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ART AUCTIONEERS & VALUERS

Irish Art Auction Tuesday 21st November at 6pm

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ART AUCTIONEERS & VALUERS

Auction:

Tuesday 21st November at 6pm

AUCTION The Royal College of Physicians, VENUE:  No. 6 Kildare Street, Dublin 2 ON VIEW:

at de Veres, 35 Kildare Street, Dublin 2

Friday 17th November 1- 6pm Saturday 18th November 11-5pm Sunday 19th November 11-5pm Monday 20th November 10-6pm Tuesday 21st November 10-5pm Contact:

01 6768300

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

ART AUCTIONEERS & VALUERS

de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie Live Bidding available at:

the-saleroom.com www.facebook.com/deveresArtAuctions

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ART AUCTIONEERS & VALUERS

Irish Art Auction

Including a collection of paintings from the St Ives School (lots 54 - 69)

Auction: The Royal College of Physicians

We would like to thank the following people who assisted in the production of this catalogue: Frances Ruane, Brian Kennedy, Eamonn Mallie, Aidan Dunne, Roisin Kennedy, Garrett Cormican, Dr Eimear O’Connor, John Daly, Brian Fallon, Niamh O’Sullivan and Catherine Marshall.

John de Vere White Managing Director john@deveres.ie

Rory Guthrie Director roryguthrie@deveres.ie

Auctioneers:

Aisling Tóth Associate Director info@deveres.ie

Sarah Kenny Valuation Consultant info@deveres.ie

John de Vere White Rory Guthrie

Front cover: Lot 46 Jack Butler Yeats RHA 1871-1957 THE NIGHT HAS GONE (1947) Back cover: Lot 9 Paul Henry RHA RUA 1876-1958 THE ROAD BY THE LOUGH Inside front cover: Lot 22 John Shinnors b.1950 ESTUARY Inside back cover: Lot 50 Rowan Gillispie b.1953 STARRY NIGHT 4

Richard Scott Agent for Cork info@deveres.ie


1 Nano Reid HRHA 1900-1981 ST STEPHEN’S GREEN Watercolour, 8" x 10" (20 x 25.5cm), signed, inscribed verso.

€600 - 900

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2 Norah McGuinness HRHA 1901-1980 TEMPLE STREET, DUBLIN Watercolour, 13" x 19¾" (33 x 50cm), signed & dated 1939.

€1500 - 2000

3 Patrick Hickey HRHA 1927-1998 KITCHEN THINGS WITH POTATOES Oil on paper, 22" x 30" (55.8 x 76.2cm), signed, inscribed & dated Oct 1985.

Provenance: Taylor Galleries, Dublin (label verso); Ex GPA Collection.

€1500 - 2000 6


4 Norah McGuinness HRHA 1901-1980 STREETSCAPE, POSSIBLY HOWTH Watercolour, 13½" x 18½" (34 x 47cm), signed.

€1500 - 2000

5 Thomas Ryan PPRHA b.1929 YELLOW ROSE Oil on board, 7" x 9" (17.5 x 20.5cm), signed; signed & dated 6/12/99 verso.

€600 - 900

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6 Father Jack P Hanlon 1913-1968 CHOIR BOYS Oil on canvas, 14" x 24" (33.5 x 61cm), signed.

€3000 - 5000

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7 May Guinness RHA 1863-1955 A MOTHER READING, WITH CHILDREN LISTENING AND SEWING Oil in canvas, 26" x 26" (66 x 66cm), signed in pencil on the stretcher.

 ay (Mary Catherine) Guinness was an Irish modernist painter whose work is increasingly attracting attention for its M distinctively decorative, semi-abstract treatment of female subjects depicted close-up. Frequently her figures are lost in reverie, their faces partly shadowed, their features simply delineated, their hands reduced to simple gestures which complement what can be discerned in their entranced expressions. The artist applies her colours boldly, flatly and loosely, enjoying the counterpoint she sets up between flat planes defined by rhythmic cloisonnist outlines and deft touches of ornament reminiscent of Matisse’s painting and the Fauve Kees van Dongen, which whom she had studied in Paris. The Cubist teaching of Andre Lhote is as evident in her preoccupation with pictorial arrangement as it is in the work of her younger contemporaries Evie Hone, Mainie Jellett and Norah McGuinness.

 ere, a white-collared and cuffed motherly figure sits within a grey, flattening trapezoid shape that extends beyond her and H intersects with a mauve rectangle that casts half her face and that of the small girl she cuddles into shadow.



S he rests the book she reads on one arm of her chair’s chintzy rose-patterned scrolls while the other, boldly outlined in black, draws the viewer’s eye to the abstracted bookcase composition above her. Beyond the table lamp illuminating the pages of the book that absorbs both mother and child a Georgian building is suggested in dusky violet tones through an open window to their left. With simply blocked-in fingers, the woman’s hand follows the words she reads while directly below her an older girl deftly threads a needle for the sewing that occupies her attention. (Guinness is recorded by her family as being a “consummate embroiderer”, encouraging younger artists to experiment with various media, including decorative needlework.) The blue-spotted white fabric the girl holds effectively leads the eye to the other white areas in this carefully orchestrated, particularly intimate square composition, which is framed by overlapping fillets of sage greens related to the girls’ cardigans, shades of grey and amber. © Nicola Gordon Bowe, October 2017

€4000 - 6000 9


8 Patrick Hennessy RHA 1915-1980 MOUNTAIN SUMMIT Oil on canvas, 25" x 35" (63 x 89 cm), signed.

Exhibited: David Hendriks Gallery, ‘Patrick Hennessy Exhibition’, 15th November - 1st December 1973, Cat. No. 12 (£600).

 rovenance: Bank of Ireland Collection, ref:2713; Sold Adams, Bank of Ireland Auction, 24th November 2010, lot 10; P Private Collection.

Patrick Hennessy was educated at Dundee College of Art and in 1937 won a scholarship to Paris, where he worked under Fernand Léger.

 ennessy frequently included horses in his landscape paintings, depicting them sympathetically and with an almost H photographic degree of realism. He had ample opportunity to study the animals closely, amongst his friends were many horse breeders and owners including Major Stephen Vernon, from Co. Limerick, who bred horses for the Duke of Westminster.

Hennessy’s horses tend to be Connemara ponies, always unbridled and free. His paintings with a rider always have no saddle or with a simple harness, symbolising the bond between man and horse.

€14000 - 18000

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9 Paul Henry RHA RUA 1876-1958 THE ROAD BY THE LOUGH Oil on board, 8" x 10" (20 x 25.5cm), signed.

Provenance: Sothebys, London, 21 May 1999, lot number 353, where dated c. 1937-43; Private Collection.

It is not possible to know exactly where the subject of this painting is, but it is no doubt somewhere in Connemara. When Henry first went to Achill Island, in 1910, it was the people who caught his attention, but from about 1915 or so he turned to the landscape itself.

His friend in London, Robert Lynd, had married the poet Sylvia Dryhurst (1890-1952), and they had gone to Achill for their honeymoon. On their return to London they talked at length about it. Thrilled with their conversation, Henry decided ‘to see this wonderful island for myself’. He and Grace went to Achill the following year. Henceforth Henry became a landscape painter.

L ater he toured often to Kerry and Connemara in general. Dated 193-43 on stylistic grounds, this is numbered 1319 in S. B. Kennedys ongoing cataloguing of Paul Henry’s oeuvre.

€25000 - 35000

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10 Sean Keating PRHA HRSA HRA 1889-1978 POITÍN JUG Pastel, 21" x 29" (53.5 x 73.5 cm), signed.

Provenance: James Adams And Sons 28/09/1989 Lot 25.

€8000 - 12000

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11 Harry Kernoff RHA 1900-1974 BARRY FITZGERALD, AS A DUBLIN COACHMAN Oil on board, 21" x 17¾" (53.4 x 45.1cm), inscribed by the artist verso.

Barry Fitzgerald was an Academy Award winning Irish stage, film and television actor. In a career spanning almost forty years, he appeared in notable films including ‘The Quiet Man’.

€6000 - 9000

Barry Fitzgerald in The Quiet Man

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12† Paul Henry RHA RUA 1876-1958 IN THE WEST OF IRELAND, c.1918-19 Oil on board, 14" x 16" (35.5 x 45.5cm), signed. This may be a view of a mountain tarn. From the rocks in the foreground with their crevasses, it is well painted with evenly applied brushwork throughout. There is little or no emphasis of impasto or detailing, except for the distant mountains and the sky. The direction of light, from the right hand side, influences the whole composition. All is still in typical Henry fashion. The whole composition shows Henry’s debt to Whistler, his former teacher in Paris, in the overall colouring of the scene.

In the West of Ireland is numbered 1320 in S. B. Kennedy’s ongoing cataloguing of Paul Henry’s oeuvre.

€50000 - 70000

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13 Mabel Young RHA 1889-1974 PORTRAIT OF PAUL HENRY Oil on board, 11" x 12" (27.9 x 30.5cm).

€2000 - 4000

14 Grace Henry RHA RUA 1868-1935 WOMAN ON A TRAIN ON THE WAY TO THE MARKET Oil on canvas, 18" x 16¾" (46 x 42.5cm), signed, inscribed verso.

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€3000 - 5000


15 Thurloe Connolly 1918-2016 HARBOUR VIEW Oil on canvas, 30" x 34" (76.2 x 86.4cm).

Provenance: Acquired from the artist’s family by the present owner.

T hurloe Connolly was the last surviving member of the White Stag Group, a collection of artists that sought sanctuary in Ireland at the outbreak of the second World War. The group, which included Basil Racockzi, Phylis Hayward and Patrick Hall exhibited extensively in Ireland together with several Irish artists that included Patrick Scott.

 onnolly lived on Zion Road in Rathgar, beside Albert and Sybil le Brocquy and moved to France to paint in C 1967. He remained there until his death at the age of 98.

â‚Ź3000 - 5000

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16 Harry Phelan Gibb 1870-1948 GYPSY ENCAMPMENT Oil on canvas, 24" x 30" (61 x 76.2cm), signed & dated 1933.

Provenance: Sold Adams, The White Stag Group, 4th November 2011, lot 82; Private Collection.

The following extract is taken from a piece written by Bruce Arnold:

Phelan Gibb would probably have passed unnoticed as a painter but for the intervention of Lucy Wertheim, the remarkable London dealer who fostered the careers of the two White Stag artists, Kenneth Hall and Basil Rakoczi.

Phelan Gibb first came to Wertheim’s attention when he was over 60 years old, in 1931, when he came in to her Gallery in Burlington Gardens off Piccadilly. She had found and rescued from neglect and a period of depression a gifted artist who had moved in a magical circle in Paris, where he trained, numbering among his friends gifted contemporaries in the art world of Paris. He had been the friend and fellow student of Henri Matisse and later Georges Braques, joining them and other painters of the Fauve School in the south of France during the brief but fruitful celebration of what has been called the ‘Triumph of Colour’. The influential Fauve movement was started in June 1905 when Matisse invited André Derain to join him at the beginning of three momentous years in the history of art.

