whytes important irish & international art auction may 2014

WHYTE SS I N C E 1 7 8 3

,

IMPORTANT IRISH &INTERNATIONAL ART

26 MAY 2014

MONDAY 26 MAY 2014


VIEWING

Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4

Saturday 24 May 10am to 6pm (Gallery Talk 3pm)Sunday 25 May 10am to 6pm (Gallery Talk 3pm)

Monday 26 May 10am to 6pm

AUCTION

Monday 26 May at 6pmRoyal Dublin Society,

Anglesea Road, Ballsbridge, Dublin 4

ENQUIRIES

Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected]

BIDS

Whyte's 38 Molesworth Street Dublin 2 Tel: 01 676 2888 Fax: 01 676 2880 E-mail: [email protected]

Live bidding and on-line bids: www.whytes.ie

Front cover: lot 66, Gerard Dillon, Home with the Catch (detail)Inside front cover: lot 176, Patrick Hennessy, Strand, 1977 (detail) Page 6, 7: lot 60, Nano Reid, Salmon Fishing on the Boyne (detail)

Back cover: lot 150, Andy Walhol, Van Heusen (Ronald Reagan), From Ads, 1985

Whyte’s Auction Appnow available for free download

mailto:[email protected]


http://www.whytes.ie

BUYERS’ COMMISSION

20% (excluding VAT) is added to the hammer price of all lots. Noextra fee is charged for on-line bidding.

ROOM BIDDERS

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

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

3. Payment may be made by cash, bank draft, cleared cheque,debit or credit card — we accept Mastercard or Visa (a charge of2% is made on credit card transactions). There is no charge ondebit card transactions..

ABSENTEE BIDDING

1. If you are unable to attend you may bid before the sale, usingthe form provided. Enter the maximum you are prepared tooffer for each lot and the auctioneer will represent you as if youare personally attending the sale. Lots are knocked down at onestep above the next highest bid, and not necessarily at yourhighest 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 purchasesto a set amount by entering their limit on the bidding form. Thisis especially useful for bidders wishing to cover as many lots aspossible while setting a maximum amount to spend.

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

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

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

6. LIVE INTERNET BIDDING AT NO EXTRA CHARGE: You may watchand/or bid live with video and audio link to the saleroom on ourwebsite www.whytes.ie at no extra charge.

7. LIVE TELEPHONE BIDDING may be arranged on request, subjectto availability and given at least 24 hours notice. This facility is onlyavailable on lots estimated at €2,000 or more, and a minimumbid may be requested.

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

PRICES REALISED

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

SPECIAL NOTICES CONCERNING THIS AUCTION

VENUE FOR AUCTION NIGHT

The venue for the auction is the Royal Dublin Society, AngleseaRoad, Ballsbridge, Dublin 4 and the sale starts at 6pm.

Bidder registration will take place here from 5pm on Monday 26 May and the sale starts at 6pm. Complimentary tea and coffeewill be served in the café.

COLLECTION OF LOTS

Collection of purchases at this sale may be effected 10am to 3pmon Tuesday 27 May from the RDS. After that date lots may becollected from our Molesworth Street premises.

Purchasers must pay for and collect all lots within 7 days of thedate of sale. Note: each lot is at the buyer’s risk from the fall of thehammer. 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 thisauction, including biographies and previous results for many of theartists featured in this sale.

WHYTE’S GUARANTEE OF AUTHENTICITY

Whyte’s takes especial care to ensure that all works offered in thiscatalogue are as described and are the work of the artists they areattributed to. In the event of any work sold from this catalogue to besubsequently proved to be a “deliberate forgery”, subject to our terms andconditions of sale (especially Clause 5c) as printed elsewhere in thiscatalogue Whyte’s will cancel the sale and refund to the buyer the totalamount paid by the buyer to Whyte’s for the item, in the currency of theoriginal sale. This guarantee is provided for a period of seven (7) years afterthe date of the relevant auction, and may be extended at Whyte’sdiscretion.

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

1 Sir John Laveryin our opinion a work by the artist.

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

3 After Sir John LaveryIn our opinion a copy of a known work by the artist. We also use thisterm for prints of works by the artist.

4 The term signed and/or dated and/or inscribed means that in ouropinion the signature and/or date and/or inscription are from the handof the artist.

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

IMPORTANT NOTESALL LOTS ARE SOLD SUBJECT TO OUR TERMS AND CONDITIONS OF SALE PRINTED ON PAGE 5



CONTENTS

Whyte's Terms & Conditions 5

IMPORTANT IRISH & INTERNATIONAL ART 8

Abbreviations 132

Topographical and General Index 132

Index of Artists inside back

This catalogue was compiled by Adelle Hughes with assistance from Ian Whyte,Sarah Gates and contributions from Dr Riann Coulter, Dickon Hall, Dr. RóisínKennedy, Dr. S. B. Kennedy, Seán Kissane and Prof. Kenneth McConkey.

We would also like to thank the staff of the National Irish Visual Arts Library, theNational Library of Ireland and the many artists, art historians, collectors, dealersand galleries who have assisted in our research for this catalogue.

Copyright 2014 Whyte & Sons Auctioneers Limited. All rights reserved.

ENQUIRIES

This catalogue:Sarah Gates andAdelle Hughes

Accounts:Seán Kelly

Bids & General

Enquiries:Samantha Woolley

Collection of Lots:Aaron Lowry

CONTACTS

[email protected] [email protected]

Telephone01 676 2888 (+3531 676 2888 from UK and elsewhere)

Fax01 676 2880 (+3531 676 2880 from UK and elsewhere)

Postal address38 Molesworth Street, Dublin 2, Ireland

Websiteswhytes.ie whytes.com

Seán KellyAccounts

Samantha WoolleyAdministration

Ian WhyteManaging Director

Sarah Gates BADirector

Adelle Hughes BA MAAssociate Director

Marianne NewmanDirector

Aaron Lowry BACurator




Is Your Art Collection Adequately Insured? Unsure? Contact Us Today And Be Sure

Paul Henry, TURF STACKS WITHMOUNTAIN BEYOND, c.1940Lot 36, estimate €15,000-€20,000

Some policy features include:

• Worldwide all risks cover for all contents, fine art and valuables• Free legal expenses insurance and helpline services• You retain the inventory• Protection for antiques and works of art whilst in the custody of valuers,

restorers or auctioneers• Depreciation following damage as a result of an insured risk• High single article limits for fine art and valuables• Generous inner limits• No pair or set clause• No average clause

Bridge House, Baggot Street Bridge, Dublin 4Telephone +353 1 660 1033 [email protected] www.obf.ie

OBF Insurance Group Ltd. is regulated by The Central Bank of Ireland. Registered in Ireland Number 39988. Irish Brokers Association member.

For more information please contact:

Conor McNally [email protected]

Veselina Georgieva [email protected]

John McCormack [email protected]


http://www.obf.ie




5


,

Whyte & Sons Auctioneers Limited, trading as Whyte’s, exercises all reasonablecare to ensure that all descriptions are reliable and accurate, and that each itemis genuine unless the contrary is indicated. However, the descriptions are notintended to be, are not and are not to be taken to be, statements of fact orrepresentations of fact in relation to the lot. They are statements of the opinionof 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 partof lot descriptions and are not to be taken as such unless they are made orspecifically 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 shallbe the buyer thereof(c) If any dispute arises as to the highest bidder the auctioneer shall haveabsolute discretion to determine the dispute and may put up again and re-sellthe lot in respect of which the dispute arisesClause 2(a) The bidding and advances shall be regulated by and at the absolutediscretion of the auctioneer and he shall have the right to refuse any bid orbids. NOTE: Where an agent bids, even on behalf of a disclosed client, theauctioneer 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 theauctioneer, give him the name and address of the buyer and pay to Whyte’s athis discretion the whole or part of the purchase money. If the buyer of any lotfails to comply with any such requirement Whyte’s may put up again and re-sell the lot; if upon such re-sale a lower price is obtained than was obtained onthe first sale the buyer in default on the first sale shall make good the differencein 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 agentshall be personally liable for payment of the purchase money to Whyte’s andfor 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, butshall 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 lotsbelonging to the same vendor, to split up and to withdraw any lot or lots atWhyte’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 defaultof the buyer or vendor.Clause 4(a) Each lot shall be at the buyer’s risk from the fall of the hammer and shall bepaid for in full before delivery and taken away at his expense within one day ofthe sale. The buyer will be responsible for all removal, storage and insurancecharges in respect of any lot which has not been collected within 7 days of thedate of sale.(b) If any buyer fails to pay in full for any lot within 7 days of the date of salesuch lot may at any time thereafter at Whyte’s discretion be put up for sale byauction again or sold privately; if upon such re-sale a lower price is obtainedthan was obtained on the first sale the buyer in default on the first sale shallmake good the difference in price and the expenses of re-sale which shallbecome debt due from him.(c) Interest at 2 per cent per month and legal costs (if any) for recovery ofmonies 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 physicalcondition, age and catalogue description of each lot (including but notrestricted 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 descriptionand Whyte’s and its employees, servants or agents shall not be responsible forany error of description or for the condition or authenticity of any lot, save forClause 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 thesereports 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 lotsreported on.

(c) If any lot sold at this auction is subsequently proved to be a “deliberateforgery”, Whyte’s will cancel the sale and refund to the buyer the total amountpaid by the buyer for the item, in the currency of the original sale. The onus ofproving 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 animitation created to deceive as to authorship, where the correct description ofsuch authorship is not reflected by the description in the catalogue (taking intoaccount any Glossary of Terms). No lot shall be considered a deliberate forgeryby reason only of any damage and/or restoration and/or modification work ofany kind (including repainting or overpainting). This guarantee does not applyif (i) either the catalogue description was in accordance with the generallyaccepted opinions of scholars and experts at the date of the sale, or thecatalogue description indicated that there was a conflict of such opinions; (ii) orthe only method of establishing at the date of the sale that the item was acounterfeit would have been by means of processes not then generallyavailable or accepted, unreasonably expensive or impractical to use; or likely tohave caused damage to the lot or likely (in Whyte’s reasonable opinion) to havecaused loss of value to the lot; or (iii) there has been no material loss in value ofthe lot from its value had it been in accordance with its description. Thisguarantee is provided for a period of seven (7) years after the date of therelevant auction, is solely for the benefit of the buyer and may not betransferred to any third party. Whyte’s has discretion to extend the guaranteefor 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 informationthat 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 andthe reasons why it is thought to be a deliberate forgery; and (ii) return the itemto Whyte’s in the same condition as the date of the sale to the buyer and beable to transfer good title in the item, free from the third party claims arisingafter the date of the sale. Whyte’s has discretion to waive any of the aboverequirements. Whyte’s may require the buyer to obtain at the buyer’s cost thereports of two independent and recognised experts in the field, mutuallyacceptable to Whyte’s and the buyer. Whyte’s shall not be bound by anyreports produced by the buyer, and reserves the right to seek additional expertadvice at its own expense. In the event Whyte’s decides to rescind the saleunder this Guarantee, it may refund the buyer the reasonable costs of up totwo mutually approved independent expert reports.(d) Any lot listed as a “mixed lot, collection, range, portfolio etc.” or stated tocomprise or contain a collection or range of items which are not describedshall be put up for sale not subject to rejection and shall be taken by the buyerwith all (if any) faults, lack of genuineness and errors of description andnumbers 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, wherebefore 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 describedin the sale catalogue and that person specifically describes that item or thoseitems in that notice, then that item or those items shall, as between Whyte’sand that person, to be taken to form part of the description of the lot.Clause 6The respective rights and obligations of the parties shall be governed andinterpreted by Irish law, and the buyer hereby submits to the exclusivejurisdiction of the Irish Courts.

SPECIAL CONDITIONS (a) The buyer shall pay Whyte’s a commission at the rate of 20% (plus VATunder The Margin Scheme and which is not reclaimable). (b) Whyte’s or its employees, servants or agents may, on request organisepacking and shipping of lots purchased or may order on the buyer’s behalfthird parties to pack or ship purchases. Under no circumstances does Whyte’saccept any liability whatsoever for any loss or damage howsoever occasionedin the course of such service.(c) The buyer authorises Whyte’s to use any photographs or illustrations of anylot 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 LIMITED38 Molesworth Street, Dublin 2

TERMS AND CONDITIONS OF SALE NOTICE

7

Monday 26 May 2014 at 6pmLots 1-229



,

8


,

1William Percy French(1854-1920)BOG LANDSCAPE, 1916 watercoloursigned and dated lower right; OrielGallery label on reverse9 by 13in. (23 by 33cm)

Provenance:Oriel Gallery, Dublin, c.1990sWhere purchased by the presentowner

€4,000-€6,000 (£3,310-£4,960 approx.)

2William Percy French(1854-1920)IN CONNEMARA, 1912 watercoloursigned and dated lower left; withinscribed exhibition label onreverse7¼ by 10in. (18 by 25cm)

Provenance:A gift from the artist to MarjorieElvery (sister of Lady BeatriceGlenavy);Thence by descent to the presentowner

Exhibited:Modern Gallery, Bond St., London,autumn, 1912, catalogue no. 41

€2,000-€3,000 (£1,650-£2,480 approx.)


,

9

3William Percy French (1854-1920)TWO VIEWS OF THE GALTEES, 1910 watercolour; (double-sided)signed, titled and dated recto6½ by 9½in. (15 by 23cm)

€3,000-€4,000 (£2,480-£3,310 approx.)


,

4William Percy French (1854-1920)LANDSCAPE WITH PINE TREES AND LAKE watercoloursigned with initials lower right; with Combridgeframing label on reverse10½ by 14½in. (25 by 36cm)

€2,000-€3,000 (£1,650-£2,480 approx.)

5William Percy French (1854-1920)PURPLE HEATHERS AND MOUNTAINS watercoloursigned lower right7 by 10in. (18 by 25cm)

Provenance:Acquired directly from the artist by the presentowner’s family

€1,500-€2,000 (£1,240-£1,650 approx.)

Ex 3Ex 3

4

5


,

10

6William Percy French (1854-1920)COTTAGES WITH MOUNTAIN RANGE IN THEDISTANCE watercoloursigned lower left4¾ by 6¾in. (10 by 15cm)


€1,000-€1,500 (£830-£1,240 approx.)

7William Percy French (1854-1920)A BOG LAKE watercoloursigned lower left6½ by 9½in. (15 by 23cm)


€1,500-€1,800 (£1,240-£1,490 approx.)

8William Percy French (1854-1920)TALL TREES WITH TURF STACKS BEYOND watercoloursigned lower left6½ by 9½in. (15 by 23cm)


€1,500-€1,800 (£1,240-£1,490 approx.)


,


,

11

9William Percy French (1854-1920)ON THE ROCKS [ROCK OF CASHEL, COUNTY TIPPERARY] watercoloursigned lower left; titled on reverse; with Oriel Gallery label on reverse9¾ by 6½in. (23 by 15cm)

Provenance:Oriel Gallery, Dublin; Private collection;Whyte’s, 30 May 2011, lot 66A;Whence purchased by the present owner

Literature:Nulty, Oliver, Lead Kindly Light, 35 Years of Percy French at the Oriel Gallery:A Millennium Retrospective, Oriel Gallery, Dublin, 2002, p.122 (illustrated)

€2,000-€2,500 (£1,650-£2,070 approx.)

10William Percy French (1854-1920)LIGHT GLISTENING ON WATER watercoloursigned lower left6¾ by 9½in. (15 by 23cm)


€1,500-€1,800 (£1,240-£1,490 approx.)

11William Percy French (1854-1920)SAIL BOATS ON A LAKE, 1914 watercoloursigned with initials and dated lower left5 by 9¾in. (13 by 23cm)


€1,200-€1,500 (£990-£1,240 approx.)


,

12


,

12William Percy French (1854-1920)BOG LAKE watercoloursigned lower left6½ by 9½in. (15 by 23cm)

Provenance:Oriel Gallery, Dublin, 1981;Where purchased by the present owner

€2,000-€3,000 (£1,650-£2,480 approx.)


,

13William Percy French (1854-1920)SNOW SCENE WITH LOG CABIN, SWITZERLAND watercolour5 by 6½in. (13 by 15cm)


A similar scene can be found in the North Down Museum,dated 1914.

€1,000-€1,500 (£830-£1,240 approx.)

14William Percy French (1854-1920)PINE FOREST AT SUNSET watercoloursigned lower left4¾ by 6¾in. (10 by 15cm)


€700-€900 (£580-£740 approx.)


,

16Andrew Nicholl RHA(1804-1886)MALLARDS IN FLIGHT watercolour with bodycolourand sgraffitosigned lower left14 by 23in. (36 by 58cm)

Provenance:Whyte’s, 28 November 2006,lot 114;Whence purchased by thepresent owner

€2,000-€3,000 (£1,650-£2,480 approx.)

13

15Edmond Delrenne(Belgian, fl.1915-18)DUBLIN 1916 INCLUDING A VIEW OF THEIRISH REPUBLIC FLAG OVER THE G.P.O.,SACKVILLE STREET (A PAIR) pastel; (2)signed and inscribed [Dublin] and datedlower left6 by 9½in. (15 by 23cm)

Dimensions of second work, 5.75 by 8.5in.

