whyte's important irish art 25 may 2015

WHYTE SS I N C E 1 7 8 3

,

25 MAY 2015IMPORTANT IRISH ART

MONDAY 25 MAY 2015

IMPORTANT IRISH ART

SPECIAL PREVIEW

James Wray Gallery, 14-16 James Street South, Belfast Thursday 14 May 6pm to 8pm

Friday 15 May 10am to 3pm

VIEWING

Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4

Saturday 23 May 10am to 6pmSunday 24 May 10am to 6pm

Monday 25 May 10am to 6pm

AUCTION

Monday 25 May at 6pmRoyal Dublin Society,

Anglesea Road, Ballsbridge, Dublin 4

ENQUIRIES

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

BIDS

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

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

Front cover: lot 63, Patrick Swift, Girl In A Garden, c. 1953Opposite: lot 110, Donald Teskey, Watersedge XVII, 2007

Pages 6, 7: lot 23, Seán Keating, Irish Free State Bacon, 1928 Back cover: lot 26, Sir William Orpen, Gladys Cooper

Whyte’s Auction Appnow available for free download

mailto:[email protected]


http://www.whytes.ie/

http://whytes.ie/i2APP.asp

BUYERS’ COMMISSION

20% (excluding VAT) is added to the hammer price of all lots. Ourinternet platform, Invaluable, charges 3% extra to on-line bidders.

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: You may watch and/or bid live withvideo and audio link to the saleroom on our websitewww.whytes.ie

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 €1,000 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 25 May and the sale starts at 6pm.

COLLECTION OF LOTS

Collection of purchases at this sale may be effected 10am to 3pmon Tuesday 26 May from the RDS. After that date lots may becollected from our Molesworth Street premises, Monday to Friday10am to 5pm.

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

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CONTENTS

Important Notes 2

Whyte's Terms & Conditions 5

IMPORTANT IRISH ART 8

Abbreviations 120

Index of Artists inside back

Topographical and General Index inside back

This catalogue was edited by Adelle Hughes with contributions from Dr JulianCampbell, Dickon Hall, Dr Roy Johnston, Dr S.B. Kennedy, Seán Kissane, GordonT. Ledbetter, Prof. Kenneth McConkey, Dr Éimear O’Connor and Mary Reilly.

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 2015 Whyte & Sons Auctioneers Limited. All rights reserved.

ENQUIRIES

This catalogue:Adelle Hughes

Accounts:Seán Kelly

Bids & General

Enquiries:Samantha Woolley

CONTACTS

[email protected] [email protected]

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

Postal address38 Molesworth Street, Dublin 2, Ireland

Websiteswhytes.ie whytes.com

Seán KellyAccounts

Samantha WoolleyAdministration

Ian WhyteManaging Director

Marianne NewmanDirector

3

Adelle Hughes BA MAAssociate Director

All Whyte’s catalogues are checked against The Art Loss Register of stolen ormissing works of art and antiques.

Sarah Gates BADirector



Seán Keating, Photographic Portrait by Brian Lynch. Estimate €200-€300

COLLECTIBLES13 JUNE 2015Silver, Coins, Banknotes, Photographs,Postcards, Toys, Sporting Memorabilia,Cameras etc.

On view 10-12 June 2015 at Whyte’sGalleries. Catalogue online shortly atwww.whytes.ie

Whyte’s are now inviting consignments forautumn sales of HISTORY, LITERATURE ANDCOLLECTIBLES.

For confidential appraisals contact:Stuart Purcell: [email protected] Ian Whyte: [email protected] Tel: 00 353 1 676 2888


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William Scott, Jug and Pear, 1983. Sold at Whyte’s for €97,000

Entries invited.

For confidential appraisals contact:Adelle Hughes: [email protected] Ian Whyte: [email protected] Tel: 00 353 1 676 2888

Whyte’s forthcoming auctions:






5IMPORTANT IRISH ART · 25 MAY 2015 AT 6PM


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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). An extra charge of3% of hammer price applies to on-line buyers.(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

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62Paul Henry RHA (1876-1958)KEEL VILLAGE, ACHILL ISLAND, 1911 oil on canvassigned lower left18 by 20in. (45.72 by 50.80cm)

Provenance:Private collection;Adam’s, 28 May 2003, lot 86;Whence purchased by the present owner

Exhibited:‘Paintings by Mrs. Frances Baker, Grace Henry, Paul Henry, Casimir Dunin-Markiewicz and GeorgeRussell (AE), Leinster Hall, Dublin, 16-21 October, 1911, catalogue no. 35 or 36

Literature:Kennedy, S.B., Paul Henry, Paintings Drawings Illustrations, Yale University Press, New Haven &London, 2007, catalogue no. 342, p.162 (illustrated)

In original Waddington frame.

The form of the signature, with dots between the two words of the artist’s name and after the word Henry,signify that this composition must have been painted shortly after the artist arrived on Achill Island inAugust 1911. The village of Keel, where in his autobiography, An Irish Portrait (1951), he tells us he settled, isseen from the high ground to the north-west, the long and graceful sweep of Trawmore Strand dominatingthe middle distance. The scene has been rendered with remarkable economy of means, there being onlymoderate impasto, but a great sense of fluidity, in the handling of the paint. As is characteristic of Henry’spainting at this time the brushwork is rigorously descriptive of form and structure and the use of subtleblues and greys to emphasise the recession of the landscape is a foretaste of the strong Whistlerianinfluence that would soon emerge in his painting. The use of upright brushstrokes, as seen in the nearforeground, is characteristic of other Henry pictures of this time. There is an almost identical, but smaller,composition of the same title and period to this in the Ulster Museum, Belfast. Nowadays the village of Keelis larger, although not substantially so, so that the main thrust of the landscape can clearly be seen. Henry’sexcitement at his new-found surroundings is also evident in his rendering of the landscape.

Dr SB KennedyFebruary 2013

€50,000-€70,000 (£42,700-£59,800 approx.)


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Lot No. 63 Patrick Swift (1927-1983) GIRL IN A GARDEN, c.1953

Est: €20,000 - €30,000

Lot 30 Sir John Lavery RA RSA RHA(1856-1941) A BACCHANTE, 1910

Est: €60,000 - €80,000

Lot No. 26 Sir William Orpen RA RI RHA (1878-1931) GLADYS COOPER

Est: €80,000 - €120,000

IMPORTANT IRISH ART - 25 MAY 2015 AT 6PM

http://https//http://whytes.auctioneersvault.com/Whytes_Important_Irish_Art.ics

46

62Paul Henry RHA (1876-1958)KEEL VILLAGE, ACHILL ISLAND, 1911oil on canvassigned lower left18 by 20in. (45.72 by 50.80cm)







€50,000-€70,000 (£42,700-£59,800 approx.)


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Lot No. 26 Sir William Orpen RA RI RHA (1878-1931) GLADYS COOPER

Est: €80,000 - €120,000



46








€50,000-€70,000 (£42,700-£59,800 approx.)


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Lot 30 Sir John Lavery RA RSA RHA(1856-1941) A BACCHANTE, 1910

Est: €60,000 - €80,000



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€50,000-€70,000 (£42,700-£59,800 approx.)


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46








€50,000-€70,000 (£42,700-£59,800 approx.)


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Lot No. 63 Patrick Swift (1927-1983) GIRL IN A GARDEN, c.1953

Est: €20,000 - €30,000



Monday 25 May 2015 at 6pmLots 1-181

IMPORTANT IRISH ART

1 Ciarán Clear (1920-2000) ANXIOUS MOMENTSoil on board

signed and titled on reverse8 x 12in. (20.32 x 30.48cm)

Ciarán Clear is best known for dramatic moonlight scenes of his native Rush in North County Dublin and of Connemara. He was a founder member of the Fingal Artists Group in 1963, which included Maurice MacGonigal, Fergus O’Ryan, Bea Orpen, Patrick Leonard and Tom Nisbet. Together they held exhibitions throughout Leinster in a bid to make art more accessible to wider audiences. His first solo exhibition took place at the Goodwin gallery in Limerick and his last with Gerald Davis in Dublin in 1999. He was a keen musician as well as being involved in his local Dramatic Society in Rush.

€ 800.00- € 1,200.00 (£600-£900 approx.)

Large Image & Place Bid Lot 1

IMPORTANT IRISH ART · 25 MAY 2015 AT 6PM

https://whytes.infinitebidding.com/?method=getLotInfo&lotref=AC14524839&seq=1


2 Ciarán Clear (1920-2000) WAITING FOR THE CURRACHS, 1996oil on board

signed lower left; signed again, dated, titled and with artist’s address [The Studio, Rush, County Dublin] inscribed on reverse12 x 16in. (30.48 x 40.64cm)

€ 800.00- € 1,000.00 (£600-£750 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=F5B4413ADF&seq=2


3 Patrick Leonard HRHA (1918-2005) MOON OVER RUSH HARBOURoil on canvas

signed on reverse16 x 18in. (40.64 x 45.72cm)

Provenance:Purchased from the artist by George McClelland;From whom acquired by the previous owner;Whyte’s, 21 February 2006, lot 18; Whence purchased by the present owner

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=6F4442A879&seq=3


4 Ciarán Clear (1920-2000) EARLY MOON RISING, NORTH STRAND, RUSHoil on board

signed lower left; signed again and with title and artist’s address [The Studio, Rush, County Dublin] inscribed on reverse14 x 20in. (35.56 x 50.80cm)

€ 600.00- € 800.00 (£450-£600 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=BE54650984&seq=4


5 Cecil Maguire RHA RUA (b.1930) WASHING DAY, BURANO, VENICE, 1975oil on board

signed and dated lower right; signed again and titled on reverse12 x 15in. (30.48 x 38.10cm)

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=69F45AD8CD&seq=5


6 Cecil Maguire RHA RUA (b.1930) BLACKSOD BAY, INISHNEE, ROUNDSTONE, CONNEMARAoil on board

signed lower right; titled on label on reverse8 x 10in. (20.32 x 25.40cm)

Provenance: Kilcock Art Gallery; Private collection

€ 800.00- € 1,200.00 (£600-£900 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=FB74EC78B4&seq=6


7 Cecil Maguire RHA RUA (b.1930) WOMEN OF ARAN, 1972oil on board

signed and dated lower right; signed again and inscribed with title on reverse; also with artist’s [Lurgan] address on reverse18 x 24in. (45.72 x 60.96cm)

€ 4,000.00- € 6,000.00 (£2,990-£4,480 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=4344D0AAA5&seq=7


8 John Kirwan (b.1956) COTTAGES BY A SHOREoil on canvas

signed lower right72 x 50in. (182.88 x 127cm)

The proceeds of the sale of this lot will be donated to The Society of St Vincent de Paul.

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=6F845C681E&seq=8


9 Fergus O’Ryan RHA (1911-1989) A QUIET COVE NEAR CLIFDEN, CONNEMARA, COUNTY GALWAYoil on canvas board

signed lower right; titled on reverse18_ x 30_in. (46.99 x 77.47cm)

€ 1,500.00- € 1,800.00 (£1,120-£1,340 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=2EE4ABAAD6&seq=9


10 Frank McKelvey RHA RUA (1895-1974) TENDING HER GOATS, c.1925watercolour over pencil

signed lower left; titled in margin lower left; with Jorgensen Fine Art label on reverse8_ x 11_in. (20.96 x 29.85cm)

Provenance:Whyte’s, 21 February 2006, lot 87;Private collection

Exhibited:‘Frank McKelvey Exhibition’, Ulster Museum, Belfast, 4 March to 25 April 1993

Literature:S. B. Kennedy, Frank McKelvey RHA RUA: A Painter in his Time, Irish Academic Press, Blackrock, Co. Dublin, pp.28 and 36 (illustrated, colour plate no. 14)

€ 3,000.00- € 5,000.00 (£2,240-£3,730 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=FBB4678BFB&seq=10


11 Frank Egginton RCA (1908-1990) NEAR GEARHA BRIDGE, SNEEM, COUNTY KERRY, 1976watercolour

signed and dated lower left; inscribed on reverse beneath backing board21 x 30in. (53.34 x 76.20cm)

Provenance:Whyte’s, 20 September 2005, lot 50;Private collection

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=8D2458DBD6&seq=11


12 Maurice Canning Wilks RUA ARHA (1910-1984) LANDSCAPE AT BALLINAKILL, CONNEMARAoil on canvas

signed lower left; signed again and titled on reverse18 x 24in. (45.72 x 60.96cm)

€ 1,800.00- € 2,200.00 (£1,340-£1,640 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=CBC42F7A2B&seq=12


13 Maurice Canning Wilks RUA ARHA (1910-1984) COUNTY DOWN LANDSCAPE NEAR BALLYNAHINCHoil on canvas

signed lower right; titled on reverse14 x 18in. (35.56 x 45.72cm)

€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=A6A470EBFE&seq=13


14 George K. Gillespie RUA (1924-1995) MUCKISH RIVER, COUNTY DONEGALoil on canvas

signed lower left19 x 30in. (48.26 x 76.20cm)

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=6454EFF858&seq=14


15 George K. Gillespie RUA (1924-1995) FISHERMEN BY THE RIVER BANKoil on canvas

signed lower right; with Apollo Gallery label on reverse16 x 20in. (40.64 x 50.80cm)

Provenance: Apollo Gallery, Dublin;Private collection

€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=E8C4538A98&seq=15


16 James Humbert Craig RHA RUA (1877-1944) RAIN STORM, COUNTY ANTRIM, c.1920oil on canvas

signed lower right; with original label inscribed with title, exhibition number [6] and price [£12-12-0] on reverse; with remnants of exhibition label also on reverse14_ x 19_in. (36.83 x 49.53cm)

Provenance:Cynthia O’Connor Gallery, Dublin; Private collection;Adam’s, 26 March 2003, lot 68; Private collection

Exhibited:RHA, Dublin, 1920, catalogue no. 192

€ 4,000.00- € 6,000.00 (£2,990-£4,480 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=78047ECAD0&seq=16


16 Image 2



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=78047ECAD0&seq=16


17 Frank McKelvey RHA RUA (1895-1974) DONEGAL COASToil on canvas

signed lower left; with original label detailing title on reverse; also with Waddington Galleries framing label on reverse16 x 20in. (40.64 x 50.80cm)

Provenance:Adam’s & Bonhams , 30 May 2007, lot 141; Private collection;Whyte’s, 26 November 2012, lot 78; Private collection

€ 4,000.00- € 6,000.00 (£2,990-£4,480 approx.)



https://whytes.infinitebidding.com/?method=getLotInfo&lotref=D784A04802&seq=17


18 Paul Henry RHA (1876-1958) MAAM VALLEY, CONNEMARAoil on canvas laid on board

signed lower left; with faint inscription [Lady Mrs Power Conn? Glen?” and framing instructions] in pencil on reverse; with label of C.D. Soar & Son [Kensington] also on reverse”11_ x 13in. (28.58 x 33.02cm)

Provenance:Artist’s studio till 1956;Where acquired by P. R. Jennings, Esq.;Adam’s & Bonhams, Dublin, 8 December 2004, lot 162; Private collection;Whyte’s, 21 May 2012, lot 79;Whence purchased by the present owner

Exhibited:‘Paintings by Paul Henry, R.H.A.’, Combridge’s Gallery, Dublin, 23 October to 6 November 1945, catalogue no. 5; ‘Pictures by Paul Henry, RHA’, Heal & Son, Tottenham Court Road, London, from 14 January 1946, no. 3; ‘Paintings and Charcoals: Paul Henry RHA’, Waddington Galleries, Dublin, 21 February to 3 March 1952 (no. 3, as The Maam Valley); RHA, Annual Exhibition, Dublin, Spring 1953, no. 28; ‘Paintings and Drawings by Paul Henry’, The Studio, Sidmonton Square, Bray, until 8 November 1956, no. 12 (probably acquired by P. R. Jennings); ‘Paul Henry: Retrospective Exhibition’, Ritchie Hendriks Gallery, St. Stephen’s Green, Dublin, and Belfast Museum & Art Gallery, Belfast, May-July 1957, no. 58 (Lent by P. R. Jennings)

Literature:Stewart, Anne M. (ed.), Royal Hibernian Academy of Arts: Index of Exhibitors and their Works 1826-1979, Dublin, Manton Publishing, 1985, vol. 2, p.82;Kennedy, S. B., Paul Henry, New Haven and London, Yale University Press, 2000, p.135;Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, Yale, 2007, catalogue no. 1035, p.303 (illustrated)

Painted in June or July 1942 when Henry visited Maam. The light palette and the bravura of the brushwork throughout, and notably in the foreground, are characteristic of his work at this time. As often with Henry, little artistic license has been taken with his interpretation of the landscape, which represents the view westwards on the road north from Maam Cross in County Galway, near the junction with the Leenane to Cong road at Feernakill Bridge. The river in the foreground is the Failmore River and the mountains beyond, which arrest the eye’s recession, are the Maamturks and the hills of Joyce’s Country.

