23.5in.

Provenance: K Gallery, Douglas, Cork; Private collection €2,000-€3,000 (£1,700-£2,600 approx.)

1 89 K e n M o r on e y ( b . 1 9 4 9 ) YOUNG SWIMMERS, WHITEROCK, DALKEY signed lower right oil on board 51 by 61cm., 20 by 24in. €800-€1,000 (£690-£860 approx.)

1 90 E l i z a b e t h B r o p hy GATHERING FLOWERS signed lower right; with title on reverse oil on board 46 by 61cm., 18 by 24in. €1,000-€1,200 (£860-£1030 approx.)

97

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1 91 G eo rge K . Gi ll espi e RUA ( 19 24 -19 95 ) PATH TO THE LAKE signed lower left oil on board 55 by 65cm., 21.5 by 25.5in. €1,000-€1,500 (£860-£1,300 approx.)

1 92 B r e t t M c E n t a g a r t R H A ( b.1 93 9) COTTAGE IN THE TREES signed lower right; with title on label on reverse oil on board 41 by 51cm., 16 by 20in. €1,000-€1,500 (£860-£1,300 approx.)

1 93 N o r m a n J . M c Ca i g ( 1 9 2 9 - 2 0 0 1 ) MAAMTURK MOUNTAINS signed lower left; with title inscribed on label on reverse oil on canvasboard 41 by 51cm., 16 by 20in. €800-€1,200 (£690-£1,030 approx.)

98

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19 4 B r i a n Sm y t h ( b . 1 9 6 7 ) GARDEN PARTY, 2002 signed and dated on reverse oil on canvas 93 by 123cm., 36.5 by 48.5in.

Brian Smyth studied and worked in his native Cork before making his Dublin debut with In Time, shown in the Oisín in July 2000. ‘Das Café’, his second solo exhibition with the gallery, was held in November 2003. Smyth currently exhibits throughout Ireland and in London. Although often classified as a romanticist for his style and themes, Smyth’s most recent work seeks to convey his experiences during visits to many of Europe’s most distinguished cafés and meeting places.

€3,000-€4,000 (£2,600-£3,400 approx.)

19 5 Ted J ones ( b.1 95 2) A PINT OF PLAIN signed lower left; with title on label on reverse oil on canvas 41 by 29cm., 16 by 11.5in. €1,500-€2,000 (£1,300-£1,700 approx.)

99

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1 96 Gr aha m K nu ttel (b. 19 54 )

1 97 Gr aha m K nu t tel (b. 19 54 )

TWILIGHT signed lower right; inscribed with title on reverse oil on canvas 71 by 56cm., 28 by 22in.

MASTER CHEF signed lower right pastel 62 by 50cm., 24.5 by 19.75in.

€1,500-€2,000 (£1,300-£1,700 approx.)

€900-€1,200 (£770-£1030 approx.)

1 98 Gr aha m K nu t tel (b. 19 54 ) A QUIET DRINK signed lower right gouache 46 by 66cm., 18 by 26in. €1,000-€1,500 (£850-£1,270 approx.)

100

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19 9 Gr aha m K nu t te l ( b. 19 54 )

20 0 G r a h a m K n u tt e l ( b . 1 9 5 4 )

TWO SHEEP signed lower right oil on canvas 30 by 25cm., 12 by 9.75in.

YELLOW CAT signed lower right oil on canvas 25 by 30cm., 10 by 11.75in.

€900-€1,200 (£770-£1030 approx.)

€900-€1,200 (£770-£1030 approx.)

20 1 Gr aha m K nu t te l ( b. 19 54 ) BIRD OF PARADISE signed lower left oil on canvas 91 by 91cm., 36 by 36in.

Provenance: Apollo Gallery, Dublin; Private collection €1,500-€2,000 (£1,300-£1,700 approx.)

101

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20 2 M a r k e y R ob i n s o n ( 1 9 1 8 - 1 9 9 9 ) THE CLADDAGH, GALWAY signed lower left oil on board 47 by 122cm., 18.5 by 48in.

The Claddagh has a long tradition as an artistic subject having been the source of inspiration for scores of artists dating back to the late 1830s.

