Irish Art Auction 22 November 2016

ART AUCTIONEERS & VALUERS

Irish Art Auction Tuesday 22nd November at 6pm The Royal Hibernian Academy

ART AUCTIONEERS & VALUERS

Auction:

Tuesday 22nd November at 6pm

AUCTION VENUE:

Royal Hibernian Academy Ely Place, Dublin 2

ON VIEW: The RHA, Ely Place, Dublin 2

Saturday 19th

Sunday 20th

Monday 21st Tuesday 22nd Contact:

11am - 5pm 12pm - 5pm 11am - 5pm 11am - 3pm

01 6768300

COLLECTION: From 35 Kildare St, Wednesday 23rd and Thursday 24th November PURCHaser FEES: 25% (incl VAT)

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

John de Vere White Managing Director john@deveres.ie

Rory Guthrie Director roryguthrie@deveres.ie

Auctioneers:

Aisling Tรณth Associate Director info@deveres.ie

Sarah Kenny Valuation Consultant info@deveres.ie

John de Vere White Rory Guthrie

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Richard Scott Agent for Cork info@deveres.ie

1 Peter Collis RHA 1919-2012 FRUIT AND LANDSCAPE Oil on canvas, 25" x 30" (63.5 x 76cm), signed.

rovenance: The RHA Annual Exhibition, 1999, where acquired by the present owner P (label verso), where it was awarded the James Adam Award (label verso).

€3000 - 5000

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2 Frank McKelvey RHA RUA 1895-1974 AT PLAY ON THE LAGAN Oil on canvas, 18" x 24" (46 x 61cm), signed.

€7000 - 10000

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3 Charles Lamb RHA RUA 1893-1964 HARBOUR, ROSTREVOR Oil on board, 10½" x 14" (27 x 35.5cm), signed.

€2000 - 3000

4 George K Gillespie RUA 1924-1995 PREPARING THE NETS Oil on canvas, 13½" x 17½" (34 x 44.5cm), signed & inscribed verso.

€1500 - 2000 7

5 George Campbell RHA 1917-1979 MENDING THE NETS, SPAIN Oil on canvas, 18" x 24" (45.5 x 61cm), signed.

€4000 - 6000

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6 George Campbell RHA 1917-1979 WOMEN MENDING THE NETS, TAMRAFONA Watercolour, 9" x 12" (23 x 30.5cm), original label verso with title.

€800 - 1200

7 Terence P Flanagan RHA PPRHA 1929-2011 ROUGHRA, EVENING Watercolour, 23½" x 29" (60 x 74cm).

rovenance: Ritchie Hendricks Exhibition October 1971 (label verso), P where purchased by the present owner.

€2000 - 3000

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8 John B. Valley b.1941 TRAD SESSION Oil on board, 10½" x 13½" (26.5 x 34cm), signed.

€2500 - 3500

9 John B. Valley b.1941 PIPER Oil on bard, 10½" x 13½" (26.5 x 34 m), signed.

€2500 - 3500 10

10 Peter Collis RHA 1929-2012 STILL LIFE OF FRUIT Oil on canvas, 34" x 34" (86 x 86cm), signed.

€4000 - 6000

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11 Camille Souter HRHA b.1929 TIME OF WAITING Oil on paper, 30½" x 22½" (77.5 x 57cm), signed; signed & inscribed label verso.

I n 1962, Camille Souter moved to a cottage at Calary Bog, County Wicklow which she acquired for around £500. Her work would undergo a major change there over the course of the next decade. During the 1950’s the style of her paintings bore many of the characteristics of international modernism. Her paintings were then highly abstracted encompassing symbols, signs, text and non-traditional painting materials. She had shown work in some of the most avant-garde London galleries of the time such as the Redfern and the New Vision Art Centre. In the quiet of Calary, she began to adopt a more identifiably realistic style focussing on her immediate environment. The relative isolation of the area facilitated very direct communion with nature. Over the course of the decade, she would paint numerous paintings of Calary under different climatic conditions. This work is an excellent example.

Time of Waiting has not been seen publicly in many years and I had never seen it before this auction. It was exhibited at the Irish Exhibition of Living Art in 1965 (cat. no. 86). It seems likely to have been completed in late 1964 or early 1965 just before the birth of her son, the sculptor Tim Morris in April of that year.

T he style of the work is typical of Souter’s paintings from this period. The scene is relatively pared down. Souter has a strong feeling for abstract forms within the landscape.

The painting is primarily comprised of summarily described horizontal bands of muted colour, punctuated by only two vertical posts supporting a boundary fence. The illusion of depth is created with apparent ease by the contrasting warm sky and the grass in the mid-ground. The view appears to be towards the front of her property which faced onto Calary Bog or to the side. Souter also painted Djouce mountain which was visible to the rear of her property but is not shown beyond the fence here so we may assume this is a different view. The soft light is mystical and the title of the work intriguing. What is she waiting for? The sunrise, the birth of her son Tim, the first signs of Spring, some plants or vegetables to show their first signs of growth in her garden, someone to return home from beyond the fence? The mood feels unmistakeably optimistic. Beyond that, it is hard to say.

Garrett Cormican, 2016

€15000 - 20000

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12 Patrick Swift 1927-1983 THROUGH THE TREES, LONDON Oil on board, 39" x 49" (99 x 122cm).

Provenance: These rooms, 21st November 2000, lot 386.

€3000 - 5000

Patrick Swift

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13 Louis le Brocquy HRHA 1916-2012 THE FOUR COURTS Watercolour, 10" x 14" (25.5 x 35.5cm), signed & dated 1992.

Provenance: Bell Gallery.

€8000 - 12000

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14 Liam Belton b.1947 STILL LIFE – VESSELS Oil on canvas, 20½" x 30¼" (52 x 77cm), signed.

€4000 - 6000

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15 Carey Clarke PPRHA b.1936 FLOWER STILL LIFE Oil on canvas, 27 ½" x 38 ¼" (70 x 97cm), signed.

€3000 - 5000

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16 Donald Teskey RHA b.1956 SCHOOL HOUSE LANE EAST II Oil on canvas, 47½" x 43" (121 x 109cm), signed, inscribed & dated 2001 verso.

€8000 - 12000

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17 William Crozier HRHA 1930-2011 THE NIGHT GARDEN Oil on canvas, 34" x 34" (86.5 x 86.5cm), signed.

€7000 - 10000

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18 Nevill Johnson 1911-1999 FAMILY GROUP Oil on board, 18" x 30" (45 x 76cm), signed & dated 1954 verso.

J ohnson apparently had a troubled relationship with the dealer Victor Waddington. The depiction of the male figure in this work is supposed to represent the dealer.

T his painting reflects two very different aspects of Nevill Johnson’s personality; a detached, almost whimsical wit and also his anger at social injustice and sympathy with the most vulnerable.

It is a painting of remarkable elegance, overlaid with pathos and nostalgia. The central acrobat and the girl beside him are substantial yet elusive, as if carved from stone but gazing away from each other and the viewer. Their costumes define their roles but also connect them to their surroundings; the acrobat’s diamond-patterned top transforms into the edge of a table, while his cloak and that of the girl continue the shape of the curtains behind them at the entrance to the tent.

T he third figure, the small, elegantly-dressed, high-collared ringmaster introduces a more ambiguous and unsettling note after the elegiac mood conveyed by the other figures, facing the audience with a less graceful but tense physical compactness, his single open eye staring out.

T he human figure is extremely rare in Johnson’s work until this series of circus families and performers that he painted in the mid-1950s. The subject of the family group, often in a bare interior or undefined space, was one that occupied a number of British and Irish artists at around this time, expressing the anxiety and dislocation of the post-war world.

In Johnson’s work the circus performers are a nod to Picasso, whose influence is clear in the present painting’s flattened planes and formal inventiveness, but it also acts as a reference to the fragile society of post-war Europe and to the many dispossessed, wandering victims of the war.

T he painting’s relevance is local as well as international and Johnson’s paintings of circus families occasionally recall images from his 1952-53 photographs of Dublin (a selection of which was published in 1981 as Dublin: The People’s City) of families sitting on the steps of their homes gazing out at or ignoring the photographer

Dickon Hall, November 2016

€14000 - 18000 20

19 Mary Swanzy HRHA 1882-1978 ABSTRACT LANDSCAPE Oil on canvas, 17" x 25" (43 x 63.5cm).

rovenance: James Gorry Gallery, Dublin, 1997 (Cat no. 54), where acquired by the P present owner.

Exhibited: Pyms Gallery, London, 1986 (Cat. No. 19); Fine Art Society of Los Angeles ‘International Cubist Futurist Collection’, 1987 (cat. No. 21).

€20000 - 30000

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20 Tony O’Malley HRHA 1913-2003 APRIL PAINTING 1977 Oil on paper, 7" x 10" (18 x 25.5cm), signed with initials & dated; signed, inscribed & dated verso. Opus No. 4968.

€800 - 1200

21 Tony O�Malley HRHA 1916-2003 SUMMER PAINTING, 1987 Oil on board, 7" x 10" (18 x 25.5cm), signed with initals, Opus Number 6281.

€1000 - 1500 22

22 Nano Reid 1900-1981 TAKING HOME THE FISH Oil on board, 29½" x 23½" (75 x 60cm), signed.

rovenance: Dawson Gallery, Dublin (label verso); P ex collection James O�Driscoll.

€6000 - 8000

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23 Pauline Bewick b.1953 LUSTY SAILOR AND WOMAN Acrylic on board, 32" x 24" (81 x 61cm), signed & inscribed.

Provenance: Taylor Galleries, Dublin (label verso).

L iterature: �Kelly reads Bewick� by Rita Kelly and Pauline Bewick (col. illustration no.42).

€4000 - 6000

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24 Brian Bourke HRHA b.1936 SMOKER Oil on canvas, 50½" x 43¼" (128 x 110cm), signed, inscribed & dated 1997 verso.

Provenance: Taylor Galleries, Dublin (label verso).

