Irish & International Art Auction

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IRISH ART AUCTION Tuesday 20th November



Tuesday 20th November at 6pm


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


at de Veres, 35 Kildare Street, D2

Thursday 15th November Friday 16th November Saturday 17th November Sunday 18th November Monday 19th November Tuesday 20th November


01 6768300

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

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

John de Vere White

Rory Guthrie

Aisling Tรณth

de Veres 35 Kildare Street, Dublin 2 01 676 8300 deveresArtAuctions


Live Bidding available at: 1

To Include the Collection of Rosemarie and Sean Mulcahy

Lot 86 Jack Butler Yeats RHA 1871-1956, SEEK TOMMY THE WINNER Front cover: Lot 48 Roderic O’Conor 1960-1940, BRETON GIRL READING Inside front cover: Lot 26 Louis le Brocquy HRHA 1916-2012, ALLEGORY Back cover: Lot 50 Jack Butler Yeats RHA 1871-1957, THE PUBLIC LETTER WRITER


1 Tony O’Malley HRHA 1913-2003 AUTUMN MARKS Oil on board, 16½" x 11" (47 x 28cm), signed, inscribed & dated 1970, Opus No. 200.

€3000 - 5000


2 Norah McGuinness HRHA 1901-1980 DUBLIN DOCKS Gouache, 15" x 25" (38 x 56cm), signed.

€1000 - 1500

3 Hilda Van Stockum 1908-2006 JUG WITH THREE PEARS Oil on board, 17" x 21½" (43 x 55cm), signed; signed & dated 1987 verso.

Provenance: Tom Caldwell Gallery (label verso).

€1000 - 1500 4

4 Harry Kernoff RHA 1900-1974 ARAN MAN (Liam O’Flaherty) Oil on board 19½" x 15" (50 x 38cm), signed & dated 1936, inscribed verso. In 1924 author Liam O’Flaherty and his brother Tom founded the short-lived Radical Club, known for its “anti-W.B. Yeats” denouements. The painter Cecil Ffrench Salkeld (future father-in-law of Brendan Behan) was also a member, and it was possibly he who arranged the subsidiary Radical Painters’ Group, with which Kernoff exhibited in 1926. It was therefore likely through Salkeld that artist and sitter first met. Kernoff is known to have painted several portraits of O’Flaherty, exhibiting such in 1929, 1931, 1933, and again in the 1963 Oireachtas exhibition.

€3000 - 5000 5

5 Mary Swanzy HRHA 1882-1978 CUBIST LANDSCAPE Oil on canvas, 17" x 21" (43 x 53.5 cm). At a time when Ireland was steeped in conservatism, especially in the visual arts, Dublin-born Mary Swanzy travelled widely, absorbing modernist ideas that placed her at the forefront of the Irish avant garde. She studied in Paris at the point where Cubism was beginning to make its mark but she identified more strongly with a later generation of artists, spearheaded by Delaunay around 1912, who gave more emphasis to colour and light. In fact, as early as 1914 Swanzy exhibited along with Delaunay and other modernists at the Salon des Independants. In the late 1920s and early ’30s Swanzy moved from a crisp cubist style based on overlapping geometric arcs to a softer, more lyrical approach. Cubist Landscape is from this period, when the artist was drawn to the Provencal landscapes and villages of the South of France. She infuses the scene with a sense of gentleness and well-being by softening the colours found in nature and by converting straight lines into curves. The houses are huddled together, twisting and turning in a delicate dance. The arcs and swirls of the paths and the foliage reinforce the exuberance and rhythmic lyricism that is so loved in her work of this period. Frances Ruane HRHA

â‚Ź8000 - 12000


6 Mary Swanzy HRHA 1882-1978 THE WINDING ROAD Oil on board, 10" x 14" (25.5 x 35.5cm), signed; another incomplete painting verso.

Provenance: Peppercanister Gallery, Dublin (label verso).

â‚Ź5000 - 7000


7 William John Leech, 1881-1968 LONDON ARCHES Oil on board, 13½" x 17½" (34 x 44.5cm), signed, inscribed verso.

€7000 - 10000


8 William John Leech RHA 1881-1968 THE BLUE NETS CONCARNEAU Oil on board, 8¼" x 12½" (21 x 30.5cm) signed & inscribed verso.

€7000 - 10000


9 Letitia Marion Hamilton RHA 1878-1964 THE WARD UNION POINT TO POINT Oil on canvas, 20" x 24" (51 x 61cm), signed.

Exhibited: Most probably exhibited RHA 1946 No. 203 (£60).

Although Letitia Hamilton studied under Orpen, her loose handling of paint and distinctive use of thick impasto align her more closely to Roderic O’Conor and to French artists like Dufy. Her subjects, which occasionally included polo matches and hunt scenes, offer glimpses into aspects of country life that were often overlooked by other Irish artists. The ‘Ward Union Point to Point’ is one of these, focussing on the lively social aspect of the event. Hamilton is interested in capturing the atmosphere, the movement, the hubbub, giving an overall ‘impression’ rather than a tightly painted description. The artist also wanted to make the surfaces of her paintings a rich tapestry of texture and colour. Her paint has a juicy, luscious feel, which is particularly evident in the sky. Hamilton has also enlivened the composition by punctuating the surface with spots of brilliant colour, particularly the bright blue used in several areas, the red jackets of the riders and some patches of yellow. The effect is spontaneous, lively and vibrant. Frances Ruane HRHA

€14000 -18000


10 Letitia Marion Hamilton RHA, 1878-1964 PORTUGAL BOATS Oil on board, 8" x 10" (20 x 25.5cm) signed with initials. Provenance: Jorgensen Fine Art, Dublin (label verso). Exhibited: The RHA, Dublin 1946 (no. 203).

€4000 - 6000

11 Stephen McKenna PPRHA 1939-2017 TUSCAN LANDSCAPE Oil on board, 12" x 18" (30.5 x 46cm), signed; signed & dated 1995 verso.

€800 - 1200


12 Nano Reid 1900-1981 CARD PLAYERS Oil on board, 24" x 48" (61 x 122cm), signed, exhibition labels verso.

Provenance: Whytes Irish Art Auction, 26/4/2005 (lot 32); Private Collection, Dublin.

Exhibited: ‘Nano Reid’, Dawson Gallery, 14-28 July 1966, catalogue no.12; Irish Dutch Exhibition, Dublin, 1968; ‘Nano Reid Retrospective’, Hugh Lane Municipal Gallery of Modern Art, Dublin, and the Ulster Museum, Belfast, November 1974 - February 1975, catalogue no. 81 (lent by the Dawson Gallery); ’Figurative Image’ (group show), Bank of Ireland Exhibition Hall, Dublin, 21 September – 1 October 1982, catalogue no. 51. This was one of three works painted by Nano Reid in 1965-66 on the subject of Ireland’s pub culture. All three were originally exhibited in her 1966 solo show at the Dawson Gallery. The second work, titled ‘Drinking Card Players’ (28 x 24 inches), was included in a retrospective exhibition held in Drogheda in 1991, whilst the third work is the well-known ‘Ballads in the Bar’ (24 x 30 inches), now in the collection of the Arts Council of Ireland / An Chomhairle Ealaíon. Reid had first-hand knowledge of bar-life, as her father Thomas Reid ran a well-known public-house in Drogheda. ‘Card Players’ was last exhibited in 1982 alongside works by the Figurative Image Group, of which Nano Reid had been a founding member.

€12000 - 18000


12A Nano Reid 1900-1981 OLD TOWN ON THE RIVER Oil on board, 24" x 20" (61 x 51cm), signed. Provenance: The Dawson Gallery, Dublin (label verso); Howard Robinson Esq.; Private Collection, Dublin. Exhibited: Nano Reid Retrospective, Municipal Gallery, Dublin, Ulster Museum, Belfast, 1974/1975 Cat. No. 44 (label verso). €5000 - 7000

13 Nano Reid 1900-1981 MAN OF BLACKSOD Oil on canvas, 20" x 16" (51 X 41cm), signed, inscribed label verso. €2000 - 4000

14 Nano Reid 1900 - 1981 ANCIENT CAVE Oil on board, 24" x 30" (61 x 76cm), signed.

Provenance: Dawson Gallery (label verso).