Both Samuel Lover’s Women of the Claddagh of Galway, 1839, and George Sharpe’s View Of The West Convent, On The Claddagh, Galway, 1844, are examples of hugely significant historical works which depicted a vibrant fishing community of the West prior to the devastation of the Famine. In subsequent years Erskine Nicol, Walter Osborne and John Leech would all gravitate to the ancient village to capture the nostalgic essence of a disappearing Ireland.

€6,000-€8,000 (£5,200-£6,900 approx.)

20 3 M a r k e y R ob i n s o n ( 1 9 1 8 - 1 9 9 9 ) THE CARAVAN, c.1989 signed lower left oil on board 56 by 46cm., 22 by 18in.

Provenance: Emer Gallery, Belfast; Private collection; Andersons Auctions, Belfast, 5 June 2000, lot 82 (as Travelling Women); Private collection Exhibited: ‘Markey’, Emer Gallery, Belfast, 28 September - 7 October. 1989, catalogue no. 28 (The Caravan) illustrated p. 2 A copy of the original Emer Gallery exhibition catalogue and the Anderson’s auction catalogue accompany this lot.

€3,000-€4,000 (£2,600-£3,400 approx.)

102

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Provenance: Lots 204 and 205 were purchased by the present owner from the Caldwell Gallery, Belfast, in the mid 1960s.

20 4 M ar k e y Ro b in s o n ( 1 91 8- 1 99 9) RETURNING TO THE VILLAGE signed lower right oil on board 36 by 94cm., 14 by 37in. €3,000-€4,000 (£2,600-£3,400 approx.)

20 5 M ar k e y Ro b in s o n ( 1 91 8- 1 99 9) MOTHER AND CHILD

BY A VILLAGE WITH HAY STACKS signed lower right oil on board 36 by 91cm., 14 by 36in. €3,000-€4,000 (£2,600-£3,400 approx.)

20 6 M a rk e y R ob i n s o n ( 1 91 8- 1 99 9) COUNTRY VILLAGE AND CHURCH, AUTUMN signed lower left oil on board 37 by 97cm., 14.5 by 38in. €3,000-€4,000 (£2,600-£3,400 approx.)

103

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2 07 M a r k e y R ob i n s on ( 1 9 1 8 - 1 9 9 9 ) IN THE SHADOW OF THE MOUNTAIN signed lower left; with inscribed George Gallery label on reverse oil on board 52 by 64cm., 20.5 by 25in.

Provenance: George Gallery, Dublin; Private collection; Nora Dunne Gallery, 2009; Private collection Exhibited: ‘Markey Robinson: A Life – Retrospective’, The George Gallery, Dublin, September, 1988, catalogue no. 57 Contained in what appears to be its original Waddington-style frame.

€3,000-€4,000 (£2,600-£3,400 approx.)

2 08 M a r k e y R ob i n s on ( 1 9 1 8 - 1 9 9 9 ) AWAITING THE CATCH signed lower left oil on board 30 by 49cm., 12 by 19.25in. €1,500-€2,000 (£1,300-£1,700 approx.)

2 09 M a r k e y R ob i n s on ( 1 9 1 8 - 1 9 9 9 ) LONG WALK HOME signed lower right; with inscribed Eakin Gallery label on reverse; also with provenance details on reverse oil on board 46 by 67cm., 18 by 26.5in.

Provenance: Purchased from the artist in Belfast c.1950 by a Dr. Wright; With the Eakin Gallery, Belfast; Private collection €2,000-€3,000 (£1,700-£2,600 approx.)

104

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21 0 M a rk e y R ob i n s o n ( 1 9 1 8 - 1 9 9 9 ) STILL LIFE WITH SEASCAPE AND BOATS signed lower right gouache on card 32 by 77cm., 12.5 by 30.5in. €1,500-€2,000 (£1,300-£1,700 approx.)

21 1 M a rk e y R ob i n s o n ( 1 9 1 8 - 1 9 9 9 ) GOING TO CHURCH signed lower right; inscribed with title on reverse; with Oriel Gallery label and artist’s obituary on reverse gouache on board 22 by 37cm., 8.75 by 14.75in.

Provenance: Oriel Gallery, Dublin; Private collection €1,200-€1,500 (£1,030-£1,300 approx.)