Edmond Delrenne was a Belgian refugee whoarrived in Dublin circa 1914 and remained herethroughout the First World War. He exhibited fourwar scenes at the RHA in 1915 and 1916, givinghis address as care of Dermod O’Brien, at whosehome in Cahirmoyle, Co. Limerick, he stayed for aperiod. According to Dermod O’Brien’s son, DrBrendan O’Brien, Delrenne was in Dublin at thetime of the 1916 Easter Rising and witnessed aman beside him killed by a stray bullet (seeAdrian le Harivel and Michael Wynne (ed.s),National Gallery of Ireland Acquisitions 1982-1983, NGI, Dublin, 1984). One of Delrenne’swatercolours is in the collection of the NationalGallery (NGI 18,486), whilst an oil painting of hissold with Whyte’s, 9 April 2006, lot 128, and later,two watercolours of Dublin dated 1916 also soldthrough Whyte’s on 30 April 2007, lot 102.

€3,000-€5,000 (£2,480-£4,130 approx.)


,

14


,

18William Sadler II(c.1782-1839)DONNYBROOK FAIR IN ALL ITS GLORY,1830 pen and ink with watercolourinscribed with title, medium, artist’sname and date lower centre9½ by 13¾in. (23 by 33cm)

€2,000-€3,000 (£1,650-£2,480 approx.)


,

17William Sadler II (c.1782-1839)VIEW OF THE GREAT SUGAR LOAF AND LITTLE SUGAR LOAF, COUNTY WICKLOW oil on panel11 by 16in. (28 by 41cm)

Possibly sold at Sotheby’s, Dublin, 25 June 1979 as lot 447, View of Sugar Loaf.

€5,000-€6,000 (£4,130-£4,960 approx.)


,

15

19Erskine Nicol ARA RSA (1825-1904)HIS OWN FIRESIDE oil on canvassigned lower right; with title printed on slip18 by 24½in. (46 by 61cm)

Provenance:Gorry Gallery, Dublin;Private collection

Exhibited:Likely to have been exhibited at the RSA, Edinburgh, 1861, no. 405 as His own Foirside [sic](Lent by John Walker Esq., of Holywell Green);‘An Exhibition of 18th - 21st Century Irish Paintings’, Gorry Gallery, Dublin, 26 May to 8June, 2013, catalogue no. 34 (illustrated on p. 11)

Scottish born Erskine Nicol began to visit Ireland during the Famine period (from 1846). He iscelebrated for his acute attention to detail in his genre scenes. The subject of the present work is a19th century Irish bachelor mending his clothes watched closely from behind the door by a womanin a red petticoat. Delightful details include the holy water font in the window, the wove basket ofwool and needles and the subject’s blue and white Connemara walking socks. For further reading see, Dr. Claudia Kinmonth’s note, Gorry Gallery catalogue 2013.

€6,000-€7,000 (£4,960-£5,790 approx.)


,


,

16

20Richard Staunton Cahill (1826-1904)A LECTURE ON WOMEN’S RIGHTS, COCKERMOUTH, CUMBRIA,1888 oil on canvassigned and dated lower left15 by 11in. (38 by 28cm)

Cockermouth presented a petition on suffrage in April 1869. On 17January 1882 Lydia Becker promoted William Woodall’s bid at a meetingat Cockermouth. Later, in 1906, The Women’s Political Union helpedpresent the Liberal candidate being elected at Cockermouth.

€1,500-€2,000 (£1,240-£1,650 approx.)

21Sarah Henrietta Purser HRHA (1848-1943)SKETCHBOOK OF 20 WORKS INCLUDING PORTRAITS ANDLIFE DRAWING pencil on paper bound in linen boardsvariously inscribed, one signed [s.h. purser] and dated[17.7.94] lower right9½ by 6in. (23 by 15cm)

€2,500-€3,500 (£2,070-£2,890 approx.)


,

Ex 21


,

17

22Howard Helmick (1845-1907)AGAINST WITCHES, 1880 oil on canvassigned and dated lower left24 by 20in. (61 by 51cm)

Born in the United States, Helmick attendedthe Ohio Mechanics Institute in Cincinnatiand later travelled to Paris and London wherehe became friendly with artist James AbbottMcNeill Whistler. He exhibited at London’sRoyal Academy and several of the titlesshown there suggest Irish subjects. The RHA,Dublin lists exhibits by him in 1879 and 1889and his time spent in Cork was recorded by awriter friend, Hawthorne. For further reading see: Kinmonth, C., ‘HowardEaton Helmick Revisited; Matrimony andMaterial Culture through Irish Art’ in V.Krielkamp ed., Rural Ireland: The Inside Story(Exhibition Catalogue, BostonCollege/McMullen Museum, 2012), 89-102.

€5,000-€6,000 (£4,130-£4,960 approx.)

23James Mahoney ARHA(1810-1879)THE CHURCH OF ST. ROCH, PARIS, 1844 oil on canvasextensively inscribed on exhibition labelon reverse24 by 30in. (61 by 76cm)

Provenance:The Collection of William Tighe ofWoodstock, Co. Kilkenny, acquiredthrough the Art Union of Ireland;with the Gorry Gallery, Dublin;Private collection

Exhibited:RHA, Dublin, 1844, catalogue no. 55;‘An Exhibition of 18th - 21st Century IrishPaintings’, Gorry Gallery, Dublin, 26 Mayto 8 June, 2013, catalogue no. 8(illustrated on p. 9)

Cork native James Mahoney is best known forhis wonderful watercolours in the collectionof the National Gallery of Ireland which depictthe visit of Queen Victoria to the IndustrialExhibition in Dublin (1853).For further reading see: ‘An Exhibition of 18th- 21st Century Irish Paintings’, Gorry Gallery,Dublin, 26 May to 8 June, 2013.

€4,000-€5,000 (£3,310-£4,130 approx.)


,

18


,WHYTE S

S I N C E 1 7 8 3

,

24Aloysius C. O’Kelly (1853-1936)UN VERRE DE VIN oil on canvassigned lower right26 by 21½in. (66 by 53cm)

Exhibited:‘An Exhibition of 17th - 20th Century Irish Paintings’, GorryGallery, Dublin, 19 May to 2 June 2010, catalogue no. 30(illustrated p.28)

Provenance:O’Sullivan, Niamh, Aloysius O’Kelly: Art Nation, Empire, Dublin2010, catalogue no. 81

O’Kelly executed a number of portraits of elderly men and women toexude character. These demonstrate his vigorous prowess as a portraitpainter. What these portraits show is a progressively fluid andimpressionistic treatment, as the handling becomes looser and livelier.

The fisherman is dressed in his working clothes, smock and sabots.Pannier at his feet, he is smiling and at ease. Although verging on themonochromatic he seems to be full of the joys of life. Somewhatunusually for O’Kelly – who tends towards solemn when treating thefishermen and farmers, the labourers of the western seaboards ofFrance and Ireland – this one has the air of a bon viveur.

Sitting by the rustic table, bottle to hand, traces of Bonnat’s influence,specifically his rugged naturalism, can clearly be discerned. In thevirtuosity of draughtsmanship, these portraits are a tribute to Gérômewhile the loose yet controlled brushwork, broad values, and the use ofdramatic light and shade are a testimony to Bonnat’s realist teaching.But, ultimately, O’Kelly’s portraits are his own. From the late 1870sthrough to his old age, he produced a range of rural portraits ofconsiderable power. Although psychologically penetrative, in manyrespects these portraits are less about the individual than the humancondition.

We are grateful to the Gorry Gallery and Prof. Niamh O’Sullivan for theirpermission to reproduce this note.

€5,000-€7,000 (£4,130-£5,790 approx.)


,

19

25Walter Frederick Osborne RHA ROI (1859-1903)EVENING MISTS, c.1891 oil on boardsigned lower left;5½ by 9in. (13 by 23cm)

Provenance:Collection of the late Mr. and Mrs. Oisín Kelly;Adam’s, 14 December 1989, lot 52;Whence purchased by the previous owner;Adam’s, 5 December 2012, lot 63;Private collection

Exhibited:Dublin Art Club, 1891 [9.5gns]

Literature:Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974,p.130, catalogue no. 297 (listed);

€8,000-€12,000 (£6,610-£9,920 approx.)


,

20


,WHYTE S

S I N C E 1 7 8 3

,

26Eileen Reid (1894-1981)AN OFFICER, 1923 and THE RED WAISTCOAT (A PAIR) oil on canvas; (2)the first, signed “Oulton” (artist’s maiden name),inscribed and dated on reverse; second, signed andwith exhibition label on reverse 27½ by 21in. (69 by 53cm)

Provenance:Both by descent from the artist to the presentowner

Exhibited:‘The studio of Eileen Reid, 1894-1981’, CynthiaO’Connor Gallery, Dublin, 3-21 December 1984,catalogue nos. 30 and 18, respectively

Dimensions of The Red Waistcoat, 24 by 16ins.

Re: An Officer, 1923Submitted for the annual exam at the Royal AcademySchools, 1924. This is possibly a portrait of the artist’shusband Hugh C. Reid, who served in the Colonial Officein Nigeria. The pair married in June 1923 in St Stephen’sChurch, Dublin. Reid returned to Nigeria immediately after,only to contract black water fever and die in February1924.

Born Eileen Oulton, she lived most of her life at 19 UpperMount St., Dublin. Interested in both art and music, shestudied first at the Royal Irish Academy of Music and laterat the RA School of Art London. Her early paintings showthe influence of William Orpen who was a friend of thefamily. She married in 1923 but was widowed within ayear, and soon afterwards abandoned oil painting infavour of watercolours. She was secretary for the WCSI forover 30 years , allowing administrative work to comebefore her own art. A retrospective was held at theCynthia O’Connor Gallery in 1984. See Snoddy, p. 555-556.

€1,000-€1,500 (£830-£1,240 approx.)

27Mildred Anne Butler RWS (1858-1941)“AN OLD SONG” [PORTRAIT OF THE ARTIST’S SISTERESSIE BUTLER], 1886 watercoloursigned with initials lower right; with various exhibitionlabels on reverse; also with Oriel Gallery label onreverse10 by 6½in. (25 by 15cm)

Provenance:Christie’s, Glasgow, 28 October 1988, lot 297;with Oriel Gallery, Dublin;Private collection

Exhibited:The Butler Society, Kilkenny, 1982 (illustrated on frontcover of catalogue)‘Mildred Anne Butler (1858-1941): An Irish EdwardianWatercolour Collection’, Crawford Municipal Art Gallery,Cork, 25 August to 30 September 1987, catalogue no. 5(illustrated on cover of catalogue);‘Mildred Anne Butler (1858-1941)’, Ulster MuseumBelfast, 29 April to 12 June, 1988 and Royal Hospital,Kilmainham, Dublin, July to October 1988, catalogue no. 3

€3,000-€5,000 (£2,480-£4,130 approx.)

Ex 26


,

21


,

28Sir William Orpen RA RI RHA (1878-1931)AN ONLOOKER IN FRANCE [1924] ILLUSTRATED WITHIN BY THEARTIST bookillustrated, signed, inscribed and dated9¾ by 7in. (23 by 18cm)

Illustrated with a humorous self-portrait of Orpen holding a glass of whiskeyon the front free-endpaper of his book An Onlooker in France 1917-1919,published by Williams and Norgate, London, 1924. Illustration is dedicatedand signed, London, 1930.

€1,000-€1,500 (£830-£1,240 approx.)

29Sir William Orpen RA RI RHA (1878-1931)MYSELF WALKING DOWN THE CHAMPS-ÉLYSÉES DURING THEPEACE CONFERENCE [PARIS] 1919 ink and wash over pencilsigned [Le Petit Major] and dedicated upper left; inscribed withtitle and dated lower left9½ by 6¾in. (23 by 15cm)

Provenance:Whyte’s 30 April 2007, lot 87;Private collection

€800-€1,200 (£660-£990 approx.)

30Sir William Orpen RA RI RHA (1878-1931)ILLUSTRATED LETTER TO SIR HUGH LANE: PUZZLE FIND THE OWNEROF THE STUDIO (c.1906-1908) ink on [5, Bolton Gardens South, S.W.] letterhead; (double-sided)dedicated, signed and illustrated6¾ by 8¾in. (15 by 20cm)

Provenance:Christie’s, London, 12 May 2006, lot 70;Private collection

€800-€1,000 (£660-£830 approx.)

31Jack Butler Yeats RHA (1871-1957)THE CAROL SINGER Indian inksigned lower right6¾ by 4½in. (15 by 10cm)

€3,000-€4,000 (£2,480-£3,310 approx.)

22


,

32Jack Butler Yeats RHA (1871-1957)CHRIST’S COMING Indian inksigned upper right in monogram; with Dawson Gallerylabels preserved on reverse4¾ by 4in. (10 by 10cm)

Provenance:Dawson Gallery, Dublin;Private collection, Galway;Whyte’s, 21 February 2006, lot 112;Private collection

Literature:Pyle, Hilary, The Different Worlds of Jack B. Yeats: HisCartoons and Illustrations, Irish Academic Press, Dublin,1994, catalogue no. 2073, p.293 (illustrated)

Reproduced as a Cuala Press Christmas card alongside apoem of the same title by Pádraic Pearse.

€2,000-€3,000 (£1,650-£2,480 approx.)

32AJack Butler Yeats RHA (1871-1957)JACK B. YEATS: A CATALOGUE RAISONNÉ OF THE OILPAINTINGS by HILARY PYLE HRHA numbered [778] on editions page vol. I11¼ by 9in. (28 by 23cm)

Published by Andre Deutsche, London, 1992. Limited editionof 1550 copies, of which this is number 778. Three volumesset in dark green cloth stamped in gilt and in matching slipcase as issued. The definitive listing of Yeats’ oil paintings,with numerous illustrations. An invaluable resource in mintcondition for any Yeats aficionado.

€700-€900 (£580-£740 approx.)

23


,

33Jack Butler Yeats RHA (1871-1957)A PATRIOT, c.1902 watercolourwith monogram lower left; with typed VictorWaddington Gallery label preserved on reverse13¾ by 6½in. (33 by 15cm)

Provenance:Victor Waddington Gallery, London; Whence purchased by A.S. Alkin Esq.; Sotheby’s London, 21 May 1999, lot 341;Private collection;Whyte’s, 25 April 2006, lot 62;Private collection

Literature:Pyle, Hilary , Jack B. Yeats: His watercolours Drawingsand Pastels, Irish Academic Press, Dublin, 1993, no.393a, p.112 (illustrated )

As Hilary Pyle observes “a picture of Robert Emmet is seenthrough the open doorway, hanging over the fireplace”.

€15,000-€20,000 (£12,400-£16,530 approx.)

24


,

34Sir John Lavery RA RSA RHA (1856-1941)A STREET IN TANGIER oil on boardsigned lower left; inscribed “A Street in Tangier / by JohnLavery / 5 Cromwell Pl / London”; also with typed Pyms Gallery,London label on reverse10 by 14in. (25 by 36cm)

Provenance:With Pyms Gallery, London, c.1990; Their sale, 1992; Sotheby’s, 13 May 2005, lot 60;Private collection

Exhibited:‘Cabinet Pictures by John Lavery’, Leicester Galleries, London,1904 , no. 7 (?) as Tangier, A Street;‘A Free Spirit, Irish Art 1860-1960’, Royal Hibernian Academy,Dublin, 1990

Literature:Kenneth McConkey, ‘The White City - Sir John Lavery inTangier’, GPA Irish Arts Review, 1989, p. 62 (illustrated);Kenneth McConkey, A Free Spirit, Irish Art 1860-1960, 1990(Antique Collectors Club in association with Pyms Gallery,London), p.101 (illustrated)

The ‘chief note’ of Tangier was ‘whiteness’ according to RBCunninghame Graham. In an essay on artists’ haunts in 1909 hedescribed a city that throughout the nineteenth century had providedwriters and painters with an instant authentic experience of Muslimculture.1 A short sea crossing from the southernmost tip of Europe, itssouks, mosques, and moonlit rooftop music and dancing formed anessential part of the texture of western European Orientalism.Graham’s observations are confirmed by the series of small luminousoil sketches recently produced by his close friend, John Lavery, andreproduced to illustrate the article.2 It took a painter to tell him whathe was seeing and on several occasions he pays tribute to the artist –theirs was a lifelong friendship. Lavery had known the ‘adventurer-laird of Gartmore’ for at least eighteenyears and recently, in company withThe Times correspondent, WalterHarris, they had ridden across thedesert together to visit the Sultan’scourt at Fez.3

But it was the ‘white houses, sandslike snow, and, above all … dazzlingwhite atmosphere’ of the old coastalcity overlooking the Straits ofGibraltar that enchanted them. In themaze of the Kasbah, ‘the Arabs flittedto and fro, silent as shadows … theyseemed like a population ofuncloistered friars’, said Graham in hisintroduction to the catalogue ofLavery’s exhibition in 1904.4 He couldeasily have been looking at the

present picture. Under a vivid cobalt canopy the whitewashed housesglowed in the sunlight, and sharp shadows cut rectangles of pale blue,violet and ochre – their irregular shapes, performing an abstracttheatre, that momentarily disorientated the western eye.

Lavery first confronted this marquetry of intersecting planes in 1891 ina small study painted from the rooftop of the Hotel Continental (fig 1),but it was only on subsequent visits that the secrets of narrowalleyways revealed themselves in the furtive glance from a doorway inthe infamous Rue des Femmes, or the bustle of figures retreating upthe hill from the souk at the call to prayer.