Phelan Gibb was invited to join the group the following year and produced a number of works including Paysage, his early masterpiece. Other paintings were done in 1906 and possibly in 1907. They stayed in Collioure, the Catalan village in the south of France where the Pyrenees meet the Mediterranean.

 ibb returned to Paris and painted there in those early and fruitful years of the twentieth century. In 1909 he was sharing G a studio with Matisse and Braque. Gibb was elected a societaire of the Salon d’Automne and then had a studio off the Boulevard Raspail. The three artists were all friends of Gertrude Stein. She was an admirer of Phelan Gibb’s work and he claimed she played a vital part in his artistic life. He had a high opinion of her judgement.

Through this connection Gibb came to know Picasso, Juan Gris, the Douanier Rousseau, Katherine Mansfield and the dealers Ambrose Vollard and Sagot.

In 1913, an exhibition of his paintings was held at the Galerie Bernhaim-Jeune, in Paris. This show was transferred to Dublin at the invitation of Oliver St.John Gogarty and Count Markiewicz. The exhibition, which contained paintings of nudes for which Gibb was well-known, was closed down by the Dublin Metropolitan Police under clerical pressure and on grounds of obscenity. He did not recover the confiscated paintings until 1933.

 helan Gibb was invited to New York, to show in the Armory Show in the same year, 1913, one of only two artists of Irish P extraction, the other being Jack Yeats. Both men were almost the same age, both of them painters of natural subjects, including horses, Phelan Gibb at the time much more famous internationally than Jack Yeats.

Wertheim arranged an exhibition of Phelan Gibbs paintings in her Burlington Gardens Galleries. This was a much admired show. J.B. Manson was then at the Tate Gallery where an example of Phelan Gibb was acquired. He is also represented in the V&A Museum, Salford Gallery and the Laing Gallery.

 helan Gibb exhibited with the White Stag Group in London and painted a fine portrait of Jacqueline Robinson, the dancer P and friend of Mainie Jellett.

€6000 - 9000

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17 Camile Souter RHA b.1929 FIELDS NEAR ARLES Oil on paper, 16" x 19" (40.5 x 48cm), signed & dated 1963.

Provenance: The Dawson Gallery, Dublin (label verso); Sir Basil Goulding Collection, Dublin; Private Collection, Dublin.

Exhibited: Two Painters, Ulster Museum, 1965, no. 39; 2 Deeply, The Carroll Building, Dublin, 1971, no. 29; Camille Souter, Wexford Festival, 1972, no. 27; Camille Souter, Douglas Hyde Gallery, 1980, no. 18; From the Collection of Sir Basil Goulding Bart., Taylor Galleries, 1982, no. 65.

L iterature: Cormican, Garrett, Camille Souter, 2006, p. 250, Cat no. 168; Illus p. 260 (Cat no 212) but incorrectly identified by different title.

T here are few Irish paintings from the mid-1960s that could hold their own hanging next to big international names of the same period. Camille Souter, like William Scott, provides us with that rare exception, works that pare away inessentials, embracing the austere abstraction and flat, two dimensional picture surface that were more celebrated abroad than on this island. However, Souter attracted two significant champions of her work: Leo Smyth, who represented her in the prestigious Dawson Gallery, and the respected art collector Sir Basil Goulding, who over the years acquired many of her paintings, including this delightful one. Her output has been exceptionally (and frustratingly) small so that while there has always been high demand for Souter’s pictures, they were sold one by one to waiting collectors, with never enough new paintings for a gallery show.



 hat is particularly interesting about Souter is that while her works retain an international feeling, she simultaneously W embraces many of the preoccupations of her Irish contemporaries, sharing their attraction to landscape and outdoor light. ‘Fields Near Arles’, most likely painted in her Wicklow studio after a trip to France, recaptures the warmth and brilliant Mediterranean light that quivers over a field bursting with sunflowers. Often called ‘a painter’s painter’, her technique is superb. The juicy pigments and the light, liveliness of touch that animate the entire surface are characteristic of Souter. But, most importantly, the artist knows when to hold back, when to stop. Her palette shows this restraint, as does the simplicity of the composition. The result is a painting that, for its size, has great presence while providing a delicious feast for the eye. Frances Ruane, September 2017

€15000 - 20000

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18 Camille Souter HRHA b.1929 THE CHAMPION (c.1974) Oil on paper, 19¼" x 16½" (49 x 42cm), signed & dated 1972.

Provenance: Sold deVeres, June 2008 (lot 15).

 amille Souter is an extraordinarily versatile artist. It is hard to think of another Irish painter who can match her body of C work for its range of subject matter, emotion, insights and technique. While many collectors are familiar with her early abstracted works, her luscious landscapes and still-lifes, fewer realise that she has also shown a persistent interest in human activities and the human body.

Sport and games are a recurring theme in Souter’s work. In the 1950s she would create works based on card playing and chess. In the 1970s she painted a number works associated with playing fields and in one instance used a playing field in Belfast as metaphor for the Troubles. From gladiatorial battles to jousting and boxing, violent physical contests have always been part of sport.

‘The Champion’ is one of a series of paintings Souter produced in the 1970s based on boxing. The scene evokes mixed emotions. While the Champion’s hands are raised above his head in triumph, his defeated adversary is slumped behind him perhaps unconscious. One man’s victory is the other man’s loss. We are not shown either of the boxer’s faces and can only guess what they are feeling.

The Champion work does not aspire to photographic verisimilitude. Souter’s primary interest is how the mind recalls, re-interprets or re-imagines subjects, not how a camera would record them. She never actually attended a boxing match. This Champion recalls fleeting glimpses seen on TV in the pub and childhood memories of radio broadcasts in the 1930s/40s. The brushwork is loose and impressionistic.

T he use of line, is reminiscent of Honoré Daumier who she greatly admires. The figures are not drawn in a laboured, mechanical, academic manner by sight size. The mage is pared down in a way that feels psychologically real.



Garrett Cormican, October 2016

€14000 - 18000

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19† Basil Blackshaw HRHA HRUA 1932-2016 STANDING NUDE Oil on canvas, 36" x 28" (91.5 x 71cm), signed verso.

Provenance: Hendriks Gallery, Dublin (label verso).

 hat continues to fascinate me about the work of Basil Blackshaw is his incontrovertible capacity for beautiful anatomical W draughtsmanship and yet he continued to deconstruct in his later output, shaking off what he ultimately saw as scholarship, as defined by art colleges.

As far back as the late Seventies Blackshaw was becoming aware picture making was too easy for him. It had become like painting by numbers. He was already groping towards a new direction of travel when two unexpected events visited his life – firstly he had a studio fire and secondly he met Sligo born, but Dublin based artist, Patrick Collins.

T he fire resulted in Blackshaw retreating to his kitchen and drawing room in the house in which he and his partner Helen Fallon lived from the middle Seventies. There Blackshaw undertook a series of large charcoal drawings, which were both experimental and seminal in some ways.

 e took very seriously Paddy Collins’s observation. Collins suggested to Blackshaw “You are too forensic. You are too close H to your subject. Go for the spirit of what you are making.” Enter a new phase in Blackshaw’s oeuvre - a dénouement which obtained right to the end of his painting life.

T his nude figure fits right into Blackshaw’s era of deconstruction. The artist literally strips away all the formalities of his subject. Everything hangs on gestures, hints and ghosts of anatomy not dissimilar to the ‘Window Series’ which came in the final phase of Blackshaw’s life. There is no detail in this model’s face and that is deliberate. Yet what is not in doubt is the femininity which Blackshaw wins in his composition.

There is a vagueness, and elusiveness of form at play here – a feeling not unlike what one found in the work of fellow Northern Painters Tom Carr, TP Flanagan and Neil Shawcross. The secret to the successful execution of this nude painting rests more in what is not included than what is included.  Eamonn Mallie, October 2016 €14000 - 18000

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20 Donald Teskey RHA b.1956 DOCKLAND NO. 10 Oil on canvas, 24" x 30" (61 x 76cm), signed.

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

€7000 - 10000

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21 John Boyd b.1957 SOLUS V Oil on board, 15¼" x 15¼" (38.7 x 38.7cm), signed & inscribed verso.

€2500 - 3500

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22 John Shinnors b.1950 SLITTY MORNING, ESTUARY Oil on canvas, diptych, overall 46½" x 65¾" (118 x 167cm), signed & inscribed verso.

 orn in Limerick in 1950, John Shinnors is one of the best known Irish artists. Though he left Limerick School of Art after B attending for less than two years, the experience was vital because the painter Jack Donovan was then in charge. The opposite of a martinet, Donovan prized knowledge, hard work and individuality of expression, all of which Shinnors took to heart.

 e then spent time in England, with a guitar rather than a paintbrush, but duly found his way back to Limerick, and painting. H A glimpse of mackerel in his local fishmongers pointed him towards his mature painterly approach: familiar things rendered strange through angle of view, juxtaposition or movement.

T here is visual wit, and sometimes also something eerie, in his pictorial alchemy. His palette is famously limited and predominantly black-and-white though, as he remarked once, he does use five different blacks.



 consistent repertoires of motifs comes under his inventive visual scrutiny: Friesian cattle, cats, magpies, swallows, kites, A zebra crossings, laden washing lines, the nude figure and, as here, aspects of the River Shannon’s vast estuarine landscape, including Loop Head lighthouse, an annual site of pilgrimage for the artist. Aidan Dunne, October, 2017

€25000 - 35000

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23 Hughie O’Donoghue b.1953 ARNO Oil on canvas, 45¾" x 59" (116.2 x 149.8cm), signed; signed, inscribed & dated 2004 verso.

In the catalogue entry to the Purdy Hicks Exhibition of Hughie O’Donoghue’s works entitled “Fiume” (2004) Sue Hubbard writes:

“ In Course of the Diver I and II, 2002, the figure transmutes into a swimmer. Amid black waters set against a backdrop of deep ochres, smudged with patches of dirty yellow suggestive of the glare and sulphurous smoke of some distant battle field, the figure swims half- submerged so that we can only guess at whether he is drowning or struggling to reach the far shore.

It is these expressions of suffering, of struggle, of half-submerged memories that O’Donoghue weaves into his courageous paintings to form complex psychological maps. At once both gorgeous and lush – with their deep blues, ochres and oxblood reds, their dense blacks and their glazed surfaces – they are also, in the true Romantic sense of the word, awe inspiring. Images rise to the surface like his divers slipping through dark water, like ghosts, like photographs finding form in developing solution”.

