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Irish Art Auctioneers & Valuers

IRISH ART AUCTION Tuesday 26th November at 6pm


Irish Art Auctioneers & Valuers

AUCTION: Tuesday 26th November at 6pm AUCTION VENUE: 

The Royal College of Physicians, No. 6 Kildare Street, Dublin 2

ON VIEW:

at 35 Kildare Street, Dublin 2

Friday 22nd November Saturday 23rd November Sunday 24th November Monday 25th November Tuesday 26th November

CONTACT:

01 6768300

10 - 5pm 11 - 5pm 12 - 5pm 10 - 6pm 10 - 5pm

COLLECTION: From 35 Kildare Street PURCHASER FEES: 25% (incl VAT)

de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie deveresArtAuctions

@deveresartauctions

PSRA Licence No. 002261

Live Bidding available at:

the-saleroom.com 1


Irish Art Auctioneers & Valuers

Lot 38 Jack Butler Yeats RHA 1871-1957 THE LIBERATION OF BARRATT (detail)

John de Vere White john@deveres.ie

Rory Guthrie roryguthrie@deveres.ie

Aisling Tóth aislingtoth@deveres.ie

Please note that invoice details must match those given at bidding registration. If purchasing in a company name this must be given at registration and we will require a Certificate of Incorporation, with the signature of one director and I.D. We are unable to amend purchaser details once invoices are printed. For purchases above €15,000 we will require photo identification in the form of a passport or driving license. Payment of accounts is by debit card up to €1000 or by bank transfer. We do not accept credit cards or cash transactions.

Front cover: Lot 10 Frederick Edward McWilliam RA 1909-1992, ANTHROPOMORPHIC BEAN (1965) Back cover: Lot 9 Patrick Collins HRHA 1911-1994, A MEMORY OF W.B. YEATS WALKING IN DUBLIN Inside front: Lot 15 Hughie O’Donoghue RA b.1953, RETURN OF ULYSSES - BLUE ELEGY Inside back: Lot 26 Fredrick Edward McWilliam RA 1909-1992, RECLINING FIGURE (1960)


1 Tony O’Malley HRHA 1913-2003 NASSAU, PARADISE ISLAND Oil on panel, 8" x 12" (20 x 30.5cm), signed with initials, inscribed & dated 1/1976.

€1500 - 2500

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2 Michael Farrell 1940-2000 SUNDAY, 30 JANUARY 1972 Oil and mixed media on canvas, 10½" x 8¾" (27 x 22cm). Provenance: Taylor Galleries, Dublin Cat. No. 34, (label verso).

€1000 - 2000

3 Charles Brady HRHA 1926-1997 ONIONS Oil on canvas, 10" x 12" (25.5 x 30.5cm) signed, inscribed verso. Provenance: Taylor Galleries, Dublin (label verso).

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€1400 - 2800


4† Louis Le Brocquy HRHA 1916-2012 LIFFEY AT THE CUSTOMS HOUSE Watercolour, 9¾" x 14" (25 x 35.5cm), signed & dated 1992, opus no. W1146.

Provenance: Gimpel Fils Gallery, London, Taylor Galleries, Dublin (label verso).

€5000 - 7000

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5 Barrie Cooke HRHA 1931-2014 PIKE Oil on canvas, 24" x 36" (61 x 92cm), signed & dated 1959.

Provenance: Private Collection, Dublin.

There is a singleness of purpose in Barrie Cooke’s painting of a Pike that is breathtaking. There is the depth of colour, the simplicity of observation, the obliteration of all fuss in order to tell the simple story of hunting and capture. These represent Barrie Cooke at his best. Quite different, but equally complete and rounded in observation, are his nudes. A richly diverse colour approach brings them close, almost tactile, as painted nudes should be. This he mastered from early days, when I first knew him and Harriet, living in part of a large house in the Dublin mountains, and from time to time falling out and bickering. I watched from afar, as he wavered and travelled, experimented and entered into divergences in his art that kept us all on our toes, but to which he came back with the irrepressible flood of colour and movement. He is with us no longer and I miss him. 

Bruce Arnold, October 2019 €7000 - 10000

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6 Pat Harris b.1953 PHLOX Oil on canvas, 38½" x 51¼" (98 x 128cm), signed & dated 1991; signed, inscribed & dated 1991 verso.

Provenance: Taylor Galleries, Dublin (label verso).

€3000 - 5000

7 Tony O’Malley HRHA 1913-2003 INSCAPE LAND MYTH Oil on board, 12" x 24" (30.5 x 61cm), signed with initials & dated 5/87, inscribed label verso.

Provenance: Dyehouse Gallery, Waterford (label verso).

Aside from his distinctive style, O’Malley’s work is steeped in references to cultural history, site specificity and nature. He referred to his paintings as ‘inscapes’ as they allowed one to look beyond the motif in order to visualise the organic and spiritual essence of experience.

€3000 - 5000 7


8 Patrick Swift 1927-1983 WOODCOCK AND FLOWERS Oil on canvas, 22" x 27" (56 x 66cm), signed. From the late 1940s, Lucian Freud visited Dublin regularly and, guided by John Ryan, met and mixed with many writers and artists of the time. Notable among them was the young Patrick Swift (who married John’s sister Oonagh). From Dolphin’s Barn, Swift was studying at NCAD and he befriended Freud. As time went on the latter would use his studio when he was in town. Swift subsequently stayed with Freud when he began to visit London. It’s generally accepted that Freud was the greatest influence on Swift’s painting until the end of the 1950s. The late Anthony Cronin, who had the advantage of being there at the time, felt that the influence might well have run both ways between the two. This fine still life dates from that period, recalling ‘Woodcock on a Chair’ from 1951. Swift’s hard-edged realism, allied with a certain melancholy tenderness, certainly recalls Freud’s work, but his own voice is unmistakably there as well. Eventually, around 1957, Swift moved to London. With the backing of Mary Hutchinson, he and poet David Wright established the influential if short-lived quarterly arts review ‘X’ in 1959. Swift, a trenchant commentator in Irish publications such as ‘The Bell’, wrote under the name James Mahon. In 1962, during a summer sojourn in the Algarve in Portugal, he and Oonagh decided they would live there. Which they did, in time building a house and setting up a pottery. He continued to paint, at his own pace and inclination, becoming increasingly reluctant to exhibit his work. In consequence, despite the exceptional quality of his paintings, he retained only occasional visibility back in Ireland. It was ten years after his death in 1983 that a major retrospective at the Irish Museum of Modern Art began to restore him to his rightful position as one of the best and most interesting Irish artists of the 20th century. 

Aidan Dunne, November 2019 €14000 - 18000

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9 Patrick Collins HRHA 1911-1994 A MEMORY OF W.B. YEATS WALKING IN DUBLIN Oil on board, 50" x 40" (127 x 102cm), signed. Provenance: David Hendricks Gallery, Dublin (label verso); sold these rooms 28th September 2010 (lot 28); Private Collection. Exhibited: ROSC, 1971, 1980 (label verso); Corcoran Gallery of Art ‘Irish Imagination’, 1972 (label verso); Sligo Arts Gallery, Yeats Memorial Building ‘Patrick Collins - A Retrospective’ 1985, (label verso). The artist Geraldine Hone remembers hearing from the late Arthur Power HRHA (1891-1984) how he was in O’Connell Street one day with Patrick Collins and they met Yeats walking along, book in hand. Yeats told them he was going to the cinema to see the new John Wayne film. Arthur said this painting was prompted by this meeting. The unbiased romanticism of this painting, bathed in mist and moisture, reflects the values of a generation of Irish who were nurtured on poetry and ballads. W. B. Yeats, Joyce and Beckett became cult figures for a generation of young artists emerging in post war Ireland and, like many of his contemporaries, Collins occasionally turned to literary themes. He came from the heart of Yeats country in Sligo and imagined that in his youth he must have passed the poet in the street by Pollefexen’s Mills without even knowing it. Collins acknowledged that he idolised Yeats and, catching sight of him in Dublin, followed ‘behind in his shadow’. Collins often drew on memories from his past for subjects so that the passage of time would erode details and allow him to distill the poetic essence of the experience. In this picture the ghostly figure of the poet has been partly brought to the surface while much of it is still obscured by mist. Because Collins wanted to reveal a more abstract concept of Yeats that went beyond mere description of physical features, he veiled the figure. He teased Yeats out of the surface, letting go again just when the features began to solidify. This approach is at the heart of his painting: Collins dematerializes matter in a search for the essence of his subject. A haughty figure of great presence, this is Yeats distilled from memory and imagination. 

Frances Ruane, 2010 €25000 - 30000

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10 Frederick Edward McWilliam RA 1909-1992 ANTHROPOMORPHIC BEAN (1965) Bronze, 30½" high (77.5cm), signed with initials, ed 1/5, with attached plaque presented by H. Dieter Holterbosch. Provenance: Ex collection Lehman Brothers, 3 World Financial Center, New York. This work was removed days after the collapse of the twin towers. In the early 1960s, an Australian friend gifted to F. E. McWilliam, a Coco de Mer (Lodoicea), commonly known as a sea coconut or double coconut. This is a nut, from a rare species of the palm tree native to the Seychelles Archipeligo in the Indian Ocean, is a source of legends, mysteries and lore. The seed of the Coco de Mer is the largest in the plant kingdom, weighing up to 45lbs. This exotic gift inspired a series of sculptures produced throughout 1965/66, encapsulating ideas and forms which McWilliam explored thirty years beforehand, firstly in early wood sculptures and subsequently in stone. These pre-war, abstract carvings sprang from the subconscious and from force embraced in magic powers, contained in African masks and fetishes of tribal art. McWilliam shared common ground with Henry Moore who, in his early career, had also allied himself to Surrealism. From these beginnings, McWilliam’s characteristic adoption of a form of biomorphic abstraction, evolved. Early in 1965, he embarked on a sculpture project on the subject of peace, resulting in a bronze combining the shape and acceptable symbol of a dove and geometrical bars of a birdcage. This combination of forms, became an obsessive interest and most works completed in 1965, emanated from this symbiosis. The bean series followed and McWilliam commented “mid-year I found the bean and then of course the birthrate jumped.” His list of bean sculptures included ‘Aegean Bean’, ‘Spanish Bean’, ‘Roman Bean’, ‘Duplex Bean’, ‘Nordic Bean’ and ‘Bean with Sauerkraut and Fig Leaf’. The huge, two-lobed nut, ignited McWilliam’s mischievous humour and allowed him optimize his fanciful and whimsical treatment of gender. This organic motif facilitated McWilliam’s playful manipulation of subject matter: nature, culture, myth and eroticism. Most of the Bean sculptures were shown in the Arts Councils of Ireland’s retrospective of 1981 and in the Tate Gallery Retrospective of 1989. ‘Anthropomorphic Bean’ was shown in both exhibitions and in the 2008 inaugural exhibition of the FE McWilliam Gallery and Studio at Banbridge. Its plaster maquette, is in the collection of the FE McWilliam Gallery. Two casts, were made, 1/5, by the Galizia Foundry London and 2/5, by the Fiorini Foundry, London. On the base of this work, 1/5, in addition to McWilliam’s signature, a plate records that the sculpture was presented to the Lehman Brothers, by H. Dieter Holterboch, a wealthy, industrialist, who died in 2016, aged 95. The work was located at the World Financial Center, New York, until the collapse of the Twin Towers in 2001. As the Financial Center suffered damage, the work was put in storage, where it remained until the auction of the work in Philadelphia in 2009. 

