whyte's important irish & international art auction 29 september 2014

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IRISH & INTERNATIONAL ART29 SEPTEMBER 2014

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MONDAY 29 SEPTEMBER 2014

IRISH & INTERNATIONAL ART

VIEWING

Royal Dublin Society, Anglesea Road, Ballsbridge, Dublin 4

Saturday 27 September 10am to 6pm (Gallery Talk 3pm)Sunday 28 September 10am to 6pm (Gallery Talk 3pm)

Monday 29 September 10am to 6pm

AUCTION

Monday 29 September 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 101, Joan Miró, Le Courtisan Grotesque (No. 6), 1965 (detail)Back cover: lot 22, Paul Henry, In the West of Ireland, c.1938

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. Noextra fee is charged for on-line bidding.

ROOM BIDDERS

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

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

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

ABSENTEE BIDDING

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

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

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

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

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

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

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

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

PRICES REALISED

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

SPECIAL NOTICES CONCERNING THIS AUCTION

VENUE FOR AUCTION NIGHT

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

Bidder registration will take place here from 5pm on Monday 29 September and the sale starts at 6pm. Complimentary tea andcoffee will be served in the café.

COLLECTION OF LOTS

Collection of purchases at this sale may be effected 10am to 3pmon Tuesday 30 September from the RDS. After that date lots maybe collected from our Molesworth Street premises.

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

MORE INFORMATION ON OUR WEBSITE

whytes.ie or whytes.com

Here you will find much useful information pertaining to lots in thisauction, including biographies and previous results for many of theartists featured in this sale.

WHYTE’S GUARANTEE OF AUTHENTICITY

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

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

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

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

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

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

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

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



CONTENTS

Whyte's Terms & Conditions 5

IMPORTANT IRISH & INTERNATIONAL ART 8

Abbreviations 88

Topographical and General Index 88

Index of Artists inside back

This catalogue was compiled by Sarah Gates and Anita Vilka with contributionsfrom Dr. S.B. Kennedy, Dr Niamh O’Sullivan and Prof. Kenneth McConkey.

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

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

ENQUIRIES

This catalogue:Sarah Gates andAnita Vilka

Accounts:Seán Kelly

Bids & General

Enquiries:Samantha Woolley

Collection of Lots:Aaron Lowry

CONTACTS

[email protected] [email protected]

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

Postal address38 Molesworth Street, Dublin 2, Ireland

Websiteswhytes.ie whytes.com

Seán KellyAccounts

Samantha WoolleyAdministration

Ian WhyteManaging Director

Sarah Gates BADirector

Anita Vilka BAArt Department

Marianne NewmanDirector

Aaron Lowry BACurator

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Gala Charity Auctionof Contemporary Irish Artto benefit PALLAS PROJECTS/STUDIOS

Thursday 9th of October 2014, 6-9pm

Irish Georgian SocietyCity Assembly HouseSouth William Street, Dublin 2

A benefit auction featuring works by renowned contemporary Irish artists including: Brian Maguire, Richard Gorman, Garry Coyle, David Godbold, Diana Copperwhite, Gillian Lawler, Stephen Loughman, Nick Miller, Mark Swords, Sonia Sheil, Ronnie Hughes & Keith Wilson among many others.

This auction is generously supported by the participating artists, Whyte’s, Irish Georgian Society, Mitchell & Son, Teeling Whiskey, Galway Bay Brewery & Medley by Andrew Rudd.

Pallas Projects/Studios is a non-profit organisation that focuses on developing opportunities for contemporary art.

VIEWING: 7th & 8th of October 12–7pm AUCTION: Thursday 9th of October, 6–9pm

www.whytes.iewww.pallasprojects.orgwww.igs.ie

Keith Wilson: Things to come, 12, oil on linen, 660 mm x 710 mm, 2012gnngiThn:oslih WteiK en, 660n linl oi o,12e,moo cs tggs mm x 710 mm, 2012

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5

WHYTE SS I N C E 1 7 8 3

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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). (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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1Maurice Canning Wilks RUA ARHA(1910-1984)LANDSCAPE WITH TWO FIGURES AND TURF STACKS oil on canvas boardsigned lower right14 by 18in. (36 by 46cm)

€1,500-€1,800 (£1,200-£1,440 approx.)

2Charles J. McAuley (1910-1999)LANDSCAPE WITH CATTLE BY A STREAM oil on canvassigned lower left18 by 24in. (46 by 61cm)

€1,200-€1,500 (£960-£1,200 approx.)

3Eileen Meagher (b.1946)WEST OF IRELAND LANDSCAPE oil on canvassigned lower left18 by 24in. (46 by 61cm)

€1,000-€1,500 (£800-£1,200 approx.)


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4George K. Gillespie RUA(1924-1995)FISHERMAN BY A LAKE WITHCOTTAGES oil on canvassigned lower right; with CombridgeFine Arts framing label on reverse24 by 36in. (61 by 91cm)

€2,000-€3,000 (£1,600-£2,400 approx.)


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5George K. Gillespie RUA (1924-1995)GLENDUN RIVER, CUSHENDUN, COUNTY ANTRIM oil on canvassigned lower right; inscribed with title on reverse12 by 16in. (30 by 41cm)

€1,000-€1,200 (£800-£960 approx.)

6George K. Gillespie RUA (1924-1995)GARRON HEAD, ANTRIM COAST oil on canvassigned lower right; inscribed with title on reverse12 by 16in. (30 by 41cm)

€1,200-€1,500 (£960-£1,200 approx.)


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7Ciarán Clear (1920-2000)SUNDAY ON THE KERRY COAST oil on boardsigned lower left; signed again andinscribed with title and studio address[Rush] on reverse11 by 24in. (28 by 61cm)

€600-€800 (£480-£640 approx.)

8Cecil Galbally (1911-1995)CURRACH, CONNEMARA oil on boardsigned lower right; inscribed with title onreverse14½ by 18in. (36 by 46cm)

€800-€1,200 (£640-£960 approx.)

9Fergus O’Ryan RHA (1911-1989)NEAR SKERRIES, DUBLIN oil on boardsigned lower right; titled and numbered[14/72] on artist’s label on reverse16 by 22½in. (41 by 56cm)

€800-€1,200 (£640-£960 approx.)


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10James Humbert Craig RHA RUA(1877-1944)COASTAL LANDSCAPE oil on canvas boardsigned lower left 7½ by 10in. (18 by 25cm)

€2,000-€3,000 (£1,600-£2,400 approx.)

11Charles Vincent Lamb RHA RUA(1893-1964)CARLINGFORD LOUGH oil on boardsigned lower left; titled and dated on label onreverse11 by 14in. (28 by 36cm)

€1,000-€1,500 (£800-£1,200 approx.)

12Maurice Canning Wilks RUAARHA (1910-1984)AT TYRELLA, COUNTY DOWN oil on canvassigned lower left; signed again and titled onreverse16½ by 20in. (41 by 51cm)

€1,200-€1,500 (£960-£1,200 approx.)


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13George K. Gillespie RUA (1924-1995)SCRABO FROM BALLYBARNES oil on boardsigned lower right; titled on reverse11 by 15in. (28 by 38cm)

€800-€1,200 (£640-£960 approx.)


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14Maurice Canning Wilks RUA ARHA(1910-1984)WHITE PARK BAY COUNTY ANTRIM oil on canvassigned lower right16 by 20in. (41 by 51cm)

€800-€1,200 (£640-£960 approx.)

15Rowland Hill ARUA (1915-1979)FAIRHEAD FROM THE BEACH, BALLYCASTLE oil on boardsigned lower right; inscribed with title on reverse12 by 23in. (30 by 58cm)

€400-€600 (£320-£480 approx.)


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18Ernest Columba Hayes RHA (1914-1978)THE PASSING DAY, 1973 oil on canvassigned and dated lower right; signed again onreverse and inscribed with title; also bearsCombridges Gallery label on reverse21 by 26½in. (53 by 66cm)

€600-€800 (£480-£640 approx.)

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16Frank Egginton RCA (1908-1990)A WET DAY NEAR SKREEN, COUNTY SLIGO, 1979 watercoloursigned and dated lower right; inscribed with title onreverse; with Combridge framing label also onreverse14½ by 21in. (36 by 53cm)

€800-€1,000 (£640-£800 approx.)


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17Frank Egginton RCA (1908-1990)MAAM VALLEY, CONNEMARA watercoloursigned lower left; with title on metal plaque affixedto frame lower left; inscribed with title on reverse;bears Combridge framing label also on reverse20½ by 29in. (51 by 74cm)

€1,000-€1,500 (£800-£1,200 approx.)

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19Seán Keating PRHA HRA HRSA (1889-1977)LOADING AND UNLOADING TURF BOATS,CONNEMARA, c.1940s oil on boardsigned lower right; with Victor Waddington Gallerieslabel on reverse19 by 20¼in. (48 by 51cm)

Provenance:Private collection since early 1940s

This example of Seán Keating’s work, which is known asLoading and Unloading the Turf Boats, Connemara (c.1939-46) is one of a series of studies and paintings of the westernseaboard of Ireland and the Aran Islands that the artist beganin c.1939 and concluded in the late 1940s. There was noindigenous turf on the Aran Islands, so it was necessary tohave the fuel brought over from the mainland on boats thatlooked like currachs, but were larger versions called bádiomartha. Keating’s image shows the boats being loaded withturf in Connemara.

The arrangement of the pictorial elements in this study isdemonstrative of the artist’s concern with the use ofphotography and cine-film footage as a means to constructhis compositions. Indeed, as a result of his interest in suchtechnology Loading and Unloading the Turf Boats,Connemara has a lot in common in terms of compositionwith another example by the artist, Loading the Turf Cart, TheQuay, Kilmurvey (c. 1940), which was sold in Dublin in 2006.

For complete catalogue essay visit www.whytes.ie

Dr Éimear O’Connor HRHAAuthor and Research Associate-TRIARC Irish Art ResearchCentre, TCDOctober 2012

€8,000-€10,000 (£6,400-£8,000 approx.)

20William Conor OBE RHA RUA ROI (1881-1968)TEN MINUTES CRAIC ink and crayon on papersigned lower right; titled and dated [1957] in another hand on reverse9 by 6½in. (23 by 15cm)

Provenance:Taylor de Vere, 5 December 1990, lot 48; Where purchased by the present owner

€2,000-€3,000 (£1,600-£2,400 approx.)



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21William Conor OBE RHA RUA ROI (1881-1968)PULLING FOR SHORE oil on canvassigned upper left; with Dawson Gallery framing label on reverse15½ by 19½in. (38 by 48cm)

Provenance:Purchased by the family of the current owner from Leo Smith of the Dawson Gallery, Dublin;Thence by descent

€18,000-€22,000 (£14,400-£17,600 approx.)


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22Paul Henry RHA (1876-1958)IN THE WEST OF IRELAND, c.1938 oil on canvassigned lower right14½ by 17½in. (36 by 43cm)

Provenance:Purchased by the current owners’ great aunt when travelling in Ireland in the 1938; Thence by descent

Travelogue entry from 1938 by a family member accompanying their great aunt on a trip to Ireland read: ‘We had thedelight of seeing a number of Paul Henry’s paintings of Connemara scenery. Grandin bought an original painting, but I wascontented to get one of the prints - not a signed one either.’

The execution of this work is characteristic of Paul Henry’s later work. Compositionally the sky dominates the scene; theclouds have been briskly indicated, the existential act of painting predominating. The mountains, which have little modelingto indicate the direction of light, halt the eye’s recession; while the foreground, with its turf stacks and probable bog water,has been briskly set down, the reeds in the foreground indicating the clarity with which Henry could record a scene.Throughout the colours are clear, crisp and un-muddied, reflecting the manner in which Henry conceived things in his mind-an influence from his erstwhile teacher, James MacNeill Whistler-before executing them on the canvas. As had been theartist’s practice for some time, the painting would have been made in the studio from sketches done earlier. It is impossibleto identify the setting with assurance, but it may be the landscape around Maam in Connemara.

In the West of Ireland is dated c.1938 and is numbered 1248 in S. B. Kennedy’s ongoing cataloguing of Paul Henry’s oeuvre.

Dr S.B. KennedySeptember 2014

€45,000-€55,000 (£36,000-£44,000 approx.)


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23Mabel Young (1889-1974)LAKE AND MOUNTAIN SCENE oil on canvassigned lower right14 by 16in. (36 by 41cm)

€1,200-€1,500 (£960-£1,200 approx.)

24Mabel Young (1889-1974)DINGLE BAY, COUNTY KERRY oil on canvassigned lower left; with Harrods’ framing label on reverse

14 by 16in. (36 by 41cm)

In original frame from Harrods’ Picture Department, London.

€800-€1,200 (£640-£960 approx.)

25Maurice Canning Wilks RUA ARHA(1910-1984)ACROSS DUBLIN BAY FROM RED ROCK, COUNTY DUBLIN oil on canvassigned lower left; signed again and inscribed with titleon reverse14 by 18in. (36 by 46cm)

€800-€1,000 (£640-£800 approx.)


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26Estella Frances Solomons HRHA (1882-1968)DONEGAL LANDSCAPE oil on boardsigned with initials lower left12¼ by 15½in. (30 by 38cm)

Solomons married poet and publisher Seamus O’Sullivan (1879-1958) (also known as James Sullivan Starkey) in 1929. As withmany of her works, he is featured here resting on a grassy patchnear the cliff face.

€600-€800 (£480-£640 approx.)


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27Mary Odell (c.1903-1976)ARDMORE oil on boardsigned lower left; inscribed with title on reverse13 by 14in. (33 by 36cm)

Mary Odell was the daughter of Isabel Mary Grant Odell (néeUssher). She was born at Cappagh House, Co. Waterford, in 1902 or1903 (she is recorded in the 1911 Census as 8 years old). Hermother went to the Slade School of Fine Art in London and alsoattended the Academie Julian in Paris. Later she exhibited at theRHA. Mary’s training is unknown but she exhibited with hermother at the Country Shop, Dublin in 1942, which was reviewedin The Irish Times by Thomas McGreevy: “Mary Odell's Ardmore —the Street…shows that the artist's feeling is for the brighter andmore dynamic aspects of the Irish scene. [She] has also an excellentsense of atmosphere, and the light on the distant mountains in TheTwelve Pins is conveyed with a genuine suggestion of poetry, apoetry which is also perceptible in the bright pinks and deep bluesof such pictures as Modeligo and The Round Tower. Mary Odelldied in Dublin in 1976.