€3000 - 5000

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25 Martin Gale RHA b.1949 MEN WITH DOGS Oil on canvas, 41½" x 47½" (105.5 x 121cm), signed; signed, inscribed & dated 2014 verso.

Provenance: Taylor Galleries, Dublin (label verso).

€8000 - 12000

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26 Sean McSweeney HRHA b.1935 SEPTEMBER BOGLAND (2002) Oil on canvas, 36" x 48" (91.5 x 122cm), signed, inscribed & dated 02 verso.

Provenance: Taylor Galleries, Dublin.

€7000 - 10000

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27 Basil Blackshaw HRHA HRUA 1932-2016 two pages Oil on canvas, 39¼" x 47¼" (100 x 120cm), signed.

Two Pages is a wonderfully sensitive painting. The narrative behind the work is also wonderfully romantic. As always in this painting by Blackshaw accident played its part.

Basil and his loyal partner of over forty years Helen were out for a walk in Letterfrack in County Galway when Helen spotted a little school jotter resting in a puddle of water. Retrieving it she discovered it belonged to a school boy and contained a collection of dried or pressed flowers.That schoolboy’s jotter turned out to be a rich vein of inspiration for Blackshaw. He kept going back to that puddle. Two Pages delicately catches the chemical changes in the fading flowers.

I n this we have Blackshaw capturing ‘the otherness’ of once living flowers. These are mere ghosts of the past of flowers in an abstract world yet anchored in reality. This is like trying to paint the wind and yet this is a painting with which it is so easy to fall in love. There is a romance hidden within and yet visible in the composition. It is both comforting and appealing to one’s senses.

In the words of George Bernard Shaw this painting is not the soul of the artist but our soul too:

‘You use a glass mirror To see your face

You use works of art to see your soul.’

Eamonn Mallie, October, 2016 €14000 - 18000 28

28 Louis le Brocquy HRHA 1916-2012 CHILDREN IN A WOOD Watercolour, 18" x 24" (45.5 x 61cm), signed.

€14000 - 18000

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29 Donald Teskey RHA b.1956 LONGSHORE 1 (2014) Acrylic on paper, 27½" x 35½" (70 x 90cm), signed; signed & inscribed label verso.

€8000 - 12000

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30 John Doherty b.1949 A WET DAY, CORK Oil on canvas, 36" x 44" (92 x 102cm), signed.

Provenance: Taylor Galleries, Dublin.

€15000 - 20000

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31 Leo Whelan ARHA RHA 1892-1956 WAITING Oil on canvas, 53¾" x 38" (133 x 96cm), signed; signed inscribed & dated Feb-March 1919 verso.

ainted in the spring of 1919, when Whelan was residing at 64 Dawson Street, this work was exhibited at the P RHA Exhibition (No.96), priced £105.

Provenance: de Veres Irish Art Auction, 12th June 2007 (lot 51), where the catalogue entry read:

S ir William Orpen (1878-1931) when teaching at the Metropolitan School of Art on a regular capacity from 1905 to 1914 commented that some of his favourite students, namely Whelan, Keating, Crilly and Tuohy were promising youths, all with talent. Whelan was to prove his master right as he won four Taylor Art Competition prizes while at the school and later the Taylor Scholarship Award in 1916 while a student at the RHA. Despite the fact that he then went on to become one of the most prolific and proficient painters during the first half of the Twentieth century, sought after by Church and State institutions, the academic, medical and legal professions for portraits of the most prominent members of Society, his work has largely remained hidden from public eye.

This was due mainly to the fact that portraiture would not readily be accessibly for public viewing. Similarly, only a small amount of his genre work has reappeared on the market over the years. Known primarily as a portrait painter, Whelan also produced numerous genre pictures, subject pieces, portrait interiors, landscapes and religious works particularly during the early part of his career up to the mid 1930’s.

helan thrived under Orpen’s method of teaching, which placed particular emphasis on drawing, precision of W draughtsmanship, a detailed understanding of colour and harmony of composition. He was also a great admirer of the Dutch masters and of Velasquez.

“Waiting” is another fine example of Whelan’s competency in the area of genre. It was painted in 1919 when the artist was only twenty-seven years of age. The sitter is a young girl called Mollie O’Sullivan who was from Iona Road, Drumcondra. Her mother was a friend of the artist’s two sisters Frances and Lillian.¹ The venue for the painting was the artist’s studio at 64 Dawson Street, Dublin 1 where the flooring of the studio was covered with black and white ceramic tiles as shown in the painting.² An inscription on the verso of the canvas read ““Waiting” painted February-March 1919, Leo Whelan, studio, 64 Dawson Street, Dublin 1”. The painting was exhibited at the Royal Hibernian Academy in 1919, exhibit no. 96.

This portrait interior exudes a wonderful sense of charm. At first glance, one detects a certain formality about the work as the young girl sits upright on the bench, dressed in her red hat, coat and white gloves as if waiting to be called for interview. It would seem that her faithful Cavalier King Charles spaniel, who sits dutifully on her right, has come along to give her moral support. However, on further examination, the viewer becomes aware of the alertness and attentiveness the sitter shows, together with that of her little companion. It would appear that they also have suddenly become conscious of another presence now sharing their space and both are completely absorbed with this – their concentration is palpable.

hilst the tiled floor and the suggestion of a light source, such as a window, coming from the left, resembles W the interiors of Vermeer, “Waiting” is essentially a carefully studied composition which demonstrates that Whelan had effectively mastered the polished technique of Orpen. The artist demonstrates his great skill and dexterity in rendering an array of different textures, the wood on the mahogany-type bench, the dog’s feathery coat, the soft texture of the girl’s red coat with its black fur on the neck, cuffs and hem, the illusion of polished back buttons and shoes and lastly, the various subtle shadows cast on the tiled floor and on the wall behind.

Typical of Whelan he has chosen predominantly subdued colours for the background.

The rediscovery of this delightful painting by one of the most talented artists to have worked in Ireland during the first half of the Twentieth century is greatly to be welcomed.

Geraldine Molloy M.A.

€60000 - 90000 1 Ms. Lena Murnaghan, niece of the late Michael Leo Whelan in conversation with the author on the 10th January 2006.

2 Ibtd.

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The following works (lots 32-54) are owned by John de Vere White and Barry Smyth and were assembled as a Private Collection that hung in the Four Seasons Hotel in Dublin Fifteen years ago one was reaching a stage in life where the phrase ‘pension planning’ was being bandied around by trusted advisors. My long suffering partner Barry Smyth and I had a modest pension underway and frankly stocks were of little appeal for me.

I managed, without much difficulty, to persuade Barry to let me invest some of our hard earned income in Art. He gave me a free hand and never interfered for which I am eternally grateful.

One of the very first paintings bought was John Shinnors ‘Gull Goes West’ at the RHA Annual Exhibition in 1999. Several people had expressed the view that Shinnors was a rising star, how right they were, and I was bowled over by this particular painting.

I later heard that John had had an experience driving home from the Wexford car ferry on a filthy night when a seagull flew into his windscreen and put him in the ditch hence the inspiration for this particular painting. Other works were assembled, Martin Gale, Charles Brady, Hughie O’Donoghue etc.

I was in London in 2002 with gallery owner Oliver Sears and it was he who introduced me to Sean Scully. We were in the Timothy Taylor Gallery buying an oil painting for a client when I saw ‘1.6.92’ on the floor. I couldn’t really understand the picture but I just knew it had real presence and although the price represented a lot of our savings I took the plunge and bought it. I think justifiably it is the star of our collection.

Once this small group of paintings was assembled the question arose of where to hang them. By chance I was chatting with good friend Frances Ruane and she mentioned that she had been asked to source some art to grace the public spaces of the Four Seasons Hotel in Ballsbridge. Within days we reached agreement to lease the collection to the hotel and there they remained until some months ago. A very happy association has now ended as the hotel has changed hands. We now believe the time is right to put the collection on the market and hopefully the paintings will find new homes.

John de Vere White, October, 2016

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32 Patrick Scott HRHA 1921-2014 SHIVA�S APPLE Gold leaf and oil on unprimed canvas, 48" x 32" (122 x 81cm), signed, inscribed & dated 2005 verso.

This work was painted as part of a fundraiser for Poetry Ireland, where it was acquired at the auction.

€14000 - 18000 35

33 Hughie O�Donoghue b.1947 MUINGINGAUN (MAIDEN STREAM) Oil on linen, 45¼" x 58¼" (114 x 148cm), signed, inscribed & dated 2001 verso.

Provenance: Rubicon Gallery 2001 (label verso).

€20000 - 30000

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34 Sean Scully b.1945 1.6.92 Pastel on paper, 40" x 60" (101.6 x 152.4cm), signed & inscribed.

Provenance: Timothy Taylor Gallery, London (Label verso).

In 1992 Scully returned to Morocco which he first visited in 1990. He made a film with the BBC on Matisse who had a made the same journey some seventy years earlier. Matisse, by his own admission, is Scully’s most significant influence. This domestic scale pastel has absorbed the colour spectrum that most touches Scully in that period and pays homage to Matisse’s technique of pattern making to create drama and volume. The patterns, themselves make references to North African culture.

€150000 - 250000

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35 John Shinnors b.1950 GULL GOES WEST Oil on canvas, Diptych, each 66" x 44" (168 x 112cm).

Provenance RHA Annual Exhibition 1999 (label verso).

€20000 - 30000

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36 Patrick Collins HRHA 1911-1994 COTTAGE IN A LANDSCAPE C.1964 Oil on canvas, 16" x 20" (40.5 x 50.5cm), signed.

rovenance: Private Collection Ex. Ritchie Hendricks Gallery P (part label verso); Peppercannister Gallery (label verso).

€8000 - 12000

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37 Tony O�Malley HRHA 1913-2003 SPANISH PANEL Oil on board, 48" x 24" (122 x 61cm), signed with intials; signed, inscribed & dated 1988 verso. Opus No. 1735.

Provenance: Solomon Gallery, Dublin (label verso).

€8000 - 12000

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38 Brian Maguire NCAD b.1951 DERRY FLOWER Oil on canvas, 40" x 36" (101.5 x 91.5cm), signed & inscribed.