This was the essential appeal of a setting vividly described by the Irishpainter, Norman Garstin, when in 1897 he wrote to fellow artists,

… that wall in front of you is homely whitewash, and steeped for amoment in a violet shade; a door opens and a rectangular slab ofyellow white light from the opposite wall of the patio makes youblink and deepens the violet of the near wall; purple patches ofshade stain the patio’s red tiles with silhouetted pictures of figleaves …5

This was Lavery’s quest in small studies that, like the present example,were painted not as preparations for larger works, but as ends inthemselves. They were vivid snapshots of familiar corners that hewould give to painter-friends like Alfred East – and others likeCunninghame Graham.6 Such pictures are difficult to date precisely,although it is likely that A Street in Tangier, precedes the trip to Fez in1906. Its specific location and the vantage point from which it waspainted remain to be determined – although it is likely to show thewinding street that leads up into the Kasbah.

Throughout the years 1891-1920, when he visited Morocco regularly,Welsh, Scots, English, Canadian and French artists - Frank Brangwyn,Arthur Melville, Alfred East, James Wilson Morrice and Henri Matisse –all felt the rejuvenating effect of the ‘white atmosphere’ of Tangier, butit was Lavery, in small stunning pictures of the streets of the old citywho definitively caught it.

Prof. Kenneth McConkeyApril 2014

€20,000-€30,000 (£16,530-£24,790 approx.)


,

Fig 1 Tangier from the HotelContinental, 1891 (45.5 by 35.5cm),Private Collection

1 RB Cunninghame Graham, ‘The Atmosphere of Morocco’, in Alfred East introd.,Sketching Grounds, 1909 (Studio Special Number), p.145.

2 The two had probably met on Lavery’s first visit to the city in 1891, whenaccording to Graham, he rode swiftly to the rescue after the painter’s horsehad bolted. In Lavery’s account, he helped to rescue Graham from a group ofbelligerent Moors when he was haranguing them on his favourite topics –Free Speech and Democracy – neither of which they could remotelycomprehend; see Walter Shaw Sparrow, John Lavery and his Work, n.d. [1912],(Kegan Paul, Trubner, Trench and Co), p.84.

3 Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books),pp. 96-7.

4 RB Cunninghame Graham, ‘Introduction?’, Cabinet Pictures by John Lavery,1904 (Exhibition catalogue, Leicester Galleries, London), p.7

5 Norman Garstin, ‘Tangier as a Sketching Ground’, The Studio, vol 11, 1897, p.178.

6 East, a student friend from the Haldane Academy in Glasgow, owned severalsmall Moroccan street scenes.


,

25


,

26


,

35James Humbert Craig RHA RUA (1877-1944)TURF GATHERERS oil on boardsigned lower left12 by 17in. (30 by 43cm)

Provenance:Emer Gallery, Belfast;Private collection

€8,000-€10,000 (£6,610-£8,260 approx.)


,


,

27

36Paul Henry RHA (1876-1958)TURF STACKS WITH MOUNTAIN BEYOND, c.1940 oil on canvas laid on boardfaintly signed lower left8 by 8¾in. (20 by 20cm)

Provenance:A gift from the artist to the present owner’s grandmother, proprietor of the Parkside Hotel,North Circular Road, Dublin

Exhibited:Possibly exhibited at ‘Recent Paintings by Paul Henry’, Combridge’s Gallery, Dublin, from 24October 1941, catalogue no. 20, as Turf Bog, Connemara

Formerly signed on the reverse but that inscription has been lost over time. Also, the artist’s signatureis present on the lower left but has in part been erased by, presumably, the replacement slip, thepicture having been reframed some years ago; the original frame, in black, was the artist’s choice.

A late work by Henry with an unusual amount of impasto in the sky and the foreground but,characteristic for the artist and showing the influence of his teacher, Whistler, on him, the paint hasbeen applied directly to the canvas with no over-painting. Thus it retains great freshness. Dated c.1940-5 on stylistic grounds. Turf Stacks with Mountain Beyond may be the same picture as Turf Bog,Connemara, c.1940-1, in S. B. Kennedy, Paul Henry: with a catalogue of the Drawings, Paintings,Illustrations, Yale University Press, New Haven and London, 2007, p.301, catalogue number 1011.

Dr. S.B. KennedyApril 2014

€15,000-€20,000 (£12,400-£16,530 approx.)


,


,

28


,

37Frank McKelvey RHA RUA (1895-1974)VIEW OF ARMAGH CATHEDRAL oil on canvassigned lower left; with Bell Gallery label preserved on reverse20 by 27in. (51 by 69cm)

Provenance:Whyte’s, 19 September 2006, lot 137;Private collection

€8,000-€10,000 (£6,610-£8,260 approx.)


,

29


,

38Frank McKelvey RHA RUA (1895-1974)LOUGH NEAGH, COUNTY ANTRIM oil on canvassigned lower left; titled on hand-written label on reverse20 by 27in. (51 by 69cm)

Exhibited:Probably exhibited at the Royal Ulster Academy, Belfast, 1952,catalogue no. 30, Lough Neagh

€6,000-€8,000 (£4,960-£6,610 approx.)


,

30

39James Humbert CraigRHA RUA (1877-1944)TURF CUTTERS oil on boardsigned lower left12 by 16in. (30 by 41cm)

€2,500-€3,500 (£2,070-£2,890 approx.)

40Mabel Young (1889-1974)ANCIENT TREES, POWERSCOURT,COUNTY WICKLOW oil on canvassigned lower right20 by 24in. (51 by 61cm)

€1,200-€1,500 (£990-£1,240 approx.)


,


,

31


,

41Frank McKelvey RHA RUA (1895-1974)CATTLE GRAZING oil on canvassigned lower left; with John Magee label on reverse19 by 24in. (48 by 61cm)

€6,000-€8,000 (£4,960-£6,610 approx.)


,

42William Conor OBE RHA RUA ROI(1881-1968)DANCE crayonsigned lower right; with Oriel Gallery label onreverse12½ by 9in. (30 by 23cm)

Provenance:James Adam & Sons, Dublin, 14 May 1987, lot136;Private collection;with Oriel Gallery, Dublin, c.1987;Private collection

€5,000-€7,000 (£4,130-£5,790 approx.)

43William Conor OBE RHA RUA ROI(1881-1968)THE FIDDLER and WRITING A CHRISTMAS CARD,c.1953 ink and watercolour; (1); ink and crayon onpaper; (1)signed lower right and upper left respectively5 by 4½in. (13 by 10cm)

Provenance:A gift from the artist to the previous owner;Adam’s, 26 March 2003, lot 86 & 87 respectively;Private collection

Dimensions of second title, 4.75 by 3.75in. Both framed.

€1,000-€1,500 (£830-£1,240 approx.)

32

Ex 43


,

33


,

44George Russell (“Æ”) (1867-1935)THE APPLE PICKERS oil on boardsigned in monogram lower right; with labels detailing provenance on reverse18½ by 24in. (46 by 61cm)

Provenance:Christie’s, Glasgow, 28 October 1988, lot 355;with Oriel Gallery, Dublin;Where purchased by the present owner

Exhibited:‘George Russell ~ AE’ at the Oriel 21st Anniversary Exhibition, Oriel Gallery, Dublin,13 November to 2 December 1989, no. 1 (illustrated p.14 of catalogue)

A note on reverse states the work was formerly in the collection of George and MauraMcClelland.

€7,000-€9,000 (£5,790-£7,440 approx.)


,

34


,

45George Russell (“Æ”)(1867-1935)SUMMER EVENING - HILL OF HOWTH oil on canvassigned in monogram lower right;with title on typed label on reverse14 by 16in. (36 by 41cm)

Provenance:James Adam & Sons, 17 June 1992,lot 67;Private collection

€3,000-€4,000 (£2,480-£3,310 approx.)

46Cecil Galbally RHA (1911-1995)FISHING BOATS AT KINSALE, CORK oil on boardsigned lower right; titled on reverse;with Victor Waddington label alsoon reverse12 by 15¼in. (30 by 38cm)

Provenance:Victor Waddington Gallery, Dublin;Private collection

Contained in original Waddingtonframe. For further reading on this Dublin bornartist see Snoddy p.177-179.

€1,000-€1,500 (£830-£1,240 approx.)


,

35


,

47Lady Beatrice Glenavy RHA (1881-1970)UNICORN, c.1950 oil on boardsigned with initials lower right; inscribed with title, artist’s name [Lady Glenavy] andaddress [Rockbrook House, Rathfarnham, Co. Dublin] and original price [£20] on reverse16 by 20in. (41 by 51cm)

Exhibited:Irish Exhibition of Living Art, 1950, catalogue no. 22

€5,000-€7,000 (£4,130-£5,790 approx.)

36


,

48Mary Swanzy HRHA (1882-1978)TREES oil on canvassigned lower left21 by 18in. (53 by 46cm)

Provenance:Family of the artist

Although she studied art in Paris in 1905 and 1906 where she was amongst the first Irish artists to see the work ofPablo Picasso, Swanzy did not begin making and exhibiting Cubist inspired work until the 1920s and 1930s. She wasone of Ireland’s most innovative exponents of this approach, using it in imaginative ways in a range of landscapes,figure studies and paintings of propellers. As she never dated her paintings, it is difficult to be precise about thechronology of the work, but she appears to have made and exhibited most of her Cubist inspired paintings after1920.

Having moved back to Dublin from Paris, Swanzy continued to travel widely visiting London, Italy, Czechoslovakia,Polynesia and the United States. She maintained contact with the French art world throughout the 1910s and 1920s,exhibiting at and becoming a committee member of the Salon des Independants, the largest show of modern art inParis. Her work was shown at this venue alongside that of the Orphic cubists, Sonja and Robert Delaunay. Orphism, ahugely influential movement, was concerned with the impact of light and colour on the vision of the artist. Thepaintings of Robert Delaunay are preoccupied with aeronautical flight and altitude through which he coulddemonstrate how form is made of pure colour. The influence of these ideas is apparent in Trees.

The bright colours and dynamic geometric patterning of the composition of Trees are also evocative of speed andmovement. Swanzy was clearly aware of Italian Futurism and British Vorticism when she painted the work. Bothmovements stress the importance of dynamism in art and of representing technology. The railway track or roadwayin the foreground of Trees suggests movement through the landscape resulting in a distortion of the forms. Swanzy’sfather was a well-known ophthalmic surgeon and her fragmentation of the composition is equally reminiscent ofophthalmic lenses and optical devices.

The giant pink trees with their swaying yellow barks are probably inspired by the exotic vegetation that Swanzy sawon her travels to Samoa and Hawaii in the 1920s. The tall towers in the distance (to the right) recur in several of herpaintings, a memory of San Gimignano, the medieval city in Tuscany, near to Florence where the artist lived for aperiod before World War One. Swanzy draws on her vast experiences of travel and modern art in her work. The resultis an inventive and unique engagement with Cubism and Futurism that was not always valued by her contemporariesin Dublin which she left in 1926 to settle with her sister in London. The originality of her work, however, ensuredSwanzy’s rediscovery as one of Ireland’s most significant modernist painters at the end of her life in the 1960s and1970s when she finally enjoyed critical and commercial success. Trees is an important example of her Cubist work.

Dr. Róisín KennedyApril 2014

€15,000-€18,000 (£12,400-£14,880 approx.)


,

38


,

49Mary Swanzy HRHA (1882-1978)LANDSCAPE oil on boardwith Studio Stamp on reverse13¼ by 7¼in. (33 by 18cm)

Provenance:Studio of the artist; Christie’s, The Irish Sale Part II, including works from the Studio ofMary Swanzy, 10 May 2007

€1,000-€1,500 (£830-£1,240 approx.)

50Stella Steyn (1907-1987)RECLINING WOMAN oil on canvassigned lower right; titled on reverse24 by 36in. (61 by 91cm)

€1,000-€1,500 (£830-£1,240approx.)


,

39

51Mary Swanzy HRHA (1882-1978)TWO WOMEN IN A VILLAGE oil on canvaswith typed Pyms Gallery label on reverse17 by 21in. (43 by 53cm)

Provenance:The Artist’s Estate;Pyms Gallery, London;Private collection;deVere’s, 6 March 2001, lot 129Private collection

Exhibited:‘Mary Swanzy HRHA (1882-1978)’ Pyms Gallery, London, 6-29 May 1998, catalogue no. 16(illustrated in catalogue)

€6,000-€8,000 (£4,960-£6,610 approx.)

40


,

52Mainie Jellett (1897-1944)PAINTING, 1930 oil on canvassigned and dated lower right; with small hand-written label onreverse; with Irish Art Exhibition [Brussels] label inscribed withartist’s name, address [36 Fitzwilliam Sq., Dublin] and title; withCorporation of Dublin exhibition label on reverse; also withJames Bourlet & Son’s label on reverse30 by 36in. (76 by 91cm)

Provenance:Mr & Mrs James Creed Meredith K.C., LL.D. (1875-1942);Thence by descent to the present owner

Exhibited:Irish Art Exhibition, Brussels, May 1930;‘Mainie Jellett Retrospective Exhibition’, Hugh Lane GalleryDublin, July - October 1962, catalogue no. 3;

Handwritten label verso reads: 34. / oil / 30 by 36 / A054 / PaintingBrussels / Ref Abstract.

In 1921 the young Irish artists Mainie Jellett and Evie Hone arrived inParis to study with the Cubist master André Lhote. Jellett and Honehad studied in London under Walter Sickert where they absorbedimportant lessons in anatomy and classical portraiture, but this wasn’tenough, they wanted to be ‘modern’ and in the early 1920s the terms‘Modern’ and ‘Cubist’ were synonymous. Lhote was one of the firstgeneration of Cubists, having shown in the second public exhibition ofCubism at the Salon des Indépendents of 1912. Following theArmistice in late 1918, cultural activity was renewed in Paris and Lhoteopened an academy where a significant number of Irish artists weretaught to paint along cubist principles. From work produced by Jellettat this time, we know that working from the nude model, seatedportraits, and still-lifes were central to the curriculum. For Jellett andHone this was too similar to the training they had received in London,so in 1922 they famously asked to be taken on as students by thepainter Albert Gleizes, who had neither an academy nor an openstudio. Gleizes had been developing a form of Cubist abstraction morein tune with Mondrian than Picasso and in 1920 published ‘DuCubisme et les moyens de le comprendre’1, arguing that “Cubism hadbeen a search for a precise scientific method to replace the oldscientific method of single point perspective, and that the essentialelements of this new method are now known”2.

Working together, the artists developed a system of ‘translation androtation’ the early result of which, Jellett’s Painting, 1923 (National

Gallery of Ireland) was shown at the Dublin Painters Gallery that yearto critical derision. Although on first glance Painting ,1923 is abstract,closer inspection of the format, composition, medium, and patterningrelate it directly to early Renaissance religions icons like Cimabue’sMaestà (c.1280). This was not co-incidental. Although much of themodern movement was fiercely secular, Gleizes, Jellett and Honemaintained a deeply Christian faith and sought to integrate Christianimagery into their modern vision. Through the mid-20s they workedon a series of ‘Elements’ paintings – largely abstract exercises in colourand form. In 1927-28 Jellett produced her major work Homage to FraAngelico, a cubist interpretation of Angelico’s Coronation of the Virgin(c.1435, Louvre, Paris). This is a mature work in Jellett’s oeuvredemonstrating the successful cubist reduction of a form withtraditional religious content, something we also see in the presentwork, Painting, 1930.

An unusual feature of Homage to Fra Angelico and Painting is thecolour palette. In the case of Homage the colours range from mustard-green through to taupe and similarly Painting, 1930, utilises ochresand umbers reminiscent of brick burned by the sun. It is likely that the‘L’Exposition des Arts Décoratifs’ in Paris in 1925 may have influencedthis. This major exhibition of Art Deco included pavilions from aroundthe Francophone world such as the colonies Tunisia, Morocco andAlgeria and so the colours and light of North Africa would havepermeated the visual plane. The source of the vertical, tripartitecomposition of Painting, 1930, can be compared to a typicalquattrocento painting like Perugino’s Madonna and Child with St Johnthe Baptist and St Sebastian (1493) which could be considered anevolution from the earlier work by Cimabue. Certainly the compositionof Painting, 1930 reflects the architectural setting within a vaultedspace, with the Virgin and Child seated on a dais. Jellett would go onto further simplify this composition in one of her most importantworks The Madonna of Éire (1943, NGI) in which Saints Patrick andBrigid are seen either side of the Virgin. In these late works, Jellettcombines influences from Celtic art and familiar images of the Virginbut produces a resolutely ‘modern’ image thereby making cubism andabstraction more palatable to a conservative audience.

Seán Kissane, Curator, IMMAApril 2014Author & Curator: ‘Analysing Cubism’, Irish Museum of Modern Art,Dublin and Crawford Municipal Gallery, Cork, 2013

1 On Cubism and the means to understand it.2 Peter Brooke, Albert Gleizes, Chronology of his life, 1881-1953.

http://www.peterbrooke.org.uk/a&r/chronology

€20,000-€30,000 (£16,530-£24,790 approx.)

http://www.peterbrooke.org.uk/a&r/chronology


,

41


,

42


,

53Evie Hone HRHA (1894-1955)CARTOON FOR STAINED GLASS WINDOWSHOWING ST JOHN THE EVANGELISTgouache21 by 7in. (53 by 18cm)

€1,200-€1,500 (£990-£1,240 approx.)