€400-€600 (£320-£480 approx.)

28Mildred Anne Butler RWS (1858-1941)SUMMMER PASTURES watercolourwith Wellesley Ashe Gallery, Dublin label on reverse5 by 6.70in. (13 by 17cm)

€700-€900 (£560-£720 approx.)

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29Jack Butler Yeats RHA (1871-1957)SAINT COLUMBANUS, c.1903 gouache on cardsigned in monogram lower right; with title inscribed on cardpreserved on reverse; with David Hendriks Gallery framing label onreverse32 by 20in. (81 by 51cm)

Provenance:Miss Lily Yeats; Miss Hyland; Purchased by Thomas MacGreevy, c.1958 (former Director of theNational Gallery of Ireland, 1950-1963); The Collection of James White (former Director of the NationalGallery, 1964-1980); Private collection

Contained in its original Hendriks Gallery frame. This gouache was intended as a design for an embroidered sodality bannerfor Loughrea Cathedral, Co. Galway. It was executed in 1903 as part of acommission awarded to the fledgling Dún Emer Guild, which was foundedin 1902 by Evelyn Gleeson. Her two principal partners in the venture wereJack Yeats’ sisters, Susan and Elizabeth (or Lily and Lolly as they were knownto family and friends). When the Guild received this prestigious commission,they invited Jack and his wife Mary (known as Cottie) to supply designs forthe banners. Jack designed the Sacred Heart banner and the banners for allthe male saints bar two (these were designed by George Russell “Æ”), whilstCottie supplied designs for nearly all of the female saints. In all, twenty-ninebanners were completed, with a further four designs being executed butultimately not used. For further information see www.whytes.ie

€3,000-€5,000 (£2,400-£4,000 approx.)

30Jack Butler Yeats RHA(1871-1957)THE STRAND RACES: THE START hand-coloured Cuala Press printsigned in the plate lower left; titledon rarely seen Cuala Press label onreverse17 by 4.70in. (43 by 12cm)

€200-€300 (£160-£240 approx.)

31Jack Butler Yeats RHA (1871-1957)EVENING and THE POST CAR (A PAIR) hand-coloured Cuala Press print; (2)each signed and titled in the plate; both with DawsonGallery framing label on reverse8 by 12in. (20 by 30cm)

Dimensions of the second work 8.5 by 12 ins.Framed uniformly.

€500-€700 (£400-£560 approx.)

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32John Butler Yeats RHA (1839-1922)PORTRAIT OF A LADY, 1898 pencil on papersigned and dated [June 1989] lower left6 by 5in. (15 by 13cm)

Provenance:Whyte’s, 2 February 2003, lot 74;Whence purchased by the present owner

€2,000-€3,000 (£1,600-£2,400 approx.)

33Jessie Ogsten Douglas (fl.1892-1922)A BROKEN SONG, c. 1906 watercoloursigned lower left13.70 by 9½in. (35 by 23cm)

Exhibited:Royal Hibernian Academy, 1906, catalogue no. 121; Oireachtas ArtExhibition, 1911, catalogue no. 75

Remnants of a hand written poem by the artist from her address at Windsor ParkTerrace, Belfast in 1901 accompanies this lot.

See on-line catalogue for further details.

€800-€1,000 (£640-£800 approx.)

34Sir William Orpen RA RI RHA (1878-1931)STUDY OF MALE NUDES charcoalsigned lower left; inscribed ‘20 minutes’ lower right16 by 16in. (41 by 41cm)

€1,500-€2,000 (£1,200-£1,600 approx.)

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35Sir John Lavery RA RSA RHA (1856-1941)LADY IN GREEN (MRS. CARA H.), 1903 oil on canvassigned lower right; signed again and inscribed with titled and datedat 5 Cromwell Place, London on label on reverse; also withexhibition label, partially removed Caledonian Railway label andlabel indicating name and address of original owner, all on reverse.35 by 24ins. (91 by 64cm)

Provenance:The property of E.F.B. Johnston, Esq., K.C. Toronto;Harry Diamond, Toronto purchased circa 1958;His Estate, Toronto;Private collection

Exhibited:The Art Museum of Toronto (now the Art Gallery of Ontario), the“Second Exhibition Catalogue of a Loan Collection of paintings ofthe English, Old Master, Modern Dutch, French and other EuropeanSchools Contributed by Private Collectors” from 24th November -16th December 1909, catalogue no. 38.

Literature:The Art Museum of Toronto, The Second exhibition catalogue

The recovery of Lavery’s previously unrecorded Lady in Green from a privatecollection in Canada sheds new light upon an important phase of his workin the early years of the twentieth century. Although much is known abouthis management of the International Society of Sculptors, Painters andGravers as its vice-president, his close relationship with its president, JamesMcNeill Whistler, in the years leading up to the latter’s death in 1903, has notbeen fully described.1

While his movements cannot be accurately plotted following the society’sfoundation in 1898, the consistent feature of his work during these yearswas the influence of Whistler. Both revered the work of Velazquez and fromLavery’s early days as one of the leading ‘Glasgow Boys’, the American hadbeen a guiding hand. Visiting Whistler in the nineties he would have had theopportunity to admire small sketches such as Rose and Silver: Portrait of MrsCharles Whibley (fig 1).

Although he later came to the opinion thatcontact with Whistler prevented him from‘painting with any vigour’ for a time, it isundoubtedly true that some of Lavery’ssubtlest and most evocative portraits werepainted as a result.2 In these the sitter wasoften unidentified and the works, whenshown, were simply entitled according to theirparticular colour harmonies – hence, A Lady inGreen.

In the present case the sitter’s identitycontinues to remain a mystery, as does thepicture’s early history prior to its arrival inToronto.3 At that point it became the propertyof Ebenezer Forsyth Blackie Johnston KC,described by his peers in the Canadian Club as‘an earnest patron of the fine arts and anassiduous collector of high class oil paintingsand watercolours’.4 We note his wider interests in modern Dutch art –Hague School painting that allied him closely with Lavery’s early Scottishpatrons.5

Lady in Green (fig 2) was thus a sophisticated purchase by a sophisticatedpatron, and it slips seamlessly into the general pattern of Lavery’s painting

in the years leadingup to 1903. Duringthat year he exhibitedthe portrait of IdoneaLa Primaudaye at theNew Gallery – apicture which, like thepresent exampleemploys a gildedladder-back chair asits only visible prop(fig 3).

Described as ‘quiet,yet accomplished’,the portrait of Miss LaPrimaudaye carriesthe same air ofdistinction evident in Lady in Green and it forms part of a sequence thatincludes ladies in pink, purple and black.6 They were decorous rather thandutiful and in at least one instance, that of Nora (Private Collection),harmonies of colour and tone were considered so subtle that reproductionwould fail to do it justice.7 The sequence was however, best summed up byJames Stanley Little in 1902, when he wrote,

… Mr Lavery’s art grows on one. More and more, as one looks at it, itssubtle charm, both in the sense of refined and elegant craftsmanship,and in the sense of spiritual and intellectual qualities, pervades theonlooker … Everything that leaves Lavery’s easel has the stamp offinality and spontaneity upon it which marks the master hand.8

Such an encomium applies as much to the present work as to others of theperiod.

Prof. Kenneth McConkey September 2014

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

1 Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp.68-74, 76-7, 80-4.

2 McConkey 2010, p. 81. 3 Further research is required to establish the full name of ‘Mrs Cara H —-‘. Lavery for

instance exhibited a portrait of Mrs Hoare (unlocated) at the Royal ScottishAcademy in 1903. His RSA Diploma work, eight years earlier had of course been aseated portrait – The Rocking Chair (McConkey 2010, pp. 67-8). It has not beenpossible at this time to determine if Mrs Hoare’s portrait was indeed the presentpicture, nor can we discover why the canvas was apparently sent to Dunoon fromGlasgow, as the old Caledonian Railways label on the reverse indicates.

4 See EFB Johnston, KC ‘Toronto’, Proceedings of the Canadian Club of Ontario, 22April 1912. Johnston (d.1919), a barrister, had his original practice in Acton, Ontariobefore moving to Toronto where he became Hon President of the Ontario BarAssociation and Vice-President of the Royal Bank of Canada.

5 Johnston wrote on ‘Canadian Collectors and Modern Dutch Art’, for The CanadianMagazine … vol xxxvi, 1910-11, pp. 430-4; and his monograph, Painting andSculpture in Canada, was published in 1913. Leading Canadian collectors of thisperiod were often of Scottish Protestant lineage – hence their admiration for HagueSchool fieldwork subject matter. Johnston lent two other Laverys to the 1909Toronto exhibition – Lady in Pink (no 37) and Mary in Black (no 39). This latterpicture (sold Christie’s 26 May 2011), although a head and shoulders study, 14 x 10¼ ins, also shows the model seated on a similar gilded cane chair.

6 Arguably Lavery’s seated portrait compositions can be taken back to After theDance, 1883 (Private Collection, McConkey 2010, p. 20), while Whistler’sArrangement in Grey and Black, no1, the Painter’s Mother, 1872 (Musée d’Orsay,Paris), remained his most celebrated and accessible portrait by the 1890s. Aroundthis time Lavery produced other ‘harmonies in green’ – such Mary in Green,(National Gallery of Canada, Ottawa) and The Green Coat (Bradford Museums andArt Galleries), both of which depict his German model, Mary Auras.

7 ACR Carter, ‘John Lavery RSA’, The Art Journal, 1904, p. 10.8 James Stanley Little, ‘A Cosmopolitan Painter; John Lavery’, The Studio, vol xxvii,

1902, p. 113.

Fig 1 James McNeill Whistler,Rose and Silver: Portrait of MrsCharles Whibley, c1895,watercolour, Freer Gallery ofArt, Washington DC

Fig 2 Lady in Green, 1903,the present picture

Fig 3 Idonea LaPrimaudaye, 1903, PrivateCollection

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36Andrew Nicholl RHA (1804-1886)CORAL FISHING OFF GALITE ISLAND, OFF TUNISIA watercoloursigned lower right; signed again and titled on originallabel on reverse11½ by 20in. (28 by 51cm)

€1,500-€2,000 (£1,200-£1,600 approx.)

37Andrew Nicholl RHA (1804-1886)DUCKS IN FLIGHT watercolour with bodycolour and sgraffito18 by 26in. (46 by 66cm)

€500-€700 (£400-£560 approx.)

38William Nicholl (1794-1840)VIEW OF MANOR RUINS WITH COTTAGES and ROCKY COASTAL SCENE AT SUNSET (A PAIR) watercolour with bodycolour and sgraffito; (2)with artist’s name printed in the mount; with Combridge Fine Arts label on reverse9¼ by 14½in. (23 by 36cm)

Framed and mounted uniformly.

€600-€800 (£480-£640 approx.)


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39Andrew Nicholl RHA(1804-1886)BANK OF WILD FLOWERS watercolour with body colourand sgraffitosigned lower right; withPeppercanister Gallery, Dublinlabel on reverse12½ by 19in. (30 by 48cm)

Provenance:Whyte’s, 21 September 2004,lot 160;Private collection

€5,000-€7,000 (£4,000-£5,600 approx.)

40Andrew Nicholl RHA(1804-1886)DUNSTAFFNAGE CASTLE,ARGYLLSHIRE watercoloursigned lower right; with ArthurAchermann and Son label onreverse; with ‘Beresford’inscribed on reverse13 by 20in. (33 by 51cm)

Dunstaffnage is a thirteenthcentury castle near Oban,Argyllshire. Formerly a MacDougallstronghold, it was seized by Robertthe Bruce in 1309 and entrusted tothe Campbell clan on behalf of theCrown. The castle achieved somenotoriety in 1746 when FloraMacDonald (Bonnie PrinceCharlie’s rescuer) was brieflyimprisoned there.

€2,000-€3,000 (£1,600-£2,400 approx.)

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41Edwin Hayes RHA RI ROI (1819-1904)SHIPPING IN ROUGH SEAS, 1861 watercolour and pencilsigned, dated and indistinctly titled lower right6½ by 17½in. (15 by 43cm)

Provenance:Mealands (Knightsbridge) Ltd. label on reverse

€1,000-€1,500 (£800-£1,200 approx.)

42Alexander Williams RHA (1846-1930)LOADING OF HAY oil on boardsigned lower right7 by 10in. (18 by 25cm)

€800-€1,200 (£640-£960 approx.)

43John Faulkner RHA (1835-1894)CORURCK, NORTH WALES watercoloursigned and titled lower left; also withtitle and artist’s name on lowercentre of frame19 by 33in. (48 by 84cm)

Provenance:Phillips, Chester, 19 September 1990; Private collection

€800-€1,000 (£640-£800 approx.)


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44William Sadler II(c.1782-1839)KILLINEY BAY FROM BELOWSORRENTO TERRACE oil on board8½ by 12in. (20 by 30cm)

Provenance:Whyte’s, 19 September 2006, lot 106;Private Collection

The two peaks visible at the right hand sideof the composition are Telegraph Hill,Dalkey and Killiney Hill with obelisk.

€4,000-€6,000 (£3,200-£4,800 approx.)

45William Sadler II(c.1782-1839)SHIPPING OFF THE COAST WITH ACASTLE oil on boardwith artist’s name and dates on giltmuseum plaque affixed to framelower centre8½ by 11in. (20 by 28cm)

Provenance:William Dillon, Hibernian Antiques; Private collection;Gorry Gallery, Dublin;Private collection

Exhibited:Gorry Gallery, Dublin, 14 to 31 March2007, catalogue no. 35 (illustratedp.36)

€3,000-€5,000 (£2,400-£4,000 approx.)


