Page 1




35 Kildare Street, Dublin 2. Tel: 01 676 8300

Wednesday 27th November At Thomas Prior Hall, Ballsbridge, Dublin 4

Front Cover: Lot 29 Gerard Dillon 1916-1971 ARAN HORSEMEN Inside Front Cover: Lot 39 Walter Frederick Osborne RHA 1859-1903 THE FERRY (1890) Inside back Cover: 33 Colin Middleton RHA RUA 1910-1983 THE WASHING LINE (1939) Back Cover: Lot 15 Paul Henry RHA RUA 1876-1858 THE WIND BLOWN TREE, KILLARY HARBOUR

important irish art auction

Wednesday 27th November 1


Auction Venue

Thomas Prior Hall

Auctioneers: John de Vere White Rory Guthrie

John de Vere White Managing Director

Rory Guthrie Director

Aisling T贸th Associate Director



Wednesday, 27th November at 6pm

Venue: Thomas Prior Hall, Ballsbridge, Dublin 4 (on the grounds of Bewleys Hotel) On View: Sunday, 24th November Monday, 25th November Tuesday, 26th November Wednesday, 27th November Contact:

2pm – 6pm 9.30am – 7pm 9.30am – 7pm 9.30am – 3pm

087 2934439 / 087 9787396

COLLECTION: From de Veres Office, 35 Kildare Street, Dublin 2 FEES:

19½% plus VAT (23.985% inclusive)

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


detail of lot 54; Patrick O’Reilly


1 Rose Maynard Barton RWS 1856-1929 CLOTH ALLEY, SMITHFIELD Watercolour, 14" x 8" (30.5 x 20cm), signed and dated 1892; bears title on a label attached to the backboard. Provenance; Cork, Crawford Municipal Art Gallery, Rose Barton Exhibition, 1987, no. 33. “I think that ‘Cloth Fair’ was the most troublesome place in which I ever painted in London – not that the inhabitants wanted to hinder me, but that artists’ visits are less frequent there than in other parts. However, the interest shown in my work was very keen. I managed to sit on a step with my back to the door, and no one would get exactly behind me, but at noon strings of mill girls used to swarm up the street, crowd about me and watch and order one another to get out of Lydy’s way.”

€4,000 - 6,000

2 Hilda van Stockum HRHA 1908-2006 PEARS IN WINDOW Oil on board, 20" x 24" (61 x 51cm), signed with initials; signed, inscribed and dated 1987 verso. Elected an honorary member of the R.H.A. in 1983, Van Stockum, born in Rotterdam, spent many years in Ireland. A highly regarded book illustrator her wonderfully executed still lives were always keenly sought after at the annual R.H.A. exhibitions.

â‚Ź3,000 - 5,000


3 Charles Lamb RHA RUA 1893-1964 A CONNEMARA COTTAGE Oil on board 12½" x 16" (32 x 40.5cm), signed; signed and inscribed £13 verso. Exhibited: Charles Lamb Memorial Exhibition, 1969, (label verso).

€4,000 - 6,000


4 William Percy French 1854-1920 BEND IN THE ROAD, EVENING Watercolour, 7" x 10" (18 x 25.5cm), signed.

€2,000 - 3,000

5 Norah McGuinness HRHA 1901-1980 THE ALGARVE Watercolour, 10½" x 14" (26.5 x 35.5cm).

Provenance: Taylor Galleries, Dublin (label verso).

€1,400 - 1,800 8

6 Mary Swanzy HRHA 1882-1978 FRENCH LANDSCAPE Oil on canvas 18" x 21" (46 x 53.25cm). Provenance: The Grafton Gallery, Dublin (label verso); Ivey Selkirk Auctions, Missouri (4 Feb. 2007), where sold on behalf of Smurfit-Stone to benefit St. Louis and Chicago charities; Private Collection, Northern Ireland.

â‚Ź6,000 - 9,000


7 Daniel O’Neill 1920-1974 LOW TIDE Oil on board 13" x 20" (33 x 51cm); signed, inscribed verso.

Provenance: These rooms, 1994, where acquired by the present owner.

€7,000 - 10,000


8 Norah McGuinness HRHA, 1901-1980 VIEW OF THE THAMES FROM MY STUDIO WINDOW Oil on canvas, 18" x 24" (46 x 61cm), signed.

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

â‚Ź6,000 - 9,000


9 Lady Beatrice Glenavy RHA 1881-1970 THE DANCE Oil on canvas, 18" x 26" (46 x 69cm), signed and dated 1933; inscribed with original price of £15 on reverse.

Provenance: Acquired by the previous owner’s parents directly from the artist in the 1930s; Private Collection, Dublin.

Exhibited: The RHA Annual Exhibition 1934, no. 155, for sale at 15 gns. The artist is best known as Lady Glenavy, painter of surreal, mythological scenes and still-lifes where reality and illusion are interchangeable, although she had achieved precocious renown in Dublin as Beatrice Elvery for her sculpture, painting, graphic illustrations and stained glass before she married the Hon. Gordon Campbell (son of the Lord Chancellor of Ireland) in 1912. In 1918, after eight years in London, she and her brilliant barrister husband returned to Dublin with two small children at a politically explosive period in Ireland, living at various addresses until they settled in Kimmage, Co. Dublin in 1922. Much of her work was destroyed by a fire at this time. Once her youngest child, born in 1924, was old enough she began painting again in oils and in tempera, on furniture and making small portraits in a pointillist idiom. By 1931, when her husband, by now Secretary to the Irish Free State Department of Industry and Commerce, succeeded to his father’s title, she was painting regularly in oil on canvas. Having first exhibited at the Royal Hibernian Academy in 1902, she continued to do so more or less annually until 1969. She was elected an Academician the year she painted this canvas, which depicts a poet reading in an Arcadian landscape while two shepherdesses dance to the pipe of a boy satyr. This followed her masterpiece, ‘The Intruder’ (1932), ‘The Vain Suit’ (1932-3), also featuring a diaphanously-dressed, straw-hatted shepherdess, Cupid and a playful whippet, and a smaller, similarly composed and figured study, ‘Shepherdess and Poet’ (1933-4). Her paintings were inspired as much by inanimate images of Staffordshire china ornaments, driftwood, children’s toys, memorabilia, be-ribboned plaster plaques, potted flowers and cacti as by lithely sinuous Regency figures performing romantic tableaux in lyrical woodland settings, often beside the sea. Her unerring gift for modelling lively imaginary figures, painted in warm colour harmonies from the fantasy world of her imagination is as recognizable as her fancifully staged theatrical compositions, frozen in suspended motion. This painting was given by the artist to the mother of the previous owner, perhaps via the Swedish consul and his wife, Harry and Signe Eriksson, close friends of the Glenavys in Dublin in the 1930s.  Nicola Gordon Bowe, October 2013

€10,000 - 15,000



10 Basil Blackshaw RHA RUA b.1932 CAR Oil on canvas, 36" x 28" (91.5cm x 71cm), signed. “Artists talk an awful lot of shite - did I tell you that?” a not uncommon response from Basil Blackshaw when I remind him of some distant observation he had made about one of his works. Today Blackshaw is increasingly Beckettian in his utterances about any of his paintings. More and more monosyllabic. Factually, Blackshaw painted many subjects in which he had absolutely no interest – cats, Venetian blinds and cars among them. For this countryside loving man the ‘fast lane’ has and had little attraction.  “Sleeping under a bush, drinking a bottle of stout and killing the odd rat” was a common enough refrain during Basil’s nomadic existence for many years. He ‘kept it country’ but don’t be deceived by his self deprecation. “Doagh (village in County Antrim) is abroad for me” protests Basil. Aye! “So why did you paint cars Basil?”  “I don’t know. Why did I paint anything? You don’t know. You get an idea. You make a mark and you don’t know where it takes you. It is all about the marks in painting. “They were just paintings to me. The marks were the main thing. The car was accidental. I didn’t care about cars. It was just the marks on the painting that interested me. There was no hidden agenda.” Eamonn Mallie, in conversation with the artist, 1 November 2013

€10,000 - 15,000


11 Patrick Scott HRHA b.1921 MP36 Gold leaf and tempera on unprimed canvas, 36" x 36" (91 x 91cm); signed and inscribed verso. Provenance: The Fenton Gallery, Cork (label verso), where acquired by the present owner.

â‚Ź6,000 - 9,000


12 Camille Souter HRHA b.1929 DREAMING Oil on paper, 24" x 22" (61 x 56.5cm), signed and dated 1984; signed and inscribed verso.

Provenance: Taylor Galleries, Dublin (label verso).