€3000 - 5000

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39 Micheal Farrell 1940-2000 VIN DE Pays Mixed media on paper laid on canvas, 58" x 83" (147 x 211cm).

Provenance: Jorgensen Fine Art.

â‚Ź8000 - 12000

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40 Michael Cullen RHA b.1946 INFANTA WITH FAN Oil on canvas, 53" x 58" (135 x 147cm), signed, inscribed & dated 2004 verso.

Acquired Taylor Galleries, Dublin.

This work was modelled on ‘Infanta Margarita’ by Diego Velázquez.

argaret Theresa of Spain was only 8 years old when Velázquez painted M Infanta. He also painted Margaret in Las Meninas in 1656.

€6000 - 9000

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41 Pat Harris RHA b.1953 BLUE VASE 2005 Oil on linen 51¼" x 39¼" (130 x 100cm).

Provenance: Taylor Galleries, Dublin Cat No. 4, November 2006.

€3000 - 5000

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42 Martin Gale RHA b.1949 IN THE STICKS Oil on canvas, 36" x 42" (91.5 x 107cm), signed & dated 2003 verso.

Acquired Taylor Galleries, Dublin.

€6000 - 9000

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43 Hughie O’Donoghue b.1947 GATHERING STORM, ST. VALERY ENCRAUX No. 5 Oil on board, 18" x 29" (45.5 x 73.5cm), signed, inscribed & dated 2005/6 verso.

€8000 - 12000

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44 Barrie Cooke HRHA 1913-2014 PUNAKAIKI Oil on canvas, 54½" x 59¾" (138 x 152cm), signed, inscribed & dated 2003 verso.

Provenance: Purdy Hicks, London 2005.

€8000 - 12000

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45 Tony O’Malley HRHA 1913-2003 ADAM & VALERIE�S WINDOW Oil on paper, 25" x 20½" (64 x 51.5cm), signed.

Provenance: Acquired Taylor Galleries Exhibition May 2004.

€5000 - 7000 50

46 Charles Brady HRHA 1926-1997 BRADY’S PAPER PALETTES 1995 Oil on linen, 13¼” x 17¼” (33.5 x 44cm), signed.

Acquired Taylor Galleries, Dublin.

€3000 - 5000

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47 Louis Le Brocquy HRHA 1916-2012 EVE Colour inverted Aubusson Tapestry, 78" x 55", 200 x 140cm.

Atelier Rene Duche, signed by the artist on a label verso. Edition of 9.

Provenance: Taylor Galleries, Dublin, Nov/Dec 2000.

E ve forms part of The Garden Tapestries which le Brocquy designed on 1999.

These comprised three individual tapestries, the others being ‘Adam’ and ‘Ucello’.

€20000 - 30000

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48 Patrick Graham b.1943 LOOKING TOWARDS BALLYCASTLE Oil on canvas, 48" x 48" (122 x 122cm), signed, inscribed & dated 2005/6.

Provenance: Hillsboro Gallery, Dublin (label verso).

€4000 - 6000

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49 Barrie Cooke HRHA 1931-2014 BROWN STONES 1 (1999) Oil on canvas, 38" x 40¼" (97 x 102cm), signed, inscribed & dated 1999 verso.

Provenance: Kerlin Gallery, Dublin 1999 (label verso).

€6000 - 9000

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50 Tony O�Malley HRHA 1913-2003 WINTER TABLE Oil on paper, 14½" x 19" (37 x 48cm), signed & inscribed.

rovenance: David Lay, Penzance, October 2002 P – Mary Boots Redgrave Collection.

€3000 - 5000

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51 Charles Tyrrell b.1950 C13.03 Oil on canvas laid on board, 35" x 35" (89 x 89cm), signed, inscribed & dated, Allihies, 2003, verso.

Provenance: Taylor Galleries, Dublin (label verso).

â‚Ź5000 - 7000

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52 Mary Theresa Keown, Contemporary THE WASHING Oil on canvas, 31½" x 43¼" (80 x 110cm), signed, inscribed & dated 1 �2. Maizo 2002 2.30pm�, verso.

Provenance: Pyms Gallery, London (label verso).

€2000 - 3000

53 Brian Bourke HRHA b.1936 SCOTSPINE LIMESTONE Oil on canvas, 24" x 20" (61 x 51cm), signed, inscribed & dated 2001 verso.

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€2000 - 4000

54 Nick Miller b.1962 TITIAN WITH WASPS NEST & FLOWERS Oil on linen, (24" x 32") 61 x 81cm, signed.

Provenance: Rubicon Gallery, Dublin (label verso).

€2000 - 4000

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Patrick Scott Patrick Scott is exceptional in Irish cultural history for the range and quality of his work across the fields of art and design for well over half a century. He initially trained as an architect, and for 15 years worked with Michael Scott in that capacity. While he never really harboured architectural ambitions, and was much more inclined towards solving design problems, there is perhaps an architectonic quality to the geometric compositions of his paintings. From designing Christmas Cards to the railway carriage livery for CIE, or devising the gallery setting for the first Rosc exhibition of international art in 1967, he brought a consistently spare, practical sensibility to bear on the task at hand. In many ways, that sensibility is at its purest in his paintings and his other personal work.

By the beginning of the 1960s, he was set on a course that led to what can be termed his mature style. At that stage he made a series of transitional paintings that are also exceptional and fully achieved in their own right.

Their transitional character lies in the way they refer back to the soft, amorphous works he had recently created by soaking pigment into raw, unprimed canvas. He was inspired by the saturated landscapes of the midland bogs. But, while his ‘Device’ paintings hark back, they also look forwards in refining the motif of the circle, evident in his painting almost from the beginning, establishing its pre-eminence in his work for the rest of his life.

He greatly admired the Japanese flag, a red solar disc against a white ground, and what it exemplified: a pared-down, Zen-influenced aesthetic of formal simplicity, naturalness and tranquillity. There is one other important factor: the occasional asymmetrical interruption, to stir things up, as in ‘Silver Painting 8/90’ or ‘Gold Paintings 6.93’ with its sprouting, organic forms, or the leaf-like ‘Gold Painting 7.93’.

After the circle, the square is the form he used most frequently. Often, symmetrical divisions and rhythmic patterns spring directly from these motifs, as in ‘Gold Painting 94’ or ‘Gold Painting 7.94’. It often makes sense to interpret the patterns as rays of sunlight, as in ‘Gold Painting 94.’ In ‘Gold Painting 62’ it is as if we see the brilliant reflections of sunlight as the sun dips below the horizon. Although greatly influenced by Oriental aesthetics, Scott only visited the East in the 1980s, and ‘Gold Painting 2/84’, a beautiful work in which the golden sun is seen through diagonal bands, relates to traditional Chinese landscape painting. Having made tapestries to great acclaim, he took up the challenge of making his own versions of Japanese screens, to great effect, as in ‘Gold Diptych 7’, a double-sided two-fold screen. The square-on-circle motif of the ‘Tables for meditation’ recall the meditation technique of visualising a dark ground, a geometric shape of a different colour and a central form into which one’s attention is directed.

Aidan Dunne, October 2016

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55 Patrick Scott HRHA 1921-2014 GOLD PAINTING 7.93 Gold leaf and tempera on unprimed canvas, 34" x 34" (86.5 x 86.5cm), signed & inscribed verso.

€8000 - 12000

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56 Patrick Scott HRHA 1921-2014 GOLD PAINTING 62 Gold leaf and tempera on unprimed canvas, 50" x 46" (127 x 117cm), signed & inscribed verso.

Provenance: Dawson Gallery, Dublin (label verso).

Literature: �Patrick Scott� by Aidan Dunne, p.124.

€10000 - 15000

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57 Patrick Scott HRHA 1921-2014 GOLD PAINTING 12.94 Gold leaf and tempera on unprimed canvas, 96" x 48" (244 x 122cm), signed and inscribed verso.

E xhibited: �Patrick Scott�, Taylor Galleries, Dublin 1994; �Patrick Scott a Retrospective�, Hugh Lane, Dublin, 2002, Cat. No. 58 (colour illustration); �Patrick Scott�, IMMA Dublin, 2014.

Literature: �Patrick Scott� by Aidan Dunne, p.165.

€20000 - 30000

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58 Patrick Scott HRHA 1921-2014 GOLD PAINTING 7.94 Gold leaf and tempera on unprimed canvas, 24" x 24" (61 x 61cm), signed & inscribed verso.

€7000 - 10000

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59 Patrick Scott HRHA 1921-2014 TABLE FOR MEDITATION 1991 Tempera and gold leaf on ash, 30" x 34½" x 34½" (76 x 87 x 87).

E xhibited: “Paintings and Tables for Meditation” Taylor Galleries Dublin, 1991. “Patrick Scott, Image Space, Light” IMMA Dublin, Cultural Centre Letterkenny/ Glebe Gallery Donegal, 2014.

€10000 - 15000

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60 Patrick Scott HRHA 1921-2014 GOLD DIPTYCH 7 1979 Double sided twofold screen, tempera and gold leaf on unprimed canvas mounted on wood, each 52" x 64½" (132 x 164cm).

€14000 - 18000

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61 Patrick Scott HRHA 1921-2014 SILVER PAINTING 8/90 Palladium leaf & tempera on unprimed canvas, 50" x 50" (127 x 127cm), signed & inscribed verso.

E xhibited: BP Gallery, Brussels, 1990; Patrick Scott, Paintings and Tables for Meditation, Taylor Galleries, 1991. ‘Patrick Scott a Retrospective’ Hugh Lane, Dublin 2002, Cat. No.53 illustrated front cover.

€10000 - 15000

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62 Patrick Scott HRHA 1921-2014 CHINESE LANDSCAPE 1986 Gold leaf tempera on canvas, 24" x 24" (61 x 61cm).

Provenance: Taylor Galleries, June 1986 (Cat No. 1).

€8000 - 12000

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63 Patrick Scott HRHA 1921-2014 GOLD PAINTING 7.94 Gold leaf and tempera on unprimed canvas, 24" x 24" (61 x 61cm), signed & inscribed verso.