21 2 M a rk e y R ob i n s o n ( 1 9 1 8 - 1 9 9 9 ) MAJORCAN SEASIDE signed lower left oil with gouache on board 29 by 50cm., 11.25 by 19.5in.

Provenance: George Gallery, Dublin; Private collection €2,000-€3,000 (£1,700-£2,600 approx.)

105

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2 13 M a r k e y R ob i n s on ( 1 9 1 8 - 1 9 9 9 )

21 5 M ar k e y Ro b in s o n ( 19 18 - 19 99 )

MARKEY’S LIVINGROOM signed lower right; with title on reverse gouache with oil on card 33 by 47cm., 13 by 18.5in.

SHAWLIE WITH COTTAGE IN A LANDSCAPE signed lower right oil on board 30 by 47cm., 11.75 by 18.5in.

€800-€1,200 (£690-£1,030 approx.)

Provenance: Oriel Gallery, Dublin; Private collection €1,500-€1,800 (£1,300-£1,500 approx.)

2 14 M a r k e y R ob i n s on ( 1 9 1 8 - 1 9 9 9 )

21 6 M ar k e y Ro b in s o n ( 19 18 - 19 99 )

LE CITY signed lower left; signed again and inscribed with title on reverse gouache on card 32 by 50cm., 12.5 by 19.5in.

CHAPEAUX BLANCHE [WHITE HATS] signed lower left; titled on reverse; also with Oriel Gallery label on reverse 18 by 25cm., 7 by 9.75in.

€600-€800 (£520-£690 approx.)

Provenance: Oriel Gallery, Dublin; Private collection €800-€1,200 (£690-£1,030 approx.)

106

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21 7 M a rk e y R ob i n s o n ( 1 91 8- 1 99 9) GOING HOME signed lower right oil with gouache on board 41 by 64cm., 16 by 25.25in.

Provenance: Emer Gallery, Belfast; Private collection €3,000-€5,000 (£2,550-£4,200 approx.)

21 8 M a rk e y R ob i n s o n ( 1 9 1 8 - 1 9 9 9 ) WATCHING THE FISHING BOATS I signed lower right acrylic and gouache on card 27 by 38cm., 10.5 by 15in. €800-€1,200 (£690-£1,030 approx.)

21 9 M a rk e y R ob i n s o n ( 1 9 1 8 - 1 9 9 9 ) WATCHING THE FISHING BOATS II signed lower right acrylic and gouache on card 27 by 38cm., 10.5 by 15in. €800-€1,200 (£690-£1,030 approx.)

107

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22 0 M a r k e y R ob i n s o n ( 1 9 1 8 - 1 9 9 9 ) ITALIAN SCENE signed with initials lower right; signed in full and with title on reverse; also with 1970s newspaper cutting preserved on reverse oil on board 51 by 30cm., 20 by 12in.

Newspaper cutting reads: “Fast becoming one of the most fashionable “new” artists to collect, Belfast-born Markey Robinson is to have one of his biggest breaks yet shortly when he holds an exhibition in the residence of the Irish Ambassador to America. The news was given to me by dapper Oliver Nulty, whose Oriel art galleries in Dublin have long supported Markey when others, who now want to climb on the band-wagon, didn’t want to know. Oliver it was [sic] who persuaded Markey to stay in Dublin many years ago when, disillusioned with what he thought was his lack of progress, he was planning to emigrate. Oliver bought his collection of expressionist paintings from him and gave him the chance of developing his art there. After the exhibition in Washington in May he will show his paintings in the North East University, Boston and San Francisco”.

€600-€800 (£520-£690 approx.)

108

22 1 Ro be r t Ry a n WOMAN AND TOWNSHIP, 1997 signed and dated upper left; with title inscribed on reverse; with gallery stamp on stretcher on reverse oil on canvas 122 by 91cm., 48 by 36in.

Provenance: Apollo Gallery, Dublin; Private collection; €2,000-€3,000 (£1,700-£2,600 approx.)

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WHYTES SINCE 1783

2 22 N eil S hawcr o ss RH A R UA (b.1 94 0) THE HOMES OF DONEGAL, 2002 signed and dated lower right; with title within the image, centre watercolour with pencil 43 by 62cm., 17 by 24.5in. €2,000-€3,000 (£1,700-£2,600 approx.)