From the beginning of her career, Camille Souter has been drawn to places associated with travel: harbours, docks, railway stations, trains, canals, points of perpetual arrival and departure. Towards the end of the 1970s, her son Tim and daughter Emma were attending boarding school in Villiers, County Limerick. While in the area, Souter decided to renew her acquaintance with nearby Shannon Airport. Despite their inherent drama, and the fact that countless numbers of people travel through them on a daily basis, airports have attracted little serious, artistic interest. Souter, on the other hand, took one look at the place and knew she had to paint there. Not long afterwards she began taking flying lessons. The series of work she produced based on her experiences in or around, or above, Shannon are among the most original in modern painting. In airports, it is easy to dream of an escape from the confines of one’s normal day-to-day existence. As Alain de Botton has pointed out that the ability of aircraft to defy gravity (or the weather) and ascend skyward may lead us to contemplate a similar, dramatic transformation of our own circumstances. With the enormous change in perspective upon take-off, things we have grown accustomed to and think we know take on a completely different appearance. For centuries, European artists have painted the landscape as seen from the ground. In this series of works, Souter broke with this convention. Once air-borne, the horizon is not always horizontal or even visible. It takes a minute to find one’s bearings, to make full sense of the patchwork of abstract shapes below. Though the paintings deal with something unequivocally real, the sensation of gliding (like a ‘Greek god’ as Souter would say) is, at times, dreamlike. In “Dreaming”, we are not shown the inside of a cockpit. It is as though the spirit, or mind, has miraculously freed itself from body and risen into the heavens. The viewer floats uncannily without any apparent support above two aeroplanes and the ground below. When commentators first viewed Souter’s highly abstracted work in the 1950s, some were reminded of aerial pictures. Some historians have seen a direct correspondence between works like “Dreaming” and those early paintings with their simplified pared down forms over a textured background, the motif of the white aeroplanes now energising the surface just as her occasional early use of arrows or other symbols once did. The placing of a rectangle, perhaps representing the boundary of field, at an almost 45 degree angle to the bottom edge of the painting suggests the viewer is in the process of a gentle turn.  Garrett Cormican, October, 2013

€15,000 - 20,000



13 William Crozier HRHA b.1930 SWIFTS LAKE Oil on canvas 42" x 44" (107 x 112cm), signed.

â‚Ź14,000 - 18,000


14 Stephen McKenna PPRHA b.1939 BLACK AND YELLOW LIGHTHOUSE (1994) Oil on canvas, 53¼" x 39½" (135 x 100cm), signed with initials.

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

€6,000 - 9,000


15 Paul Henry RHA RUA 1876-1858 THE WIND BLOWN TREE, KILLARY HARBOUR Oil on canvas 16" x 19½" (40.5cm x 49.5cm), signed.

Provenance: Adams, Dublin, 2 July 1987, lot 84, where acquired by the present owner; Private Collection, Wicklow.

Literature: S.B. Kennedy, October 2013; Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, New Haven and London, Yale University Press, 2007, p. 226, catalogue number 629 (as A Western Landscape with a Tree), reproduced. This is a view of Killary Harbour where Henry worked a good deal in the years before he settled in Dublin. Thereafter he continued to make compositions from sketches done earlier, and it was in this manner that The Wind Blown Tree came about. The muted tones in the foreground and in the background mountains, which must be the Mweelrea Mountains, betray the influence of his one-time teacher in Paris, James McNeill Whistler. Henry made a number of compositions of wind blown trees, in which his attention is directed at the stark architecture of the trees. The brushwork also echoes Whistler, whose advice to his students was to work things out in one’s mind and then set it down deliberately and concisely. Here, with little or no overpainting, we see this good advice in practice and the foreground grass, rocks and tree have been painted with great economy of means, as has the water beyond and the mountains too, which are rendered with little detail, save for the direction of the muted light. Dated 1925-9 on stylistic grounds.  S. B. Kennedy, October 2013

€50,000 - 70,000



16 Joseph Malachy Kavanagh RHA 1856-1918 DUBLIN BAY COCKLE PICKERS Oil on canvas, 23" x 38" (53.5 x 96.5cm), signed and dated 1895. Exhibited: Almost certainly at The RHA in 1896, No.44 (£30). Kavanagh studied at the Metropolitan School of Art from 1877 to 1878. He went to the Académie Royale in Antwerp, in 1881, with Walter Osborne and Nathaniel Hill (with whom he shared marked similarities in style). On his first visit, he took the Natur class, returning for the winter of 1882-3, to take the Life class with Verlat. From here, he returned several paintings to the RHA, set in and round Antwerp and Bruges. At this time, Kavanagh was much influenced by both seventeenth-century and contemporary nineteenth-century Dutch art. He also went to Brittany, in France, where he lightened his palette, although he never relinquished form and embraced Impressionism, even briefly. On his return to Ireland, Kavanagh settled in Clontarf and produced paintings of local views of Dublin and its environs: Sutton, Portmarnock, North Bull Sandymount and Merrion. It has been suggested that figure drawing was not Kavanagh’s strong point, and indeed he often depicts people from behind, but his broad simplified forms are more a demonstration of his awareness of the work of modern, contemporary artists, such as Van Gogh, Gauguin and Whistler, than a demonstration of weakness. The emphatic simplification of form has the effect of granting stature to the shore workers of Dublin, a subject he returned to many times. A number of paintings and numerous studies of cockle pickers in the 1890s show Kavanagh at his best. The cloudy skies, the long beaches, and the choppy seas are unromantic, rugged and realist. The two large and boldly simplified figures, on the left, are countered by the small, foreshortened figure of the boy picking cockles, with his fingers deep in the wet sand, on the right. As Keeper of the Royal Hibernian Academy, Kavanagh was resident in their premises on Abbey Street when the buildings, including his studio and paintings, were destroyed by fire during the Easter Rising in 1916. He remained in the Academy from the Easter Monday to the Wednesday, when he was lucky to escape with his life from the burning building. He never fully recovered from the experience. As a result, although prolific, his works are rare.  Prof. Niamh O’Sullivan, October 2013 €14,000 - 18,000



17 William Percy French 1854-1920 TURF STACKS ON THE BOG, EVENING Watercolour, 7" x 9½" (18 x 24cm), signed and dated 1907.

€2,000 - 3,000

18 Edwin Hayes RHA RI ROI 1819-1904 WRECK OFF YARMOUTH Oil on board 6" x 10¾" (15 x 27.5cm), signed.

€1,500 - 2,000 24

19 Frank McKelvey RHA RUA 1895-1974 GLIMPSE OF LOUGH INAGH Oil on canvas, 14" x 18" (35.5 x 45.7cm), signed, inscribed verso.

€4,000 - 6,000


20 Jack Butler Yeats RHA 1871-1957 A PUB IN DEVON (1890) Indian ink, 14½" x 21" (37 x 53.3cm), signed and dated 1890.

Provenance: Theo Waddington Fine Art, London (label verso).

A young man, smartly dressed in riding breeches, is being confronted by a stern pub landlord. Yeats provides clues to the nature of the dispute. Two prominent signs above the bar refer to payment and to the rules of the establishment in this regard, based on past experience. ‘Chalk is useful say what you will. But it don’t pay…’ and ‘Old Trust is Dead. Bad Pay Killed Him’. Clearly the naive young man has not paid his account and the fact that his hands are thrust deep into his pockets suggests that he is not in a position to do so. Above the wide gap between the two men, hanging over the fireplace, is a large picture of a volcano erupting. This indicates that the barman’s calm exterior will not last long. The fact that the regular clients have retreated outside the door from where they can safely observe the proceedings also suggests that an outbreak of temper is expected. This inclusion of onlookers is a typical trope of Yeats. It alleviates the tension and allows the viewer to participate in the drama by empathising with these figures. The final confirmation of a showdown comes from the two large settees which have been turned inwards to the fireplace, barricading those seated on them off from the inevitable tirade. This detailed drawing alludes to Yeats’s time in Devon where he bought a house in 1895, and where he sketched the antics of local farmers and labourers. Carefully scrutinized, it conveys his ability to extract drama and humour from his observations of contemporary life. Similar to the type of wit displayed in his cartoons, the complexity of the detail makes this a more ambitious work, in which many of the themes of his later art is evident. It is an early exploration of the world of consumerism that he was to develop in later works such as the Country Shop (1912, National Gallery of Ireland) and in several oil paintings. It is also a delightful representation of an encounter between youth and age and between different social classes in which the arrogance of youth clearly does not know what it has let itself in for.  Roisin Kennedy, October 2013

€14,000 - 18,000


21 Jack Butler Yeats RHA 1871-1957 GAFF IN THE EAST END OF LONDON (c.1900) Indian ink, 14" x 20½" (35.5 x 52cm), signed.

Provenance: Theo Waddington Fine Art, London (labels verso).