Dr. S.B. Kennedy

€ 30,000.00- € 40,000.00 (£22,390-£29,850 approx.)


This work will be among the highlights on view at Whyte’s Belfast preview, James Wray Gallery from 6pm to 8pm Thursday 14 May and

10am to 3pm on Friday 15 May.


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19 James Humbert Craig RHA RUA (1877-1944) CABBAGE PATCH, DONEGALoil on board

signed lower right12 x 16in. (30.48 x 40.64cm)

Provenance:George A. Connell;Patrick Mackie;with Stiles Gallery, Saintfield, Co. Down; Private collection

With certificate of provenance, Stiles Gallery.

A previous owner, George A. Connell, was author of James Humbert Craig: The Natural Talents of JH Craig “The People’s Artist”, published by The Arches Gallery, Belfast, 1988.

€ 4,000.00- € 6,000.00 (£2,990-£4,480 approx.)



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20 Paul Henry RHA (1876-1958) COTTAGE IN A WOODED MOUNTAIN LANDSCAPE, c.1923-1924oil on board

signed lower left; with Jorgensen Fine Art exhibition label on reverse10_ x 13_in. (26.67 x 34.29cm)

Provenance:Adam’s, 29 March 1995, lot 15;Acquired by Jorgensen Fine Art, Dublin;Private collection; HOK,28-29May2001,lot168asCottage,TurfStacksandTrees; Private collection

Exhibited:‘Recent Acquisitions’, Jorgensen Fine Art, Dublin, from 29 May 1995, catalogue no.5, as Cottage in a Kerry Landscape (repr. in colour)

Literature:Kennedy, S. B., Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, New Haven and London, Yale University Press, 2007, catalogue no. 604, p.223 (illustrated)

Almost certainly a scene in County Wicklow.Dated 1923-4 on stylistic grounds. Number 604 in Kennedy’s catalogue raisonné, where it is reproduced.We are grateful to Dr S.B. Kennedy for his assistance in cataloguing this lot.

€ 10,000.00- € 15,000.00 (£7,460-£11,190 approx.)

Large Image & Place Bid Lot 20This work will be among the highlights on view at Whyte’s Belfast preview, James Wray Gallery from 6pm to 8pm Thursday 14 May and 10am to 3pm on

Friday 15 May.


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21 James Humbert Craig RHA RUA (1877-1944) ON THE ANTRIM COASToil on canvas board


Provenance:Leighton Fine Art, Buckinghamshire; Private collection

€ 2,500.00- € 3,500.00 (£1,870-£2,610 approx.)



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22 Frank McKelvey RHA RUA (1895-1974) FARMSTEAD, WEST OF IRELANDoil on canvas board


Provenance:Adam’s, 26 September 2012, lot 152; Private collection;de Veres, 25 March 2014, lot 12; Private collection

€ 4,000.00- € 6,000.00 (£2,990-£4,480 approx.)


This work will be among the highlights on view at Whyte’s Belfast preview, James Wray Gallery from 6pm to 8pm Thursday 14 May and 10am to 3pm on Friday 15 May.


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23 Seán Keating PRHA HRA HRSA (1889-1977) IRISH FREE STATE BACON, 1928gouache, pencil and coloured chalk


Provenance:Paul Conran;From whom purchased by the previous owner in October 1982; Christie’s, The Irish Sale, London, 10 May 2007, lot 74 (part); Whyte’s, 24 November 2008, lot 81;Private collection

The Empire Marketing Board (EMB) was established in London in 1926 for the purpose of promoting the sale of produce from countries associated with the British Empire. The methods of advertising included posters for shop windows and outdoor billboards. Continued access to the British market was of vital economic necessity to the newly established Irish Free State, a point that was given recognition when in 1927 the EMB commissioned Seán Keating to undertake the design of three posters, Irish Free State Dairying, Irish Free State Bacon and Irish Free State Chicken, to advertise Irish produce to the English market. The three posters were used around England between June and July 1929 on specially designed outdoor billboards. Keating was familiar with the skills necessary for large-scale poster design owing to his training at the Metropolitan School of Art in Dublin. His brief was firmly controlled by the EMB, and at the same time, the artist knew that the designs had to be visually specific and immediately legible. The drawing illustrated is Keating’s innovative design for Irish Free State Bacon, which is replete with the visual iconography that was expected of Ireland in the 1920s. However, this is a design by Keating, and therefore there is more to the image than immediately apparent. Keating’s work for the EMB appears at first glance, to reflect an imagined view of Ireland as a rural ideal and idyll, as dictated by the advertising concerns of the EMB. But arguably, there is degree of artistic subterfuge in the image. There are no green rolling hills, shamrocks, shillelaghs or white thatched cottages. Instead, Keating posited an image of a peaceful and prosperous peasantry within a well maintained farmyard, which refutes the age-old vision of misery and deprivation in Ireland of the 1920s. The close range view and the stage-like setting combined with clear architectural and figurative detail serves to further engage the viewer with the atmosphere of a real and flourishing farm. The appeal in the work is therefore premised on Keating’s ability to suitably advertise Irish Free State Bacon within the limits of the constraints set by the EMB, but without reducing the images to mere pastiche. The survival of Keating’s original design for Irish Free State Bacon, which was intentionally ephemeral, is noteworthy, and an exceptionally rare surviving example of Keating’s extensive career as an artist of ephemeral work.

Dr Éimear O’Connor HRHA Research AssociateTRIARC-Irish Art Research Centre Trinity College Dublin

€ 15,000.00- € 20,000.00 (£11,190-£14,930 approx.)



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24 Letitia Marion Hamilton RHA (1878-1964) YORK MINSTER CATHEDRAL, c.1930soil on board

signed with initials lower left13 x 15_in. (33.02 x 39.37cm)

Provenance:Whyte’s, 12 June 2001, lot 101;Whence purchased by the present owner

Exhibited:Possibly exhibited at the French Gallery, Berkeley Square, London, 1934

Thoe Snoddy notes that Hamilton showed forty-five works at the French Gallery, London in 1934 and among the subjects included were York and Venice. See Snoddy, p.218-219.

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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25 Maurice MacGonigal PRHA (1900-1979) VIEW OF BOLTON STREET, DUBLIN AT THE INTERSECTION WITH CAPEL STREET, c.1927oil on panel


Provenance:de Veres, 25 November 2003, lot 81 (“Busy Street Scene”); Private collection

With a landscape of hillside fields and cattle grazing on reverse.We are grateful to Ciarán MacGonigal for his assistance in cataloguing this lot.

€ 4,000.00- € 5,000.00 (£2,990-£3,730 approx.)



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26 Sir William Orpen RA RI RHA (1878-1931) GLADYS COOPERoil on canvas

signed upper right; with exhibition label on reverse30 x 25in. (76.20 x 63_cm)

Provenance:The sitter’s family;Thence by descent;Private treaty sale, Sotheby’s, 2001; Private collection

Exhibited:‘158th Summer Exhibition’, Royal Academy, London, 1926, no. 19; ‘54th Autumn Exhibition’, Walker Art Gallery, Liverpool, 1926, no. 143

Literature:Cooper, Gladys, Gladys Cooper, Hutchinson & Co., London, 1930, p.264,265 (illustrated on frontispiece)Konody, P.G. & Dark, Sidney, Sir William Orpen, Artist and Man, Seeley Service & Co. London, 1932, p.273 (Appendices, Chronological list of Paintings (1924);Arnold, Bruce, Orpen Mirror to an Age, Jonathan Cape, London, 1981, pp.409, 417

In 1924 former Gaiety girl and future screen star Gladys Cooper sat for one of the most sought- after society portrait painters of the 20th century, Sir William Orpen. Both artists were at the height of their celebrity at this juncture. The present work is a testament to the beauty of the performer and the skill and enduring quality of the artist.

Gladys Cooper, born in 1888, had her stage debut in 1905. In 1913 she began a mutually successful theatrical partnership and lasting friendship with actor /manager Gerald du Maurier. She also ran the Playhouse Theatre on the Embankment with thespian and businessman Frank Curzon. The variety of plays produced at the Playhouse brought financial success and praise from the critics. Her celebrity was further consolidated through her famed collaborations with Somerset Maugham in the 1920s.

Among the fêted shows at London’sAdephi Theatre in the 1920s was J. M.Barrie’s Peter Pan. At the time the presentwork was painted Gladys Cooper wasrehearsing for the title role; that of theimpish eternal boy with the gift of flight,and leader of his gang of Lost Boys on theisland of Neverland. In her autobiographypublished in 1930 she records her time sitting before Orpen and lifts the curtain on their respective mindset.

“... I was never allowed to catch even a glimpse of it while it was being done, and when it was finished I found that I had been given a distinct Peter Pan-ish sort of look. This was rather strange, but I think I can explain it. While Orpen was painting me I was thinking very hard about playing Peter and it may be that he saw something in my face which was from my mind.

Large Image & Place Bid Lot 26IMPORTANT IRISH ART · 25 MAY 2015 AT 6PM

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Orpen wrote me the following letter about the picture:

Dear Miss Cooper although I was too shy to show you the picture I am really very keen on it- what do you think of making it into ‘Peter Pan’ just a little bit by bringing the shadow along with you - it really was the idea I had when I painted out the white cloak – because your face became what I thought you looked like in the part- or what Peter ought to look like.

Yours ever, William Orpen

Just say ‘rubbish’ if you don’t like the idea.2”

Miss Cooper must have been pleased withthe nod to her stage role as the shadow isvisible, hovering against her right shouldernext to the lighter coloured backdrop.Orpen shows her sitting sideways, relaxedwith arms crossed and gazing into the distance beyond – perhaps emulating the expression of Peter’s aloofness from this world, as observed by the critic Mr J. T. Grein, writing in The Sketch, as he reviewed Cooper’s revival of the part.3 Her timelessly beautiful elfin face and long elegant neck are accentuated by her fashionable flapper hair-style and a string of glittering beads, which add a hint of glamour to her modest attire.

The feeling of success around the painting was mutual as Orpen selected it to represent his oeuvre at the Royal Academy exhibition in 1926. Two years previously another celebrity was also chosen by him for the RA exhibition; Irish tenor Count John McCormack (Acquired by NGI 2009).

Fig. 4 William Orpen, Portrait of Count John McCormack (1884- 1945), Singer, 1923. (Image courtesy of the National Gallery of Ireland, Dublin).

The differences in their depictions are dramatic and a clear reflection of his method of expression. Bruce Arnold suggests, “Orpen’s view was that portrait painting, like conversation between two people, was a method of expressing character on both sides...And in a successful portrait the result went outside mere representation of the figure itself.”4 In his own words for Weekly Dispatch (1923) Orpen said,“The character seems to have emanated from the person portrayed into the surrounding. It spreads a radiance of personality over the entire canvas. You could not remove any part of it... [the portrait painter] must have in his make-up a knowledge of life, a sympathy with human weakness, a good deal of the philosopher, and, most essentially, a sense of humour. That is merely to say that an artist must be a man.”5


Gladys Cooper’s portrait is listed in Orpen’s Studio records in 1925. It is noted as selling for £500 to the sitter. This was a reduced fee, a sign of his affection for her and a gesture, Arnold suggests, he bestowed on others he favoured such as actress Madge Kendal who became a family friend.6 However, Orpen was shrewd enough to retain the copyright on the image, later reproduced as the frontispiece for the sitter’s autobiography.7

Almost ten years after thepublication, Cooperrelocated to Hollywoodand transitioned to thesilver screen. She wasthrice nominated for anAcademy Award and isbest-known for her roles inAlfred Hitchcock’s Rebecca and My Fair Lady. In 1967 she became Dame Gladys Cooper DBE.

The present painting remained in the collection of the sitter’s family - unseen in the public domain since 1926 – until it sold privately in 2001.

€80,000-€120,000 (£57,550-£86,330 approx.)


1 Cooper,Gladys,GladysCooper,Hutchinson&Co.,London,1930,p.1682 Ibid.,pp.264,2653 Ibid., p.193: “Miss Gladys Cooper makes us realise the aloofness of Peter from this world. There is more hard-hearted cruelty and defiance, and yet the children love her and laugh at her.”4 Arnold,Bruce,OrpenMirrortoanAge,JonathanCape,London,1981,p.4095 ‘Paintings Men’s Hearts’, Weekly Dispatch, January 28, 19236 Arnold,Bruce,OrpenMirrortoanAge,JonathanCape,London,1981,p.4167 Ibid.,p.417



27 Sir William Orpen RA RI RHA (1878-1931) THE RETURNink

inscribed with title lower right10 x 7in. (25.40 x 17.78cm)

Kindly donated by Richard Olivier, grandson of William Orpen to The William Orpen Memorial Fund.