€4000 - 6000 13

15 Tony O’Malley HRHA 1913-2003 ISLAND LIGHT – ISLA DE GRACIOSA Oil on board, 48" x 36" (122 x 92cm), signed, inscribed verso, Opus No. 1952.

Provenance: Taylor Galleries, Dublin (label verso).

In the late 1980s Tony O’Malley and his wife Jane began spending part of each winter in Lanzarote, where this picture was painted. The more sombre tones of his Irish paintings have given way to a warmer palette, a celebration of his sunlit surroundings. O’Malley’s paintings have a strong ‘sense of place’ and he responds to a location with all his senses. The title of this painting reinforces the artist’s preoccupation with light, which is a dominant theme in his work. However, by using vertical panels O’Malley creates bands of light that shift and change at a whim, like the weather. He hints at light reflecting off water, bouncing off sand, penetrating the rain, glimpsed through a curtain… revealing itself differently at every turn. An O’Malley painting is a sensory experience and ‘Island Light’ conveys more than the visual. The surface of the board is deliberately scored, scraped and scratched to enhance its tactile quality, also making the viewer is more conscious of the physical act of painting. The artist also conjures up the sound and feel of water and wind—the vertical blue-green panels flow like fast running water over the surface, while thin lines seem to blow like grass in the wind. The overall feeling is of movement and vitality. There is a sense of internal harmony in O’Malley’s work which he achieves by subtle repetition of shapes. The painting is made up of a series of vertical columns but, while most of them have an ephemeral transparency, the artist includes a reedy totemic vertical in the centre to boldly anchor the composition. He also softens the composition by repeating sinuous curves that force the eye to wander through the painting, over and under the columns. Fluidity is the key to this work: light, water, wind and sand. O’Malley has distilled some of his immediate sensations of ‘Isla de Graciosa’ into a concise abstract composition. Frances Ruane HRHA

€14000 - 18000



16 Tony O’Malley HRHA 1913-2003 POND IN SPRING, MAY 1994 Oil on canvas, 60" x 36" (152 x 91cm) signed with initials; signed, inscribed & dated 1994 verso, opus no. 2935.

Provenance: Whytes Irish Art, September (lot 67) 2006; Private Collection, Dublin.

€20000 - 30000 16

17 Robert Ballagh b1943 WOMAN LOOKING AT A MARK ROTHKO Acrylic on six canvases, each 24" x 24" (61 x 61cm) overall, 72" x 48" (183 x 122cm).

€10000 - 15000


18 John Shinnors b1950 THE KITE FROM THE ISLE OF MAN Oil on canvas, 32" x 38" (82 x 96cm) signed; inscribed letter verso.

Provenance: Private Collection, Wexford.

Kites are among the motifs that reoccur again and again in Shinnors’ work. These motifs are not depicted realistically but act as visual triggers, isolated fragments of the observed world that lead the artist into abstract territory. On one level we may be tempted to identify the red diamond as a kite suspended above a green field, its shape echoed in the black rooftop and white gable of the adjacent house. However, this interpretation is too simple. Shinnors wants the painting itself to take over, so that we stop seeing the literal and become taken up with the drama and interplay of colour, texture and abstract shapes. He takes something familiar and plays with it so that the viewer encounters the ordinary in a refreshingly new and visually engaging way. Frances Ruane HRHA

â‚Ź20000 - 30000


19 John Shinnors b1950 MORNING DANCE Oil on canvas, 22" x 30" (56 x 76cm) signed; signed & inscribed verso.

Provenance: Private Collection, Wexford.

This painting was probably painted around 1987, during a transitional period between realism and Shinnor’s later abstract style. Works completed around this time, like ‘Morning Dance’, have a haunting, surrealistic presence which is intensified by extreme contrasts of light and dark. The subject is intriguingly ambiguous – a masked woman led in an awkward dance by her mysterious partners. There is an obvious sense of physical and psychological disconnection, the dancers moving in opposition to each other. There’s no eye contact between them nor with us, the onlookers. A range of velvety blacks and greys are electrified by a red ribbon detail on the woman’s dress, a ribbon that seems to come alive as it wraps itself around the figures. Finally, the scene is set in a stark, forbidding landscape reinforcing the painting’s theatricality and its undeniable emotional intensity. Frances Ruane HRHA

€14000 - 18000


20 William Scott CBE RA 1913-1989 UNTITLED (1959) Gouache, 11½" x 15¼" (29 x 39cm), signed & dated 1959, archive No 2345 (letter attached).

Provenance: Victor Waddington Gallery, London (label verso).

Produced during a period of intense change in Scott’s output, ‘Untitled, 1959’ is one of a body of work that mark his transition from figurative or figuratively referenced work to a more complete abstraction which would determine much of his future oeuvre.

€25000 - 35000


21 Hughie O’Donoghue b1953 ANZIO, THE OVERPASS III Oil & mixed media, 44½" x 65¾" (113.5 x 167cm), signed & inscribed; inscribed label verso.

Provenance: Purdy Hicks Gallery, London; Private Collection, Dublin.

€20000 - 30000


22 William Crozier HRHA 1930-2011 THE ROAD TO THE STRAND Oil on canvas, 45½" x 47¼" ( 115.5 x 122cm), signed; signed verso.

Provenance: Aiken Dott, Edinburgh (label verso).

Scottish born Bill Crozier first fell in love with West Cork in the 1950s, creating a home and studio near Skibbereen in 1983. The following decade produced some of the most memorable paintings of his career, works that capture the excitement of being surrounded by that powerful landscape. ‘Road to the Strand’, painted in 1989, has the emotional intensity that we associate with Crozier. He was never interested in a literal description of a scene, which he felt was limited. One can see how in paintings like this one Crozier encapsulates the totality of his experience at a particular fleeting moment – the seeing plus the feeling. Crozier loved music and, whether Mahler or Gershwin, it was constantly in the background when he was working. In ‘Road to the Strand’ one can detect the musicality in his work, its sweeping shapes are the strong melodic theme, while smaller repetitive lines, dots and dashes are like visual chords and pulsating beats. He orchestrated daring colours, making them ‘work’ against all odds so that the effect is electric. This artist has an immediately recognisable style. Bold personal colour harmonies that are full of surprises. Dramatic light. Luscious paint that’s dragged, swept, daubed and floated on the surface in varied thickness so that the colours underneath are allowed to peek through. Crozier is an artist who understands the sensuous potential of his material. Paintings like this one draw on the familiar – a Cork landscape that could be reduced to cliché at the drop of a hat. But what you find here is a challenging composition that re-invents traditional forms of landscape. It takes us by surprise, starting from the familiar and making it fresh, exploring that intriguing space between representation and abstraction. Frances Ruane, HRHA

€20000 - 30000



23 Michael Mulcahy b1952 TWO TREES UNDER THE MOONLIGHT Oil on canvas, 33" x 43" (91.5 x 109cm), inscribed verso.

€1400 - 1800

24 Michael Mulcahy b1952 CH’UKSOAM I Oil and acrylic on canvas, 30" x 36" (76 x 91.5cm), signed; signed verso.

Provenance: Taylor Galleries, Dublin (label verso).

€1000 - 1500 24

25 Charles Tyrrell b1950 SHADOWLINES VI Oil on canvas laid on board, 48" x 48" (122 x 122cm), signed; inscribed & dated 1998 verso.