The heyday of the Gaff or Penny Theatres was a few decades before Yeats made this illustration. He was aware of their demise when he made this. They were notorious but popular establishments in the East end of London in the nineteenth century where they were set up in outhouses or in a range of available buildings. A penny or halfpenny secured the customer entrance for which they could partake of light refreshments and a variety of entertainment. The middle classes regarded these businesses with some horror, considering them to be unregulated spaces in which impressionable youths could easily be corrupted and which tended to attract the lower classes in large numbers. The stages were constructed so as to allow as much room as possible for the audience. This facilitated the substantial crowds and secured the owner a decent return on the performance. Popular plays often included scenes of violence and criminal behaviour, with highwaymen being especially well-liked characters. (The bill for a forthcoming performance of Dick Turpin is pasted on the wall in Yeats’s Gaff). Another recurring theme of the melodramas was the African slave and in this drawing, Cato the Slave is being performed. It is evident that the lead role is played by a white actor who has blackened up for the part. In the Gaff a mixed and rather sedate audience of smartly dressed middle aged men and women enjoy the play. They keep their coats and hats on indicating the brevity of the performance and the informality of the venue. A lady carries a large plate of food while a man at the back of the audience gazes upwards, showing as much curiosity about the setting as the activity on stage. On the right hand side a toothless character draws back a large curtain and gestures us in. Behind him a man loiters apart from the audience, enjoying a smoke. On the other side of the hall a group of young boys are trying out their boxing skills with one of them receiving a rather violent punch on the chin. Through the use of cross-hatching in Indian ink and in the application of white highlights on the stage and in the left foreground, Yeats recreates the bizarre and fantastic atmosphere of the theatre. The pen and ink drawing is one of a series which Yeats intended to publish as a book, Pastimes of the Londoners. In the end he did not secure a publisher but some of the series appeared as illustrations in the Manchester Guardian in 1905. C.P. Scott, the editor of the newspaper, may not have considered this one to be suitable, as he expressed caution over the nature of some of the imagery in the illustrations which he thought might shock the public. The boys trying their hand at boxing, in particular, could have been considered unsuitable for a family paper.  Roisin Kennedy, October 2013 €14,000 - 18,000 27

22 Mary Lohan b.1954 BEACH AT LOUISBURGH, CO.MAYO Oil on canvas, diptych each 16" x 20" (40.5cm x 51cm); signed, inscribed and dated 2000 verso.

Provenance: Acquired at The RHA in 2000 by the present owner.

€2,000 - 3,000

23 Mary Therese Keown b.1974 BLUE ROOM, GREY ROOM Oil on canvas 43½" x 63" (110cm x 160cm); signed verso.

Provenance: Acquired at The Ashford Gallery, RHA July 1999 by the present owner.

€2,000 - 4,000 28

24 Donald Teskey RHA b.1956 FROM GALLEY HEAD Oil on canvas, 72" x 84" (183 x 214cm), signed. Provenance: The Vangard Gallery, Cork, 2005 (label verso), where acquired by the present owner.

â‚Ź14,000 - 18,000


25 John Shinnors b.1950 THE SIDE OF THE HOUSE (2004) Oil on canvas, 48" x 48" (122 x 122cm), signed; signed and inscribed verso.

Provenance: Taylor Galleries, Dublin, 2004, Cat No.13 (label verso).

â‚Ź8,000 - 12,000


26 Nick Miller b.1962 WELLFIELD, MARCH CATKINS Oil on linen 36" x 40" (91.5cm x 101.5cm), signed and dated 2000/2002; signed, inscribed & dated verso. Provenance: The Rubicon Gallery, Dublin (Nick Miller Exhibition, January 2003).

â‚Ź2,500 - 3,500


27 Conor Fallon HRHA 1939-2007 HORSE Bronze on black marble base 9½" x 15¼" (24 x 39cm).

€8,000 - 12,000


28 Conor Fallon HRHA 1939-2007 PREGNANT WOMAN Bronze, 11¾ high (30cm), edition of 9 (with a stainless steel stand, made by the artist). Provenance: Purchased at The RHA, 1994 (front cover of the catalogue), by the present owner.

€5,000 - 7,000


29 Gerard Dillon 1916-1971 ARAN HORSEMEN Oil on board 18" x 21" (46 x 53.5cm) signed; inscribed verso. Exhibited: Gerard Dillon ‘Early Paintings of The West’, The Dawson Gallery, March 1971, Cat No 3, where acquired by the present owner's family. Living in Dublin during the War, Dillon frequented the Country shop, St. Stephen’s Green where Aran work by Basil Rákóczi and Elizabeth Rivers were on view. This might have prompted him to travel to the area but it is more likely Seán Keating influenced his decision to first visit the Islands in 1943. In the Envoy magazine, 1951 Dillon stated, “Sean Keating’s illustrations for “Playboy of the Western World”…were the first things that made me want to paint.” Executed on canvas and panel Dillon’s images of Aran in the early 1940’s were characteristically naïve and generally subdued in tone, “Aran Lovers” and “Aran Horses.” Executed on board, the artist’s palette in “Aran Horsemen” appears brighter suggesting the work may have been executed from a thumbnail sketch sometime later. On horseback, two riders appear dressed in tradition Aran garb, ‘léine ghlas, (tunic), bástchóta (waistcoat), treabhsar (trousers) ‘Pampooties” (shoes) and ‘bubbelíns (hats) which had a decorative feature of a ball of knotted thread. The landscape is devoid of other life. There are no hedges, trees or livestock in the pattern of grey walls. Without a companion Dillon often spent periods alone in remote areas and many of his Western Landscapes depict a single or two figures in an isolated landscape. The Islanders, however knew no other way of life and were hardy, wild and independent folk who had developed a survival system of total self-sufficiency. With the decline of families speaking Irish on Aran in the 1960’s, Dillon’s images are a record of another era where Islanders lived without gas heating, modern technology and daily boat visits from tourists. Dillon’s 1971 exhibition at the Dawson Gallery, “Early Paintings of The West” brought together a unique collection from his visits to Aran and Connemara, where he claimed, “One could live… forever.” Karen Reihill, October 2013 Currently researching Gerard Dillon & Friends.


€40,000 - 60,000



30 Jack Butler Yeats RHA 1871-1957 LET ME AT HIM (1897) Watercolour, 12" x 19" (30.5 x 48.3cm), signed and dated 1897.

Provenance: Theo Waddington Fine Art, London (label verso).

In ‘Let Me at Him’ two aggressive men are being held back as they goad each other into a fight. A group of onlookers sit on the grass bank behind enjoying the spectacle. The watercolour was made when Yeats was living in Devon in the 1890s and is part of a series of paintings of local fairs and activities. Working as an illustrator and cartoonist for London periodicals, Yeats was accustomed to noticing and recording amusing incidents that he witnessed on his various excursions. This gathering of smartly, if slightly dishevelled, dressed men indicates that they have been attending a market or race meeting and that the altercation comes at the end of a long day. While no reference to alcohol is made here, cider drinking features in other Yeats depictions of Devon farming life, a normal way for working men to relax in the West Country. Thin washes of green indicate the ground while applications of thick white paint bring a shaft of light into the sky. Great attention is paid to the detail of the poses and expressions of the figures, skilfully conveying the confusion and humour of the exchange. Yeats delights in the variations of costume showing the men dressed in a variety of outfits befitting their social status. A sailor can be seen on the extreme left while one of the aggressors and his companion wear rather intricate gaiters over their trousers, suggesting that they have spent the day working. Fighting was a common theme in Yeats’s early watercolours which included his many portrayals of boxing matches as well as outbreaks of violence in everyday life. He was not interested in showing bloodshed but rather his paintings focus on the tension and posturing caused by the initial taunting, and especially the wider response of the bystanders. The full title of this work is ‘Hold me Hat Till I Tear ‘Un! Let me at him’. This is undoubtedly an overheard remark that Yeats has noted down and then reused as a title for the painting. As in his other representations of fights, the work suggests a momentary flare up that will quickly dissipate thanks to the involvement of the onlookers. It is above all a witty and sharply observed handling of the subject. Roisin Kennedy, October 2013

€10,000 - 15,000


31 Letitia Marion Hamilton RHA 1878-1964 VIEW TOWARDS ROUNDSTONE Oil on board 8½" x 10" (21.5 x 25.5cm).

€2,500 - 3,500

32 Grace Henry HRHA 1868-1953 POTATO SOWERS Oil on canvas 12" x 17" (30.5cm x 43cm). Provenance: Wellesley Ashe Gallery, Dublin (label verso); James Adam, May, 1981, where acquired by the present owner.

€3,000 - 5,000 37

33 Colin Middleton RHA RUA 1910-1983 THE WASHING LINE (1939) Oil on canvas, 24" x 17¾" (61 x 45cm), signed with monogram. It is revealing to consider ‘The Washing Line’ in the light of Middleton’s own analysis of another of his surrealist paintings from the same period. In his notes, he writes of spiritual and political confusion indicated in the painting by the use of faulty perspective, with damage wrought to buildings representing more personal trauma inflicted on the souls of men. The ladder that goes nowhere represents the suggestion of help that turns out to be useless. While the landscape is dry and bright, all the windows give way to shadow (again the artist’s notes emphasise the important role these openings play) and the barred grille on the door that potentially leads to escape also suggests a prison. The target painted on a wall hints at violence and the woman who seems to be lifting a headscarf to reveal her identity is ambiguous, a figure that will help or who will lead into danger. While the meaning of the painting is typically elusive and the mood has a certain menace, the bright airiness and energy of the work also suggests an escape. The buildings and landscape seem to connect this work with Middleton’s interest in the Spanish Civil War; implied or actual violence is peripheral but usually present in these paintings, although less overtly than in his works that deal with the Second World War. 