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46John Corbett (1822-1893)CORK HARBOUR, (TRIPTYCH) watercolour4.70 by 41½in. (12 by 104cm)

John Corbett entered the Royal Navy in 1835. During his extensive andsuccessful career he travelled in the Mediterranean, Africa and the FarEast. In 1864 Corbett was appointed captain of HMS Hastings, flagshipof Rear-Admiral Lewis Tobias Jones at Queenstown, now Cobh, a posthe would hold for two years. Hastings served as costal defence vesselfrom 1857. It is most likely that this particular scene of Cork Harbourwas captured by Corbett during his service on HMS Hastings.

€1,500-€1,800 (£1,200-£1,440 approx.)

47John Corbett (1822-1893)THE ‘GIPSEE’, CORK HARBOUR, 1864 watercolour and pencilsigned with initials, titled and dated [July 1864] lower right7½ by 11in. (18 by 28cm)

€300-€500 (£240-£400 approx.)

48John Claude Bosanquet (fl.1870s)LOWER LAKE, KILLARNEY, 1872 watercoloursigned and dated on reverse9 by 14in. (23 by 36cm)

€500-€700 (£400-£560 approx.)

49William Bingham McGuinness RHA(1849-1928)LAKESIDE CASTLE watercolour over pencil on papersigned lower left9½ by 15in. (23 by 38cm)

€600-€800 (£480-£640 approx.)

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50Walter Richards (fl.1900-1910)THE QUEEN’S HOTEL, QUEENSTOWN oil on cardtitled lower left; signed lower right11 by 17in. (28 by 43cm)

Provenance:Bonhams, 21 July 2010, lot 202;Private collection

Built in 1854, The Queen’s Hotel was one of thefew purpose built hotels in Ireland at the time. It is now known as The Commodore Hotel.

€400-€600 (£320-£480 approx.)

51Joseph William Carey RUA(1859-1937)THE KILLARY ENTRANCE, CONNEMARA, 1932 watercolour and pencilsigned and dated lower left; titled lower right10 by 14in. (25 by 36cm)

€300-€500 (£240-£400 approx.)

52Raymond McGrath PRHA (1903-1977)THE BRIDGE AT BOYLE, CO. ROSCOMMON, 1949 watercolour on canvas laid on boardsigned and dated lower left; titled in the margin15 by 21½in. (38 by 53cm)

€800-€1,200 (£640-£960 approx.)


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53Kenneth Hall (1913-1946)MEDITERRANEAN COVE oil on canvas“K. Hall” inscribed on reverse; also with “Wertheim” onreverse20 by 24in. (51 by 61cm)

The location of this scene is possibly Glyfada , Greece or a nearbycoastal village where the artist spent time in the late 1930s.

It is likely that this work formed part of the Lucy Wertheim (1883-1971) collection and was exhibited at her gallery of the samename in Albany, London. Wertheim was an avid supporter ofemerging artists in London, many of those who formed part ofthe ‘Twenties Group’, such as Hall, Rákóczi, Kitwood and NorahMcGuinness, all of whom benefited enormously from herpatronage and support. Kenneth Hall would later be a keymember of the ‘White Stag’ group in Dublin 1939–1945.

€2,000-€3,000 (£1,600-£2,400 approx.)

54Gladys Maccabe HRUA ROI FRSA(b.1918)CHURCHGOERS, KERRY oil on boardsigned lower left; with George Gallery label on reverse25½ by 34½in. (64 by 86cm)

Provenance:George Gallery, 1990;Private collection

€2,000-€3,000 (£1,600-£2,400 approx.)


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55Séamus Ó Colmáin (1925-1990)DUBLIN STREET, c.1940 oil on boardsigned lower left12 by 16in. (30 by 41cm)

€1,200-€1,500 (£960-£1,200 approx.)


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56George Campbell RHA (1917-1979)SPANISH MARKET oil on boardsigned lower left14 by 10in. (36 by 25cm)

€800-€1,000 (£640-£800 approx.)

57George Campbell RHA (1917-1979)HOT CHESTNUT SELLER oil on boardsigned lower right15½ by 11.70in. (38 by 30cm)

Provenance:Adams, 25 September 2013, lot 100; Private collection

€3,000-€4,000 (£2,400-£3,200 approx.)


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58Oisín Kelly RHA (1915-1981)MADONNA AND CHILD inlaid wood37 by 22½in. (94 by 56cm)

Provenance:Gift from the artist to the current owner, 1980.

€800-€1,000 (£640-£800 approx.)

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59Elizabeth Rivers (1903-1964)FISHERMEN oil on boardsigned lower right; signed again and inscribed withtitle on reverse; with Victor Waddington Gallery labelon reverse15½ by 8½in. (38 by 20cm)

Exhibited:Victor Waddington Gallery, ‘Summer Exhibition’, 1953

€600-€800 (£480-£640 approx.)

60Anne Yeats (1919-2001)ACROBAT FIGURE oil on canvaswith artist’s name and dates on gilt museum plaqueaffixed to frame lower centre8½ by 11¾in. (20 by 28cm)

Provenance:Collection of the artist; Private collection; Whyte’s, 30 May 2011, lot no. 51;Private collection

€800-€1,000 (£640-£800 approx.)


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61Arthur Armstrong RHA(1924-1996)STILL LIFE WITH POTS oil on boardsigned lower left; inscribed withtitle on reverse; also titled on TomCaldwell Gallery label andnumbered [44] on reverse20 by 24in. (51 by 61cm)

Provenance:Tom Caldwell Gallery, Belfast;Private collection

Exhibited:Tom Caldwell Gallery, Belfast,‘Arthur Armstrong’, September -October 1970, catalogue no. 44

€2,000-€3,000 (£1,600-£2,400 approx.)

62Gerard Dillon (1916-1971)ISLAND FORMATION, WEST OFIRELAND oil and sand on boardsigned lower right; with an inscribednote on reverse dedicating thepainting to ‘Phil’16½ by 30in. (41 by 76cm)

Provenance:Morgan O’Driscoll, 23 September2008, lot 207;Private collection

Fellow artist Eileen Philomena (Phil)Rafferty (1919-1996) met Gerard Dillonwhen he was working in Londonrefurbishing buildings damaged by bombingsduring the war. They formed a lastingfriendship with Dillon having a stronginfluence on her work during their timetogether.

€3,000-€5,000 (£2,400-£4,000 approx.)


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63Colin Middleton MBE RHA (1910-1983)NOVEMBER, NEWCASTLE, 1971 oil on boardsigned, titled and dated on reverse; with David Hendriks exhibition and framing labelon reverse12 by 12in. (30 by 30cm)

Exhibited:David Hendriks Gallery, January-February 1973, catalogue no. 23

€5,000-€7,000 (£4,000-£5,600 approx.)


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64Daniel O’Neill (1920-1974)STUDIO INTERIOR oil on boardsigned lower right; titled on Associated American Artists, New York exhibition label on reverse20 by 24in. (51 by 61cm)

Provenance:Associated American Artists, New York;Private collection;Sotheby’s, 13 May 2004, lot 103;Private collection

In this work O’Neill shows his preference for rich, luminous colours contrasting against dark, dramatic tones. The composition,predominated by cool blues and vibrant yellows, captures an artist seated before a blank canvas while observing two female modelsposing before him. The work conveys a general feeling of thoughtful stillness while the artist contemplates his task. None of thefigures look out at the viewer with only their profiles being visible; this enhances the sense of us, the audience, intruding on a scenewhich presents its inhabitants in an unguarded manner. A work which deals with a similar subject is titled The Beginning. Althoughstylistically a later work, in it too, the artist is faced with a blank canvas, ready to begin to capture the reclining model before him.

€30,000-€40,000 (£24,000-£32,000 approx.)

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65Stella Steyn (1907-1987)ADAPTATION FROM THE VILLA DEI MISTEN oil on canvaswith remnants of Royal Academy exhibition label onreverse; signed and inscribed with title on reverse49½ by 41½in. (124 by 104cm)

Provenance:Private collection;Stella Steyn Auction, Thompson Roddick andMedcalf, 16 May 2005, lot 31;Private collection

Exhibited:Royal Academy, London, 1955, catalogue no. 416

€800-€1,200 (£640-£960 approx.)

66Paul le Long (French, 20th Century)CANAL WITH BARGE watercoloursigned lower left8 by 10in. (20 by 25cm)

With an inscription on reverse presenting the work toFerdinand Larminie on 13 March 1959. From Cheneax de Leyritz collection

€600-€800 (£480-£640 approx.)

67Paul Egestorff (1906-1995)NEAR ENNISKERRY, COUNTY WICKLOW watercoloursigned lower left10¾ by 15in. (25 by 38cm)

Provenance:Collection of artists William Carron and Barbara Warren

€300-€400 (£240-£320 approx.)


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68Cecil ffrench Salkeld ARHA (1904-1969)A WALK IN GLENCREE oil and pencil on canvas laid on boardsigned lower right; bears Frederick Gallery exhibition label onreverse13 by 9½in. (33 by 23cm)

Provenance:Mealy’s, Kilkenny, 10 March, 1999, lot 1190;Private collection;de Veres, 12 April 2005, lot 133;Private collection

Exhibited:Frederick Gallery, Dublin, Spring Exhibition 2000, catalogue no. 5

€1,500-€2,000 (£1,200-£1,600 approx.)

69Barbara Warren RHA (b.1925)AUTUMN SUN, 1995 gouachesigned lower left; with typed Taylor Galleries label on reverse8½ by 11in. (20 by 28cm)

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

Exhibited:‘Barbara Warren Studies from Ireland and Spain’, Taylor Galleries,Dublin, 10-31 January 2003

€400-€600 (£320-£480 approx.)

70Kitty Wilmer O’Brien RHAPWCSI (1910-1982)BLACK MOUNTAIN IN DINGLE oil on boardsigned lower left; signed again andinscribed with studio address, title andnumbered [3] on artist’s label onreverse; also with Dawson Galleryframing label on reverse10 by 24½in. (25 by 61cm)

€800-€1,200 (£640-£960 approx.)

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71Joseph Sloan (b.1940)SKYDANCE, 1999-2007 bronze; (no. 1 from an edition of 2)signed, dated and numbered

65 by 23.70in. (165 by 60cm)

Born in 1940 in County Down, Joseph Sloan is a self-taught sculptor. Histransition from working in theatre to sculpting allowed the artist to makepersonal impressions of humankind, exploring the figurative imagebordering on abstraction in various themes including music and dance.Sloan’s work is included in private as well as public collections such asDublin City Gallery The Hugh Lane and The National Concert Hall.

€6,000-€8,000 (£4,800-£6,400 approx.)


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72Louis le Brocquy HRHA (1916-2012)HEAD (WITH SPECTACLES), 1971 oil on canvas laid on boardsigned and dated on reverse; inscribed in artist’s hand withopus number [287] and title [HEAD] on reverse; with DawsonGallery exhibition and framing labels on reverse18 by 15in. (46 by 38cm)

Provenance:Dawson Gallery, Dublin;Where purchased by Harold Davis Esq;Private collection

Exhibited:Dawson Gallery, Dublin 19 October- 19 November 1971,catalogue no. 2

Fondation Maeght, Saint-Paul, 9 March- 8 April 1973;Gimpel Fils Gallery, London, 1-26 October 1974;Galerie la Bussola, Turin, November 1974

‘These peering heads, whose open mouths make dark apertures in thesurface of the painting, stare aghast from within their ownpredicament...Since the outbreak of civil warfare in the North of Irelandin 1969, and in the context of that war, le Brocquy’s painting of theanguished individual reaches an intensity of expression that carried hiswork onto an even more powerful level of art.’1

We are grateful to the artist’s son, Pierre le Brocquy, for his assistance incataloguing this work.

1 Walker, Dorothy, Louis le Brocquy, Dublin: Ward River Press 1981; London:

Hodder & Stoughton 1982, p. 53

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

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73Brian Bourke HRHA (b.1936)SELF PORTRAIT WITH BLUE HAT oil on canvastitled on Dawson Gallery label on reverse; also with DawsonGallery framing label on reverse20 by 16in. (51 by 41cm)

Exhibited:Dawson Gallery, 28 October-20 November 1965, catalogueno. 19

An archive of press cuttings and exhibition catalogues is includedwith this lot.

€1,500-€2,000 (£1,200-£1,600 approx.)

74Brian Bourke HRHA (b.1936)PORTRAIT OF A WOMAN, 1965 watercolour and pencilsigned and dated lower left; titled on exhibition label onreverse; also bears Dawson Gallery framing label on reverse27½ by 19in. (69 by 48cm)

Provenance:Dawson Gallery, 12 May 1966;Private collection

Exhibited:Dawson Gallery, Dublin, ‘Brian Bourke Drawings’, 12 May 1966,catalogue no. 28

€600-€800 (£480-£640 approx.)

75Tony O’Malley HRHA (1913-2003)PORTACÁILLE, 1984 crayon and wash on papertitled and dated [1/9/84] lower centre11 by 14in. (28 by 36cm)

Provenance:A gift from the artist to the present owner

€600-€800 (£480-£640 approx.)


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76Charles Brady HRHA(1926-1997)SUGAR BAG oil on canvassigned lower left; titled on reverse14 by 12½in. (36 by 30cm)

€3,000-€4,000 (£2,400-£3,200 approx.)

77Tony O’Malley HRHA (1913-2003)UNTITLED ABSTRACT gouache9½ by 13¼in. (23 by 33cm)

Provenance:The Collection of Mary ‘Boots’ Redgrave of The Craftsman Gallery(est. 1962), St. Ives;Thence by descent to the previous owner, 2002;W.H. Lane & Sons, Cornwall, 12 June 2012, lot 489;Whence purchased by the previous owner

Tony O’Malley arrived in St. Ives in 1955 for a painting holiday returning in1957. In 1960 he lodged at the home of Mary ‘Boots’ Redgrave, a partner inthe longest running gallery in St. Ives, The Craftsman. O’Malley stayed withthe Redgrave family until 1962 when he moved to Trevaylor, Gulval,Cornwall.

€600-€800 (£480-£640 approx.)

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79Gerald Davis (1938-2005)LISTEN FOLLOWED BY, 1992 oil on canvassigned and dated lower left; signed again, dated [28/4/92]and inscribed with title on reverse14 by 18in. (36 by 46cm)

€500-€700 (£400-£560 approx.)