2 23 N eil S hawcr o ss RH A R UA (b.1 94 0) JUG AND APPLES, 1998 signed and dated in pencil lower right; with inscribed Eakin Gallery label on reverse oil on paper 37 by 55cm., 14.5 by 21.5in.

Provenance: Eakin Gallery, Belfast; Private collection €1,500-€1,800 (£1,300-£1,500 approx.)

2 24 B r ia n B all ar d RUA (b. 19 43 ) TWO VASES signed and dated lower left; signed, inscribed and dated on reverse oil on board 13 by 18cm., 5 by 7in.

Provenance: The Estate of John Green, Belfast €600-€800 (£520-£690 approx.)

E N D O F SA L E

109

ART FOR CHRISTMAS 11 December 2011

G e r a r d D i l l o n , C h r i s t m a s Ca r d

G i ve a gi ft o f e ndu ri ng va lu e thi s year. C ho o se f rom hu ndre ds o f att ra c t ive wo rk s a nd p ay t he pr ic e that s ui ts you ! Es tim ate s €1 100-€1 1, 000.

AU C T IO N :

Sunday 11 December, 2pm

V IE W I N G :

At our Galleries, Wednesday to Saturday 7-10 December 10am to 6pm daily; Sunday 11 December 10am to 1pm

C ATA LO GUE: on-line soon at whytes.com

LIVE ON-LINE BIDDING AT NO EXTRA COST

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WHYTES SINCE 1783

38 Molesworth Street Dublin 2 01 6762888 www.whytes.com

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WHYTES SINCE 1783

ABBREVIATIONS Note: the following prefixes are widely used with the initials of academies and institutions: A Associate F Fellow H Honorary academician or member or council member P President or past president b.

BWS CH cm. d. exh.

FBA fl.

FRIBA ICA IELA IMMA in.

MBE NA NCA NCAD NEAC NGI OBE OM OWS

born British Watercolour Society Companion of Honour centimetre or centimetres died exhibited Federation of British Artists flourished Fellow Royal Institute of British Architects Institute of Contemporary Arts Irish Exhibition of Living Art Irish Museum of Modern Art inch or inches Member of the Most Excellent Order of the British Empire National Academy, New York National College of Art, Dublin National College of Art & Design, Dublin New English Art Club National Gallery of Ireland Officer of the Most Excellent Order of the British Empire Order of Merit Old Watercolour Society, London

PS RA RBA RBS RCA RE RDS RHA RI RIA ROI RP RSA RSMA RSW RUA RWA RWS SWA WCSI

Pastel Society, London Royal Academy, London Royal Society of British Artists Royal Society of British Sculptors Royal College of Art Royal Society of Painter-Etchers and Engravers Royal Dublin Society Royal Hibernian Academy, Dublin Royal Institute of Painters in Watercolours Royal Irish Academy Royal Institute of Oil Painters Royal Society of Portrait Painters Royal Scottish Academy Royal Society of Marine Artists Royal Scottish Society of Painters in Watercolour Royal Ulster Academy of Arts Royal West of England Academy, Bristol Royal Society of Painters in Watercolour Society of Women Artists Watercolour Society of Ireland

References: Snoddy Theo Snoddy, Dictionary of Irish Artists 20th Century, 2nd edition, Dublin, 2002 Strickland Walter G. Strickland, A Dictionary of Irish Artists Dublin, 1913

TOPOGRAPHICAL AND GENERAL INDEX For an index of artists see inside back cover Antrim: 22, 23, 25, 77, 90, 91, 109, 121, 122, 126

England: 105

Maritime: 105, 106, 108-110

Belfast: 121

Equestrian: 170

Monaghan: 86, 87, 130

Carlow: 117, 118

France: 1, 9-11, 214

Morocco: 19, 132

Clare: 98

Galway: 8, 53, 93-95, 107, 133, 158, 163, 164, 193

Sligo: 45, 46, 51, 154

Cork: 69, 108, 162

Greece: 171, 172

Spain: 47

Derry: 62

Italy: 97, 166, 169

Wales: 18

Donegal: 27, 28, 40, 123, 222

Kerry: 3, 4, 5, 75, 107, 160

Wicklow: 26, 63, 112

Down: 101, 125, 134

Kilkenny: 99

Dublin City: 2, 20, 58, 65, 88, 139, 177

Louth: 96

Dublin County: 6, 78, 173, 174, 175-177, 189

Mayo: 107, 124

D E S I G N : D E S K I E LY D E S I G N PHOTOGR APHY: GILLIAN BUCKLEY P R I N T I N G : B R U N S W I C K P R E S S LT D .