Dickon Hall, October, 2013 €40,000 – 60,000


34 Basil Blackshaw RHA RUA b.1932 TOMMY ORR, BLACKSMITH Oil on canvas 25½" x 31½" (65cm x 80cm); signed, dated ’85 verso. In ‘Tommy Orr- the Blacksmith’, for the first time two literary images immediately came to mind, Heaney’s ‘Door into the Dark’ but more especially the Spanish writer Miguel Delibes’s ‘El Camino’. Herein lay the beautiful description of the blacksmith at work. “Con frecuencia el herrero trabajaba en camiseta y su pecho herculeo subia y bajaba al aspirar come si fuera el de un elefante herido.” “His chest rising and falling as he breathed like a wounded elephant”. Blackshaw’s portrayal of Tommie Orr is strictly informed by observation of this artisan at work. He was in and out of forges all around County Down even when he was a child, going there to get ponies shod. On this occasion he had joined Perry Moorhead who was having his horse shoed by Tommie. One can imagine the craic, banter and chaffy gossip passing among these country folk. Blackshaw said “It was just when I was standing there in the forge that I got the vision. It was quite dark in the forge and of course you had the plumes of white smoke from the horses feet, when Tommie was fitting the hot shoes. It was one of those times when you had a chance to take in what was really going on around you.” said the artist. His choice of colour in portraying the atmosphere of the inside of the single storey building on the Comber/Killyleagh Road in County Down is no accident. Blackshaw was so at home in this environment, yarning and conversing in an era when numerous horses and their owners came together, in the words of Patrick Kavanagh “more devilment than for work.” The age of Tommie Orr has passed regrettably but we are fortunate in having the Heaneys, the Delibeses and the Blackshaws of that period to capture the quintessence of what we were. 

Eamon Mallie, 2010, from a conversation with Basil Blackshaw.

€30,000 - 50,000



35 Basil Rakoczi 1908-1979 MEDITERRANEAN COMPOSITION Oil on canvas, 24" x 39" (61 x 99cm), signed; signed, inscribed with title and dated 1953 verso. Provenance: John Watkins, the Canadian ambassador to Moscow in the late 1940s and 1950s, who bought it direct from Rakoczi in Paris in 1958; Sold these rooms November 2006 (lot 78); Private Collection, Wicklow.

€10,000 – 15,000


36 Basil Rakoczi 1908-1979 FRANKIE TRAVESTI Oil on canvas 39½" x 25½" (100 x 65cm), signed; signed, inscribed, dated ’57 verso.

€6,000 - 9,000


37 Paul Henry RHA RUA 1876-1958 AN ACHILL WOMAN (c.1910) Oil on board, 15" x 9" (38 x 23cm), signed.

Provenance: Label verso shows this painting was once in the collection of the artist Emer O’Rourke Dickey; Private Collection, Belfast.

Exhibited: Paintings by Mrs. Frances Baker, Grace Henry, Paul Henry, Casimir Dunin-Markiewicz and George Russell (AE), Leinster Hall, Dublin, 16-21 October 1911, catalogue number 13. Literature: S. B. Kennedy: Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations, New Haven and London, Yale University Press, 2007, p. 162, catalogue number 337 (The Red-haired Woman). This may be The Red-haired Woman picture that Paul Henry exhibited in his 1911 Dublin exhibition. When Henry first visited Achill, in the summer of 1910, it was the people of the island, going about their everyday endeavours, who caught his attention. His interest in the landscape of the island and of Connemara in general dates mainly from later years. To Henry the intrigue of the people of Achill recalled Daumier, whose peasant workers – The Angelus comes instantly to mind – he knew from his student days. The elderly folk of Achill particularly fascinated him, as she noted years later in his autobiography, An Irish Portrait (London, Batsford, 1951). ‘I have yet to see people who worked so hard for so little gain’, he said. And the women, in their homespun flannel clothes, made a deep impression on him because of their perseverance in the face of adversity. In An Achill Woman, as in many of his early Achill pictures-Old People Watching a Dance or Old Age Pensioners, for example-there is a sense of pathos in the facial expression of the woman, which is set down with great economy of means.  S.B. Kennedy, October 2013

€15,000 – 20,000 44

38 Nathaniel Hone 1831-1917 BREAKING WAVES, COUNTY CLARE Oil on canvas, 25" x 36" (63.5 x 91.5cm), signed with initials.

€10,000 – 15,000


39 Walter Frederick Osborne RHA 1859-1903 THE FERRY (1890) Oil on canvas, 32" x 48" (81 x 122cm), signed. Provenance: Formerly collection of the Right Honourable Jonathan Hogg, PC, DL; by descent to the present owner. Exhibited: Royal Academy, London, 1890 no. 1113; Autumn Exhibition, Walker Art Gallery, Liverpool, 1890 no. 923; 100 guineas; Royal Hibernian Academy, Dublin, 1891 no. 23, £84-; Royal Birmingham Society of Artists, Autumn 1891 no. 629, 80 guineas; Chicago Exhibition, 1893 no. 363 (label verso), bronze medal; Walter Osborne Memorial Exhibition, RHA, Dublin, 1903-04, no. 20, (lent by trustees). Literature: Henry Blackburn, Academy Notes, 1890, illustrated, from pen and ink sketch by the artist; Illustrated catalogue, Liverpool, 1890; The World’s Columbian Exhibition, Art Gallery, 1893, illustrated souvenir of Chicago Exhibition, G. Barrie, Philadelphia, illus.; Thomas Bodkin, Four Irish Landscape Painters, Dublin and London, 1920, facing plate XI; p.121-122 2nd edition, Dublin 1987, facing plate XI, illus.; p.121-122; Jeanne Sheehy, Walter Osborne, Ballycotton, Co. Cork 1974, p.26, 123, cat. no. 206; Jeanne Sheehy, Walter Osborne, National Gallery of Ireland, Dublin 1983, p.91; Frances Ruane, ‘Walter Osborne. The Ferry’, in The Merrion Hotel collection, ed. By L. and B. Quinn, p.47, illus.

€400,000 – 600,000

After completing his studies in Dublin and Antwerp, and then painting in Brittany for some months in 1883, Walter Osborne spent much of the period of 1884-1991 in England. He worked in a number of different small towns and villages, representing life in the farmyard, village and coastal town, agricultural scenes and landscapes. Some of his finest genre scenes were painted during this period in England. In 1884-85, for instance, Osborne painted at Southwold and Walberswich on the Suffolk coasts, and depicted a series of coastal subjects with children, including An October Morning, 1885, (Guildhall Art Gallery, London) and A Tale of the Sea(2); and Playing on the Shingle(3) was painted at Wells-near-the-sea. In 1889-90 he was working at Hastings and Rye on the Sussex coast, and he painted Boat Builders, 1889 and The Ferry, 1889-90. These are set at Rye in East Sussex. An ancient fortified town on the coast, Rye became one of the Cinque ports. A massive storm in 1287 diverted the River Rother, and in 1377 the town was attacked and burned by the French(4). Rye was substantially rebuilt, but in the 16th Century the harbour began to silt up, and is now situated two miles inland. In Osborne’s day Rye was a pretty, bustling town of red brick and timber houses, as recorded in Cherry Ripe, c1889 (Ulster Museum, Belfast), one of his most important pictures of the period. Osborne was fascinated by the harbour and painted several studies and larger pictures, including Beached Fishing Vessels(5), A Study, Rye and On the Quay, Rye, Sussex 1889, delightful small studies, (the latter which he gave to his artist friend Blandford Fletcher;)(6); Boat Builders, 1889(7) featuring boys in the foreground and the fishing fleet in the background; Sketch for The Ferry(8); Boats in Rye Harbour, a wash painting, featuring the moored fishing fleet, with a windmill in the background (NGI Cat No. 2625); and the present picture The Ferry.


“the most important large landscape of Osborne’s earlier works” Thomas Bodkin, 1920 (1)


The Ferry is set in a tranquil river estuary, and includes a wealth of detail: the family group in the foreground, the ferryman on the river and boy in rowing boat to the left; the substantial fishing fleet moored at the river bank; and a line of trees. Prominent in the foreground is the group of figures, an elderly woman, probably with her two grandchildren. THUMB 1 She wears a bonnet, shawl and white apron, and is viewed in profile. Holding a bundle, she waits anxiously. The boy with cap holds a slate, and wears the strap of a satchel over his shoulder. He resembles the child in Joe the Swineherd, 1890(9), perhaps also painted in Sussex, and here, as in Near St. Patrick’s Close, 1887 (National Gallery of Ireland), and in several contemporary pictures by Osborne, he looks out at the viewer, engaging our attention. The girl wears pretty straw boater, scarf, pale grey dress and white apron. As in several contemporary pictures, her figure is viewed from behind, facing into the river, and her pose echoes that of the girl in A Waterway, Lincoln, 1884(10), even in her clasped hands. The figures are carefully observed and skilfully drawn, the contrast of poses, and the theme of Youth and Age, reflecting themes in many European pictures of the Naturalist period. The family wait on a rough pier, clustered at the side and lower edge of the composition, the figures partially cut off. These were highly original compositional devices in Irish Art for the time, suggesting the influence of photography, including photos taken with Osborne’s own camera. A small photograph by Osborne in the National Gallery of Ireland (cat no. CS1A/05B1/23) shows the fishing fleet at Rye, the boats with their sails up. The letter ‘RX45’ and ‘RX21’ are visible on the sides of two vessels. The girl watches the approach of the bearded old ferryman in his rowing boat THUMB 2. As Francois Puget points out, the mariner’s manner of rowing is unusual: instead of being seated, his back facing the prow, he is facing forwards, and appears to be standing!(11) At the left of the Photo © National Gallery of Ireland composition, Osborne features geese and a rowing boat with a boy in it. In the middle distance, a fishing fleet, with a variety of attractive vessels with tall masts, some with nets drying, is moored. Puget identifies the letters ‘RX’ on the side of the large cutter, as those denoting Rye in the maritime district of Hastings. A pale grey net is suspended from the spar. The central boat is of interesting dimensions, is rigged as a schooner, and may have been used as a transport vessel.(12) The small boat on the right is utilised for fishing for small fish off the coast. The idea of the ferryman was an evocative one, present in mythology, literature, painting and song since ancient times. The theme of the family group, the standing ferryman, and the serpentine river composition, may have half-remembered echoes of Under the Cherry Tree by John Lavery, 1884 (Ulster Museum, Belfast), and of the haunting painting The Poor Fisherman, 1881 by Puvis de Chavannes (Musee d’Orsay, Paris). But in Osborne’s picture there is a wood in the background, a cultivated landscape, and a gentle, cloudflecked sky.