80Eric Patton RHA (1925-2004)ABSTRACT VILLAGE, 1978 oil on canvassigned lower right; signed again, dated andnumbered [4] on reverse20 by 24in. (51 by 61cm)

€400-€600 (£320-£480 approx.)

78Jonathan Wade (1941-1973)WHARF MISCELLANY oil on canvassigned lower right55 by 36½in. (140 by 91cm)

Provenance:Lincoln Gallery, 13 February 1980;Private collection

€2,000-€3,000 (£1,600-£2,400 approx.)


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81Sir Sidney Robert Nolan OM AC (Australian, 1917–1992)NED KELLY (SET OF 10) screenprint; (7); lithograph; (3)each signed and inscribed with ‘AP’ (Artist’s Proof )18½ by 25in. (46 by 64cm)

Titles: Landscape, Glenrowan, By The River, The Questioning, The Burning Tree, Morning Camp, The Evening, The Encounter, First-Class Marksman and Kelly.

Sheet size 29 by 23 ins. All of equal dimensions. Unframed.

Nolan’s fascination with Ned Kelly, an Australian bushranger of Irish descent, developed from stories told by hisgrandfather, a trooper responsible for capturing the outlaw in 1880. The series follows key events of the Kelly storydepicting the scenes in a way which allowed Nolan to incorporate the distinct Australian landscape into the narrative.

€10,000-€12,000 (£8,000-£9,600 approx.)

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82Louis le Brocquy HRHA (1916-2012)THE TÁIN. MAGIC CHARIOT, 1969 lithographic brush drawing; (no. 10 from an edition of 70)signed, numbered and dated lower right21 by 15in. (53 by 38cm)

€1,000-€1,500 (£800-£1,200 approx.)

Lots 82-87:Printed by Frank O’Reilly, Dublin as part of The Táin Portfolio, which contained different prints or“lithographic brush drawings”, illustrating the epic Ulster cycle of heroic tales.


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83Louis le Brocquy HRHA (1916-2012)THE TÁIN. MEDB, 1969 lithographic brush drawing; (no. 10 from an edition of 70)signed, numbered and dated lower left21 by 15in. (53 by 38cm)

€1,000-€1,500 (£800-£1,200 approx.)

84Louis le Brocquy HRHA (1916-2012)THE TÁIN. MEN AND HORSES, 1969 lithographic brush drawing; (no. 10 from an edition of 70)signed, numbered and dated lower left21 by 15in. (53 by 38cm)

€1,000-€1,500 (£800-£1,200 approx.)

85Louis le Brocquy HRHA (1916-2012)THE TÁIN. ARMY, 1969 lithographic brush drawing; (no. 10 from an edition of 70)signed, numbered and dated lower right21 by 15in. (53 by 38cm)

€1,000-€1,500 (£800-£1,200 approx.)


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88John Behan RHA (b.1938)FERDIA AND CÚCHULAINN gold coloured bronze on white marble base11 by 11in. (28 by 28cm)

Depth: 9 ins.

€2,000-€3,000 (£1,600-£2,400 approx.)

86Louis le Brocquy HRHA (1916-2012)THE TÁIN. MARE AND FOALS, 1969 lithographic brush drawing; (no. 37 from an edition of 70)signed, numbered and dated lower right; with Dawson Galleryexhibition and framing label on reverse15 by 21in. (38 by 53cm)

€1,000-€1,500 (£800-£1,200 approx.)

87Louis le Brocquy HRHA (1916-2012)THE TÁIN. CÚCHULAINN IN WARP SPASM, 1969 lithographic brush drawing; (no. 10 from an edition of 70)signed, numbered and dated lower right15 by 21in. (38 by 53cm)

€1,000-€1,500 (£800-£1,200 approx.)

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89Ciarán Lennon (b.1947)FIVE PART COLOUR COLLECTION acrylic/brass panels; (quintych)one panel with photograph indicating order of panelson reverse9 by 5½in. (23 by 13cm)

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

€3,000-€4,000 (£2,400-£3,200 approx.)

90Neil Shawcross RHA RUA (b.1940)PENGUIN BOOKS, BALLYGULLION BY LYNN DOYLE, 2013 oil on boardsigned and dated across base13½ by 8½in. (33 by 20cm)

€600-€800 (£480-£640 approx.)

91Louis le Brocquy HRHA (1916-2012)HUMAN IMAGE III, 2005 screenprint; (no. 13 from an edition of 75)signed and numbered in the margin in pencil lower left;with typed Taylor Galleries label on reverse34 by 25in. (86 by 64cm)

Provenance:Taylor Galleries, Dublin;Private collection;Taylor Gallery, Belfast

Sheet size, 40 by 29in.

€2,000-€3,000 (£1,600-£2,400 approx.)

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92Neil Shawcross RHA RUA (b.1940)STILL LIFE WITH TWO VILADRAU BOTTLES, 2005 ink with gouache and collage elementsigned in pencil across base and dated lower right18 by 25½in. (46 by 64cm)

€600-€800 (£480-£640 approx.)

93Neil Shawcross RHA RUA (b.1940)TWO CUPS AND CROSSWORDS, 2005 watercolour with collage elementsigned across base and dated lower right17 by 24in. (43 by 61cm)

€600-€800 (£480-£640 approx.)

Lots 89-101 are from the collection of The Taylor

Gallery, Belfast (in administration). The Taylor

Gallery was one of the leading art galleries in

Northern Ireland and had established a reputation,

not just for Irish paintings and sculpture, but also

for works by international artists such as Andy

Warhol, Damien Hirst, Joan Miró, and, more

recently, in street artists such as Banksy.

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94Andy Warhol(USA, 1928-1987)QUEEN NTOMBI TWALA OF SWAZILAND[FROM REIGNING QUEENS SERIES], 1985 screenprint on Lenox museum board;(no. 3 from an edition of 40)signed and numbered lower left; withblindstamp lower right; with copyrightstamp “Andy Warhol 1985” in red onreverse39½ by 31½in. (99 by 79cm)

Literature:Ed., Schellmann, Jorg and Feldman,Frayda, Andy Warhol Prints: A CatalogueRaisonné 1962-1987, II, 347

Sheet size given.

€3,000-€4,000 (£2,400-£3,200 approx.)

95Andy Warhol(USA, 1928-1987)MAO INVITATION, 1972 colour print invitationsigned on right; verso exposed6¾ by 13¾in. (15 by 33cm)

Provenance:Eyestorm Online Art Gallery, London;Taylor Gallery, Belfast

Verso reads: Mao Tse-tun by Andy Warhol,Published by Multiples, Inc. and CastelliGraphics. Printed at Styria Studio, A Portfolioof 10 silkscreens each signed and numberedby the artist 36 by 36 inches. A limitededition of 250

€800-€1,000 (£640-£800 approx.)


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96Andy Warhol(USA, 1928-1987)ARETHA FRANKLIN AND KEITHRICHARDS, c.1986 screenprint on Lenox museum boardstamped by the Estate of Andy Warholand by the Andy Warhol Foundationfor the Visual Arts, Inc. and inscribed“T.J.H.” in pencil on reverse; alsonumbered [UP.45 20] on reverse17½ by 18in. (43 by 46cm)

Created for the 1986 Arista Records Jumpin’Jack Flash/Aretha single record cover whichwas not used.

€6,000-€8,000 (£4,800-£6,400 approx.)

97Banksy (British, b.1974)NAPALM, 2004 screenprint; (no. 19 from an edition of150)signed and dated in pencil in the marginlower right; numbered lower left14½ by 23in. (36 by 58cm)

Sheet size: 19.5 by 27.5in.

€2,000-€4,000 (£1,600-£3,200 approx.)

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98Damien Hirst (British, b.1965)CICLOPIROX OLAMINE, 2004 aquatint; (no. 119 from an edition of 145)signed in pencil lower centre; with editionnumber exposed on reverse33½ by 33½in. (84 by 84cm)

Sheet size: 45 by 45in.

€3,000-€4,000 (£2,400-£3,200 approx.)

99Damien Hirst (British, b.1965)UNTITLED (SILVER SPOT LANDSCAPE), 2008 screenprint; (no. 31 from an edition of 150)signed in pencil in the margin lower right;numbered lower left30 by 22in. (76 by 56cm)

Sheet size, 38 by 29.5in.

€2,000-€3,000 (£1,600-£2,400 approx.)


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100Andy Warhol (USA, 1928-1987)DOUBLE DAISY, c.1982 screenprint on Lenox museum board; uniquestamped by the Estate of Andy Warhol and by the Andy Warhol Foundationfor the Visual Arts, Inc. also bears “T.J.H.” (Tim J. Hunt) in pencil on reverse40 by 60in. (102 by 152cm)

Provenance:Hamilton-Selway, Los Angeles;Taylor Gallery, Belfast

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


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101Joan Miró (Spanish, 1893-1983)LE COURTISAN GROTESQUE (NO. 6), 1965 watercolour, gouache, India ink, gray wash, pastel and pencil on papersigned and numbered [6] lower right16 by 11in. (41 by 28cm)

Provenance:Christie’s, London, 2 May 2004, lot no. 432;Manel Mayoral, Barcelona; Nicholas Gallery, Belfast;Taylor Gallery, Belfast

Exhibited:Manel Mayoral, Barcelona, April 2005

A certificate of authenticity accompanies this lot.

Joan Miró was a Spanish Catalan painter, sculptor and ceramicist born in Barcelona. He has been interpreted as a surrealistand abstract expressionist; however he was never closely aligned with any movement allowing his innovative approach toensure his influence on 20th century art.

The series ‘Le Courtisan Grotesque’ is inspired by a satirical play about the court of Louis XIII and Cardinal Richelieu, writtenby Adrian de Monluc, Earl of Cramail in 1621. Miró was encouraged to paint the series, which includes twenty-four workson paper, by his friend, printer and bibliophile of Russian origin Iliazd (Zdanevich Ilia). Only sixteen of the produced imageswere used in the book that Iliazd edited in 1974. Miró had stated in an interview in 1948, ‘Now I rarely start a picture fromhallucination, as I did in the twenties, or, as later, from collages. What is most interesting to me today is the material I amworking with. It supplies the shock which suggests the form just as cracks in a wall suggested shapes to Leonardo.’1 Thiswork, painted almost twenty years later, represents vibrant energy, humour and tragedy of life consisting of Miró’s favouredvocabulary of fragmented human forms, spots of flat primary colours and shallow lines with constantly alternating rhythm.

1 Chipp B., Herschel, Theories of Modern Art: A Source Book by Artists and Critics, University of California Press, 1968, p. 343

€60,000-€80,000 (£48,000-£64,000 approx.)


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102Andy Warhol (USA, 1928-1987)LADIES AND GENTLEMEN, 1975 offset printsigned lower right; titled and dated on reverse9 by 8in. (23 by 20cm)

Literature:Ed., Mazzotta, Gabriele, ‘Andy Warhol: Ladies and Gentlemen’,Mazzotta, Milan 1975

Unframed. Two certificates of authenticity accompany this lot.

€500-€700 (£400-£560 approx.)

103Joan Miró (Spanish, 1893-1983)AFFICHE DE L’EXPOSITION CONSTELLATIONS, 1959 lithograph in colour on cream wove Arches paper; (no. 114 fromand edition of 150)signed and dated lower right; numbered lower left25½ by 19in. (64 by 48cm)

Provenance:William Weston Gallery, London;Private collection

Sheet size given.Printed at the studio of Mourlot and issued by Galerie Berggruen, Paris.This lithograph with lettering was used for the Constellations Exhibitionat Galerie Berggruen, Paris in 1959, reference: Mourlot 191.

€1,500-€2,000 (£1,200-£1,600 approx.)

104Sister Corita Kent (USA, 1918-1986)PRIZE BOXES screenprintsigned lower right22½ by 22½in. (56 by 56cm)

Literature:Kent, Corrita, Damn Everything But The Circus, Holt, Rinehart andWinston, 1970Berry, Ian, Someday Is Now, Prestel USA, 2013, p. 182

Sister Corita, a Catholic nun who lived in California, was one of the mostinnovative pop artists of the 1960s. Her screenprints are a fusion of advertisingslogans, poetry and song lyrics.

€1,000-€1,500 (£800-£1,200 approx.)


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105Joan Miró (Spanish, 1893-1983)LE LÉZARD AUX PLUMES D’OR, (M.800),1971 lithograph in colour on japon nacre; (no.18 from edition of 40)signed in the margin lower right;numbered in the margin lower left15½ by 20½in. (38 by 51cm)

Provenance:From the collection of publisher andprinter Louis Broder;Sotheby’s, New York;Park West, 3 March 2008; Private collection

This lot is accompanied by Park West GalleryAppraisal and Certificate of Authenticity.

€3,000-€5,000 (£2,400-£4,000 approx.)

106George Braque (French,1882-1963)L’OISEAU ET SON NID lithograph in colour on vellum; (no. 93from an edition of 300)signed lower right and numberedlower left; with Dawson Galleryframing label on reverse13 by 19in. (33 by 48cm)

Provenance:Collection of artists William Carron andBarbara Warren

€1,000-€1,500 (£800-£1,200 approx.)

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107Noel Sheridan (1936–2006)WHITE FIGURE IN A LANDSCAPE oil and crayon on board16½ by 23½in. (41 by 58cm)

Provenance:Whyte’s, 19 February, 2007, lot 195;Private collection

€600-€800 (£480-£640 approx.)

109Richard Kingston RHA (1922-2003)CAUSEWAY COAST NO. 90, 1999 oil on boardsigned lower left; titled on Solomon Gallery labelon reverse12 by 14½in. (30 by 36cm)

€800-€1,000 (£640-£800 approx.)


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108Noel Sheridan (1936–2006)NIGHT EVENT, 2002 oil on metal panelsigned lower right; signed again, titled and datedon reverse17 by 23in. (43 by 58cm)

Provenance:Whytes, 19 February 2007, lot 241;Private collection

€600-€800 (£480-£640 approx.)