€5000 - 7000


26 Louis le Brocquy HRHA 1916-2012 ALLEGORY Aubusson tapestry by Renee Duche, 1991, 73" x 88" (186 x 225cm), ed.1/9, attached label verso. Le Brocquy designed his first tapestries in 1948, leading a few years later to a magnificent series of works woven in collaboration with the Tabard workshop in Aubusson, France. Around this time the artist was preoccupied with the theme of the family, using it as a subject in several major paintings, including ‘A Family’ (1951), now in the National Gallery of Ireland. While these paintings reflect a sombre, austere post-war mood, ‘Allegory’ shows how le Brocquy chose the medium of tapestry to celebrate the family with exuberant merriment. The artist understood that this medium required a bold approach that reduced forms to flat graphic shapes. For this, he found inspiration in Picasso, giving a nod to him by using the distinctive harlequin pattern in the man’s shirt. Picasso may have been the starting point, but le Brocquy takes control – ‘Allegory’ uses pattern and organic curvilinear shapes in a way that is distinctly his. The flat grey geometric shapes that suggest an enclosure are a foil for the flowing curves of the two main figures and the small child on the left. This flowing rhythmic movement is echoed throughout the composition, culminating in the outstretched arms of the father. The mood of the entire design is distinctly playful, especially in le Brocquy’s use of linear patterns. The zebra-like seating is bold, but notice how similar patterns reappear in details like the hair on the man’s head and chest. The artist also cleverly repeats circles so that they seem to bounce like balls around the composition. The overall effect is upbeat and joyous. The 1950 version of ‘Allegory’ had warmer tones, the golden browns and maroons we associate with 1950s design. The artist had long been interested in the emotional power of colour and the dramatic transformation of mood that would result from inverting colour and tone – that is, transposing every colour into its opposite equivalent on the colour wheel; converting light to equivalent dark; dark to light. In the 1990s he produced colour-inverted versions of his earlier tapestries, infusing this newer Allegory with an airy freshness that sits well with the contemporary eye.

Frances Ruane HRHA €50000 - 70000



27 Louis le Brocquy HRHA 1916-2012 CHUCHULAINN VII Aubusson tapestry by Renee Duche, 71" x 71" (180 x 180cm), ed.1/9, signed, inscribed label verso. The theme of the Táin, the early Irish epic translated by the poet Thomas Kinsella in 1969 and for which le Brocquy was commissioned to provide the accompanying black brush drawings, inspired in the artist a fresh surge of creativity in the realm of tapestry. The word ‘Táin’ means ‘hosting’ or gathering of a large crowd for a raid and provided the theme for a number of tapestries designed by the artist. The surface of the tapestry is covered in irregular, oval heads, all with minute irregular ‘features’ and all facing the spectator. Each head exists as a single entity and does not relate to its neighbour. There is no order, no ranking, yet some inherent, instinctive force holds them together. In 1970 P.J. Carroll and Co. through their architects Scott Tallon Walker commissioned the first Táin tapestry from le Brocquy for the foyer of their Dundalk factory. ‘’In this tapestry I have tried to produce a sort of group or mass emergence of human presence, features uncertain – merely shadowed blobs or patches – but vaguely analogous perhaps in terms of woven colour to be weathered, enduring stone boss-heads of Clonfert or Entremont – or of Dysert O’Dea…” “each individual head is conscious only of the viewer vertically facing it. This is the secret of their mass regard. Each head is self-contained, finally a lump of presence. No exchange or incident takes place between their multiplied features’’. All of the Táin tapestries were woven in Aubusson, and in them the artist contrived a masterly conjunction between the narrative content of the epic, his own and the ancient Celtic concern of the head image and the visual architectural demands of a large modern wall hanging.’

€40000 - €60000 28

28 Patrick Scott HRHA 1921-2014 GOLD PAINTING 3/79 Gold leaf and tempera on unprimed canvas 48" x 48" (122 x 122cm), signed, inscribed & dated 1989 label verso.

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

€ 10000 - 15000


29 Charles Brady HRHA 1926-1997 BRIE Oil on canvas, 12" x 16" (30.5 x 40.5cm) signed.

Provenance: Taylor Galleries, Dublin (label verso).

€2000 - 3000

30 Peter Collis RHA 1929-2012 STILL LIFE ON A WHITE TABLECLOTH Oil on canvas, 30" x 37" (76 x 94cm), signed.

€3000 - 5000 30

31 William Crozier HRHA 1930-2011 PLANT ROOM Oil on canvas, 7½" x 9½" (19 x 24cm), signed & inscribed verso.

€2500 - 3500

32 Peter Collis RHA 1929-2012 GLENDALOUGH Oil on board, 32" x 36" (82 x 92cm), signed.

€3000 - 5000 31

33 Patrick O’Reilly b1957 BEAR WITH MANDOLIN AND EGG & SPOON Bronze, 15" (38.5cm) high, unique.

€4000 - 6000

34 Stephen Lawlor b1958 THREE HORSES Bronze, 5½" x 5½" (14 x 14cm) & smaller, each signed, edition 1/9.

€1200 - 1800


35 Peter Curling b1955 THE HOME TURN, LIMERICK JUNCTION Oil on canvas, 40" x 60" (102 x 152.5cm), signed; inscribed verso. This is a large atmospheric painting that I did of my local track at Limerick Junction, (now known as Tipperary racecourse). Although the painting is titled ‘The Home Turn, Limerick Junction’ it is early on in the race, the horses are all travelling well and they probably have another circuit to go. It is a very level track and horses come round the bend easily. It is an exciting spectacle to watch as they approach, closely grouped, as one, the noise of the galloping horses and the divots flying…

The spire of the church at Donohill can be seen in the background.

Peter Curling, October 2018

€20000 - 30000


36 Hughie O’Donoghue b1953 RETURN OF ULYSSES Oil & mixed media on wood, 18" x 29" (46 x 74cm) signed & dated 2007.

Provenance: Gallerie Michael Janssen, Berlin (label verso).

€8000 - 12000 37 Stephen Lawlor b1958 WHISPER Oil on paper, 22½" x 30" (57 x 76cm), signed & dated 2009.


€800 - 1200

38 Barrie Cooke HRHA 1931-2014 BODY PARTS Gouache, 16½" x 14½" (42 x 37cm), signed, inscribed & dated 1970. Provenance: Peppercanister Gallery, Dublin (label verso).

€2500 - 3500

39 Patrick Collins HRHA 1910-1984 ISLAND Oil on canvas (cut-out), 25" x 27" (63.5 x 69cm), signed & dated 1986.

€2000 - 4000


40 George Campbell RHA 1917-1979 MOZART QUARTET Oil on board, 30" x 36" (76 x 92cm), signed, inscribed verso.

Provenance: David Hendriks Gallery, Dublin (label verso); Private Collection.

Music played a central role in George Campbell’s life and in his work. He was passionately interested in flamenco music and a keen guitarist himself, while his circle of friends included a number of musicians. It frequently occurred as a subject within his painting, from depictions of orchestras, smaller groups or individual performers to images of Beethoven, and became both a literal and a metaphorical presence. Many of these works are concerned with the idea of performance and the present painting emphasises the transformative relationship between performer and music, addressing the question of how abstract rhythms and visual dynamics can evoke this particular experience within a defined image. Despite the distinct treatment of the musicians and their instruments, the artist has brought them together as a visual unit through the broad circle of darker tones that separates them from the predominantly light background. Their individuality is almost lost as the drama of the music and the performance becomes dominant. A strong light from the upper right corner throws the musicians into shadow while illuminating their instruments. The significance of performance is at the heart of the Spanish idea of duende, which is strongly connected to flamenco and therefore likely to have been of interest to Campbell. The contrast of darkness with light in the present painting is a notable aspect of duende, with its sense of the work of art, and its performance, as a battle between two powerful extremes. This duality is also expressed in the artist’s analysis of form within the painting, at times building up passages of semi-structured geometric shapes across both the performers and the space around them, recalling Campbell’s interest in Cubism, while also using broader sweeps of paint and delicate touches of descriptive detail and heightened colour.