Local photographer Dominic Lee of Priory Studios has always been an admirer of the work of William Orpen. In 2012 he persuaded the Stillorgan Village Shopping Centre to exhibit a permanent display of Orpen’spaintings and to rename the first floor “Orpen Mall”. Mr Jimmy Deenihan TD, Minister for the Arts, Heritage and the Gaeltacht officially opened the exhibition at which Dominic announced part two of his plan - to have asculpture of William Orpen erected in Stillorgan.William Orpen was born in Oriel Lodge, Grove Avenue, Stillorgan in 1878. At the age of 12 he attended the Metropolitian School of Art (now the National College of Art & Design) and later attended the Slade Art Collegein London. He became a very successful society portrait painter and returned to Dublin regularly to teach in his old college. He was involved in the “Celtic revival” in Ireland and took part in the attempt to find a visual counterpart to the birth of a new national literary language. Although his studio was in London, he spent time in Ireland painting; he was a friend ofHugh Lane and influenced the Irish realist painters, like Seán Keating, who in turn influenced another generation of Irish painters. Orpen was appointed a War Artist in 1914 and knighted for his services.Rowan Gillespie, renowned sculptor, from neighbouring Blackrock, has been commissioned to create the memorial. Donations may be made to:The Stillorgan Chamber of Commerce - Orpen Fund, 12 Lower Kilmacud Road, Stillorgan, Co Dublin, or to www.iDonate.ie/WilliamOrpen

The proceeds of this lot will go to the William Orpen Memorial Fund.

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)


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http://www.idonate.ie/

28 Sir William Orpen RA RI RHA (1878-1931) ORPEN AND GRACEink

7_ x 5in. (19.05 x 12.70cm)

Provenance: Family of the artist

€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



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29 Sir William Orpen RA RI RHA (1878-1931) SURPRISE IN COLLEGE GREEN, DUBLINink

10 x 12in. (25.40 x 30.48cm)

Provenance: Family of the artist

€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



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30 Sir John Lavery RA RSA RHA (1856-1941) A BACCHANTE, 1910oil on canvas

signed lower left; signed again, titled [A Bacchante], dated and inscribed with artist’s London address [5 Cromwell] on reverse30 x 25in. (76.20 x 63_cm)

Provenance:The Collection of Mr and Mrs George A. Hearn, New York until 1913;Their sale, American Art Gallery, New York, George A. Hearn Collection, 25 February to 4 March 1918, catalogue no. 228;To K.W. Kraushaar, New York; J.G. Butler, Butler Institute, Youngstown, Ohio;Thence by descent;Peter Nahum;To present owner

Exhibited:Royal Society of Portrait Painters, London, 1910, as Mrs Ralph Peto; Coronation Exhibition, Shepherd’s Bush, London, 1910, as Mrs Ralph Peto; Autumn Exhibition, Walker Art Gallery, Liverpool, 1912, catalogue no. 372; Exhibition of British Pictures, The Lotus Club, New York

Literature:‘Exhibition in London: Society of Portrait Painters’, Western Daily Press, 26 September 1910, p. 9;Walter Shaw Sparrow, John Lavery and his Work, n.d., [1912], (Kegan Paul, Trubner, Trench & Co), p. 191;Velhagen und Klasing Almanach, 1912;American Art Annual XV, 1918, p. 311

In 1910 the calls for John Lavery to be elected to the Royal Academy rose to a crescendo in the press. Fêted in Europe and North America, he had the unique distinction of having two works in the French national collection and his reputation as a leading portrait painter had grown among the younger layers of the British aristocracy with prominent sitters including the McLarens, the Windsor-Clives, the Hely-Hutchinsons and others.1 To confirm his pre-eminence that year, he was chosen to represent Britain with a solo exhibition at the prestigious Venice Biennale and it was at this point,

the striking Ruby Peto came to the studio in Cromwell Place to be painted (fig 1).

Dressed as a ‘bacchante’, she moved across the field of vision, looking round to catch the painter’s eye. In her cerise wrapper, laurel wreath and pale make-up, she trailed memories of Reynolds and Romney, cherished eighteenth century masters now the height of fashion with Gilded Age collectors (fig 2). In Lavery’s terms, as he told Selwyn Brinton, the artist ‘who can depict the fashion of his day [in such a way] that it shall be of his day, and yet for all time ... has solved the problem’.2 Like Baudelaire he believed that catching the complexities of



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modern life’ was the painter’s sole objective. In this instance, the twenty-six year old Mrs Peto took him close to achieving his goal.Although of different generations, Ruby, like Lavery, had been married for less than a year when the portrait was painted. A scion of the Crawford and Balcarres dynasty, Frances Vera Ruby Lindsay (1884- 1951), was a favoured cousin of Diana and Marjorie Manners, daughters of the Duke and Duchess of Rutland. According to Lady Diana, she ‘... did not lack for swains, being very beautiful and spirited’. Accompanying the Manners’ daughters to Florence in her early twenties, and touring the galleries with her Baedeker, she was discovered ‘making eyes at the uniformed officers’.3 In July 1909, Ruby Lindsay married a dashing member of the Diplomatic Service, Ralph Harding Peto (1877-1945) at a ceremony for 600 guests at St Margaret’s Church, Westminster.4 After their honeymoon in Paris, the couple quickly became prominent society figuresand were frequently mentioned in ‘court circulars’. Ruby attended at first nights, concerts, charity ‘masques’ and tableaux in which she, like Hazel Lavery, often took a leading role.

It is not known how she and the Laverys first met, but her name was frequently joined with that of Lady Diana, the Asquith sisters, Gwendoline Churchill, Duff Cooper and the Laverys in the years leading up to the Great War. Cooper records her husband, now a major in the 10th Royal Hussars attending bridge, poker and drinking soirées around the time of the birth of his daughter, Maud Rosemary Peto, at the beginning of April 1916. By the early twenties, scarred by the war, Peto’s drinking and consequent rows with his wife, was sadly giving cause for concern, and the marriage ended in 1923.5 A few years later Ruby changed hername back to Lindsay.

Happier times are nevertheless reflected in the present portrait. The theatrical treatment of A Bacchante may indeed anticipate the eagerly awaited Anna Pavlova season which enthralled London society in the summer of 1910. In this, the Russian dancer created a sensation by performing the danse bacchanale from Marius Pepita’s ballet, The Seasons.6 Lavery was immediately commissioned by the editor of The Illustrated London News to produce a study of the dancer for a two-page colour reproduction in the weekly (fig 3) which echoes the theatrical air of the Peto portrait.7 Although the original commission was for no more than an unfinished sketch, there are remarkable resonances between it and the present picture, in that both show the sitter, in half-length, turning to address the spectator.





Lavery appears to have originally planned Ruby Peto’s portrait with the sitter facing left in a dramatic oil sketch (fig 4). This work is however signed and dated ‘1914’, possibly the date on which it was finally sold or gifted to the sitter or one of her friends in circumstances that remain obscure.8

What strikes the viewer in both versions of the portrait is the undoubted presence of this young woman. Lavery submitted her portrait along with those of Pavlova and Priscilla, Countess of Annesley (Ulster Museum, Belfast) to the Society of Portrait Painters exhibition in 1910. When it opened, all eyes were on the celebrity dancer, however one reviewer, turning to Mrs Peto’s portrait felt compelled to remark, ‘... no one better than he [Lavery] can enhance in painting the radiance of a fair face’.9 It was confirmation, if such was required, that the Royal Academy needs to make amends. A few months later, holidaying in Tangier, he received the news that he had finally been elected.

Prof. Kenneth McConkey April 2015

€60,000-€80,000 (£43,170-£57,550 approx.)

This work will be among the highlights on view at Whyte’s Belfast preview, James Wray Gallery

from 6pm to 8pm Thursday 14 May and 10am to 3pm on Friday 15 May.

1 KennethMcConkey,JohnLavery,APainterandhisWorld,2010(AtelierBooks),pp.59-60,90-95

2 SelwynBrinton,‘RecentPaintingsbyJohnLaveryRSA,RHA’,TheStudio,volxlv,1909,p.176;quotedinMcConkey 1910, p. 90.

3 LadyDianaCooper,Autobiography,vol1(TheRainbowComesandGoes),1958(MichaelRussell,singlevoled,1979), p. 56, 63.

4 TheMannerssisterswereamongthebridesmaids.Petolaterjoinedthe10thRoyalHussarsintherankofmajor.

5 JohnJuliusNorwich,ed,TheDuffCooperDiaries,2005(WeidenfeldandNicolson),pp.166-7.

6 McConkey,2010,pp.109-111.PavlovaopenedinApril1910atthePalaceTheatreofVarieties.

7 ItalsofurnishedtheoccasionfortheextraordinaryAnnaPavlovaasaBacchante(GlasgowMuseums),seeMcConkey 2010, p. 110.

8 Itwasnotunusualforthepaintertopresentsuchsmallpreparatorystudiestoasitterafteraseriesofsittings.This picture was sold in Whyte’s

25 November 2013.

9 ‘ExhibitioninLondon:SocietyofPortraitPainters’,WesternDailyPress,26September1910,p.9.





ninlondon:SocietyofPortraitPainters

31 Walter Frederick Osborne RHA ROI (1859-1903) NEAR SAINT PATRICK’S CLOSE DUBLIN, c. late1890soil on board

inscribed on reverse, By Osborne / Bought after his death at his studio sale from Dermod O’Brien his Executor””7_ x 11in. (19.05 x 27.94cm)

Provenance:Acquired 8 June 1903, after the artist’s death, from Dermod O’Brien PRHA, one of his executors;Taylor de Veres, 26 May 1992, catalogue no. 100;Where purchased by previous owner;Private collection

Literature:Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, full page illustration plate 42, catalogue no. 561

Many of Walter Osborne’s paintings of Dublin are set in and around St. Patrick’s Cathedral, the Liberties, St. Patrick’s Street, Marsh’s Library and St. Patrick’s Close. He was attracted to this historic area of Dublin for a number of reasons. Living in Rathmines, he may often have travelled through this district on his way into the city. He was of Church of Ireland faith, and his brother Charles had been ordained a clergyman. He evidentially had an interest in St. Patrick’s, which was then the largest church in Ireland, and painted several pictures of its impressive interior. Moreover, Osborne was fascinated by the bustling street life and markets which he observed around this area.

The church had originally been built in 1191 on the site of a pre- Norman church of St. Patrick, and was promoted to cathedral status on 1213. In 1300 its status became over-shadowed by that of Christchurch Cathedral, and during the Reformation it was demoted as a church. Over the centuries it suffered much damage but, during Osborne’s childhood, restoration work was carried out by his architect Thomas Drew (1838-1910), partially funded by MP and philanthropist Benjamin Lee Guinness (1798-1868) and St. Patrick’s was restored to its full glory. After the disestablishment of the Church of Ireland in 1869 St. Patrick’s was set apart as the ‘national cathedral’ of the Church of Ireland.1

Some of the surrounding streets in the Liberties had become among the most deprived parts of Dublin. But Arthur Guinness and Edward Cecil Guinness, sons of Benjamin, contributed much to the renewal of this area, with the clearance of old tenements and the construction of new residential buildings.

Thus, during Osborne’s life St. Patrick’s Cathedral and the surrounding streets were undergoing much change. The life on the streets, the little markets,street traders,shawledwomen,musiciansandchildren, provided the subject-matter for many of this paintings. Two of the most popular of these are Near St. Patrick’s Close, 1887 (National Gallery of Ireland) and Life in the Streets, Musicians, 1893 (Dublin City Gallery, Hugh Lane). A few years earlier than Osborne, Rose Barton had also depicted this area in her bustling, colourful watercolour St. Patrick’s Close, 1881 (Ulster Museum, Belfast).

The view of the present small painting Near St. Patrick’s Close is taken near Marsh’s Library, looking across the Close with part of the Cathedral on the right, and buildings with hipped roofs and tall chimney stacks in the background. A few figures are shown going about their business, including women with shawls, a carriage or cart, perhaps with a coachman, beside the porch of the Cathedral, seated with aprons across the road, and in the foreground right, a woman bustling along beside the wall or railings. Although the tonality of the picture is dark Osborne captures a glimpse of Dublin at the turn of the nineteenth and twentieth centuries.

He employs a palette of greys, maroons, viridian, and raw umber, perhaps to convey the tones and sparse light of a grey wintry day. Yet the forms of the buildings are represented by broad brushstrokes and the surface is lifted by lively marks in the foreground. Thus we note, for example, the bold stroke of white in the woman’s dress,



lower right, the touches of colour in the shop or stall in the background on the left, and small patches of blue sky showing through the clouds.

A date of 1888 is written on the reverse of the panel. But the vigorous surface of the painting and sweeping brushstrokes would suggest a later date: perhaps the late 1890s, when Osborne was painting lively village scenes in Rush, Co. Dublin, or, as Jeanne Sheehy suggested in her Catalogue Raisonné of Osborne’s work, around 19012, thus contemporaneous with his atmospheric painting The Four Courts, Dublin (NGI). Sheehy included an illustration of Near St Patrick’s Close in her publication on Walter Osborne, 1974.

Dr. Julian Campbell April 2015

1 Lord Killanin and Michael V. Duignan, Shell Guide To Ireland, 1962, 1967, p. 234; and Alan O’Day, The Guinness Family, in Brian Lalor,

ed. Encyclopaedia of Ireland, 2003, p. 464

2 Jeanne Sheehy, Walter Osborne, Ballycotton, 1974, catalogue no. 561, p. 150

€ 10,000.00- € 15,000.00 (£7,460-£11,190 approx.)




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32 Alexander Williams RHA (1846-1930) OLD CANON STREET, ST PATRICK’S CLOSE, DUBLINwatercolour over pencil

signed lower right; titled lower left10 x 13in. (25.40 x 33.02cm)

Provenance: de Veres, 23 February 2004, ex lot 41;Private collectionLiterature:Ledbetter, Gordon T., Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010, p.91 (illustrated)

Alexander Williams RHA (1846-1930) is primarily remembered as a marine and landscape painter, and most especially for opening up Achill Island to a wider public at a time coincident with the extension of the railway from Westport to Achill Sound. But his copious sketchbooks, leather bound and inscribed in gold, indicate, as he travelled all over Ireland and across the water, he had more than a passing interest in recording buildings and streetscapes that took his fancy, usually old and quaint, and these found their way into his exhibitions.

While Williams was born in the Square, Monaghan on 21 April, 1846, his formative years were spent in Drogheda until, when he was fifteen, the family moved to Dublin. His professional career as an artist may be said to have started in 1870 when he first exhibited at the Royal Hibernian Academy. He continued to do so for sixty-one consecutive years, a record that remains unequalled.

The annual solo exhibitions he held from 1884 in Dublin, usually at the Leinster Hall in Molesworth Street, from 1884 became eagerly awaited social events, attended by a thousand and more and usually patronised by the Lord Lieutenant or his wife, and the Castle set”. Unless issued with an invitation or you were a member of the likes of the Dublin Sketching Club, (of which Williams was a founder member and secretary for fifty years), you were expected to pay to gain entry! His catalogues were innovative in that they were often illustrated. Musical concerts by local worthies took place on Friday afternoons when afternoon teas were hosted by the artist’s chic wife.