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110Richard Kingston RHA (1922-2003)RED FRINGE (WINTER) BLESSINGTON, 1988 oil on boardsigned lower right; signed again and inscribedwith title on reverse35 by 48in. (89 by 122cm)

Provenance:The Estate of Dr. Carmel Long and Richard DennisEsq.;Adam’s, 8 December 2009, lot 97;Private collection

€4,000-€6,000 (£3,200-£4,800 approx.)


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111Noel Sheridan (1936–2006)DERELICT EXTERIOR oil on boardsigned lower right, signed again and titled on reverse15 by 13½in. (38 by 33cm)

Provenance:Acquired directly from the artist

€300-€500 (£240-£400 approx.)

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112Gwen O’Dowd (b.1957)SPACES 7, 2003 oil on handmade Indian papersigned, dated and titled on reverse31 by 22½in. (79 by 56cm)

Exhibited:Vangard Gallery, Cork, ‘Spaces’ , 13 June-5 July 2003

€400-€600 (£320-£480 approx.)

113Michael Gemmell (b.1950)SOFT FIELDS, 2003 oil on linensigned and dated lower right; signed again andinscribed with title on reverse27 by 27in. (69 by 69cm)


€800-€1,000 (£640-£800 approx.)

114John Burke (1946-2006)SUBMARINE steel on marble base14½ by 25½in. (36 by 64cm)

Provenance:Acquired directly from the artist in 1976

Depth: 8in. Burke carried out many corporate commissions includinga piece for the Bank of Ireland former headquarters in1978 entitled ‘Red Cardinal’.

€1,000-€1,500 (£800-£1,200 approx.)


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115John Shinnors (b.1950)OVER LOOP, COUNTY CLARE, JANUARY oil on canvassigned lower right; with title on reverse; alsowith Leinster Gallery label on reverse18½ by 19¾in. (46 by 48cm)

Provenance:Leinster Gallery, Dublin;Private collection

Exhibited:‘John Shinnors - Paintings & Drawings’,Limerick City Gallery of Art, September -November, 2002

Literature:PROFILE 18 - John Shinnors, Gandon Editions,Cork, 1996, p.47 (illustrated)

€4,000-€6,000 (£3,200-£4,800 approx.)

116Pádraig MacMíadhacháin RWA(b.1929)TWO CURRAGHS ON A REMOTE BEACH, THEMULLET, COUNTY MAYO oil on canvassigned lower left; signed again and titled onreverse; also with Molesworth Galleryexhibition label on reverse24 by 24in. (61 by 61cm)

Provenance:Molesworth Gallery, Dublin;Private collection

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

€800-€1,000 (£640-£800 approx.)


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117John Kingerlee (b.1936)KINGDOM’S EDGE, KILCATHERINE, 1998 oil on papersigned in monogram and dated lower left; signedagain and inscribed with date and title on reverse7 by 10.70in. (18 by 27cm)

€600-€800 (£480-£640 approx.)

118John Kingerlee (b.1936)THE LAST MOTORBIKE, KILCATHERINE, 1999 oil on papersigned in monogram and dated lower right; signedagain and inscribed with date and title on reverse;also bears Leinster Gallery, Dublin, label on reverse6 by 9½in. (15 by 23cm)

€600-€800 (£480-£640 approx.)

119Michael Gemmell (b.1950)DAY IN THE WEST oil on boardsigned lower right; signed again on reverseand inscribed with title16 by 16in. (41 by 41cm)


€500-€700 (£400-£560 approx.)

120Michael Gemmell (b.1950)WINTER FARM oil on linensigned lower right; signed again and inscribed withtitle on reverse20 by 20in. (51 by 51cm)


€600-€800 (£480-£640 approx.)


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121Donald Teskey RHA (b.1956)WET SUMMER, 1993 oil on papersigned lower right; with exhibition label on reverse11½ by 15½in. (28 by 38cm)

Provenance:Rubicon Gallery, 1993;Private collection

Exhibited:Rubicon Gallery, ‘Small Works’, 1993

€2,500-€3,500 (£2,000-£2,800 approx.)

122Peter Collis RHA (1929-2012)LANDSCAPE NEAR BRITTAS, COUNTY DUBLIN oil on canvas boardsigned lower right; inscribed with title on artist’sstudio label on reverse; with Liam Slattery framinglabel also on reverse13½ by 17in. (33 by 43cm)

€1,200-€1,500 (£960-£1,200 approx.)

123Peter Collis RHA (1929-2012)SEASCAPE WITH TWO BOATS oil on canvas boardsigned lower right12 by 14¾in. (30 by 36cm)

€600-€800 (£480-£640 approx.)


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124Nick Miller (b.1962)SHEBEEN II: BOXING HEARTS, 1992 monotypesigned and dated lower centre; titled and numbered [26] on labelon reverse 19½ by 25½in. (48 by 64cm)

Provenance:Rubicon Gallery, 1992; Private collection

€400-€600 (£320-£480 approx.)

126Charlie Whisker (b.1949)FOR BELARUS...BEAN THERE....HEARING THE NIGHT FALL, 2002 acrylic on canvassigned centre right; titled lower right; signed again, titled and datedon reverse14 by 18in. (36 by 46cm)

Provenance:Solomon Gallery, 2002;Private collection

Exhibited:Solomon Gallery, ‘Summer Group Exhibition’, 8 July -6 August 2002

This lot is accompanied with Solomon Gallery exhibition catalogue as well asletter written by the artist in 2002 following the purchase of the work.

€800-€1,000 (£640-£800 approx.)

125Rita Duffy PRUA (b.1959)INTERIOR WITH FAMILY, 1993 oil on boardsigned lower right; dated on reverse49 by 39½in. (124 by 99cm)

€1,500-€2,000 (£1,200-£1,600 approx.)


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128Robert Ballagh (b.1943)MANDELA FREE MAN, 1990 silkscreen print; (no. 57 from an edition of 100)signed and dated lower left; numbered lower right24 by 16½in. (61 by 41cm)

€600-€800 (£480-£640 approx.)

127Graphic Design StudioTHE CRACKED LOOKING GLASS, 2004 thirty-two limited edition prints (ofvarious printing techniques); (no. 6 from edition of 50)each work signed and numbered froman edition of 50 in a specially madeSolander box

Exhibited:Graphic Studio Gallery, 3 June - 10 July2004

Sheet sizes 20 by 16 ins. ‘The Cracked Looking Glass’ was the result ofvarious artists’ collaboration in celebration ofthe centenary of Bloomsday. The exhibitionwas launched as part of the ReJoyce Dublin2004 festival programme. Each artistproduced an original limited edition printinspired by James Joyce’s iconic text Ulysses.Among the Irish and the international artistsparticipating were Yoko Akino, John Behan,Charles Cullen, Felim Egan, Richard Gorman,Alice Maher, Stephen Lawlor and others.

€3,000-€4,000 (£2,400-£3,200 approx.)


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129Robert Ballagh (b.1943)VIVA NICARAGUA, 1987 computer generated print with collage; (unique)signed and dated lower right18 by 24in. (46 by 61cm)

Provenance:Whyte’s, 22 February 2005, lot 178;Private collection;Morgan O’Driscoll, 27 January 2014, lot 62;Private collection

€300-€500 (£240-£400 approx.)

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130Liam O’Neill (b.1954)STREET SCENE, TRALEE oil on canvassigned lower right18½ by 14in. (46 by 36cm)

Provenance:Oisin Gallery, Dublin; Private collection

€3,000-€4,000 (£2,400-£3,200 approx.)

132Arthur K. Maderson (b.1942)FIGURE STUDY (JESS) NATURAL HISTORY MUSEUM oil on boardsigned lower left; inscribed with title and with Treasures ofIrish Art label on reverse12 by 12in. (30 by 30cm)

€600-€800 (£480-£640 approx.)


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131Arthur K. Maderson (b.1942)WET DAY, MONTPELLIER, FRANCE oil with mixed media on boardsigned lower left; inscribed with title on reverse20 by 20in. (51 by 51cm)

€800-€1,200 (£640-£960 approx.)


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133John B. Vallely (b.1941)THE MUSIC SESSION NO. 4 oil on canvassigned lower left16 by 20in. (41 by 51cm)

Exhibited:Cavehill Gallery, Belfast, 1990,catalogue no. 30

An exhibition catalogueaccompanies this lot.

€6,000-€8,000 (£4,800-£6,400 approx.)

134John B. Vallely (b.1941)TWO MUSICIANS oil on boardsigned lower right; with EmerGallery, Belfast framing label onreverse10½ by 13.70in. (25 by 35cm)


€3,000-€4,000 (£2,400-£3,200 approx.)


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135John B. Vallely (b.1941)INTO BATTLE, c.1970s to 1980s oil on canvassigned with initials lower right20 by 24in. (51 by 61cm)

The theme of battles or conflict appear in theartist’s oeuvre from the 1970s when titles suchas 1st Battle of Moytura [solo show, 27 Januaryto 15 February, Studio 25, Belfast, c.1964] orBattle Study [Solo show, c.mid 1960s locationand dates not listed on catalogue] can be foundon examples exhibited by him. Later, in 1992 at ‘John. B. Vallely’, Adam Gallery,Armagh, 17-26 September, three further titlesdemonstrate a continued interest in this theme;Before the Battle of Moytura [no. 2], HeroBattling with Darkness [no. 4] and The BulletThrower [no. 13].

€3,000-€4,000 (£2,400-£3,200 approx.)

136James Nolan RHA PPWCSI(b.1929)BROAD MEADOW, 2004 oil on canvas boardsigned lower right14 by 18in. (36 by 46cm)

Provenance:Studio of Desmond Carrick RHA

€300-€400 (£240-£320 approx.)

137James Nolan RHA PPWCSI(b.1929)LIFFEY, BALLYCULLEN, COUNTY WICKLOW oil on canvassigned lower right; with inscribed label onreverse with title and artist’s [Sutton]address18 by 24in. (46 by 61cm)

Provenance:Studio of Desmond Carrick RHA

€500-€700 (£400-£560 approx.)


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138Markey Robinson (1918-1999)FISHERMEN WITH BOATS AND MOUNTAINSIN THE DISTANCE oil on boardsigned lower right23½ by 28½in. (58 by 71cm)

€3,000-€4,000 (£2,400-£3,200 approx.)

140Markey Robinson (1918-1999)FRANCE gouache on cardsigned lower right; signed and inscribed withtitle on reverse9½ by 15in. (23 by 38cm)

€800-€1,000 (£640-£800 approx.)

139Markey Robinson (1918-1999)RIVERBANK WITH TREES AND BOAT oil on boardsigned lower right; with Oriel Gallery, Dublin,label on reverse12 by 17½in. (30 by 43cm)

€1,200-€1,500 (£960-£1,200 approx.)


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143Markey Robinson (1918-1999)STILL LIFE WITH VASE gouache on wallpapersigned lower right; with title on reverse30 by 20in. (76 by 51cm)

€1,200-€1,500 (£960-£1,200 approx.)


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141Elizabeth Cope (b.1952)CAT WITH FLOWERS AND PINEAPPLE oil on boardsigned lower right30 by 23in. (76 by 58cm)

€1,500-€1,800 (£1,200-£1,440 approx.)

142Arthur K. Maderson (b.1942)SELF PORTRAIT, OCTOBER, 1998 oil on boardsigned lower right; signed again, titled and dated on reverse21½ by 21in. (53 by 53cm)

€1,000-€1,500 (£800-£1,200 approx.)

144Markey Robinson (1918-1999)STILL LIFE OF FLOWERS gouache on wallpapersigned lower right; titled on reverse26½ by 19½in. (66 by 48cm)

€1,000-€1,500 (£800-£1,200 approx.)


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147Markey Robinson(1918-1999)THE MAZE gouache on cardsigned lower right; titledon reverse22½ by 16in. (56 by41cm)

Provenance:Taylor Gallery, Belfast

€800-€1,200 (£640-£960 approx.)

145Markey Robinson (1918-1999)CLOWN 17 gouache on boardsigned lower right; titled on SolomonGallery London label on reverse22 by 14in. (56 by 36cm)

€600-€800 (£480-£640 approx.)

146Markey Robinson(1918-1999)COUNTRY ROAD WITH SHAWLIE oil on cardsigned lower left7 by 6.30in. (18 by 16cm)

€600-€800 (£480-£640 approx.)

148Markey Robinson (1918-1999)NORTH AFRICA oil on boardsigned lower left12 by 6in. (30 by 15cm)

€800-€1,000 (£640-£800 approx.)

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149Hector McDonnell ARUA (b.1947)YOUTH AT MANASAROVAR watercolour and pencil; signed lower right; with Bell Gallery, Belfast label onreverse12 by 9in. (30 by 23cm)

Exhibited:‘A Journey Through Tibet’, Bell Gallery, Belfast, 1992

Accompanied by a book by Hector McDonnell entitled A Journey to Tsaparang. Edition Gshwendtner 1990; Producedby Gerhard and Marie-Luise Meckback. First and only edition.lllustrations capture the landscape and people of Tibet as theartist travelled the western part of the region.

€800-€1,000 (£640-£800 approx.)

150Michael Hanrahan (b.1951)DUGORT BEACH, ACHILL ISLAND, CO. MAYO oil on boardsigned lower left; with ‘Dugort, Achill’ inscribedon reverse24 by 16in. (61 by 41cm)

€800-€1,200 (£640-£960 approx.)

151Michael Hanrahan (b.1951)DOOEGA, ACHILL ISLAND, CO. MAYO oil on boardsigned lower right; with ‘Dooega’ inscribed on reverse15 by 24in. (38 by 61cm)

€800-€1,200 (£640-£960 approx.)


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153Kenneth Webb RWA FRSA RUA(b.1927)MUCKISH, 1962 oil on canvassigned and dated lower left19½ by 23½in. (48 by 58cm)

Provenance:Wedding gift from William Mol, Belfast toprevious owner;Private collection Co. Derry;Whyte’s, 14 March 2011, lot 75;Whence purchased by the present owner

William Mol was a famous dealer and framer in Belfast.

€2,000-€3,000 (£1,600-£2,400 approx.)

152Kenneth WebbRWA FRSA RUA(b.1927)BOG LANDSCAPE,DONEGAL (MUCKISH ANDERRIGAL) oil on canvassigned lower right; withtitle on metal plaqueaffixed to frame lower left;signed again and titled onreverse15 by 36in. (38 by 91cm)

€2,000-€3,000 (£1,600-£2,400 approx.)


