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Irish Art Auctioneers & Valuers

IRISH ART AUCTION Tuesday 11th June at 6pm

Irish Art Auctioneers & Valuers


Tuesday, 11th June at 6pm


The College of Physicians, No. 6 Kildare Street


Friday 7th June 10am-5pm Saturday 8th June 11am-5pm Sunday 9th June 12 noon-5pm Monday 10th June 10am-5pm Tuesday 11th June 10am-5pm

 aintings are on view at P 35 Kildare Street, Dublin 2

S culpture on view at The Merrion Hotel, Merrion Street, Dublin 2.

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


PSRA Licence No. 002261

Live Bidding available at:

Irish Art Auctioneers & Valuers

Please note all the sculpture in the auction will be on view in The Garden of The Merrion Hotel, Dublin

1 Charles Lamb RHA RUA 1893-1964 THE PIER AT CARRAROE Oil on canvas, 10" x 14" (25.5 x 36cm), signed.

€2000 - 3000


2 Barbara Warren RHA 1925-2017 DUFFY’S CIRCUS Oil on canvas, 18½" x 14" (47 x 35.5cm), signed.

€1000 - 2000

3 Brian Ballard RUA b.1942 POPPIES IN JULY Oil on canvas, 15" x 19½" (38 x 49.5cm), signed & dated 2003.


€1400 - 1800

4 Pauline Bewick RHA b.1935 COTTAGE INTERIOR, KERRY Watercolour, 23" x 30½" (58.4 x 77.4cm), signed.

€2000 - 4000


5 Felim Egan b. 1952 STRAND NOTE A 2001 Mixed media on wood, 19" x 19" (48 x 48cm), signed & dated 01 verso.

€1400 - 1800

6 Chung Eun-Mo, Contemporary CORTILE 2004 Oil on canvas, 31½" x 47" (80 x 120cm), signed inscribed & dated ’04 verso.

€2000 - 3000


7 Michael Farrell 1940-2000 ALCOOL DE SERPENT 1985  Gouache on paper, 41¾" x 30¾" (106 x 78cm), signed.

€4000 - 6000


8 Mainie Jellet 1897-1944 WAVE Gouache, 21" x 15" (53.5 x 38cm), signed & dated 1934.

In the deeply conservative Irish art world of the 1920s and ʹ30s, Mainie Jellett was among the small number of Irish painters who were influenced by Cubism. She was undoubtedly the artist who absorbed it most completely. From the 1920s until her death two decades later, her Cubist-inspired paintings put her at the forefront of the Irish avant-garde.

J ellett wanted her paintings to be inspired by the outer appearance of something and not merely reproduce it. So, when she looked at the sea as the starting point for ‘Wave’, she was looking for its ‘inner rhythms’ or patterns – something that visually defines it. You can see here how she captures the rolling, fluid rhythm of the waves, which she identified as the heart of her subject. The dramatic contrast of light and dark, the bold patterning and the swirling shapes are used to convey the power of the sea – you can almost hear the crashing of the waves. It’s not surprising that in 1937 Jellett decided to use this gouache as a preliminary study for a larger oil painting and that in recent years Ceadogán, recognising its timeless appeal, got permission from the artist’s estate to translate this design into a rug. 

Dr Frances Ruane HRHA, May 2019 €8000 - 12000



9 Barrie Castle 1935-2006 THREE WOMEN REMEMBERING AN EXTINCT GENDER Oil on board, 27½" x 35" (71 x 89cm), signed with initials & dated 1986.

 rovenance: Portal Gallery, Dover P Street, London (label verso).

€2000 - 3000

10 Michael Cullen RHA b. 1946 TWO PARROTS Oil on canvas, 36" x 30" (91.5 x 76cm), signed.


€2000 - 3000

11 Norah McGuinness HRHA RHA RUA 1901-1980 SMITHFIELD, LIFFEY WALL Watercolour, 15" x 21" (38 x 53.3cm), signed.

Provenance: Dawson Gallery, Dublin (label verso).