54Father Jack P. Hanlon (1913-1968)MADONNA AND CHILD oil on boardsigned lower right17½ by 13¾in. (43 by 33cm)

Provenance:Whyte’s, 25 April 2006, lot 49;The Collection of Jill Cox;Her sale, Adam’s, 7 September 2011, lot 707;Private collection

€1,200-€1,500 (£990-£1,240 approx.)


,

43

55Louis le Brocquy HRHA (1916-2012)(TONE) STUDY FOR CLASSICAL THEME 3, 1944 pencil, pastel and watercoloursigned and dated [January] lower right; signed, inscribed and dated on reverse7½ by 5in. (18 by 13cm)

Provenance:Frederick Gallery, Dublin; Private collection

Exhibited:‘Irish Art’, Frederick Gallery, Dublin, 29 May to 26 June 1995, catalogue no.19 (illustrated in catalogue)

Inscription verso states (in the artist’s hand) that the present work is a study for an “oil painting on canvas 6ft by 4ft”. Thislarger work the artist refers to - Classical Theme 3 - was exhibited at the Irish Exhibition of Living Art, 1944, catalogue no. 16.

€6,000-€8,000 (£4,960-£6,610 approx.)

44


,

56Evie Hone HRHA (1894-1955)HOUSES NEAR SERRIÈRES, FRANCE pastel on tinted papersigned lower right; with inscribed Dawson Gallery label onreverse10½ by 14½in. (25 by 36cm)

Provenance:Dawson Gallery, Dublin;Collection of artists William Carron and Barbara Warren

Contained in original Dawson Gallery frame.

€800-€1,000 (£660-£830 approx.)

57Elizabeth Rivers (1903-1964)HORSEMAN, ARAN HARBOUR and EARLY MORNING, ARANISLANDS (A PAIR) oil on canvas; (1); wood engraving; (no. 6 from an edition of50)oil, signed left of centre, signed again and titled on reverse;engraving, signed, numbered and titled in the lower margin8 by 12in. (20 by 30cm)

Provenance:Collection of artists William Carron and Barbara Warren

Dimensions, Early Morning, Aran Islands, 8 by 6in. (framed).

€600-€800 (£500-£660 approx.)


,

58Anne Yeats (1919-2001)ABSTRACT IN BLACK, RED AND YELLOW oil on canvas board10 by 14in. (25 by 36cm)

€600-€800 (£500-£660 approx.)

Ex 57


,

45


,

59Norah McGuinness HRHA (1901-1980)ORANGE SHAPES, c.1970 oil on canvassigned lower right; titled on handwritten label on reverse; also with inscribedDawson Gallery label and typed Keys Gallery label on reverse16 by 22in. (41 by 56cm)

Provenance:Dawson Gallery, Dublin;Private collection;with Keys Gallery, Londonderry, 1976;Private collection

Exhibited:’Norah McGuinness’, Dawson Gallery, Dublin, 9-30 April 1970 catalogue no. 27;’Norah McGuinness’, Keys Gallery, Londonderry, June 1976, catalogue no. 2

€6,000-€8,000 (£4,960-£6,610 approx.)

46


,

60Nano Reid (1900-1981)SALMON FISHING ON THE BOYNE, c.1950 oil on panelsigned lower left; with exhibition label affixed on reverse24 by 48in. (61 by 122cm)

Provenance:James Adam & Sons, 29 March 1995, lot 36 as Fishermen;Private collection

Exhibited:‘Nano Reid and Gerard Dillon’, Highlanes Gallery, Drogheda, 6November to 10 January 2009 (loaned by present owner)

Literature:Ed., Coulter, Dr. Riann and NicGhabhann, Niamh, Nano Reid andGerard Dillon Curated by Riann Coulter, Highlanes Gallery,Drogheda, 2009 (edition of 1,000), p.16-17 (illustrated)

Salmon Fishing on the Boyne is an extremely important work withinNano Reid’s oeuvre. It is both a scene of everyday life in mid-centuryIreland and a valuable historical record of a particular time and place.Born in Drogheda in 1905, Nano Reid studied and worked in Dublin,London and Paris before she eventually settled back in her home town.During the 1950s Reid painted several works inspired by Droghedaincluding Where the Ships Unload, Old Town by the River and the largemural she painted for her family’s pub. That mural, now in theDrogheda Municipal Collection and on display in the Highlanes Gallery,is stylistically similar to Salmon Fishing on the Boyne and dates fromthe same period c. 1950.

Although Salmon Fishing on the Boyne was not intended to bedocumentary and includes the Modernist distortions of scale andperspective that were typical of Reid’s work in this period, it stillconstitutes a valuable record of a traditional way of life. For centuriessalmon fishing was an important source of food and revenue for thosewho lived along the Boyne. There were around forteen fishing stationson the river and while it is difficult to identify the exact location of thisscene, it may be an area of the river bank close to the town centre,which is known as The Ramparts. According to Leo Boyle, Boyne salmonfishermen had a particular method of working which involved twomen. One man stayed on shore holding a rope attached to the net,while the other rowed out into the river with the other end of the net.

Once the whole net was spread out, the boatman rowed back to shoreand the two men pulled the net to shore, trapping fish as it went.1

In Reid’s painting the catch has been hauled in. Two fishermen areinspecting (or mending) the net, while a third man pulls a rope throughthe water. Two small row boats are moored nearby and more can beseen across the river. The chimney-like structures on the far shoreresemble the lime kilns that were a historic feature of this area.

Despite the years that she spent in Dublin, Reid always attributed herinitial interest in art to Drogheda and the Boyne. In 1974 she told thejournalist Martin Dillon,

What started me off was an interest in the prehistoric Irish remains.An interest grew up around all that and the natural thing was topaint it. ... I looked around me more and painted what appealed tome in an emotional way. The thing is I have to have a subject that Ifeel about and the only ones I feel about are those places (BoyneValley). There is no use in trying to paint a place I have no feelingfor. The essence of a place is very important to me.2

In addition to its subject matter, Salmon Fishing on the Boyne issuccessful in purely formal terms. The composition is unusual butbalanced and there are notable formal elements such as the group ofswans, whose dynamic bobbing is echoed and emphasised throughthe reflections in the river and the hatching of the fishing net. Curvesflow through the composition from the outline of the shore to theboats, nets, rope and men’s baggy trousers. The shape of the boatsechoes the fish and the fishermen’s flat caps. The warm palettedominated by yellows, pinks and blues, contradicts those critics whohave condemned Reid’s use of earthy greens and browns in laterpaintings including Cave of the Firbolg (Collection Arts Council ofIreland). Ultimately, Salmon Fishing on the Boyne proves that, despitebeing so firmly rooted in a particular place, Reid could produce work ofuniversal appeal.

Dr Riann CoulterApril 2014

1 Leo Boyle, Salmon Fishing on the Boyne River, A Brief Synopsis of the BoyneRiver Salmon Fishery, www.patburnsphotography.net, accessed 16/4/2014.

2 Nano Reid interviewed by Martin Dillon, BBC Northern Ireland, 1974. Transcript,Reid Archive, Highlanes Gallery, Drogheda.

€25,000-€35,000 (£20,660-£28,930 approx.)

http://www.patburnsphotography.net


,

47

48


,WHYTE S

S I N C E 1 7 8 3

,

61Nano Reid (1900-1981)BOATS AT CLOGHERHEAD, c.1933 watercoloursigned lower right beneath themount; with typed Arts Councilexhibition label on reverse8¾ by 11¼in. (20 by 28cm)

Provenance:Acquired directly from the artist bythe present owner’s mother;Thence by descent

Exhibited:‘Nano Reid Retrospective’, Hugh LaneMunicipal Gallery of Modern Art,Dublin, and the Ulster Museum,Belfast, from 27 November 1974 toFebruary 1975, catalogue no. 6 (lentby the present owner);‘Camille Souter / Nano Reid’,Droichead Arts Centre, Drogheda andLinenhall Arts Centre, Mayo, 5 May to 26 June, 1999, catalogue no.55

€1,000-€1,500 (£830-£1,240 approx.)

62Nano Reid (1900-1981)THE HEAD AT CLOGHERHEAD, c.1940 watercoloursigned lower left; with exhibitionlabel affixed to glass (recto); withnote on provenance hand-writtenon reverse8½ by 11in. (20 by 28cm)

Provenance:Given as payment by Nano Reid to ataxi driver, 1979;Private collection

€700-€900 (£580-£740 approx.)


,

49


,

63Nano Reid (1900-1981)BATHERS AT MORNINGTON, c.1945 oil on panelsigned lower left; with title in pencil and date [1948] on reverse; also with exhibitionlabels on reverse14 by 20in. (36 by 51cm)

Provenance:Purchased directly from the artist c.1940s

Exhibited:‘Camille Souter / Nano Reid’, Droichead Arts Centre, Drogheda and Linenhall Arts Centre,Mayo, 5 May to 26 June, 1999, catalogue no. 1 (Bathers at Mornington, 1945);‘Nano Reid: A Retrospective Exhibition’, Droichead Arts Centre, Drogheda, 5 April to 31May 1991, catalogue no. 10 (illustrated on front cover of catalogue)‘Nano Reid and Gerard Dillon’, Highlanes Gallery, Drogheda, 6 November to 10 January2009 (loaned by present owner)

Literature:Mallon, Declan, Nano Reid 1900 - 1981, Sunnyside Publications, Drogheda, 1994, plate no.5 (illustrated on p. 57 and on dust-jacket);Ed., O’Connor, Éimear, Irish Women Artists 1800-2009, Familiar but Unknown, Four CourtsPress, Dublin, 2010, p.141 (illustrated); (also illustrated on dust-jacket); Ed., Coulter, Dr. Riann and NicGhabhann, Niamh, Nano Reid and Gerard Dillon Curated byRiann Coulter, Highlanes Gallery, Drogheda, 2009 (edition of 1,000), p.19 (illustrated)

€4,000-€6,000 (£3,310-£4,960 approx.)

50


,WHYTE S

S I N C E 1 7 8 3

,

64Gerard Dillon (1916-1971)ANY OLD TOWN oil pastel with mixed mediasigned lower right; with Taylor Galleries label on reverse15 by 22in. (38 by 56cm)

Provenance:Taylor Galleries, Dublin;The Collection of Jim O’Driscoll SC

€3,000-€4,000 (£2,480-£3,310 approx.)


,

51


,

65Nano Reid (1900-1981)ISLAND DWELLERS oil on canvassigned lower left; with title inscribed on original label on reverse14 by 21in. (36 by 53cm)

This scene depicts the distinctive Dunquin Pier at the western tip of theDingle Peninsula, overlooking the Blasket Islands.

€2,000-€3,000 (£1,650-£2,480 approx.)


,

52


,

66Gerard Dillon (1916-1971)HOME WITH THE CATCH oil on canvassigned lower right23 by 23½in. (58 by 58cm)

Provenance:Waddington Galleries, Dublin; Where purchased by the present owner’s father

Exhibited:‘Four Ulster Painters’, Victor Waddington Galleries, Dublin,September, 1947;‘Four Ulster Painters’, Heals Mansard Gallery, London, May toJune 1948, catalogue no. 36 (a joint exhibition with DanielO’Neill, George Campbell and Neville Johnson);‘Gerard Dillon, Art and Friendship Summer Loan Exhibition’,Adam’s, Dublin, 2-26 July 2013 (travelled to Ava Gallery,Clandeboye, 1-29 August 2013) catalogue no. 39

Literature:‘Gerard Dillon, Art and Friendship Summer Loan Exhibition’,Adam’s, Dublin, 2013, catalogue no. 39, p.41 (illustrated)

Gerard Dillon was born in West Belfast in 1916 but spent much of hislife in London where he earned a living as a painter and decorator.Many of his most popular, and important, paintings depict scenes ofeveryday life on the west coast of Ireland. He first visited the west in1939 and became enchanted with the landscape and the people,making them the major theme of his work throughout the 1940s and1950s.

Home with the Catch is a western scene where a young family maketheir way through the village with their daily catch of fish. Fish wereboth a staple of their diet and a commodity that they could trade. Theirclothing is recognisable as the traditional dress once common inConnemara and the Aran Islands. The woman’s red skirt and whitewoollen jumper along with the man’s baggy woollen trousers andwaistcoat and their simple leather shoes, known as pampooties, locatethis image in a particular time and place. Stylistically similar to IrishPeasant Children (c.1949), this work also resembles the young couple carrying fish depicted in Dillon’s textile work Gentle Breeze, which hehand stitched in 1952.

Recalling his first experience of the western seaboard, Dillon wrote thatthe west was ‘a great strange land of wonder to the visitor from thered-brick city’.1 Like many artists and writers before him, he held aromantic view of the west as both the locus of an authentic Irishculture and a ‘primitive’ place, free from many of the restraints of widerIrish society. Writing in 1955, he claimed that Connemara is ‘the placefor a painter’ and eulogising about the variety of the rugged landscape,the quality of the light and the simplicity of daily life, concluded: ‘onecould live here forever but being neither a fisherman nor farmer, butonly a painter, I’m forced to come back to city life to sell work – andhope to save enough to come back to Connemara’.2

Although Dillon recognised that he was an outsider in Connemara,during the period he spent living on Inishlacken in 1950, he adoptedelements of traditional dress, travelled back and forth to the mainlandin a currach and embraced the way of life wholeheartedly. As JamesWhite pointed out: ‘For a nationalist Catholic like Gerard Dillon, living inLondon and desperately wanted to belong to a Republican nationcalled Ireland ... Connemara with its remoteness, its delightful stonewallfields, mountains, lakes and seacoast and above all islands likeInishlacken where he could cut himself off for a spell and live in a tinycottage, with no social life to speak of and a boat journey away frombarracks, church or pub – all this gave him the feeling of having found aland free of all the restrictions of oppression which he had come toaccept as being there to offend him’.3

Dillon’s initial interest in painting the west and its inhabitants wassparked by Seán Keating’s illustrations for Playboy of the WesternWorld. William Conor’s focus on the daily lives of working people inUlster was another early influence. In Home with the Catch, Dillonbrings these influences together to create an original vision of the westwhich combines romance and realism.

Dr Riann CoulterApril 2014

1 Gerard Dillon, ‘The Artist Speaks’, Envoy, 4 February, 1951, p.39.2 Gerard Dillon, ‘Dear Tourist’, Ireland of the Welcomes, Bord Fáilte, Dublin,

May/June, 1955, p.30.3 White, James, Gerard Dillon: An Illustrated Biography, Dublin: Wolfhound Press,

1994, p.10.

€60,000-€80,000 (£49,590-£66,120 approx.)


,

53


,

54


,WHYTE S

S I N C E 1 7 8 3

,

67Colin Middleton MBE RHA (1910-1983)SEATED FIGURE: 6.72 [1972] oil on gesso-prepared boardsigned in monogram lower right; signed again on reverse andinscribed with title [Seated Figure: 6.72]; with inscribed ArtsCouncil of Northern Ireland label on reverse; also with [1985]Studio stamp on reverse36 by 36in. (91 by 91cm)

Provenance:Collection of the artist;His sale, Christie’s, London, 4 October 1985, lot 177 (full colourillustration in catalogue); with Jorgensen Fine Art, Dublin;Where purchased by the previous owner;Thence by descent

Exhibited:‘Colin Middleton’, David Hendriks Gallery, Dublin, January toFebruary 1973, catalogue no. 3;‘Colin Middleton’, David Hendriks at the Cork Arts SocietyGallery, Cork, until 21 July 1973, catalogue no. 2;’Colin Middleton Retrospective’, Arts Council exhibition, UlsterMuseum, Belfast, and Municipal Gallery of Modern Art, Dublin,1976, catalogue no. 173 (loaned from the collection of theartist);

Seated Figure 6.72 is part of an ambitious series of large paintings ofthe female nude that Colin Middleton completed in the early 1970s.While the female figure occurred frequently in his work from previousdecades it was often seen in a more narrative or symbolic context.These paintings depict a female figure, highly abstracted anddepersonalised, with no setting or attributes that identify her. Even thetitles of the works refrain from any detail, conceding only the mostbasic details of the subject and the date of its production.

It is interesting to compare the series of work to which Seated Figure6.72 belongs to the single figure paintings of the early 1950s, such asGypsy, Ardglass or Teresa, both of which remove all context from theactual painting and concentrate almost entirely on the sitter, but alsosuggest a specific identity, place or narrative in the title.

Seated Figure 6.72 is more schematised than these in its treatment ofthe female figure, although it retains the strong sense of physicalpresence that these earlier works share. The figure is sexualised but noteroticised and the interlocked hands evoke a more awkward presenceand a suggestion of tension. While many of the Seated Figure groupuse an extremely reduced palette there is a much stronger and widerrange of colour in the present painting. Rather than looking back at theformalised synthesis of nude with landscape that Middletonexperimented with in the 1960s Seated Figure 6.72, in its palette andstronger forms, seems to look forward to the often vibrantly colourfuland more geometric female figures of Middleton’s late Spanishpaintings.

Blocks of flat colour and shape reiterate the flatness of the pictureplane and contrast with the volumetric female form. The physicalsurface of the prepared board is also noticeable across the work,maintaining the sense of controlled design. The repeated verticalstrokes of various scales that run throughout the work recallMiddleton’s landscapes of the period, suggesting spatial depth, butultimately the isolation of the figure is deliberate and adds to the focuson the formal construction of the work.