€6000 - 9000

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64 Louis le Brocquy HRHA 1916-2012 IMAGE OF SEAN O’RIADA, 1987 A set of four watercolours, each 24" x 18" (61 x 46cm), each signed & dated 1987.

Provenance: Taylor Galleries, Dublin (label verso).

L iterature: O’RIADA RETROSPECTIVE by Noel Pearson, National Concert Hall, Dublin, April 24, 25, 26 1987. Front cover illustration with extracts from Thomas Kinsella, Seamus Heaney and John Montague (catalogue available at viewing).

Sean O’Riada was an Irish music composer and broadcaster remembered particularly for his rousing film scores produced using traditional Celtic instruments. He campaigned energetically for the proper recognition and treatment of traditional music and succeeded in establishing a wide-spread public appreciation for Irelands musical heritage.

O’Riada’s musical scores for two films that took Ireland by storm in the ealy 60s – Mise Eire (1960) and the feature film version of J.M. Synge’s ‘The Playboy of the Western World’ (1962), made him a household name.

€40000 - 60000

70

71

65 Camille Souter HRHA b.1932 THE CHAMPION (c.1974) Oil on paper, 20" x 17" (51 x 43cm), signed & dated 1972.

Provenance: Sold de Veres, June 2008, lot 15.

amille Souter is an extraordinarily versatile artist. It is hard to think of another Irish C painter who can match her body of 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.

S port and games are a recurring theme in Souter’s work. In the 1950’s she would create works based on card playing and chess. In the 1970’s 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.

T he Champion is one of a series of paintings Souter produced in the 1970’s 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.

T he 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. The 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

€15000 - 20000

72

73

66 Peter Curling b.1955 FACING INTO THEM Oil on canvas, 30" x 40" (76cm x 102cm), signed.

Provenance: Adams auction 8/12/2009 lot 153.

E xhibited: Dublin Exhibition 2004, 82 Merrion Square, the former house of the poet W.B. Yeats, where purchased by the previous owner.

Literature: “Through An Artist’s Eye, Paintings by Peter Curling”, where the piece is illustrated.

rovenance: Property of an Irish Stud Farm; Adams 8/12/2009, lot 153 (where purchased by P the present owner), where artist note in the catalogue read:

“ �Facing In to Them�. Schooling sessions like this have a different feel to them and all National Hunt yards will have a couple of fences for the horses to jump at home. I used a couple of our own horses for this painting, a brown Phardante gelding and a very good looking bay horse called Merry Minstrel.”

Peter Curling, 2009

€20000 - 30000

74

67 Peter Curling b.1955 AT THE TOP OF THE HILL Watercolour, 17½" x 29" (44 x 74cm), signed, Tryon Gallery label verso.

€2500 - 3500

68 Peter Curling b.1955 ALL WEATHER GALLOP Watercolour, 19½" x 27½" (48 x 70 cm), signed, Tryon Gallery label verso.

€2500 - 3500

75

69 Sean Scully b.1945 WALL AND TOWER Watercolour, 22½" x 29½" (57 x 75cm), signed, inscribed & dated 12.23.03.

E xhibited: Galerie Lelong, 13 May - 12 July 2004, Sean Scully: Winter Robe (illus p.63 in catalogue).

The early 2000’s ushers in a looser, less overtly masculine style for Scully. The Wall of Light series introduces a more open brush application of paint and, perhaps, a lighter touch emotionally.

€30000 - 50000

76

70 Elizabeth Magill, Contemporary 13:36:04 Mixed media on canvas, 20" x 36" (51 x 91.5cm), signed & dated 1991 verso.

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

â‚Ź2500 - 3500

77

The following lots (71-86) come from a single collection that were exhibited in Aktionsgalerie in Bern in 1976. We are thankful to Robert Ballagh for his assistance in cataloguing the works.

The 1967 ROSC Art Exhibition in Dublin was a groundbreaking exhibition. 50 works by major international artists including Picasso, Miro, Francis Bacon and Willem de Kooning were assembled.

This was a first for Dublin but it was not just the works on display that fascinated Ballagh, it was the way the visitors looked at them and interacted with them.

“At ROSC, it seemed as if art had become commodified somehow and I found that fascinating.

I decided to recreate that feeling”.

Robert Ballagh Robert Ballagh began his series of ‘People Looking at Art’ in the the early 1970s when he was the most challenging new kid on the block in Irish Art. Coming from a background in pop/rock music and a discontinued education in architecture, he brought a new and iconoclastic eye to the art world, not just in Ireland but internationally. From the outset, Ballagh carved a wide gap between himself and the traditionalists in the RHA as well as the cult of international modernist abstraction, favoured by the Arts Council. The ‘Looking at Art’ series was given its first public iteration in the artist’s exhibition at the Hendriks Gallery in 1972, when it threw Irish critics and collectors into a spin of excitement. It later formed the basis for a commission for a shopping centre in Clonmel in which many of the compositional elements in the paintings here were used. The series provides a visual equivalent to Brian O’Doherty’s1 ground-breaking essays about how knowledge of art empowers the privileged, who can enjoy it, in clean, white spaces, neatly separated from the vicissitudes of the world outside.

For the series Ballagh employed a neo-realist style derived from advertising, and thus, quite shocking to traditionalists. The paintings exposed the crass commercial realities and the crude branding of art works, as ‘a Lichenstein’, ‘an Ellsworth Kelly’, ‘a Hockney’ or ‘a Bridget Riley’, and also pointed out the preciousness of the gallery space, where the audience is generally fashionable but sparse.

That first series was an immediate sell out to collectors like Gordon Lambert, the Arts Council and Ronnie Tallon (on behalf of Bank of Ireland) and led to considerable international exposure for the artist.

The paintings offered here were painted over the following four years. Bolder in many ways than the first group, they question the motives for some of its well-dressed participants’ engagement with contemporary art. Is there a passion for art behind the blank-faced but sexually alluring girl who turns her back on Mondrian, the business man who strides past Patrick Caulfield’s boat or the two men with a Picasso, one of whom glances furtively around the gallery as he moves closer to his companion?

This later group of paintings, are particularly revealing because of the insight they offer into Ballagh’s process, his fondness for re-using poses such as the pointing child, the woman bending forward, the group of children with the doll, also used in ‘People with a Morris Louis’ in the IMMA collection. It gives us a chance to see his use of photography, the advertising cut-out and his careful copying of Mondrian and Bridget Riley, prior to their potential future combinations. But even the connoisseur is advised to watch out for the artist’s provocative insertions into the famous brand-named work, such as the use of his own name, in ‘Two men with a Picasso’.

Catherine Marshall, October 2016

1 Brian O’Doherty, Beyond the White Cube, 1975.

78

71 Robert Ballagh b.1943 GIRL AND AN ANDY WARHOL Acrylic on 6 canvases, overall, 72" x 48" (183 x 122cm).

The viewer in this work is the artist’s daughter Rachel.

€10000 - 15000

79

80

T he man in the right hand panel with his back to the viewer is the artist�s father.

The woman in the left hand panel with her back turned is the artist’s wife, Betty. €10000 - 15000

72 Robert Ballagh b.1943 FOUR PEOPLE WITH A FRANK STELLA Acrylic on 2 canvases, diptych, each 32" x 48" (81 x 122cm).

73 Robert Ballagh b. 1943 THREE PEOPLE WITH A MORRIS LOUIS Acrylic on 2 canvases, each 46" x 60" (117 x 153cm).

T he figure on the left is Brian McSweeney. The figure on the right is the artist�s mother.

€10000 - 15000

81

74 Robert Ballagh b.1943 MAN AND A TOM WESSELMAN Acrylic on canvas, 46" x 60" (117 x 152.5cm).

The figure looking at the painting is the artist Theo McNabb.

€8000 - 12000

82

75 Robert Ballagh b.1943 PEOPLE WITH A MORRIS LOUIS Acrylic on 2 canvases, each 30" x 21" (76 x 61cm), signed with initials and dated 75 verso.

T he figure on the left is Brian McSweeney. The figure on the right is the artist�s mother.

€8000 - 12000

83

76 Robert Ballagh b.1943 TWO PEOPLE AND A DAVID HOCKNEY Acrylic on canvas and silkscreen on glass, 17¾" x 17½" (45 x 45cm).

T he figures in this work are the artist and Micheal Farrell’s son Seamus Farrell.

David Hendrick�s Gallery (label verso).

€2000 - 4000

84

77 Robert Ballagh b.1943 THREE CHILDREN AND A JAMES ROSENQUIST Acrylic on canvas and silkscreen on glass, 17¾" x 17½" (45 x 45cm).

T he figures in this work are Micheal Farrell’s sons Seamus and Malachy Farrell, with the artist’s daughter Rachel in the middle.

David Hendrick�s Gallery (label verso).

€2000 - 4000

85

78 Robert Ballagh b.1943 WOMAN AND A BRIDGET RILEY Acrylic on canvas with cut out figure, panel 36" x 36" (92 x92cm), cut out 67" high (170cm).

Provenance: David Hendricks Gallery, Dublin (label verso).

T he figure in this work is modelled on the artist’s mother.

€4000 - 6000

86

79 Robert Ballagh b.1943 WOMAN AND A PIET MONDRIAN Acrylic on canvas with cut out figure, panel 24" x 24" (61 x 61cm), cut out 55" high (139cm).

T he figure in this work is modelled on the artist’s wife.

€4000 - 6000

87

80 Robert Ballagh b.1943 TWO PEOPLE & A PICASSO Watercolour, 16" x 14½" (41 x 37cm), signed, inscribed & dated 1975.

The figure on the left is the artist Theo McNabb.

€2000 - 4000

88

81 Robert Ballagh b.1943 THREE PEOPLE AND A PIET MONDRIAN Watercolour, 15¾" x 15¾" (40 x 40cm), signed, inscribed & dated 1975.

€2000 - 3000

82 Robert Ballagh b.1943 TWO PEOPLE AND A ROY LICHTENSTEIN Watercolour, 16" x 20" (41 x 51cm), signed, inscribed & dated 1975.