In 1892 Williams devoted a special section of his exhibition at the Leinster Hall to ‘Bits of Old Dublin.’ It drew praise from all quarters. ‘Most of these latter drawings,’ noted the Irish Society, ‘were sketched by the artist at four for five o’clock a.m. on summer mornings, when immunity from street traffic and idle watchers could be securely counted upon.’ The Daily Express presciently recognised the significance of what he was doing: ‘”Bits of Old Dublin” are highly interesting little pictures, and as some of them relate to such localities as Hanover Lane, Nicolas Street, and Old Wood Street - unsavoury relics of bygone times, which have recently been effaced by the Public Health Department - they may serve a useful historic purpose hereafter.’ Indeed the street scenes in this catalogue have all changed beyond recognition since Williams’ day. The artist captured not only the quaintness of those old buildings, but their intimacy and scale, the small dwellings and artisans’ shops, higgledy piggledy and cheek by jowl, evoking an age remote from our own. Williams caught the passing of the old city, often just in time. As the Irish Times recorded: ‘This is a bit of Dublin now passed away, for old Canon Street, with its quaint curio shops, was part of the site taken in by St Patrick’s Park. Mr Williams took this sketch on the very last day of the existence of Old Canon Street in the form here pictured.’ The exception among these six water colours is St Audeon’s Gate one of the few bits of Medieval Dublin to survive. It was to the work of Alexander Williams that Dublin Corporation turned for historic reference during restoration of this famous landmark some years ago. Gordon T. Ledbetter April 2015Gordon Ledbetter is the author of Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)

Large Image & Place Bid Lot 32 IMPORTANT IRISH ART · 25 MAY 2015 AT 6PM

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33 Alexander Williams RHA (1846-1930) CHAPTER PLACE, ST PATRICK’S CLOSE, 1910watercolour over pencil heightened with white

signed lower left; titled and dated lower right13_ x 10_in. (34.93 x 26.04cm)

Provenance:Keys, Norfolk, 23 June 2000, lot 412; Whyte’s, 10 October 2000, lot 20; Private collection;Adam’s, 13 December 2000, lot 186; Private collection;Adam’s, 31 May 2006, lot 142; Private collection

Literature:Ledbetter, Gordon T., Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010, p.29 (illustrated)

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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34 Alexander Williams RHA (1846-1930) OLD CLOTHES SHOPS, PATRICK STREET DUBLIN, 1885watercolour heightened with white

signed lower right; titled and dated lower left14_ x 10.20in. (36.83 x 25.91cm)

Provenance:Waddington’s, Toronto, Canada, 16 June 2003, lot 184; Private collection;Gorry Gallery, Dublin;Private collection

Exhibited:Watercolour Society of Ireland, Dublin, 1920, catalogue no. 57 (6 gns);‘An Exhibition of 18th - 21st Century Irish Paintings’, Gorry Gallery, Dublin, 26 November to 6 December 2003, p. 35, catalogue no. 38 (illustrated)

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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35 Alexander Williams RHA (1846-1930) NORTH PATRICK’S CLOSE, DUBLINwatercolour

signed lower right; titled lower left14_ x 10in. (36.83 x 25.40cm)

Provenance:de Veres, 23 February 2004, ex lot 41; Private collection

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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36 Alexander Williams RHA (1846-1930) POOLE STREET, DUBLIN, 1892watercolour

signed lower right; titled and dated lower left14_ x 10in. (36.83 x 25.40cm)

Provenance:de Veres, 23 February 2004, ex lot 41; Private collection

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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37 Alexander Williams RHA (1846-1930) SAINT AUDEON’S ARCH, A BIT OF THE OLD CITY WALL, DUBLINwatercolour heightened with white

signed lower right; titled lower left14_ x 10.20in. (36.83 x 25.91cm)

Provenance:Waddington’s, Toronto, Canada, 16 June 2003, lot 183; Private collection;Gorry Gallery, Dublin;Private collection

Exhibited:‘An Exhibition of 18th - 21st Century Irish Paintings’, Gorry Gallery, Dublin, 26 November to 6 December 2003, p. 35, catalogue no. 36 (illustrated)

Literature:Ledbetter, Gordon T., Privilege & Poverty - The Life & Times of Irish Painter & Naturalist, Alexander Williams RHA 1846-1930, The Collins Press, Cork, 2010, p.270 (illustrated)€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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38 William Percy French (1854-1920) ALPINE SCENEwatercolour

signed lower left7_ x 5_in. (19.05 x 13.34cm)

€ 1,000.00- € 1,200.00 (£750-£900 approx.)



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39 Mildred Anne Butler RWS (1858-1941) FLOWERS BY A RIVERBANKwatercolour

with artist’s name typed in the mount6_ x 4_in. (17.15 x 12.07cm)

€ 600.00- € 800.00 (£450-£600 approx.)



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40 William Percy French (1854-1920) VIEW FROM SALTHILL HOTEL, DUBLIN BAYwatercolour

signed with initials lower left; signed again and titled on reverse6_ x 8_in. (16.51 x 21.59cm)

The Salthill Hotel was located in Monkstown near Seapoint, Co. Dublin.

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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41 William Percy French (1854-1920) BOG LANDSCAPE WITH TREESwatercolour

signed lower right; with Cynthia O’Connor label on reverse9 x 11_in. (22.86 x 29.21cm)

Provenance:Cynthia O’Connor Gallery, Dublin; Private collection

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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42 Michael George Brennan (1839-1871) PORTRAIT OF LAURA REDDEN SEARING IN THE STUDIO, 1867oil on canvas

faintly inscribed and dated on the stretcher25 x 18in. (63_ x 45.72cm)

Michael George Brennan, subject and landscape painter, was born and educated in Castlebar Co. Mayo where his talents were noted by Charles O’Donal, afterwards a police magistrate in Dublin (Strickland, p.83). Aged fifteen he was sent to the Dublin Society’s School and later the Royal Hibernian Academy where his skills where honed. He later travelled to London, working on several publications there, including Fun, a rival to Punch. Ill health in the form of typhoid fever led Brennan back to Ireland and later prompted a further relocation to the warmer climes of Italy. Settling first in Rome, Brennan continued to send back paintings for exhibition in the Royal Academy between the years 1865-1878. Strickland describes how his works were warmly praised as admirably painted, harmonious in colour, and full of character and feeling.” Brennan’s deteriorating condition provoked later trips to Capri and it was here that he came in contact with the subject of this work, Miss Laura Catherine Redden, a celebrated deaf American poet, journalist and author. The pair were engaged within ten days of meeting and while they discussed their future wedding plans the engagement was ultimately broken off, the reasons for which are unknown. One rumoured explanation was that Redden was not willing to forego her flourishing career. Brennan died from a fall in 1871.

Laura Catherine Redden (1839-1923) was born in Maryland in the United States. Having lost her hearing at the age eleven she enrolled in the Missouri School for the Deaf (MSD) and later developed the skill of sign language and the American Manual Alphabet. Upon graduation in 1859 Redden was unable to enrol in college because of her disability; thus to supplement her education she travelled to Europe between 1865-1896 where she studied several languages. When she met Brennan she was already a published writer with articles in Harper’s Magazine and American Annals of the Deaf where she championed the struggles of the deaf community. Earlier in 1860, she became the editorialist for the St. Louis Republican and officially adopted the pseudonym Howard Glyndon. In 1861, she was sent by the St. Louis Republican to Washington D.C. report on the American Civil War. She was a pro-Union loyalist and wrote poems about the experiences and human interests of the battlefield. Redden also wrote to Abraham Lincoln and Ulysses S. Grant during the war period and it was with this wealth of experience that she later travelled to Europe between 1865-1869 to become a correspondent for The New York Times.

After the engagement to Brennan was called off, Redden returned to America and in 1876 married Edward Whelan Searing, a lawyer, with whom she had one child. By 1870, she returned to New York and Boston and was a staff writer for the New York Evening Mail and contributed to Galaxy, Harper’s Magazine, and the Tribune. The marriage did not last and they divorced in 1894. Laura Redden Searing died in 1923 and was buried in Colma, California. She is remembered as a pioneer within the deaf community and is pictured here as a sensual muse of a former lover in the prime of her life.”

€ 10,000.00- € 15,000.00 (£7,460-£11,190 approx.)



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42



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43 Roderic O’Conor (1860-1940) NUDE IN THE STUDIOoil on canvas

with O’Conor Atelier stamp on reverse; with typed Crane Kalman Gallery [London] label on reverse21_ x 18_in. (55_ x 46.36cm)

Provenance:

with The Crane Kalman Gallery, London; Where purchased by Barnett Shine; Private collection

This quietly contemplative nude model was painted by Roderic O’Conor in his rue du Cherche-Midi studio in the Montparnasse

quarter of Paris, where he lived and painted for thirty years after his return to Paris in 1904 following a thirteen year period of

residence in Brittany at Pont-Aven and at Rochefort-en-Terre in Morbihan.

The change in O’Conor’s environment from rural France to the busy and artistically competitive arena of the Paris art world early

in the 20th century marked the beginning of a period of detachment from landscape themes, and a greater engagement with

traditional studio subjects, including still-lifes, portraits, figure studies and paintings of unclothed female models.

In O’Conor’s first-floor studio there was one entire wall comprised of small panes of glass admitting natural light into an interior

described by Clive Bell in his memoir, Old Friends (1956), as being “spacious but gloomy.” For this painting O’Conor chose to pose his

model deep in the studio interior taking up a viewing position with his back to the wall of windows. As a result the quality of light

which illuminated his subject is soft and quite diffuse, unlike his more frequently used rich contrasts of colour which appear in other

figure paintings and still-lifes where the subject was placed much closer to the light source. Behind the seated figure we see the

solid mass of the large cast iron stove, which was the only source of heating in his studio and which appears in many of his studio

paintings.

O’Conor typically preferred to take a direct approach to his studio paintings, working initially in broad generalised tonal masses with

little preliminary drawing as he had done in his landscape paintings from Brittany, and from Cassis in the Midi where he painted in

1913. For this portrait however, O’Conor began by making a series of preliminary sketches and drawings of his model, both clothed

and unclothed (more than ten such drawings have been identified), with slight variations to the pose and the positioning of her

right arm, which in the painting is bent at the elbow and rests on the arm of the chair to provide a support for her slightly inclined

head.

He also worked on a heavier grade of canvas than usual having a pronounced texture to which he applied a thin stain, deliberately

leaving background areas untouched as the painting progressed. Selected passages in the model’s upper body and head were

similarly treated. Thicker paint was then applied to her upper body as he modelled the forms while keeping to the generally

restrained technique and the mood of the painting. It is only in the green drapery on the armchair and in the white sheet or towel

covering her left leg that we see O’Conor’s typically vigorous and direct brush strokes and his mixing and blending of the oil paint

directly on the canvas.

This model is also the subject of a particularly strong and highly finished portrait known by the title Rouge et Vert which he

exhibited at the Salon d’Automne of 1919, in which she wears a red dress and is seated against a background of patterned red and

tan fabric which is generously draped in front of a green wall.

Seated Nude was purchased from the Crane Kalman Gallery in London in 1969 by the enthusiastic O’Conor admirer and collector,

Barnett Shine. Over the years he and his wife made several donations from their collection including in 1977 what is perhaps

O’Conor’s best known painting, the quite remarkable Van Gogh influenced Yellow Landscape of 1892, now in the collection of Tate

Britain.

Dr. Roy Johnston

€ 30,000.00- € 40,000.00 (£22,390-£29,850 approx.)


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44 May Guinness (1863-1955) STILL LIFE WITH GREEN BOTTLEoil on canvas

25 x 20in. (63_ x 50.80cm)Provenance:

Christie’s, London, 16 October 2003, lot 481; Private collection;

Whyte’s, 24 November 2008, lot 127; Private collection

Exhibited:

Probably exhibited as ‘La Bouteille Verte’, ‘May Guinness’, Galerie Visconti, Paris, January 1925;

the exhibition later travelled in the same year to the Mayor Gallery, London;

‘Analysing Cubism’, Irish Museum of Modern Art, Dublin, Crawford Art Gallery, Cork and F.E. McWilliam Gallery & Studio, Banbridge, Co. Down, 20

February 2013 to 30 November 2013 (loaned by present owner)

Literature:

Analysing Cubism, exhibition catalogue, IMMA, Dublin, 2013, p.71 (full page illustration)

May Guinness is one of the unsung heroes of Irish Modernism. Born in Dublin in 1863 she was part of a generation of pioneering Irish artists

that included Grace Henry (1868–1953), Eileen Gray (1878–1976), and Mary Swanzy (1882-1978) who travelled outside Ireland to learn about the

most innovative movements in art. In the mid-1890s, Guinness began by studying in Cornwall with Norman Garstin where plein-air painting was

encouraged. Soon after, she exhibited for the first time at the Royal Hibernian Academy in Dublin. From 1902-03 she travelled to Florence and then

later to Paris where she was exposed to the avant-garde developments of early Cubism around the salon of Gertrude Stein. During the First World

War she became a nurse in the French army and was awarded the Médaille de la Reconnaissance Française for bravery. After the war, she returned

to Paris to study with Kees Van Dongen whose Expressionist style would long influence her. Guinness was already fifty-nine years old when she

went to study with André Lhote in 1922. She exhibited at the Salon des Indépendants in 1923 and continued to work with Lhote until 1925.

Still Life with Green Bottle was made concurrently with her time in Paris and demonstrates that she had absorbed many of the principles of Cubism

in her work. Breaking with academic tradition and the laws of perspective inherited from Renaissance masters, Cubist painters no longer copied

from nature or from the works of other masters. The rules of modelling, foreshortening and especially perspective were abandoned. Paintings

should no longer attempt to fool the eye by conveying three dimensionality, rather the two dimensional space of the surface, canvas and paint

should be celebrated for their formal qualities. The image to be conveyed was reduced to geometric forms. It was then fractured and seen from

multiple viewpoints. Paintings were no longer lit from a single viewpoint but modelled for volume.

Still life was a popular subject for the Cubists and Still Life with Green Bottle is a good example of the genre. The objects depicted such as the fruit

bowl and table-cloth have been successfully reduced to patterns and groups of shapes. We see an image that has been so abstracted that it has

become almost unreadable. The viewpoints taken by Guinness create an overlapping and layered effect, pulling apart the subject, before putting

it back together again – something that was radical for its time. The first works of Cubism by Picasso and Braque demonstrated a restrained palette,

using blacks, browns and greys; here Guinness uses more vibrant colours although the stippling and wood- grain effects are very typical of the

style of Picasso.

André Lhote taught a number of Irish painters including Mainie Jellett, Evie Hone, Norah McGuinness, Jack Hanlon and others. These artists studied

with this master of Cubism, but the lessons each learned, the influences they absorbed and the methods with which they applied these were

as unique as each individual artist. As artists who wished to paint in the Modern manner, they rejected academic traditions and instead turned

to Cubism as a short-hand for Modernism, taking many traditional subjects and transforming them in many unique ways. It points to the tumult

of other ideas and styles to be found in Paris in the 1920s and the freedom artists felt to express themselves in whole range of ways. This was

especially true of Guinness whose style would evolve and adapt throughout her life as she engaged with different ideas and made them her own.

She died in Dublin in 1955 and a retrospective of her work was held the following year at the Dawson Gallery, Dublin.