€25000 - 35000

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24 Patrick Scott HRHA 1921-2014 GOLD PAINTING 12/91 Gold and palladium silver leaf on unprimed canvas, 51" x 51" (129.5 x 129.5cm), signed, inscribed & dated 1991 verso.

Provenance: Acquired from the artist’s family by the present owner.

Literature: ‘PATRICK SCOTT’ by Aidan Dunne, 2008 (illus p.158).

€14000 - 18000

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25 John Shinnors b.1950 MORNING INTERIOR Oil on canvas, 28¾" x 33" (73 x 84cm), signed, inscribed verso.

€10000 - 15000

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26 Martin Gale RHA b.1949 FROM THE GLENS Oil on canvas, 35½" x 35½" (90 x 90cm), signed & dated 1998 verso.

€6000 - 9000

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27 Donald Teskey RHA B.1956 OCEAN FREQUENCY II Oil on canvas, 52" x 60" (132 x 152cm), signed, inscribed verso.

€20000 - 30000

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28 Basil Blackshaw HRHA 1932-2016 SHEEP Oil and charcoal on canvas, 40" x 34" (102 x 86.5cm), signed; signed & inscribed verso.

Provenance: The Peppercanister Gallery, Dublin (label verso); Private Collection.

Literature: BLACKSHAW, edited by Eamonn Mallie, p.302, plate 132.

F irst glance of Basil Blackshaw’s grid painting of a sheep speaks instantly about the period in which he made this work. It is an image from his last phase which actually smiles out at us. It has all the hallmarks of a child’s painting. This is not an accident.

 any great artists don’t actually leave childhood. Blackshaw was full of childish mischief – arguing sometimes a M painting has to ‘be wrong to be right.’

T his is only the second sheep painting which I have seen executed by Blackshaw. It is a fun painting and as in Cathal Mooney’s ‘Big Brown Dog’ – the ‘eye’ has it! That eye in the sheep is the very embodiment of the life giving nature of the sheep.

I learned down the years from Blackshaw, quite often the excitement he got from scaling up an idea for a work lifted his creation onto another level.

 e was quirky, zany and an art delinquent. He hated cats and he hated zebras - yet when a cat bounced in front H of a car in which he was travelling one day he couldn’t wait to commit that image to paint. A huge striped cat suggesting she was carrying kittens, emerged.

On another occasion he was standing in front of his easel holding two brushes one loaded with white paint and the other with black paint. Two strokes later, like two taps on a keyboard, and a zebra emerged. As I said above Basil hated zebras but the urge to paint one, won out.

Blackshaw was a very geometric painter, obsessing down the years, not unlike Giacometti, with grids and squares. The deployment of these grids in the sheep painting has its roots in works going back half a century when he used a very English school of art method for squaring off his canvas.

 lackshaw would argue later in life those lines were simply marks – an integral part of the painting and without B which the painting would not be right. ‘Sheep’ is a joyous Blackshaw creation. I hope you follow this herd of one.



Eamonn Mallie, October 2017

€14000 - 18000

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29† Basil Blackshaw HRHA HRUA 1932-2016 PARK BENCH Oil on canvas, 12" x 9" (30.5 x 23cm). Provenance: The artist’s family, by descent. An empty park bench was a recurring theme in some of Blackshaw’s late output. He appeared to have a fascination with the sense of emptiness, of isolation or even the mystery surrounding the empty bench. This late small work is the embodiment of so many of Blackshaw’s personal artistic traits. Everything is understated. The application of thin paint is devoid of aggression. There is a feeling of quietude and relaxation and that hint of mystery. Had quarrelling lovers just abandoned that simple bench? Had an ageing couple or had a mother and child moved away because of the threat of an imminent shower? Who knows because in Blackshaw’s later work his output became less literal and more psychological. There is an ambiguity too in the background of this little jewel of a painting… is there a terracotta coloured building lost in the distance or is this a hint at an autumnal blush in the forest trees?   Eamonn Mallie, October 2017 €3000 - 5000 40


30 Charles Brady HRHA 1926-1997 TORN ENVELOPE Oil on canvas, 12" x 15" (30.5 x 38cm), signed; signed & inscribed verso.

Provenance: Taylor Galleries (label verso).

€2000 - 3000

31 Charles Brady HRHA 1926-1997 CANVAS VERSO Oil on board, 16" x 20" (40.6 x 50.8cm), signed & dated 1970.

€2000 - 3000 41


32 Sean McSweeney HRHA b.1935 SHORELINE FIELDS Acrylic on paper, 9½" x 12½" (24 x 31.75cm), signed & dated 2005; signed & inscribed verso.

Provenance: Taylor Galleries, Dublin (label verso).

€1000 - 1500

33 Norah McGuinness HRHA 1901-1980 THE VINE HILLS Watercolour, 12½" x 16½" (31.8 x 41.9cm), signed & dated 1960, inscribed verso.

€1000 - 1500

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34 Mary Swanzy HRHA 1882-1978 AUTUMN SONG Oil on canvas, 24" x 20" (61 x 51cm), signed; signed & inscribed verso.

€4000 - 6000

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35 Markey Robinson 1918-1999 STILL LIFE WITH ONIONS Gouache on board, 18¼" x 36¼" (46.5 x 92cm), signed.

€4000 - 6000

36 Markey Robinson 1918-1999 UNLOADING THE CATCH Gouache on board, 17" x 23½" (43 x 60cm).

€3000 - 5000 44


37 Carey Clarke PPRHA b.1938 STILL LIFE, HARMONY IN PINK AND BROWN Oil on canvas, 24" x 32" (61 x 81.2cm), signed, inscribed verso.

Provenance: RHA Annual Exhibtion 1985, cat no. 140.

€3000 - 5000

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38 William Percy French 1854-1920 MOUNTAIN LANDSCAPE Watercolour, 6¾" x 9½" (17.1 x 24.1cm), signed.

€2000 - 3000

39 William Percy French 1854-1920 BOGLAND Watercolour, 5" x 9¼" (12.7 x 23.5cm), signed.

€2000 - 3000

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40 Daniel O’Neill 1920-1974 CANDÉ RECOLLECTED Oil on board, 14" x 18" (35.5 x 46cm), signed, inscribed verso. Cande is a village in western France, in the Loire Valley.

€8000 - 12000

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41 Jack Butler Yeats RHA 1871-1957 MULDOON & RATTLESNAKE (1928) Oil on canvas, 9" x 14" (23 x 35.5cm), signed.

Exhibited: 1928 London (21); 1965 Waterford (5); 2011 The Model Museum, Sligo – Yeats Outsider Exhibition.

 rovenance: Sold to Miss G. Poer O’Shea at the London exhibition in 1928; Private Collection; de Veres, November, 2009; P Private Collection.

L iterature: Jack B. Yeats, A Catalogue Raisonne of the Oil Paintings by Hilary Pyle, No.375 , page 341, Vol I, which states: “A jockey and his mount on Drumcliffe Strand, in Sligo, the rider leaning down to speak to a supporter. Ben Bulben is in the background”.

 ike Muldoon was a famous amateur jockey and athlete in Sligo in the late 19th century. He was a farmer from Drumcliffe, M whose successes at the strand races caught the imagination of many Sligomen and women including Jack B. Yeats. His prowess as a sprinter is celebrated in a contemporary ballad, ‘Drumcliffe Races, 1889’ by Martin Walters. Yeats owned a copy and it inspired his watercolour ‘In the Foot Race there are Many to Compete’ (1899, National Gallery of Ireland). Muldoon and Rattlesnake, his steed, were the subject of two other works by Yeats. This 1928 oil painting and a 1901 watercolour. Yeats also noted the name of Muldoon in drawings that he made of Sligo for the Daily Graphic in 1890. Hilary Pyle speculates that Muldoon may have been the inspiration for one of the jockeys depicted in Before the Start (1915, National Gallery of Ireland).

T he strand races is a favourite theme in Yeats’s earliest paintings of Ireland where the excitement of the crowd and the spectacle of the jockeys and horses provide plenty of opportunity for capturing humans and animals at their most entertaining. In ‘Muldoon and Rattlesnake’, the close-up composition brings the viewer near to Muldoon who is on the back of a very animated Rattlesnake. He leans down with arm extended to steady himself on his mount, and to greet those who have come to wish him well in the race. Wearing a green jacket, white breeches and a racing cap, he glances down at one figure on the extreme right-hand side of the composition. The head of another, a young blonde woman, looks on from the left. These two figures open the composition for us the viewers bringing us into the centre of the painting and the action.



 eyond this central group, sculpted out of thick blue paint one can decipher (on the right) other jockeys lining up for the B race and flags flying in the breeze. The sea and an outcrop of green land indicates the low lying Sligo coastline while the monumental slope of Ben Bulben dominates the right-hand side of the background. The skies are dark and stormy, adding to the commotion of the occasion. The dark pulsating form of Rattlesnake fills the foreground, his large head raised in an attitude of extreme tension. Painted at least thirty years since Yeats had seen Muldoon, the work vividly recalls through the vitality of its thick application of paint, the experience of a race meeting and the competing sensations of crowds, animals and the light and forms of the Sligo coast. Equally the work is a dramatic piece of painting with thickly sculpted forms and blends of deep colour. Roisin Kennedy, October 2017

Hilary Pyle, Jack B. Yeats. His Watercolours, Drawings and Pastels, Irish Academic Press, 1993, p.109. H. Pyle, Jack B. Yeats, A Catalogue raisonné of the oil paintings, André Deutsch, 1992, II, no. 375.

€80000 - 120000

48


49


42 Sean Keating PPH RHA 1889-1977 BLESSED BE WINE Oil on canvas, 30" x 36" (76 x 91cm), signed, inscribed on the stretcher verso; with a painting verso of a female holding a fan; old exhibition label verso.

Exhibited: The RHA, Dublin, 1933 (No. 58, £100).

E xhibition of British Art, Stockholm, 1929; Helen Hackett Gallery, New York, 1930; Irish Art Rooms, New York, 1931-32; Royal Hibernian Academy, 1933; Waddington Gallery, Dublin 1941 – 44; Goodwin Gallery, Limerick, 1944; sold to private collection from the Goodwin Gallery, Limerick, 1945; Seán Keating Retrospective, Municipal Gallery of Modern Art, Dublin, 1963; private collection.

Painted in the Dublin Metropolitan School of Art in 1929, and completed in his studio in Killakee in the Dublin Mountains, Seán Keating’s ‘Blessed be Wine’ appears at first glance to be a simple set piece for exhibition. But as always with Keating, the context must be borne in mind. Between 1924 and 1932 Keating produced some of his best allegorical work, all of which signalled either his hopes for the future, or his disenchantment with the new ruling class in Ireland. These allegorical paintings featured people that Keating admired as workers doing their best to build the Irish nation from the ashes of the fight for independence, and the Civil War. Although he began his career full of hope for the future, by 1929 Keating was fighting hard to keep his job at the School of Art, which in turn was under resourced and starved of materials and staff.