The figure on the right is Brian McSweeney.

€2000 - 3000 89

83 Robert Ballagh b.1943 MAN AND A PATRICK CAULFIELD Acrylic on canvas and silkscreen on glass, 18" x 24" (46 x 61cm).

David Hendrick’s Gallery (label verso).

€2000 - 4000

90

84 Robert Ballagh b.1943 VAN GOGH’S BEDROOM Ink on paper, 20½" x 19" (52 x 48cm), signed, inscribed & dated 1976.

David Hendricks Gallery (label verso).

€600 - 900

85 Robert Ballagh b.1943 COUPLE AND A MODERN PAINTING Silkscreen on paper, 23" x 15" (58 x 38cm), signed, inscribed & dated 1976.

86 Robert Ballagh b.1943 MAN AND AN ELSWORTH KELLY Silkscreen on paper, 23" x 15" (58 x 38cm), signed, inscribed & dated 1976.

The figure in this is the artist, Robert Ballagh.

€200 - 400

€200 - 400

91

87 John B. Vallely b.1941 MUSIC SESSION Oil on Board, 15" x 19" (38 x 48cm), signed.

€5000 - 7000

92

88 Basil Blackshaw HRHA 1932-2016 THE GARDEN Oil on Board, 11½" X 15" (29 x 38 cm), signed top left.

€4000 - 6000

93

89 Gerard Dillon 1916-1971 RUINED COTTAGE Oil on board, 18" x 21¾" (45.5 x 55.5cm), signed; inscribed verso.

Provenance: Private Collection, Ireland.

Exhibited: Dublin, Dawson Gallery, Early Paintings of the West, 1971, cat. no. 14.

Gerard Dillon was the eighth and youngest child of Joseph and Annie Dillon, from the Falls area of Belfast. Largely selftaught, Dillon lived in London after the war but maintained links with Ireland throughout his life particularly the west of Ireland. A familiar figure in the area of Connemara, Dillon formed strong friendships with the locals who allowed him to sketch their portraits by the hearth in their homes or outside in the fields where he could record the harshness of their lives. Revisiting the west, Dillon favoured the theme of Ireland’s ancient past. He learned from personal observation and conversations with the local folk that in the remoteness of the west, the past is ever present.

Dillon often divided his compositions into sections to convey a message. Here, the foreground represents the past and the background, the present. Constructed by hand, the blue-grey Connemara stone cottage in the foreground stands abandoned and alone in a little green field with wild thistles and thorns in an empty doorway. In the 1930’s and 40’s the most characteristic feature of Connemara was the sight of smoke burning from peat fires in small stone cottages, rectangular in plan with a roof of yellow or brown thatch. Cottages usually consisted of two or three rooms, and three or four people to a bedroom. As the houses were so small, some children slept in the kitchen, where there was a fireplace, bucket, basin and washboard for washing. In the early 1950’s however, economic depression and emigration caused a great strain on the family unit and children as young as sixteen left their homes to find work abroad in England, Scotland or America. Children would return to visit their family but as time passed, the longer they stayed away the less they returned and families could no longer sustain their lives in the west without help from their children and were forced to abandoned their homes. Lying empty, cottages quickly deteriorated from the elements. Tuffs of grass and stunted thorn grew in ever crevice and the land became decorated with ruined cottages in the stony landscape. While Dillon’s focus is on the past, the scene in the distance hints at economic recovery in the present. Social development is represented by smooth uniform walls as well as figures standing over a rectangular grey slab of stone which may act as a water trough for livestock or a well to harvest water to farm the land.

E nthralled by the West of Ireland, art critics didn’t always favour Dillon’s representations of Connemara. In the Envoy magazine in 1951, Dillon stated ‘some critics have said that I’m “stage Irish” that I see the people and the landscape of the West with the eye of a visitor. Think of the west and the life lived there. Then think of my childhood and youth in the middle of industrial Belfast. Is not the west and the life there a great strange land of wonder to the visitor from the red brick city?

By the late 1960’s however, opinion had changed and Dillon’s early west of Ireland paintings were in demand. In March, 1971 he was asked by his agent, Leo Smith of the Dawson Gallery to prepare an exhibition of his early works of the west of Ireland and this work was chosen by the artist to be included in the show.

Karen Reihill, November, 2016

€12000 - 16000

94

95

90 Basil Blackshaw HRHA RUA 1932-2016 MARKETS PEOPLE Pastel, 25" x 25" (64 x 64cm), signed; signed & inscribed verso.

‘Markets People’ was a recurring theme in Blackshaw’s work from the early eighties.

In my recent documentary BBC Two NI, Jan 14, May 5 2016 – ‘Blackshaw - An Edge of Society Man’ it is no accident the artist is labelled ‘an edge of society man.’ That is where Blackshaw was happy to be, in the company of the non materialistic, non conformist classes - ‘doggy people,’ ‘horsey people’ travellers, markets people, fighters, gamblers and lovers of cock fighting.

e revelled in the world of danger, the unknown appropriately summed up in the words of Seamus H Heaney who when writing about “gipsies,” said:

‘ Every time they landed in the district an extra-ness in the air, as if a gate had been left open in the usual life, as if something might get in or get out.’ Blackshaw used to go cockfighting with Heaney’s father Paddy on the Armagh/Monaghan border.’

‘ In Markets People’ one of a number in this code, we celebrate with the artist in a colourful exuberance used to portray the attraction attaching to this weather-beaten worldly wheeler dealer plying her trade. The fixture of the cigarette in the markets’ woman’s hand anchors her in an era long gone as well as lending an air of elegance and theatre to her pose.

‘Drovers,’ ‘horse dealers’, ‘horse breakers’, ‘markets people’, ‘carousers’ all served as magnets for the South Down born artist and respectively acted as scaffoldings which he used “to push a bit of paint about.”

Eamonn Mallie, 2016

€9000 - 12000

96

97

91 Jack Butler Yeats RHA 1871-1957 CABALLERO (1949) Oil on board, 14" x 18" (35.5 x 46cm), signed.

Provenance: Mrs. F Reid, San Francisco, Sotheby’s London, 24 November 1993, lot 85 (sold £36,700 incl BP), where acquired by the current owner.

E xhibited: New York, Saidenberg Gallery, 19 Jan - 1 March 1953, catalogue no. 15.

Dublin, An tOireachtas (Irish Presidents Official Residence), Taispeantas Ealadhan, 1954.

T he title and subject matter would seem to indicate Yeats referencing Don Quixote with a golden haired child leading the Spanish knight of the title across an expansive landscape inspired by the west of Ireland.

L iterature: Hilary Pyle, JACK B YEATS: A CATALOGUE RAISONNE OF THE OIL PAINTINGS (no. 993).

€80000 - 120000

98

99

92 George Russell AE 1867-1935 FIGURES BY THE SHORE Oil on canvas, 21¼" x 31¼" (54 x 79.5cm), signed with monogram.

€8000 - 12000

100

93 Jack B. Yeats RHA 1871-1957 THE HIGH SHORE OF THE LAKE Oil on board, 9" x 14" (23 x 35.5cm), signed, inscribed verso, inscribed 1952 label verso.

Provenance: Dr. Terence Fulton, Belfast, Victor Waddington, London, Private collection, London 1973.

Literature: Hilary Pyle’s “Jack B Yeats - A Catalogue Raisonne of the Oil Paintings”, No 1105, pg.1008, where she writes, “One of the small lake paintings made by Yeats at various stages of his career (118, 122, 549 ff., 1025; see also Pyle, Watercolours, 215 ff.), starting with his watercolours of Coole Lake in County Galway on visits to Lady Gregory, and later his watercolours of Lough Gill in Sligo. The painting here is focused on the sandy shore of a lake, the reeds, and a thicket, which assumes a symbolic character in the dark tones of its cave-like interior and the tangled rich colour of its foliage”.

€30000 - 50000

101

94 James Humbert Craig RHA RUA 1877-1944 THE POTATO HARVEST, GWEEBARA, CO. DONEGAL Oil on canvas, 20" x 24" (51 x 61cm), signed; inscribed verso.

€10000 - 15000

102

95 Letitia Marion Hamilton RHA 1878-1964 SPRING ON THE RIVER SLANEY Oil on canvas, 20" x 24" (51 x 61cm), signed.

€3000 - 5000

96 Nathanial Hone RHA 1832-1917 Seashore View Gouache, 3¾" x 10" (9.5 x 25.2 cm), signed.

€400 - 600

97 Nathanial Hone RHA 1832-1917 Seashore View Gouache, 4¾" x 10" (12 x 25.2 cm), signed.

€400 - 600

103

98 Beatrice, Lady Glenavy RHA 1881-1970 COUNTRY LIFE Oil on board, 24" x 29" (61 x 74cm), signed with monogram; titled verso.

Exhibited: RHA 1943 No.67 (£30).

€6000 - 9000

104

99 Elizabeth Taggart b.1943 THE RAVENS & MUSICIAN Oil on canvas, 40" x 40" (101.6 x 101.6cm), signed; signed inscribed & dated 02 verso.

Born in Donaghadee, Co. Down, Elizabeth Taggart studied painting at the Belfast College of Art in the early 1960s under John Luke and Romeo Toogood, among others. In the mid 1960s, she moved to England where she completed further studies at Leicester College of Art before establishing her first studio in London in 1968. From London, she exhibited regularly at the RHA, the RA and the Irish Exhibitions of Living Art. In 1995, she returned to live in Co. Down where she has been living and working ever since.

E lizabeth�s work is very much in the tradition of Northern figurists like Dan O�Neill and Gerard Dillon.

It is beautifully refined in its execution, the painstaking care of the small brushstrokes echoed in the tenderness of the subject matter. Closer inspection reveals hints of more sinister subtexts in the stilettoed chair legs, masked pierrot figures and averted eyes of the subjects. The eyes that meet those of the viewer convey a sort of melancholy at odds with the flamboyant costumes and theatrical settings.