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154Kenneth WebbRWA FRSA RUA(b.1927)ROUNDSTONE oil on canvassigned lower left; signedagain and titled on reverse15 by 36in. (38 by 91cm)

€1,500-€1,800 (£1,200-£1,440 approx.)

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157Charles J. McAuley (1910-1999)COTTAGES IN LAKE AND HILLS LANDSCAPE oil on boardsigned lower left16 by 22in. (41 by 56cm)

€600-€800 (£480-£640 approx.)

155Norman J. McCaig (1929-2001)GALWAY HOOKERS AT PORTAFERRY RALLY oil on canvas boardsigned lower left; inscribed with title on reverse16 by 20in. (41 by 51cm)

€700-€900 (£560-£720 approx.)

156Henry Healy RHA (1909-1982)CONNEMARA oil on boardsigned lower left; inscribed with title on reverse20 by 24in. (51 by 61cm)

Provenance:Family of the artist

€700-€900 (£560-£720 approx.)

158Maurice Canning Wilks RUA ARHA(1910-1984)A COUNTY DOWN FARM, MINERSTOWN watercolour and pencilsigned lower right; titled and numbered [37] on reverse10 by 14in. (25 by 36cm)

€600-€800 (£480-£640 approx.)


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161Ronald Ossory Dunlop RA RBA NEAC (1894-1973)FISHING BOATS IN A HARBOUR oil on canvas boardsigned lower right17 by 22in. (43 by 56cm)

€800-€1,200 (£640-£960 approx.)

159Ivan Sutton (b.1944)THE HARBOUR WALL, KILRONAN, ARAN MÓR, ARANISLANDS, COUNTY GALWAY oil on canvassigned lower right; signed again and titled on reverse20 by 30in. (51 by 76cm)

€1,200-€1,500 (£960-£1,200 approx.)

160Liam C. Martin (1934-1998)DUN LAOGHAIRE HARBOUR oil on boardsigned lower right12 by 30in. (30 by 76cm)

€500-€700 (£400-£560 approx.)

162Pádraig MacMíadhacháin RWA (b.1929)STUDIO OF FRANCIS HODGKINS, CORFE CASTLE, DORSET, c.1954 oil on boardsigned lower left; with title and date in a later hand on reverse12 by 16in. (30 by 41cm)

Provenance:Molesworth Gallery; Private collection

€300-€400 (£240-£320 approx.)

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165Harold Dearden (British, 1888-1962)FARM HORSES, ATTACHING THE HARROW oil on canvastitled and numbered [13] on reverse14 by 18in. (36 by 46cm)

€400-€600 (£320-£480 approx.)

163Kenneth Webb RWA FRSA RUA (b.1927)SPRING FURROW oil on canvassigned lower right; signed again, titled and numbered [16]on reverse16 by 20in. (41 by 51cm)

€1,500-€2,000 (£1,200-£1,600 approx.)

164Neil Cawthorne (British, b. 1936)THE QUORN HUNT, 1970 oil on canvassigned and dated lower left; titled on J. Pratt and Sonslabel on reverse20 by 30in. (51 by 76cm)

€500-€700 (£400-£560 approx.)

166Peter Curling (b.1955)GOING TO THE WIRE, c.1995 charcoal on buff-coloured papersigned lower left18½ by 28in. (46 by 71cm)

Provenance:Whyte’s, 10 October 2011, lot 172;Private collection

€1,500-€2,000 (£1,200-£1,600 approx.)


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169Roy Lyndsay (b.1945)EL GRAN SEÑOR (NO. 2), WINNER OF THE IRISH DERBY, THECURRAGH,1984 oil on canvassigned, titled and dated lower right; inscribed with title onreverse20 by 30in. (51 by 76cm)

€1,000-€1,500 (£800-£1,200 approx.)

167Roy Lyndsay (b.1945)SADDLERS WELLS, PHOENIX CHAMPIONSHIP WINNER,1985 (NO. 8 BLUE/GREEN) oil on canvassigned titled and dated lower right; inscribed with title onreverse20 by 30in. (51 by 76cm)

The Phoenix Champion Stakes is staged annually atLeopardstown in September.

€1,200-€1,500 (£960-£1,200 approx.)

168Roy Lyndsay (b.1945)GALWAY RACES, 1985 oil on canvassigned, titled and dated lower right26 by 36in. (66 by 91cm)

€1,500-€2,000 (£1,200-£1,600 approx.)

170Roy Lyndsay (b.1945)LEOPARDSTOWN, 1984 oil on canvassigned, titled and dated lower right20 by 30in. (51 by 76cm)

€1,000-€1,500 (£800-£1,200 approx.)

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171Mark O’Neill (b.1963)THE CALM INTERIOR, 2008 oil on boardsigned and dated lower left; signed again, titled anddated on reverse22 by 14in. (56 by 36cm)

€1,200-€1,500 (£960-£1,200 approx.)


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172James English RHA (b.1946)PRIMROSES IN A GLASS, 1978 oil on canvas boardsigned and dated lower left6 by 6in. (15 by 15cm)

€500-€700 (£400-£560 approx.)

173Niccolo d’Ardia Caracciolo RHA (1941-1989)VIEW OF MONTPELLIER, FRANCE, 1982 oil on boardsigned lower left; titled on Solomon Gallery, Dublin label onreverse10 by 13½in. (25 by 33cm)

€2,000-€3,000 (£1,600-£2,400 approx.)


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176Stuart Morle (b.1960)STILL LIFE WITH RED WINE oil on boardsigned lower right; with artist’s studio labelon reverse19 by 20in. (48 by 51cm)

Provenance:Commissioned by the present owner

€2,000-€3,000 (£1,600-£2,400 approx.)

174Steve Alan Kaufman(1960-2010)STILL LIFE WITH CHAMPAGNE BOTTLE oil on canvassigned with initials and dedicated on reverse73 by 56in. (185 by 142cm)


€800-€1,200 (£640-£960 approx.)


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175Martin Mooney (b.1960)BLUE & WHITE WITH CAMELLIA, 2009 oil on boardsigned with initials lower right; titled anddated on reverse8 by 6in. (20 by 15cm)

€700-€900 (£560-£720 approx.)

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179Camille Pissarro (French, 1830-1903)LES FANEUSES, 1890 etching; (eau-forte originale)with artist’s name and title on reverse7¾ by 5¼in. (18 by 13cm)

€500-€700 (£400-£560 approx.)

177John Mulvany (c.1839-1906)WATCHING THE BIRDS, 1877 oil on canvassigned ‘Jno Mulvany’; dated and inscribed ‘Lousville, Ky.’ lower left; 17 by 14in. (43 by 36cm)

Exhibited:Louisville, Kentucky Industrial Exposition, 1877

In the immediate aftermath of the Famine, at about twelve years of age,Mulvany emigrated to the US where he became a phenomenon, and wherehe remained actively involved in the Clan na Gael movement. In 1876, GeneralCuster’s command was annihilated on the Little Big Horn by Sioux warriors.Mulvany spent two years on Custer’s Last Rally (1881), one of the mostcelebrated paintings of its time. It toured America for seventeen years,drawing huge crowds and making Mulvany a fortune. Mulvany was one ofthe first artists to go to the frontier where he specialised in painting Westernscenes. One of his few Irish subjects was The Battle of Aughrim, which wasrecently brought back to Ireland and sold by The Gorry Gallery. Works by thisonce internationally celebrated artist are extremely rare.

Niamh O’Sullivan, Professor Emeritus of Visual Culture (National College of Artand Design).

September 2014.

€1,500-€2,000 (£1,200-£1,600 approx.)

178Gregor Grey (fl.1870s-1911)SEATED WOMAN WITH SPANIELS, 1906 oil on canvassigned and dated lower right; with remnantsof a label on reverse22 by 17in. (56 by 43cm)

€1,000-€1,500 (£800-£1,200 approx.)

180No Lot

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181William Collingwood RWS (British, 1819-1903)COTTAGE INTERIOR WITH MOTHER AND CHILDREN, 1847 watercoloursigned and dated lower left13 by 18½in. (33 by 46cm)

€300-€500 (£240-£400 approx.)

182Adrian van der Hest (Dutch, fl.1920-1930)FLOWER SELLERS, AMSTERDAM oil on canvassigned and inscribed with location, Amsterdam,lower right; with artist’s name on museum plaqueaffixed to frame lower centre21 by 31½in. (53 by 79cm)

€1,000-€1,500 (£800-£1,200 approx.)

183William James Yule (Scottish, 1869-1900)SPANISH CHILDREN oil on canvassigned and inscribed with title and ‘Dundee’ onreverse; with Pyms Gallery label on reverse25 by 33in. (64 by 84cm)

Provenance:Philips, Edinburgh, 1 May 1992, Lot 56;Private collection

Exhibited:Pyms Gallery, London, Spring 1983, catalogue no. 12

€2,000-€3,000 (£1,600-£2,400 approx.)

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18417th century Continental SchoolPORTRAIT OF A GENTLEMAN oil on canvas10 by 8in. (25 by 20cm)

Thought to be Swedish origin and once in the collection of a Bishopof Killala, Co. Mayo.

€1,000-€1,500 (£800-£1,200 approx.)

185Fanny W. Currey (1848–1917)PONT AVEN, 1879 watercoloursigned, titled and dated lower left; with Sanders ofOxford exhibition label on reverse14 by 10in. (36 by 25cm)

€600-€800 (£480-£640 approx.)

186Early 19th century English School KITCHEN INTERIOR oil on canvasnumbered [3] on reverse14½ by 18in. (36 by 46cm)

€800-€1,200 (£640-£960 approx.)

1871870-1910: Collection of drawings andwatercolours25 figure drawings, 11 watercolours 6 of which are signed byR. T. Cochrane

€800-€1,200 (£640-£960 approx.)

Ex 187

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188George Hall Neale (British, 1863-1940)PORTRAIT OF W. WATSON RUTHERFORD, ESQ., M.P.,LORD MAYOR OF LIVERPOOL, 1904 oil on canvassigned and dated lower left39 by 29in. (99 by 74cm)

Exhibited:The Royal Academy, London, 1904, catalogue no. 513

€800-€1,200 (£640-£960 approx.)

190Richard Thomas Moynan RHA (1856-1906)RHA BRONZE PRIZE MEDAL TO RICHARD T. MOYNAN[FOR DRAWING FROM THE ANTIQUE], 1883 engraved with artist’s name and date2½ by 2½in. (5 by 5cm)

As a student of the RHA, Dublin born Moynan was awardedboth a silver and a bronze medal and a prize for the beststudy in the painting class of 1883. In the same year theartist also won the Albert Scholarship for the best picture atthe Academy by a student.

€400-€600 (£320-£480 approx.)

191Dennis B. Sheahan(American, fl.1870-1900)DANIEL O’CONNELL bronzeinscribed “D.B. Sheahan. Sclptr. J.G.Schuck. chaser. N.Y.” at base25 by 8 by 7½in. (64 by 20 by18cm)

Literature:G.B. Opitz, ed., Dictionary ofAmerican Sculptors “18th Centuryto the Present”, Poughkeepsie, NY,1984, p. 622 (illustrated)

American-born sculptor Dennis B.Sheahan evidently had Irishconnections for in 1879 he wascommissioned by the Friendly Sons ofSaint Patrick to sculpt a bust of thepoet Thomas Moore, which now stands

in Central Park, New York. Other recorded works include the presentexample of a standing statue of Daniel O’Connell, a marble bust of theengineer Joseph Harrison Jnr in the Pennsylvania Academy for the Fine Artsand a profile head of the executed Irish patriot, Robert Emmet (1778-1803),based on the stipple engraved portrait by James Petrie and sculpted incopper relief panel by Sheahan in 1884 (sold through Whyte’s 26November 2007, lot 95).

€1,500-€2,000 (£1,200-£1,600 approx.)

189Augustus Nicholas Burke RHA (1838-1891)HEAD OF OLD WOMAN oil on canvastitled and with artist’s name on original label on reverse; also withW. Carling & Son Art Dealers [Whitley Bay, North Tyneside, England]label on reverse21 by 18½in. (53 by 46cm)

€800-€1,200 (£640-£960 approx.)

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194Donal O’Sullivan (1945-1991)SEATED MARLON BRANDO pencil and pastel on buff-coloured papersigned lower right; titled on reverse; with David Hendriksframing label also on reverse15½ by 21.20in. (38 by 54cm)

€300-€500 (£240-£400 approx.)

192Rosaleen Brigid Ganly HRHA (1909-2002)TREES AND GATEWAY, 1988 pastel on papersigned with initials and dated lower left7½ by 10½in. (18 by 25cm)

Provenance:Collection of artists William Carron and Barbara Warren

The year before this work was made, a retrospective exhibition of theartist’s work was held in the Gorry Gallery in Dublin. Ten years laterThe Hugh Lane Municipal Gallery celebrated her career with anotherretrospective tracing her work from the early 1920s to early 1990s.

€300-€400 (£240-£320 approx.)

193Tom Carr HRHA HRUA ARWS (1909-1999)NUDE, c.1962 pastelsigned lower right; with Tom Caldwell Gallery and ArtsCouncil of Northern Ireland exhibition labels on reverse12 by 21in. (30 by 53cm)

€500-€700 (£400-£560 approx.)

195John Behan RHA (b.1938)BONNÁN BUÍ and BOY AND MAN SINGING, 1975 and TWOOTHER WORKS bronze relief mounted to black wooden board; (1);watercolour; (1); greeting card; (1); limited ed. illustrated poem;(1)watercolour [Boy and Man Singing] signed and dated lowerleft8 by 9¼in. (20 by 23cm)

Dimensions of watercolour, 19.75 by 16ins.Also with a signed greeting card designed by Behan and a limitededition (no. 35 of 250) poem Memo to J.J. by Gerald Dawe illustratedby Behan, signed by poet and artist, dated 16/6/1988 (23 by 15.5ins).The original receipt from the artist accompanies this lot. (5 items total)

€300-€500 (£240-£400 approx.)