Clearly Middleton felt that this group of female nudes was at the heartof his work at this time, as the earlier Seated Figure K.371.1 wasselected to represent him in the 1971 publication Causeway. Inaddition, Middleton selected the present work to be included in theArts Council’s 1976 touring retrospective of his work.

Dickon HallApril 2014

€25,000-€35,000 (£20,660-£28,930 approx.)


,

55


,

56


,

68Patrick Collins HRHA (1910-1994)OISÍN OF THE BIRDS, c.1950s oil on boardsigned lower right16 by 14½in. (41 by 36cm)

Provenance:Hendriks Gallery, Dublin late 1950s; Collection of artists William Carron and BarbaraWarren

€2,000-€3,000 (£1,650-£2,480 approx.)

69Colin Middleton MBE RHA (1910-1983)UNTITLED ABSTRACT oil on masonite boardsigned in monogram lower left; signed on reverse;with studio stamp also on reverse18 by 23½in. (46 by 58cm)

Provenance:‘The Colin Middleton Studio Sale’, Christie’s, 4 October 1985Private collection

€1,000-€1,500 (£830-£1,240 approx.)


,


,

57

70Colin Middleton MBERHA (1910-1983)CELTIC ICON, c.1963 oil on boardsigned in monogram lower right;titled and numbered [39] onreverse; also with Oriel Gallerylabel on reverse12 by 12in. (30 by 30cm)

Provenance:Magee Gallery, Belfast;Private collection;‘Modern British Paintings,Watercolours and Drawings’,Phillips, London, 8 March 1988, lot 69;with Oriel Gallery, Dublin;Where purchased by the presentowner

Exhibited:‘Colin Middleton’, Magee Gallery,Belfast, 25 October to 9 November1963, catalogue no. 39;‘Colin Middleton’, Oriel Gallery,Dublin, 29 March to 15 April 1995,catalogue no. 27 (illustrated onexhibition invitation card)

Literature:Nulty, Oliver (ed.), 100 Years of IrishArt, Oriel Gallery, Silver Jubilee(1968-1993), Nicholson & Bass Ltd.,Dublin, 1993, p.88 (illustrated)

€3,000-€5,000 (£2,480-£4,130 approx.)


,

71Colin Middleton MBERHA (1910-1983)CASTLE ARCHDALE [FERMANAGH]and WOMAN AND BIRD[BARCELONA] c.1970s (A PAIR) pencil on paperthe first signed in monogramlower right and titled lower left4 by 4in. (10 by 10cm)

Of equal size; framed and mounteduniformly.

€400-€600 (£330-£500 approx.)

58


,

72Anne Yeats (1919-2001)GOSSIP & SCANDAL, 1943 oil on canvastitled and dated [July] on reverse; furtherinscribed [... street by night / March ‘43] ontacky margin on reverse12 by 9½in. (30 by 23cm)

€800-€1,000 (£660-£830 approx.)

73Daniel O’Neill (1920-1974)FIGURE IN A LANDSCAPE oil on boardsigned lower left8½ by 12in. (20 by 30cm)

€2,000-€2,500 (£1,650-£2,070 approx.)

74Gerard Dillon (1916-1971)ABSTRACT COMPOSITION oil and sand on boardinscribed with title and artist’s name on reverse; withArthur Armstrong Studio stamp on reverse20 by 19in. (51 by 48cm)

Provenance:The Collection of Arthur Armstrong;His studio sale, de Veres, 3 February, 1998;Private collection;with Garrett O’Connor & Associates, 12 September 2005,lot 163;Private collection

€1,000-€1,500 (£830-£1,240 approx.)


,


,

59

75Deborah Brown HRUA (b.1927)MAN SEA AND SKY, c.1951-1953 oil on boardsigned lower right; titled on original label onreverse18 by 22in. (46 by 56cm)

Provenance:Collection of Vincent Ferguson; Whyte’s, 18 November 2003, lot 63;Private collection

Painted circa 1951-1953, Man Sea and Sky is anextremely early example of Deborah Brown’s work,predating her move into abstract painting and latersculpture. Born in Belfast, she enrolled at the BelfastCollege of Art in 1946, spending only twelvemonths there before switching to the NationalCollege of Art in Dublin. Upon completing herformal studies in 1950 she went to Paris for a year,absorbing the lessons of the Old Masters whilstsimultaneously stimulated by contemporary trendsin art. Upon returning to Belfast in 1951 she metwith great success when the Arts Council ofNorthern Ireland gave her a solo show in theirgallery at Donegall Place. Anne Crookshank hasnoted of Brown’s work of this period: “her paintingwas still realist, if already notably simplified, andgreat attention was focused on the forms createdby the brushstrokes”.1

In this sense it was typical of much of the best workbeing produced in Belfast at the time by artists suchas Basil Blackshaw and T. P. Flanagan, who in turnwere influenced by the slightly older generation ofartists who had styled themselves in the thirties asthe Ulster Unit. Indeed, Man Sea and Sky bearscomparison with both Blackshaw’s similarly titledMen, Sea and Moon of 1952, and with Daniel O’Neilland Colin Middleton’s work of the late forties andearly fifties in which figures are pressed up close tothe picture plane and brooding dark colours lendthe scenes a poetic romanticism.

1 Deborah Brown: A Selected Exhibition of WorksCompleted Between 1947-1982, Arts Council of NorthernIreland, Belfast, 1982, unpaginated

€1,200-€1,500 (£990-£1,240 approx.)

76Anne Yeats (1919-2001)THEATRE SCENE oil on canvas14 by 12in. (36 by 30cm)

€800-€1,000 (£660-£830 approx.)


,

60


,WHYTE S

S I N C E 1 7 8 3

,

77Brian Bourke HRHA (b.1936) MOTHER AND DAUGHTER, 1987 watercolour and coloured pencil; (1); pastel with mixed media on paper; (1)signed, titled and dated [July] lower left; with Taylor Galleries exhibition labelon reverse; second work signed and dated lower left; titled on original labelon reverse22 by 14¾in. (56 by 36cm)

Provenance:Taylor Galleries, Dublin;Whence purchased by the present owner

Exhibited:‘Brian Bourke’, Taylor Galleries, Dublin,1987, catalogue no. 25

Also with this lot, Daughter, Daughter, 1989/90 by Jay Murphy, dimensions: 25 by 20ins.(2 works total).

€1,000-€1,500 (£830-£1,240 approx.)

78Patrick Pye RHA (b.1929)ST PATRICK AND EMBLEM, STUDY FOR LITTLE POOR BOY and APOSTLES,1965 (SET OF 3) pastel on card; (1); oil on card with mixed media; (1); gouache on card; (1)variously signed, inscribed and dated32 by 7in. (81 by 18cm)

Provenance:Gifts from the artist to the current owner

Contained in originals Hendriks Gallery frames. Dimensions of second and third titles, 8.5 by 4.5in. and 7.5 by 5.5ins., respectively.

€1,000-€1,500 (£830-£1,240 approx.)

79Neil Shawcross RHA RUA (b.1940)NUDE, 1979 watercoloursigned and dated lower right18½ by 22½in. (46 by 56cm)

€800-€1,200 (£660-£990 approx.)

Ex 77

Ex 78


,

61

80Nevill Johnson (1911-1999)MARINER’S LADY, 1987 acrylic on boardsigned lower right; signed again, titledand dated on reverse20 by 22in. (51 by 56cm)

€1,200-€1,500 (£990-£1,240 approx.)

81Neil Shawcross RHA RUA(b.1940)NUDE, 1973 oil on canvassigned and dated lower right10 by 14in. (25 by 36cm)

€800-€1,200 (£660-£990 approx.)


,

62


,WHYTE S

S I N C E 1 7 8 3

,WHYTE S

S I N C E 1 7 8 3

,

82Charles Brady HRHA (1926-1997)FOLDED ENVELOPE oil on paperwith Solomon Gallery label on reverse; also with card detailingprovenance affixed on reverse11½ by 8in. (28 by 20cm)

Provenance:A gift from the artist to Gerald Davis;with Solomon Gallery, Dublin;Private collection

Exhibited:‘Collectibles’, Solomon Gallery, Dublin, October, 2006

€1,800-€2,200 (£1,490-£1,820 approx.)

83Louis le Brocquy HRHA(1916-2012)CHILDREN IN A WOOD II, 1991 lithograph on handmade Japanpaper; (no. 8 from an edition of 75)signed and numbered in pencil inthe margin lower left20 by 26in. (51 by 66cm)

Sheet size: 22.5 by 30in.Printed by the Atelier Chave, Vence, 1991in an edition of 75 (with 15 Hors deCommerce and 15 Artist’s Proofs).

€1,500-€2,000 (£1,240-£1,650 approx.)


,

63

85William Scott CBE RA(1913-1989)GRAPES, 1975 pencil with watercolour on papersigned and dated upper right; withinscribed Taylor Galleriesexhibition label on reverse11½ by 15¼in. (28 by 38cm)

Provenance:Taylor Galleries, Dublin;Where purchased by the presentowner

€4,000-€5,000 (£3,310-£4,130 approx.)

84William Scott CBE RA(1913-1989)YELLOW PEARS, 1975 watercolour and pencil on papersigned and dated lower right; withDawson Gallery framing label onreverse11¾ by 15½in. (28 by 38cm)

Provenance:The Collection of Jim O’Driscoll SC

€4,000-€5,000 (£3,310-£4,130 approx.)


,WHYTE S

S I N C E 1 7 8 3

,

64


,

86Kenneth Webb RWAFRSA RUA (b.1927)SPANISH GATE, GALWAY oil on canvassigned lower left; titled andsigned again on reverse16 by 24in. (41 by 61cm)

€1,500-€2,000 (£1,240-£1,650 approx.)

87Kenneth Webb RWAFRSA RUA (b.1927)LANDSCAPE AFTER RAIN[COTTAGE AT ROUNDSTONE]1961 oil on canvassigned and dated lower left;titled on reverse16 by 24in. (41 by 61cm)

€1,500-€2,000 (£1,240-£1,650 approx.)


,WHYTE S

S I N C E 1 7 8 3

,


,

65


,WHYTE S

S I N C E 1 7 8 3

,

88Pauline Bewick RHA (b.1935)WYNDHAMS THEATRE (TRIPTYCH), 1984-85 watercolour with gouache, ink and gold paint on papersigned, inscribed [Winter] and dated [1984 & 1985] lower right67½ by 31in. (170 by 79cm)

Provenance:Odette Gilbert Gallery, London;Private collection

Exhibited:‘Pauline Bewick, Watercolours and Tapestries’,Odette Gilbert Gallery, London, 26 November to 24 December 1987, plate no. 8 in catalogue (full-page illustration); also reproduced as a postcard

€5,000-€7,000 (£4,130-£5,790 approx.)


,WHYTE S

S I N C E 1 7 8 3

,WHYTE S

S I N C E 1 7 8 3

,WHYTE S

S I N C E 1 7 8 3

,

66

89Comhghall Casey (b.1976)STILL LIFE oil on canvastitled on reverse43¼ by 27½in. (109 by 69cm)

€2,500-€3,500 (£2,070-£2,890 approx.)

90Comhghall Casey (b.1976)ROCK VI, 1999 oil on canvassigned and dated lower right; signed, titledand dated on reverse20 by 19in. (51 by 48cm)

€1,000-€1,500 (£830-£1,240 approx.)

91Comhghall Casey (b.1976)THREE PINK POTATOES, 2001 oil on linensigned and dated lower right; signedagain, titled and dated on reverse20 by 20in. (51 by 51cm)

€1,000-€1,500 (£830-£1,240 approx.)


,

67


,WHYTE S

S I N C E 1 7 8 3

,

92Martin Gale RHA (b.1949)HER REST, 1990 oil on canvassigned lower left; signed and dated on reverse;with Taylor Gallery label on reverse22 by 22in. (56 by 56cm)

Provenance:Taylor Galleries, Dublin;Where purchased by the present owner

€3,000-€5,000 (£2,480-£4,130 approx.)

93Comhghall Casey (b.1976)ROSBEG, NO. 5, 1998 oil on canvassigned and dated lower right; signed, titledand dated on reverse27½ by 22in. (69 by 56cm)

€1,500-€1,800 (£1,240-£1,490 approx.)


,


,

94Michael Mulcahy (b.1952)UNTITLED oil on canvassigned lower right; signed again on reverse;inscribed [No. 3] on reverse29 by 36in. (74 by 91cm)


In 1994 Mulcahy held an exhibition entitled,‘Ch’uksoam’, with the Taylor Galleries in Dublin.Based on the style of the present work, it ispossible that it too belongs to the same series.The Hugh Lane Municipal Gallery, Dublin alsoplayed host to a solo exhibition entitled ‘Do-Gong Series’ that year.

€1,000-€1,500 (£830-£1,240 approx.)

95Jane O’Malley (b.1944)CHRISTMAS DAY PAINTING, 1992 oil with silver paint and incising on boarddated [25/12/92] upper right; signed, titled,dated and with archival number [647] onreverse20 by 29in. (51 by 74cm)

Also with this lot, John Kelly RHA (1932-2006)Harlequin, 1974, (etching with aquatint from anedition of 56), dimensions 9.5 by 8.25ins. (2 itemstotal).Proceeds of this sale to go to the Peter McVerryTrust.

€500-€700 (£410-£580 approx.)

96Robert Armstrong (b.1953)SHINE and BROWN POND, 1997 (A PAIR) oil on canvaseach signed, titled and dated on reverse; alsowith Hallward Gallery label on reverse14 by 12in. (36 by 30cm)

Provenance:Hallward Gallery, Dublin;Private collection

Both works of equal dimensions; unframed.

€800-€1,200 (£660-£990 approx.)


,

68


,

Ex 95


,

97Tony O’Malley HRHA (1913-2003)SIENA, 2000 oil on boardsigned with initials lower left; signed with initials, titled, dated and with archivalnumber [No. 6372] on reverse; with Fenton Gallery label also on reverse24 by 36in. (61 by 91cm)

Provenance:Fenton Gallery, Cork;The Collection of Jim O’Driscoll SC

€6,000-€8,000 (£4,960-£6,610 approx.)


,WHYTE S

S I N C E 1 7 8 3

,

69

70


,

98Seán McSweeney HRHA(b.1935)TRAPPED WATER, 1993 oil on boardsigned and dated lower left;signed, titled and dated on reverse;also with archival number [94.1]on reverse; with label of VangardGallery on reverse23 by 17in. (58 by 43cm)

Provenance:Vangard Gallery, Cork;Private collection

€2,500-€3,500 (£2,070-£2,890 approx.)

99Seán McSweeney HRHA(b.1935)SHORELINE SLIGO, 1991 oil on boardsigned, titled and dated onreverse23 by 31in. (58 by 79cm)


€4,000-€6,000 (£3,310-£4,960 approx.)


,WHYTE S

S I N C E 1 7 8 3

,


,

71

101Tony O’Malley HRHA(1913-2003)NIGHT PIECE, 1965 oil with gouache and pen onpapersigned with initials lower right;with title and date [June]inscribed lower centre; also withinscription on reverse detailingartist’s archival number [7214] 7 by 13in. (18 by 33cm)

Provenance:Taylor Galleries, Dublin;Private collection;Whyte’s, 14 March 2011, lot 18;Whence purchased by thepresent owner

€1,000-€1,500 (£830-£1,240 approx.)

100Tony O’Malley HRHA(1913-2003)BAHAMAS COLLAGE, 1985 gouache and sand with collageon papersigned with initials lower left;dated lower right [2/85]; signed,titled [Bahamas Collage - (I-85)]and dated on reverse; withartist’s archival number [1031]also on reverse11 by 22in. (28 by 56cm)

Provenance:Purchased by the previousowner in St. Ives, 1988;Whyte’s, 29 November 2005, lot180;Whence purchased by thepresent owner

€4,000-€6,000 (£3,310-£4,960 approx.)


,WHYTE S

S I N C E 1 7 8 3

,

72


,

102Michael O’Dea RHA (b.1958)ROCK I, SKYROS, GREECE, 2001 acrylic on Fabriano papersigned and dated lower right; signed, titledand dated on reverse22 by 30in. (56 by 76cm)

Provenance:A gift from the artist to the previous owner

Exhibited:‘Abroad’, Kevin Kavanagh Gallery, Dublin,summer 2002

Literature:‘Mick O’ Dea Paintings 2001’, RHA AshfordGallery, Dublin (illustrated on back cover ofcatalogue to advertise forthcoming KevinKavanagh show)

The present work was painted en plein air atSkyros and is considered an important examplefrom the artist’s oeuvre.

€400-€600 (£330-£500 approx.)

103Vivienne Roche RHA (b.1953)SURGE I, 2003 bronze in relief; (no. 1 from an edition of 3)with Vangard Gallery label on reverse23¾ by 17 by 1¼in. (58 by 43 by 3cm)


Exhibited:‘Hinge Works’, Vangard Gallery, Cork, 27 Mayto 18 June 2005

€2,000-€3,000 (£1,650-£2,480 approx.)


,


,

73

106Seán McSweeney HRHA (b.1935)TREES, LISSADELL, COUNTY SLIGO oil on canvassigned and dated lower right; signed, titled and datedon reverse; also with archival number 92/31 on reverse10 by 14in. (25 by 36cm)


€1,000-€1,500 (£830-£1,240 approx.)