Dickon Hall, October 2018 €10000 - 15000



41 George Campbell RHA 1917-1979 STILL LIFE WITH MELON PEELS Oil on board, 25" x 30" (64 x 76cm), signed, inscribed verso.

€4000 - 6000


42 George Campbell RHA 1917-1979 STILL LIFE WITH POT AND SEA SHELLS Oil on board, 25" x 30" (64 x 76cm), signed, inscribed verso.

€4000 - 6000


43 Colin Middleton MBE RHA RUA 1910-1983 EAST WIND (1948) Oil on canvas, 24" x 24" (61 x 61cm), signed; signed, inscribed & dated February 1948 verso. Exhibited: ‘Colin Middleton: Paintings 1942-49’, Victor Waddington Gallery, Dublin, February-March 1949, catalogue number 6; ‘Colin Middleton’, Ulster Museum, Belfast, and Hugh Lane Municipal Gallery, 1976, catalogue number 25.

‘ East Wind’ was painted during the year that Colin Middleton spent with his family at the community farm in Norfolk run by the English writer John Middleton Murry. Aged thirty-seven, recently re-married and with a young family, Middleton was determined to break away from Belfast and his career as a damask designer and to try to establish himself as a painter, but within months of arriving at Thelnetham in June 1947 illness and disillusion convinced them to return to Belfast, which they did in May 1948.

Having struggled to paint throughout the previous year, Middleton seems to have found new energy and direction in January 1948, partly inspired by an exhibition of Indian art in London. The treatment of the female form particularly impressed him and this influence is clear in ‘East Wind’; the female archetype was central to Middleton throughout his career. Although this year saw the emergence of the expressionist style that was to dominate the next twelve years of Middleton’s art, the four paintings completed in January and February are balanced between this next stage and the technique and symbolism of his earlier work. He referred to these four paintings as symbolist and mystical, but was also beginning to search for a more intuitive and directly emotional manner of working. ‘East Wind’ demonstrates Middleton’s exceptional draughtsmanship and technical skill. He described these canvases of early 1948 as ‘tightly painted’; this ‘calligraphic’ style that dominated his early work was often associated with his design background and it is notable that Middleton treats fabric with such delicacy and detail here. The physical ambiguity and metamorphosis between objects that was also a hallmark of these wartime paintings recurs here in the fabric around the lower figure’s legs which seems to transform into steps. She is gazing at an object suggesting a sundial on a stone pillar or even an opened book. While the title of the present painting might be a reference to Hans Christian Andersen’s ‘The Garden of Paradise’, as Middleton had mentioned Andersen in earlier writing, it is also possible that it is a Biblical reference. Immediately after ‘East Wind’ Middleton embarked on a painting entitled ‘Elijah’, and references to both Old and New Testament occurred frequently in his work throughout the next decade. Some months after his return to Belfast Middleton agreed to become one of Victor Waddington’s contracted artists, and this painting was included in his first exhibition in Waddington’s Dublin gallery.

Dickon Hall, October 2018 €12000 - 16000



44 Daniel O’Neill 1920-1974 SOLITUDE Oil on board, 18" x 24" (46 x 61cm), signed, inscribed verso.

€7000 - 10000


45 Daniel O’Neill 1920-1974 CHOOSING FLOWERS Oil on board, 16" x 20" (41 x 51cm), signed, inscribed verso.

€6000 - 9000


46 Gerard Dillon 1916-1971 THE VILLAGE CHURCH Oil on board, 18" x 22" (46 x 56cm), signed.

Provenance: Jorgensen Fine Art, Dublin (label verso); Private Collection.

Gerard Dillon was the eighth and youngest child of Joseph and Annie Dillon from the Falls area of Belfast. In 1934, he moved to London so he could be free to explore his sexual identity and to escape the social and religious conservatism of Belfast. At the outbreak of War, Dillon was on holiday in the West of Ireland. Travel restrictions between England and neutral Ireland forced him to stay at home, but he viewed the time as an opportunity to launch his career as a painter. In 1942, he held his first solo exhibition at the Country shop in Dublin. Several works in the exhibition contained a Christian theme and despite turning his back on the Catholic Church his interest in religious subject continued throughout his life. Executed in 1947, ‘The Village Church’ is closely linked to another painting from the same period, ‘Hannahstown Churchyard’. Their style and the use of an optical trick to attract the viewer into the composition indicate Dillon’s eagerness during this period to experiment with painting techniques and in addition both scenes show the influence of the figurative naïve painter, Christopher Wood (1901-1930). ‘The Village Church’ can be identified as St. Joseph’s church known today as Hannahstown Parish. Originally erected in 1797 ‘The Village Church’ lies to the west of Belfast in County Antrim in Northern Ireland. The title of the work may be an old reference to the original crypt which acted as a school for the local village. In the foreground a female figure is seated on a grassy bank by the back entrance to the church. Another female figure in a dark shawl has stopped at a red gate to converse with the women resting. The small dwellings beyond the graveyard on the right allude to the linen industry when long ago the surrounding districts drew many families to reside in the countryside around Hannahastown. In the distance, a priest stands close to the front of the church which is hidden from our view. In 1945, Dillon returned to London to carry out emergency repairs on bombed buildings in London. His subject matter in group exhibitions in London and Dublin indicate sketching holidays to Aran, Belfast, and the surrounding area of County Down when he stayed with his close friend Belfast artist Daniel O’Neill in Conlig, Co. Down. His holidays in Ireland usually took place around the opening of the Irish Exhibition of Living Art in Dublin and this work was most likely executed at this time. In 1939-40 Dillon painted another view ‘Hannahstown’ depicting the back entrance of St. Joseph’s. It is unusual for Dillon to execute a subject more than once so it is curious in this instance that he chose this church and graveyard to do so. This scene and other similar works by Christopher Wood may be a clue to the reason. From 1946 Dillon was exhibiting in summer exhibitions in London at the Redfern gallery with many artists including Christopher Wood. Like Dillon, Wood was selftaught and his style was idiosyncratic. Dillon may have initially seen Wood’s paintings in London in the late 1930’s at the Redfern gallery or on his return to the city in 1945 at Wood’s solo exhibition at the Redfern Gallery in 1947. In 1950 Dillon wrote a letter to the writer, Bernard Smith who was due to write an article on him in the Envoy magazine, ‘Christopher Wood’s work I’ve always liked but have never been consciously influenced by him but I expect had he been alive we would not have got on well together as we’d be too much alike in character…’ Dillon’s acknowledgment that he was like Wood helps us revisit Wood’s childlike directness to his religious subjects at the end of his career. In 1930 Christopher Wood spent several weeks at a fishing community in Tréboul in Brittany, where he explored religious symbolism and the fishing community’s primitive Celtic identity. Wood also executed a number of religious buildings which included the exterior façade of the church of St Joseph in Tréboul, ‘Tréboul Church,’ (Tate Britain) and ‘Tréboul’ (Private Collection). The brickwork, grey tones and spire on St. Joseph’s in Tréboul are similar in appearance to ‘The Village Church’. In another religious composition, ‘The Sacrament, Ploaré,’ Wood employs an optical trick used by Dillon in both his graveyard scenes by depicting figures in ecclesiastical red robes on a brick wall to draw the viewer into the composition.

Karen Reihill, October 2018 €15000 - €20000



47 Jack Butler Yeats RHA 1871-1957 RACING ON THE STRAND (1912) Oil on panel, 9½" x 14" (24 x 35.5cm), signed. Provenance: Mrs Mima de Manziarly, purchased at the 1913 exhibition; presented to the Chicago Art Institute, 1927; Anon sale: Parke-Bernet 2 March 1944, lot 2, purchased by J. Acampora Anon; sale: Christie’s 8 June 1979, lot 111, (illustrated and incorrectly titled ‘Man Galloping by the Shore’); thence to the previous owner. Exhibited: London, Walker Gallery, P’ictures of Life in the West of Ireland’, 1912, no.38; New York, Armory, International Exhibition of Modern Art, 1913 (not numbered).