Jeanne Sheehy comments on The Ferry that: “with its dependence on anecdote, and its detailed finish, it is a full-blown academic piece”:(13), perhaps implying that Osborne completed it carefully, with an eye to submitting it to important exhibitions. The painting is carefully constructed, the figures, probably based on pencil studies and photographs, being added to the foreground. Such details as the figure of the little girl, the ferryman, and the boy in the rowing boat, would form exquisite vignettes in their own right, and the green ripples beneath the ferry and oars display the artist’s mastery in observing Nature accurately. In The Ferry and Osborne’s other pictures of Rye the fishing vessels and landscapes are evidently painted from life THUMB 3. The letters ’RX’ are also visible on one boat in the companion picture Boat Builders. The overall tonality of The Ferry is subdued yet glowing, characterized by browns, burnt siennas, lavenders, olive greens and ochres. Bodkin notes that “These are relieved by the pale striped shawl which the old woman… wears, the boy’s blue muffler, and the little girl’s neckware delicately coloured with touches of pink, yellow and pale, bright blue”(14). The whole canvas is glowing with a host of subtle, resonant colours. A lightness in the sky suggests that sunlight is about to break through. Referred to as one of Osborne’s ‘earlier’ landscapes by Bodkin, The Ferry was actually painted right in the middle of the artist’s career. It may have been the largest canvas that he had painted to that date, and it remained one of his largest landscapes. It was widely exhibited during Osborne’s day: in London, Liverpool, Dublin and Birmingham (see above) and in Chicago, where it was awarded a bronze medal, and it was illustrated several times in exhibition catalogues. It was included in the Osborne Memorial Exhibition in 1903, and was given a full plate and discussion in Bodkin’s Four Irish Landscape Painters. It may have remained in the artist’s possession during his lifetime. It later entered the collection of the Honourable Jonathan Hogg, PC. Born into a Quaker family in Co. Dublin in 1848, Hogg was a Banker and a Tea and Wine merchant. He and his wife Margaret (b. 1853) had married in 1876, and lived in Orwell Road, Rathgar, not too far from the Osborne’s family home in Rathmines.(15) 

Julian Campbell, October 2013

Acknowledgements Grateful thanks for assistance in my research to: François Puget, Pont-Aven; Anne Hodge, Niamh McNally and Donal Maguire, National Gallery of Ireland; Mary Sarensen, Cork City Library. Notes T. Bodkin, Four Irish Landscape Painters, 1920, facing plate XI. See J. Campbell ‘A Tale of the Sea’ in Irish Sale, Sotheby’s, 7 May 2008, lot 116. Illus. Irish Sale, ibid. p.28. C. Combe, S. Bere, M. Broderick et al, Great Britain, London 1995, 2001 p. 184. Celtic Splendour, Pyms Gallery, London, 1985, no.11. Irish Sale, Adams, 26 May 1999, Lot 94; and Irish Sale, Sotheby’s, 18 May 2001, lot 165, p.72. J. Sheehy, 1974, cat. No. 205; Sheehy, 1983, no. 38, ill. p. 90. Sheehy, 1974 cat. No. 207; Sheehy, 1983, no. 39, ill. p.91. The picture was formerly in the collection of Herbert Hone. Sheehy, 1974 cat. No. 234; Sheehy, 1983, no. 36, ill. p.88. See Kenneth McConkey, A Free Spirit. Irish Art 1860-1960, Woodbridge, 1990, no. 3, ill. p.91. Note also A Bit of Sutton Courtney, 1887, in Important Irish Art, Whyte’s, 30 Nov. 2009 lot 75. Private communication, August 2013: I am very grateful to Monsieur François Puget, of Pont-Aven, former editor of Le Chasse Maree, author, and expert on sailing boats and fishing vessels, for identifying the different types of boats in Osborne’s painting. Sheehy, 1974, p.26 Bodkin, 1920, facing plate XI Census of Ireland 1901 and 1911:, 17 Sept – 2013. 50

“The Head Lad, riding a little bit away from the string, is turning and giving instructions to the other riders. As he comes over the brow of the hill he has only a dark and threatening sky behind him and the impact is immediate.”

39A Peter Curling b.1955 THE HEAD LAD Oil on canvas, 60" x 40" (152.5 x 101.5cm), signed.

Provenance: Acquired directly from the artist by the present owner.

€15,000 – 20,000 51

40 Andrew Nicholl RHA 1804-1886 FIGURES ON THE ROAD WITH ROSS CASTLE, KILLARNEY, IN THE DISTANCE / FIGURES ON THE ROAD, KILLARNEY (2) Watercolours, 12½" x 18¾" (32 x 47.5cm) / 13¼" X 19½" (33.5 x 49.5cm), signed.

€2,000 - 4,000

41 William Percy French 1854-1920 GEESE FEEDING AT DUSK Watercolour, 13" x 20" (33cm x 51cm), signed.

€3,000 - 5,000


42 William Jackson RUA 1886-1954 CATTLE FEEDING ON THE BANKS OF THE RIVER Oil on canvas 17½" x 24" (44.5cm x 61cm), signed.

€800 - 1,200

43 William Conor RHA RUA 1881-1968 A VIEW OF ENNISKERRY VILLAGE WITH THE SUGAR LOAF BEYOND Oil on board, 20" x 24" (51 x 61cm), signed.

€4,000 - 6,000 53

44 Louis le Brocquy HRHA 1916-2012 STUDY TOWARDS AN IMAGE OF JAMES JOYCE (1978) Watercolour, 15" x 13½" (38 x 34cm), signed and dated 78; inscribed and dated verso, Opus No. 363. Exhibited: Gimpel & Hanover Gallerie, Zurich. Cat No. 85.

€10,000 – 15,000


45 Roderic O’Conor RHA 1860-1940 BRETON INTERIOR Oil on board, 20" x 30¾" (51 x 78cm). Exhibited: Dublin, Milmo-Penny Fine Art, Roderic O’Conor, 2001, No.5 (illus). Provenance: Crane Kalman Gallery, London; Christie’s, London, 9th May 1996 (lot 9); Milmo-Penny Fine Art, Dublin; Private Collection, Dublin; Sotheby’s Irish Sale, 16 May 2002 (lot 75), for which the catalogue note read: Painted circa 1904, this interior is unusual in combining a figure study with a formal still life, and in so doing it forms a link between the Breton still lifes of the 1890s and the later ‘intimiste’ works of the early 20th century. The same still life is featured in Still LIfe with Apple, Bottles and Jug (1904, private collection), the only variation being that one central bottle does not appear in the present work. The fruit plates and small cup to the right of the eartnenware pitcher are fashioned from the same blue and white tin glazed earthenware, or the same ones as featured in O’Conor’s Self Portrait of 1910, and the large preserving pan behind the easel is similar to those featured in Aloysius O’Kelly’s Breton works. Dr Roy Johnson has further commented on this work: “Although perhaps best known for heavily striped landscapes which he painted in and around Pont-Aven between 1892 and 1894, O’Conor also painted numerous portraits of the Breton people. We can identify this young woman as a Pont-Aven resident because of the distinctive shape of her ‘coiffe’ or headdress which is specific to the town. Much more functional than the more elaborate white coiffes worn on Sundays and at religious festivals, this one is an everyday coiffe or ‘coiffe du travail’. “O’Conor has posed his model in a sparsely furnished studio, in which the sloping roof and the dormer window which admits the light are consistent with the architectural details of the old Hôtel des Voyageurs in Pont-Aven. As O’Conor is known to have stayed there in the company of other artists. It is likely the location of this particular interior” (Johnston, March 1996).

€30,000 - 40,000 55

46 Patrick O’Reilly b.1952 BUBBLE BATH Bronze, 47" x 16" (120 x 40cm), signed with foundry stamp. Born in Kilkenny O’Reilly has carved out an international career as an innovative and dynamic artist. He first came to notice with an exhibition at the Hugh Lane Gallery in Dublin in 1996. He has held acclaimed exhibitions in London (The Mayor Gallery), Paris (Gallerie Pilze), New York, and as far afield as China. He has been commissioned to carry out several outdoor pieces, most recently in Paris. His work has been much admired by fellow artists especially the late Barry Flanagan and Conor Fallon.

€8,000 - 12,000 56

47 Olivia Musgrave, Contemporary DANCER Bronze, 19" high (43cm), signed. Provenance: Acquired at Jorgensen Fine Art, Dublin, July 2008.