T here are multiple metaphors in ‘Blessed be Wine’, all of which cast a critical eye at what the artist termed ‘governmental departmentalism’. In the background of the composition looms the cupola of what had begun as the Royal College of Science in 1904, but in 1922 became the home of the Executive Council of the new Irish Free State. This was no ordinary compositional embellishment on Keating’s part; the building was next door to the School of Art. An overly large copper jug and further accoutrements signify water or wine, as if to suggest a bounteous prosperity, while a flourish of Corinthian plasterwork focuses the eye on the view of the cupola. Within the apparently decorative display lies further meaning; the value of labour, and the value of working together for the common good as outlined in the Book of Corinthians. The model in ‘Blessed be Wine’ is as yet unidentified, but he was likely well known to the artist, and in spite of the title of the work, he is certainly not inebriated. He scrutinizes the viewer with a gaze of discontented ennui rather than post-independent heroic exuberance. Although surrounded by the emblems of abundance, his demeanour says it all. He has been working for the common good, but when he reaches for the blessed wine, and the promised abundance, all he gets for his labour is a pot of tea.

 eating painted ‘Blessed be Wine’ for an exhibition of British art in Stockholm in 1929, but as a result of lack of resources K at the School of Art, he did not have new canvas to work on. On the reverse is a portrait study by Keating, possibly of one of his sisters. Although exhibited in America, and then with Victor Waddington and the RHA in Dublin, ‘Blessed be Wine’ remained in the ownership of the artist until 1945 when it was sold to a private collector through the Goodwin Gallery in Limerick. The painting has remained in private hands ever since, but was shown in the retrospective of the artist’s work hosted by the Municipal Gallery, Dublin, in 1963. The partial original label on the reverse of the painting was written by Keating.

 

Dr Éimear O’Connor HRHA Author of Seán Keating: Art, Politics and Building the Irish Nation (Kildare: Irish Academic Press, 2013)

€30000 - 50000

50


51


43 Roderic O’Conor 1860-1940 NU AU CANAPÉ ROUGE Oil on canvas, 28¾" x 36¼" (73 x 92cm).

 rovenance: Sale, Hotel Drouot, Paris: Vente O’Conor, 7th February 1956; Private Collection, France; By descent, P 1970 Serge Tesson, Commissaire, Priseur, Parthenay, France; Sothebys, The Irish Sale, London, 16th May 2002 (lot 142), which catalogue entry stated:

T his work was probably executed circa 1909-1914. It was painted in the artist’s studio at 102 Cherch-Midi, to which he moved upon his departure from Brittany in 1904, and belongs to the group of O’Conor’s works commonly referred to as intimiste studies, which reflect the dominant influence at this date of Vuillard and, most importantly, Bonnard.

 uring the 1890s Bonnard and O’Conor had a mutual friend in Armand Seguin, who was associated, as was Bonnard, with D the Nabi group. There is evidence that O’Conor knew the Nabi and he would subsequently have been able to follow Bonnard’s development through shows at both the Durand-Ruel and Bernhein-Jeune galleries in Paris: his admiration led him to purchase two oils and five lithographs, as well as several books that Bonnard illustrated.

The intimiste works were so labelled as they show private, domestic scenes – the informality at this fate renders the pictures modern, yet the rich colour lends warmth and humanity. Jonathan Bennington comments that the nude was very much a specific Parisien theme for O’Conor, and a new departure from the earlier Breton paintings: “After he exhibited one for the first time in 1905 he began to explore the subject with all the devotion and a religious convert. He was not interested in the merely sentimental or sensual, and he retained a detachment which allowed him to express the contemplative, pensive moods of his models” (Roderic O’Conor, Irish Academic Press, Blackrock, 1992, pp.113-4).

‘Nu au Canapé Rouge’ bears comparison with O’Conor’s 1909 ‘Recling Nude Before a Mirror’ (coll. Beaupré Bannenberg) in three important respects, and both recall Velasquez’s famous ‘Rokeby’ Venus at Her Mirror c.1644-48 Col. National Gallery. Firstly the subjects of each canvas are closely aligned, with the nude positioned full-length on a divan, surrounded by the familiar objects which peopled the artist’s studio and consistently recur in many of the works produced there: the freestanding bookcase, the green bulbous vase, the large wood-framed mirror and the day bed itself.

S econdly, both works belong to a small number of paintings by O’Conor for which an ébauche or preliminary study is known, differing from ‘sketch’ studies in that it is completed in oils and close to the final work in scale and finish. The 1909 ébauche is in the collection of the National Gallery of Ireland, while the one for Nu au Canapé is in a private Irish collection. In both cases, the artist follows the principle laid down by Couture, whose own related ‘Etude de Nu’ is in the Louvre, in that although the main narrative of the study is adhered to, the detail is not slavishly copied. Instead, Couture advocated simply lifting and carrying through any element that is found to work in ébauche, to the ultimate benefit of the second version.

Finally, both the 1909 nude and the present work make use of dramatic lighting effects and display O’Conor’s relish of paint itself, whether applied thinly and sweepingly as in the ébauche, or built up to a plastic intensity as in the present version. While the model in ‘Nu au Canapé Rouge’ is not strictly placed contre-jour, and O’Conor has not used a reflection in the mirror set against daylight in quite the same manner as the 1909 work, the play of light and dark across the composition recalls his use of Flemish-type chiaroscuro in the early Breton works.

O’Conor’s studio was a large, high-ceilinged room, on the first floor of a secluded courtyard building, with four large windows facing south-west. The light was not as consistent as had the studio faced north, but when it flooded the studio it could do so with the powerful presence seen here, where flesh flows and the contours of the surrounding scene are receded to near monotone abstractions in contrast. The model appears almost as if carved out of marble when place against the thick, heavily impastoed limbs, as if the 1890s cloisonniste approach has been employed, yet with lines of bright magenta and rose shadow rather than the typically heavy black outlines. O’Conor uses light both to focus on his principle subject, and also to lead the eye about the room. The viewer’s interest is initially captured and then held as light flashes from the vase and decanter reflected in the mirror to the velvet on which she lies and then leading up the staircase behind to the spar of natural light falling between the half-drawn curtains in the room beyond. ‘Nu au Canapé Rouge’ thus shares with O’Conor’s greatest works the key combination of allusions to the work of various different sectors within the avant-garde, coupled with a vision and handling that is entirely his own.

€50000 - 70000

52


53


44 Jack B Yeats RHA 1871-1957 MICHAEL Watercolour, 9½" x 7½" (24.1 x 19cm), signed, inscription on original label (attached), Michael, bought by Jack Geoghegan, when at Christ Church Oxford, 1900, at an exhibition of pictures by Jack Yeats (…there to by Lady Gregory) and given by him there (W.E.G.) April 1952.

This early watercolour depicts a determined looking young man in a checked cap with deep set eyes. He is apparently a brother of Young John, the figure in the pendant work (lot no 45). His cap and heavy overcoat and the determined expression of his face suggest that he is setting off on a journey. Behind him a stone wall and a group of thatched buildings with a stack of turf indicate his west of Ireland community. The tall pale blue form of a distant fir tree provides little shelter and adds a dramatic note to the scenery. Four men stand in front of the houses. Two of them look as if they are sparring up for a fight or a boxing match. ‘Michael’ was described by the Dublin Evening Mail, when the work was shown in 1905, as ‘the bold, bad prodigal… a fine study of lawless strength’.

This clearly indicates that the critic saw a direct connection between the figure and the scene of pugilism behind him. But one could equally deduce that the figure is presented as aloof and removed from the other figures. The theme of young men leaving to seek a life of adventure elsewhere is developed in a number of Yeats’s later oil paintings such as ‘The Village Can’t Hold Me’ (1949, Private Collection) or old travellers coming back as in ‘Return of the Wanderer’, (1928, Ulster Museum).

The narrative aspects of the work are balanced by its aesthetic qualities. The sky is dominated by large floating clouds. These are almost childlike in their construction and they dwarf the landscape beneath. Their impact on the light is suggested by the blue and white patterning on Michael’s checked cap. The low viewpoint enables Yeats to connect the intense expression of the face with the panoramic view of the sky and land beyond. The cut-off perspective further allows for a close-up view of the figure linking him to the barren yet captivating world from which he strides. Various tones of blue unite the different elements of the composition from the costume of the figure, the blue of the sky to the stony surface of the land itself. Roisin Kennedy, October 2017



Dublin Evening Mail, 5 October 1905, quoted in H Pyle, Jack B. Yeats His Watercolours, Drawings and Pastels, Irish Academic Press, 1993, p.131.

€10000 - 15000

54


45 Jack B Yeats RHA 1871-1957 YOUNG JOHN Watercolour, 9½" x 7½" (24.1 x 19cm), signed, inscribed on an original label (attached verso).

‘Young John’ was painted as a pendant to ‘Michael’ (Lot 44). It was shown at Jack B. Yeats’s one-man exhibition in New York in 1904, for which occasion the artist and his wife Cottie travelled to the USA for the first and only time. While there Yeats was quoted in the Gaelic American as saying that Young John was the son of Old John, a work that was also included in the exhibition. This suggests that he is based on a real person.

When the work was shown in Dublin the following year the Dublin Evening Mail rather uncharitably described Young John as ‘the industrious stay at home’ but with a ‘vacuous countenance and a rabbit’s mouth, [and] would be better named ‘village idiot’. Such an interpretation seems rather unfair as Yeats rarely if ever resorted to such simplistic or nasty caricature. The boy is shown looking into the distance, his teeth clenched in an expression that suggests he is speaking. The finely sculpted features of his long face are silhouetted against a backdrop of a west of Ireland landscape of steep mountains and a dense system of small fields. The strange conical shaped haystacks imply the idea of industriousness while the boy’s sensitive bearing and open mouth indicate a propensity to chat and converse. The delicate haphazard construction of the stone walls adds a decorative patterning to the work, anchoring the figure in the peculiar but magical setting of the west. In contrast to the account of the work in the Dublin Evening Mail, it is a nuanced and sympathetic portrayal of the sitter and of contemporary life in rural Ireland. Yeats’s blend of realism and sophisticated understanding of modern design was greatly admired by those that saw his work at this time.  Roisin Kennedy, October 2017

 ublin Evening Mail, 5 October 1905, quoted in H Pyle, Jack B. Yeats His Watercolours, Drawings and Pastels, D Irish Academic Press, 1993, p.131.