Brian Ferran, October 2019 €25000 - 35000

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THE WHITE STAG GROUP Unlikely as it may seem, the closest affinity between English and Irish painting came about during the Second World War as the result of two English painters, Basil Rakoczi and Kenneth Hall, settling in a cottage at Delphi, Co. Mayo. Their stay in the west was brief; they cycled and sketched, made friends, talked about ‘creative psychology’ and added to their number Ingouville-Williams. In early 1940 they moved to Dublin, for the sake of the company there, and began to hold meetings, organise exhibitions, lectures and debates, and to gather a significant following. The focus shifted towards painting above psychology, and the magnetic appeal of regular and fairly frequent exhibitions, combined with enthusiastic reviews, praise from the Irish Times, and the steady expansion of membership. Kenneth Hall was particularly admired. He had already become something of a sensation in London, in the 1930s; his moody, gentle temperament matched perfectly the dynamic ebullience of Basil Rakoczi, and a mixture of admiration and curiosity attracted the artistic enthusiasm of growing crowds attending what had become both parties and exhibitions at 25 Lower Baggot Street.

It surprised no one when, in 1941, Basil Rakoczi held a one-man show, opened by the playwright Lenox Robinson.

Patrick Scott was one of the youngest artists in that group. He later moved beyond it; but it was my pleasure, many years later, to gather and display his early works and bring him to the gallery to confront what he had created as a young man. Alas, Kenneth Hall could not be brought back from his 1946 suicide, nor could Basil Rakoczi be recovered to see what an impact he had created. The two paintings on show, ‘Nature Mort’ and ‘La Cambuse’, are major works by this painter, and belong to a fresh frame of his life. Yet it had grown and developed, and in those middle and latter years he had to confront the losses of both Irish and English friends. Saddest of all concerns Kenneth Hall. Kenneth left Ireland with Basil and returned to London. Basil went on to France and confronted the debris and the gory horrors of post-Nazi savagery. He painted what he was told of, bodies in tanks of water, starved and then drowned, prisoners crying up to the empty sky. I think it hurt him to develop paintings on these themes. He reacted by creating classical Greek equivalents. The pain that cut most into his heart was the death of Kenneth Hall, who returned to the care and affection of the great early guardian of these two lives, Lucy Carrington Wertheim. She had run a gallery in Mayfair for these and other young painters. On the outbreak of war the police closed this gallery. When Kenneth Hall arrived from Dublin, six years later, she gave him her flat to live in. One morning, quite soon after his return, she arrived and discovered he had committed suicide. Basil Rakoczi was cared for, in later years, by a friend of mine from Dublin. When I visited her in Paris after he had died, she asked if I was still interested in his work. I said yes, the strength of his painting had endured throughout his career. Brian Kennedy attests to that, and has written with care and affection about his life as a painter. 

Bruce Arnold, October 2019

11 Basil Rakoczi 1908-1979 NATURE MORTE Oil on canvas, 51" x 51" (130 x 130cm), signed; signed, inscribed & dated 1956 verso, No. 2100.

Provenance: Private Collection, Dublin.

€7000 - 10000

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12 Basil Rakoczi 1908-1979 LA CAMBUSE Oil on canvas, 51" x 38½" (136 x 97.8cm), signed, signed, inscribed & dated 1955 verso, no. 2113.

€5000 - 7000

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13 Barrie Cooke HRHA 1931-2014 BIG FOREST BORNEO (1976) Oil on canvas (triptych), overall 76" x 134" (128 x 340cm). Provenance: David Hendrik’s Gallery, Dublin (label verso); Bank of Ireland Collection; Adams 24/11/2010 (lot 40); Private Collection. Exhibited: ‘Six Artists from Ireland’, Arts Council, cat. no. 20 (label verso); ‘The Delighted Eye-Irish Paintings and Sculpture of the 1970s’, cat. no.19, Arts Council of Ireland; The Guinness Hop Store, Apr-May 1991; Barrie Cooke Exhibition, Gemeentemuseum Den Haag, The Netherlands, 1992; Barrie Cooke Retrospective Exhibition, The Royal Hibernian Academy, Dublin, Sept/Oct 2003; The Niland Gallery, Sligo, Nov 2003.  This work is the result of a three month stay by the artist in the equatorial  forests of Malaya and Borneo. Cooke tried to capture the complication and vitality of what he experienced there. Brian Fallon in his review of the 1976 Cooke exhibition stated “The pictures are mostly green, tropical and lush, as one would expect, and are closer to the lyrical mood of Cookes earlier work”.

€14000 - 18000

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14 Patrick Collins HRHA 1911-1994 MOORLAND WATER Oil on board, 36" x 48" (91.5 x 122cm), signed & dated 1957. Provenance: Formerly collection of Cecil King; Ex Collection Bank of Ireland; Adams Art Auction 24 November 2010 (lot 22); Private Collection. Exhibited: IELA 1957, cat. no. 14; Patrick Collins Exhibition, Ritchie Hendriks Gallery, Dublin, April 1959, cat. no. 12; Twelve Irish Painters Exhibition, Wollman Hall, New York, Oct/Nov 1963, cat. no. 5; Paintings & Sculpture from Private Collections in Ireland, Dublin 1965, cat. no. 20 where lent by the artist Cecil King; Irish Imagination-ROSC 1971 Exhibition, cat. no. 16 (full page illustration page 51); Modern Irish Painting, Dublin 1971, cat. no. 4; Irish Art 1943-1973, Cork ROSC 1980, cat. no. 18; Patrick Collins Retrospective Exhibition, Douglas Hyde Gallery, Trinity College, Dublin, 1982, cat. no. 8, later touring to The Ulster Museum, Belfast and The Crawford Gallery, Cork; Guinness Hop Store, Dublin, Apr/May 1991, cat. no. 31; Artist’s Century Exhibition-Irish Self-Portraits and Selected Works 2000, Royal Hibernian Academy, Dublin and The Ormeau Baths, Belfast; Literature: Cork ROSC 1980 exhibition catalogue, full page illustration, plate 3, page 23; Patrick Collins, Frances Ruane, illustrated page 33 Modern Art in Ireland; Dorothy Walker, illustrated page 66. Frances Ruane noted in her monograph on the artist in the early 1980s that ‘Moorland Water’ was one of “three large works that stand together as an important landmark in Collins career” which were painted between 1957 and 1958. The other two being ‘Liffey Quaysides’ which was awarded the Guggenheim award for Ireland in 1958 and is now in the collection of the National Gallery of Ireland and ‘Spring Morning’ which was in the Sir Basil Goulding Collection. She noted that ‘Moorland Water’ demonstrated “a greater complexity of composition and a more subtle and varied use of colour than in previous works”. “Still veiled in a somewhat hazy atmosphere the crisp shapes in ‘Moorland Water’ and ‘Spring Morning’ give their surfaces a staccato liveliness. In these two companion pieces, both completed in 1957, Collins uses abstraction to a greater degree than he had ever done before.” Frances Ruane continues ‘Moorland Water’ is even more dense with layers compressing towards the center. The linear gestures within the picture are nervous rather than explosive, twisting like snakes around the core of compacted forms. In ‘Moorland Water’ there is a suggestive evocation of nature: sky, clouds, mountains, water and rocks, all merging so that one can hardly tell them apart. Yet, even so, the subject of the picture remains unmistakable. Collins avoids the picturesque view in an attempt to get closer to capturing the sensations inspired by nature. Within this protective womb-like shape we find a place imbued with life and we can sense the freedom and adventure a young boy might have felt while exploring the rivers, lakes, fields and woods around Sligo.”

€25000 - 30000

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15 Hughie O’Donoghue RA b.1953 RETURN OF ULYSSES - BLUE ELEGY Oil on canvas with photographic base, 44¼" x 61¼" (105 x 155.5cm), signed; signed, inscribed & dated 2007 verso. While Hughie O’Donoghue uses photography and new media, his senses and experience underpin his work. “When you think about the concept of drawing,” he says, “traditionally, artists drew things in order to inform their work. They sat down and drew a model. The way I draw, is to draw on the place, to literally draw on the sensations of the place, like Turner, who strapped himself to the mast of a ship to experience what the sea was like. The Atlantic is a motif in my work, and I walk the north coast of Co Mayo to experience the Atlantic in all its majesty. I absorb that.”

€20000 - 30000

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16 Donald Teskey RHA b.1956 LONGSHORE VIII Oil on canvas, 40" x 48" (100 x 120cm), signed, inscribed verso. Donald Teskey is one of Ireland’s leading contemporary artists. Born in Limerick, he graduated from Limerick School of Art and Design in 1978. His paintings depict dramatic seascapes through thickly applied paint, using brushes and palette knives. The result is a painting with visceral physicality and a feeling of constant movement.

â‚Ź18000 - 24000

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17 Martin Gale b.1949 WESTERN SWING Oil on canvas, 42" x 48" (106 x 122cm), signed; signed, inscribed & dated 2008 verso. “I think I was reacting against the painterly thing to begin with. No brushstrokes. Just image.” Born in England to an Irish mother and English father, Martin Gale studied at NCAD in 1973 and represented Ireland in the 1980 Paris Biennale. Gale paints his implied narrative scenes, at the point of interruption, which attempts to mimic yet also transcend photography, capturing with painstaking detail not just the fleeting moment but also “a bewildering wealth of impressions” and thereby demonstrating “the extraordinary in the prosaic” . 

(Aidan Dunne, Contemporary Irish Art: A Documentation, Wolfhound Press, Dublin, 1982, p.16). €7000 - 10000

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18 Bob Quinn b.1948 TUMBLING Bronze, total height 75" high (191cm), signed, ed. 3/9. Provenance: Parvis Gallery, Lisburn, where acquired by the present owner; Private Collection, Northern Ireland.