€1500 - 2,000

48 Robin Buick, Contemporary STANDING NUDE Bronze, 20½" high (52cm), signed, ed: 1/9.


€800 - 1,200

49 John Doherty b.1949 A WET DAY, CORK Oil on canvas, 36" x 44" (91 x 112cm), signed.

Provenance: Taylor Galleries, Dublin.

â‚Ź20,000 - 30,000


50 Hughie O’Donoghue b.1953 FOG Mixed media on paper, 22" x 30" (56 x 76cm), signed and dated 1998.

Provenance: Purdy Hicks, London (label verso).

â‚Ź4,000 - 6,000


51 Pauline Bewick RHA b.1935 and Regine Bartsch b.1951 WOMAN WITH TWO BANTHAMS Hand woven tapestry, 60" x 47" (152 x120cm), signed. Pauline Bewick commissioned Bernard Battu, master weaver, from Aubusson France in 2003 to work on a collection of 10 tapestries on the theme of women, men, animals and nature; subject matter that is evident in much of Bewick’s art. A large version of this earlier tapestry, woven by Regine Bartsch in the 1980’s is one of the 10. Bartsch was born in Hamburg and moved to Ireland in 1978. In 1981 she set up her studio in Cahirciveen, Co.Kerry where she still lives and works, she collaborated with Bewick on this particular tapestry as well as several others in the 1980’s.

€3,000 - 5,000 60

52 Imogen Stuart b.1927 SYMBOLON Granite sculpture, 23" high (58.5cm), signed.

â‚Ź6,000 - 8,000 61

53 Imogen Stuart b.1927 MADONNA Portuguese limestone, 21" high (53.5cm), signed. There exists a bronze version of this work, on display in Christ Church Cathedral, Dublin.


â‚Ź4,000 - 5,000

54 Patrick O’Reilly b.1952 WHEEL OF FORTUNE Bronze, 86” high x 72” wide, signed and dated 2013, ed. 1/1, with foundry stamp.

€8,000 – 12,000


55 Sir John Lavery RA RHA RSA 1856-1941 THE WALNUT TREE Oil on board, 24" x 20" (61 x 51cm), signed and inscribed.

Provenance: The Gorry Gallery, Dublin; Private Collection, Dublin.

In the late thirties, following the death of his wife, Hazel, Sir John Lavery made two visits to Palm Springs to visit Gordon and Gertrude Coutts.* It is likely that the present work was painted on one of these trips and that it shows one of the Coutts’s daughters, probably Mary Gordon Coutts, sitting in a walnut tree with the rugged peak of Mount San Jacinto in the background. Coutts (1868-1937) was the son of a boxer from Aberdeen who had trained as a painter in Glasgow, London and at the atelier Julian in Paris before immigrating to Australia. Although it is possible that he met Lavery as a student in the late 1880s, in the early years of the century he travelled extensively, establishing a studio in Tangier where he would also have encountered the painter. Thereafter he moved to California, building a Moorish-style villa, ‘Dar Marroc’, on the edge of the desert, at Palm Springs in 1924. Here, with his second wife, Gertrude, a model, opera singer and talented painter from Ohio, and two daughters, Jean and Mary, he entertained artists, musicians and glitterati such as Rudolph Valentino and Winston Churchill. When he arrived in Palm Springs around the time of his eightieth birthday, after a frustrating few weeks in Hollywood, Lavery found his old friend in the final stages of the tuberculosis which took his life in February 1937. He was nevertheless hosted by the couple at tea parties in the splendid garden of Dar Marroc, which Lavery sketched. During these weeks the artist was joined by his granddaughter, Diana and his current model, Lillian Millar, and he set to work on a portrait of his hostess, and scenes of sunbathers, in one of which Mary posed in a deckchair (sold Phillips London, 12 November 1985). After her husband’s death, recalling these happy times at Palm Springs, Gertrude invited Lavery to return – but this visit ended in tragedy when she was killed in a car crash on 19 December 1937. Swiftly sketched in a single sitting, the present child’s portrait contrasts with the rather stiff rendition of Shirley Temple that Lavery was painting simultaneously. Snapshots of the period indicate that this little girl, unlike her Hollywood counterpart, was a wild spirit who followed the old painter on his daily search for new motifs. For him, as for her, the walnut tree was an irresistible challenge.  *See Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books), pp. 200, 202-5.

€30,000 - 50,000 64

56 Hilda van Stockum HRHA 1908-2006 GRECIAN STILL LIFE, 1990 Oil on board, 20" x 26" (51 x 66cm), signed with initials upper right.

â‚Ź2,500 - 3,500


57 Aloysius O’Kelly RHA 1853-1936 BRETON GARDEN Oil on canvas, 32" x 39" (81 x 99cm), signed; indistinctly inscribed and signed label verso.

€8,000 - 12,000


58 Norman Garstin 1847-1926 THE BRETON PARADE Oil on canvas, 23" x 28" (58.5 x 71cm) Provenance: Christie’s, The Irish Sale, May 15th, 2003 (lot 39). In 1912 Garstin held a summer skecthing party Guémené sur Scorff in Brittany. One Saturday in early July, the party ‘suddenly came upon a tiny church by a couple of farmhouses, very primitive and simple. Just as we arrived the procession started, all peasants, some men and women carrying banners, and a few little red acolytes attending a priest in a yellow cape... it was all wonderfully pictorial. Then they filed back again... and came to the back of the church, where there was a great pile of brush wood. The people stood in a circle and the yellow robed priest set fire to the great pile... the effect was really delightful and pagan. It was St.John’s Eve and these fires came down from the Druids tho’ the good people did not know it. I stood on a cart and made a scribble... but I cannot help thinking it might be a jolly subject for a fairly large picture’ (private correspondence to Alethea Garstin, the artists daughter).

€8,000 - 12,000


59 Mary Swanzy HRHA 1882-1978 INVOLVEMENT Oil on canvas, 18" x 20" (45.75 x 51cm).

Provenance: Pyms Gallery, cat no.38 1998, label verso. 1967 Exhibiton, label verso.

€4,000 - 6,000

60 Pauline Bewick b.1935 INTERIOR WITH POTTED PLANTS Watercolour, 22½" x 30" (57cm x 76cm), signed and dated Dec/Jan.

€2,000 - 4,000 68

61 Tony O’Malley HRHA 1913-2003 TREVAYLOR, PENZANCE Oil on canvas, 20" x 30" (51 x 76cm), signed, inscribed and dated October 1963 verso, opus no. 6404.

€2,000 - 4,000

62 Basil Rakoczi 1908-1979 TWO FIGURES Oil on paper 21¾" x 29½" (54.5 x 75cm), signed.

€4,000 - 6,000 69

63 Eithne Jordan b.1954 FLOWERING HIBISCUS Oil on linen 38" x 58" (97 x 146cm); signed and dated ’97 verso. Provenance: Acquired at The Rubicon Gallery, Dublin, November ’05, by the present owner.

€2,000 - 3,000

64 Micheal Healy 1873-1941 GOLFER Watercolour, 7½" x 4½" (19 x 11.5cm).

65 Micheal Healy 1873-1941 RAGAMUFFINS Watercolour 6½" x 5" (16.5 x 13cm).

€200 - 400 70

€200 - 400

66 Nano Reid 1900-1981 PIGS IN A MUDHOLE Oil on board, 13½" x 24" (34 x 61cm); signed and inscribed verso. Exhibited: Arts council of Ireland, Nano Reid retrospective, Municipal Dublin, Ulster, Belfast. Nov-Dec ’74, Jan-Feb ’75.

Provenance: Hibernian Antiques Dublin, label verso.

€3,000 - 5,000

67 Brian Bourke HRHA b.1936 PORTRAIT OF TONY O’MALLEY Mixed media 26" x 20" (66cm x 51cm), signed, inscribed, dated 1987.

68 Tony O’Malley HRHA 1913-2003 MIRROR ON ALANS NEWMILL COTTAGE (SELF PORTRAIT) 1977 Gouache on paper 15" x 11" (38 x 28cm), signed, inscribed and dated.

Provenance: Acquired Taylor Gallery 1989 (label verso).

Provenance: Collection of George and Maura McClelland, Irish museum of modern art (label verso), private collection.

€1,500 - 2,500

€1,000 - 1,500 71

69 Evie Hone HRHA 1894-1955 ABSTRACT Gouache, 17" x 13" (43 x 33cm). Provenance: Taylor Galleries, Dublin (label verso).

€1,500 - 2,000

70 Nano Reid 1900-1981 HORSES BY THE BOYNE Oil on board, 30" x 24" (76 x 61cm), signed. Provenance: Taylor Galleries, Dublin (label verso).


€3,000 - 5,000

71 Michael Cullen RHA b.1946 ABSTRACT 19" x 26" (48 x 66cm), signed and dated 1996.

€800 - 1,200

72 Clement McAleer b.1949 TRACKS Oil on canvas 21" x 24" (51 x 60cm). Provenance: Acquired Hallward Gallery March ’06, Clement McAleer Exhibition, by the present owner.