Ex 195

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196Henry Flanagan (1918-1992)FEMALE FIGURE polished limestonesigned with initials on reverse17 by 7in. (43 by 18cm)

Depth: 3 ins.

€500-€700 (£400-£560 approx.)

197Ruth RomneyDIVERTISSEMENT bronze; (no. 1 from an edition of 10)signed with initials and edition number beneathskirt; with RHA exhibition label beneath base9½ by 8½in. (23 by 20cm)

Exhibited:Royal Hibernian Academy Annual Exhibition 1989,catalogue no. 455

Depth: 5 ins.

€400-€600 (£320-£480 approx.)

198Rowan Gillespie (b.1953)SEATED GIRL, 1982 bronze; (no. 4 from an edition of 9)signed; numbered and dated on reverse6.70 by 5in. (17 by 13cm)

Exhibited:‘Rowan Gillespie’, Solomon Gallery, Dublin, 4-26 May1982, catalogue no. 31

Depth: 5 ins.

€1,500-€2,000 (£1,200-£1,600 approx.)

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199Simeon Stafford (British, b.1956)HARBOUR SCENE, 1991 oil on canvassigned with initials and dated lower right47 by 59in. (119 by 150cm)


€2,000-€3,000 (£1,600-£2,400 approx.)

200Simeon Stafford (British, b.1956)GLORIOUS FUN OF THE FAIR oil on canvas47 by 59in. (119 by 150cm)


€2,000-€3,000 (£1,600-£2,400 approx.)

201Simeon Stafford (British, b.1956)THE YELLOW CAROUSEL [2112] oil on canvassigned lower left; titled on exhibition label on reverse39 by 39in. (99 by 99cm)


Exhibited:‘Simeon Stafford’, Royal Cornwall Museum,Truro, 16 February - 26 April, 2008

€1,500-€2,000 (£1,200-£1,600 approx.)


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202Graham Knuttel (b.1954)SHEEP, 2006 100% wool wall hanging by The Dixon Carpet Company(formerly V’Soske Joyce Ltd)signed lower right; artist’s proof76 by 75in. (193 by 191cm)

Having previously worked on his tapestries with the worldfamous house of Pinton in Aubusson, France, Knuttel chose tocollaborate with an Irish company to produce his 2006 limitededition series of wall hangings. The Galway based weaversDixon Carpet Company, previously known as V’Soske Joyce,have a reputation for colour definition whether the medium iswool, linen or silk. The limited edition of wall hangings consistsof eight designs with only five editions of each available. Thepresent example is one of the artist’s proofs.

We are grateful to the artist for his assistance in cataloguingthis lot.

Provenance:Gift from the artist to the current owner

Exhibited:Four Seasons Hotel, Dublin 26 September 2006

€2,500-€3,500 (£2,000-£2,800 approx.)

203Graham Knuttel (b.1954)MR PUNCH AND POLICE MAN oil on canvassigned lower left; with Apollo Gallery stamp on strecher on reverse22 by 28in. (56 by 71cm)

Provenance:La Stampa Restaurant, Dawson Street, Dublin;Private collection

€1,500-€2,000 (£1,200-£1,600 approx.)

204Graham Knuttel (b.1954)STILL LIFE WITH AUBERGINES oil on canvassigned lower left36 by 36in. (91 by 91cm)

Unframed.

Provenance:Gift from the artist to the current owner

€1,000-€1,500 (£800-£1,200 approx.)

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205Gladys Maccabe HRUA ROI FRSA (b.1918)MERRY-GO-ROUND oil on boardsigned lower left16½ by 20in. (41 by 51cm)

Provenance:Whyte’s, 21 September 2004, lot 204;Private collection;Whyte’s, 4 March 2013, lot 220;Private collection

€1,800-€2,200 (£1,440-£1,760 approx.)

206John Schwatschke (b.1943)THE COFFEE CONCERT oil and glitter on canvassigned and dated upper right; signed, titled and witharchival number [2455] inscribed on reverse; also withCertificate of Authenticity on reverse19 by 23in. (48 by 58cm)

€800-€1,200 (£640-£960 approx.)

207John Schwatschke (b.1943)PINGIN, 2000 oil on boardsigned and dated uper right; signed again, titled, stampedand with artist’s archival number [1449] on reverse16 by 20in. (41 by 51cm)

€300-€500 (£240-£400 approx.)

85


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208Simeon Stafford(British, b.1956)HARRODS, 2007 oil on canvassigned and dated [07.10.7] lower right20 by 30in. (51 by 76cm)


€800-€1,200 (£640-£960 approx.)

210Fred Yates (British, 1922-2008)STILL LIFE oil on linensigned on reverse24 by 23½in. (61 by 58cm)


€700-€900 (£560-£720 approx.)

209Fred Yates (British, 1922-2008)MY STREET oil on canvassigned lower right14½ by 17½in. (36 by 43cm)


€600-€800 (£480-£640 approx.)

86


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212Eric Patton RHA (1925-2004)DERELICT COTTAGE oil on canvassigned lower right; signed again, titled, dated andnumbered [14] on reverse16 by 20in. (41 by 51cm)

€300-€500 (£240-£400 approx.)

213Alastair Proud (b. 1954)EAGLE ON A ROCK oil on boardsigned lower left; with Combridge Fine Artsframing label on reverse14 by 18in. (36 by 46cm)

€800-€1,000 (£640-£800 approx.)

211Shane Blount(b. 1978)DON’T LET THE SUN CATCHYOU CRYING, 2009 oil on canvassigned lower right47½ by 59in. (119 by 150cm)

€2,000-€3,000 (£1,600-£2,400 approx.)

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215Mark (“Rasher”) Kavanagh (b.1977)WATCHING THE RIPPLES, 2004 oil on canvassigned and dated lower right; inscribed with titleand dated [End of August 2004] on reverse58 by 46in. (147 by 117cm)

€2,500-€3,500 (£2,000-£2,800 approx.)

216Chára Nagle (b.1975)BEST OF BOTH WORLDS acrylic on canvassigned lower right47½ by 39½in. (119 by 99cm)

€2,000-€3,000 (£1,600-£2,400 approx.)

END OF SALE

214Mark (“Rasher”)Kavanagh (b.1977)THE SKATERS, 2004 oil on canvassigned and dated lower right;inscribed with title and dated[December 2004] on reverse58 by 84in. (147 by 213cm)

€3,000-€4,000 (£2,400-£3,200 approx.)

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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 : B R U N S W I C K P R E S S LT D .

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

For an index of artists see inside back cover

Antrim: 5, 6, 14, 15, 157

Australia: 81

Clare: 115

Cork: 46, 47, 48, 117

Donegal: 26, 152, 153

Down: 11, 12, 13, 63, 155, 158

Dublin City: 131

Dublin County: 9, 25, 44, 122, 160, 167, 170

England: 97, 98, 99, 162, 164, 165, 181, 186,

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

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

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

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

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

Dublin, 1913

ABBREVIATIONS

TOPOGRAPHICAL AND GENERAL INDEX

Louth: 11

Mayo: 51, 116, 150, 151

Maritime: 36, 41, 44, 45, 46, 47

Netherlands: 182

Roscommon: 52

Scotland: 40, 183

Sligo: 16, 30

Spain: 56, 101, 103, 105

Sweden: 184

188, 199-201, 208-210

Equestrian: 30, 31, 82, 84, 85,

86, 163-170

France: 106, 131, 140, 173, 185

Galway: 3, 8, 17, 19, 22, 29, 51,

154, 159, 168

Kerry: 7, 24, 54, 70, 130

Kildare: 169

Kilkenny: 28

Tibet: 149

Tunisia: 36

USA: 94, 95, 96, 100, 102, 104,

177, 191, 214

Wales: 43, 213

Waterford: 27

White Stag Group: 53

Wicklow: 67, 68, 110, 137

AN INDEX OF ARTISTS REPRESENTED IN THIS SALE

For topographical and general index see opposite page

Akino, Y: 127

Armstrong, A: 61

Ballagh, R: 128, 129

Banksy: 97

Behan, J: 88, 127, 195

Benson, C: 127

Blount, S: 211

Bosanquet, J.C: 48

Bourke, B: 73, 74

Brady, C: 76

Braque, G: 106

Burke, A.N: 189

Burke, J: 114

Butler, M.A: 28

Campbell, G: 56, 57

Caracciolo, N.d’A: 173

Carey, J. W: 51

Carr, T: 193

Cawthorne, N: 164

Clear, C: 7

Cochrane, R.T: 187

Collingwood, W: 181

Collis, P: 122, 123

Conor, W: 20, 21

Continental School: 184

Cope, E: 141

Corbett, J: 46, 47

Craig, J.H: 10

Cullen, C: 127

Cullen, M: 127

Curling, P: 166

Currey, F.W: 185

Davis, G: 79

Dearden, H: 165

Dillon, G: 62

Douglas, J.O: 33

Duffy, R: 125

Dunlop, R. O: 161

Egan, F: 127

Egestorff, P: 67

Egginton, F: 16, 17

English, J: 172

English School: 186

Faulkner, J: 43

Flanagan, B: 127

Flanagan, H: 196

Galbally, C: 8

Ganly, R.B: 192

Gemmell, M: 113, 119, 120

Gerrard, J: 127

Gillespie, G.K: 4-6, 13

Gillespie, R: 198

Gorman, R: 127

Graphic Design Studio: 127

Gravett, T:127

Grey, G: 178

Hall, K: 53

Hanrahan, M: 150, 151

Haskett, M: 127

Hayes, E: 41

Hayes, E.C: 18

Healy, H: 156

Henry, P: 22

Hill, R: 15

Hirst, D: 98, 99

Irish School: 187

Kaufman, S.A: 174

Kavanagh, M: 214, 215

Keating, S: 19

Kelley, H.R: 127

Kelly, O: 58

Kent, C: 104

Kindness, J: 127

Kingerlee, J: 117, 118

Kingston, R: 109, 110

Knuttel, G: 202-204

Lamb, C.V: 11

Lane, J: 127

Lavery, J: 35

Lawlor, S: 127

le Brocquy, L: 72, 82-87, 91

le Long, P: 66

Lenaghan, M: 127

Lennon, C: 89

Lohan, M: 127

Lyndsay, R: 167-170

Maccabe, G: 54, 205

MacMíadhacháin, P: 116, 162

Maderson, A.K: 131, 132, 142

Maher, A: 127

Mann, K: 127

Martin, C: 127

Martin, L.C: 160

McAuley, C.J: 2, 157

McCaig, N.J: 155

McCreary, J: 127

McDonnell, H: 149

McGrath, R: 52

McGuinness, W.B: 49

McNulty, M: 127

Meagher, E: 3

Middleton, C: 63

Miller, N: 124

Miró, J: 101, 103, 105

Mooney, M: 175

Morle, S: 176

Moynan, R.T: 190

Mulvany, J: 177

Naessens, N: 127

Nagle, C: 216

Neale, G.H:188

Nicholl, A: 36, 37, 39, 40

Nicholl, W: 38

Nolan, J: 136, 137

Nolan, S.R: 81

Nordenström, L: 127

Nyberg, L: 127

O’Brien, K.W: 70

Ó Colmáin, S: 55

O’Donnell, R: 127

O’Dowd, G: 112

O’Malley, T: 75, 77

O’Neill, D: 64

O’Neill, L: 130

O’Neill, M: 171

O’Ryan, F: 9

O’Sullivan, D: 194

Odell, M: 27

Orpen, W: 34

Patton, E: 80, 212

Phelan, T: 127

Pissarro, C: 179

Proud, A: 213

Rasher: 214, 215

Reilly,M: 127

Richards, W: 50

Rivers, E: 59

Robinson, M: 138-140, 143-148

Romney, R: 197

Sadler, W: 44, 45

Salkeld, C.f: 68

Schwatschke, J: 206, 207

Seymour, D: 127

Shawcross, N: 90, 92, 93

Sheahan, D.B: 191

Sheridan, N: 107, 108, 111

Shinnors, J: 115

Sloan, J: 71

Solomons, E.F: 26

Stafford, S: 199-201, 208

Staunton, T: 127

Steyn, S: 65

Sutton, I: 159

Teskey, D: 121

Vallely, J.B: 133-135

van der Hest, A: 182

Vaughan, S: 127

Wade, J: 78

Warhol, A: 94-96, 100, 102

Warren, B: 69

Webb, K: 152-154, 163

Weil, S: 127

Whisker, C: 126

Wilks, M.C: 1, 12, 14, 25, 158

Williams, A: 42

Yates, F: 209, 210

Yeats, A: 60

Yeats, Jack B: 29-31

Yeats, John B: 32

Young, M: 23, 24

Yule, W.J: 183


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

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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 101 !Joan Miró (Spanish, 1893-1983) !LE COURTISAN GROTESQUE (NO. 6), 1965 watercolour, gouache, India ink, gray wash, pastel and pencil on paper signed and numbered [6] lower right !16 by 11in. (41 by 28cm)!!€60,000-€80,000!(£48,000-£64,000 approx.

Lot 72 !Louis le Brocquy HRHA (1916-2012) !HEAD (WITH SPECTACLES), 1971 oil on canvas laid on board signed and dated on reverse; inscribed in artist’s hand with opus number [287] and title [HEAD] on reverse; with Dawson Gallery exhibition and framing labels on reverse !18 by 15in. (46 by 38cm)!!€25,000-€35,000 !(£20,000-£28,000 approx.)

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Lot 81 !Sir Sidney Robert Nolan OM AC (Australian, 1917–1992) !NED KELLY (SET OF 10) screenprint; (7); lithograph; (3) each signed and inscribed with ‘AP’ (Artist’s Proof) !18½ by 25in. (46 by 64cm)!!€10,000-€12,000 !(£8,000-£9,600 approx.)

Lot 21!William Conor OBE RHA RUA ROI (1881-1968) !PULLING FOR SHORE oil on canvas signed upper left; with Dawson Gallery framing label on reverse 15½ by 19½in. (38 by 48cm)!!€18,000-€22,000 !(£14,400-£17,600 approx.)!