â‚Ź5000 - 7000

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19 Basil Blackshaw HRHA RUA 1932-2016 LANDSCAPE Oil on canvas, triptych, each panel 18" x 14" (46 x 35.5cm), signed.

€8000 - 12000

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20 Martin Gale RHA b.1949 BROTHER/SISTERÂ Oil on canvas, diptych, each panel 60" x 30" (152 x 76cm), signed, signed & dated 1988 verso.

Provenance: Taylor Galleries, Dublin (label verso).

I was the first to assess Martin Gale’s early work and gave him his first one-man show. The decision was automatic. I was compelled by his unique mixture of sympathy and sharpness. We were a small gallery then and he moved on, with our blessing, to grow in artistic stature and conquer wider fields, though never losing the unique mix he held to, from the start. When I spoke to him recently he recalled those days, the small gallery, the fine balances of life, with always a hint of mystery and uncertainty. It is present in the diptych, where the sense of time passing; of the young growing older, lying in the sunlight and shadow; has a moving intimacy that has already changed, and changed again, since he painted the work. His working life has been crowded with exhibitions and studded with achievement, but he has never lost the sympathy nor the sharpness. It is rare indeed for these qualities to remain both dignified and adventurous. His colours and tones have been consistent, but with the surprise also there. I am glad to have shared in it, even if it is long ago. 

Bruce Arnold, October 2019 â‚Ź6000 - 9000 25


21 John B Vallely b.1941 FIVE MUSICIANS Oil on canvas, 60" x 50" (152.5 x 127cm), signed. Provenance: Adam Gallery (label verso); Eakin Gallery, Belfast (label verso). Armagh artist John B. Vallely studied at the Belfast College of Art, where he was taught by Tom Carr, and went on to further studies at the Edinburgh Art College before returning to his home town where he has lived and worked since. Musicians are the dominant force in his work, subject matter that is linked to the past but his feeling for paint is vigorously contemporary. Rural Ireland, its traditions, music, sports and mythology create strong themes within his art. An avid supporter of Irish heritage in terms of both sport and music, Vallely founded the Armagh Piper’s Club in the 1970s. Not only did the club allow him to actively support traditional Irish music and pass on his own knowledge, but it became the meeting point for his love of music and his art.

€20000 - 30000 26


22 John B. Vallely b.1941 WIND, STRINGS AND REEDS Oil on canvas, 40" x 50" (102 x 127cm), signed with initials.

Provenance: The Eakin Gallery, Belfast (label verso).

€15000 - 20000

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23 John B Vallely b.1941 SEAN KELLYÂ Oil on canvas, 48" x 24" (122 x 61cm), signed with initials, signed by Sean Kelly verso. Sean Kelly is a former professional cyclist that represented Ireland all over the world. From 1977-1994 he won 193 professional races and is regarded as one of the greatest cyclists of all time.

This major work is signed by both the artist and Sean Kelly.

â‚Ź10000 - 15000 28


24 Donald Teskey RHA b.1956 OCEAN LANDSCAPE Oil on paper, 28" x 31" (71 x 79cm), signed.

€9000 - 12000

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25 Mark Francis b.1962 FRISSION (2005) Oil on canvas, 84" x 60" (213 x 152.5cm), signed, inscribed & dated 2005 verso.

Provenance: Kerlin Gallery, Dublin (label verso) where purchased by the present owner.

While Mark Francis’s paintings, works on paper and prints are abstract, they are not straightforwardly so. True, he creates elegant arrangements of lines and repeated forms. When he employs colour, it is usually flat. But rather than evoking a kind of ideal geometry, the works have visual echoes of scans or computer print-outs, evoking processes, scientific processes, of measurement and data analysis. This is not incidental. From the early 1990s, when he was already using close-up studies of plant anatomy as references, he began to look to look beyond the visible scale of things, delving into the microphotographs made possible by electron microscopes, opening a window onto deep, underlying organic structures and forms. Those forms variously resembled spermatozoa and zygotes and microbes, conveying a sense of the basic language of life. Over time, the lattice arrangements of organic elements tended towards grid-like arrangements and the idea of linear grids became more definite, recalling graph paper patterns on which streams of data were imprinted and measured. And, figuratively speaking, the grids suggest the fundamental rules governing the physical world. Francis broadened his focus from the infinitesimally small to the unimaginably vast, looking at the data relayed by radio telescopes reaching into distant regions of the universe. It is perhaps hardly surprising that his work often has an edge of mystery. He was born in Newtownards in Northern Ireland, and studied at St Martin’s and Chelsea School of Art in London (he settled in England). It was the era of the YBAs. As part of the Saatchi Collection, Francis’ paintings featured in the controversial 1997 exhibition ‘Sensation’ at the Royal Academy, London (it later toured widely), and, with a string of solo shows in Ireland, the UK, Europe and the United States to his credit, his reputation has grown steadily. 

Aidan Dunne, November 2019 €15000 - 25000

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26† Fredrick Edward McWilliam RA 1909-1992 RECLINING FIGURE (1960) Bronze, 13¾" long (35cm) signed with initials. Provenance: Waddington Gallery, London, private collection, UK. Exhibited: London, The Waddington Galleries, F.E. McWilliam, 9 February-4 March 1961, cat. no. 26 (another cast); Antwerp, Open-Air Museum, 6th Biennale, 15 July-15 October 1961 (another cast). Literature: Denise Ferran & Valerie Holman, The Sculpture of F.E. McWilliam, Lund Humphries in association with the Henry Moore Foundation, Farnham, 2012, p.131, cat. no. 215 (ill. b&w, another cast); Roland Penrose, McWilliam, Alec Tiranti, London, 1964 (ill., another cast).

€7000 - 10000

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27† Michael Ayrton 1921-1975 MANTIC FIGURE (1963) Bronze, 14¾" high (37.5cm). Literature: Peter Cannon-Brookes, Michael Ayrton: An Illustrated Commentary, Birmingham Museums and Art Gallery, Birmingham, 1978, (col.ill. pl.178, p.101, another cast) Initially a painter and draughtsmen, Ayrton first turned to sculpture in 1953. He saw sculpture as the fulfilment of his drawing, and inspired by his travels to Italy in the mid-1940s, the southern classicism was a catalyst for his imagery becoming less linear and more sculptural. Sculpture was a medium in which he had no formal training, bar some valuable advice given generously and frequently by Henry Moore and a passionate study of the work of such masters as Donatello, Rodin and Degas.  By the early 1960s, Ayrton was producing sculpture rooted in Greek mythology and these have become some of his most distinct works. Their origins lie in Ayrton’s first visit to Cumae in 1956, the earliest Greek colony in Italy. Steeped in Greek mythology, the experience of this ancient site had a profound impact on Ayrton, inspiring pieces which explored the myths of Daedalus and Icarus, the Oracle and the Minotaur, from which the present work is based. In the Greek myth, the Minotaur is a monstrous creation, with the head and tail of a bull and body of a man. A calamitous amalgamation of man and beast, the creature dwelt in the Labyrinth, an elaborate maze designed by Daedalus. Ayrton would go on to write The Maze Maker (1967) a fictional memoir surrounding Daedalus, and also was commissioned to create a colossal labyrinth, comprising 1680 feet of passageways in upstate New York (1969).

€4000 - 6000 33


28 Patrick Scott HRHA 1921-2014 MEDITATION SERIES Tempera and gold leaf on ash, 34" x 34" (85.5 x 86.5cm), signed verso. Detachable top can be wall mounted or used as a meditation table. Patrick Scott is exceptional in Irish cultural history for the range and quality of his work across the fields of art and design for well over half a century. He initially trained as an architect, and for 15 years worked with Michael Scott in that capacity. While he never really harboured architectural ambitions, and was much more inclined towards solving design problems, there is perhaps an architectonic quality to the geometric compositions of his paintings. From designing Christmas Cards to the railway carriage livery for CIE, or devising the gallery setting for the first Rosc exhibition of international art in 1967, he brought a consistently spare, practical sensibility to bear on the task at hand. By 1964 he began to use gold and palladium leaf as his staple media and to apply paint in precise, hard-edged patterns. Radical at the time for their minimal, almost austere character, his gold and silver paintings gradually gained a wide following. Scott greatly admired the Japanese flag, a red solar disc against a white ground, and what it exemplified: a pared-down, Zen-influenced aesthetic of formal simplicity, naturalness and tranquility. After the circle, the square is the form he used most frequently. The square-on-circle motif of the ‘Tables for Meditation’ recall the meditation technique of visualising a dark ground, a geometric shape of a different colour and a central form into which one’s attention is directed.  Extract taken from note by Aidan Dunne €6000 - 9000 34


29 Richard Gorman RHA b.1946 BLUE CROSS - MILAN 2007 Oil on linen 19½" x 19½" (50 x 50cm), signed verso.

Provenance: Kerlin Gallery Dublin.

€1000 - 1500

30 Francis Tansey b.1959 COMPLEMENTARY STUDY IN GREY Acrylic on canvas, 18" x 18" (46 x 46cm), signed, inscribed & dated 7/90 verso.

35

€600 - 900


31 Camille Souter HRHA b.1929 BOGLAND, ACHILL (c.1959) Oil on paper, 20½" x 19½" (22 x 49.5cm), signed verso. Returning to Ireland in 1959 from a sojourn in Italy, partly funded by an Italian Government Travel Scholarship, Camille Souter sought out a new home on Achill island, renting and ultimately acquiring a small cottage that would become and remains her home. With its wild and constantly changing west coast scenery Achill had been an artistic magnet for generations. It was also inexpensive and a healthy outdoors environment for her young family to grow. Armed with artist’s Whatman paper acquired in bulk by her father, Souter made best use of materials her limited means could access locally. Everything from bicycle paint to enamel and aluminium were repurposed as artistic media. Her output quickly changed to reflect her new working environment, a beachcombers paradise of found things intersecting a landscape that captivated her. In ‘Bogland, Achill, 1959’ Souter actively interprets the Abstract Expressionism of De Kooning and Pollock but in a manner that is both intimate, playful and without any of the overt grandstanding inevitable with the often vast canvas’s of her American contemporaries. The heavily worked and reworked layers of paint over a salmon pink foundation parallels other works from this period, in particular ‘Achill Rocks and Reflections 1’ (Private Collection) with the same black motif of vertical reflection, possibly of rocks or blasted trees above pool water. Souter’s great achievement from this period was to take on much of the theory and practice of Abstract Expressionism, discard that which was of no interest or relevance to her journey and to produce a wholly individual body of work that belie their origins without fully cutting that visual connection.