€4000 - 6000

105

100 John Shinnors b.1950 STRAWBOY’S MASKS Oil on board, diptych, each 19¼" x 16½" (49 x 42cm), signed on the edge; signed & inscribed verso. €8000 - 12000

106

101 Basil Blackshaw HRHA 1932-2016 PIGEON, LAKE AND FIGURE 2 Oil on board, 12" x 10½" (30 x 26.5cm), signed.

I n the final fifteen years of Basil Blackshaw�s life I detected an ever increasing preoccupation with existentialism, the philosophy of the ‘absurd’ or ‘meaninglessness of life.’ The culmination of this preoccupation was the so called ‘Windows Paintings’ now housed in IMMA.

O n seeing the window paintings for the first time in Blackshaw’s County Antrim studio he explained “I am trying to paint nothingness.” A pattern emerged throughout the 2000s .... ‘Corner of a Room’, ‘Walls’, ‘Bird Cage’ etc.

‘ Pigeon, Lake and Figure 2’ slots into this stream of Blackshaw consciousness… the pigeon was a presence in a book dealing with ‘the absurd’ which the artist was reading, the suggestion of a lake was prompted by a momentary fear of a lake engulfing a guest house in which he was staying and the figure 2 on a white board, was an imaginary image which flashed into Blackshaw’s brain on a visit to the Cavanacor House Gallery, in Lifford, County Donegal. When I sought to establish the relationships among the three images Blackshaw fired back “None. They just happened.”

A further interrogation of the posture of the pigeon proved interesting. Blackshaw spent years handling ‘fighting cocks.’

He explained when it came to the weighing of a bird it was cupped in the hands in what he called ‘the ironing board’ position, hence the posture afforded by the bird in ‘Pigeon, Lake and Figure 2.’

Eamonn Mallie, 2016

€3000 - 5000

107

102 Pauline Bewick HRHA b.1935 IN THE VALLEY Oil on board, 55" x 72" (140 x 183cm), signed. €5000 - 7000

108

103 Cecil Maguire RUA b.1930 SUNDAY MORNING, INISHMAAN Oil on board, 24" x 30" (61 x 76cm), signed; signed & inscribed verso. €5000 - 7000

Three Inis Meain Islanders taking part in the celebrations for the 50th Anniversary of the local church (as appeared in The Irish Times, 1st September 1989.

109

104 Barrie Cooke HRHA 1931-2014 ELK MEETS SWEENEY (1986-1991) Oil on canvas, diptych, each 60" x 50", (153 x 127cm).

Provenance: Edmonton Art Gallery, Canada (label verso). €7000 - 10000

110

105 Barrie Cooke HRHA 1931-2014 RUATANAWA SQUARE 1993 Oil on canvas, 38" x 40" (76 x 102cm), signed, inscribed & dated ’93 verso.

Provenance: Kerlin Gallery, Dublin (label verso). €3000 - 5000

106 Chung Eun-Mo, Contemporary C9524 Oil on canvas, 12" x 27½" (30.5 x 70cm), signed, inscribed & dated 1995 verso. €400 - 600

111

107 Felim Egan b.1952 RIVERINE Oil on canvas, 48" x 48" (121 x 121cm), signed & dated 1990 verso. €3000 - 5000

108 Felim Egan b.1952 UNTITLED 1 & 2 Acrylic and mixed media on board, each 9½" x 9½" (24 x 24cm), signed & dated 2003 verso. €1000 - 1500

112

109 David Godbold b. 1961 FOLDING THE REBEL FLAG (OH EASY FOR LEONARDO LIBERTE) 1990 Ink and acrylic on linen, 32" x 32½" (81 x 82.5cm).

Exhibited �An Intimate Relationship�, Douglas Hyde Gallery, illustrated in catalogue p.55.

E nglish born, Godbold was educated at Goldsmith's college, London. He moved to Ireland in the early 1990s. He works in a variety of media, but is best known for drawings and texts overlaid onto found materials, which involves a complex process of quotation and regrafting of disparately sourced imagery to produce witty, irreverent and iconoclastic commentaries on a range of topics.

He is represented by The Kerlin Gallery in Dublin.

€1000 - 1500

109A David Godbold b.1961 STUDIES IN BLACK & WHITE Acrylic on canvas, diptych, each 14" x 11½" (35.5 x 29.5cm), signed with monogram.

€800 - 1200 113

Melanie le Brocquy The quiet intensity of Melanie le Brocquy’s work is one of its greatest virtues. It may also have contributed to the fact that she has tended to be overlooked throughout much of her career. Born in Dublin in 1919, she studied at NCAD and in Geneva. When she returned home she attended the RHA. She and her brother Louis held a joint exhibition in 1942. Then, marriage and motherhood meant a 20-year absence, more or less, from the public art scene. As soon as she attempted to resume exhibiting, in the early 1960s, she experienced rejection.

She was turned down for all the wrong reasons, but one can see why: she works sensitively, modelling individual figures on a small scale. There is a classical, understated quality to her technique. Her pieces are self-contained rather than showy. Contrary to the increasing brashness of the cultural mood in the 1960s, she ignored abstraction, Pop Art and did not usually work on a large scale. Nor is she an academic sculptor.

She is much more in tune with a tradition of European figuration, and with artists like Giacometti, Marini or the great Hans Josephsohn, an almost exact contemporary who, like le Brocquy, had to wait some time to be appreciated.

She excels at conveying a sense of an individual human presence, or a small group of individuals. Her solo figures are usually absorbed in their thoughts, focused on such activities as reading, looking or walking. In groups, the relationships – often familial – between the individuals are carefully delineated and the spaces between them speak volumes. Whether she addresses just a fragment, a full figure or a group, her pieces have a thoughtful, considered quality.

Aidan Dunne, October 2016

110 Melanie Le Brocquy HRHA b. 1919 CHILD AND MOTHER WALKING 1988 Bronze, 28cm (h) x 19cm (w), edition 4/6. €3000 - 4000

114

111 Melanie Le Brocquy HRHA b. 1919 TALL FIGURE 1965 Bronze, 38cm (h), signed & inscribed edition of 5/6. €2000 - 3000

115

112 Melanie Le Brocquy HRHA b. 1919 HORSE AND RIDER 1994 Bronze, 27cm (h) x 27cm (w), Edition of 6, Artist’s Cast. €2000 - 3000

116

113 Melanie Le Brocquy HRHA b. 1919 PORTRAIT OF HEAD OF LOUIS LE BROCQUY 1982 Bronze, 52cm (h) x 19cm (w), Edition of 3, Artist’s Cast. €6000 - 9000

117

114 Melanie Le Brocquy HRHA b. 1919 CHILD WALKING 1988 Bronze, 19cm (h), edition 5/6.

115 Melanie Le Brocquy HRHA b.1919 CHILDREN WITH GRANDMOTHER 1988 Bronze, 25cm (h), an edition of 6, Artist’s Cast.

€800 - 1200

€2000 - 3000

116 Melanie Le Brocquy HRHA b.1919 FIGURES ON A BRIDGE 1990 Bronze, 19.5cm (h) x 19cm (w), an edition of 6, Artist’s Cast. €2000 - 3000 118

117 Melanie Le Brocquy HRHA b.1919 CHILD ON BENCH 1995 Bronze, 10cm (h) x 15cm (w), an edition of 6, Artist’s Cast.

118 Melanie Le Brocquy HRHA b.1919 AT THE CINEMA 1990 Bronze, 20cm (h) x 19cm (w), an edition of 6, Artist’s Cast.

€1500 - 2000

€3000 - 4000

119 Melanie Le Brocquy HRHA b.1919 FOUR CHILDREN Bronze, 24cm (h) x 22cm (w), Artist’s Cast. €3000 - 4000 119

120 Barry Castle 1935-2006 BOY & BERRY Oil on board, 16" x 12" (40.6 x 30.5cm), signed with monogram & dated 1994.

121 Barry Castle 1935-2006 THE KNITTING WOMAN Oil on board, 29" x 19" (69 x 48cm), initialled lower right and dated �81.

Provenance: Solomon Gallery (label verso).

€1000 - 1500

€1400 - 1800

120

122 Liam Belton RHA b.1947 Une Femme Et Un Homme Oil on Canvas, 20" x 35" (51 x 89cm), signed, signed, inscribed & dated 2016 verso.

Provenance: Annual RHA exhibition (2016), label verso.

â‚Ź6000 - 9000

121

123 Barrie Cooke HRHA 1934-2013 Slower Dance-Forest Floor (1976) Mixed media on board, 43½" x 20", Bone box 5" x 20" x 7.5", signed, inscribed & dated 1976 verso.

Illustrated: Barrie Cooke, Irish Museum of Modern Art, Published 2011, plate 22.

Acquired: Adams, 2008.

F ollowing in the footsteps of Matisse, Picasso and Miró, Cooke turns to the physicality of his explorations – the sculptural reality of the jungle. Cooke declares “I have always imagined process. Heat, rain, sun, dark, all forming, all adjusting, all competing”. Slow Dance Forest Floor takes its title from John Montague�s poem sequence A Slow Dance 1975. Peat and PVA evolve into a spongy carpet of humus and roots. A tangle of rattan and under growth, embellished with termites and exotic flowers writhe in their hothouse environment. Overhead, but still below the canopy, the primordial beauty of this rainforest counter-world corresponds with the painting�s irregular surface.

See Barrie Cooke, Irish Museum of Modern Art, Published 2011 – Extract from Karen Sweeney, A slow dance on the forest floor.

€4000 - 6000 122

124 Chung Eun-Mo ABSTRACT Oil on canvas, 36" x 36" (91.5 x 91.5cm), signed, inscribed & dated 1995 verso. €1400 - 1800

123

125 Felim Egan b.1952 WINTER CLEARING Oil on canvas, 64" x 79" (162.5 x 200cm), signed & dated 1989 verso. €3000 - 5000

126 Keith Wilson b.1971 RETURNING Oil on linen, 36" x 40" (91cm x 102cm), signed, inscribed & dated 2006 verso. €3000 - 5000 124

127 Felim Egan b.1952 UNTITLED Oil on canvas, 64" x 78" (162.5 x 198cm), signed & dated 1990 verso. €3000 - 5000

128 Neil Shawcross RHA RUA b.1940 STILL LIFE – FOUR CUPS Acrylic on paper, 28" x 30½" (71 x 77.5cm), signed & dated 2005.