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Lot 22!Paul Henry RHA (1876-1958) !IN THE WEST OF IRELAND, c.1938 oil on canvas signed lower right !14½ by 17½in. (36 by 43cm)!!€45,000-€55,000 !(£36,000-£44,000 approx.)!

Lot 64!Daniel O’Neill (1920-1974) !STUDIO INTERIOR oil on board signed lower right; titled on Associated American Artists, New York exhibition label on reverse !20 by 24in. (51 by 61cm)!!€30,000-€40,000 !(£24,000-£32,000 approx.)

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Lot 35!Sir John Lavery RA RSA RHA (1856-1941) !LADY IN GREEN (MRS. CARA H.), 1903 oil on canvas signed !lower right; signed again and inscribed with titled and dated at 5 Cromwell Place, London on label on reverse; also with exhibition label, partially removed Caledonian Railway label and label indicating name and address of original owner, all on reverse. !35 by 24ins. (91 by 64cm)!!€20,000-€30,000 (£16,000-£24,000 approx.)


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21William Conor OBE RHA RUA ROI (1881-1968)PULLING FOR SHORE oil on canvassigned upper left; with Dawson Gallery framing label on reverse15½ by 19½in. (38 by 48cm)

Provenance:Purchased by the family of the current owner from Leo Smith of the Dawson Gallery, Dublin;Thence by descent

€18,000-€22,000 (£14,400-£17,600 approx.)


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22Paul Henry RHA (1876-1958)IN THE WEST OF IRELAND, c.1938 oil on canvassigned lower right14½ by 17½in. (36 by 43cm)

Provenance:Purchased by the current owners’ great aunt when travelling in Ireland in the 1938; Thence by descent

Travelogue entry from 1938 by a family member accompanying their great aunt on a trip to Ireland read: ‘We had thedelight of seeing a number of Paul Henry’s paintings of Connemara scenery. Grandin bought an original painting, but I wascontented to get one of the prints - not a signed one either.’

The execution of this work is characteristic of Paul Henry’s later work. Compositionally the sky dominates the scene; theclouds have been briskly indicated, the existential act of painting predominating. The mountains, which have little modelingto indicate the direction of light, halt the eye’s recession; while the foreground, with its turf stacks and probable bog water,has been briskly set down, the reeds in the foreground indicating the clarity with which Henry could record a scene.Throughout the colours are clear, crisp and un-muddied, reflecting the manner in which Henry conceived things in his mind-an influence from his erstwhile teacher, James MacNeill Whistler-before executing them on the canvas. As had been theartist’s practice for some time, the painting would have been made in the studio from sketches done earlier. It is impossibleto identify the setting with assurance, but it may be the landscape around Maam in Connemara.

In the West of Ireland is dated c.1938 and is numbered 1248 in S. B. Kennedy’s ongoing cataloguing of Paul Henry’s oeuvre.

Dr S.B. KennedySeptember 2014

€45,000-€55,000 (£36,000-£44,000 approx.)


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35Sir John Lavery RA RSA RHA (1856-1941)LADY IN GREEN (MRS. CARA H.), 1903 oil on canvassigned lower right; signed again and inscribed with titled and datedat 5 Cromwell Place, London on label on reverse; also withexhibition label, partially removed Caledonian Railway label andlabel indicating name and address of original owner, all on reverse.35 by 24ins. (91 by 64cm)

Provenance:The property of E.F.B. Johnston, Esq., K.C. Toronto;Harry Diamond, Toronto purchased circa 1958;His Estate, Toronto;Private collection

Exhibited:The Art Museum of Toronto (now the Art Gallery of Ontario), the“Second Exhibition Catalogue of a Loan Collection of paintings ofthe English, Old Master, Modern Dutch, French and other EuropeanSchools Contributed by Private Collectors” from 24th November -16th December 1909, catalogue no. 38.

Literature:The Art Museum of Toronto, The Second exhibition catalogue

The recovery of Lavery’s previously unrecorded Lady in Green from a privatecollection in Canada sheds new light upon an important phase of his workin the early years of the twentieth century. Although much is known abouthis management of the International Society of Sculptors, Painters andGravers as its vice-president, his close relationship with its president, JamesMcNeill Whistler, in the years leading up to the latter’s death in 1903, has notbeen fully described.1

While his movements cannot be accurately plotted following the society’sfoundation in 1898, the consistent feature of his work during these yearswas the influence of Whistler. Both revered the work of Velazquez and fromLavery’s early days as one of the leading ‘Glasgow Boys’, the American hadbeen a guiding hand. Visiting Whistler in the nineties he would have had theopportunity to admire small sketches such as Rose and Silver: Portrait of MrsCharles Whibley (fig 1).

Although he later came to the opinion thatcontact with Whistler prevented him from‘painting with any vigour’ for a time, it isundoubtedly true that some of Lavery’ssubtlest and most evocative portraits werepainted as a result.2 In these the sitter wasoften unidentified and the works, whenshown, were simply entitled according to theirparticular colour harmonies – hence, A Lady inGreen.

In the present case the sitter’s identitycontinues to remain a mystery, as does thepicture’s early history prior to its arrival inToronto.3 At that point it became the propertyof Ebenezer Forsyth Blackie Johnston KC,described by his peers in the Canadian Club as‘an earnest patron of the fine arts and anassiduous collector of high class oil paintingsand watercolours’.4 We note his wider interests in modern Dutch art –Hague School painting that allied him closely with Lavery’s early Scottishpatrons.5

Lady in Green (fig 2) was thus a sophisticated purchase by a sophisticatedpatron, and it slips seamlessly into the general pattern of Lavery’s painting

in the years leadingup to 1903. Duringthat year he exhibitedthe portrait of IdoneaLa Primaudaye at theNew Gallery – apicture which, like thepresent exampleemploys a gildedladder-back chair asits only visible prop(fig 3).

Described as ‘quiet,yet accomplished’,the portrait of Miss LaPrimaudaye carriesthe same air ofdistinction evident in Lady in Green and it forms part of a sequence thatincludes ladies in pink, purple and black.6 They were decorous rather thandutiful and in at least one instance, that of Nora (Private Collection),harmonies of colour and tone were considered so subtle that reproductionwould fail to do it justice.7 The sequence was however, best summed up byJames Stanley Little in 1902, when he wrote,

… Mr Lavery’s art grows on one. More and more, as one looks at it, itssubtle charm, both in the sense of refined and elegant craftsmanship,and in the sense of spiritual and intellectual qualities, pervades theonlooker … Everything that leaves Lavery’s easel has the stamp offinality and spontaneity upon it which marks the master hand.8

Such an encomium applies as much to the present work as to others of theperiod.

Prof. Kenneth McConkey September 2014

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

1 Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp.68-74, 76-7, 80-4.

2 McConkey 2010, p. 81. 3 Further research is required to establish the full name of ‘Mrs Cara H —-‘. Lavery for

instance exhibited a portrait of Mrs Hoare (unlocated) at the Royal ScottishAcademy in 1903. His RSA Diploma work, eight years earlier had of course been aseated portrait – The Rocking Chair (McConkey 2010, pp. 67-8). It has not beenpossible at this time to determine if Mrs Hoare’s portrait was indeed the presentpicture, nor can we discover why the canvas was apparently sent to Dunoon fromGlasgow, as the old Caledonian Railways label on the reverse indicates.

4 See EFB Johnston, KC ‘Toronto’, Proceedings of the Canadian Club of Ontario, 22April 1912. Johnston (d.1919), a barrister, had his original practice in Acton, Ontariobefore moving to Toronto where he became Hon President of the Ontario BarAssociation and Vice-President of the Royal Bank of Canada.

5 Johnston wrote on ‘Canadian Collectors and Modern Dutch Art’, for The CanadianMagazine … vol xxxvi, 1910-11, pp. 430-4; and his monograph, Painting andSculpture in Canada, was published in 1913. Leading Canadian collectors of thisperiod were often of Scottish Protestant lineage – hence their admiration for HagueSchool fieldwork subject matter. Johnston lent two other Laverys to the 1909Toronto exhibition – Lady in Pink (no 37) and Mary in Black (no 39). This latterpicture (sold Christie’s 26 May 2011), although a head and shoulders study, 14 x 10¼ ins, also shows the model seated on a similar gilded cane chair.

6 Arguably Lavery’s seated portrait compositions can be taken back to After theDance, 1883 (Private Collection, McConkey 2010, p. 20), while Whistler’sArrangement in Grey and Black, no1, the Painter’s Mother, 1872 (Musée d’Orsay,Paris), remained his most celebrated and accessible portrait by the 1890s. Aroundthis time Lavery produced other ‘harmonies in green’ – such Mary in Green,(National Gallery of Canada, Ottawa) and The Green Coat (Bradford Museums andArt Galleries), both of which depict his German model, Mary Auras.

7 ACR Carter, ‘John Lavery RSA’, The Art Journal, 1904, p. 10.8 James Stanley Little, ‘A Cosmopolitan Painter; John Lavery’, The Studio, vol xxvii,

1902, p. 113.

Fig 1 James McNeill Whistler,Rose and Silver: Portrait of MrsCharles Whibley, c1895,watercolour, Freer Gallery ofArt, Washington DC

Fig 2 Lady in Green, 1903,the present picture

Fig 3 Idonea LaPrimaudaye, 1903, PrivateCollection

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64Daniel O’Neill (1920-1974)STUDIO INTERIOR oil on boardsigned lower right; titled on Associated American Artists, New York exhibition label on reverse20 by 24in. (51 by 61cm)

Provenance:Associated American Artists, New York;Private collection;Sotheby’s, 13 May 2004, lot 103;Private collection

In this work O’Neill shows his preference for rich, luminous colours contrasting against dark, dramatic tones. The composition,predominated by cool blues and vibrant yellows, captures an artist seated before a blank canvas while observing two female modelsposing before him. The work conveys a general feeling of thoughtful stillness while the artist contemplates his task. None of thefigures look out at the viewer with only their profiles being visible; this enhances the sense of us, the audience, intruding on a scenewhich presents its inhabitants in an unguarded manner. A work which deals with a similar subject is titled The Beginning. Althoughstylistically a later work, in it too, the artist is faced with a blank canvas, ready to begin to capture the reclining model before him.

€30,000-€40,000 (£24,000-£32,000 approx.)


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72Louis le Brocquy HRHA (1916-2012)HEAD (WITH SPECTACLES), 1971 oil on canvas laid on boardsigned and dated on reverse; inscribed in artist’s hand withopus number [287] and title [HEAD] on reverse; with DawsonGallery exhibition and framing labels on reverse18 by 15in. (46 by 38cm)

Provenance:Dawson Gallery, Dublin;Where purchased by Harold Davis Esq;Private collection

Exhibited:Dawson Gallery, Dublin 19 October- 19 November 1971,catalogue no. 2

Fondation Maeght, Saint-Paul, 9 March- 8 April 1973;Gimpel Fils Gallery, London, 1-26 October 1974;Galerie la Bussola, Turin, November 1974

‘These peering heads, whose open mouths make dark apertures in thesurface of the painting, stare aghast from within their ownpredicament...Since the outbreak of civil warfare in the North of Irelandin 1969, and in the context of that war, le Brocquy’s painting of theanguished individual reaches an intensity of expression that carried hiswork onto an even more powerful level of art.’1

We are grateful to the artist’s son, Pierre le Brocquy, for his assistance incataloguing this work.

1 Walker, Dorothy, Louis le Brocquy, Dublin: Ward River Press 1981; London:

Hodder & Stoughton 1982, p. 53

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


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81Sir Sidney Robert Nolan OM AC (Australian, 1917–1992)NED KELLY (SET OF 10) screenprint; (7); lithograph; (3)each signed and inscribed with ‘AP’ (Artist’s Proof )18½ by 25in. (46 by 64cm)

Titles: Landscape, Glenrowan, By The River, The Questioning, The Burning Tree, Morning Camp, The Evening, The Encounter, First-Class Marksman and Kelly.

Sheet size 29 by 23 ins. All of equal dimensions. Unframed.

Nolan’s fascination with Ned Kelly, an Australian bushranger of Irish descent, developed from stories told by hisgrandfather, a trooper responsible for capturing the outlaw in 1880. The series follows key events of the Kelly storydepicting the scenes in a way which allowed Nolan to incorporate the distinct Australian landscape into the narrative.

€10,000-€12,000 (£8,000-£9,600 approx.)


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101Joan Miró (Spanish, 1893-1983)LE COURTISAN GROTESQUE (NO. 6), 1965 watercolour, gouache, India ink, gray wash, pastel and pencil on papersigned and numbered [6] lower right16 by 11in. (41 by 28cm)

Provenance:Christie’s, London, 2 May 2004, lot no. 432;Manel Mayoral, Barcelona; Nicholas Gallery, Belfast;Taylor Gallery, Belfast

Exhibited:Manel Mayoral, Barcelona, April 2005

A certificate of authenticity accompanies this lot.

Joan Miró was a Spanish Catalan painter, sculptor and ceramicist born in Barcelona. He has been interpreted as a surrealistand abstract expressionist; however he was never closely aligned with any movement allowing his innovative approach toensure his influence on 20th century art.

The series ‘Le Courtisan Grotesque’ is inspired by a satirical play about the court of Louis XIII and Cardinal Richelieu, writtenby Adrian de Monluc, Earl of Cramail in 1621. Miró was encouraged to paint the series, which includes twenty-four workson paper, by his friend, printer and bibliophile of Russian origin Iliazd (Zdanevich Ilia). Only sixteen of the produced imageswere used in the book that Iliazd edited in 1974. Miró had stated in an interview in 1948, ‘Now I rarely start a picture fromhallucination, as I did in the twenties, or, as later, from collages. What is most interesting to me today is the material I amworking with. It supplies the shock which suggests the form just as cracks in a wall suggested shapes to Leonardo.’1 Thiswork, painted almost twenty years later, represents vibrant energy, humour and tragedy of life consisting of Miró’s favouredvocabulary of fragmented human forms, spots of flat primary colours and shallow lines with constantly alternating rhythm.

1 Chipp B., Herschel, Theories of Modern Art: A Source Book by Artists and Critics, University of California Press, 1968, p. 343

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whyte's important irish & international art auction 29 september 2014

Art & Photos