€7000 - 10000 36


32 Tony O’Malley HRHA 1913-2003 WINTER PATTERN Oil on board, 42" x 22", (107 x 56cm), signed with initials & dated 1/85, signed, inscribed and dated 1985 verso, opus no.774. Provenance: Taylor Galleries, Dublin (label verso); sold these rooms 12th April 2005 (lot 142).

â‚Ź8000 - 12000 37


33 Norah McGuinness HRHA 1901-1980 THE CUSTOMS HOUSE, DUBLIN (1954) Oil on canvas, 26¾" x 35¾" (68 x 91cm), signed & dated 1954. This colourful painting of The Customs House in Dublin proclaims the strong influence of the School of Paris on Norah McGuinness. Gandons imposing building is presented as almost weightless, its classical architecture depicted sketchily in thick dark lines. In front of it toy-like boats bob on the surface of the Liffey. A small back tug spews out an enormous plume of blue-white smoke while a larger steam boat in the foreground is painted a mixture of glorious oranges and pinks. A woman in a sundress sits on the quay while a man in short blue shirt sleeves walks past. McGuinness makes a feature of the lift belt hanging from an elegant lamp post and surrounded by four metal poles in the right-hand foreground. The latter are reminiscent of the Gondola poles at the Ponte di Rialto in Venice, familiar to tourists everywhere. The golden sunlight seen in the orange tones of the sky and the relaxed summer atmosphere of the scene is equally more Mediterranean than Irish sea. McGuinness represented Ireland at the major international art exhibition, the Venice Biennale, in 1950. Her knowledge of France and Italy must have inspired her imagination in the making of this work. The strong bright colours and the diaphanous forms of the buildings and fixtures of the city recall the work of the French Fauvists, especially Raoul Dufy. McGuinness had studied art in Paris in the early 1930s and was well versed in modern French art. The painting is full of movement and the noises and sounds of the location are conveyed through the emancipated deployment of line across the composition. As Anne Crookshank wrote, McGuinness, uses a very free, bold brushwork which suggests rather than describes the objects in her pictures. Having lived and worked in Paris, London and New York, the artist was a cosmopolitan at heart and chose to represent Dublin as a vibrant European city with grand buildings, motor cars and hedonistic citizens. This is one of several oil paintings of the city centre that McGuinness made in the late 1940s and early 1950s, some of which were included in her 1950 Venice Biennale exhibition. She had made gouache and watercolour paintings of the Thames and its surroundings when she lived in London in the 1930s. A gouache painting of ‘New York Harbour’ c.1938 was included in her 1968 Retrospective exhibition in Trinity College Dublin in 1968. This also featured several gouaches and watercolours of Dublin city such as ‘The Canal, Leeson Street’, ‘The Customs House’, 1939 and ‘The Liffey’, 1944’ From the mid 1940s McGuinness produced oil paintings of Dublin that centred on the Liffey or the canals. Clearly the interaction of the natural elements of water contrasted by the built environment fired her imagination as it had the Impressionists, the Fauvists and many other modernist artists. Later in her career Dublin Bay and its bird-life would become the focus of McGuinness’s urban paintings and the metropolitan atmosphere of this earlier work was replaced by a more abstract engagement with nature. 

Róisín Kennedy, February 2019 €15000 - 25000

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39


34 Gerard Dillon 1916-1977 LIPS Oil and collage on board, 21" x 14" (53 x 36cm), signed. Provenance: The Dawson Gallery; Dublin; Gorry Gallery, Dublin; Whytes Auction, 18 Nov 2003 (lot 73); Private collection, Dublin. Exhibited: ‘Gerard Dillon: New Collages’, Dawson Gallery, Dublin 17th May, 1969, catalogue no 28.

€6000 - 9000 40


35 Barrie Cooke HRHA 1931-2014 DERMOT HEALY II Oil on canvas, 30" x 30" (77 x 77cm), signed, inscribed & dated 2003 verso. Dermot Healy (9 November 1947-29 June 2014) was an Irish novelist, playwright, poet and short story writer. A member of Aosdána, Healy was also part of its governing body, the Toscaireacht. Born in Finea, County Westmeath, he lived in County Sligo, and was described variously as a ‘master’, a ‘Celtic Hemingway’ and as ‘Ireland’s finest living novelist’.

€6000 - 9000

41


36 Patrick Hennessy RHA 1915-1980 BROCADE AND FRUIT Oil on canvas, 33½" x 23½" (85 x 60cm), signed.

Provenance: Guild Hall Galleries, Chicago (label verso).

€6000 - 9000

42


37 Sean Keating PPRHA 1889-1977 HE GAVE HIS BELOVED RHYMES Chalk and Crayon, 20" x 30" (51 x 76cm), signed.

Provenance: The Bell Gallery, where purchased by the present owner.

Exhibited: ‘Sean Keating’, the RHA, 7 Nov - 17 Dec 1989 (cat. no. 110).

Sean Keating was a national painter in that his interest and subject matter was found in the life and events of his own time and place. But he imbued his pictures with a quality outside their representational reference, he made them symbols. His long preoccupation with the Aran Islands had to do with this abstract imposition, the life and appearance of the islands being token of an ample Irishness more diluted and less noticeable in other parts. That the people of Aran attired themselves in picturesque apparel and that their Islands stony cliffs and walls caught the light in dramatic and painterly manner made the illustration of island life all the more zestful. Though Keating was determinedly of Ireland he was anything but limited or insular. Like Goya, his mind jumped the frontiers, and as in the work of the Spanish master his people see, in the art of Sean Keating, a reflection of themselves commingling with visions of a wider brotherhood in the generous profusion of his talent. 

Thomas Ryan, 1989 (extract taken from the Forward in the RHA Exhibition catalogue) €7000 - 9000

43


‘Down Ormond Quay as I did stray, All in the summer season O My heart with joy it gave a leap – The news it was so pleasing O. Now Captain LAmbery lost the day, Indeed he’s nicely fitted O, Hurrah my boys for justice still, Young Barrett is acquitted O.’

38 Jack Butler Yeats RHA 1871-1957 THE LIBERATION OF BARRETT (Galloping down Ormond Quay, Dublin) Ink and watercolour, 5" x 3¾" (13 x 9.5cm), signed with monogram.

Literature: A BROADSIDE, CUALA PRESS, No.4, September 1909 (original illustration).

€5000 - 7000

44


39 William Conor OBE RHA RUA ROI 1881-1968 SCHOOLGIRLS IN THE BOTANIC GARDENS Crayon, 19" x 14" (48 x 36cm), signed.

Provenance: The Bell Gallery, where purchased by the present owner.

€8000 - 12000

45


40 Daniel O’Neill 1920-1974 TRAMCAR DWELLING Oil on board, 18" x 24" (45.7 x 61cm), signed, inscribed label verso. Following the collapse of his marriage in the early 1950s, Daniel O’Neill sought the tranquil and picturesque area of Tyrella Beach, Downpatrick, in County Down to live with his then partner, Sheilagh Deacon. Known locally as ‘The Major’ from his activities in the War, John Corbett bought a Regency bow-ended, ‘Tyrella House’ on a working farm, park and beach and let out cottages annually to families for the summer months. At this time, the distinctive Belfast red and white trams went out of commission and several were acquired by families who converted them into holiday homes on the Beach close to where O’Neill was living. O’Neill was known to the locals and was often seen riding around the area on his ‘riff-raff’ bicycle loaded down with painting materials to sketch harvest scenes, old graveyards, ruined cottages, derelict mines, deserted clay pits, and scenic scenes on Tyrella Beach. Born in Belfast, O’Neill had little orthodox training except for a few classes at the College of Art, Belfast. He started painting with watercolours at the age of fifteen, and when possible spent all his spare time in the Belfast Reference library studying the Italian Renaissance painters. Working as an electrical engineer in the Belfast Corporation Transport Department, he worked on the night shift so he could paint during the day. This continued for over five years until he was taken up with Dublin dealer, Victor Waddington in 1945. Several one man shows followed and his works were included in several exhibitions overseas; London in 1946, New York in 1947 and California in 1948. In 1948 he spent six months in France, mostly staying in Paris. Here he was given an opportunity to study painters he admired, such as Watteau, Rouault, Vlaminck, Utrillo and the Impressionists. In 1952 at just 32 years of age, he held a retrospective exhibition in his native city, organised by the Council for the Encouragement of Music and the Arts (CEMA). Recognition of his work resulted in the National Gallery of Victoria in Melbourne, The Sutter Art Gallery in New Zealand and the Laing Art Gallery in England, adding his work to their collections in the 1950s. Exhibited in 1953, ‘Tramcar Dwelling’ belongs to a number of paintings on the same theme, ‘Two Families’ (1953), ‘The Country Cart’ (1955) and ‘Scavengers’ (1957), where O’Neill was concerned with how families were dealing with the psychological reality of every- day life after the War. In this painting, O’Neill draws the viewer’s attention to a family on the beach carrying out their daily chores as evening approaches. In a darkening sky, light illuminates the activities of a family around a tramcar as they prepare food, secure their animals and source food and water from a barrel under a make shift tent. As in many works from this period, O’Neill explored his innate feeling for colour as a means to introduce a change in mood and atmosphere. Throughout the 1950s and early 1960s O’Neill was focused on the family unit in a domestic setting, in a barren landscape, enclosed space, or in this case a tramcar to highlight the issue of displacement and unpopulated wastelands at that time. The writer, Kenneth McConkey stated that “O’Neill’s images set out to link the experience of Irish working class and rural class people to the wider spectrum of post-war austerity”, adding that at that time the world was “overcast by the possibility of atomic war.” (A Free Spirit, Irish Art 1860-1960, 1990, p.80). 

Karen Reihill, October 2019 €10000 - 15000

46


47


THE DOROTHY BALMER COLLECTION (1969-74) In 1969, Dorothy Balmer was working as a nurse in Shaftesbury Square Hospital, Belfast, when Daniel O’Neill was admitted for a rehabilitation programme following a ‘bad struggle with alcoholism.’1 During his recovery programme, O’Neill became friends with Dorothy who later recalled their meeting, “he was quietly spoken and unassuming in his manner and we managed to build up a good rapport quite readily and he was able to converse freely with me.”2 As O’Neill’s health improved he shared childhood memories and often spoke of painting. He told her that he worked as an electrician at night so he could paint in every spare moment of the day. He also amused her with anecdotes about his mother, Mary O’Neill who as a devout Catholic overreacted to the nudity of some of his paintings. One well known painting, ‘The Blue Skirt’ (1949)3 in the collection of the Ulster Museum was ‘heralded as a modern and innovative interpretation of a traditional subject’⁴ shocked his mother. Protesting, Mary O’Neill exclaimed “Oh Dan, cover her up”, so to “please her he added a blue drape…”⁵. When he was able to leave hospital, O’Neill presented Dorothy with a William Conor crayon drawing but she couldn’t accept the pictures explaining that the only painting hanging in her home were two pictures by her mother and aunt and would look ‘amateurish beside the Conor.’⁶ O’Neill who was initially disappointed by her reaction found a solution to Dorothy’s worries. He decided to gift her paintings to hang alongside the Conor sketch. These four landscapes, ‘Landscape with Figures’, ‘Coastal Landscape’, ‘Cottages by the Sea’, ‘Landscape with Trees’, a watercolour (Christmas card) and a handmade ashtray were gifted to her over a period of four years. Other works mentioned in Dorothy’s account of meeting the artist, ‘King and Queen’7 and ‘Clown Woman’⁸ were also in her collection. These four paintings representing, cottages, land, sky and sea reveal O’Neill’s need to paint the essence of his experience of place at this time and indicate his brave efforts to get well during a difficult period in his life.