105Seán McSweeney HRHA (b.1935)POOL, 2001 oil on boardsigned and dated lower left; with artist’s archivalnumber [01.93] on reverse15 by 19in. (38 by 48cm)

Provenance:Acquired directly from the artist by the present owner

€1,500-€2,000 (£1,240-£1,650 approx.)

104Seán McSweeney HRHA (b.1935)BOG POOL, 1998 oil on boardsigned and dated lower left; signed again, titled andwith archival number [98/3] on reverse13 by 17in. (33 by 43cm)

€2,000-€3,000 (£1,650-£2,480 approx.)


,

74


,

107Donald Teskey RHA (b.1956)LIGHTHOUSE ON ERRIS HEAD, BELMULLET, COUNTY MAYO acrylic on papersigned lower right; inscribed with title on reverse10 by 14in. (25 by 36cm)


€2,000-€3,000 (£1,650-£2,480 approx.)

108Donald Teskey RHA (b.1956)UNTITLED, 2008 charcoal on Fabriano papersigned and dated lower left22¼ by 30in. (56 by 76cm)

€1,500-€2,000 (£1,240-£1,650 approx.)

109Pádraig MacMíadhacháin RWA (b.1929)TWO CURRAGHS ON A REMOTE BEACH, THE MULLET,COUNTY MAYO oil on canvassigned lower left; signed again and titled on reverse; alsowith Molesworth Gallery exhibition label on reverse24 by 24in. (61 by 61cm)

Provenance:Molesworth Gallery, Dublin;Private collection

Exhibited:‘Pádraig MacMíadhacháin’, Molesworth Gallery, Dublin,March 2003, catalogue no. 7

€800-€1,000 (£660-£830 approx.)


,


,

75

111Pádraig MacMíadhacháin RWA (b.1929)WINTER DARK WINDS and A SQUALL OF LOVE ON RAIN [THE MULLET, COUNTY MAYO] (A PAIR) oil on canvasthe first signed lower left; each signed, titled and dated on reverse; the first with Fenton Gallerylabel on reverse; second with Molesworth Gallery label on reverse10 by 12in. (25 by 30cm)

Provenance:Fenton Gallery, Cork and Molesworth Gallery, Dublin, respectively;Private collection

Of equal size; framed uniformly.

€500-€700 (£410-£580 approx.)

110John Shinnors(b.1950)RAINBOW, BLACK ARMEDSCARECROW oil on canvassigned lower right; signedand titled on reverse11 by 15½in. (28 by 38cm)

€4,000-€5,000 (£3,310-£4,130 approx.)


,

76


,

112John Noel Smith (b.1952)U.F.P. [UNTITLED FIELD PAINTING] 2005 oil on canvas; (diptych)(top) signed, titled, dated and with archival number [NR: 056] onreverse; with inscribed Hillsboro Fine Art label on reverse; (bottom)titled and numbered [NR: 056] on reverse78½ by 35¾in. (198 by 89cm)

Provenance:Hillsboro Fine Art Gallery, Dublin;Private collection

€2,500-€3,500 (£2,070-£2,890 approx.)

113Martin Finnin (b.1968)HALF TRUTHS AND ONE AND A HALF TRUTHS, 2003 oil on cardsigned lower left; with typed Vangard Gallery label on reverse40 by 10in. (102 by 25cm)


Exhibited:‘Martin Finnin’, Vangard Gallery, Cork, 12 - 27 September,2003, no. 19

€800-€1,200 (£660-£990 approx.)


,


,

77

115Gillian Lawler (b.1977)SUSPENSION, 2008 oil on canvassigned, titled and dated on reverse27½ by 31½in. (69 by 79cm)


€1,000-€1,500 (£830-£1,240 approx.)

114Richard GormanRHA (b.1946)UNTITLED, 1998 oil tempera on linensigned, titled and dated onreverse; also with KerlinGallery exhibition label onreverse59 by 59in. (150 by 150cm)

Provenance:Kerlin Gallery, Dublin;Where purchased by thepresent owner

Exhibited:‘Richard Gorman’, KerlinGallery, Dublin, 4 Decemberto 11 January 1999,(catalgoue nos. 1-5 alluntitled works of this size)

€2,000-€3,000 (£1,650-£2,480 approx.)


,

78


,

Lots (116-170) are from the collection of The Taylor Gallery, Belfast (in administration).

The Taylor Gallery was one of the leading art galleries in Northern Ireland and had

established a reputation, not just for Irish paintings and sculpture, but also for works

by international artists such as Andy Warhol, Damien Hirst, Joan Miró, and, more

recently, in street artists such as Banksy.

116Louis le Brocquy HRHA (1916-2012)THE CURRAGH, 1991 watercoloursigned and dated in pencil lower left; titled and numbered [W1077] onSolomon Gallery label on reverse7 by 10in. (18 by 25cm)

Provenance:Solomon Gallery, Dublin

€4,000-€5,000 (£3,310-£4,130 approx.)

79


,

117Louis le Brocquy HRHA (1916-2012)BEING, 1998 watercoloursigned and dated in pencil lower left; also numbered in pencil [1430] on reverse23 by 17in. (58 by 43cm)

Provenance:Taylor Galleries, Dublin

Exhibited:‘Louis le Brocquy: Human Images, Early & Recent Works on Paper’, Taylor Galleries,Dublin, 10 December 1998 to 16 January 1999 (listed as W1430)

€8,000-€10,000 (£6,610-£8,260 approx.)

80


,

118Louis le Brocquy HRHA (1916-2012)HUMAN IMAGE I, 2005 silkscreen print; (no. 35 from an edition of 75)signed and numbered in pencil in the margin lower right34 by 25¼in. (86 by 64cm)

Sheet size, 39.75 by 30in.

€2,000-€3,000 (£1,650-£2,480 approx.)

119Louis le Brocquy HRHA (1916-2012)HUMAN IMAGE II, 2005 silkscreen print; (no. 35 from an edition of 75)signed and numbered in pencil in the margin lower right34 by 25¼in. (86 by 64cm)

Sheet size, 39.75 by 30.25in.

€2,000-€3,000 (£1,650-£2,480 approx.)

120Louis le Brocquy HRHA (1916-2012)HUMAN IMAGE III, 2005 silkscreen print; (no. 35 from an edition of 75)signed and numbered in pencil in the margin lower right34 by 25in. (86 by 64cm)

Sheet size, 40 by 30in.

€2,000-€3,000 (£1,650-£2,480 approx.)

121Louis le Brocquy HRHA (1916-2012)HUMAN IMAGE VII, 2005 silkscreen; (no. 35 from an edition of 75)signed and numbered in pencil in the margin lower right34 by 23¾in. (86 by 58cm)


€2,000-€3,000 (£1,650-£2,480 approx.)

81


,

122Louis le Brocquy HRHA (1916-2012)HUMAN IMAGE VIII, 2005 silkscreen print; (no. 35 from an edition of 75)signed and numbered in pencil in the margin lower right34 by 23¾in. (86 by 58cm)

Sheet size, 40 by 28.75in

€2,000-€3,000 (£1,650-£2,480 approx.)

123Louis le Brocquy HRHA (1916-2012)HUMAN IMAGE IX, 2005 silkscreen print; (no. 35 from an edition of 75)signed and numbered in pencil in the margin lower right34 by 23¾in. (86 by 58cm)

Sheet size, 40 by 28.5in.

€2,000-€3,000 (£1,650-£2,480 approx.)

124Louis le Brocquy HRHA (1916-2012)HUMAN IMAGE X, 2005 silkscreen print; (no. 35 from an edition of 75)signed and numbered in pencil in the margin lower right34 by 25¾in. (86 by 64cm)


€2,000-€3,000 (£1,650-£2,480 approx.)

125Louis le Brocquy HRHA (1916-2012)HUMAN IMAGE XI, 2005 silkscreen print; (no. 35 from an edition of 75)signed and numbered in pencil in the margin lower right34 by 25in. (86 by 64cm)


€2,000-€3,000 (£1,650-£2,480 approx.)

82


,

126Louis le Brocquy HRHA (1916-2012)HUMAN IMAGE XII, 2005 silkscreen print; (no. 35 from an edition of 75)signed and numbered in pencil in the margin lower right34 by 23¾in. (86 by 58cm)


€2,000-€3,000 (£1,650-£2,480 approx.)

127Louis le Brocquy HRHA (1916-2012)HUMAN IMAGE XIII, 2005 silkscreen; (no. 35 from an edition of 75)signed and numbered in pencil in the margin lower right27½ by 21½in. (69 by 53cm)


€2,000-€3,000 (£1,650-£2,480 approx.)

83


,

128John Noel Smith (b.1952)SPIRAL II oil on canvassigned, titled and numbered [NR: 0115] on reverse83 by 63in. (211 by 160cm)

€3,000-€5,000 (£2,480-£4,130 approx.)

84


,

130Ciarán Lennon (b.1947)TWO PART COLOUR COLLECTION acrylic/brass panels; (diptych)both numbered [F.059] and rednumbered [1/18] and green [16/18] onreverse21 by 12½in. (53 by 30cm)

Dimensions of set (hung as single unit), 22.5 by28.5ins. approx..

€3,000-€4,000 (£2,480-£3,310 approx.)

129Ciarán Lennon (b.1947)FIVE PART COLOUR COLLECTION, 2006 acrylic/brass panels; (quintych)one signed, dated and inscribed [“Set of 5”] on reverse; also with artist’s studiostamp [Foley St., Dublin] on reverse9 by 5½in. (23 by 13cm)

Dimensions of set (hung as single unit), 12 by 37ins. approx..

€3,000-€4,000 (£2,480-£3,310 approx.)


,

131Ciarán Lennon (b.1947)UNTITLED, 2001 oil on canvassigned and dated on reverse; with Federesky Galleryinscribed on reverse68 by 46in. (173 by 117cm)

Provenance:Federesky Gallery, Belfast

€3,000-€5,000 (£2,480-£4,130 approx.)

85

129

86


,

132Ciarán Lennon (b.1947)UNTITLED, 2007 acrylic paint on acrylic sheet on copper wire on papersigned, dated and inscribed with medium lower right30 by 41in. (76 by 104cm)

€1,200-€1,500 (£990-£1,240 approx.)

133Ciarán Lennon (b.1947)UNTITLED, 2008 graphite rubbing on stone and acrylic paint on papersigned, dated and inscribed with medium lower right30 by 41in. (76 by 104cm)

€1,200-€1,500 (£990-£1,240 approx.)

134Michael Gemmell (b.1950)UNTITLED oil on canvassigned lower right36 by 36in. (91 by 91cm)

€1,000-€1,500 (£830-£1,240 approx.)

87


,

135Neil Shawcross RHA RUA (b.1940)TABLE SETTING OF CUPS AND SAUCERS, 2010 oil on boardsigned and dated lower centre and lower right respectively24 by 72in. (61 by 183cm)

€3,000-€4,000 (£2,480-£3,310 approx.)

136Neil Shawcross RHA RUA (b.1940)STILL LIFE WITH FOUR PIECES OF FRUIT, 2006 ink and acrylic on papersigned and dated in pencil lower right15½ by 19½in. (38 by 48cm)

€1,500-€2,000 (£1,240-£1,650 approx.)

88


,

137Neil Shawcross RHA RUA (b.1940)CHINA CUP, BLUE/RED, 1999 oil on cardsigned and dated in pencil lower right29½ by 29in. (74 by 74cm)

€2,000-€3,000 (£1,650-£2,480 approx.)

138Neil Shawcross RHA RUA (b.1940)RED CUP, 2001 watercoloursigned and dated lower right; titled on MullenGallery label on reverse18 by 26in. (46 by 66cm)

Provenance:Mullen Gallery, Belfast

€2,000-€3,000 (£1,650-£2,480 approx.)

89


,

139Neil Shawcross RHA RUA (b.1940)NANTUCKET NECTARS, CRANBERRY, 2004 acrylic with watercolour over pencil on boardsigned and dated lower right30 by 23in. (76 by 58cm)

€1,500-€2,000 (£1,240-£1,650 approx.)

141Neil Shawcross RHA RUA (b.1940)TWININGS TEA AND COCA COLA, 1991 watercoloursigned in pencil and dated lower right18 by 22in. (46 by 56cm)

€600-€800 (£500-£660 approx.)

140Neil Shawcross RHA RUA (b.1940)MOTTS, 2004 watercolour over charcoalsigned and dated lower right52½ by 35¾in. (132 by 89cm)

€1,200-€1,500 (£990-£1,240 approx.)

144Neil Shawcross RHA RUA (b.1940)PENGUIN BOOKS, THE LONG GOODBYE by RAYMONDCHANDLER, 2013 oil on boardsigned across base and dated lower right; also numbered[2/6] lower right25 by 14in. (64 by 36cm)

€600-€800 (£500-£660 approx.)

143Neil Shawcross RHA RUA (b.1940)PENGUIN BOOKS, WINESBURG, OHIO by SHERWOODANDERSON / THE POSTMAN ALWAYS RINGS TWICE byJAMES M.CAIN, 1994 watercolour over charcoalsigned and dated in pencil lower right16 by 18in. (41 by 46cm)

€1,200-€1,500 (£990-£1,240 approx.)

142Neil Shawcross RHA RUA (b.1940)PENGUIN BOOKS, ARIEL by ANDRÉ MAUROIS and OFF TOPHILADELPHIA IN THE MORNING by JACK JONES, 2012 oil on board; (2)each signed in pencil across the base; Ariel dated lowerright; Off to Philadelphia numbered [3/6] lower right13½ by 8½in. (33 by 20cm)

Of equal size, framed uniformly.

€1,200-€1,500 (£990-£1,240 approx.)

90


,

91


,

145Neil Shawcross RHA RUA (b.1940)HILDON, 2008 oil on canvassigned and dated at base84 by 36in. (213 by 91cm)

€2,000-€3,000 (£1,650-£2,480 approx.)

146Neil Shawcross RHA RUA (b.1940)NEW YORK CUT, 2004 watercoloursigned and dated lower right18 by 22in. (46 by 56cm)

€1,500-€2,000 (£1,240-£1,650 approx.)

92

147Andy Warhol (1928-1987)BE A SOMEBODY WITH A BODY, c.1985 synthetic polymer paint and silkscreen ink on canvassigned and dated on reverse; stamped by the Estate of Andy Warhol and by the Andy WarholFoundation for the Visual Arts, Inc. and numbered [PA 10.614] on the reverse; also stamped by theAndy Warhol Art Authentication Board with an ID number [A157.0310] on the reverse8 by 10in. (20 by 25cm)

Provenance:The Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc., New York;Private collection, New York;Christie’s, New York, Post-War and Contemporary Art, 9 May 2012, lot 270

Literature:To be included in a forthcoming volume of The Andy Warhol Catalogue Raisonné, Paintings andSculptures, ed., Georg Frei and Neil Printz, New York; New York, Museum of Modern Art, ‘Andy Warhol, A Retrospective, 1989’, exhibition catalogue, no.436, p.386, illustrated (another example);Andy Warhol: Heaven and Hell Are Just One Breath Away! Late Paintings and Related Works, 1984-1986, Rizzoli, New York, 1992, a double Be a Somebody with a Body, illustrated p.60 and 61(another example); Andy Warhol 365 Takes, The Andy Warhol Museum, Abrams, NY, 2004, (another example)illustrated in colour, p.97Germano Celant, Super Warhol, Skira/Grimaldi Forum Monaco, 2003, catalogue no. 248, p.485,illustrated (another example)

Andy Warhol is synonymous with Pop Art, consumerism and the cult of celebrity. Through the medium ofsilkscreen printing he reinforced the idea of manufactured beauty which he saw in everything fromCampbell’s Soup cans to Coca Cola, Marilyn Monroe and Elvis Presley.

In the 1980s Warhol returned to advertising as a source of inspiration. His earlier output of the 1960s pivotedon the promises of ad men from cheap magazines and resulted in works such as Before and After, 1961 whichwas the genesis of his obsession with image, physical beauty and later the cult of celebrity. The subject of thepresent work, Be a Somebody with a Body, uses the muscular image of a bodybuilder (sourced from anuntraced ad) projected against a canvas. Warhol emphasises the message through the use of bold graphictext; a BODY makes you a SOMEBODY. The figure’s defined torso and confident pose is highlighted by a halothat radiates from his head; a detail that nods to another late series by the artist based on Leonardo da Vinci’smural The Last Supper. In that series he isolated the figure of Jesus from his disciplines and transplanted himnext to an image of a bodybuilder; the gospel according to Warhol.

€40,000-€50,000 (£33,060-£41,320 approx.)


,

93


,

94

148Andy Warhol (USA, 1928-1987)QUEEN NTOMBI TWALA OF SWAZILAND [FROM REIGNINGQUEENS SERIES], 1985 screenprint on Lenox museum board; (no. 6 from trial proofedition of 80)signed and numbered lower left; with blindstamp lowerright; with copyright right stamp “Andy Warhol 1985” inblack on reverse39½ by 31½in. (99 by 79cm)

Literature:(Ed.) Schellmann, Jorg and Feldman, Frayda, Andy WarholPrints: A Catalogue Raisonné 1962-1987, II., 347

Sheet size given.

€3,000-€4,000 (£2,480-£3,310 approx.)