Literature: Hilary Pyles ‘Catalogue Raisonne of the oil paintings of Jack Yeats’, Cat. No.35.

The strand race is an important subject in Yeats’s earliest depictions of Irish life. One of his first paintings, a watercolour, ‘Strand Races, West of Ireland’, was exhibited at the RHA in 1895. This heralded Yeats’s move into Irish subject matter and his future as a major artist of modern Ireland. ‘Racing on the Strand’ is an early version of the subject in oils, a medium that Yeats began to fully exploit from about 1910 onwards. This small oil on board work depicts a young man on horseback racing along the shoreline. His dark hair and prominent features recall those of the celebrated Sligo jockey, John Muldoon, who appears in several of Yeats’s paintings. The work was included in the famous Armory Show in New York and Chicago in 1913. This major exhibition brought modernist art from Europe to the American public, resulting in much controversy. Several of Yeats’s paintings were included, largely thanks to the Irish American lawyer and collector, John Quinn. ‘Racing on the Strand’ was acquired at the exhibition by Mima De Manziarly, an important collector of modern art. She later presented the work along with others to the Chicago Art Institute. Painted in thick oil paint, the jockey stares out at the viewer. He is silhouetted against the three horizontal bands of sand, sea and pink sky. He holds the reins of his steed which rears its large noble head as it speeds forward. The body and legs of the horse are tense with the excitement and physical demands of the race. In the simplicity of his uncovered head and stripy jumper the young man evokes the heroism and candour of life in the West of Ireland, a revelatory image of the region when the work was made and exhibited.

€70000 - 100000



48 Roderic O’Conor 1960-1940 BRETON GIRL READING Oil on canvas, 25½" x 21¼" (65 x 54cm), artist’s stamp verso. Provenance: Hôtel Drouot, Paris, Vente O’Conor, 7 February 1956; sold Sotheby’s 23rd May 2013, Lot No. 73. Exhibited: Musée de Pont-Aven, Roderic O’Conor, L’oeuvre gravé, 20 March - 20 June 1999; Musée de Pont-Aven, Peintres Irlandais en Bretagne, 26 June - 27 September 1999, no.32. Literature: Jonathan Benington, Roderic O’Conor, a Biography with a Catalogue of his Work, 1992, p.203, no.108 (as ‘Girl wearing Pont-Aven Head-dress’). The evolution of the subject of the female Breton peasant in O’Conor’s art spans at least a dozen years and includes drawings and etchings as well as paintings. The placing of the present work in that series was previously thought to have occurred towards the end of the artist’s Breton sojourn. Whilst the interior setting, the model’s contemplative pose and her close proximity to the picture plane are features consistent with the cluster of Breton portraits O’Conor painted during 1902-04, the fact that she is depicted in full profile with eyes averted, head bowed, sets the present work apart. The canvas also lacks the earthen tones and the close attention to detail of the 1902-03 portraits, favouring instead a presentation characterised by an uncluttered composition and broadly massed areas painted in red, blue and yellow (the ochrous skin tones may allude to Gauguin’s Tahitian portraits, three of which belonged to O’Conor). This emphasis on large expanses of primary colours, relieved by patches of white, is also a feature of O’Conor’s Breton seascapes of the late 1890s, suggesting that ‘Breton Girl Reading’ should be assigned to this slightly earlier date, around 1899-1900, rather than to the very end of his association with Brittany. Date aside, the portrait can be firmly linked to Pont-Aven because the young woman is wearing the ‘coiffe de travail’ particular to that town. O’Conor’s decision to move his Breton models from plein air settings into the studio meant that he had to allude either to domestic activities, to pastimes or to a personal connection with the painter. His preference for attributing literary interests to his Breton models speaks not only of his own love of books, but also of the cultural exchange that took place in Pont-Aven between well educated visiting painters, arriving in ever greater numbers, and a peasantry that had been largely closed to the outside world until the 1870s. There is certainly nothing in this study of quiet, focused concentration to infer any sense of intellectual or cultural superiority.

Jonathan Bennington €50000 - 70000



49 William Orpen KBE RHA RA 1878-1931 PORTRAIT OF JOHN LETTS Oil on canvas, 30" x 25" (76 x 63.5cm), signed. John Letts R.F.C., M.C. 1897-1918 John Herbert Towne Letts was born at Steep Hill House in Lincoln on 10th June 1897, the only child of Walter John Letts, a railway superintendent, and Charlotte Helen Letts (née Robertson). He was educated at Lancing College, Sussex, where he excelled at sports, representing the school at swimming, football and cricket and was a sergeant in the Officer Training Corps. On leaving school, he attended The Royal Military College, Sandhurst and was commissioned as a 2nd Lieutenant in the Lincolnshire Regiment on 26th January 1916. Having volunteered for flight training he was seconded to No. 2 Reserve Squadron at RAF Gosport. On 19th March he made his first solo flight after only 4 hours of flight instruction. His second solo flight, later the same day, ended when he crashed into the side of a shed. After gaining his Royal Aero Club Aviators Certificate on 24th March, Letts was appointed a flying officer on 4th May 1916 Letts was posted to No. 27 Squadron, Royal Flying Corps (RFC) in France on 15th June but was invalided home with knee trouble on 11th August 1916 and was posted to No. 47 Reserve Squadron as an instructor based at Waddington, Lincolnshire. On 17th January 1917, Letts was declared fit for military service and was transferred to No. 48 Squadron RFC, which was equipped with the new Bristol F2b Fighter and in March the squadron was sent to France. In April 1917 he was appointed a Flight Commander with the rank of temporary captain to replace William Leefe-Robinson VC, who had recently been shot down and taken prisoner. On the afternoon of 9th April 1917 Letts and his observer, Lieutenant Harold Collins, were flying with another Bristol Fighter when they became engaged in a dogfight over Arras with five German aircraft from Manfred von Richthofen’s ‘Flying Circus’. During the course of the engagement Letts shot down two of the German fighters, but his own aircraft was “cut to ribbons” and his observer fatally wounded. On the 24th May 1917, Letts, already with six confirmed victories, was flying a patrol when he was attacked by four German two-seater fighters. Despite the heavy odds, Letts and his gunner shot down two of their assailants and drove off the other two. The official report on the action stated that Letts had exhibited “indescribable pluck and dash” and he was subsequently awarded the Military Cross. By the late summer of 1917 Letts had shot down 10 enemy aircraft and he was an established ace. On 22nd August 1917 he was flying with his observer, Lieutenant Harold Power, with two other Bristol Fighters, when they encountered ten Gotha bombers returning from a raid on the Kent coast. In the running battle that followed Power was fatally hit and involuntarily struck his pilot across the head with the barrel of his machine gun, leaving Letts with a deep wound and concussion. Letts managed to nurse the stricken aircraft back to base, but Power died during the flight home. By September of 1917, Letts had increased his score to 13 kills, but any hopes of adding to his tally were dashed when he was appointed as a testing instructor at the Aeroplane Experimental Station at Martlesham Heath in Suffolk. Letts held the post of Group Commander at the School of Air Fighting from October 1917 to January 1918 and during this period he flew and tested a range of new aircraft. A few months later Letts asked to be returned to active service and, before embarking for France, he was posted to No. 42 Training Depot Squadron on 1st October 1918. He was eventually asked to join No. 87 Squadron, which was equipped with the Sopwith Dolphin, and he flew to France on 10th October 1918. The following day he borrowed a SE5a fighter to fly to his new squadron, but shortly after take-off he attempted to roll the aircraft, which stalled and nosedived into the ground. Letts was killed instantly and was buried at Bailleulval Cemetery, near Arras. He was 21 years old.