41 Daniel O’Neill 1920-1974 LANDSCAPE WITH TREES Oil on board, 13 x 18" (33 x 46cm), signed. Provenance: acquired directly from the artist by the current owner’s mother.

€6000 - 9000 48


42 Daniel O’Neill 1920-1974 COTTAGES BY THE SEA Oil on board, 7" x 9¼" (18 x 23cm), signed. Provenance: acquired directly from the artist by the current owner’s mother.

€3000 - 5000

As their friendship grew O’Neill felt compelled to explain his wish to show her kindness as Dorothy had become uncomfortable with his increasing attachment to her. Dorothy commented, “I enjoyed his [Daniel O’Neill] company immensely but was seriously committed emotionally to someone else and had made no secret of this to Dan.”⁹ O’Neill responded by writing to her to explain his reasons for wanting to present her with impromptu gifts. He explained: “Perhaps I ought to write you this little note simply to remove from your mind any misgivings you may have about how I feel. In the first place I do understand everything – believe me. Also, you seem rather lost when you try to convey something about my kindness. If you could but know the immeasurable kindness and genuine pleasure I have received by paying you this or that little attention or whatever, kindness becomes quite irrelevant – one can only keep what one gives…” 10 When O’Neill was admitted to Shaftsbury Hospital in Belfast for treatment in 1969, it is doubtful if he confided in Dorothy why her kindness had meant so much to him at that time. He had earlier spent a period in a London clinic and had returned to Belfast to complete pictures he had been unable to finish. In 1969, O’Neill had been suffering from a ‘personal crisis’ following the decision of his partner of ten years to leave him. Maureen Boyce O’Neill’s departure from his life had caused him to turn to the numbing effects of alcohol. And for some time, he struggled to regain the stimulus to paint. 1 Dorothy Balmer, ‘Meeting Dan O’Neill’ handwritten document. Undated, pg. 1. D Balmer collection. 2 Ibid. 3 ‘The Blue Skirt’ was first exhibited at the Irish Exhibition of Living Art in 1949. It was purchased by the Haverty Trusts and subsequently presented to the Ulster Museum. 4 Description of ‘The Blue Skirt’ on the Ulster Museum’s website www.nmni.com/our-museums/ ulster-museum Accessed 30.10.19. 5 ‘Meeting Dan O’Neill’, pg.1. 6 Ibid.

7 ‘King and Queen’ was the fourth and final gift from the artist to Dorothy Balmer shortly before O’Neill’s death in 1974. The painting was sold in 2008. 8 Exhibited in 1971 at the Dawson Gallery, Cat No. 17, ‘Clown Women’ was gifted to Dorothy’s son, Christopher in 1973. The painting was sold in 2014. 9 ‘Meeting Dan O’Neill’, pg.4. 10 Handwritten letter from Daniel O’Neill to Dorothy Balmer. Undated. Inscribed ‘Sunday’ D. Balmer collection.

49


Commuting between Belfast and London in 1968-9 O’Neill had also become increasingly concerned for the safety of his elderly mother and sister during the increased sectarian violence close to his home off the Springfield Road in Belfast. In August, 1969 O’Neill’s family saw the burning of Bombay Street which touched a nerve in the tightly knit Catholic community. It seems likely that when O’Neill met Dorothy, he would not have wanted to return to painful memories of loss and despair but did want to put her mind at ease as she didn’t wish her attention towards him to be misunderstood. Expressing his gratitude for shifting him out of depression he wanted to give her presents. In the letter, he further explained:  “On the other hand, and most important of all, you without knowing it have given me the most priceless gift possible for any one person to give and this I have but recently realized myself – that is The will to paint. I have asked myself, why you? You whom I’ve known for such a brief period. But it is unwise and fruitless to ponder such an inexplicable giving and receiving.” 11 A year after meeting Dorothy Balmer, O’Neill had joined a health club, was attending AA meetings and held his first exhibition in Belfast after a gap of seventeen years. News of the exhibition at the McClelland Gallery in May street led to a queue of people outside the gallery. In better health, O’Neill was encouraged by sales and critical acclaim in the Press. Wishing to see Dorothy but also keenly aware that he didn’t wish to draw attention to their friendship at her place of work, he wrote notes to her. In one letter, he gave news of his progress in the studio telling her that he had been painting at night time when everything is still and quite. An old transistor radio kept him company and he painted to the music of Brahms, Debussy, Mozart, Schubert and Sibelius. He also alluded to his past depression, “Tension, depression, emotion, tears – I was glad to know it was short-lived…” 12 Significantly a few works in O’Neill’s exhibitions in Belfast and Dublin in the early 1970s were subjects of a personal nature. Energised from the demand for his work he continued to sell paintings in group shows at the Tom Caldwell gallery and to the Bell Gallery outside exhibitions times. Shortly before he died, O’Neill rang Dorothy to tell her that he was upset that a painting, ‘Dorothy’13 had been sold at Tom Caldwell’s gallery as he had wanted her to have it. He told her he hoped to exchange a painting with the buyer as ‘Dorothy’ “had been originally planned for her” 14. Unfortunately, O’Neill suddenly died in 1974 15 and his efforts to negotiate the return of the painting never happened. Dorothy commented, “sadly this transaction was not to be, it was with much regret that I heard of his sudden death. He had a tremendous talent… and I have memories of a kind, understanding a deeply sensitive person and feel so fortunate to have known him.” 16 This collection of works by Daniel O’Neill have remained in the same ownership since 1974 and have never been exhibited in public. The paintings represent the artist’s friendship with the present owner’s mother during a significant time in O’Neill’s life. Dorothy Balmer’s kindness inspired hope and shifted O’Neill out of darkness giving him “the most priceless gift possible… the will to paint.” 17 

Karen Reihill , November 2019

11 Ibid. 12 Handwritten letter from Daniel O’Neill. Undated, inscribed ‘Thursday’ D Balmer Collection. 13 This painting has been untraced. 14 ‘Meeting Dan O’Neill’, pg.6.

15 He choked on a chicken bone and died in a taxi on the way to hospital. 16 ‘Meeting Dan O’Neill’, pg.7. 17 Handwritten undated letter from Daniel O’Neill to Dorothy Balmer. Inscribed ‘Sunday Night’. D.B collection

43 Daniel O’Neill 1920-1974 COASTAL LANDSCAPE Oil on board, 5½" x 8" (14 x 20cm), inscribed verso: To Dorothy, Wishing you a happy Easter, Dan. Provenance: acquired directly from the artist by the current owner’s mother.

50

€2000 - 3000


44 Daniel O’Neill 1920-1974 LANDSCAPE WITH FIGURES Oil on board, 7" x 9¼" (18 x 23cm), signed.

Provenance: acquired directly from the artist by the current owner’s mother.

€3000 - 5000

45 Daniel O’Neill 1920-1974 CHRISTMAS CARD Watercolour, 4½" x 8" (11.5 x 20cm), inscribed: Many Happy Returns, Dan.

46 Daniel O’Neill 1920-1974 A collection of handwritten personal letters from Daniel O’Neill to Dorothy Balmer, while being cared for at Shaftesbury Hospital in Belfast. Also miscellaneous items including an ashtray made by the artist, various photographs and exhibition records.

€600 - 900

51

€400 - 600


47 Daniel O’Neill 1920-1974 GLENEALY, CO DONEGAL Oil on board, 16" x 20" (41 x 51cm), signed. This work dates from the the 1950s. O’Neill had travelled to Donegal where he produced a series of more traditional landscapes, more in the tradition of fellow northern painters Paul Henry or Frank McKelvey. The best known of this series is ‘Knockalla Hills, Co. Donegal’, which can be found in the Ulster Museum collection. O’Neill made drawings and sketches en plein air, he then worked these up in the studio. As a result one sees the spontaneity of quick brushwork and the occasional use of the palette knife which we associate with O’Neill’s work. Gleneely is near Culdaff on the Inishowen Peninsula, on the road from Greencastle to Malin.

€6000 - 9000

52


48 Gerard Dillon 1916-1971 THRESHING IN CONNEMARA (1944) Watercolour, 7" x 9½" (18 x 24cm), signed & dated 1944.

Provenance: Taylor Galleries, Dublin (label verso).

€1500 - 2000

49 James MacIntyre RUA b.1926 BURNING THE KALE, CONNEMARA Watercolour, 13½" x 16½", (34 x 42cms), signed & dated 1977.

€600 - 900 53


50 Colin Middleton RHA RUA 1910-1983 NUDE Crayon, 6" x 4¾" (15 x 12cm). Provenance: Collection of Cecil McCartney who acquired it directly from the artist’s wife, Kate Middleton.

€1000 - 1500

51 Colin Middleton RHA RUA 1910-1983 FIGURE Gouache, 9½" x 7⅓" (24 x 19cm).

52 Colin Middleton RHA RUA 1910-1983 HOUSES Crayon and Watercolour, 4" x 4½" (10 x 11.5cm).

Provenance: Collection of Cecil McCartney who acquired it directly from the artist’s wife, Kate Middleton.

Provenance: Collection of Cecil McCartney who acquired it directly from the artist’s wife, Kate Middleton.

€800 - 1200

€500 - 700 54


53 Tony O’Malley HRHA 1913-2003 STUDIO TABLE Oil on paper, 24" x 36" (61 x 91.5cm), signed, inscribed verso. ‘Studio Table’ is a rare early work that provides insights into the way he quickly absorbed modern thinking. It was likely painted in St Ives around 1962, having the brooding wintery feel that permeates O’Malley’s work of that period. Dark velvety plum and chocolate tones are set against a silvery ground, enlivened by flashes of white. It’s a tonal harmony marked by great restraint and subtlety. The artist has flattened the picture space and has simplified the shapes of all the implements on his studio table (paint pots, a glass, bottle, palette and knife, etc.) so he can play with them as an abstract composition. The objects, which initially seem randomly placed, are deliberately ‘orchestrated’ so that they seem to dance around the brightly lit glass at the centre of the picture. They seem to gravitate towards the middle, the static still life becoming animated. The loose application of paint and the spontaneous quality of the lines that outline some of the objects reinforce the liveliness of the composition. 