€8000 - 12000

55


46 Jack Butler Yeats RHA 1871-1957 THE NIGHT HAS GONE (1947) Oil on canvas, 18" x 24" (46 x 61cm), signed.

Exhibited: 1947 Dublin (9); 1948 Leeds: 1948 London (78).

Provenance: Sold at the exhibition in 1947 to Miss H. MacMahon, later Mrs. Gertrude Feuerring, New York; Sold these rooms, 27th November 2012 (lot 27).

L iterature: Jack B. Yeats, A Catalogue Raisonne of the Oil Paintings by Hilary Pyle, No 876, page 791, Vol II, which states: “The artist walks alone in the landscape, his head surrounded by the night sky above the low horizon. But the night is rolling away, and light is breaking out in the east”.

‘ The Night Has Gone’ is one of a series of epic paintings produced by Jack B. Yeats in the late 1940s in which he confronted themes of mortality and existence. A lone male figure stands amid an expansive desolate landscape. Wearing a black hat, he turns to face out towards the viewer. One hand is raised. A swirl of dramatic cloud filled sky evokes the idea of dawn breaking. This intense passage consists of rich swirls of blue and white paint. A current of water flows in a sweeping curve along the left-hand side and across the foreground of the composition marooning the figure on a bank of earth. Flecks of yellow and red are visible in the blue of the waters. This ambiguous and wild setting is inspired by the West of Ireland. To the left dark cliffs close off the horizon but any sinister effect is alleviated by the tall sinewy form of the tree with yellow and deep red foliage in the left foreground. Its leaves are reflecting the light of the morning sun that as the title suggests, signal the beginning of the day.

T he work was painted in the weeks after the death of Cottie Yeats, the artist’s wife and companion of many years. Hilary Pyle suggests that the painting is at one level a response to this sad event which left an indelible feeling of loss in Jack. Its composition can be compared to other great works of this period such as ‘The Great Tent Has Collapsed’, (1947, Private Collection) and ‘There is No Night’ (1947, Dublin City Gallery, the Hugh Lane). The figure in the painting may represent the artist and the reference to night in the title could, like that of the Hugh Lane painting, have been inspired by a verse from the book of Revelations that was read at Cottie’s funeral, ‘And there shall be no night there’.



Roisin Kennedy, October 2017

Hilary Pyle, Jack B. Yeats, A Catalogue raisonné of the oil paintings, André Deutsch, 1992, II, p.916.

 Dublin Evening Mail, 5 October 1905, quoted in H Pyle, Jack B. Yeats His Watercolours, Drawings and Pastels, Irish Academic Press, 1993, p.131.  Dublin Evening Mail, 5 October 1905, quoted in H Pyle, Jack B. Yeats His Watercolours, Drawings and Pastels, Irish Academic Press, 1993, p.131.

€250000 - 350000

56


57


47 John Butler Yeats RHA 1839-1922 A LADY AND A PANTHER Oil on canvas, 15" x 11" (38 x 28cm).

 rovenance: Collection of Anne Yeats; Sold HOK Fine Art, ‘The Estate of Anne Yeats’ RDS Dublin, P 19th November 2002 (lot 583), where purchased by the present owner: Private Collection.

€3000 - 5000 58


48 John Butler Yeats RHA 1839-1922 PORTRAIT OF VIOLET MARTIN Pencil, 7" x 5" (17.7 x 12.7cm), signed & dated July 1903.

49 Jack Butler Yeats RHA 1871-1957 SAILOR Pen and watercolour, 9" x 6½" (23 x 16.5cm), signed.

€700 - 1000

59

€1400 - 1800


50 Rowan Gillispie b.1953 STARRY NIGHT Bronze, 10⅔" (27cm), signed & dated 1998 ed. 1/9.

Provenance: Acquired Solomon Gallery, Dublin.

€4000 - 6000

60


51 Melanie Le Brocquy HRHA b.1919 WOMAN RESTING ON STONE WALL Bronze, 29cm (h) x 18cm (w), an edition of 6, Artist’s Cast.

€2000 - €3000

61


52 Jim Flavin 1961-2004 PHOENIX Bronze, overall 98" high x 20" wide at the top (249 x 51cm), signed & dated 2003, ed. 2/3, with foundry stamp.

62

â‚Ź10000 - 15000


53† Patrick O’Reilly b.1957 GOLDEN BEAR Bronze and 24 carat gold leaf, size is 14" (h) x 13" (w) (35.5 x 33cm), signed.

 lease note this bear is being offered on behalf of Ballet Ireland, who P will receive the proceeds of sale. The purchaser will also receive four tickets to the opening night of the world premiere of Ballet Ireland’s new production of ‘Titanic’ next year.

€5000 - 7000

63


The Art Colony of St Ives

by John Daly, Hillsboro Fine Art, Dublin, October 2017 (lots 54 - 69) The picturesque towns of St Ives and Newlyn on the beautiful Cornish coast have been attracting artists from Britain and around the world since the great plein-air movement of the 1800s. Turner visited as early as 1811 and Whistler some 70 years later. The appeal of this location was undoubtedly down to a combination of factors; the growth in the rail network certainly played its part, but for most it was the quality of the light and the plentiful supply of old sail lofts and cottages in these small fishing communities that could be readily and inexpensively adapted to meet the artists’ needs. Before 1939 the area was mostly celebrated in art terms for late impressionist landscape painting (and of course the renowned pottery of Bernard Leach and Shoji Hamada), but with the arrival that year of Barbara Hepworth, Ben Nicholson and European modern master Naum Gabo a new era was dawning. Though many of these practitioners are now considered amongst the most important painters and sculptors of the last century, their transition into the St Ives artistic community was certainly not achieved without considerable opposition. These early moderns soon met with local man Peter Lanyon, with Nicholson and Gabo providing a significant influence on Lanyon’s art making. In the next few years, these were joined by Wilhelmina Barns-Graham, Bryan Wynter, John Wells and also Terry Frost and Patrick Heron. Frost met Trevor Bell at Leeds College of Art where he was teaching and directed him to St Ives. Similarly it was Patrick Heron who introduced Roger Hilton who was to become one of the best known of the group, showing at the Venice Biennale in 1964. In many ways Hilton remained closer to European modernist rather than US influence, Paris was important to him; this little figurative still life set against a flag-like backdrop in primaries is typical of his work from the 1970s. There was a great tradition amongst the artists at this time of sending small drawings, prints and other works to other artists and friends to mark special occasions and events. From the inscription on the reverse, this little collage from Hilton and his wife Rose falls into this category.  John Daly, Hillsboro Fine Art, Dublin, October 2017

54 Roger Hilton CBE 1911-1975 ABSTRACT WITH JUG & CHAIR Mixed media, 4" x 8½" (10 x 21.5cm), inscribed & signed verso.

Provenance: Belgrave Gallery, St. Ives (label verso).

€2500 - 3500

64


55 William Scott CBE RA 1913-1989 BLACK FORM (1966) Gouache, 22" x 30" (56 x 76cm), signed.

Provenance: Taylor Galleries, Dublin; Private Collection, Dublin (label verso).

Exhibited: On The Wall Gallery, Belfast, No.4 (label verso).

From early on in its history as a modern art colony, the town enjoyed an international reputation. In the BBC documentary, ‘The Art of Cornwall’, presenter James Fox remarked that the St Ives artists “went on to produce some of the most exhilarating art of the twentieth century… for a few dazzling years this place was as famous as Paris, as exciting as New York and infinitely more progressive than London.” So much so in fact that many of the best known international artists made it their business to visit and see what was going on.

 much reproduced photograph from the late 1950s shows William Scott, Terry Frost, Peter Lanyon, Mark Rothko and others A enjoying an al fresco lunch. Mark Tobey, Larry Rivers and Helen Frankenthaler also visited St Ives during this period. William Scott visited St Ives on many occasions, spending the summer of 1946 at nearby Mousehole. Scott was born in Scotland to Scots-Irish parents and moved to Enniskillen as a young boy, later living as a young man in Dublin for a short time. The stunning work in gouache by Scott Black Form 1966 included in this sale deploys a number of his favourite motifs exploring the space between abstraction and figuration, the vivid blue reminding us of his Berlin Blues series inspired by a 1963 residency there.

€20000 - 30000

65


56 Tony O’Malley HRHA 1913-2003 STILL LIFE 1972 Gouache and ink 7¾" x 12¾" (19.7 x 32.4cm), signed; signed, inscribed & dated 1972 verso, opus no. 4820.

F rancis Bacon too worked in one of the Porthmeor Studios overlooking the magnificent beach of the same name; one of his unfinished paintings appearing recently at auction on the reverse of a painting by Tony O’Malley. Kilkenny man O’Malley had visited the town in the mid 1950s but made it his home in 1960 and lived there until 1990. O’Malley and his wife Jane were soon to become an integral part of the town’s artistic community at an important time in its development; their little home ‘Seal Cottage’ was one of the most welcome centres of hospitality and artistic debate. The two ‘Still Life’ works presented here were painted by O’Malley in the 1970s, who was by then an established artist in the town.

€1500 - 2000

57 Tony O’Malley HRHA 1913-2003 UNTITLED Gouache, 7" x 10" (17.8 x 25.5cm), signed & dated 5/70.

€800 - 1200 66


58† Tony O’Malley HRHA 1913-2003 AUTUMN AND BLACK Oil on board, 14¾" x 20¾" (37.5 x 52.7cm), signed with initials; signed, inscribed & dated 10/79 verso.

€2500 - 3500

67


59 Nancy Wynne Jones HRHA 1922-2006 PAST PLACE; FOR JIMMY Acrylic on board, 60" x 48" (152.4 x 121.9cm), signed & inscribed verso.

Sculptor Conor Fallon and his wife Nancy Wynne-Jones  too were significant figures in the St Ives scene, Nancy forging a close relationship with Lanyon in particular. The 1986 painting of her’s here showing Peter Lanyon’s influence on her interpretation of landscape in its totality.



The Welsh-born, London-trained painter, Nancy Wynne-Jones, is remarkable for working in two distinct styles, a relatively traditional one and a contrasting manner close to Abstract Expressionism – as in this particular picture (1986). Born into a military family, she was traumatised by the death of her two brothers in the Second World War. She trained in various art schools, but also studied music and even contemplated a career as a violinist. Moving to St Ives in Cornwall, she came under the influence of Peter Lanyon, whose pupil she was for a time, and was friendly with the artists Bryan Wynter, Alan Lowndes, Breon O’Casey and Tony O’Malley. It was through O’Malley that she met the young sculptor Conor Fallon, whom she married. Moving with him to Ireland, she painted landscapes, still-lives and occasional figure subjects, but never abandoned her abstract leanings. Her vigorous brushwork is common to both her styles. She was a member of the Figurative Image group and exhibited regularly in Dublin, mainly with the Taylor Galleries. Brian Fallon

€3000 - 5000 68


60 Nancy Wynne-Jones HRHA 1922-2006 ST JEAN DE MIGNON Oil on paper, 16½" x 23" (41.9 x 58.4cm), signed, inscribed & dated 1993 verso.