Seán Kissane April 2015

Seán Kissane was curator of ‘Analysing Cubism’, IMMA, Crawford Art Gallery, Cork and

F.E. McWilliam Gallery & Studio, Banbridge, Co. Down, 20 February 2013 to 30 November 2013

€ 6,000.00- € 8,000.00 (£4,480-£5,970 approx.)Large Image & Place Bid Lot 44 IMPORTANT IRISH ART · 25 MAY 2015 AT 6PM

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45 Evie Hone HRHA (1894-1955) ABSTRACT FORMSgouache

titled on reverse21_ x 11_in. (55_ x 29.21cm)

Provenance:The McClelland Collection; Adam’s 13 October 2010, lot 123; Private collection

Loaned to the Irish Museum of Modern Art (from McClelland) 1999 to 2004.

€ 3,000.00- € 4,000.00 (£2,240-£2,990 approx.)



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46 Evie Hone HRHA (1894-1955) COMPOSITIONgouache

signed in pencil lower left10 x 6_in. (25.40 x 16.51cm)

Provenance:Dawson Gallery, Dublin;Where purchased by Mrs Phillip Feldblum; Private collection

Contained in original Dawson Gallery frame.€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



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47 Evie Hone HRHA (1894-1955) CHRIST AMONG THE DOCTORS, 1944watercolour

signed and dated lower right55 x 44in. (139.70 x 111.76cm)

Provenance:Collection of Dr. Eileen MacCarvill; Dawson Gallery, Dublin;Private collection

Exhibited:‘Religious & Secular Works by Evie Hone’, Dawson Gallery, Dublin, from 4 June 1957, catalogue no. 25; ‘Evie Hone 1894-1955’, The Great Hall, University College, Earlsfort Terrace, Dublin, 29 July to 5 September 1958, catalogue no. 63 (lent by Dr. E. MacCarvill)

The present work is described in the Great Hall exhibition catalogue as, “Cartoon for the window submitted to the Drogheda Grammar School and not accepted / c.1943”.The commission for the designing of a stained glass window for Drogheda Grammar School was ultimately awarded to the Harry Clarke Stained Glass Studio and was funded by donations and contributions to the school. The window was originally installed in the old school building in Laurence’s Street and later went into storage until 1976. In 2012 the stained glass window was reinstalled in a reflection room in the new school building extension.

€ 5,000.00- € 7,000.00 (£3,730-£5,220 approx.)



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48 Father Jack P. Hanlon (1913-1968) NOSSA SENHORA DO MONTE (OUR LADY OF THE MOUNTAINS), 1965oil on board

signed and dated lower right; titled on reverse23_ x 19_in. (59.69 x 49.53cm)

Provenance:deVere’s, 25 March 2014, lot 53; Private collection

In original Dawson Gallery frame.

€ 3,000.00- € 5,000.00 (£2,240-£3,730 approx.)



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49 Evie Hone HRHA (1894-1955) ABSTRACT COMPOSITIONgouache

signed lower left; with Jorgensen Gallery exhibition label on reverse; with Dawson Gallery framing label also on reverse6_ x 5.20in. (16.51 x 13.21cm)

Provenance:Jorgensen Gallery, Dublin; Private collection

€ 1,500.00- € 1,800.00 (£1,120-£1,340 approx.)



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50 Father Jack P. Hanlon (1913-1968) PATCH-WORK QUILT, 1949oil on canvas

signed twice and dated lower right17_ x 23_in. (44.45 x 59.69cm)

Provenance: Family of the artist;Thence by descent;James Adam & Bonhams, 25 May 2005, lot 131, as Woman and Cat; Private collectionExhibited:Irish Exhibition of Living Art, Dublin, 1949, catalogue no. 58 (£21-0-0)

Throughout his relatively short life the painter Fr. Jack P. Hanlon (1913-1968) explored many styles and techniques and was always open to new ideas. His oeuvre included landscapes, still life studies, religious paintings and quite frequently genre studies.One of the four works which he submitted to the 1949 Irish Exhibition of Living Art was entitled Patchwork Quilt. In oil on canvas, this is one of his more extravagant genre scenes. While the subject matter is an ordinary task, the ensemble is very rich and evocative. The painting shows a woman in an interior setting, working on a patchwork quilt, accompanied by a cat. This was probably a fairly common scene in the 1940s. Fr. Hanlon, however, has chosen to place the figures in what could best be described as a very ‘busy’ setting. He was known to have loved bright colours and frequently used them in his paintings to create an atmosphereof lightness and charm, when this was appropriate. The woman in the painting appears to be concentrating on her task, but all around her is a riot of patterns and shapes.The quilt, of its nature, is composed of colourful patches of fabric, both square and rectangular; the couch to her left is covered in a striped material in different hues, which echo the stripes on the wallpaper at the back of the room; the cushions, both square and round, display a multitude of patterns and colours. A container to the woman’s right holds different coloured balls of wool or thread. Likewise, the top of the sideboard at the back of the room is crammed with objects in different shapes, sizes and colours, and even the pictures on the walls are varied.It is necessary to look very closely at this work in order to distinguish the various elements, which tend to become confused in the overall effect. Even the two figures can be drawn into the seething mass of textural activity. Once this distinction has been made it is interesting to see that Fr. Hanlon has succeeded in creating a tension in the work between the apparent calmness and tranquillity of the woman and the cat, and the wildly patterned setting.As a work of Fr. Hanlon’s mid-period, Patch-work Quilt is reminiscent of the style of Matisse, who was said to have had an influence on him. There was a suggestion that he actually took lessons from Matisse during one of his trips to France, but there is no evidence for this.Mary Reilly April 2015

Mary Reilly’s MA thesis was on Jack Hanlon and she has written extensively and given lectures on his work over the past decade.

€ 8,000.00- € 12,000.00 (£5,970-£8,960 approx.)



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51 Father Jack P. Hanlon (1913-1968) BOUQUEToil on canvas

inscribed with artist’s name and title on Dawson Gallery label on reverse21_ x 15in. (54.61 x 38.10cm)

rovenance:Dawson Gallery, Dublin;Where purchased by Mrs Phillip Feldblum; Private collection

Accompanied by the original Dawson Gallery frame.

€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



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52 Father Jack P. Hanlon (1913-1968) STILL LIFEwatercolour


€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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53 Norah McGuinness HRHA (1901-1980) MUCKISH, COUNTY DONEGALcrayon over ink on paper

with location inscribed lower left; with artist’s studio stamp lower right8 x 9_in. (20.32 x 24.13cm)

€ 600.00- € 800.00 (£450-£600 approx.)



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54 Grace Henry HRHA (1868-1953) APPLES, ORANGES AND MARIGOLDS, 1949oil on canvas

signed and dated lower right; signed again, titled and dated on reverse; with partial label remaining on reverse36 x 28in. (91.44 x 71.12cm)

€ 3,500.00- € 4,500.00 (£2,610-£3,360 approx.)



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55 Norah McGuinness HRHA (1901-1980) VIEW OF PARNELL SQUARE NORTH, DUBLIN, 1945gouache


Provenance:Taylor Galleries, Dublin; Private collection

€ 3,000.00- € 4,000.00 (£2,240-£2,990 approx.)



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56 Gerard Dillon (1916-1971) DECORATED CANOEgouache, pastel and collage

signed lower left17 x 25_in. (43.18 x 64.77cm)

Provenance: Christie’s, 17 May 2001, lot 383; Private collection

€ 4,000.00- € 6,000.00 (£2,990-£4,480 approx.)



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57 Basil Ivan Rákóczi (1908-1979) EVOLUTION CREATURE, 1949 and TWO FIGURES IN A LANDSCAPE WITH ROMAN COLUMNS (A PAIR)pen and ink; (1); ink with watercolour; (1)

both signed lower right ; the first inscribed with title and date on reverse19_ x 25_in. (48.90 x 64.77cm)

Dimensions of second work, 21 by 14ins.

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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57 Image 2





58 Basil Ivan Rákóczi (1908-1979) LE REPAS LA MARSEILLES, 1954oil on canvas

signed upper left; signed again and inscribed with title and artist’s reference number [2055] on reverse (now concealed beneath backing board)39_ x 28_in. (100.33 x 72.39cm)

Provenance:Purchased in Paris directly from the artist by a friend, c.1955; Whyte’s, 30 November 2004, lot 109;Private collection

From the middle of May to the middle of July 1954 Basil Rákóczi was living in Menton and regularly travelled along the coast of France. The present example was painted in early June 1954. A companion piece to Le Repas La Marseilles, a preparatory work in gouache entitled At Table chez la Marseillaise, can be found in the collection of the artist’s family and dates to late May of the same year. The present example was originally bought by a close friend of Rákóczi’s in 1955 in Paris.

We are grateful to Christopher Rákóczi for his assistance in cataloguing this lot.

€ 5,000.00- € 7,000.00 (£3,730-£5,220 approx.)





59 Daniel O’Neill (1920-1974) INDECISION, c.1950oil on board

signed upper left; titled on reverse; with IELA exhibition label also on reverse34 x 29_in. (86.36 x 74.93cm)

Provenance:Adam’s, 31 March 1999, lot 86; Private collection

Exhibited:Irish Exhibition of Living Art, The National College of Art, Kildare Street, Dublin, 16 August to 10 September 1950, catalogue no. 74 (£55-0-0)

Indecision is an extremely ambiguous and emotionally charged painting and reveals both O’Neill’s ambition and also his awareness of his contemporaries. Painted not long after O’Neill had travelled to Paris, where he had painted Place du Tertre (NMNI) and possibly also The Blue Skirt, which he exhibited the previous year at the Irish Exhibition of Living Art, Indecision appears to show a Belfast street scene.

While birds often appeared in Colin Middleton’s paintings, often alongside female figures, and cats occurred in those of Gerard Dillon, animals are seen less regularly in O’Neill’s work. Indecision is a painting which fits more closely alongside those of his contemporaries than is usual, recalling the Belfast street scenes Middleton and Dillon had painted in the early 1940s; but the heightened emotional mood of the work is typical of O’Neill at this period.In part this mood is expressed through swirling passages of impasto and tenebrist lighting that set a dramatic tone and give an almost hallucinatory mood to the stark setting. This setting is highly theatrical; light pours from a streetlight and two illuminated windows in a building behind the girl (although she appears to be facing a light source as well). Her simplified, mask-like features prefigure similarly treated figures in a slightly later painting such as Birth (1952), as well as recalling O’Neill’s interest in painting puppets. This anonymity allows him to use the girl’s posture to express emotions of doubt and uncertainty, with her shoulders weighed down and her feet poised on the edge of the pavement and half in shadow, appearing to being about to carry her cat away from the brightly lit buildings behind her.

The cat seems to capture something of the girl’s personality as well as her vulnerability and social isolation. Her pink-ish coat or cardigan recalls the red waistcoats that are so often worn by men in O’Neill’s early work, and along with her red beret, the use of colour isolates her from the street scene behind. The exact nature of the situation appears elusive but it is interesting to note that in the 1940s O’Neill had exhibited paintings with titles such as Trapped, Reverberation and Meditation by the Sea, suggesting that he found these almost Victorian themes extremely stimulating in the subjects they suggested.

Dickon Hall April 2015

€ 20,000.00- € 30,000.00 (£14,930-£22,390 approx.)



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60 Gerard Dillon (1916-1971) HENS AND THATCHED COTTAGEgouache

signed lower right15_ x 11_in. (40.01 x 29.21cm)

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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61 Harry Kernoff RHA (1900-1974) PORTRAIT OF EAMON MARTIN, 1969oil pastel on card

signed and dated lower right15_ x 12in. (39.37 x 30.48cm)

€ 800.00- € 1,000.00 (£600-£750 approx.)



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62 Harry Kernoff RHA (1900-1974) HOLY MACKERAL” (CONNEMARA FISHERMAN, RENVYLE, WALSH), 1960”oil on board

signed lower right; inscribed on reverse with title, medium, artist’s address [13 Stamer Street, Dublin 8] and exhibition details24 x 20in. (60.96 x 50.80cm)

Exhibited:RHA, Dublin, 1971, catalogue no. 1 as Holy Mackerel

€ 3,000.00- € 5,000.00 (£2,240-£3,730 approx.)



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63 Patrick Swift (1927-1983) GIRL IN A GARDEN, c.1953oil on canvas

signed lower right; with typed label detailing title on reverse53 x 42in. (134.62 x 106.68cm)

Provenance:Private Collector Gallery, Inishannon, Co. Cork; Where purchased by the present owner (2004)Literature:Patrick Swift (1927-1983) An Irish Painter in Portugal, Gandon Editions, Cork, 2001, catalogue no. 106, p.31 (full page illustration)

Girl in a Garden dates to the early 1950s and forms part of an interesting body of early work created in his studio on Hatch Street, Dublin which he shared with poet Anthony Cronin. The painting depicts the artist’s girlfriend American poet Claire McAllister seated in the garden of the studio. Together they formed part of an influential Dublin cultural set that included Patrick Kavanagh, Nano Reid and Brendan Behan among others.

In 1949 Swift met Lucian Freud and, as Cronin recalls, by 1950 the acquaintance was well-developed. “Lucian, who was staying in Ireland, used to come around in the mornings to paint, so that sometimes when I surfaced around ten or eleven I would find them both at work in the studio next door.”1Girl in a Garden recalls Girl with Blue Thistles (fig 1.) which sold through Whyte’s on 29 September 2008 as lot 88 (€32,000) also painted during his early life in Dublin.

Freud’s early influence on Swift - his junior by five years - is evident inboth works which are dispassionate, stylised and severe. Swift howeverwas less preoccupied with texture and more concerned with tone; adominant feature in the present example. At first glance the subjectappears somewhat ordinary set against a frugal palette but closerexamination reveals an environment that is more surreal than natural and a subject that is imbued with tension and ambiguity rather than indifference. Claire sits perched on the edge of the garden steps slightly below the artist’s line of vision and somewhat dwarfed by an unearthly invasion of vegetation from a neighbouring garden. The rickety patio door hangs open and there is a sense of detachment in spite of their obvious proximity.

In 1950 Swift showed his first works in public at the IELA; the following year at the same show his paintings were singled out by Dublin Magazine for their exceptional technical ability and “uncompromising clarity of vision which eschews the accidental or the obvious or the sentimental”. His first solo exhibition came in 1952 at the Waddington Galleries, Dublin. Later in the 1950s Swift and Freud met again in London, where he co- edited a literary and arts journal, X, and mingled with other leading artists of the period including Francis Bacon, John Minton and Leon Kossoff. In 1962 Swift and his wife visited the Algarve where they eventually settled and established Porches Pottery. He continued to exhibit on occasion in Dublin; his portrait of Patrick Kavanagh (CIÉ Collection) was shown at the RHA in 1968. A significant solo show was held in Lisbon in 1974 but it was not until 1993 (the centenary of his death) that Irish audiences could enjoy his work en masse at a major retrospective in IMMA.

We are grateful to Stephen O’Mara for his assistance in cataloguing this work.

€20,000-€30,000 (£14,390-£21,580 approx.)



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64 George Campbell RHA (1917-1979) AT THE WATER’S EDGEoil on board


Provenance:Christie’s, 19 May 2009, lot 277; Private collection

€ 3,000.00- € 4,000.00 (£2,240-£2,990 approx.)