Dr Frances Ruane HRHA, May 2019 €4000 - 6000

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54 Sean McSweeney HRHA 1935-2018 LANDSCAPE Oil on canvas, 40" x 44" (102 x 112cm), signed & dated 1966.

Provenance: The Dawson Gallery, Dublin (label verso).

Sean McSweeney’s subject matter was both narrow and great. He conjured an infinite variety of the same three subjects, namely, trees, marine shoreline and bogland near his home in County Sligo. Unlike others, McSweeney painted in his studio, not en plein air and he had no interest in topography in landscape, instead devoting his full attention to the emotion of the place. His abstract expressionist landscapes are as romantic as they are devoid of sentimentality.

Formerly with the Taylor Gallery in Dublin and also an honorary member of The RHA, he passed away last year.

â‚Ź10000 - 15000

56


55 Sean McSweeney HRHA 1935-2018 GROWTH IN A DARK POOL Oil on canvas, 24" x 32" (61 x 81.5cm), signed & inscribed verso.

Exhibited: Bogland Shoreline Sligo, 1998

Provenance: Taylor Galleries, Dublin (label verso).

€4000 - 6000

57


56 Hughie O’Donoghue RA b.1953 MARSH OF THE COW II Oil on linen canvas, 22" x 26" (56 x 66cm), signed, inscribed & dated 2001 verso.

Provenance: Rubicon Gallery, Dublin (label verso).

€4000 - 6000

58


57 Hughie O’Donoghue RA 1953 NARRINGTON FIELDS Oil on paper, 9½" x 13¼" (24 x 34cm), inscribed verso.

€1500 - 2000

58 Hughie O’Donoghue RA 1953 COURSE OF THE DIVER SOUVENIR Mixed media on paper, 7½" x 11" (19 x 28cm), signed & dated 2002, inscribed & dated 2002 verso.

€1000 - 1500

59 Hughie O’Donoghue RA 1953 UNTITLED   Oil and mixed media on canvas, 8" x 12" (20 x 30cm), signed & dated 2003, verso.

€1000 - 1500

59


60 Camille Souter HRHA b1929 VILLA D’ESTE, TIVOLI (1986-1987) Mixed media on paper, 7½" x 7½" (19 x 19cm), signed with initials.

Provenance: Taylor Galleries, Dublin (label verso).

Exhibited: Camille Souter and Nano Reid Retrospective Exhibition, 1999 (No.35).

Literature: ‘Camille Souter: The Mirror in the Sea’ by Garrett Cormican, no.423 (col illus, p.306).

€5000 - 7000

60


61 Louis le Brocquy HRHA 1916-2012 IMAGE OF SEAMUS HEANEY Watercolour on tissue, 13½" x 11" (33 x 28cm), signed & inscribed verso, opus no. W1417.

€12000 - 16000

61


62 Martin Gale RHA b.1949 ROUND THE GREENS Oil on board, 5½" x 8" (14 x 20cm), signed & dated 1995.

Provenance: Taylor Galleries, Dublin (label verso).

€800 - 1200

63 Martin Gale RHA b.1949 WINTER IN THE WEST (2001) Watercolour, 7" x 11" (18 x 28cm), signed & dated 2001.

Provenance: Taylor Galleries, Dublin (label verso).

Exhibited: Nissan Art Project, 2004-2005 (label verso).

€700 - 1000 62


64 Louis Le Brocquy HRHA 1916-2012 YOUNG LIFFEY IN WOODLAND Watercolour, 7" x 10" (18 x 25.5cm), signed & dated 1990, opus no. W984, (label verso).

Provenance: Gimpel Fils Gallery, London, label verso.

€2500 - 3500

65 Tony O’Malley HRHA 1913-2003 GOUACHE (1970) Gouache, 8½" x 10" (22 x 25.5cm), signed with initials.

Provenance: Taylor Galleries, Dublin, (label verso).

€1200 - 1600 63


66 Tony O’Malley HRHA HRA 1913-2003 LA GERIA Oil on board, 34½" x 12" (88 x 30.5cm), signed, inscribed & dated 1989 verso, opus no.1799.

€4000 - 6000 64


67 Patrick O’Reilly b.1957 DUBLIN GOSSIPS Bronze, 11" high x 12" diameter (28 x 30cm), signed & dated 2002, unique.

€1500 - 2500

65


68 attributed to Patrick Swift 1927-1983 THE CEMETRY Oil on canvas laid on board, 30" x 30" (76 x 76cm), inscribed verso. In researching this painting, we believe that Nano Reid may have received this painting directly from Swift. 3 Rossetti Studios (the address on the back of the painting) was a London art school that both Nano Reid and Swift attended in the mid and late 1940s. In 1940 Augustus John and William Orpen occupied studios here and it was here that they set up The Chelsea Art School. In the Envoy Magazine, March 1950 edition, Swift rote a long essay on Reid and he was a real admirer of her work.

In the same year Reid did a portrait of Swift so they clearly knew each other well.

All our to this being an early experimental work of Swift’s.

â‚Ź3000 - 5000

66


69† Nancy Wynne Jones RHA 1922-2008 POND IN OCTOBER Oil on canvas, 40" x 50" (102 x 127cm), signed, inscribed & dated 1991 verso.

€2000 - 3000

67


70 John Butler Yeats RHA 1839-1922 RACE MEETING Pencil, 4" x 6½" (10 x 16.5cm).

€600 - 900

71 John Butler Yeats RHA 1839-1922 SUSAN POLLEXFEN YEATS Pencil, 4½" x 3" (15 x 12cm).

72 John Butler Yeats RHA 1839-1922 PORTRAIT STUDY Pencil, 4½" x 3" (11.5 x 8cm).

€600 - 900

€500 - 700

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73 William John Leech 1881-1968 MAY BOTTERELL Bronze, 19" high (49cm), signed, ed.5/12.

Provenance: The Gorry Gallery, Dublin.

This limited edition bronze was cast by the Dublin Art Foundry from the original plaster and is the only example of a sculptural work from the artist’s oeuvre. Until its presentation in 1988 at the Gorry Gallery this bronze had never before been seen in public. This rare work illustrates Leech’s adaptability into the three dimensional as well as his astute technique, one which sensitively translates his distinct style from canvas to bronze. This bronze is number four from a finite edition of twelve, the original plaster cast having been donated by Mr. Alan Denson, poet, author, art historian and friend of Leech, into a permanent public collection. After 1910 William John Leech made London his home, with annual painting trips to France with Elizabeth Lane, who became his wife in 1912. With the outbreak of the First World War he remained in Brittany with Elizabeth but his marriage, his painting and his finances greatly suffered. When he returned to London at the end of the war in 1918 he met the Botterell family who had just returned from Holland where Percy Botterell, an eminent London lawyer, had been a commercial attaché to The Hague. Percy Botterell’s wife May organised a relief centre for released prisoners of war, providing clothes, money and information on their return home, and there met Leech’s older brother, Cecil. Cecil Leech, who had fought in the First World War as a commissioned officer in the Royal Horse Artillery, spent four years in a prisoner of war camp and worked with May Botterell to ensure the safe return of soldiers in his command. In London he arranged meetings between the Botterell family and the Leech family and from this introduction Percy Botterell commissioned W. J. Leech to paint portraits of himself, his wife, May and his three children, James, Guy and Suzanne. This meeting and the painting of May’s portrait was to change the Botterell family life irrevocably and was to begin the lifelong relationship between May Botterell and W. J. Leech, which culminated in their wedding in 1953, after the death of Percy Botterell in 1951 and Leech’s wife Elizabeth, in 1950. For the entirety of their relationship, since their first encounter in 1920, until her death in July 1965, May remained a constant supporter, companion and muse to Leech.

€2000 - 4000 69


74† Charles Vincent Lamb RHA RUA 1893-1964 THE HARBOUR, INISHBOFIN ISLAND Oil on artist’s board, 10½" x 14" (25.5 x 30.5cm), signed. Provenance: Lucy Cullen (née Day) of Days Hotel, Inishbofin Island, by whom commissioned from the artist and thence by descent. Days Hotel was an institution on Inishbofin Island, where numerous artists and literary figures stayed. Margaret Day, who ran the hotel for many years and was instrumental in attracting visitors to the island died recently, aged 99.

€3000 - 5000

75† Charles Vincent Lamb RHA RUA, 1893-1964 THE LIGHTHOUSE, INISHBOFIN ISLAND Oil on artist’s board, 10½" x 14" (25.5 x 30.5cm), signed. Provenance: Lucy Cullen (née Day) of Day’s Hotel, Inishbofin Island, by whom commissioned from the artist and thence by descent.

€3000 - 5000 70


76 Robert Taylor Carson RUA 1919-2008 THE POACHER Oil on canvas, 30" x 25" (76 x 63.5cm), signed, inscribed verso.

€8000 - 12000

71


77 Henry Jones Thaddeus 1859-1929 A SOUDANESE LOVE SONG, MORROCO (1889) Oil on canvas, 57" x 33" (145 x 84cm), signed & dated 1889. Thaddeus painted this picture during his second visit to North Africa – he had stayed briefly in Algeria three years earlier – but his first of any artistic consequence. On this occasion he travelled to Morocco, where he spent the winter in the company of the French-American explorer, zoologist and anthropologist Paul du Chaillu. Several paintings he produced during this period, some of which he exhibited in Britain, have come to light over recent years. This study of a musician is typical of the subjects that European and American artists visiting North Africa had favoured for several decades. Orientalist in character, it represents a skilful indulgence of curiosity, and a record of what Western artists considered the ‘exoticism’ of the East. Local male characters encountered, or actively sought out, by artists, were commonly depicted engaged in recreational activities rather than labour. The figure plays a guenbri, a three-stringed bass lute-tambour popular among Gnawa musicians in Morocco. His attire, a rough woven cape worn over a traditional Berber bournous, is also distinctly, and deliberately, local. Western artists in North Africa routinely included ornate details such as weapons, costumes and musical instruments in their depiction of types, without much thought for their actual use. The neutral interior in which this figure stands and the even lighting suggest a studio space rather than an authentic street setting. In that respect, the picture resembles costume studies that Thaddeus had produced since his early student days in Cork, London and Paris, and in due course in Brittany. This approach, which was not unusual, allowed Thaddeus to control his environment and concentrate on detail. Within months of returning to England, his base for much of his career, Thaddeus submitted the painting to the Autumn Exhibition of Modern Pictures at the Walker Art Gallery Liverpool, where it was on sale for the very considerable sum of £210. A comparable work by Thaddeus, ‘The Sheerif’s Gun (Morocco)’ also featured in that show, but was available for half that price. ‘A Soudanese Love Song’ subsequently occupied the most prominent position at the Nineteenth Century Art Society exhibition in London in February 1890, where it was well-received. “In point of execution” declared the Morning Post in an otherwise tepid review of the show, “this must unquestionably be ranked as the best work on the walls”. Thaddeus was evidently proud of the picture himself, including it among thirty-seven works in a major retrospective at the Continental Gallery in London in 1902. Thaddeus’s visit to Morocco was followed within two years by a longer sojourn in Egypt, where he produced similar studies of local characters, executed portraits of senior colonial officials and other members of the expatriate European community, and enjoyed the privilege of serving as Painter-in-Ordinary to the Khedive. 