€700 - 1000

61 Padraig MacMiadhchain RWA 1929-2016 HARBOUR VIEW WITH LIGHTHOUSE Oil on canvas, 25" x 30" (63.5 x 76cm), signed.

€2000 - 3000 69


62 Sir Terry Frost RA 1915-2003 RED & BLACK c.1960s Watercolour, 8" x 7½" (20 x 19cm). Exhibited: Terry Frost works on paper 2004, Belgrave Gallery, St Ives. No. 21 (label verso).



Terry Frost was a terrific artist and wonderful person, loved by all lucky enough to encounter him and his wife Kath. The little watercolour (lot 62) presented in this sale is in his trademark red and black; like many of his images, it might just as easily, in his own words, suggest ‘bottoms and breasts’ as the bobbing boats along the quays. While the third work here is a maquette for the Timberaine series of woodcuts that were published by the Paragon Press in 2000/2001. John Daly, 2017

€2000 - 3000

63 Sir Terry Frost RA 1915-2003 STUDY FOR GREEN JACK 1999 Acrylic on card, 10" x 5½" (25.5 x 15cm), signed & inscribed verso.

Exhibited: Belgrave Gallery, St Ives (label verso).

T he much later Study for ‘Green Jack’ seems like a nod to one of his Russian avant-garde heroes Olga Rozanova.

€800 - 1200

70


64 Sir Terry Frost RA 1913-2005 TIMBERAINE SERIES Oil on strips of card, 11" x 16" (28 x 41cm), signed & dated 2001 verso.

T he third work here is a maquette for the Timberaine series of woodcuts that were published by the Paragon Press in 2000/2001.

€3000 - 5000

Terry Frost in his studio, St Ives

71


65 John Wells 1907-2000 ABSTRACT COMPOSITION (1949) Monotype and watercolour 3½" x 4½" (9.5 x 11.5cm), inscribed verso ‘Christmas 1949 alas not so clear, all food wishes Johnny’.

Provenance: Belgrave Gallery, St. Ives.

F rost’s Newlyn neighbour John Wells (1907-2000) was a doctor on the Scilly Isles for many years, studying painting in the evenings. After the war he gave up his medical career and successfully pursued life as a full-time artist. Known as Johnny to all, he shared a studio with sculptor Denis Mitchell. The early mixed media work in this sale was a given as a Christmas card to fellow artist Sven Berlin in 1949.

€1000 - 1500

72


66 Michael Canney 1923-1999 SIDE FOLD No. 1-1985 Oil on board 9½" x 9½" (23.5 x 23.5cm), signed, inscribed & dated verso.

Belgrave Gallery St. Ives (label verso).

Staying with Newlyn, Michael Canney was appointed curator at Newlyn Art Gallery in the mid 1950s. It was rare at that time to have a paid position in the arts that allowed both time for his painting and also to do some teaching. Canney’s fellow students at Goldmiths included Bridget Riley and Bert Irvin, like many others he too had first headed for Cornwall during college holidays. Lanyon famously brought his house guest Mark Rothko to the gallery to see Canney’s work. The painting included here is from the mid 1980s but still retains many echoes of his influential teacher Kenneth Martin.

€600 - 900

73


67 John Emanuel b.1930 THE POND & FIGURE, ST AGNES, SCILLY Mixed media, 7½" x 10" (19 x 25.5cm), signed, inscribed verso.

Lancashire born John Emanuel arrived in St Ives in 1964. His paintings’ subject matter is largely confined to the figure and the figure in landscape; he is undoubtedly one of the town’s most popular painters.

€600 - 900

68 Trevor Bell b. 1930 IN & AROUND c1959 Oil on board 11½" x 9" (29 x 23cm), signed & dated 1959 verso. Provenance: Belgrave Gallery, St Ives (label verso).  Like Michael Canney, Trevor Bell is an artist who deserves to be better known. Perhaps it is because after an initial stay in St Ives in the mid 1950s (also due to encouragement from Terry Frost), he then lived in Florida for many years, only returning to Cornwall in 1996. The small oil included here is from his first stay in the area, inspired very much by the cuts and fissures of the local landscape.

74

€1400 - 1800


69 Breon O’Casey b.1928 CONCORDE Gouache, 9" x 12½" (22.8 x 31.8cm), signed & dated 1996, signed, inscribed & dated verso.

 reon O’Casey, though London born, was the son of Irish parents, his father being the renowned writer B Sean O’Casey; he arrived in the St Ives area about 1958 and soon became Denis Mitchell’s sculpture assistant. O’Casey has worked in many forms, weaving, jewellery making, sculpture, printmaking and of course painting. The work of O’Casey’s included in this sale is typical of the still life genre that dominated his paintings and prints.

€800 - 1200

75


Sven Berlin, John Wells and Peter Lanyon hanging their work for the first St Ives Exhibition in 1946

76


For many of the reasons that first brought them there, the town of St Ives still attracts artists and art lovers in great numbers. If it reluctantly first opened the doors to Britain’s art moderns, it now happily mines this rich heritage. The Tate St Ives was opened in 1993 and has just re-opened this month after an extensive revamp and major extension; the Barbara Hepworth Museum and Garden is another must-see.    

John Daly, Hillsboro Fine Art

77


70 Tony O’Malley HRHA 1913-2003 THE CARP POND, WINTER AND SUNKEN BLACK POTS (1993) Oil on board, 36" x 48" (91.5 x 122cm), signed; signed with initials, inscribed with title verso & dated 31/12/1993.

Exhibited: ‘Tony O'Malley Exhibition’, The Taylor Galleries, November/December 2005, where purchased by current owner.

Literature: ‘Tony O'Malley’, 2005, full page illustration.

The titles of Tony O’Malley’s paintings could be either deeply poetic or bluntly descriptive as is the case with this one.

There is something truly heroic about all of O’Malley’s work, as indeed about his life. His appalling health situation was matched by his isolation as an artist in Ireland (self-taught, forced to earn a living as a bank official during the day and cut off from the supportive network of other artists until he finally made the move to Saint Ives in Cornwall) and to a lesser extent, his isolation as an Irishman outside the loop of the Irish art world in Cornwall. Yet his work reflects an inflexible commitment to continue making artwork against whatever obstacles presented, and to do that with vigour, grace and, frequently, humour.

Time plays an important part in his work either as a central aspect of his paintings of nature or as a link to history and heritage. His vision was part of that heroic, and limitless outlook. He embraced nature and history as two dimensions that put his own frail human existence into a bigger picture. For this reason, his famous Good Friday paintings, and his haunting pictures of November/All Souls Night and that celebration of death and the spirit are sombre but also life affirming in the unflinching manner in which he addresses them.

 ainted on New Years Eve in 1993, ‘Carp pond, Winter, sunken black pots’ is sparse but even in the starkness of the winter P pool, when the sunken pots, missing their summer vegetation, become visible and the overall tonality is austere and cool, the vivacity of those tiny little carp darting across the expanse of the water, suggest teeming life. Something that no amount of winter cold can subdue. It may be the final day of the old year, but the promise of summer is already present.



J ane O’Malley, Tony’s artist wife, recalls how she gave him a present of a carp for his birthday each year, and how they watched those little fish grow from babies bought for eleven pounds a time in the early 1990s, to magnificent specimens worth hundreds of pounds within a decade, before they succumbed to attack by mink. Described as, “the queen of rivers; a stately, a good, and a very subtle fish” by Izaak Walton in The Complete Angler, (1653), the carp in this painting are young and full of life. As always, O’Malley is preoccupied with the sense of movement and their magical streaks of colour at the expense of a more descriptive depiction. Catherine Marshall

€10000 - 15000

78


79


71 Karel Appel, Dutch 1921-2006 CAT Gouache, 8" x 6¾" (20 x 17.5cm), signed.

Provenance: Hillsboro Fine Art, Dublin, International Artists Exhibition, 2005 (label verso).

 hristiaan Karel Appel was born in Amsterdam in 1921 and showed an enormous talent for painting and drawing from a C very early age. During World War II in the early 1940s while a student at the Rijksakademie van Beeldende Kunsten he met fellow artists Corneille and Constant, soon forming the CoBrA group. This is an acronym of Copenhagen, Brussels, Amsterdam, and reflects (with the addition of Danish painter Asger Jorn) the origins of its members.

T hough Appel first exhibited his work in 1946, it was the 1949 exhibition of the CoBrA artists at the Stedelijk Museum in Amsterdam and his ‘Vragende kinderen / Questioning Children’ mural at Amsterdam’s City Hall that brought him to the public’s attention. Appel’s mural (inspired by children he saw begging while on a train journey through war-torn Germany the previous year) met with public controversy and was soon covered over with wallpaper, remaining hidden for the next 10 years! 

Perhaps as a result of this initially negative Dutch reaction to CoBrA art and artists, Appel moved to Paris in 1950 and developed his international reputation by travelling to Mexico, the US and Brazil. Although he participated in other CoBrA exhibitions, Appel soon enjoyed a successful career, with an important 1953 solo exhibition at the Palais des Beaux-Arts in Brussels. The same year James Johnson Sweeney, director of the Guggenheim Museum in New York, bought two of Appel’s paintings, and selected him for the Young European Painters show at the Guggenheim Museum later that year. The following year, Appel received the UNESCO prize at the Venice Biennale and begins to exhibit in New York with Martha Jackson. 1961 sees the production of a feature film by the Dutch film director Jan Vrijman, ‘The Reality of Karel Appel’, with music by Dizzy Gillespie – Appel was now very much part of the international art scene.

Over his long career, in addition to painting and drawing, Appel explored a diverse array of media, including textiles, ceramics, glass, wood and of course printmaking. As his international profile grew, he worked on projects with jazz musicians, writers such as Allen Ginsberg and a host of others from different disciplines.

In a recent conversation with Irish artist John Noel Smith, he recalled meeting Appel in Berlin where the Dutchman encouraged all to use the paint straight from the tube, often without use of brush or knife. The artist famously describing this practice thus “my tube is like a rocket, which describes its own space”! Over the years, Appel’s work has been compared with the fluid, energetic styles of French art informel practitioners such as Dubuffet and also US abstract expressionism. However, his imagery is mostly figurative. People (or at least figures of some sort), birds and cats populate his paintings. Vivid colours, viscous oils and bold luminous watercolours, inks and acrylics, rendered using strong lines all conspire to create tangible,  sensuous experiences – Appel always aiming to capture the essence rather than any mimetic image.

 iven the importance of the CoBrA group to 20th-century art, it is perhaps not surprising that it is for this association that G Appel remains best known. The CoBrA museum was opened in 1995 in Amstelveen, and the Karel Appel Foundation was established in 1999. Appel died in 2006 in Switzerland and was buried at Cimetière du Père-Lachaise in Paris. His work continues to be exhibited at the world’s important museums and galleries and is included in the most significant collections of international art. Though short-lived as a group movement, Appel and others of the CoBrA collective are still regularly cited as among the most influential painters on the generations of artists that followed.