€1,200 - 1,600 73

73 Harry Kernoff RHA 1900-1974 SELF PORTRAIT IN THE METROPOLITAN SCHOOL OF ART (THE JUDGEMENT OF PARIS) Oil on canvas, 28" x 36" (71 x 91.5cm). Provenance: Acquired from Miss Lina Kernoff, the artists sister by the previous owner; Adams, 8th December 2004 (lot 148), where purchased by the current owner, for which the catalogue entry read: Harry Kernoff was born in London of a Russian Jewish father and a Spaniard mother, but he moved to Dublin at the age of fourteen. He took classes at the Dublin Metropolitan School of Art while working as an apprentice in his father’s cabinet-making business and was the first night student to win the Taylor Art Scholarship in 1923 in both watercolour and oil painting. In 1926 Kernoff exhibited at the Royal Hibernian Academy in 1935, he became a full time member the following year. In 1936, 1937 and 1940 he exhibited at the Victor Waddington Galleries, Dublin and in 1953 he was represented at the Contemporary Irish Art exhibition at Aberystwyth. Kernoff was an accomplished graphic artist, producing woodcuts and illustrations for books, periodicals and ballad sheets. His involvement in Dublin’s literary and theatrical circles allowed him to paint many portraits of actors and playwrights and he also designed theatre sets and costumes. Most of his life was spent in Ireland, but he also travelled to the Soviet Union and then to Nova Scotia in Canada. He was made a life member in 1974 of the United Arts Club, Dublin. In 1976 a memorial exhibition was presented at the Hugh Lane Municipal Gallery of Modern Art. His work is represented in the collections of the National Gallery of Ireland, the Dublin Writers Museum, the Waterford Municipal Collection, the Crawford Municipal Art Gallery, Cork and the National Self-Portrait Collection, Limerick. Dating to the early 1920’s when Kernoff was in his early twenties, the present work which is believed to have been called “The Judgement of Paris” may well have been intended for entry to a competition such as the Taylor Scholarship in the RDS. Ciaran MacGonigal has commented ‘‘its reference is classical and he used the statue to deal with what would have been tricky for him being both Jewish and under the thumb of his mother and sister, and in addition in Dublin… any direct reference to a nude female figure would have broken several conventions.”

€10,000 – 15,000 74

74 Harry Kernoff RHA 1900-1974 THE BARRISTER Oil on board, 12" x 8½" (30.5 x 21.5cm), signed.

€2,000 - 3,000

75 Brian Ballard RUA b.1943 THE GRAND CANAL Oil on canvas, 13" x 9½" (33 x 24cm), signed. Provenance: Narrow Water Gallery, Co. Down, Northern Ireland.

€1,000 – 1,500


76 Gerard Dillon RHA RUA, 1916-1971 BATHERS Watercolour, 10" x 13" (25.5 x 30.5cm), signed.

77 Nano Reid 1900-1981 THE FARMGATE Watercolour, 10" x 14" (25.5 x 35.5cm).

€1,500 - 2,000

€600 - 900

78 Patrick Pye RHA b.1929 UNTITLED 14" x 29" (35.5 x 74cm), signed and dated 1952.

€700 - 1,000


79 John Behan RHA, b.1938 BLACK 47 Bronze, 12½" x 20½", (32 x 52cm), signed and dated 2011.

€3,000 - 5,000

81 Robert Frazier b.1958 LEGATO Kilkenny Marble, 39" x 31½" (100 x 80cm).

80 Robert Frazier b.1958 GARDEN SHEARS Kilkenny marble, 43" x 31½" (110 x 80cm). Married to artist, Bridget Flannery, Frazier has exhibited in Kilkenny; the Botanic Gardens (Sculpture in Context) and the RHA Kilkenny Arts Festival. He graduated from the National College of Art and Design. He lives and works in Carlow Town.

€800 - 1,200


€800 - 1,200

82 James Hanley RHA b.1965 CAPTAIN SENSIBLE Oil on board 40" x 20½" (102 x 52cm); signed, inscribed and dated ’92 verso.

83 James Hanley RHA b.1965 PEOPLE IN GLASS HOUSES SHOULDN’T THROW STONES Oil on board 44" x 32¾" (112 x 83cm); signed, inscribed, dated ’92 verso.

€2,000 - 3,000

€3,000 - 5,000

Dublin based Hanley is regarded as one of Ireland’s foremost portrait painters. He has been commissioned to paint numerous celebrated public figures. Apart from portraiture Hanley is a highly accomplished figurative painter with a distinctive palette. He has held numerous well received solo exhibitions. He was elected to the aosdána in 2008 and recently joined the board of Governors of the National Gallery of Ireland.


84 Geraldine O’Neill b.1971 THE BEAN EATER Oil on acrylic on canvas, 58" x 48" (147 x 122cm), signed with initials.

Provenance: Jo Rain Gallery, 23 Anglesea Street, Dublin.

Living and working in Dublin O’Neill has become established as one of Ireland’s most original artists. A regular exhibitor at the R.H.A. she has held several sell out exhibitions with the Kevin Kavanagh Gallery.

€3,000 - 5,000 79

85 Ivan Sutton b.1944 GALWAY HOOKERS SAILING IN CARRAROE BAY, CO GALWAY Oil on board, 20" x 30" (51 x 76cm), signed, inscribed verso.

€1,500 – 2,000

86 Fergus O’Ryan RHA 1911-1989 HUBAND BRIDGE, PERCY PLACE Oil on canvas, 31" x 39" (79 x 99cm), signed.

€2,000 - 3,000


87 John Howard Burgess 1817-1890 CARRICK-A-REED, CO ANTRIM Watercolour, 19½" x 29½" (50 x 75cm), signed.

€1,000 - 2,000

88 Joseph William Carey RUA 1859-1937 LOWER LAKE, KILLARNEY Watercolour, 23½" x 39½ (60 x 100cm), signed, inscribed and dated 1916.

€1,000 – 1,500

89 John Faulkner RHA 1835-1894 FEMALE PARTY AT THE RIVERBANK Watercolour, 17” x 37” (43 x 95cm), signed.

€1,000 - 2,000


90 Bridget Reilly, English b.1931 SIDEWAYS Screen print, sheet size 18" x 12¾" (46 x 32.5cm), signed and dated 2010, inscribed ed. 161/250.

€1,500 – 2,000

91 Alan Davie, Scottish b.1920 TOY FOR NIGHT AND MORNING Oil on board, 13½" x 11½" (34 x 29cm); signed, inscribed, dated ’04, opus number verso.


€3,500 – 4,500

92 Patrick Pye RHA b.1929 TOLEDO, EL GRECO’S VIEW Tempura 23" x 20" (58.5 x 51cm), signed and dated 1957.

€700 - 1,000

93 Gwen O’Dowd b.1957 ROAD SIGNS Mixed media on board 48" x 37¼" (122 x 94.5cm); signed, inscribed and dated 1988 verso.

€1,000 - 2,000


94 Michael Healy 1873-1941 WORKER, OLD MAN, MAN SITTING Watercolour, each 7½" x 4½" (19 X 11.5cm).

Provenance: Dawson Gallery, Dublin (label verso). €600 - 900

95 Phil Kelly b.1950 YELLOW NUDE Oil on canvas 31" x 13" (79 x 33cm), signed and dated ’03.

96 Robert Janz b.1932 FIELD FLOWER Oil and acrylic on canvas, 18½" x 24½" (47 x 62cm); signed, inscribed and dated ’06 verso.

Provenance: Hillsboro fine Art 2003 (label verso).

Provenance: Peppercanister Gallery, Dublin (label verso).

€800 - 1,200

€500 - 700 84

97 Liam Belton RHA b.1947 SHILLUK HEADREST Acrylic on canvas, 24" x 48" (61 x 122cm) signed, inscribed and dated 2007 verso.

€10,000 – 15,000

98 Terence P Flanagan PRHA PRUA b.1929 MEADOW BESIDE A LAKE Oil on canvasboard, 20" x 30" (51 x 76cm), signed and dated 1985.

Provenance: Hendriks Gallery, Dublin (label verso).

€1,400 – 1,800 85

99 Louis le Brocquy HRHA 1916-2012 STUDY OF W.B. YEATS Charcoal, 8" x 6¾" (20.3 x 17cm), signed with initials and dated 1975.

Provenance: Dawson Gallery, Dublin (label verso).

Exhibited: Musée d’art Moderne de la Ville de Paris, October-November 1976, (exhibition label verso); Richard DeMarco Gallery, Festival 1977, Study No.9 (label verso).

€6,000 – 9,000


100 Hector McDonnell RUA b.1947 O’GUIGAN’S BAR, GARRISON, NEW YORK Oil on board 15½" x 11½" (39 x 29.5 cm), signed with initials and dated ’06. Provenance: Solomon Gallery Dublin, solo exhibition 2006 (label verso). €3,000 – 5,000

101 Imogen Stuart b.1927 SURPRISE Bronze, 10” x 10” (25.5 x 25.5cm), signed. €2,000 – 3,000


102 Arthur Armstrong RHA 1924-1996 BLUE WARRIOR Oil on board 16¼" x 14¼" (41 x 36cm); signed and inscribed verso.

103 Charles Brady HRHA 1926-1997 SASH WINDOW Oil on board, 20" x 16" (51 x 41cm); signed and dated ’70.

Provenance: Acquired James Adam, October 1980, by the present owner.

Provenance: Acquired James Adam, June ’88, by the present owner.