Brendan Rooney, October 2019 €10000 - 15000

72


73


78 Robert Taylor Carson RUA 1919-2008 FARMSTEAD, CO DONEGAL Oil on canvas, 20" x 24" (51 x 61cm), signed; signed, inscribed & dated 1956 verso.

€2000 - 3000

79 Sean O’Sullivan RHA 1906-1964 VIEW OF THE BOYNE VALLEY Oil on board, 15½" x 23½" (39.4 x 59.7cm), signed.

€1000 - 1500 74


80† James Humbert Craig RHA RUA 1878-1944 PORT NA BLAGH, CO DONEGAL Oil on panel, 16" x 20" (41 x 51cm), signed.

€4000 - 6000

81 Grace Henry HRHA 1868-1953 MENDING Oil on board, 13½" x 9" (34 x 23cm), signed, signed & inscribed verso.

82 Frank McKelvey RHA 1895-1974 CATTLE BY A RIVER LANDSCAPE, LAGAN VALLEY Oil on canvas, 20" x 27" (51 x 69cm), signed lower left Frank McKelvey.

Exhibited: RHA exhibition / National Gallery 1969 on label verso.

€2000 - 4000

€800 - 1200

75


83 James McKenna 1933-2000 THE FIVE LAMPS Bronze, 16" high x 10½" wide (40.5 x 27cm), signed, ed. 4/5.

€2000 - 3000

76


84 AN IMPORTANT ROSEWOOD AND SILVER MOUNTED WALKING CANE, PREVIOUSLY BELONGING TO MICHAEL COLLINS, 36 ¼” high (92cm), sold with letter of provenance from the vendor. Provenance: Collection of John Cormack. John (Jack) Cormack (born Lucan 24th June 1894) was a driver for Michael Collins and was shot in the leg and hand at Red Cow, c.1921 (exact date unknown). Collins gave Cormack the stick and it has remained in the family since. Jack Cormacks granddaughter, Sinead, inherited it by descent.

€2000 - 4000

Michael Collins in full uniform holding similar stick

77


85 Grace Henry HRHA 1868-1953 NEW HAT Oil on canvas, 12" x 16" (30.5 x 40.5cm).

Provenance: Dawson Gallery, Dublin (label verso).

€1500 - 2500

86 John Luke 1906-1975 FARMHOUSES Woodcut, 5" x 7" (13 x 18cm), signed in pencil.

87 Barbara Warren RHA 1925 -  2017 AT THE RACES Pencil and gouache, 10" x 12" (25.5 x 30.5cm)

Provenance: Ex-collection Rachel Curran

€600 - 900

€500 - 700

78


88 Evie Hone HRHA 1894-1955 SKETCHING IN THE GARDEN

Goauche, 19½" x 15" (50 x 38cm).

€800 - 1200

89 Tony O’Malley HRHA 1913-2003 TWO BLACKBIRDS, ST MARTINS WINDOW, 1974 Mixed media, 11¾" x 16½" (42 x 30cm), signed, opus no. 611.

Provenance: Taylor Galleries, Dublin (label verso).

€1000 - 1500 79


90 Charles Tyrrell b.1950 SHADOWLINES VI Oil on canvas laid on board, 48" x 48" (122 x 122cm), signed; inscribed & dated 1998 verso.

€3000 - 5000

91 Hughie O’Donoghue b.1953 FOG Mixed media, 22" x 30" (65 x 76cm), signed.

€3000 - 5000 80


92 Felim Egan b.1952 DIVIDE Acrylic on canvas, 47½" x 47½", (120 x 120cm), signed & dated 1997 verso.

€2000 - 3000

93 Dermot Seymour b.1956 WILD LIFE Oil on canvas, 35½" x 40½" (90.1 x 102.8cm), signed & dated 1984.

€2000 - 3000 81


94 Hector McDonnell RUA b.1947 EEL AND PIE SHOP IN BRIXTON III Oil on canvas, 48" x 36" (122 x 91.4cm), signed inscribed & dated 1979 verso.

€10000 - 15000

82


95 John Cronin b.1966 SURD Oil and tempera on board, 48" x 60" (122 x 152.5cm), signed, inscribed & dated 1992 verso.

Provenance: Oliver Dowling Gallery (label verso).

€2000 - 4000

96 John Cronin b.1966 ABSTRACT FIGURES Oil and tempera on board, 48" x 60" (122 x 152.5cm), signed & dated 1992 verso.

€2000 - 4000 83


97 Tom Hunter, Contemporary THE OUTLAW Cibachrome print, 48" x 60" (121.9 x 152.4cm), edition 3/5.

Provenance: White Cube Gallery, London (label verso).

€3000 - 5000

98 Ciaran Lennon b.1947 RYKAON Gouache, paper size 30" x 21" (76 x 53.5cm), signed, inscribed & dated 2002.

99 Ciaran Lennon b.1947 HAPAX Screenprint, paper size 30" x 21" (76 x 53.5cm), signed, inscribed & dated 2001, ed. 94/120.

€600 - 900 84

€300 - 500


100 Hughie O’Donoghue RA 1953 RESIDUE Carborundum print, 38½" x 49½" (98 x 125cm), signed, publishers proof. €800 - 1200

101 Cecily Brennan b.1955 WHERE LAVA MEETS THE SEA Watercolour, 10¾" x 10¾" (27 x 20cm).

102 Sonia Shiel b.1975 LANDSCAPE Oil on canvas, 20" x 17½" (50.8 x 44.45cm), signed.

Provenance: Taylor Galleries, Dublin (label verso).

€600 - 900

€600 - 900 85


103 Brian Ballard RUA b.1942 FIELDS, CO ARMAGH  Oil on board, 14" x 18" (36 x 46cm), signed & dated 1987, inscribed verso. €700 - 1000

104 David Crone RUA 1919-2008 DANCING FIGURES Mixed media, 28¼" x 37¾" (72 x 96cm). Provenance: Ex Collection Vincent Ferguson; Christies; Private Collection, Northern Ireland. €1000 - 2000

105 Patrick Scott 1921-2014 LANDSCAPE Ink and wash, 19" x 24" (49 x 61cm), signed & dated 1986. €600 - 900

86


106 Gladys Maccabe HRUA ROI FRSA 1918-2018 ON ROSAPENNA BEACH Oil on board, 12" x 16" (30 x 40.5cm), signed, inscribed label verso. €800 - 1200

107 David Crone RUA 1919-2008 THE BUILDING AND TREES Gouache, 20½" x 28½" (52 x 72.5cm), signed. €800 - 1200

108 Gladys Maccabe HRUA ROI FRSA 1918-2018 PONY RIDES Oil on board, 16" x 20" (41 x51cm), signed. €1000 - 1500

87


109 Eamon Coleman, Contemporary WICKLOW MOUNTAIN (1991) Mixed Media, 40½" x 32¼" (103 x 82cm), signed & dated 1991. Provenance: New Ireland Assurance Collection. €600 - 900

110 Markey Robinson 1918-1999 ROAD HOME, WINTER Gouache, 27" x 37½" (69 x 95cm), signed. €2000 - 3000 88


111 Geraldine O’Neill b.1971 STUDIO FLOOR Oil on canvas, 10" x 10" (26 x 26cm), inscribed verso. €800 - 1200

112 Bryan Illsley b.1937 STILL LIFE Oil on board, 12¼" x 19" (31 x 48cm), signed with initials, inscribed & dated 1978 verso, in a painted frame. Bryan Illsley b. 1937. English born. Worked for many years in St Ives. In 1967 he went into partnership with Breon O’Casey. His work is included in many public collections. He now lives and works in London. €400 - 600 89


113 Maurice Canning Wilks ARHA RUA 1910-1984 BOG LANDSCAPE TOWARDS CROAGH PATRICK Watercolour, 10¼" x 14¼" (26 x 36cm), signed. €300 - 500

115 Maurice Canning Wilks ARHA RUA 1910-1984 PORTRAIT Oil on canvas board, 12" x 10" (30 x 25.5cm), signed. €600 - 900

114 Maurice Canning Wilks ARHA RUA 1910-1984 SEASCAPE Watercolour, 10¼" x 14¼" (26 x 36cm), signed. €300 - 500

90


117 George K. Gillespie 1924-1995 BEACH VIEW Oil on canvas, 10" x 14" (25.5 x 35.5cm), signed. €400 - 600

116 Padraig Lynch b.1936 STILL LIFE WITH CHERRIES AND CHRYSANTHEMUMS Oil on board, 15" x 12" (38 x 30.5cm), signed, inscribed label verso. €400 - 600

118 Niccolo D’ardia Caracciolo 1941-1989 CONTRA LUCE Oil on board, 9" x 11" (23 x 28cm), signed. €600 - 900

91


119 Markey Robinson 1918-1999 DAUGHTERS OF THE DAWN Gouache, 8" x 17½" (20 x 44.5cm), signed, inscribed verso. €800 - 1200

120 Markey Robinson 1918-1999 COASTAL LANDSCAPES (a pair) Pen and watercolour, 3½" x 5½" (9 x 14cm), signed. €400 - 600

92


121 Basil Rákóczi 1908-1979 PROCESSION Oil on paper, 16½" x 24½" (42 x 55cm), signed. €600 - 900

122 Barbara Warren RHA, 1925-2017 GRAZING HORSES Pen and crayon, 8" x 9¼" (20 x 23.3cm). Provenance: Ex-collection Rachel Curran. €400 - 600