Provenance: Hilsboro Gallery, Dublin (label verso). €2000 - 3000 125

129 Father Jack P Hanlon 1913-1968 PLUMS IN A BOWL Oil on canvas, 13½" x 17½" (34 x 44.5cm).

P rovenance: Bequeathed by the artist to the previous owner; Whytes 20th September 2005.

€3000 - 5000

130 Markey Robinson 1919-1999 MOUNTAIN BAY Gouache on board, 24" x 36" (61 x 91.5cm), signed.

Provenance: Oriel Gallery, Dublin (label verso). €3000 - 5000

126

131 Charles Brady HRHA 1926-1997 EGG CUP Oil on Linen, 9" x 10½" (23x27 cm), signed. €2000 - 3000

132 Markey Robinson 1919-1999 COLLECTING THE CATCH Gouache on paper, 18" x 27½" (46 x 70cm), signed.

Provenance: George Gallery, Dublin: Markey Robinson, A life – The Retrospective, September 1988, Cat no. 42 (label verso). €2000 - 3000

127

133 Liam O’Neill, Contemporary CONNEMARA LANDSCAPE Oil on canvas, 10" x 14" (25.5 x 35.5cm), signed. €800 - 1200

134 Kenneth Webb b.1927 CONNEMARA LANDSCAPE Oil on canvas, 15" x 30" (38 x 76 cm), signed. €3000 - 5000

128

135 Liam O’Neill, Contemporary CURRACHS AT SEA Oil on canvas, 10" x 14" (25.5 x 35.5cm), signed & dated 92. €800 - 1200

136 Kenneth Webb b.1927 RUINED COTTAGE, WEST OF IRELAND Oil on canvas, 20" x 16" (51 x 41cm), signed. €1500 - 2500 129

137 Barry Castle 1935-2006 LEDA & THE SWAN Oil on board, 15" x 19½" (38 x 49.5cm), signed with initials & dated 73. €800 - 1200

138 Breon O’Casey 1928-2011 COMEDIANS Oil on paper, paper size 15" x 22" (38 x 56cm), signed. €1400 - 1800

130

139 Camille Souter HRHA b. 1929 BURNING OF THE KING OF EUROPE, NICE CARNIVAL Oil on paper laid on board, 13" x 8½" (33 x 22cm), signed, inscribed & dated verso.

T his work was inspired by a Mardi-Gras style Carnival in Nice, where Souter’s elder sister Patricia resides.

Papier-mache figures form an essential part of the Carnival. In 1830 Charles-Felix, King of Sardinia and Duke of Savoy attended the Carnival and a parade was organised in his honour. In subsequent years parades continued in his absence with the people of Nice making a model King each year to preside over the festival. On the final night of the Carnival, the effigy of the King is put out to sea and burned before a fireworks display. This is essentially what is described here. Hot flames of orange paint lick their way diagonally across the surface of the painting as the effigy of King is consumed by fire. The work is almost “abstract” and without a title many viewers would be unsure what they were looking at. Looking into the heat of the flames, however, one can discern the dark outline of the charred King’s head as it is turned to dust.

Garrett Cormican, October 2016

€4000 - 6000 131

140 Father Jack P Hanlon 1913-1968 THE AGONY IN THE GARDEN Oil on canvas, 27" x 19½" (68.5 x 49.5cm), signed, inscribed & dated Madeira 1963.

Provenance: Dawson Gallery, Dublin (label verso).

€4000 - 6000

132

141 Neil Shawcross RHA RUA b. 1940 REFLECTIONS Watercolour, 30" x 21½" (76 x 54.5cm), signed & dated 1993. €1000 - 1500

133

142 May Guinness 1863-1955 NORAH MC GUINNESS SEATED IN THE GARDEN AT TIBRADDEN Pastel, 12" x 16" (30.7 x 41cm).

Provenance: These rooms, 16 April 2002, Lot 249. €600 - 900

143 Charles McAuley RUA ARCA 1910-1999 TURF CUTTING Oil on Board, 7" x 9½" (18 x 24 cm), signed. €600 - 900

134

144 Norah McGuinness HRHA 1903-1980 THE WOODS AT RATHFARNHAM Gouache, 12½" x 18½" (31.7 x 47cm), signed.

Provenance: These rooms, 19th June 2001, Lot 335.

€1000 - 1500

145 Charles McAuley RUA ARCA 1910-1999 TAKING A BREAK Oil on Canvas, 16" x 20" (40.5 x 51cm), signed. €1000 - 1200

135

146 Evie Hone 1894-1955 THE CRANE Gouache, 14" x 9½" (36 x 24.5cm).

147 Norah McGuinness HRHA 1901-1980 THE FOUR LANTERNS Oil on Canvas, 28" x 20" (71 x 51cm).

Provenance: These rooms, 15th April 2003, Lot 257.

€600 - 900

P rovenance: From the Artist’s studio bearing the artist’s stamp verso. This is thought to have been painted in Paris.

€4000 - 6000

136

148 Jean Lurcat 1892-1966 COQ PAILLE Aubusson Tapestry by Tabard Frere et Soeurs, 60" x 52" (152 x 132cm), signed; inscribed label verso.

J ean Lurcat, one of France’s finest exponents of tapestry design and was a major influence on Louis Le Brocquy’s introduction to this medium. Le Brocquy, writing for Ark Magazine Royal College of Art, London 1956 stated:

“ Lurcat’s method of designing, already widely practised in France, has given new life to French tapestry, now more joyous and frank, more durable and economic than at any time since the end of the 16th century, when resistance to Renaissance idiom finally collapsed. His reconstituted technique imposes no particular style on the designer, as may be seen by comparing the quantity of stylistically varied work recently produced at Aubusson. It is essentially a return to medieval ways.

I n one form or another it represents the only practical and economic way of producing ‘a very large work of woven and coloured wools’: a tapestry. For any designer who has made a cartoon by this direct method of Lurcat and by the indirect, copy-a-painting method of, shall we say, Boucher, there can be no remaining doubt in eye or in mind as to the superiority of the former when comparing the two resultant tapestries. Only those can remain obdurate who insist on the virtue of cleverly and laboriously translating paint scumbles into weft”.

Louis Le Brocquy, Ark Magazine, Royal College of Art, London 1956

€3000 - 5000

137

149 Mary Swanzy HRHA 1882-1978 CROUCHING FIGURE WITH BOWED HEAD Oil on Canvas, 20" x 24" (51 x 61cm), signed. €4000 - 6000

138

150 Mary Swanzy HRHA 1882-1978 EVENING STROLL Oil on canvas, 14" x 10" (35.5 x 25.5cm), signed.

151 Patrick Collins HRHA 1911-1984 DUBLIN STREET SCENE Oil on board, 17" x 13½" (43 x 34cm), signed.

Provenance: These rooms, 29th September 2009, Lot 65.

€2000 - 4000

€2000 - 4000

139

152 Michael Farrell 1940-2000 LA RUCHE, ÉTUDE Oil on canvas, 33" x 40" (84 x 102cm), signed, inscribed & dated 1977 verso. €4000 - 6000

140

153 Gerard Dillon 1916-1971 AT THE WATERS EDGE Oil on Canvas, 16" x 20" ( 40.5 x 51 cm), signed. €3000 - 5000

141

154 William Conor OBE RHA RUA ROI 1881-1968 OPEN AIR MARKET Oil on Canvas, 13½" x 17½" (34 x 44.5 cm), signed & inscribed verso. €6000 - 9000

142

155 Neville Johnson 1911-1999 LANDSCAPE 1957 Oil on board, 10½" x 18" (26.5 x 46cm), signed, inscribed & dated 1957 verso. €800 - 1200

143

156 John Bellany CBE RA 1942-2013 BOATS IN A HORBOUR Oil on canvas, 36" x 48" (91 x 122cm), signed. €4000 - 6000

144

157 Olive Henry RUA 1902-1989 BOY GATE HOOP Oil on canvas, 20" x 16" (51 x 40.5 cm), signed, inscribed verso.

158 Charles Brady HRHA 1926-1997 UPRIGHT PENCIL Oil on Linen, 13½" x 9½" (34.5x24 cm), signed.

Provenance: Taylor Galleries.

€600 - 900

€2000 - 3000

145

159 John Shinnors b.1950 COCK Oil on board, 24" x 20", signed.

160 John Shinnors b. 1950 NUDE Oil on canvs, 29½" x 20½", signed.

Provenance: Acquired Boyle Arts Festival.

€3000 - 5000

Provenance: Acquired Boyle Arts Festival.

€4000 - 6000

146

161 Donald Teskey RHA b.1956 WAYS TO KILL THE TIME Oil on paper, 16½" x 12" (42 x 30.5cm), signed.

162 Martin Gale RHA, b.1949 STUDY FOR ROOTS UP Acrylic on canvas, 10" x 10" (25.5 x 25.5cm), signed, inscribed & dated 1980 verso.

Provenance Taylor Galleries, Dublin.

Provenance: Acquired Boyle Arts Festival.

€3000 - 5000

€800 - 1200

147

163 John Behan RHA b. 1938 BULL Bronze, 10cm (h) x 17 cm (w). €2000 - 3000

164 Enzo Plazotta 1921-1981 MARE AND FOAL Bronze, ed. 7/9. €2000 - 3000

148

165 Eamon O’Doherty 1939-2011 SAILING BOATS Bronze, 26" high, signed.

T his is the maquette for the Sails Sculpture in Eyre Square, Galway.

€3000 - 5000

166 Patrick O’Reilly, Contemporary G.I. DONKEY Bronze, 22" high (56cm), signed, ed. 1/1.

Inspired by the photo of a World War 2 GI carrying a donkey, possibly kept as a lucky mascot for the troops. €7000 - 9000

149

166A

Patrick O’Reilly, Contemporary PAIN AND BOREDOM Bronze and found object, 43" long (110cm), signed, ed. 1/1 (series).