149Andy Warhol (USA, 1928-1987)EDWARD KENNEDY [DELUXE EDITION] 1980 screenprint in colour with diamond dust; (no. 6 from trialproof of 15)signed, inscribed [“T.P.”] and numbered in pencil lowerright40 by 32in. (102 by 81cm)


Printed by Rupert Jasen Smith, New York and published by theKennedy for President Committee, Washington DC in a portfolio‘Artists for Kennedy’ which contained works by twenty-twoartists to raise funds for the Edward Kennedy primary campaignfor president.

€4,000-€6,000 (£3,310-£4,960 approx.)


,

95

150Andy Warhol (USA, 1928-1987)VAN HEUSEN (RONALD REAGAN), FROM ADS, 1985 screenprint; (no. 3 from an edition of 190)signed and numbered in pencil lower right; with publisher’s details printed on reverse38 by 37½in. (97 by 94cm)

Publisher’s details read: “Andy Warhol / Ronald Feldman Fine Arts Inc., New York.

€10,000-€15,000 (£8,260-£12,400 approx.)


,

96

151Andy Warhol (USA, 1928-1987)QUEEN NTOMBI TWALA OF SWAZILAND [FROM REIGNINGQUEENS SERIES], 1985 screenprint on Lenox museum board; (no. 12 from anedition of 40)signed and numbered lower left39 by 31in. (99 by 79cm)


Sheet size given.

€4,000-€5,000 (£3,310-£4,130 approx.)

152Alex Katz (USA, b.1927)BLACK HAT IV, 2012 68 colour screenprint; (no. 11 from an edition of 50)signed and numbered lower left28½ by 71½in. (71 by 180cm)

€3,000-€5,000 (£2,480-£4,130 approx.)


,

97

154No lot

153Andy Warhol (USA, 1928-1987)MIGUEL BOSÉ, 1983 screenprint in colour on Saunder Waterford paperstamped by the Estate of Andy Warhol and by the Andy Warhol Foundation forthe Visual Arts, Inc. and inscribed “T.J.H.” in pencil on reverse22 by 30in. (56 by 76cm)

Sheet size given. Miguel Bosé, is a Latin Grammy-winning musician and actor. The present work is derivedfrom a photograph by Warhol and was used on Bosé’s 1983 album, Made in Spain.

€4,000-€6,000 (£3,310-£4,960 approx.)


,

98

155Andy Warhol (USA, 1928-1987)COW, 1976 screenprintwith artist’s name and “Nov 18 1976 to Jan 9, 1977Copyright AWE” printed in the left margin; with“Modern Art Pavillion Seattle Art Centre” printed in theright margin; stamped by the Estate of Andy Warholand by the Andy Warhol Foundation for the Visual Arts,Inc. and inscribed “T.J.H.” in pencil on reverse45¾ by 28¼in. (114 by 71cm)

Exhibited:‘Warhol: Portraits’, Modern Art Pavilion, Seattle Center,Seattle, WA, 18 November, 1976 to 9 January 1977(another example)

Published for an exhibition at the Modern Art Pavilion, SeattleCenter, Seattle, WA, November 1976 this example by Warhol isone from a set of four unique colour combinations of hisiconic Cow. The image was sourced from an unidentified bookon animal husbandry, the image caption read “A Good JerseyHead”.

€3,000-€4,000 (£2,480-£3,310 approx.)

156Andy Warhol (USA, 1928-1987)MAO INVITATION, 1972 colour print invitationsigned on right; verso exposed6¾ by 13¾in. (15 by 33cm)

Provenance:Eyestorm Online Art Gallery, London

Verso reads: Mao Tse-tun by Andy Warhol, Published byMultiples, Inc. and Castelli Graphics. Printed at Styria Studio, APortfolio of 10 silkscreens each signed and numbered by theartist, 36 by 36 inches. A limited edition of 250.

€800-€1,000 (£660-£830 approx.)


,

99

158Damien Hirst (British, b.1965)CYCLIZINE, 2010 woodcut on 410gsm Somerset paper; (no. 8 from anedition of 48)signed in pencil lower centre; edition number on reverse12 by 12in. (30 by 30cm)

Foundry/Publisher Paragon Press.

€2,000-€3,000 (£1,650-£2,480 approx.)

157Damien Hirst(British, b.1965)UNTITLED (SILVER SPOTLANDSCAPE) c.2008 screenprint; (no. 25 from anedition of 150)signed in pencil in the marginlower right; numbered lower left22 by 29in. (56 by 74cm)


€2,000-€3,000 (£1,650-£2,480 approx.)


,

100

159Banksy (British, b.1974)CND SOLDIERS, 2005 screenprint; (no. 322 from an edition of 350)signed and dated lower right; numbered andblindstamped [P.O.W. printing] lower left27 by 19in. (69 by 48cm)

Published by Pictures on Walls, London.A certificate of authenticity accompanies this lot.

€3,000-€5,000 (£2,480-£4,130 approx.)

160Banksy (British, b.1974)WESTERN-SUPER-MARE [2001-2003] screenprint; (no. 611 from an edition of 750)with artist’s name printed in the plate lower right;with title printed in the margin lower centre;numbered in pencil lower right12½ by 37in. (30 by 94cm)

Sheet size, 14 by 39ins.A certificate of authenticity accompanies this lot.

€1,500-€2,000 (£1,240-£1,650 approx.)


,

101

161Banksy (British, b.1974)LOVE IS IN THE AIR, 2003 screenprint; (no. 417 from an edition of 500)signed and dated in ink in margin lower right; numbered in pencillower right and with Banksy copyright stamp also lower right19½ by 27in. (48 by 69cm)

A certificate of authenticity accompanies this lot.

€5,000-€7,000 (£4,130-£5,790 approx.)


,

102


,

162Carolyn Mulholland RHA (b.1944)LOOK OUT, 2008 bronze; (no. 1 from an edition of 9)signed with initials, dated and numbered at base,rear15¼ by 4¾ by 3½in. (38 by 10 by 8cm)

€500-€700 (£410-£580 approx.)

163Henry Moore OM CH FBA(British, 1898-1986)TREE FIGURE, 1979 bronze on wooden base; (no. 1 from an edition of9)signed and numbered at base; with title andedition number on label beneath base7 by 2½ by 2½in. (18 by 5 by 5cm)

Provenance:Bonhams, London, 8 November 2007, lot 40

Literature:Bowness, Alan, Henry Moore: Complete Sculpture,Vol. 5, Lund Humphries, London, no. 771

€3,000-€5,000 (£2,480-£4,130 approx.)

103

164Joan Miró (Spanish, 1893-1983)UNTITLED, 1964 crayon on paper; (title page of Miró exhibition catalogue)signed “Miró”, dated [2/XI/64] and dedicated [Pour Mademoiselle Hedy Schiess] lower right9½ by 14¼in. (23 by 36cm)

Provenance:The Collection of Mademoiselle Hedy Schiess;Falk & Falk Auktionen, Zürich, Switzerland, 12 June 2004, lot 918

The catalogue - on which the present drawing is executed - was for an exhibition assembled by the ArtsCouncil of Great Britain held at the Tate Gallery from 27 August to 11 October 1964 and which latertravelled to the Kunsthaus, Zürich, from 31 October to 6 December 1964. This drawing dates to the latterand was executed on 2 November 1964.

A certificate of authenticity accompanies this lot.

€15,000-€20,000 (£12,400-£16,530 approx.)


,

104

165Fred Yates (British, 1922-2008)DANCING IN THE STREET oil on boardsigned lower right; inscribed “Painted at Dartington College [ofArts], Devon”; also with provenance on Emer Gallery label onreverse23 by 35in. (58 by 89cm)

Provenance:Purchased directly from the artist by Galerie Eric Franck, 1982;with the Emer Gallery, Belfast from 9 May 2003

€2,000-€3,000 (£1,650-£2,480 approx.)

166Fred Yates (British, 1922-2008)BEACH HUTS oil on found wooden panelssigned lower right; signed, inscribed [Peinture Sur Panneau‘La Mere’] and with artist’s address [8 Grande Rue, La Motte -CH]; also with “Emer Gallery” inscribed on reverse36 by 20in. (91 by 51cm)

Provenance:Emer Gallery, Belfast

€800-€1,000 (£660-£830 approx.)


,

105

168Fred Yates(British, 1922-2008)WORKING WOMEN’S CLUB oil on canvassigned lower left12 by 18in. (30 by 46cm)

Provenance:Emer Gallery, Belfast

€700-€900 (£580-£740 approx.)

167Mary Fedden RA OBE(British, 1915-2012)STILL LIFE WITH FRUIT AND JUG,1985 oil on canvassigned and dated lower right12 by 16in. (30 by 41cm)

€3,000-€4,000 (£2,480-£3,310 approx.)


,

106

169John B. Vallely (b.1941)MUSICIANS AT THE HORSE FAIR oil on canvassigned with initials lower left; numbered [13] on reverse19 by 30in. (48 by 76cm)

€5,000-€6,000 (£4,130-£4,960 approx.)


,

107

170Hector McDonnell ARUA (b.1947)WARNER DALEY’S KITCHEN oil on boardwith title on reverse50 by 60in. (127 by 152cm)

Provenance:Christie’s, London, 10 May 2007, lot 139

€6,000-€8,000 (£4,960-£6,610 approx.)


,

108


,

171Maurice MacGonigalPRHA HRA HRSA(1900-1979)[A VILLAGE STREET]CLOGHERHEAD LOOKING TO THECOOLEY MOUNTAINS, c. late1930s oil on boardsigned lower right; inscribedwith Goodwin Galleries[Limerick] label on reverse11¾ by 15½in. (28 by 38cm)

Provenance:Goodwin Galleries, Limerick;Private collection

Exhibited:‘Maurice MacGonigal’, GoodwinGalleries, Limerick, 6-17 June1944

We are grateful to CiaránMacGonigal for his assistance incataloguing this lot.

€2,500-€3,500 (£2,070-£2,890 approx.)

172Maurice MacGonigalPRHA HRA HRSA(1900-1979)SUMMER MORNING, KILRANE,WEXFORD, 1977 oil on canvassigned lower right; signed again,titled and dated on reverse; withinscribed Taylor Galleries labelalso on reverse12 by 24in. (30 by 61cm)

Provenance:Taylor Galleries, Dublin;Where purchased by the presentowner

Exhibited:Taylor Galleries, Dublin, 5-30September 1978, catalogue no. 1

€2,500-€3,500 (£2,070-£2,890 approx.)


,

109

173Patrick Leonard HRHA (1918-2005)LOUGHSHINNY HARBOUR, COUNTY DUBLIN oil on canvassigned lower right28 by 34in. (71 by 86cm)

Provenance:In the current family collection for over 40 years

€10,000-€12,000 (£8,260-£9,920 approx.)

110


,

174Tom Carr HRHA HRUA ARWS(1909-1999)GORSE AND ROBIN ON A WIRE oil on canvassigned lower left20 by 16in. (51 by 41cm)

Provenance:Taylor Gallery, Belfast

€500-€700 (£410-£580 approx.)

175Henry Robertson Craig RHA(1916-1984)THE SOVEREIGN ISLES oil on canvas boardsigned lower left; inscribed with title andnumbered [6] on reverse; also with RitchieHendriks Gallery label on reverse7 by 10in. (18 by 25cm)

Provenance:Ritchie Hendriks Gallery, Dublin;Private collection

€600-€800 (£500-£660 approx.)


,

111

176Patrick Hennessy RHA (1915-1980)STRAND, 1977 oil on canvassigned lower left; with David Hendriks label on reverse25 by 35in. (64 by 89cm)

Provenance:RHA, Dublin;Where purchased by the present owner

Exhibited:RHA, Dublin, 1977, catalogue no. 39

€6,000-€8,000 (£4,960-£6,610 approx.)

112


,

177Patrick Leonard HRHA (1918-2005)CIRCUS, c.1959 oil on boardsigned and inscribed with title and artist’s address [Artane]on reverse32 by 21½in. (81 by 53cm)

Provenance:Purchased from the artist in the 1960s and 1970s by GeorgeMcClelland; From whom acquired by the previous owner;Whyte’s, 21 February 2006, lot 22;Private collection

Exhibited:RHA, Dublin, 1959, catalogue no. 106 (£26-5-0)

€2,000-€3,000 (£1,650-£2,480 approx.)

178Patrick Leonard HRHA (1918-2005)SKERRIES, COUNTY DUBLIN, 1983 oil on boardsigned lower left; signed again, titled and dated [23 May]on reverse12 by 16in. (30 by 41cm)

€1,500-€2,000 (£1,240-£1,650 approx.)

179Charles Vincent Lamb RHA RUA (1893-1964)RIVER SCENE oil on boardsigned lower left12 by 16in. (30 by 41cm)


€1,200-€1,500 (£990-£1,240 approx.)


,

113

181Patrick Leonard HRHA (1918-2005)AFTER THE DEBS BALL, SKERRIES, 1979 oil on boardsigned lower right; inscribed with title on reverse;with Oriel Gallery label also on reverse10 by 14in. (25 by 36cm)

Provenance:Oriel Gallery, Dublin;Private collection

€1,200-€1,500 (£990-£1,240 approx.)

182Patrick Leonard HRHA (1918-2005)NEAR SOPHIE’S RESTAURANT, EVENING, CORFU, 1985 oil on boardsigned lower right; inscribed with title and dated [14June] on reverse 16 by 20in. (41 by 51cm)

Provenance:Whyte’s, 29 November 2005, lot 171;Whence purchased by the present owner

€800-€1,000 (£660-£830 approx.)

180James le Jeune RHA (1910-1983)A DAY OUT oil on boardsigned beneath the slip lower left16 by 20in. (41 by 51cm)

€1,500-€2,000 (£1,240-£1,650 approx.)

114


,

183Seán Keating PRHA HRA HRSA (1889-1977)PORTRAIT OF A WOMAN, c.1970s charcoalsigned lower right24 by 18in. (61 by 46cm)

Provenance:Dawson Gallery, Dublin;Private collection;James Adam, 27 May 1998;Private collection;Whyte’s, 26 June 2000, lot 69;Private collection

€2,000-€4,000 (£1,650-£3,310 approx.)

184Frank Egginton RCA (1908-1990)THATCHED COTTAGE, WEST OF IRELAND watercoloursigned lower right14½ by 20½in. (36 by 51cm)

€800-€1,000 (£660-£830 approx.)

185Ciarán Clear (1920-2000)NOVEMBER MOONLIGHT, NORTH STRAND, RUSH,COUNTY DUBLIN oil on boardsigned lower right; signed and titled on reverse16 by 22in. (41 by 56cm)

€500-€700 (£410-£580 approx.)


,

115

187Cecil Maguire RHA RUA (b.1930)PUCAN oil on boardsigned lower left; signed, titled and inscribed withartist’s [Roundstone] address on reverse; also withinscribed studio label on reverse10 by 12in. (25 by 30cm)

Provenance:Whyte’s, 22 February 2005, lot 200;Whence purchased by the present owner

€1,500-€1,800 (£1,240-£1,490 approx.)

186Cecil Maguire RHA RUA (b.1930)MENDING, 1983 oil on boardsigned and dated lower right; inscribed with title andartist’s [Belfast] address on reverse12 by 10in. (30 by 25cm)

€1,800-€2,200 (£1,490-£1,820 approx.)

188Cecil Maguire RHA RUA (b.1930)HERON PRIESTED SHORE, LAUGHARNE, 1982 oil on boardsigned and dated lower left; signed again and titledon reverse10 by 12in. (25 by 30cm)

Laugharne is a town on the estuary of the River Tâf inCarmarthenshire, Wales. It was home to Dylan Thomas from1949 until 1953. The title of the present work can be foundin the first stanza of Thomas’ Poem in October.

€1,500-€2,000 (£1,240-£1,650 approx.)

116


,

189Kenneth Webb RWA FRSA RUA (b.1927)THE HIGH MEADOW oil on canvassigned lower right; titled on Blue Door Studio label on reverse20 by 30in. (51 by 76cm)

Provenance:Purchased by the present owner at Mullingar Lions Club CharityAuction c.2002

€5,000-€7,000 (£4,130-£5,790 approx.)


,

117

190Liam O’Neill (b.1954)TOWARDS THE BLASKET SOUND oil on canvassigned lower right; titled on reverse36 by 54in. (91 by 137cm)

Provenance:Acquired directly from the artist mid 1990s

€6,000-€8,000 (£4,960-£6,610 approx.)

118


,

191John Skelton (1923-2009)ELDERLY MAN WITH HAT gouachesigned lower right18½ by 13in. (46 by 33cm)

€1,000-€1,500 (£830-£1,240 approx.)

192Liam O’Neill (b.1954)PORTRAIT OF FRANCIS STUART oil on canvassigned lower left30 by 20in. (76 by 51cm)

€2,000-€3,000 (£1,650-£2,480 approx.)

193John Skelton (1923-2009)EQUESTRIAN PORTRAIT, 1980 and BEACH SCENE (A PAIR) oil on canvas board (1); watercolour (1)the first signed and dated lower right; the second signedlower right15 by 18in. (38 by 46cm)


Dimensions of watercolour 10 by 14 ins.

€1,200-€1,500 (£990-£1,240 approx.)