The wonderful work on paper included in this sale offers a rare opportunity to acquire an affordable painting by this internationally renowned Dutch modern master. Cats were amongst Appel’s favourite subjects across a range of media, and here it is executed in gouache and crayon in trademark spontaneous, expressionistic style, with strong primary colours and vigorous black line.



John Daly, October 2017

€5000 - 7000

80


81


72 John Boyd b.1957 SIMILE VI Oil on board, 22" x 18" (55.8 x 45.7cm), signed & inscribed verso.

€3000 - 5000

82


73 Micheal Farrell 1940-2000 SELF PORTRAIT, LA Rûche, PARIS Oil on canvas, 69½" x 65" (176.5 x 165.1cm), signed, inscribed & dated 1976/77 verso.

T he La Rûche of this title is an artist’s residence in Montparnasse, Paris. Originally designed as a temporary structure by Gustave Eiffel for the 1900 Great Exposition, the building became a centre of artistic activity after it had been dismantled and re-erected by Alfred Boucher. Cheap rents, shared models and an exhibition space open to all residents meant that the artist’s residences at La Rûche were hugely popular and artist’s such as Diego Rivera, Brancusi, Modigliani, Delaunay, Chagall and Léger all worked there.

It went into decline following the Second World War and was saved by a preservation mission which included luminaries such as Jean-Paul Sartre and Alexander Calder. La Rûche re-opened in 1971 and the present work was painted there, in Farrell’s studio, where he worked from 1971 to 1985.

€6000 - 9000

83


74 Martin Gale RHA b.1949 LEAVING THE GLENS (1998) Oil on canvas, 35½" x 47" (90.2 x 119.5cm), signed; signed & dated 1998 verso.

€6000 - 9000

84


75 John Doherty b.1949 DONALD, YOU’VE GOT A SHARK UP FRONT Acrylic on canvas, 12" x 16" (30.5 x 40.6cm), signed, inscribed & dated 2007 verso.

 rovenance: Taylor Galleries, Dublin: ‘JOHN DOHERTY: NEW TWISTS AND TURNS’, P 29 March - 21 April 2007.

€3000 - 5000

76 Charles Brady HRHA 1926-1997 ODD SOCKS BOX Oil on linen, 11" x 14" (28 x 35.5cm), signed.

Provenance: Taylor Galleries, Dublin (label verso).

€1500 - 2000 85


77 Hughie O’Donoghue b.1953 THE SEA! THE SEA! Oil on board, 44¾" x 66" (111 x 176 cm), signed, inscribed & dated 2003 verso.

€18000 - 22000

86


78 Colin Davidson RUA b.1968 OCTOBER IN THE GARDEN Oil on canvas, 39½" x 39½" (100 x 100cm), signed; signed & inscribed verso.

€4000 - 6000

87


79 Hughie O’Donoghue b.1953 THE COURSE OF THE DIVER Acrylic and mixed media on paper, 15" x 22" (38.5 x 58cm), signed.

Provenance: Purdy Hicks Gallery, London (label verso).

€4000 - 6000

88


80 Hector McDonnell ARUA b.1947 TSUNAMI WRECK, SRI LANKA Oil on canvas, 36" x 24" (91.4 x 61cm). Provenance: The Solomon Gallery, Dublin (label verso).

€3000 - 5000

81 Neil Shawcross RHA RUA b.1940 STILL LIFE – RED JUGS Acrylic on paper, 31½" x 36½" (80 x 93.3cm), signed & dated 2005.

€2000 - 4000

89


82 Wiiliam Crozier HRHA 1930-2011 THE BRIDGE Oil on canvas, 14" x 18" (35.5 x 45.7cm), signed, signed & inscribed verso.

€3000 - 5000

90


83 Richard Gorman RHA b.1946 WAVE GREY Oil on canvas 31½" x 31½" (80 x 80cm), signed, inscribed & dated Milan 2008 verso. Provenance: Fenderesky Gallery (inscribed verso).

€1500 - 2500

84 Donald Teskey RHA b.1956 COASTLINE SERIES 1 Oil on paper, 25" x 26½" (63.5 x 67.3cm), signed; signed & inscribed verso.

€3000 - 5000

91


85 Daniel O’Neill 1920-1974 A DUSK STROLL Oil on board, 16" x 20" (40.7 x 50.8cm), signed.

€8000 - 12000

92


86 Arthur Armstrong RHA 1924-1996 COASTAL LANDSCAPE Crayon, 17½" x 15½", (44.5 x 39.5cm), signed.

€600 - 900

87 George Campbell RHA RUA 1917-1979 STILL LIFE FORMS Watercolour, 10½" x 14½" (26.6 x 36.8cm), signed.

€800 - 1200 93


88 Basil Blackshaw HRHA HRUA 1932-2016 COUNTRY ROAD Oil on board, 16" x 12" (41 x 30.5cm), signed; signed & dated 2001 verso.

€3000 - 5000

89 Markey Robinson 1918-1999 THROUGH THE WINDOW – A MEMORY OF IRELAND Gouache, 20" x 30" (51 x 76cm), signed.

94

€2000 - 3000


90 Norah McGuinness HRHA 1901-1980 VENETIAN VASE Gouache, 20" x 16" (50.8 x 40.7cm), signed, dated 1940 verso. Provenance: Taylor Galleries (label verso).

€1500 - 2000

91 Markey Robinson 1918-1999 THE ROAD HOME Gouache, 18" x 28½" (45.7 x 72.4cm), signed.

€2000 - 3000

95


92 Gladys MacCabe HRUA ROI FRSA b.1918 SATURDAY IN THE PARK Oil on board, 15" x 24" (38 x 61cm), signed.

€1500 - 2000

93 Evie Hone HRHA 1894-1955 STILL LIFE, WITH FRUIT AND BOWL Pastel, 15" x 18" (38.1 x 45.7cm), signed indistinctly.

€1500 - 2000 96


94 Tom Carr HRHA HRUA ARWS 1909-1999 McDONALDS FIELD Watercolour, 15" x 22" (38.1 x 55.8cm), signed.

Provenance: The Eakin Gallery (label verso).

€1000 - 1500

95 Barbara Warren RHA 1925-2017 THE MASK Oil on canvas, 20" x 21¼" (50.8 x 54cm), signed, title label verso.

€1000 - 1500 97


96 Fergus O’Ryan RHA ANCA 1911-1989 THE MOORE STREET MARKET Oil on board, 12" x 16" (30.5 x 40.6cm), signed, inscribed verso.

€500 - 700

97 George K Gillespie RUA 1924-1995 AT CUSHENDUN, CO. ANTRIM. Oil on board, 10" x 14" (25.4 x 35.6cm), signed and inscribed verso.

€1500 - 2000 98


98 James Humbert Craig RHA RUA 1877-1944 SUMMER ON THE BEACH Oil on canvas, 15" x 20" (38 x 50.8cm), signed.

Provenance: Private collection, Northern Ireland.

€3000 - 5000

99


99 Aloysius O’Kelly 1853-1936 TOYMAKERS Oil on canvas, 24" x 20" (61 x 50.8 cm), signed.

Provenance: Shannons Fine Art Auctioneers, USA, Oct 25 2007 (lot 102); Private Collection, Northern Ireland.

Literature: Niamh O’Sullivan, Aloysius O’Kelly. Art, Nation, Empire, Field Day 2010, illus., catalogue no. 187.

Through O’Kelly’s art, we learn much about land and nation not only in Ireland, but further afield. O’Kelly travelled throughout his life, painting in England and France, and extensively though North Africa. In 1895, he emigrated to America. The New York monthly magazine, The Gael (July 1899), noted that the paintings of this ‘gifted Irish Painter… can be found in the collections of leading art connoisseurs at home and in this country.’ There his work was collected by the distinguished connoisseur, Stephen G. Holland (in the company of Turner, Corot and Meissonier).

In America, O’Kelly had many entrepreneurial and political luminaries sit for him. He first lived in the home of bohemia, in the lower Village, before moving to a prosperous address in midtown. His connections in the American art world were considerable. From 1907, he was represented by the Snedecor Gallery, an eminent gallery that handled prominent American artists such as Benjamin West, Thomas Eakins and Winslow Homer. He was also represented by Goupil/Knoedler, Moulton and Ricketts and the Parisian/French Tapestry Company. O’Kelly also showed a number of times at the National Academy of Design, and exhibited with the Society of American Artists and New York Watercolor Club. In addition, he exhibited at the Art Institute of Chicago, the Boston Art Club and the Corcoran Gallery, Washington.

 is enchanting Toymakers, set in the early years of the new century, is a fascinating glimpse of a burgeoning industry, H commercial toymaking.



Prof. Niamh O’Sullivan, October, 2017

€6000 - 8000 100


100 Jack Butler Yeats RHA THE CONNAUGHT TOAST (1912)   Ink and watercolour on paper, image size 4¾" x 6½" (12 x 16.4cm), sheet size 5¼" x 7 ½"(13.4 x 19.1cm), signed to left margin, additionally inscribed by the artist with title and layout instructions in pencil to verso, additionally inscribed in blue pencil ‘Reduce to 4 inches Jack B. Yeats’, The original design for the Cuala Press Broadside no. 2, 5th year, A Connaught Toast, published in July 1912. The first series of the Cuala Press broadsides, each limited to 300 copies, was published in 84 monthly issues between June 1908 and May 1913. See Hilary Pyle, The Different Worlds of Jack B. Yeats: His Cartoons and Illustrations (1994), 1890, page 261. 

T his is the original ink drawing made to be reproduced as a line-block print in ‘A Broadside’ (July 1912). The instructions for the printer are in pencil on the back of the paper. The design was subsequently used as the image for a Christmas card published by the Cuala Press which was run by Yeats’s sisters, Lily and Lolly. ‘A Broadside’ was published monthly by Cuala Press from 1908 to May 1915. The folded over sheet was illustrated by three-line block prints which were designed by Jack B. Yeats and usually hand-coloured. The images were accompanied by one or two ballads or poems written by Jack or by contemporary poets. Many of the ballads came from the artist’s collection of historical 18th and 19th century ballads that were widely sold across Ireland at that time. ‘A Broadside’ imitated the simplicity of the imagery and design of these song sheets. Distributed through private subscription in Ireland, Britain and North America, ‘A Broadside’ provided imaginative and novel imagery and poetry for supporters and enthusiasts of the Cultural Revival.