€2000 - 3000

166B Patrick O’Reilly, Contemporary EMENTHAL TABLE Carved ash, signed, ed 1/1.

167 Jim Flavin 1961-2004 HEAD & SHOULDERS Bronze, 9½" x 6½" x 4½", signed, ed 8/9, foundry stamp.

€1500 - 2500

€1500 - 2000

150

168 Dorothy Cross b.1956 GUINNESS BOTTLE WITH CALF TEET 23cm high.

Provenance: Gift from artist to present owner.

B orn in Cork, Ireland, in 1956, Dorothy Cross’ work ranges from object to opera: working with sculpture, photography and video. The themes of her work have dealt with memory and inheritance, sexuality and desire, and the position of the human in nature.

She represented Ireland at the Venice Biennale in 1993 and the Istanbul Biennial in 1997 with her Udder series.

€600 - 900

169 No Lot

170 Markey Robinson 1918-1999 FIGURES ON THE SHORE Gouache on board, 11½" x 24" (29cm x 61cm), signed.

Provenance: Oriel Gallery, Dublin. €1500 - 2000 151

171 Patrick Hickey HRHA 1927-1998 MID SUMMER FOREST Oil on canvas, 36" x 36" (91.5 x 91.5 cm), signed.

P rovenance: A gift from the artist to the present owner.

Dawson Gallery (label verso).

€1500 - 2000

172 Ciaran Lennon RHA b. 1947 UNTITLED Oil on aluminium panel, 10" x 8¾" (25.5 x 22.5cm).

173 Michael Cullen b.1946 LOVERS Oil on linen, 12" x 15½" (30.5 x 39.5cm), signed, inscribed & dated 1992 verso.

€800 - 1200

€700 - 1000 152

Standard Conditions of Business 1. Definitions In these Conditions, de Veres Art Auctions, who act as auctioneers and agents for the vendor, are called ‘the auctioneers’ (which expression shall be deemed to include their servants and agents) and the representative of de Veres conducting the auction is called ‘The Auctioneer’.

2. Third Party Liability Every person at or on the ‘Auctioneers’ premises or at any premises being used by the Auctioneer at any time shall be deemed to be there entirely at his/her own risk and shall have no claim whatsoever against the Auctioneers or their servants or agents in respect of any accident or incident which may occur nor any injury, damage or loss howsoever arising and whether or not same is the subject of any allegation of negligence.

3. General Whilst the Auctioneers make every effort to ensure the accuracy of their catalogue and the description of any lot: (a) Each lot as set out in the catalogue or as divided or combined with any other lots or lots is sold by the vendor with all faults, imperfections and errors of description. (b) Any claim under any Statute must be received in writing by the Auctioneers within three months of the sale. (c) The Auctioneers shall not be liable for consequential or resultant loss or damage whether sustained by a Vendor or a Purchaser or the owner of any item or their respective servants and agents arising in any circumstances whatsoever and irrespective of any claim made by any party as to negligence or lack of care of the Auctioneers or any part acting on their behalf. (d) Lots marked with † are those which deVeres hold a financial interest in.

4. The Auction (a) The Auctioneer has absolute discretion to divide any lot, to combine any two or more lots or to withdraw any lot or lots from the sale, to refuse bids, regulate bidding or cancel the sale without in any case giving any reason or previous notice. He may bid on behalf of the vendor for all goods which are being offered subject to reserve or at the Auctioneer’s discretion. (b) The highest bidder shall be the buyer except in the case of a dispute. If during the auction the Auctioneer considers that a dispute had arisen.

He has absolute discretion to settle it or to re-offer the lot. The Auctioneer may at his sole discretion determine the advance or bidding or refuse a bid. (c) Each lot is put up for sale subject to any reserve price placed by the vendor. Whether or not there is a reserve price the seller has the right to bid either personally or by any one person (who may be the Auctioneer). (d) All conditions, notices, descriptions, statements and other matters in the catalogue and elsewhere concerning any lot are subject to any statements modifying or affecting the same made by the Auctioneer from the rostrum prior to any bid being accepted for the lot.

5. Recession Notwithstanding any other terms of these Conditions, if within 12 months after the sale, the Auctioneers have received from the buyer any notice in writing that in his view the lot is a deliberate forgery and within twenty-one days after such notification the buyer returns the same to the Auctioneers in the same condition as at the time of sale and by producing evidence, the burden of proof to be upon the buyer satisfies the Auctioneers that considered in the light of the entry in the catalogue the lot is a deliberate forgery, then the sale of the lot will be rescinded and the purchase price of the sale refunded. In the event of a dispute then the matter shall be settled by the President of the Institution of Chartered Surveyors in the Republic of Ireland. Both the buyer and the vendor agree to be bound by the decision .

6. Default The Auctioneers disclaim responsibility for default by - either the buyer or the vendor because they act as Agents for the vendor only and therefore do not pay out to the vendor until payment is received from the buyer.

Instructions given by telephone are accepted at the sender’s risk and must be confirmed in writing forthwith.

7. In the event of a sale by private treaty both the vendor and the buyer agree to be found by these and any Special Conditions of Sale.

8. Retention of Title All goods remain the property of the vendor until paid for in full. The Auctioneers will not assume liability to discharge nett proceeds arising from the sale of goods until those goods have been paid for in full.

VENDOR’S CONDITIONS 9. Instructions All goods delivered to the Auctioneers’ premises will be deemed to be delivered for sale by auction and will be catalogued and sold at the discretion of the Auctioneer and accepted by them subject to all the Sale Conditions. By delivering the goods to the Auctioneers for inclusion in their auction sales the vendor acknowledges that he or she has accepted and agreed to be bound by all these Conditions.

10. Collection and Deliveries The Auctioneers do not normally undertake the packing, collection or delivery of goods but will if requested use their best endeavors as Agent of the Owner to arrange for an independent contractor on the owner’s behalf to deal with packing, collection and/or delivery. The Auctioneer will not in any event arrange insurance of the goods and will accordingly not be liable for any loss or damage to goods howsoever arising including breakages or for any damage to premises, fixtures or fittings therein caused by such contractor or otherwise and the owner is responsive for all arrangements to verify that any such contractor and the goods is/are appropriately insured. Unless instructions are received to the contrary, charges (including VAT) for such services will be charged to the vendor’s account or discharged through the Auctioneers by the purchaser as the case may be. The Auctioneers’ liability (if any) will rise only where they themselves carry out packing and collection/delivery and only in the case of breakage or loss caused through deliberate negligence of their employees and in any event in one single contract and the Auctioneers’ liability will not exceed £500. Provided further than the Auctioneers will not be liable for consequential loss in any circumstances whatsoever.

11. Loss or Damage and Storage The Auctioneers reserve the right to store or arrange for the storage of goods held by them or delivered to them either on their own premises or elsewhere at their sole discretion and entirely at the owner’s risk. The Auctioneers shall not be liable for any loss (including consequential loss) howsoever caused of damage to goods of any kind including breakages, or for unauthorised removal of goods. Should the owner of goods so wish it will be his/her goods while they are in the possession of the Auctioneers.

12. Right to Re-sell The Auctioneer reserves the right to re-sell any item which has not been collected within thirty days of purchase.

13. 3% commission due to saleroom.com 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. 25% incl. VAT will be added to the hammer price for each lot.

2. All accounts must be discharged by certified cheque, bank draft or cash.

3. The responsibility for items purchased passes to the purchaser on the fall of the hammer.

4. The Auctioneers reserve the right to look for 25% deposit on all goods.

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

153

B Ballagh, R 71-86 Behan, J 163 Belton, L 14, 122 Bewick, P 23, 102 Bourke, B 24, 53 Blackshaw, B 27,88,90,101 Brady 46,131,158 C Campbell, G 5,6 Castle, B 120, 121, 137 Chung, E 106,124 Cooke, B 44,49,104,105 Collins, P 36,151 Collis, P 1,13 Conor, W 154 Clarke, C 15 Craig, J.H 94 Cross, D 168 Crozier W, 17,123 Cullen, M 40 Curling, P 66,67,68 D Dillon, G Doherty, J

89,153 30

E Egan, F 107,125,127 Farrell, M 39,152 Flanangan, T.P 7 Flavin, J 167 G Gale, M 25, 42,162 Gillespie, G 4 Glenavy, B 98 Godbold, D 109,109A Graham, P 48 Guinness, M 142

L Lamb, C 3 LeBrocquy, L 10,28,47,64 LeBrocquy, M 110-119 Lurcat, J 148 M Magill, E 70 Maguire, B 38 Maguire, C 103 McAuley, C 51,143,145 McKelvey, F 2 McGuinness, N 144,147 McSweeney, S 26 Miller, N 54 O O’Casey, B 138 O’Doherty, E 165 O’Donoghue, H 33,43 O’Neill, L 133,135 O’Malley T, 20,21,37,45,50 P Plazotta, E 164 Reid, N 22 Robinson, M 130,132,170 Russell, G 92 S Scott, P 32, 55-62 Scully, S 34,69 Shawcross, N 128,141 Shinnors, J 35,100,159,160 Smith, B 156 Souter, C 11,139 Stuart, I 169 Swanzy, M 19,149,150 Swift, P 12

H Harris, P 41 Hanlon, Fr. J 129,140 Hamilton, L.M 95 Henry, O 157 Hone, E 146 Hone, N 96,97 Hickey, P 171

T Taggart, E Teskey, D Tyrell, C

99 16,29,161 51

V Vallely, J.B

8,9,87

J Johnson, N

W Webb, K Wilson, K Whelan. L Yeats, J.B

134 126 31 91,93

K Keown, M.T

18,155 52

Cover illustrations Front cover: Lot 34, Sean Scully, 1.6.92 Inside front cover: Lot 74, Robert Ballagh, MAN AND A TOM WESSELMAN Inside back cover: Lot 31, Leo Whelan, WAITING Back cover: Lot 91, Jack Butler Yeats, CABALLERO (1949)

ART AUCTIONEERS & VALUERS

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