€1,200 – 1,600

€2,000 – 4,000

104 Felim Egan b.1952 DIVIDE Acrylic on canvas, 47¼" x 47¼" (120 x 120cm), signed and dated 1997 verso. €3,000 – 5,000 88

105 Neil Shawcross RHA RUA b.1940 STILL LIFE Watercolour 30" x 22" (76 x 56cm), signed and dated 1988.

106 Gwen O’Dowd, Contemporary DOWNPATRICK HEAD, CO. MAYO II Oil on canvas, 48" x 36" (122 x 91.5cm), signed and dated 1992 verso.

€1,500 – 2,500

€3,000 – 5,000

107 Patrick Scott HRHA b.1921 UNTITLED Acrylic and gold leaf on unprimed canvas, 47½" x 47½" (120 x 120cm), signed verso. €2,000 – 4,000 89

108 Grace Henry HRHA 1868-1953 WOMAN IN TRAIN GOING TO MARKET, GLENS OF ANTRIM Oil on canvas, 18" x 16" (46 x 40.5cm); signed and inscribed verso. Provenance: Acquired at James Adam, May 1981, by the present owner. €4,000 – 6,000

109 Markey Robinson 1918-1999 COASTAL VILLAGE Gouache on board, 21" x 27" (53 x 68.5cm) signed. €3,000 – 5,000


110 Eileen Murray 1885-1962 DEEP IN CONVERSATION Oil on canvas, 24" x 20" (61 x 51cm), signed. €1,500 – 2,000

111 Peter Curling b.1955 OUT HUNTING Watercolour 15½" x 22" (39.5 x 56cm), signed. €2,000 – 4,000


112 William Bingham McGuinness RHA 1849-1928 A MOORLAND ROAD, TIPPERARY Watercolour, 14" x 21" (35.5 x 53.25cm), signed, inscribed verso. €400 - 600

113 Hugh Douglas Hamilton RHA 1739-1808 PORTRAIT OF A LADY Pastel, 10¼" x 8¼" (26 x 21cm), inscribed and dated 1770 verso. €700 - 900

114 Henry Roberston Craig RHA 1916-1984 ANCHORAGE Oil on canvas, 9½" x 15¾" (24 x 40cm), signed. €400 - 600


115 Orla de Bri, Contemporary GIRLS ON HIGH MUSHROOMS Bronze 17" high, signed, dated, ed. 5/5. €2,000 – 3,000

116 Brian Maguire b.1951 SELF WITH CLENCHED TEETH Oil on paper 12" x 18½" (30.5 x 47cm), inscribed and indistinctly dated. Provenance: Acquired James Adam, June ’88.

117 Brian Bourke HRHA b.1936 SCOTS PINE Pastel and crayon, 22½" x 14½" (57 x 37cm), signed, inscribed and dated 2008. €800 – 1,200

€500 – 700 93

Standard Conditions of Business 1. Definitions

8. Retention of Title

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’.

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.

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. 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.

VENDOR’S CONDITIONS 9. Instructions All goods delivered to the Auctioneers’ premises will be deemed to be delivered for sale by auction and will be catalogued and sold at the discretion of the Auctioneer and accepted by them subject to all the Sale Conditions. By delivering the goods to the Auctioneers for inclusion in their auction sales the vendor acknowledges that he or she has accepted and agreed to be bound by all these Conditions. 10. Collection and Deliveries The Auctioneers do not normally undertake the packing, collection or delivery of goods but will if requested use their best endeavors as Agent of the Owner to arrange for an independent contractor on the owner’s behalf to deal with packing, collection and/or delivery. The Auctioneer will not in any event arrange insurance of the goods and will accordingly not be liable for any loss or damage to goods howsoever arising including breakages or for any damage to premises, fixtures or fittings therein caused by such contractor or otherwise and the owner is responsive for all arrangements to verify that any such contractor and the goods is/are appropriately insured. Unless instructions are received to the contrary, charges (including VAT) for such services will be charged to the vendor’s account or discharged through the Auctioneers by the purchaser as the case may be. The Auctioneers’ liability (if any) will rise only where they themselves carry out packing and collection/delivery and only in the case of breakage or loss caused through deliberate negligence of their employees and in any event in one single contract and the Auctioneers’ liability will not exceed £500. Provided further than the Auctioneers will not be liable for consequential loss in any circumstances whatsoever. 11. Loss or Damage and Storage The Auctioneers reserve the right to store or arrange for the storage of goods held by them or delivered to them either on their own premises or elsewhere at their sole discretion and entirely at the owner’s risk. The Auctioneers shall not be liable for any loss (including consequential loss) howsoever caused of damage to goods of any kind including breakages, or for unauthorised removal of goods. Should the owner of goods so wish it will be his/her goods while they are in the possession of the Auctioneers. 12. Right to Re-sell The Auctioneer reserves the right to re-sell any item which has not been collected within thirty days of purchase. 13. 3% commission due to for lots purchased using Live Bidding. 14. 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. TERMS Purchaser 1. 19½%+ VAT will be added to the hammer price for each lot. 2. All accounts must be discharged by certified cheque, bank draft or cash. 3. The responsibility for items purchased passes to the purchaser on the fall of the hammer. 4. The Auctioneers reserve the right to look for 25% deposit on all goods.

VAT Regulations: All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers’ premium must be invoiced at a rate which is inclusive of VAT. This VAT is not recoverable by any VAT registered buyers.


BID FORM All pre-auctions bids should be registered by 12pm on Auction Day in order to ensure accuracy of submission into our system. Please bid on my behalf for the undermentioned lots up to the prices shown which do not include the buyer’s commission. These bids are to be executed as cheaply as is permitted by other bids or reserve, if any, and subject to the Conditions of Sale printed in this catalogue

PLEASE NOTE that we cannot always guarantee the order of the bidding thus the pictures may be sold in the room for the same amount as your pre-auction bid and we therefore advise you to indicate if you wish to allow us discretion with your bid.

(Note: buyer’s premium 19.5% + VAT). Signed:.............................................................................................................................................................................................. Name (please print):.......................................................................................................................................................................... Address:............................................................................................................................................................................................ ......................................................................................................................................................................................................... Telephone No. (Daytime)...................................................................................................................................................................

Lot No


Limites excl. Comm & VAT

A Armstrong, A.


B Ballard, B. Barton, R.M. Behan, J. Belton, L. Bewick, P. Blackshaw, B. Bourke, B. Brady, C. Buick, R. Burgess, J.H. 

75 1 79 97 51, 60 34, 10 67, 117 103 48 87

C Conor, W. Crozier, W. Cullen, M. Curling, P.

43 14 71 39A,111

D Davie, A. Dillon, G. Doherty, J. de Bri, O.

91 29, 76 49 115

E Egan, F. F Fallon, C. Faulkner, J. Frazier, R. French, W.P. Flanagan, T.P. G Garstin, N. Glenavy, B. H Hamilton, L. M. Hamilton, H Douglas Hanley, J. Hayes, E. Healy, M. Henry, G. Henry, P. Hone, N. J Jackson, W. Janz, R. Jordan, E. K Kavanagh, J.M. Kelly, P. Keown, M.T. Kernoff, H. L Lamb, C. Lavery, J. Le Brocquy, L. Lohan, M.

104 27, 28 89 80, 81 4, 17, 41 98 58 9 31 113 82, 83 18 64, 65, 94 32, 108 15, 37 38 42 96 63 16 95 23 73, 74 3 55 44 22

M Maguire, B. McAleer, C. McDonnell, H. McGuinness, W Bingham McGuinness, N. McKelvey, F. McKenna, S. Middleton, C. Miller, N. Murray, E. Musgrave, O. N Nicholl, A. 


O O’Conor, R. O’Donoghue, H.  O’Dowd, G.  O’Kelly, A.  O’Malley, T.  O’Neill, D.  O’Neill, G.  O’Reilly, P.  O’Ryan, F.  Osborne, W.F.  P Pye, P. 7

116 72 100 112 8 19 14 33 26 110 47

45 50 103, 106 57 61, 68 7 84 46, 54 86 39 8, 92

R Rakoczi, B.  35, 36, 62 Reid, N.  66, 70, 77 Reilly, B.  90 Robertson Craig, H  114 Robinson, Markey  109 S Scott, P.  11 Shawcross, N  105 Shinnors, J.  25 Souter, C.  12 Sutton, I.  85 Stuart, I.  52, 53, 101 Swanzy, M.  6, 59. T Teskey, D. 


V Van Stockum, H. 2, 56 Y Yeats, J.B. 20, 21, 30

Front Cover: Lot 29 Gerard Dillon 1916-1971 ARAN HORSEMEN Inside Front Cover: Lot 39 Walter Frederick Osborne RHA 1859-1903 THE FERRY (1890) Inside back Cover: 33 Colin Middleton RHA RUA 1910-1983 THE WASHING LINE (1939) Back Cover: Lot 15 Paul Henry RHA RUA 1876-1858 THE WIND BLOWN TREE, KILLARY HARBOUR




35 Kildare Street, Dublin 2. Tel: 01 676 8300

Wednesday 27th November At Thomas Prior Hall, Ballsbridge, Dublin 4

Important Irish Art Auction  

Wednesday 27th November 2013

Read more
Read more
Similar to
Popular now
Just for you