93


123 Rose Barton 1856-1929 CHILDREN ON THE SHORE Watercolour, 5¼" x 8½"(13.5 x 21.5cm), signed. €800 - 1200

124 Maurice MacGonigal PPRHA 1900-1979 ERRISBEG, CONNEMARA Watercolour, 8¼" x 13½" (21 x 34.5cm), signed & dated 1976, inscribed verso. €800 - 1200

125 William Henry Brooke 1772-1860 FIVE TRADES (5 framed as one) Ink and wash, each work  2¼" x 2⅘" (5.7 x 7cm); together with a corresponding set of five black & white engravings. €800 - 1200

94


126 Liam Treacy 1934-2004 THE AUCTION ROOM Oil on board, 12" x 10" (30.5 x 25.4cm), signed, inscribed verso. €400 - 600

127 William Crampton Gore RHA 1871-1946 Oil on board, 12" x 16" (30.5 x 40.5cm), signed & dated 1921, inscribed verso. €800 - 1200

128 Geraldine Hone, Contemporary BOG LANDSCAPE Oil on canvas, 20" x 30" (51 x 76cm), signed. €400 - 600

95


129 Stephen Lawlor b.1958 HORSE Bronze, 9¾" high (25cm), signed with initials, dated 2003, d. 6/9. €1000 - 1500

130 Ann Griffin-Bernstorff, Contemporary THE PAIDRÍN MARE AT THE CURRAGH Oil on canvas, 28" x 34", (71 x 86.5), signed & dated 2006. Provenance: Peppercanister Gallery, Dublin (label verso). €2000 - 3000

96


131 Nick Miller b.1962 A LEAF HEAD Acrylic on canvas, 42½" x 60" (108 x 152.5cm), signed & dated 1988; inscribed verso. €2000 - 4000

132 Richard Gorman RHA b.1946 ABSTRACT GREEN AND ORANGE (2) Lithographs, each image size 19" x 17" (48 x 43cm), signed, edition 15/50 & 15/75. €400 - 600

97


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Irish Art Auctioneers & Valuers

During the Viewing their will an Exhibition of Shell Pictures by Mrs Beatrice Somerville-Large 1913-2012

ed miliano

Exhibiting at The deVeres Gallery 12th - 19th December 99


Standard Conditions of Business 1. Definitions In these Conditions, de Veres Art Auctions, who act as auctioneers and agents for the vendor, are called ‘the auctioneers’ (which expression shall be deemed to include their servants and agents) and the representative of de Veres conducting the auction is called ‘The Auctioneer’. 2. Third Party Liability Every person at or on the ‘Auctioneers’ premises or at any premises being used by the Auctioneer at any time shall be deemed to be there entirely at his/her own risk and shall have no claim whatsoever against the Auctioneers or their servants or agents in respect of any accident or incident which may occur nor any injury, damage or loss howsoever arising and whether or not same is the subject of any allegation of negligence. 3. General Whilst the Auctioneers make every effort to ensure the accuracy of their catalogue and the description of any lot: (a) Each lot as set out in the catalogue or as divided or combined with any other lots or lots is sold by the vendor with all faults, imperfections and errors of description. (b) Any claim under any Statute must be received in writing by the Auctioneers within three months of the sale. (c) The Auctioneers shall not be liable for consequential or resultant loss or damage whether sustained by a Vendor or a Purchaser or the owner of any item or their respective servants and agents arising in any circumstances whatsoever and irrespective of any claim made by any party as to negligence or lack of care of the Auctioneers or any part acting on their behalf. (d) Lots marked with † are those which deVeres hold a financial interest in. 4. The Auction (a) The Auctioneer has absolute discretion to divide any lot, to combine any two or more lots or to withdraw any lot or lots from the sale, to refuse bids, regulate bidding or cancel the sale without in any case giving any reason or previous notice. He may bid on behalf of the vendor for all goods which are being offered subject to reserve or at the Auctioneer’s discretion. (b) The highest bidder shall be the buyer except in the case of a dispute. If during the auction the Auctioneer considers that a dispute had arisen. He has absolute discretion to settle it or to re-offer the lot. The Auctioneer may at his sole discretion determine the advance or bidding or refuse a bid. (c) Each lot is put up for sale subject to any reserve price placed by the vendor. Whether or not there is a reserve price the seller has the right to bid either personally or by any one person (who may be the Auctioneer). (d) All conditions, notices, descriptions, statements and other matters in the catalogue and elsewhere concerning any lot are subject to any statements modifying or affecting the same made by the Auctioneer from the rostrum prior to any bid being accepted for the lot. 5. Recession Notwithstanding any other terms of these Conditions, if within 12 months after the sale, the Auctioneers have received from the buyer any notice in writing that in his view the lot is a deliberate forgery and within twenty-one days after such notification the buyer returns the same to the Auctioneers in the same condition as at the time of sale and by producing evidence, the burden of proof to be upon the buyer satisfies the Auctioneers that considered in the light of the entry in the catalogue the lot is a deliberate forgery, then the sale of the lot will be rescinded and the purchase price of the sale refunded. In the event of a dispute then the matter shall be settled by the President of the Institution of Chartered Surveyors in the Republic of Ireland. Both the buyer and the vendor agree to be bound by the decision . 6. Default The Auctioneers disclaim responsibility for default by - either the buyer or the vendor because they act as Agents for the vendor only and therefore do not pay out to the vendor until payment is received from the buyer. Instructions given by telephone are accepted at the sender’s risk and must be confirmed in writing forthwith. 7. In the event of a sale by private treaty both the vendor and the buyer agree to be found by these and any Special Conditions of Sale. 8. Retention of Title All goods remain the property of the vendor until paid for in full. The Auctioneers will not assume liability to discharge nett proceeds arising from the sale of goods until those goods have been paid for in full.

VENDOR’S CONDITIONS 9. Instructions All goods delivered to the Auctioneers’ premises will be deemed to be delivered for sale by auction and will be catalogued and sold at the discretion of the Auctioneer and accepted by them subject to all the Sale Conditions. By delivering the goods to the Auctioneers for inclusion in their auction sales the vendor acknowledges that he or she has accepted and agreed to be bound by all these Conditions. 10. Collection and Deliveries The Auctioneers do not normally undertake the packing, collection or delivery of goods but will if requested use their best endeavors as Agent of the Owner to arrange for an independent contractor on the owner’s behalf to deal with packing, collection and/or delivery. The Auctioneer will not in any event arrange insurance of the goods and will accordingly not be liable for any loss or damage to goods howsoever arising including breakages or for any damage to premises, fixtures or fittings therein caused by such contractor or otherwise and the owner is responsive for all arrangements to verify that any such contractor and the goods is/are appropriately insured. Unless instructions are received to the contrary, charges (including VAT) for such services will be charged to the vendor’s account or discharged through the Auctioneers by the purchaser as the case may be. The Auctioneers’ liability (if any) will rise only where they themselves carry out packing and collection/delivery and only in the case of breakage or loss caused through deliberate negligence of their employees and in any event in one single contract and the Auctioneers’ liability will not exceed £500. Provided further than the Auctioneers will not be liable for consequential loss in any circumstances whatsoever. 11. Loss or Damage and Storage The Auctioneers reserve the right to store or arrange for the storage of goods held by them or delivered to them either on their own premises or elsewhere at their sole discretion and entirely at the owner’s risk. The Auctioneers shall not be liable for any loss (including consequential loss) howsoever caused of damage to goods of any kind including breakages, or for unauthorised removal of goods. Should the owner of goods so wish it will be his/her goods while they are in the possession of the Auctioneers. 12. Right to Re-sell The Auctioneer reserves the right to re-sell any item which has not been collected within thirty days of purchase. 13. 6% commission due to saleroom.com for lots purchased using Live Bidding. 14. Payment of accounts is by debit card up to €1000 or by bank transfer. We do not accept credit cards or cash transactions.

TERMS Purchaser 1. 25% incl. VAT will be added to the hammer price for each lot. 2. All accounts must be discharged by certified cheque, bank draft or cash. 3. The responsibility for items purchased passes to the purchaser on the fall of the hammer. 4. The Auctioneers reserve the right to look for 25% deposit on all goods. VAT Regulations: All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers’ premium must be invoiced at a rate which is inclusive of VAT. This VAT is not recoverable by any VAT registered buyers.

100


Ayrton, M

27

Ballard, B Barton, R Blackshaw, B Brady, C Brennan, C Brooke, W

103 123 19 3 101 125

Caracciolo, N Carson, R Collins, M Collins, P Coleman, E Conor, W Cooke, B  Craig, J Crone, D  Cronin, J 

118 76, 78 84 9, 14 109 39 5, 13, 35 80 104, 107 95, 96

Dillon, G  Egan, F Farrell, M Francis, M

34, 48 92 2 25

Gale, M 17, 20, 62, 63 Gillespie, G.K 117 Gore, W.C 127 Gorman, R 29 Griffin-Bernstorff 130

Harris, P Hennessy, P Henry, G Hone, E Hone, G Hunter, T

6 36 81, 85 88 128 97

Jones, N.W.

69

Keating, S

37

Lamb, C.V Lawlor, S Le Brocquy, L Leech, W J Lennon, C Luke, J Lynch, P 

74, 75 129 4, 61, 64 73 98, 99 86 116

MacCabe, G 106, 108 MacGonigal, M 124 MacIntyre, J 49 McDonnell, H 94 McGuinness33 McKelvey, F 82 McKenna, J 83 McSweeney, S 54, 55 McWilliam, F.E 10, 26 Middleton, C 50, 51, 52 Miller, N 131

O’Donoghue, H 15, 56, 57  58, 59, 91, 100 O’Malley, T 1, 7, 32  53, 65, 66, 89 O’Neill, D 40, 41, 42  43, 44, 45, 46, 47 O’Neill, G 111 O’Reilly, P 67 O’Sullivan, S 79 Quinn, B Rákoczi, B Robinson, M Gorman, R Scott, P Seymour, D Sheil, S Souter, C Swift, P

18 11, 12, 121 110, 119, 120 132 28, 105 93 102 31, 60 8, 68

Tansey, F Teskey, D Thaddeus, H.J Treacy, L  Tyrrell, C  Valley, J.B Warren, B Wilks, M.C

30 16, 24 77 126 90 21, 22, 23 87 113, 114, 115

Yeats, J.B

38, 70, 71, 72


Irish Art Auctioneers & Valuers 35 Kildare Street, Dublin 2. Tel: 01 676 8300 info@deveres.ie www.deveres.ie

Profile for de Veres Art Auctions

Irish Art Auction  

High quality Irish Art and sculpture auction, to include 130 lots

Irish Art Auction  

High quality Irish Art and sculpture auction, to include 130 lots