‘ The Connaught Toast’ was accompanied by the text of a traditional or what purported to be a traditional West of Ireland saying: “ Health and long life to you, The woman of your choice to you, Land without rent to you, And Death in Erin”.

T he image shows a young ballad singer in ragged clothes raising a glass in one hand and a stick in the other. A long sheet of ballads trail from his pocket. He stands at the entrance to a drinking tent of the kind constructed at fairs and social gatherings in rural Ireland in the 19th century and familiar from paintings and drawings. Usually shown from outside, it is a frequent motif in Yeats’s own work. Behind the boy the ocean and the incoming tide situate the scene in the west. Poles with racing flags mark the edge of the strand where a race has been held, the kind of event to which the ballad singer would come, and which would lead to the merriment and toasting referred to in the verse.

B  allads were subversive texts but the youth of the singer in ‘The Connaught Toast’ alleviates any threat of potential violence. The poverty of the scene and the subtext of the verse hint however at the desperate history of the West of Ireland and the continuing economic and political marginalisation of its people. The image trails a fine line between sentimentalising poverty and promoting a sense of empathy for those whose lives were dramatically affected by colonialism and modernity.  Roisin Kennedy

€6000 - 9000 101


101 George K. Gillespie RUA 1924-1995 MUCKROSS BAY, KILLYBEGS, CO. DONEGAL Oil on canvas, 20" x 24" (50.8 x 61cm), signed, inscribed verso. €2000 - 3000

102 George K. Gillespie RUA 1924-1995 LACKAGH BRIDGE, CO. DONEGAL Oil on canvas, 20" x 24" (50.8 x 61cm), signed, inscribed verso. €2000 - 3000 102


103 Mark O’Neill b.1963 CARRIGDUFF, MORNING LIGHT Oil on board, 9" x 11" (22.9 x 27.9cm), signed. €800 - 1200

103A Mark O’Neill b.1963 WHITE JUG AND BLACK CHERRIES Oil on board, 10" x 14" (25.5 x 35.5cm), signed & dated 2007. €1500 - 2000 103


104 Brian Ballard RUA b.1943 KNEELING MODEL Oil on canvas, 20" x 16" (50.8 x 40.7cm), signed & dated 1992, inscribed verso. €800 - 1200

105 Norah McGuinness HRHA 1901-1980 BLUE SOFA Gouache, 17" x 23" (43.2 x 58.5cm), signed. €1500 - 2000

104


106 Brian Ballard RUA b.1943 NUDE Oil on canvasboard, 23" x 15½" x (58.5 x 39.5cm), signed & dated 2002. €800 - 1200

107 Robert Taylor Carson HRUA 1919-2008 CARRIGART, CO DONEGAL Oil on board, 20" x 24" (51 x 61cm), signed. €1000 - 1500

105


108 Evie Hone HRHA 1894-1955 WOMAN READING Gouache, 14½" x 10¾" (37 x 27cm), signed & dated 1944. €1000 - 1500

109 Brian Bourke RHA b.1936 PORTRAIT OF TONY O’MALLEY, ST.IVES 1987 Mixed media, 23½" x 18½" (59.7 x 47cm), signed, inscribed & dated 1987. Provenance: Taylor Galleries (label verso). €600 - 800

110 Kenneth Webb RWA FRSA RUA b.1927 JANUARY BOG Oil on canvas, 20" x 30" (51 x 76cm), signed. €3000 - 5000 106


111 Tom Carr HRHA HRUA ARWS 1909-1999 SETTIGNANO, ITALY (1930) Oil on canvas board, 16" x 12" (40.5 x 30.5cm), signed.

112 Liam Belton RHA b.1947 PEPYS’S DIARY Oil on board, 18" x 14" (45.7 x 35.5cm), signed, inscribed verso.

€600 - 900

€2000 - 3000

113 Kenneth Webb RWA FRSA RUA b.1927 FIELD FLOWERS Oil on canvas, 16" x 24" (40.5 x 61cm), signed, inscribed verso. Provenance: The Blue Door Gallery, Dublin (label verso). €5000 - 7000 107


114 Markey Robinson 1918-1999 FIGURES ON A ROAD Gouache on board, 24" x 39" (61 x 99cm), signed. €4000 - 6000

108


115† Stephen McKenna PPRHA 1939-2017 STILL LIFE, WITH FISH IN A BOWL AND A HANGING BASKET OF EGGS Oil on canvas, 31½" x 23¾" (80 x 60cm), signed with initials, signed & dated 1985 verso. €3000 - 5000

109


116 Anne Donnelly, Contemporary TREES IN AN OCHRE LANDSCAPE Oil on canvas, 20" x 14" (51 x 35.5cm), signed & dated.

117 Gladys MacCabe HRUA ROI FRSA b.1918 SUMMER BUNCH Oil on board, 21½" x 16" (54.4 x 40.7cm), signed.

€1000 - 1500

€1400 - 1800

118 Peter Collis RHA 1929-2012 SUGARLOAF Oil on board, 11" x 13" (27.9 x 33cm), signed, artist studio label verso.

119 Peter Collis RHA 1929-2012 SNOW ON THE ROAD TO ROUNDWOOD Oil on canvas, 5" x 8" (13 x 20.5cm), signed; inscribed artists label verso.

€600 - 900

€500 - 700 110


120 Louis le Brocquy HRHA 1916-2012 PROCESSION WITH LILIES Lithograph, 22" x 30" (55.8 x 76.2cm), signed, ed. 28/75. Provenance: Taylor Galleries, Dublin (label verso). €1000 - 1500

121 Henry Healy RHA 1909-1982 ON ACHILL ISLAND Oil on board, 14" x 18" (35.5 x 45.5cm) signed, inscribed label verso. Exhibited; The RHA, Dublin 1939, No.136. Provenance: The Country Shop, St Stephens Green, Dublin 1941 (Exhibition catalogue verso). €600 - 900 111


123 Rowan Gillespie b.1953 FAMINE SERIES Bronze, 9" high (23cm), signed, ed.8/9. €3000 - 5000

122 Eamonn O’Doherty ICARUS Bronze, 42" (h) x 27½" (w) (106.7 x 69.8cm). €2000 - 3000

124 Tom Carr HRHA HRUA ARWS 1909-1999 WAITING Oil on board, 10" x 14" (25.5 x 35cm), signed.

125 William Conor RHA RUA ROI 1881-1968 GATHERED AROUND THE THRESHER Crayon (wax), 6¼" x 5¼" (16 x 13.5cm).

€800 - 1200

Provenance: Acquired directly from the artist.

€1000 - 1500 112


127 William Conor RHA RUA ROI 1881-1968 THE WAINS Ink and coloured chalks, 7¾" x 5" (20 x 12.75cm), signed, inscribed & dated 1908.

126 William Conor RHA RUA ROI 1881-1968 THE FIDDLE PLAYER Ink and coloured chalks, 7¾" x 5 ½" (20 x 14cm), signed.

Provenance: Acquired directly from the artist.

€800 - 1200

Provenance: Acquired directly from the artist.

€600 - 800

128 William Conor RHA RUA ROI 1881-1968 TUG BOAT Watercolour, 8¼" x 6½" (16 x 13.5cm), signed, Bell Gallery label verso.

129 Evie Hone HRHA 1894-1955 STAINED GLASS WINDOW Watercolour, 21½" x 7½" (55 x 19cm).

Provenance: Taylor Galleries, Dublin (label verso).

Provenance: Acquired directly from the artist.

€800 - 1200

€800 - 1200 113


130 Sean McSweeney HRHA b. 1935 SHORELINE SLIGO Oil on board, 18" x 24" (46 x 61cm), signed & dated 1989, signed,inscribed & dated verso €3000 - 5000

114


131 Evie Hone 1894-1955 STATIONS OF THE CROSS Gouache, 12" x 10" (30.5 x 25.4 cm), signed. Provenance: The Dawson Gallery (remnates of label verso).

132 Maine Jellett 1897-1944 HARVESTING Watercolour, 5½" x 9" (14 x 22.8cm), signed & dated August 1918. €800 - 1200

€800 - 1200 133 James Scanlon b.1952 STAINED GLASS LIGHT BOX Glass, encased in an Illuminating box, 24" x 17" (61 x 43cm). €800 - 1200

115


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. 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. 5.  3% commission due to saleroom.com for lots purchased using Live Bidding. 6.  Payment: Cash, bankers draft or cheque. With the exception of American Express, Credit cards are also accepted, subject to a charge 0f 1.5% on the invoice total. Debit and Laser cards are also accepted, at no charge, but are subject to daily limits as determined by your bank. 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. 116


Armstrong, A  Appel, K 

86 71

Ballard, B  Belton, L  Bell, T  Blackshaw, B  Boyd, J  Brady, C 

104,106,109 112 68 19,28,29,88 21,72 30,31,76

Campbell, G  Canney, M  Carr, T  Clarke, C  Collis, P  Connolly, T  Conor, W  Craig, J.H 

87 66 94,111, 124 37 117,119 15 125,126,127,128 98

Keating, S  Kernoff, H  LeBrocquy, L  LeBrocquy, M  MacCabe, G  MacMiadhchan, P  McGuinness, N  McKenna, S  McSweeney, S 

Davison, C  Doherty, J  Donnelly, A 

78 75 116

O’Casey, B  O’Conor, R  O’Doherty, E  O’Donoghue, H  O’Kelly, A  O’Malley, T  O’Neill, D  O’Neill, M  O’Ryan, F  O’Reilly, P 

Emanuel, J 

67

Percy French, W 

Farrell, M  Flavin, J  Frost, Sir. T 

73 52 62,63,64

Gale, M  Gillespie, G  Gillespie, R  Gorman, R  Guinness, M 

26,74 97, 101, 102 50, 123 83 7

Hanlon, Fr. J  Healy, H  Henry, G  Henry, P  Hennessey, P  Hone, E  Hickey, P  Hilton, R 

6 121 14 9,12 8 93,108 3 54

120 51 92,118 61 2,4,33,90,105 115 32 69 43 122 23,77,79 99 56,57,58 40,85 103,103A 96 53 38,39

Robinson, M  Ryan, T 

35,36,89,91,114 5

Scott, P  Scott, W  Shawcross, N  Shinnors, J  Souter, C  Swanzy, M 

24 55 81 22,25 17,18 34

Taylor Carson, R  Teskey, D 

107 20,27,84

Warren, B  Webb, K  Wells, J  Wynne Jones, N 

95 110, 113 65 59,60

Yeats, J.B  Yeats, John. B  Young, M 

117

10,42 11

41,44,45,46,49, 100 47,48 13


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Deveres nov 17 catalogue web  
Deveres nov 17 catalogue web  

Auction of Irish Art