€20000 - 30000



50 Jack Butler Yeats RHA 1871-1957 THE PUBLIC LETTER WRITER Oil on board, 14" x 20¾" (35.5 x 53cm), signed, inscribed verso. Provenance: Victor Waddington Galleries, Dublin; Sir Basil Goulding, Co. Wicklow, thence by descent to the previous owner; Adams Irish Art 4/12/2007 (lot 96); Private Collection. Exhibited: London, 1958, Waddington Galleries, No 2; Dublin Nov/Dec 1961 Municipal Gallery, One Man’s Meat: The Basil Goulding Collection, Catalogue No 30. Literature: Yeats, Jack B., Sligo (1930); Pyle, Hilary, Jack B. Yeats - A Catalogue Raisonne of the Oil Paintings, Catalogue No 1147 Hilary Pyle has written: A reminiscence in fantasy of a character whom Yeats saw in New York in 1904, on a visit which made a lasting impression on him (see 582 etc.). He wrote in Sligo: “I saw in a Street in New York a card writer, I mean a writer of visiting cards. He turned them out at ten preparing letters on behalf of illiterate people in the Western States, and his solemn face has an expression of sympathetic wisdom.”

€250000 - 350000



“Achill spoke to me, it called to me as no other place ever had done. The absence of hurry was one of the most endearing qualities of my new way of life” 51 Paul Henry RHA RUA 1876-1958 THE BREAKING WAVE, ACHILL (c.1911-1913) Oil on board, 13" x 17" (30.5 x 43cm), signed. Provenance: Artist’s studio till the 1953 Bray Exhibition, thence acquired by Jameson; sale, Christie’s Dublin, 6 June 1990, Lot 151 as Atlantic Breakers, repr. Exhibited: 1913 Belfast (7); 1918 Dublin (54); 1953 Bray (4,as The Wave, probably lent by the artist); 1959 RHA (45, as The Wave Connemara, lent by Jameson). Literature: PAUL HENRY, Dr S B Kennedy, Catalogue No. 358, which states ‘One of a number of dramatic seascapes painted by Henry during his years on Achill Island. The simplicity of concept, and his treatment of the wave as it breaks, convey dramatically the power and uncertainty of the sea, elements which, in An Irish Portrait, he often remarked upon and which were an omnipresent aspect of life on the island. Reviewing the artist’s 1918 Dublin exhibition the Freeman’s Journal (9 April 1918) thought ‘The Breaking Wave’ to be extraordinarily good. The setting may be rocks at Gubalennaum, Keel Achill.’

€30000 - 50000 54

52 Charles Vincent Lamb RHA RUA 1893-1964 CONNEMARA TURF BOATS Oil on board, 10" x 14" (25.5 x 35.5cm), signed.

€2000 - 3000

53 Charles Vincent Lamb RHA RUA 1893-1964 SHORLINE WITH BEACHED BOATS Oil on board, 11" x 15" (28 x 38cm), signed.

€2000 - 3000 55

54 Mildred Anne Butler RA RWS 1858-1941 GARDEN AT KILMURRY Watercolour & bodycolour on card, 10" x 7" (26 x 18.5cm), signed & dated Mildred A. Butler 7/98 lower right; inscribed in pencil verso No. 3, signed twice, once M A Butler Kilmurry.

55 Mildred Anne Butler RA RWS 1858-1941 WINTER WEATHER Watercolour heightened with white, on card, 10" x 7" (26 x 18.5cm), signed with initials M.A.B. & dated Feb 1900 lower left; inscribed in pencil verso Snow Sketch, Winter Weather & signed with the artist’s signature.

€1500 - 2500


€1500 - 2500

56 Mildred Anne Butler RA RWS 1858-1941 BLACKBIRDS NESTING Watercolour, 5" x 7" (13 x 18cm).

Provenance: acquired the Artists’ Studio Sale.

€600 - 900

57 Mildred Anne Butler RA RWS 1858-1941 BLACKBIRD IN A TRAP Watercolour, 7½" x 10½" (19 x 27cm).

Provenance: acquired the Artists’ Studio Sale.

€800 - 1200 57

58 Letitia Marion Hamilton RHA 1878-1964 THE HARBOUR DUBROVNIK Oil on canvas, 20" x 26" (51 x 66cm), signed with initials, inscribed label verso.

€4000 - 6000


59 Niccolo d’Ardia Caracciolo RHA 1941-1989 TUNNEL UNDER FINCHLEY ROAD Oil on board, 9¾" x 16" (25 x 40cm), signed.

€800 - 1200

60 Charles Vincent Lamb RHA RUA 1893-1964 COASTAL LANDSCAPE CONNEMARA Oil on board, 10" x 14" (25.5 x 35.5cm), signed.

€2000 - 3000 59

The Collection of Rosemarie and Sean Mulcahy

Seán and Rosemarie Mulcahy were both very much part of the art scene in Dublin for many years. Rosemarie, a popular professor at UCD, had established herself as a leading authority on Spanish art in Ireland. She wrote numerous highly acclaimed essays including, ‘Philip of Spain, Patron of the Arts’ (2004). Homan Potterton while director of The National Gallery, commission her to write a scholarly catalogue, ‘Spanish Paintings of The National Gallery 1988’. She also wrote several books on Spanish art. Her unusual career trajectory began when, while a teenage student in Spain, she started modelling for Balenciaga, a career that then took her to Paris. Returning to Dublin on the death of her father, she modelled for couturier Ib Jorgensen, and it was during one of his fashion shows that she caught the eye of engineer (and later artist) Sean Mulcahy, whom she married. The following Irish and International Art Works from the Collection (lots 61-85) come from their Leeson Park home, which they filled with art, colour and decorative objects picked up on their travels and where they entertained artists, academics and writers. Rosemarie died suddenly in 2012, while in her 70s and on her way to her flamenco class; Sean, who lived on into his 90s, died earlier this year.


61 Elizabeth Violet Blackadder b1931 SONGBIRD Watercolour, 8¼" x 16" (21 x 41cm), signed & dated 1974.

€1500 - 2500


62 Patrick Swift 1927-1983 TULIPS Oil on canvas, 12" x 8" (30.5 x 20cm).

€4000 - 6000


63 Rafael Garcia Canogar, Spanish, b1935 UNTITLED Oil on canvas, 14" x 10¾" (36 x 27cm), signed & dated 1990.

€2000 - 4000


64 Miquel Barceló, Spanish, b1957 BUJIE Mixed media on canvas, 13¾" x 10½" (35 x 27cm), signed, inscribed & dated 1986 verso.

Provenance: Waddington Gallery, London (label verso); Galerie Bruno Bischofberger, Zurich.

1986, the year of this paintings creation, was one of significant milestones for Miguel Barceló.

Having received the Spanish National Plastic Arts Award (Premio Nacional de Artes Plásticas) he went on to open his first exhibition in the United States at the prestigious Castelli Gallery in New York City to rapturous reviews. This confirmation of the young 29 year old Majorcan artist as a significant force in European painting aligned with the already significant reputation he had garnered in Europe. Initially strongly influenced by Art Brut in his teens and early 20’s while at art school in Palma and Barcelona, the artists extensive travels in the 80s throughout Europe, the United States and West Africa all contributed to a more defined and individual style in which he experimented with different techniques, materials, textures, light perspectives and colours. After representing Spain at the Sao Paolo Biennial in 1981, Barcelo’s international breakthrough came the following year at the Documenta VII exhibition in Kassel, Germany. Subsequent exhibitions at Galerie Bruno Bischofberger in Zurich, Waddington Galleries in London and the aforementioned Castelli Gallery, three of the worlds leading contemporary commercial art galleries, underlined his arrival on the world art scene. The image portrayed in ‘Bujie’ of a lit candle on a chamberstick in many ways defines Barcelo. He is a figurative artist who makes paint his primary medium while leaving himself open to introducing other media like sand to enhance his painted composition. While his fellow Spaniard Antonio Tapies is most likely responsible for this addition to Barcelo’s technique he takes what he needs, integrates it into his work and moves on unhindered by Tapies or anybody else’s art. As Vivien Raynor wrote in her review of the Castelli exhibition in The New York Times, 18th April 1986 ‘Barcelo’s paintings seek to make the commonplace heroic, and often succeed in doing so. Its hard to determine the extent of their Spanishness but there’s no doubt that they will soon slide smoothly into the multinational Neo-Expressionist scene - if they haven’t already done so.’