Š COPYRIGHT

2011

W H Y T E A N D S O N S A U C T I O N E E R S LT D .

ALL RIGHTS RESERVED

AN INDEX OF ARTISTS REPRESENTED IN THIS SALE For topographical and general index see page 112

Alexander, D: 103

Gillespie, G. K: 92-95, 191

Moroney, K: 189

Ballagh, R: 58-64

Hamilton, E. H: 97, 98

Murphy, S: 86, 89

Ballard, B: 154, 155, 224

Hamilton, K: 179

Nicholl, A: 109

Barry, J: 111

Hanlon, J. P: 32

O’Malley, T: 47-49

Bartlett, W. H: 107

Hayes, E: 105

O’Neill, D: 36, 38

Bell, S: 82

Healy, H: 165

O’Neill, L: 170

Behan, J: 79

Henry, P: 28

O’Neill, M: 182

Bewick, P: 56

Hill, R: 90, 91

Orpen, B: 96

Blackshaw, B: 130, 131

Hone, D: 162

Orpen, W: 16, 17

Brenan, J. B: 114

Irish/British School: 118, 119

Osborne, W. F: 104

Brophy, E: 190

Jones, T: 195

O’Sullivan, D: 145

Browne, H. E. J: 120

Keating, S: 12, 15, 116

Pearse, S: 117

Burke, A. N: 115

Kelly, J. E.: 63

Power O’Malley, M. A. P: 24

Butler, M. A: 99

Kernoff, H: 1-11

Pye, P: 41

Campbell, J. H: 112

King, C: 149, 150

Robinson, M: 202-220

Carey, J. W: 121-126

Kingston, R: 77

Russell, G (‘Æ’): 102

Casey, C: 136

Knuttel, G: 196-201

Ryan, J: 87

Coen, J: 83

Landweer, S: 80

Ryan, R: 221

Collis, P: 76, 159

Laporte, J: 108

Ryan, T: 180

Continental School: 106, 119

Lavery, J: 19

Scott, P: 42, 73

Corona, M: 156

Lawlor, J: 188

Scott, W: 138

Craig, J. H: 22, 23, 25

le Brocquy, L: 29, 39, 43A, 139-141

Scully, S: 72, 142, 144

Cronin, J: 152

le Brocquy, M: 84, 85

Shawcross, N: 222, 223

Crozier, W: 66-70

Lennon, C: 74

Skelton, J: 160

de Burca M: 161

Leonard, P: 171-177

Smyth, B: 194

Delaney, E: 151

Maccabe, G: 168

Snee, D: 184

Dillon, G: 33-35, 37, 81

Madden, A: 71

Souter, C: 43

Dixon, J: 40

Maderson, A. K: 166, 167

Sutton, I: 163, 164

Doran, P: 153

Maguire, C: 169

Swanzy, M: 30

Dunlop, R. O: 187

McCaig, N. J: 193

Teeling, N: 135

Egginton, F: 100, 101, 127

McEntagart, B: 192

Teskey, D: 75, 78

Faulkner, J: 110

McGuinness, N: 31

Thaddeus, H. J: 18

Fitzgerald, P: 147, 148

McGuinness, W. B: 113

Wade, J: 137

Fitzgibbon, M: 88

McGuire, E. A: 57

Warren, B: 178

Fitzharris, M: 146

McSweeney, S: 44-46

Webb, K: 157, 158

Fitzpatrick, J: 65

Middleton, C: 143

Wilks, M. C: 27

Flanagan, T. P: 50-55, 129

Mooney, M: 132-134, 185

Yeats, J. B: 12, 20

French, W. P: 128

Morle, S: 181, 183, 186

Young, M: 26

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WHYTES SINCE 1783

38 Molesworth Street 路 Dublin 2 路 01 676 2888 www.whytes.com