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65 Nano Reid (1900-1981) TOWNLEY HALL WOOD, DROGHEDA, 1950oil on board

signed lower right; signed again, dated and titled on reverse12 x 16in. (30.48 x 40.64cm)

Built in 1794 to the design of Francis Johnston, Townley Hall is widely regarded as Johnston’s classical masterpiece. The last member of the Townley family to reside there was Mrs Townley Balfour, on whose death in 1954 it was inherited by Mr David Crichton, who sold it to Trinity College Dublin in 1956. A watercolour by Reid of Townley Hall sold through Whyte’s on 30 April 2007 as lot 59.

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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66 George Campbell RHA (1917-1979) TOLEDOoil on board

signed lower left; inscribed with title on reverse; with Frederick Gallery label also on reverse25 x 30in. (63_ x 76.20cm)

Provenance:Frederick Gallery, Dublin; Private collection

Exhibited:‘Irish Art’, Frederick Gallery, Dublin, 9-27 March 1998, catalogue no. 27 (illustrated in catalogue)

€ 6,000.00- € 8,000.00 (£4,480-£5,970 approx.)



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67 Basil Blackshaw HRHA RUA (b.1932) LANDSCAPE COUNTY DOWNgouache on buff-coloured paper

signed upper left; inscribed with title on reverse; with Dawson Gallery framing label on reverse15 x 21in. (38.10 x 53.34cm)

Provenance:Collection of Mrs Irene Calvert MP; Thence by descent

€ 3,000.00- € 5,000.00 (£2,240-£3,730 approx.)



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68 Colin Middleton MBE RHA (1910-1983) NEWRY CANALoil on board

signed in monogram lower right6 x 6in. (15.24 x 15.24cm)

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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69 Camille Souter HRHA (b.1929) UNTITLED, 1956oil on paper

signed and dated lower right8 x 6_in. (20.32 x 15.88cm)

€ 3,000.00- € 4,000.00 (£2,240-£2,990 approx.)



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70 William Scott CBE RA (1913-1989) ODEON SUITE I, 1966lithograph; (no. 68 from an edition of 75)

signed and dated in the margin lower right; numbered in the margin lower left21 x 25_in. (53.34 x 64.77cm)

Printed in colour on Rives by Mathieu, Zurich, published by Editions Alecto.

€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



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71 Colin Middleton MBE RHA (1910-1983) DUET, 1961oil on board

signed in monogram lower left; inscribed, dated and signed again on reverse24 x 18in. (60.96 x 45.72cm)

Provenance:Sotheby’s, 11 May 2006, lot 117; Private collection

Exhibited:Irish Exhibition of Living Art, Dublin, 1964, catalogue no. 41;Possibly also exhibited at the artist’s solo show, Hendriks Gallery, Dublin, December 1965, as Duet: Carnlough, catalogue no. 13

According to a contemporary inscription on reverse, this theme was suggested to the artist after listening to Chris Barber’s Band.

Both Colin Middleton and his wife Kate had a deep and wide-ranging interest in music and it was a theme that he explored in a number of works throughout his career, most notably in the series of paintings and drawings from the 1960s of Kate playing the piano.

Jazz was a particular passion and at the time Duet was painted, Middleton was living in Belfast at Camden Street and was part of a circle of jazz enthusiasts. Neil Shawcross recalled an “enthusiasm for jazz that was evident at the numerous parties he would throw at Camden Street, and the energy and rhythm of many of his paintings reflect Colin’s own jazz-inspired animation.” 1

The present painting demonstrates the interest in austerity and extreme simplification of form that Middleton explored in the early 1960s, in contrast to the lush and expressive qualities of many works from the previous decade. His visual language is pared down, ambiguous and witty and the picture space is flattened and spatially uncertain. The seated pianist on the left recalls images of Kate at the piano, but what appears to be a keyboard to the right can also be read as another musician facing us, and the pianist’s arms could even metamorphose into the lower right arm of this figure perhaps playing a double bass or a guitar.

The small white circle and the suggestion of a row of strings above and below connect this work with the subtle hints of musical instruments in the cubist paintings and collages of Picasso and Braque. Middleton’s image shares the invention and energy of the performance it apparently recalls, while also carrying overtones of the landscape with which Middleton so liked to integrate the figure through the suggestions of wood and rocks.

Dickon Hall April 2015

1 Neil Shawcross, foreword to Colin Middleton: A Study, Joga Press, 2001

€ 8,000.00- € 10,000.00 (£5,970-£7,460 approx.)

Large Image & Place Bid Lot 71s on view at Whyte’s Belfast preview, James Wray This work will be among the highlights on view at Whyte’s Belfast preview, James Wray Gallery from 6pm to 8pm Thursday 14 May and 10am to 3pm on

Friday 15 May. 5 May.



Large Image & Place Bid Lot 71s o


72 Louis le Brocquy HRHA (1916-2012) IMAGE OF PICASSO, 1989lithograph on Japanese paper; (no. 15 from an edition of 29)

signed, dated and numbered in pencil lower right27 x 20in. (68.58 x 50.80cm)

A number of lithographs of Picasso were produced by le Brocquy on the occasion of the exhibition Louis le Brocquy, Images, 1975-1988, Musée Picasso, Antibes (July 1989). These were printed on handmade Japanese paper by Pierre Chave.

€ 3,000.00- € 4,000.00 (£2,240-£2,990 approx.)



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73 Louis le Brocquy HRHA (1916-2012) JOHAN AUGUST STRINDBERGlithograph; (no. 3 from an edition of 100)

signed and numbered lower right30 x 22_in. (76.20 x 57.15cm)

€ 600.00- € 800.00 (£450-£600 approx.)



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74 Louis le Brocquy HRHA (1916-2012) EIGHT IRISH PORTRAITS IN WORDS AND WATERCOLOUR, 1990off-set lithograph print (no. 0583 from an edition of 1000)

signed and numbered on the colophon10_ x 9_in. (26.67 x 24.13cm)

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

€ 600.00- € 800.00 (£450-£600 approx.)



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75 Louis le Brocquy HRHA (1916-2012) JAMES JOYCE AND SAMUEL BECKETTlithograph; (no. 85 from edition of 100)

signed lower right20 x 25in. (50.80 x 63_cm)

€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



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76 Louis le Brocquy HRHA (1916-2012) THE TÁIN. COW AND CALF, 1969lithographic brush drawing; (no. 53 from an edition of 70)

signed, numbered and dated lower right15 x 21in. (38.10 x 53.34cm)

Whyte’s, 30 April 2007, ex lot 52;Private collectionPrinted in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof. The present example is no. 32 in the series.

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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77 Louis le Brocquy HRHA (1916-2012) THE TÁIN. THE BIRTH OF CONCHOBOR, 1939lithographic brush drawing; (no. 53 from an edition of 70)


Provenance:Whyte’s, 30 April 2007, ex lot 52; Private collection

The present example is no. 11 in the series.

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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78 Louis le Brocquy HRHA (1916-2012) THE TÁIN. MEN AND HORSES, 1969lithographic brush drawing; (no. 10 from an edition of 70)

signed, numbered and dated lower left21 x 15in. (53.34 x 38.10cm)

Provenance:Whyte’s, 29 September 2014, lot 84; Private collection


€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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79 Louis le Brocquy HRHA (1916-2012) THE TÁIN. SWORDSMAN, 1969lithographic brush drawing; (no. 53 from an edition of 70)



The present example is no. 17 in the series.€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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80 Louis le Brocquy HRHA (1916-2012) THE TÁIN. NOISIU, 1969lithographic brush drawing; (no. 53 from an edition of 70)




€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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81 Louis le Brocquy HRHA (1916-2012) THE TÁIN - PORTFOLIO No. 2, 1969 (SET OF TWELVE)lithographic brush drawings (12); each no. 24 from an edition of 70

each signed, inscribed, dated and numbered in pencil in the margin lower right21_ x 14_in. (53.98 x 37.47cm)

Printed in Dublin in 1969 by Frank O’Reilly in an edition of seventy plus one artist’s proof, these lithographic brush drawings illustrate the epic Ulster cycle of heroic tales. The complete set of this seminal series comprises three portfolios, of which this is the second in the series. Included in this portfolio: Noisiu, Naked Woman, Cúchulainn Displayed, The Boy Cúchulainn Armed, Swordsman, The Boy Cúchulainn, Horseman, Medb Relieving Herself, Macha Pleading, Fedelm, Chariots and Army Massing. Presented in its original black clamshell case with title pages, preliminaries and black interleaves. A rare and highly desirable set.

€ 12,000.00- € 15,000.00 (£8,960-£11,190 approx.)



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82 Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE VII, 2005silkscreen; (no. 9 from edition of 75)

signed and numbered in pencil in the margin lower right34 x 25in. (86.36 x 63_cm)

Lots 82- 85: sheet size, 39.75 by 30in.

The Human Image series spanned the years c.1996-2005 and saw le Brocquy further develop his preoccupation with the human spirit or psyche which he first examined in his Presences series of mid 1950s to mid 1960s. Curator and lecturer Caoimhín Mac Giolla Léith has described the artist’s motivation for this later series as a “...painterly investigation of ‘the mysterious state of conscious being.’

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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83 Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE XII, 2005silkscreen; (no. 20 from edition of 75)


€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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84 Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE IV, 2005silkscreen; (no. 8 from edition of 75)


€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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85 Louis le Brocquy HRHA (1916-2012) HUMAN IMAGE X, 2005silkscreen; (no. 7 from edition of 75)


€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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86 Patrick Scott HRHA (1921-2014) TANGRAM I, 2004carborundum and gold leaf; (no. 68 from edition of 75)

numbered lower left; signed and dated lower right23.60 x 23.60in. (59.94 x 59.94c

Lots 86-87: Sheet size 31 by 29.5ins.

The tangram is a dissection puzzle consisting of seven flat shapes, called tans, which are put together to form shapes. These puzzles have been the object of interest for artists and designers who have used the principles of the game to sharpen the powers of observation through the discovery of resemblances between geometric and natural forms and as a tool for abstraction. The tangram is thought to have been invented in China during the Song Dynasty and later introduced to Europe by trading ships in the early 19th century.

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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87 Patrick Scott HRHA (1921-2014) TANGRAM II, 2004carborundum and gold leaf; (no. 68 from edition of 75)

numbered lower left; signed and dated lower right23_ x 23_in. (59.69 x 59.69cm)

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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88 Patrick Scott HRHA (1921-2014) TANGRAM III, 2005carborundum and gold leaf; (no. 52 from edition of 75)


Sheet size, 31.5 by 24in.

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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89 Patrick Scott HRHA (1921-2014) TANGRAM IV, 2005carborundum and gold leaf; (no. 52 from edition of 75)


Sheet size, 25 by 30in.

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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90 Patrick Scott HRHA (1921-2014) GOLD ABSTRACT, 2004carborundum, gold leaf; (no. 63 from edition of 75)

numbered lower left; signed and dated lower right38_ x 39in. (97.79 x 99.06cm)

Sheet size 45.5 by 44ins.

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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91 Patrick Scott HRHA (1921-2014) UNTITLED, 2004carborundum with goldleaf; (no. 63 from an edition of 75)

signed and dated in the margin in pencil lower right; numbered lower left39_ x 39in. (100.33 x 99.06cm)

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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92 Patrick Scott HRHA (1921-2014) UNTITLED IV, 2006carborundum and gold leaf; (no. 46 from edition of 75)

numbered lower left; signed and dated lower right38_ x 19.30in. (97.79 x 49.02cm)

Sheet size 24.5 by 44.5ins.

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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93 John Behan RHA (b.1938) UNTITLED, 2000bronze; (unique)

signed and dated at stern16_ x 21_ x 9in. (41.91 x 54.61

The present example by Behan was cast following several trips to the Far East. Among his important public sculptures is Wings of the World located in Shenzhen, China commissioned in 1991.

€ 1,500.00- € 1,800.00 (£1,120-£1,340 approx.)



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94 Brian King (b.1942) BIRTH NO. 2, 1962lead; (unique); on painted wooden base

signed, titled and dated beneath wooden base3_ x 12_ x 3_in. (8.89 x 32.39 x

Provenance:Acquired directly from the artist by the present owner, 1962

€ 700.00- € 900.00 (£520-£670 approx.)



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95 Anthony Scott (b.1968) HORSEceramic

12_ x 16 x 10in. (31_ x 40.64 x

Provenance:Purchased directly from the artist by the present owner c.1997

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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96 Patrick McElroy (1923-2007) BIRD OF PEACE, 1996bronze with green patina on black marble base

signed with initials and dated at base9 x 9_ x 6in. (22.86 x 24.13 x 1

€ 600.00- € 800.00 (£450-£600 approx.)



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97 Barrie Cooke HRHA (1931-2014) FOREST LIGHT, c.1976oil on canvas

signed lower right; with Ritchie Hendriks Gallery label on reverse24 x 18in. (60.96 x 45.72cm)

Provenance:David Hendriks Gallery, Dublin; Private collection

Exhibited:‘Barry Cooke’, David Hendriks Gallery, Dublin, 22 April to 15 May, 1976, catalogue no. 21

Contained in original Hendriks Gallery frame.Forest Light was shown at the artist’s solo exhibition in the David Hendriks Gallery in May 1976. The exhibition was a result of a three-month stay in the intense, diverse and complex ecological system that is the equatorial forests of Malaya and Borneo.

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)





98 Barrie Cooke HRHA (1931-2014) DIDYMO, N.Z.I., 2006oil on canvas

signed, titled, dated and with artist’s archival number [BC28506] on reverse; with typed Kerlin Gallery exhibition label also on reverse27_ x 33_in. (69.85 x 85.09cm)

Provenance:Kerlin Gallery, Dublin; Private collection

Exhibited:‘Barrie Cooke’, Kerlin Gallery, Dublin, 5 May - 3 June 2006

The Kerlin exhibition in 2006 marked the artist’s 75th birthday and featured several reoccurring themes in his oeuvre. The present work represents his preoccupation with water pollution and an algae called Didymosphenia geminata discovered in New Zealand in 2004.€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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99 Tony O’Malley HRHA (1913-2003) CEAPACHÁN SAMHAINcarborundum; (no. 14 from an edition of 35)

signed lower right; numbered lower left23 x 35in. (58.42 x 88.90cm)

€ 500.00- € 600.00 (£370-£450 approx.)



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100 Tony O’Malley HRHA (1913-2003) NIGHT CROWSCAPEgouache and gold paint on board

signed upper right; signed again and dated lower left; titled lower right; with exhibition label on reverse; also with artist’s archival number [1266] on reverse20_ x 25in. (52.07 x 63_cm)

Provenance:Taylor Gallery, Dublin; Private collection

€ 3,000.00- € 5,000.00 (£2,240-£3,730 approx.)



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101 Tony O’Malley HRHA (1913-2003) MORNING LIGHT, 1971oil on board

signed and dated upper left16 x 11in. (40.64 x 27.94cm)

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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102 Martin Gale RHA (b.1949) THE ORCHARD KEEPERoil on canvas

signed lower right; signed again and titled on artist’s label on reverse9.80 x 11.80in. (24.89 x 29.97cm

€ 1,800.00- € 2,200.00 (£1,340-£1,640 approx.)