Ex 193


,

119

195Kenneth Webb RWA FRSARUA (b.1927)LANDSCAPE WITH FARM BUILDINGS,1962 oil on canvassigned and dated lower left; withinscribed Mawson, Swan & Morgan[Newcastle-on-Tyne] label on reverse16 by 24in. (41 by 61cm)

Provenance:Mawson, Swan & Morgan, Newcastle-on-Tyne, c.1963;Private collection;Thomas Watson & Son, Darlington,County Durham;Private collection

Mawson, Swan & Morgan, Newcastle-on-Tyne label inscribed, 470 / 31.12.63.

€2,000-€3,000 (£1,650-£2,480 approx.)

194Kenneth Webb RWA FRSA RUA (b.1927)INNISFREE oil on canvassigned lower right; with artist’s name and title on reverse;also with John Magee [Belfast] label on reverse14 by 36in. (36 by 91cm)

€3,000-€4,000 (£2,480-£3,310 approx.)

120


,

196Markey Robinson (1918-1999)HOOKERS RETURNING gouache on cardsigned lower left; titled and withprovenance in a later hand on reverse12¾ by 19½in. (30 by 48cm)

Provenance:Acquired directly from the artist by theprevious owner

€1,000-€1,500 (£830-£1,240 approx.)

197Markey Robinson (1918-1999)SHAWLIE AND COTTAGE oil on boardsigned lower left13 by 22in. (33 by 56cm)

€1,800-€2,200 (£1,490-£1,820 approx.)

198Markey Robinson (1918-1999)SEASCAPE WITH TWO TREES oil on boardsigned lower right; with Oriel Gallery labeldetailing artist’s biography and newspaperreviews on reverse6½ by 9½in. (15 by 23cm)

Provenance:Oriel Gallery, Dublin;Private collection

€500-€700 (£410-£580 approx.)


,

121

200Markey Robinson(1918-1999)THREE SHAWLIES AND TWO GABLEENDS gouache on cardsigned lower left7½ by 13½in. (18 by 33cm)

€800-€1,200 (£660-£990 approx.)

199Markey Robinson (1918-1999)FIVE SHAWLIES WITH BOATS oil on boardsigned lower right23½ by 41½in. (58 by 104cm)

€4,000-€6,000 (£3,310-£4,960 approx.)

122


,

201Markey Robinson (1918-1999)FLIGHT INTO EGYPT oil on panelsigned lower right36 by 10½in. (91 by 25cm)

€1,500-€2,000 (£1,240-£1,650 approx.)

202Fr. Henry Flanagan OP(1918-1992)THE GIRL WITH THE FLAXEN HAIR,1979 sycamore; (unique)signed with initials at base (rear)15 by 7 by 7in. (38 by 18 by 18cm)

Literature:Rynne, Stephen, The Sculpture ofHenry Flanagan, A Catalogue withCommentary, Goldsmith Press, TheCurragh, Kildare, 1979, p.62(illustrated)

For a biography on this artist seeSnoddy p.161-163.

€400-€500 (£330-£410 approx.)

203Markey Robinson (1918-1999)LIFE STAGES gouache on cardsigned lower right11½ by 18½in. (28 by 46cm)

Provenance:Apollo Gallery, Dublin; Private collection;Whyte’s, 14 March 2011, lot 289;Whence purchased by the present owner

€1,500-€2,000 (£1,240-£1,650 approx.)


,

123

205Markey Robinson (1918-1999)SHAWLIES AND SAILBOATS gouachesigned lower left8½ by 14½in. (20 by 36cm)

€500-€700 (£410-£580 approx.)

204Markey Robinson (1918-1999)FISHING VILLAGE oil on boardsigned lower left; with inscribed EmerGallery label on reverse18 by 29in. (46 by 74cm)

Provenance:Emer Gallery, Belfast; Private collection

€4,000-€6,000 (£3,310-£4,960 approx.)

124


,

206Markey Robinson (1918-1999)CLOWN WITH PINK BLOUSE HOLDING HOOP gouache on board19½ by 12¼in. (48 by 30cm)

€800-€1,000 (£660-£830 approx.)

208Markey Robinson (1918-1999)PIERROT WITH CHEQUERED BLOUSE AND GUITAR gouache on boardsigned lower right; with number [5] affixed to frame19¼ by 11¾in. (48 by 28cm)

€800-€1,000 (£660-£830 approx.)

209Markey Robinson (1918-1999)CLOWN NO. 6 [BLACK HAT AND BATON] gouache on boardsigned lower right; with inscribed Solomon Gallery Londonlabel on reverse19½ by 12¼in. (48 by 30cm)

€800-€1,000 (£660-£830 approx.)

207Markey Robinson (1918-1999)CLOWN NO. 14 [PINK CLOWN WITH GUITAR] gouache on boardsigned lower right; with inscribed Solomon GalleryLondon label on reverse19½ by 12¼in. (48 by 30cm)

€800-€1,000 (£660-£830 approx.)


,

125

211Markey Robinson (1918-1999)CLOWN WITH RED HAT AND BLUE ACCORDION gouachesigned lower left20 by 13½in. (51 by 33cm)

Provenance:Apollo Gallery, Dublin c.1990;Private collection

€800-€1,000 (£660-£830 approx.)

210Markey Robinson (1918-1999)ORCHESTRA OF CLOWNS gouache on cardsigned lower right; numbered [23] on frame22½ by 45½in. (56 by 114cm)

€2,000-€3,000 (£1,650-£2,480 approx.)

126


,

212Philip Kelly (1950-2010)VISTA ROSA, 1996 oil on canvassigned, titled and dated on reverse12 by 20in. (30 by 51cm)

Provenance:Frederick Gallery, Dublin;Where purchased by the present owner

Exhibited:‘Philip Kelly’, Frederick Gallery, Dublin,6-17 October 1997, catalogue no. 1

€1,000-€1,500 (£830-£1,240 approx.)

213Eric Patton RHA (1925-2004)WHITE HILL, ANDALUCÍA, 1961 oil on boardsigned lower right; signed again, titled, numbered [16]and dated on reverse13 by 9½in. (33 by 23cm)

Provenance:Ritchie Hendriks Gallery, Dublin;Private collection

Exhibited:‘Spanish Paintings by Eric Patton’, Ritchie HendriksGallery, Dublin, October 1961, catalogue no. 11 [20gns]

€200-€300 (£170-£250 approx.)

214Brian Ballard RUA (b.1943)POPPIES AGAINST YELLOW, 2009 oil on canvassigned and dated lower left; titled onreverse18 by 14in. (46 by 36cm)

€1,000-€1,500 (£830-£1,240 approx.)


,

127

216Elizabeth Cope (b.1952)SHEEP SHEARING oil on boardsigned lower right; titled on reverse24 by 30in. (61 by 76cm)

€800-€1,200 (£660-£990 approx.)

215Elizabeth Cope (b.1952)STILL LIFE WITH PLANT POTS BY AWINDOW, 1999 oil on boardsigned and dated lower right48 by 61½in. (122 by 155cm)

€3,000-€4,000 (£2,480-£3,310 approx.)

217Markey Robinson (1918-1999)BATHERS oil on canvassigned lower right12 by 16in. (30 by 41cm)

Provenance:Acquired directly from the artist by Sir Charles Brett c.1950s;with Emer Gallery, Belfast;Private collection

€2,000-€3,000 (£1,650-£2,480 approx.)

128


,

218Peter Collis RHA (1929-2012)RED BRIDGE oil on canvassigned lower left; with inscribed Peppercanister Gallerylabel on reverse10 by 10in. (25 by 25cm)

Provenance:Peppercanister Gallery, Dublin;Private collection

€800-€1,200 (£660-£990 approx.)

219Gladys Maccabe HRUA ROI FRSA (b.1918)STILL LIFE oil on boardsigned lower left; titled on Taylor Gallery [Belfast] label onreverse20 by 15½in. (51 by 38cm)


€1,000-€1,500 (£830-£1,240 approx.)

220Peter Collis RHA (1929-2012)STILL LIFE WITH WHITE VASE AND FRUIT oil on canvassigned lower left10 by 10in. (25 by 25cm)

€800-€1,200 (£660-£990 approx.)


,

129

222Gladys Maccabe HRUAROI FRSA (b.1918)FAIR DAY oil on boardsigned lower left12½ by 16in. (30 by 41cm)

€1,500-€2,000 (£1,240-£1,650 approx.)

221Gladys Maccabe HRUAROI FRSA (b.1918)GOING TO MASS oil on canvassigned lower left20 by 24in. (51 by 61cm)

Provenance:Gormley’s, Art and Antiques, Belfast,12 June 2012, lot 31;Private collection

€2,000-€3,000 (£1,650-£2,480 approx.)

130


,

223Mark O’Neill (b.1963)INTERIOR WITH BLUE ARMCHAIR, 1998 oil on boardsigned and dated lower left23½ by 19½in. (58 by 48cm)

Provenance:Whyte’s, 28 November 2006, lot 168;Whence purchased by the present owner

€2,500-€3,500 (£2,070-£2,890 approx.)

225Thomas Ryan PPRHA (b.1929)STILL LIFE WITH PINK ROSE, 2011 oil on canvas boardsigned lower right; signed again and with archival number[102.2011] on reverse6¾ by 8¾in. (15 by 20cm)

€800-€1,000 (£660-£830 approx.)

226Stuart Morle (b.1960)STILL LIFE WITH POMEGRANATE AND PORTUGUESE TILE, 2014 oil on coppersigned lower right9¾ by 11¾in. (23 by 28cm)

€1,000-€1,500 (£830-£1,240 approx.)

224Elizabeth BrophyAT THE POTTING TABLE oil on boardsigned lower left; titled on reverse15 by 11in. (38 by 28cm)

€1,000-€1,500 (£830-£1,240 approx.)


,

131

227Francis Matthews(b.1980)UNDERGROUND CAR PARK,DUBLIN, 2003 oil on canvassigned with initials and datedlower right20 by 30in. (51 by 76cm)

Provenance:Cherrylane Gallery, Wicklow;Private collection;Whyte’s, 4 March 2013, lot118;Private collection

€1,800-€2,200 (£1,490-£1,820 approx.)

229Richard O’Meara (b.1946)SLEEPING DUCK, c.1993 polished limestone on white marble base; (unique)signed on feet; with inscribed RHA exhibition labelbeneath base8 by 10½ by 5in. (20 by 25 by 13cm)

Provenance:RHA, Dublin;Where purchased by the present owner

Exhibited:RHA Annual Exhibition, Dublin 1993 catalogue no. 450

Dimensions of white marble base: 1 by 5.5 by 7.75ins.

€800-€1,000 (£660-£830 approx.)

END OF SALE

228Colin Harrison (b.1939)A DRAWING DEDICATED TO PAUL, 1981 pencil with white chalksigned and dated in the margin lower right;titled lower left19½ by 21½in. (48 by 53cm)

Provenance:Taylor Galleries, Dublin;Private collection;Whyte’s, 4 March 2013, lot 149;Private collection

Exhibited:‘Colin Harrison & Charles Oakley’, TaylorGalleries, Dublin, September 1981, catalogueno. 4

€800-€1,000 (£660-£830 approx.)

132


,

D E S I G N : D E S K I E LY D E S I G N P H O T O G R A P H Y : G I L L I A N B U C K L E Y P R I N T I N G : B R U N S W I C K P R E S S LT D .

© C O P Y R I G H T 2 0 1 4 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 . A L L R I G H T S R E S E R V E D

For an index of artists see inside back cover

Antrim: 38

Armagh: 37

Bahamas: 100

Cork: 46, 175

Dublin City: 15, 18, 227

Dublin County: 45, 173, 178, 181, 185

England: 20, 22, 157-161, 163, 165-168

France: 23, 28, 29

Galway: 2, 66, 186, 187

Greece: 102, 182

Note: the following prefixes are widely used with the initials of academiesand institutions:A AssociateF FellowH Honorary academician or member or council memberP President or past presidentVP Vice President

b. bornBWS British Watercolour SocietyCH Companion of Honourcm. centimetre or centimetresd. diedexh. exhibitedFBA Federation of British Artistsfl. flourishedFRIBA Fellow Royal Institute of British ArchitectsICA Institute of Contemporary ArtsIELA Irish Exhibition of Living ArtIMMA Irish Museum of Modern Artin. inch or inchesMBE Member of the Most Excellent Order of the British EmpireNA National Academy, New YorkNCA National College of Art, DublinNCAD National College of Art & Design, DublinNEAC New English Art ClubNGI National Gallery of IrelandNWS National Watercolour SocietyOBE Officer of the Most Excellent Order of the British Empire

OM Order of MeritOWS Old Watercolour Society, LondonPS Pastel Society, LondonRA Royal Academy, LondonRBA Royal Society of British ArtistsRBS Royal Society of British SculptorsRCA Royal College of ArtRE Royal Society of Painter-Etchers and EngraversRDS Royal Dublin Society RHA Royal Hibernian Academy, DublinRI Royal Institute of Painters in WatercoloursRIA Royal Irish AcademyROI Royal Institute of Oil PaintersRP Royal Society of Portrait PaintersRSA Royal Scottish AcademyRSMA Royal Society of Marine ArtistsRSW Royal Scottish Society of Painters in WatercolourRUA Royal Ulster Academy of ArtsRWA Royal West of England Academy, BristolRWS Royal Society of Painters in WatercolourSWA Society of Women ArtistsWCSI Watercolour Society of Ireland

References:Snoddy Theo Snoddy, Dictionary of Irish Artists 20th

Century, 2nd edition, Dublin, 2002Strickland Walter G. Strickland, A Dictionary of Irish Artists

Dublin, 1913

ABBREVIATIONS

TOPOGRAPHICAL AND GENERAL INDEX

Scotland: 19

Sligo: 99, 106

Spain: 164, 213

Switzerland: 13

Tipperary: 3, 9

USA: 147-156

Wales: 188

Wicklow: 17, 40

Italy: 97

Kerry: 65, 190

Kildare: 116

Kilkenny: 27

Limerick: 3

Louth: 60-63, 171

Mayo: 107, 109, 111

Meath: 63

Mexico: 212

Roscommon: 1-14

AN INDEX OF ARTISTS REPRESENTED IN THIS SALE

For topographical and general index see opposite page

Armstrong, R: 96

Ballard, B: 214

Banksy: 159-161

Bewick, P: 88

Bourke, B: 77

Brady, C: 82

Brophy, E: 224

Brown, D: 75

Butler, M.A: 27

Carr, T: 174

Casey, C: 89-91, 93

Clear, C: 185

Collins, P: 68

Collis, P: 218, 220

Conor, W: 42, 43

Cope, E: 215, 216

Craig, H.R: 175

Craig, J.H: 35,39

Delrenne, E: 15

Dillon, G: 64, 66, 74

Egginton, F: 184

Fedden, M: 167

Finnin, M: 113

Flanagan, H: 202

French, W.P: 1-14

Galbally, C: 46

Gale, M: 92

Gemmell, M: 134

Glenavy, B: 47

Gorman, R: 114

Hanlon, J.P: 54

Harrison, C: 228

Helmick, H: 22

Hennessy, P: 176

Henry, P: 36

Hirst, D: 157, 158

Hone, E: 53, 56

Jellett, M: 52

Johnson, N: 80

Katz, A: 152

Keating, S: 183

Kelly, J: 95

Kelly, P: 212

Lamb, C.V: 179

Lavery, J: 34

Lawler, G: 115

le Brocquy, L: 55, 83, 116-127

le Jeune, J: 180

Lennon, C: 129-133

Leonard, P: 173, 177, 178, 181, 182

Maccabe, G: 219, 221, 222

MacGonigal, M: 171, 172

MacMíadhacháin, P: 109, 111

Maguire, C: 186-188

Mahoney, J: 23

Matthews, F: 227

McDonnell, H: 170

McGuinness, N: 59

McKelvey, F: 37, 38, 41

McSweeney, S: 98, 99, 104-106

Middleton, C: 67, 69-71

Miró, J: 164

Moore, H: 163

Morle, S: 226

Mulcahy, M: 94

Mulholland, C: 162

Murphy, J: 77

Nicholl, A: 16

Nicol, E: 19

O’Dea, M: 102

O’Kelly, A.C: 24

O’Neill, D: 73

O’Neill, L: 190, 192

O’Malley, J: 95

O’Malley, T: 97, 100, 101

O’Meara, R: 229

O’Neill, M: 223

Orpen, W: 28-30

Osborne, W.F: 25

Patton, E: 213

Purser, S.H.: 21

Pye, P: 78

Reid, E: 26

Reid, N: 60-63,65

Rivers, E: 57

Robinson, M: 196-201, 203-211, 217

Roche, V: 103

Russell, G. (Æ): 44-45

Ryan, T: 225

Sadler II, W: 17, 18

Scott, W: 84, 85

Shawcross, N: 79, 81,135-146

Shinnors, J: 110

Skelton, J: 191,193

Smith, J.N: 112, 128

Staunton Cahill, R: 20

Steyn, S: 50

Swanzy, M: 48, 49, 51

Teskey, D: 107, 108

Vallely, J.B: 169

Warhol, A: 147-151, 153, 155, 156

Webb, K: 86, 87, 189, 194, 195

Yates, F: 165, 166, 168

Yeats, A: 58, 72, 76

Yeats, J.B: 31-33

Young, M: 40


,

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

http://www.whytes.com

whytes important irish & international art auction may 2014

Art & Photos