€30000 - 50000



65 Georg Baselitz, German, b1938 UNTITLED 27.III.85 Watercolour, 25¾" x 19" (65.5 x 48.3cm), signed & dated 27.3.1985.

Provenance: Waddington Galleries, London (label verso).

Georg Baselitz (born 23 January 1938, as Hans-Georg Kern, in Deutschbaselitz, Germany) is a German painter, sculptor and graphic artist. In the 1960s he became well known for his figurative, expressive paintings. Since 1969, he paints his subjects upside down in an effort to overcome the representational, content-driven character of his earlier work and stress the artifice of painting. Drawing from a myriad of influences, including art of Soviet era illustration art, the Mannerist period and African sculptures, he developed his own, distinct artistic language. Since Baselitz grew up amongst the suffering and demolition of World War II, the concept of destruction plays a significant role in his life and work. These autobiographical circumstances have therefore returned throughout his whole oeuvre. In this context, the artist stated in an interview: “I was born into a destroyed order, a destroyed landscape, a destroyed people, a destroyed society. And I didn’t want to reestablish an order: I had seen enough of so-called order. I was forced to question everything, to be ‘naive’, to start again.” By disrupting any given orders and breaking the common conventions of perception, Baselitz has formed his personal circumstances into his guiding artistic principles. To this day, he still inverts all his paintings, which has become the unique and most defining feature in his work.

€14000 - 18000



66 Ferran García Sevilla, Spanish, b1949 HIPO V-31633, 1991 Mixed media, 19¾" x 19¾" (50 x 50cm).

Provenance: Juana de Aizpuru Gallery (label verso).

€1500 - 2500


67 Franco Francese, Italian, 1920-1996 TESTE AMOROSE Oil on canvas, 45½" x 28¼" (116 x 73cm), signed & dated 1962; signed, inscribed & dated 1962 verso.

€3000 - 5000


68 Henry Moore 1898-1986 RECLINING FIGURE, CAVE (1979) Lithograph, 21" x 25" (54 x 64cm), signed, ed. 48/50.

€1000 - 1500

69 Alberto Reguera, Spanish, b1961 TEXTURAS AL DESAIBIERTO Acrylic on canvas, 19¾" x 19¾" (50 x 50cm), signed & inscribed verso.

Provenance: Galeria Antonio Machon, Madrid (label verso).

€800 - 1200 70

70 Jose Luis Fajardo, Spanish, b1941 UNTITLED Crayon on paper, 26" x 20" (66 x 51cm), signed.

Provenance: Oliver Dowling Gallery, Dublin (label verso).


71 Jose Luis Fajardo, Spanish, b1941 UNTITLED Crayon on paper, 20" x 26" (51 x 66cm), signed.

Provenance: Oliver Dowling Gallery, Dublin.

€400-600 71

72 Barrie Cooke HRHA 1931-2014 CROW VII Gouache, 30" x 20" (76 x 51cm), signed & dated 1972.

Provenance: Hendriks Gallery, Dublin (label verso).

€1500 - 2500 72

73 Gwen O’Dowd, Contemporary BRIDES VEIL Oil on paper, 10" x 7" (25.5 x 18cm). €200 - 400

73a Leonard Shiel, Contemporary BLACK DESERT Oil on canvas, 15¾" x 15¾" (40 x 40cm). €300 - 500


74 Elizabeth Magill, Contemporary THERMOMETER Oil on canvas, 10" x 8" (25 x 20cm), signed, inscribed & dated 1989 verso.

€700 - 1000

75 Barrie Cooke HRHA 1931-2014 BONE Watercolour, 8" x 13" (20 x 23cm), signed & dated 1972. Provenance: David Hendriks Gallery (label verso).


€300 - 500

76 Basil Rakoczi 1908-1979 UNTITLED Monoprint, 9½" x 14½" (23.5 x 37cm), signed.

€200 - 400

77 Gerard Dillon 1916-1971 ABSTRACT Mixed media, 21" x 29" (53 x 74cm).

€1000 - 1500


78 Andre Bicat, French School, 1909-1996 COASTAL LANDSCAPE, DINARD Oil on board, 8" x 12" (20.5 x 30.5cm).

€300 - 500

79 Denis Farrell LANDSCAPE Oil on board, 12" x 12½" (30.5 x 32cm), signed verso.

€300 - 500


80 Eddie Delaney RHA 1930-2009 TORSO Bronze, 13" high (33cm).

€1500 - 2500

81 Eddie Delaney RHA 1930-2009 FORM Bronze mounted in stone, 13" high (33cm).


€1500 - 2500

82 Leo Higgins, Contemporary ABSTRACT Bronze, 7½" high (19cm).

83 Tom Glendon, Contemporary HEAD Bronze, 14½" high (37cm), incl base.

€600 - 900


€600 - 900

84 Irish School TABLET Bronze, 19" high (48cm).

85 Fidelma Massey, Contemporary BOWL OF MILK Bronze, 15¼" high (39cm).

€300 - 500


Provenance: purchased RHA.

€1000 - 1500

86 Jack Butler Yeats RHA 1871-1956 SEEK TOMMY THE WINNER (c.1900) Indian ink, 13½" x 20¼" (34 x 51cm), signed.

Provenance: acquired Waddington Galleries, Montreal, 1969 by the present owner.

Through hard work and dedication to his craft, by 1900 Jack Yeats had established himself as a leading illustrator in magazines, newspapers and broadsheets. He was also beginning to achieve some recognition as a stand alone artist. As a consequence, his output at this time was not exclusively for publication purposes and that which was, began to take on stronger compositional elements. In ‘Seek Tommy, The Winner’, while Yeats introduces two graphic inserts upper left and upper right the main compositional thrust is focused on the circled group of illegal gamblers variously engaged in the settling of wagers. One man leaves the melee, his face covered either in physical pain or in shock at his penury all the time being carefully watched by a somewhat ferocious looking man carrying a whip. Other incidental characters populate the periphery of the scene and all serve the compositional purpose of directing your attention to the gamblers dispute, clearly something Yeats delighted in drawing.

€20000 - 30000


87 James Humbert Craig RHA RUA 1877-1944 COASTAL LANDSCAPE Oil on panel, 8" x 12" (20 x 30.5cm), signed.

€800 - €1200

88 James Humbert Craig RHA RUA 1877-1944 CLEANING THE NETS Watercolour, 6½" x 9" (16.5 x 23cm), signed.

€600 - 900


89 Frank Egginton RCA FIAL 1908-1990 EARLY MORNING, BELMULLET, CO. MAYO Watercolour, 21" x 29" (53 x 74cm), signed, inscribed label verso.

€1500 - 2000

90 Frank Egginton RCA FIAL 1908-1990 INISH BOFFIN FROM THE BLOODY FORELAND Watercolour, 21" x 29" (53 x 74cm), signed.

Provenance: The Fine Art Society, London, (label verso).

€2000 - 3000 82

91 Joseph Malachy Kavanagh RHA 1856-1918 AUGUST NOON, FELTRIM HILL (FAILDRUIM) Oil on board, 12¾" x 16¼" (32.5 x 41.5cm), signed & dated 1906, signed & inscribed verso.