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103 Martin Gale RHA (b.1949) SWALLEWE, 1975oil on canvas

signed and dated on reverse16 x 16in. (40.64 x 40.64cm)

Provenance:Neptune Gallery, Dublin; Private collection

Exhibited:‘Martin Gale’ (the artist’s first one-man show), Neptune Gallery, South William St., Dublin, 1975

This painting is titled ‘Swallewe’ which is the old English word for Swallow. It was shown as part of the artist’s first solo exhibition in Dublin. After the Neptune Gallery ceased showing contemporary art in 1980 Gale began showing with the Taylor Galleries who continue to represent him today. We are grateful to the artist for his kind assistance in cataloguing this lot.

€ 700.00- € 900.00 (£520-£670 approx.)



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104 Trevor Geoghegan (b.1946) TWO OF MANYacrylic on canvas

signed lower right; with Gordon Gallery exhibition label on reverse26 x 30 x 30in. (66.04 x 76.20 x

Provenance:Gordon Gallery, Londonderry; Private collection

Exhibited:Gordon Gallery, April 1990

€ 800.00- € 1,200.00 (£600-£900 approx.)



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105 Mary Therese Keown (b.1974) THE WRITER (TRIPTYCH)oil on canvas

right panel signed lower right; all inscribed with title on reverse32 x 20in. (81.28 x 50.80cm)

Dimensions of second and third piece 32 by 32 in.

Born in Fermanagh in 1974 and educated in Belfast, Mary Theresa Keown has risen to success as one of Northern Ireland’s most exciting young artists. In 2008 she was winner of the Whyte’s Award at the RHA Annual Exhibition, for her work entitled Converse Notations. Keown regularly holds solo gallery exhibitions both in Ireland and internationally. Her participation in group exhibitions has also been considerable having featured at the Royal Hibernian Academy, Dublin and the Royal Ulster Academy, Belfast among others. Her work forms part of a variety of government department collections, the Office of Public Works and AIB, as well as public and private collections nationwide and in North America, Japan and Europe.

€ 1,800.00- € 2,200.00 (£1,340-£1,640 approx.)



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106 Francis Mathews (b.1980) STREET VIEWoil on canvas

signed lower right19_ x 27_in. (49.53 x 69.85cm)

€ 1,800.00- € 2,200.00 (£1,340-£1,640 approx.)



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107 Nick Miller (b.1962) HIGHWOOD TO HOME, 2005oil on linen

signed lower left; dated lower right; signed again, dated and titled on reverse; with Rubicon Gallery label also on reverse26 x 30in. (66.04 x 76.20cm)

Provenance:Rubicon Gallery, Dublin Private collection

€ 2,000.00- € 4,000.00 (£1,490-£2,990 approx.)



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108 Donald Teskey RHA (b.1956) LANDFALL VARIATION XI, 2005charcoal on paper

signed and dated lower left; with Rubicon Gallery label on reverse28 x 39_in. (71.12 x 100.33cm)

Provenance:Rubicon Gallery, Dublin; Private collection

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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109 Seán McSweeney HRHA (b.1935) POLL DUBH, 2004acrylic on paper

signed, titled on reverse and with artist’s archival number [04.41] on reverse; with Taylor Gallery label also on reverse14 x 17in. (35.56 x 43.18cm)

Provenance: Taylor Gallery; Private collection

Exhibited:Taylor Gallery, October to November 2004, catalogue no. 21

€ 400.00- € 600.00 (£300-£450 approx.)



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110 Donald Teskey RHA (b.1956) WATERSEDGE XVII, 2007acrylic on canvas

signed, dated and titled on reverse; with Rubicon Gallery label on reverse39 x 39in. (99.06 x 99.06cm)

Provenance:Rubicon Gallery, Dublin; Private collection

€ 10,000.00- € 15,000.00 (£7,460-£11,190 approx.)



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111 Aidan Bradley (b.1961) CORNER OF THE COOMBE, 2010oil on board

signed and dated lower right; titled on reverse24 x 24in. (60.96 x 60.96cm)

€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



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112 Aidan Bradley (b.1961) BRIDGE ON RIVER LEE, CORKoil on board

signed lower right; titled on reverse23_ x 23_in. (60.33 x 60.33cm)

€ 600.00- € 800.00 (£450-£600 approx.)



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113 John B. Vallely (b.1941) THE SESSIONoil on canvas


John B. Vallely was born in Armagh in 1941 and is now the city’s most acclaimed resident artist, not to mention one of Ireland’s most popular painters. In 1959 he enrolled at the Belfast College of Art, where he studied under the late Tom Carr. Vallely went on to further study at Edinburgh Art College, and during hisearly years travelled widely in search of subjects. However, his work has returned time and again to those local subjects that have most engaged him: traditional Irish culture, in particular sport and music. Music and painting are inseparable concerns of Vallely’s. He is a skilled musician himself and some forty years ago founded the Armagh Pipers Club, still in existence today. In the words of Brian Ferran, “in their classic simplification Vallely’s paintings reach towards a greater universality and achieve a mythological dimension which, for me, recalls something of the character of De Stael’s footballers and jazz musicians, or paralleled perhaps in the great themes of Picasso’s harlequins and clowns, mythological in dimension but essentially humanist” (introduction to Vallely’s exhibition in the CEMA Gallery, Belfast, 1966).

€ 8,000.00- € 10,000.00 (£5,970-£7,460 approx.)

Large Image & Place Bid Lot 113This work will be among the highlights on view at Whyte’s Belfast preview, James Wray Gallery from 6pm to 8pm Thursday 14 May and 10am to 3pm on

Friday 15 May.


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114 Ivan Sutton (b.1944) GALWAY HOOKERS ON THE CLADDAGH, GALWAY CITYoil on board


€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



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115 Fergus O’Ryan RHA (1911-1989) BRIDGEoil on canvas board


€ 600.00- € 800.00 (£450-£600 approx.)



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116 Simon Coleman RHA (1916-1995) LANDSCAPE, COUNTY MEATHoil on board


Thought to be Duleek.

€ 500.00- € 700.00 (£370-£520 approx.)



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117 Liam O’Neill (b.1954) FULL LOADoil on canvas


The currach and working life on the sea are recurring themes in O’Neill’s canvases, many of whichdepict scenes in his native Kerry. As a self-taught painter, O’Neill’s unique style has developed overthe last thirty years and in particular since his relocation back to West Kerry. O’Neill’s innovationhas generated exceptional success, in both his exhibitions and on the auction circuit.

€ 5,000.00- € 7,000.00 (£3,730-£5,220 approx.)



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118 Peter Collis RHA (1929-2012) AT GLENCREEoil on canvas

signed lower left; titled on reverse28 x 36in. (71.12 x 91.44cm)

Provenance:Purchased directly from the artist by the present owner, circa 1990

€ 3,000.00- € 5,000.00 (£2,240-£3,730 approx.)



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119 Peter Collis RHA (1929-2012) LANDSCAPEoil on canvas


€ 2,500.00- € 3,500.00 (£1,870-£2,610 approx.)



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120 Peter Collis RHA (1929-2012) STILL LIFE WITH BLUE VASE AND FRUIToil on canvas board

signed lower right; bearing original inscribed artist’s label and Solomon Gallery label on reverse20 x 28in. (50.80 x 71.12cm)

Provenance: Solomon Gallery; Private collection

€ 3,000.00- € 4,000.00 (£2,240-£2,990 approx.)



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121 Peter Collis RHA (1929-2012) STILL LIFE IN THE STUDIOoil on canvas


Provenance: Kilcock Art Gallery; Private collection

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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122 Robin Buick ARHA (b.1940) FIGURES EMBRACINGbronze; (from an edition of 250)

signed and numbered at base15_ x 6 x 4_in. (39.37 x 15.24 x

€ 800.00- € 1,000.00 (£600-£750 approx.)



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123 Stuart Morle (b.1960) STILL LIFE WITH FOUR SHELLS AFTER ADRIAEN COORTEoil on wood panel

signed lower right9_ x 14in. (24.13 x 35.56cm)

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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124 Stuart Morle (b.1960) STILL LIFE WITH SEASHELLS AND OSTRICH EGGoil on canvas


€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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125 Rosaleen Davey (b.1947) STILL LIFE, 2001 and STILL LIFE, 2005 (A PAIR)watercolour; (2)

each signed and dated lower right20 x 20in. (50.80 x 50.80cm)

Dimensions of Still Life, 2005, 21 by 18in.; framed uniformly.

€ 800.00- € 1,000.00 (£600-£750 approx.)



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125 Image 2



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126 Fergus O’Ryan RHA (1911-1989) RIVER WITH CHURCH IN THE DISTANCEoil on board


€ 600.00- € 800.00 (£450-£600 approx.)



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127 Fergus O’Ryan RHA (1911-1989) THE AVOCA AT LARAGH, COUNTY WICKLOWoil on board


Provenance:Whyte’s, 13 March 2001, lot 23; Private collection

€ 600.00- € 800.00 (£450-£600 approx.)



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128 Anne Primrose Jury RUA (1907-1995) HOMESTEAD ON A BYGONE EVENING, COUNTY DONEGALoil on canvas board

signed lower right; with Eakin Gallery label on reverse13 x 20in. (33.02 x 50.80cm)

Provenance: Ross’s,TheStudioWorksofA.P.Jury,October1995, lot 198;Private collection;Bonhams, 1 October 2010, lot 351;with Eakin Gallery, Belfast;Private collection

€ 600.00- € 800.00 (£450-£600 approx.)



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129 Thomas Ryan PPRHA (b.1929) ST. AUDEON’S AND THE FOUR COURTS, DUBLIN, 1980oil on canvas

signed lower left; signed again and inscribed [finished 1981] on reverse; also with inscribed studio label detailing title and number [103] on reverse20 x 16in. (50.80 x 40.64cm)

For an earlier view of this area of Dublin see lot 37.

€ 1,800.00- € 2,200.00 (£1,340-£1,640 approx.)



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130 James le Jeune RHA (1910-1983) THE VILLAGE OF DOOAGH, ACHILL ISLAND, COUNTY MAYOoil on board

signed lower right; inscribed with title on reverse20 x 24in. (50.80 x 60.96cm)

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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131 Estella Frances Solomons HRHA (1882-1968) CARLISLE COURT, GIRL AND TREE and HOEY’S COURT (SET OF 3)etchings; (3)

each titled and numbered in the lower margin; each with exhibition label on reverse9_ x 6in. (24.13 x 15.24cm)

Provenance:Frederick Gallery, Dublin; Private collection

Exhibited:‘Estella Solomons Exhibition of Etchings and Paintings’, Frederick Gallery, Dublin, 14-20 October 2000, catalogue no. 13, 35 and 8 (illustrated)

Dimensions of second work 6.8 by 5ins. Third work 8.7 by 6ins.

€ 300.00- € 500.00 (£220-£370 approx.)



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131 Image 2 & 3



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132 George Russell (Æ”)” (1867-1935) RAINY NIGHTpen and ink

signed lower right; with exhibition label on reverse10 x 6.80in. (25.40 x 17.27cm)

Provenance:Family of fellow student of the artist at The Rathmines School of Art, 1882-1884;with Molesworth Gallery, Dublin;Private collection

Exhibited:Molesworth Gallery, October-November 1999, catalogue no. 9

€ 800.00- € 1,000.00 (£600-£750 approx.)



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133 John Faulkner RHA (1835-1894) NEAR RICKMANSWORTH, GRAND JUNCTIONwatercolour

signed and titled lower right; with Combridge framing label on reverse18 x 38in. (45.72 x 96.52cm)

€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



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134Samuel Frederick Brocas (c.1792-1847) DUBLIN VIEWS (SET OF 12)coloured aquatints; (12)

each with artist’s name, title and date of publication [1828] printed in lower margin11 x 17in. (27.94 x 43.18cm)

All of equal dimensions. All uniformly framed. Scenes depicted are View of Castle Chapel; View of the Royal Exchange, Dame Street; View of Castle Gate and Royal Exchange; View of the Lying in Hospital and Retland Square; View of Bank of Ireland College Green; View of the Post Office and Nelsons Pillar, Jackville Street; View of the Corn Exchange-Drury Quay and Custom House; View of the Four Courts Looking Down the River Lifefy; College Green; View of the Custom House From the River Liffey; View of the Carlisle Bridge; View of Trinity College from Westmoreland Street.

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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134 Image 2





134 Image 3





134 Image 4





134 Image 5





134 Image 6





134 Image 7





134 Image 8





134 Image 9





134 Image 10Large Image & Place Bid Lot 134




134 Image 11





134 Image 12





135 Irish School, c.1900 A TIGHT FINISH - GALWAY RACESoil on canvas board

with Combridge Fine Arts label on reverse10 x 17_in. (25.40 x 44.45cm)

Provenance:Whyte’s, 12 June 2005, lot 405; Whence purchased by the present owner€ 800.00- € 1,000.00 (£600-£750 approx.)



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136 Joseph William Carey RUA (1859-1937) ILLUMINATED ADDRESS, 1920watercolour

signed lower right; dated [July] lower left39_ x 11.60in. (100.33 x 29.46cm

The work is dedicated to James McQuitty Brabazon Esq from the officials and staff of the Antrim Iron Ore Company Limited. The presentation case folds open in a hardback booklet format. Average size of illustrations is 2.5 by 5ins. Illustrated scenes are The Gubbins, Belfast from Castlereagh, Carrickfergus Castle, The S.S. Glendun off Carrick, The Old Gibraltar Belfast Laugh, Cave Hill, Lisburn from the South, Lock Gates Lisburn, The Valley of the Lagan near Lisburn. Calligraphy and interlacing elements carried out by Thomson.

€ 600.00- € 800.00 (£450-£600 approx.)



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137 John Luke RUA (1906-1975) VIEW OF BELFAST LOUGHwatercolour

signed lower left9 x 12_in. (22.86 x 31_cm)

Provenance:Gift from the artist to Professor John Earls; Thence to Irene Calvert MP;Thence by descent to the present owner

Also with this lot, Bridge at Balldrain by William R. Gordon (1882-1955) oil on board (15 by 20in.) which was shown at the artist’s retrospective in Belfast in 1954 and was originally purchased by Professor H.O. Meredith from whom it was presented to Mrs Irene Calvert; thence by descent.

€ 800.00- € 1,200.00 (£600-£900 approx.)



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137 Image 2



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138 William John Leech RHA ROI (1881-1968) STUDY OF FEMALE NUDEconté


Provenance:Purchased from the estate of Alan Denson by the present owner

Alan Denson, poet, author, art historian and close friend of Leech, was the author of An Irish Artist. W.J. Leech (1881-1968) published in two volumes in 1968 and 1969.

€ 500.00- € 700.00 (£370-£520 approx.)



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139 Jack Butler Yeats RHA (1871-1957) CHRIST’S COMINGIndian ink

signed upper right in monogram; with Dawson Gallery labels preserved on reverse4_ x 4in. (12.07 x 10.16cm)

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: His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994, catalogue no. 2073, p.293 (illustrated)

Reproduced as a Cuala Press Christmas card alongside a poem of the same title by Pádraic Pearse.€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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140 Jack Butler Yeats RHA (1871-1957) PAWN BROKERS SALEwatercolour

signed lower right4.80 x 3.40in. (12.19 x 8.64cm)

Provenance:Adam’s, 27 September 2000, lot 11; Private collection

€ 800.00- € 1,200.00 (£600-£900 approx.)



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141 John Carey (1861-1943) AT THE SPINNING WHEEL and BRINGING HOME THE TURF (A PAIR)watercolour; (2)

both signed lower right; second titled lower left12_ x 9_in. (31_ x 24.13cm)

Dimensions of second work 10 by 7 ins.

€ 600.00- € 800.00 (£450-£600 approx.)



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141 Image 2



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142 Robert Catterson Smith (1853-1938) THE CHINESE FANgouache

signed with initials lower left18_ x 13_in. (46.99 x 34.29cm)

Robert Catterson Smith was a Pre-Raphaelite artist and son of portrait painter Stephen Catterson Smith (1806-1872) former president of the RHA. His mother was Anne a miniature-painter, daughter of Robert Titus Wyke, an English artist, residing at Wexford. Robert was one of ten children, two of whom became practicing artists. Stephen Catterson Smith was a member of the Royal Hibernian Academy and practiced in Dublin, while Robert worked in London.

€ 500.00- € 700.00 (£370-£520 approx.)



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143 William Craig (1829-1875) WOMAN SPINNING IN A DOORWAYwatercolour and pencil

8_ x 11.70in. (21.59 x 29.72cm)

Provenance:Gorry Gallery, Dublin; Private collection

Exhibited:‘An Exhibition of 18th - 20th Century Paintings...’, Gorry Gallery, 10 - 20 December 2008, catalogue no. 36

The Gorry exhibition catalogue accompanies this lot and includes a lengthy note on the present work by author Claudia Kinmonth. See www.whytes.ie for further reading.

€ 500.00- € 600.00 (£370-£450 approx.)



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144 Erskine Nicol ARA RSA (1825-1904) YOUNG WOMAN IN SHAWL, 1855watercolour


Provenance:Charles Nicholls and Sons, Manchester; Private collection

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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145 Sarah Henrietta Purser HRHA (1848-1943) AGED ITALIAN PEASANT WOMAN and BEARDED ITALIAN PEASANT MAN (A PAIR)black and white chalk on paper

inscribed on reverse19 x 15in. (48.26 x 38.10cm)

Provenance:Collection of Sarah Henrietta Purser;Her sale, Mespil House 1943, whence purchased by the present owner’s sister-in-law;Whyte’s, 2 March 2009, lot 117;Private collection

Literature:O’Grady, John , The Life and Work of Sarah Purser, Four Courts Press, Dublin, 1996, catalogue numbers 18 and 19 respectively, illustrated p.169With regards to the aged woman Dr. O’Grady notes, “A character study typical of Parisian art schools.” The bearded man follows a similar style and he suggests that this study was “...perhaps intended as a pendent.”

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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145 Image 2



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146 Kenneth Webb RWA FRSA RUA (b.1927) COLIEMORE HARBOUR, DALKEYgouache with mixed media on paper


€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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147 Kenneth Webb RWA FRSA RUA (b.1927) FLIGHT OF WILD DUCKS OVER A MARSH, DONEGALwatercolour with gouache


We are grateful to the artist for his assistance in identifying the location of this scene.

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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148 George K. Gillespie RUA (1924-1995) BLARNEY CASTLE, COUNTY CORKoil on canvas

signed lower left; titled on reverse; with Combridge Fine Arts label also on reverse8 x 10in. (20.32 x 25.40cm)

The present image was used in a calendar, a copy of which is included with this lot.

€ 600.00- € 800.00 (£450-£600 approx.)



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149 Kenneth Webb RWA FRSA RUA (b.1927) IRISH HUNTING SCENEoil on canvas


€ 3,000.00- € 5,000.00 (£2,240-£3,730 approx.)



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150 Robert Taylor Carson HRUA (1919-2008) CLOSING THE DEALwatercolour

signed lower left8_ x 13in. (21.59 x 33.02cm)

€ 800.00- € 1,000.00 (£600-£750 approx.)



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151 Desmond Hickey (1937-2007) RACING IN THE RAIN, LAYTOWN RACES, 1995oil on canvas

signed and dated lower left; titled and dated on reverse [7/95]18 x 24in. (45.72 x 60.96cm)

€ 1,500.00- € 1,800.00 (£1,120-£1,340 approx.)



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152 Ken Moroney (b.1949) PADDLINGoil on board


Provenance:James Fine Art, Cheltenham; Private collection

Exhibited:‘Ken Moroney’, James Fine Art, Cheltenham, 20-30 June (catalogue undated), p.11 (illustrated)

The James Fine Art exhibition catalogue accompanies this lot.

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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153 Elizabeth Brophy THE RED AEROPLANEoil on board


€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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154 Arthur K. Maderson (b.1942) SEPTEMBER, EARLY EVENING, 1987oil on board

signed lower left; inscribed with title and exhibition details on reverse; also with RA exhibition label and Alma Gallery label on reverse47 x 41in. (119.38 x 104.14cm)

Provenance:Alma Gallery, Bristol;Where purchased by the present owner c.1993

Exhibited:‘Summer Exhibition’ , Royal Academy, London, catalogue no. 1002

€ 3,000.00- € 5,000.00 (£2,240-£3,730 approx.)



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155 Rowland Davidson (b.1942) BY THE NURSERY WINDOWoil on canvas

signed lower left; inscribed with title on reverse; with exhibition label also on reverse24 x 16in. (60.96 x 40.64cm)

Provenance: Gormleys, Dublin; Private collection

€ 800.00- € 1,000.00 (£600-£750 approx.)



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156 Gladys Maccabe HRUA ROI FRSA (b.1918) THE SWEET SHOPoil on board

signed lower left; titled on reverse; with exhibition label also on reverse16 x 20in. (40.64 x 50.80cm)

Provenance:Lilly Fine Art, Meath; Private collection

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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157 Gladys Maccabe HRUA ROI FRSA (b.1918) MARKET ANTIQUES STALLoil on board


Provenance:Lilly Fine Art, Meath; Private collection

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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158 Gladys Maccabe HRUA ROI FRSA (b.1918) THE PLACE DU TERTRE AND SACRÉ-COEUR, PARISoil on board


€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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159 Gladys Maccabe HRUA ROI FRSA (b.1918) SMITHFIELD MARKET, BELFASToil on board


€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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160 Kenneth Webb RWA FRSA RUA (b.1927) WATER LILIESoil on canvas


Provenance:Kenny Gallery, Galway;Where purchased by the present owner

€ 3,000.00- € 4,000.00 (£2,240-£2,990 approx.)



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161 Markey Robinson (1918-1999) TWO FIGURES IN A MOROCCAN LANDSCAPEoil on board

16 x 20in. (40.64 x 50.80cm)

€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



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162 Markey Robinson (1918-1999) GALWAY HOOKERS NEAR SHOREoil on board


€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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163 Markey Robinson (1918-1999) TWO SHAWLIES UNDER A TREEoil on board


€ 1,200.00- € 1,500.00 (£900-£1,120 approx.)



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164 Markey Robinson (1918-1999) PARISIAN SCENEoil on board

signed lower right; with New Apollo Gallery label on reverse29 x 19in. (73.66 x 48.26cm)

Provenance:New Apollo Gallery, Dublin; Private collection

€ 1,500.00- € 2,000.00 (£1,120-£1,490 approx.)



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165 Markey Robinson (1918-1999) FLIGHT INTO EGYPTgouache on card


€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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166 Markey Robinson (1918-1999) THREE CLOWNSgouache on card

signed upper right; with Eakin Gallery label on reverse30 x 22in. (76.20 x 55.88cm)

Provenance:Eakin Gallery, Belfast; Private collection

€ 2,000.00- € 3,000.00 (£1,490-£2,240 approx.)



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167 Markey Robinson (1918-1999) CLOWN WITH PINK HATgouache on card

signed lower left12_ x 20in. (31_ x 50.80cm)

€ 800.00- € 1,000.00 (£600-£750 approx.)



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168 Markey Robinson (1918-1999) CLOWN WITH A BALLgouache


€ 800.00- € 1,000.00 (£600-£750 approx.)



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169 Markey Robinson (1918-1999) JUGGLING CLOWNgouache on card

signed lower left; with Eakin Gallery label on reverse8_ x 8_in. (21.59 x 21.59cm)

Provenance:Eakin Gallery, Belfast; Private collection

€ 600.00- € 800.00 (£450-£600 approx.)



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170 Markey Robinson (1918-1999) NUDE WITH STILL LIFEgouache


€ 800.00- € 1,000.00 (£600-£750 approx.)



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171 Markey Robinson (1918-1999) GIRL WITH FLOWERSgouache


€ 3,000.00- € 4,000.00 (£2,240-£2,990 approx.)



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172 Markey Robinson (1918-1999) VILLAGE IN AUTUMNoil on board

signed lower left9_ x 16in. (24.13 x 40.64cm)

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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173 Markey Robinson (1918-1999) SAIL BOATSgouache on card


€ 800.00- € 1,200.00 (£600-£900 approx.)



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174 Markey Robinson (1918-1999) COTTAGESgouache on card


Provenance:Boydell Galleries, Liverpool; Private collection

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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175 Markey Robinson (1918-1999) EVENING BY THE SEAoil on board


€ 3,000.00- € 5,000.00 (£2,240-£3,730 approx.)



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176 Markey Robinson (1918-1999) SHAWLIES AND COASTAL VILLAGEgouache on card


€ 2,500.00- € 3,500.00 (£1,870-£2,610 approx.)



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177 Graham Knuttel (b.1954) GIRL IN A BIKINIpastel

signed lower right30 x 22_in. (76.20 x 57.15cm)

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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178 Mark (“Rasher”) Kavanagh (b.1977) THERE IS NOTHING BUT QUICKSAND IN THIS TOWN, 1999oil on canvas

signed and dated lower left; signed and titled on reverse; with exhibition label also on reverse24 x 40in. (60.96 x 101.60cm)

€ 1,000.00- € 1,500.00 (£750-£1,120 approx.)



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179 Robert Ballagh (b.1943) LAND AND LANGUAGE, 2001 (SET OF 3)giclée prints; (3)

each signed lower right and with artist’s proof” inscribed lower left”9 x 24in. (22.86 x 60.96cm)

Sheet size 16 by 30ins. Dimensions of second and third works 12 by 24in and 9 by 24in, respectively.

€ 600.00- € 800.00 (£450-£600 approx.)



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179 Image 2





179 Image 3





180 Graham Knuttel (b.1954) WOMAN AND FRUIT, 1996oil on canvas

signed lower right; with Irving Galleries label and stamp of New Apollo Gallery on reverse48 x 36in. (121.92 x 91.44cm)

Provenance:New Apollo Gallery, Dublin;with Irving Galleries, Florida USA; Private collection

€ 2,500.00- € 3,500.00 (£1,870-£2,610 approx.)



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181 Graham Knuttel (b.1954) COCKTAIL PARTY, 1996oil on canvas

signed lower right; with Irving Galleries label and stamp of New Apollo Gallery on reverse48 x 36in. (121.92 x 91.44cm)

Provenance:New Apollo Gallery, Dublin;with Irving Galleries, Florida USA; Private collection

€ 2,500.00- € 3,500.00 (£1,870-£2,610 approx.)


END OF SALE


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,

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 : C O L O U R W O R L D P R I N T LT D .

© C O P Y R I G H T 2 0 1 5 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

120

For an index of artists see inside back cover

Antrim: 16, 21, 136, 137

Armagh: 113

Belfast: 136, 137, 159

Cork: 112, 148

Donegal: 14, 17, 19, 53, 128, 147

Down: 10, 13, 67, 68, 137

Dublin City: 25, 29, 31-37, 63, 106, 111, 129, 131, 134

Dublin County: 3, 4, 40, 118, 146

England: 24, 133

Equestrian: 95, 135, 149, 151

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

Spain: 66, 72

Sweden: 73

Switzerland: 38

Theatre: 25

USA: 42

White Stag Group: 57, 58

Wicklow: 20, 127

Yorkshire: 24

France: 43, 57, 58, 158, 164

Galway: 6, 7, 9, 12, 18, 62, 114, 135, 162

Hertfordshire: 133

Italy: 5

Kerry: 11, 117

Louth: 47, 65

Mayo: 42, 130

Maritime: 40, 114, 117

Meath: 116, 151

Music: 71

AN INDEX OF ARTISTS REPRESENTED IN THIS SALE

Ballagh, R: 179

Behan, J: 93

Blackshaw, B: 67

Bradley, A: 111-112

Brennan, M.G.: 42

Brocas, S.F.: 134

Brophy, E: 153

Buick, R: 122

Butler, M.A.: 39

Campbell, G: 64, 66

Carey, J: 141

Carey, J.W.: 136

Carson, R.T.: 150

Catterson Smith, R: 142

Clear, C: 1-2, 4

Coleman, S: 116

Collis, P: 118-121

Cooke, B: 97-98

Craig, J.H.: 16, 19, 21

Craig, W: 143

Davey, R: 125

Davidson, R: 155

Dillon, G: 56, 60

Egginton, F: 11

Faulkner, J: 133

French, W.P.: 38, 40-41

Gale, M: 102-103

Geoghegan, T: 104

Gillespie, G.K.: 14-15,148

Guinness, M: 44

Hamilton, L.M.: 24

Hanlon, J.P.: 48, 50-52

Henry, G: 54

Henry, P: 18, 20

Hickey, D: 151

Hone, E: 45-47, 49

Irish School: 135

Jury, A.P.: 128

Kavanagh, M: 178

Keating, S: 23

Keown, M.T.: 105

Kernoff, H: 61-62

King, B: 94

Kirwan, J: 8

Knuttel, G: 177, 180-181

Lavery, J: 30

le Brocquy, L: 72-85

le Jeune, J: 130

Leech, W.J.: 138

Leonard, P: 3

Luke, J: 137

Maccabe, G: 156-159

MacGonigal, M: 25

Maderson, A.K.: 154

Maguire, C: 5-7

Mathews, F: 106

McElroy, P: 96

McGuinness, N: 53, 55

McKelvey, F: 10, 17, 22

McSweeney, S: 109

Middleton, C: 68, 71

Miller, N: 107

Morle, S: 123-124

Moroney, K: 152

Nicol, E: 144

OíNeill, D: 59

OíNeill, L: 117

OíRyan, F: 9, 115, 126-127

O’Conor, R: 43

O’Malley, T: 99-101

Orpen, W: 26-29

Osborne, W.F.: 31

Purser, S.H.: 145

Rákóczi, B.I.: 57-58

Rasher: 178

Reid, N: 65

Robinson, M: 161-176

Russell, G (Δ): 132

Ryan, T: 129

Scott, A: 95

Scott, P: 86-92

Scott, W: 70

Solomons, E.F.: 131

Souter, C: 69

Sutton, I: 114

Swift, P: 63

Teskey, D: 108, 110

Vallely, J.B.: 113

Webb, K: 146-149,160

Wilks, M.C.: 12-13

Williams, A: 32-37

Yeats, J.B.: 139-140


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whyte's important irish art 25 may 2015

Art & Photos