€2000 - 3000

92 Richard Thomas Moynan RHA 1856-1906 KILLINEY BEACH Oil on canvas, 14" x 21" (35.5 x 53.5cm) signed & dated 1882.

€2000 - 4000 83

93 Hilda Roberts HRHA 1901-1982 SELF PORTRAIT Oil on canvas, 24" x 20" (61 x 51cm), signed, inscribed verso. Born in Ranelagh into a well to do Quaker family, she qualified from the Metropolitan School of Art in 1924, where her teacher was Patrick Tuohy. She went on to study in Dublin and Paris. In 1933 she married Arnold Marsh, headmaster in Newtown School in Waterford. She exhibited extensively in the RHA and the Irish Exhibition of Living Art. In 1924 and 1925 she won the Taylor Art Award.

€1500 - 2000

94 Carey Clarke PPRHA b1936 TABLE TOP STILL LIFE Oil on board, 26" x 32" (66 x 81cm), signed.


€3000 - 5000

95 Phoebe Donovan RUA 1902-1998 BABBIE Oil on board, 25" x 20" (63 x 51cm), inscribed verso. Phoebe Donovan RUA (19021998). Born in Wexford in 1902, she studied at the National College of Art and at the Dublin academy school. She started exhibiting at the RHA in 1931. A neglected figure in the Irish art world, this delightful portrait shows what an accomplished painter she was.

€800 - 1200

96 Edwin Hayes RA 1819-1894 SHIPPING OFF THE HEADLAND Oil on canvas, 18" x 32" (46 x 81cm), signed & dated 1886. Provenance: Jorgensen Fine Art, Dublin (label verso).

€3000 - 5000


97 Mary Swanzy HRHA 1882-1978 FIGURES AT A BALL Oil on board, 20½" x 17½" (52 x 44.5cm), signed.

€4000 - 6000


98 William Percy French 1854-1920 RIVER LANDSCAPE WITH TREES Watercolour, 9" x 12" (23 x 30.5cm), signed & dated 1907. €1500 - 2500

99 Tony O’Malley HRHA 1913-2003 ST. MARTIN’S SERIES Gouache 7" x 10" (18 x 25.5cm), signed & dated 1975. Provenance: Tom Caldwell Gallery (label verso). €800 - 1200

100 Blaise Smith b1967 RED SKY AT NIGHT Oil on Canvas, 12" x 14" (30.5 x 36cm) signed, inscribed & dated 2005 verso. Provenance: The Molesworth Gallery, Dublin (label verso). €600 - 900


101 Patrick O’Reilly b1957 BLOCKS Bronze, 19½" x 17" (49.5 x 30cm), signed, ed 1/1. €3000 - 5000


102 Patrick O’Reilly b1957 STRIPE Canvas, 63" x 39½" (160 x 100cm), signed verso. €800 - 1200


103 Hughie O’Donoghue RA b1953 NORTH OF ROUEN Oil on board, 31½" x 46" (80 x 117cm), signed & dated 2000. Provenance: The Rubicon Gallery, Dublin (label verso). €10000 - 15000


104 Sean Hillen, Contemporary BOGSIDE Photograph, 19" x 39¼" (48 x 100cm). €800 - €1200

105 Sean Hillen, Contemporary WHATS WRONG? WITH THE CONSOLATION OF GENIUS #8 Photograph 8" x 10.25" (20 x 26cm), signed, inscribed & dated 2014. €700 - 1000


106 Patrick O’Reilly b1957 BOREDOM Oil can & canvas, 16" x 16" ( 40.5 x 40.5 cm), signed & dated verso. €600 - 900

107 Tony O’Malley HRHA 1913-2003 SLATE AND WOOD PANEL Slate and wood, 6½" x 11" (16.5 x 29cm), Opus No. 1836. Provenance: Taylor Galleries, Dublin October 1990, cat no. 54 (label verso). €600 - 900


108 Eddie Delaney RHA 1930-2009 WOMEN IN STORM Bronze, 11½" (29cm) high.

109 Melanie le Brocquy HRHA 1919-2018 TORSO Bronze, 13½" (34cm) high.

€2000 - 3000

€1500 - 2500


110 Brian King 1942-2017 DARK MATTER Bronze, 40" (101.5cm) high including base. Provenance: the artist’s estate. €3000 - 5000


111 Brian King 1942-2017 ALHAMBRA II WATER Bronze, 22" high (56cm), signed & dated 2004, label on base. Provenance: the artist’s estate. Exhibited: The RHA, Dublin 2004. €2000 - 3000

112 Barbara Warren HRHA, 1925-2017 BIRD Slate, 18½" x 23½" (42 x 60cm), mounted. €800 - 1200


113 John Boyd b1957 THE FLAG Oil on board, 22¼" x 20¾" (56.5 x 53cm), signed. €2000 - 3000


114 Lynn Chadwick CBE RA 1914-2003 FIGURE Watercolour, 19½" x 16" (50 x 40.5cm), signed & dated 1966.

115 Lynn Chadwick CBE RA 1914-2003 FIGURE Gouache, 19¼" x 15¾" (49 x 40cm), signed & dated 1966.

€1400 - 1800

€1500 - 2000


116 Norah McGuinness HRHA 1901-1980 THE THAMES Gouache, 12¼" x 19" (31 x 48cm), signed. Provenance: The Dawson Gallery, Dublin (label verso). €800 - 1200

117 Martin Mooney b1960 CLIFFS, DUN AENGUS Oil on board, 8" x 15¾" (20 x 40cm), signed, inscribed verso. Provenance Waterman Fine Art Ltd, London (label verso). €400 - 600

118 Norah McGuinness HRHA 1901-1980 THE OCHRE MINES, AVOCA Gouache, 11" x 14" (25.5 x 35.5cm), signed with artists stamp. €600 - 900


119 Anthony Klitz 1917-2000 RIVER LIFFEY AND DOCKS, DUBLIN Oil on canvas, 16" x 20" (40.5 x 51cm), signed; inscribed verso. €400 - 600

120 Desmond Carrick RHA 1928-2012 STROLLERS ON AVENUE DE ROUEN, VERNO Oil on board, 18" x 24" (46 x 61cm) signed; with initial, label verso. €600 - 900

121 George K Gillespie RUA 1924-1995 RIVER LANDSCAPE WITH BRIDGE Oil on a panel, 16" x 20" (40.5 x 51cm), signed. €800 - 1200


122 Liam Belton RHA b1947 HEALY PASS CO. CORK Oil on canvas board. 18" x 14" (46 x 35.5cm), signed.

123 Gladys Maccabe HRUA ROI FRSA 1918-2018 STILL LIFE – FLOWERS AND FRUIT Oil on board, 19" x 15" (48 x 38cm), signed. €1000 - 1500

Provenance: Peppercanister Gallery, Dublin (label verso). €800 - 1200


124 Micheal Farrell 1940-2000 JAMES JOYCE SEATED Charcoal, 39½" x 27½" (100 x 70cm), signed & dated 1990.

125 Louis Le Brocguy HRHA 1916-2012 HEAD OF BECKET Coloured lithograph, artist’s proof edition 4/10, 15½" x 15½" (39.5 x 39.5cm) signed & dated 1979.

€800 - 1200

€1000 - 1500


126 Mary Swanzy HRHA 1882-1978 GATHERING, CZECHOSLOVKIA Crayon, 10" x 17.5" (19 x 25.5cm). Provenance: Peppercanister Gallery, Dublin (label verso). €600 - 900

127 Markey Robinson 1918-1999 MARKET DAY Gouache, 9" x 12" (23 x 30cm) signed. €2000 - €3000 102

128 James le Jeune RHA 1910-1983 POLO PLAYERS, PHOENIX PARK Oil on canvas board, 12" x 18" (30.5 x 46cm), signed. €2000 - 3000


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 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.

Lot 15 Tony O’Malley HRHA 1913-2003, ISLAND LIGHT – ISLA DE GRACIOSA


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