€3000 - 5000


12 Séan Mc Sweeney HRHA 1935-2018 CONWAY’S BOG 1988 Oil on canvas, 47" x 66" (119.5 x 167.5cm), signed; signed & inscribed verso.

 hile McSweeney was influenced by Abstract Expressionism, he was too rooted in the landscape to give it up as subject W matter. For his entire working life as an artist he used the Irish landscape as the exclusive source of his art. He never tired of painting the same bogs, fields and shorelines under different weather conditions, finding something new every time.

 cSweeney spent summers with his mother’s family near Ballyconnell, County Sligo, returning to live there permanently M with his family in 1984. He felt emotionally connected with this flat bogland, and Conway’s Bog was almost certainly painted around Ballyconnell. This painting clearly shows the artist’s debt to Abstract Expressionism in its two-dimensionality and in its gutsy painterly attack – its sheer physicality. McSweeney allows us to imagine the frenetic act of painting and also wants us to enjoy the surface which here is vibrant, dense and luscious. But this is more than an abstract composition. It is also an imaginative response to his observation of moisture laden fields, with light reflecting off bog pools at a specific time. In the artist’s eyes it’s a place of constant movement, growth and wonder.

Dr Frances Ruane HRHA, May 2019

€10000 - 15000


13 Pat Harris b.1953 AMARYLLIS Oil on linen, 47" x 43" (119.5 x 109cm), signed.

Provenance: Taylor Galleries, Dublin (label verso).

€6000 - 9000


14 Seán Keating PPRHA HRA HAS 1889-1977 IRISH GOTHIC (1950) Oil on canvas, 19" x 24" (48.2 x 61cm), signed.

Exhibited: RHA 1950.

Irish artist, Seán Keating, began thinking about Irish Gothic in 1948 as a pendant to a previous work, Irish Romanesque (1943). The paintings were a continuation of his career-long habit to paint real people as opposed to models, all of whom had contributed to building the Irish nation in the post-Treaty years. The reference to architecture in the title suggests that Keating saw the same soundness and solidity in the people in the painting as analogous with the traditional structures of the land.

T he male portrait in Irish Gothic is loosely based on a series of sketches that the artist made in Kiskeam, Co. Cork for a painting titled Republican Court (otherwise known as Sinn Fein Court), planned with the help of Seán Moylan, then Minister for Land and Fisheries, in 1945. The sketches for the painting were made in Seán Moylan’s old family home in Kiskeam, Co. Cork, and the men who posed for the painting had all fought in the War of Independence. It is thought that name of the man portrayed in Irish Gothic is Michael T. Cronin who is seated second from the left in Republican Court.

The portrait of the woman is based on one of Keating’s sisters, Vera (1895-1953). Keating and his six siblings were born and raised in Limerick city. While the rest of the family moved to Dublin at various intervals between 1911 and 1913, Vera remained to train as a teacher in Mary Immaculate College in Limerick, graduating in 1916. Having spent a few years working in England, she returned to Limerick and spent her career teaching at the old St John’s School, near the city centre. Vera modelled for several of Keating’s earlier works including Girl in a Black Fur Coat (1916) (private collection) and The Festival of St Brigid (1918) (private collection). In later years the two siblings got on well; Keating often visited her in Limerick, and lent paintings to local exhibitions with which she was involved. Elected President of the RHA in March 1950, Keating exhibited Irish Gothic in the annual exhibition that year. To his deep regret, Vera died in 1953, after which the artist thought of the painting as a tribute to her.


Dr Éimear O’Connor HRHA Research Associate Humanities Institute, UCD May 2019

€20000 - 30000



15 George Campbell RHA RUA 1917-1979 GWEEBARA, DONEGAL Oil, 36" x 30" (91.5 x 76cm), signed; signed & inscribed verso.

E xhibited: David Hendricks Gallery, Dublin (label verso); Gerard Dillon, Arts and Friendships Adams, Dublin July 2013.

Literature: Gerard Dillon, Art and Friendships, full page illustration (page 121).

€4000 - 6000


16 Walter Frederick Osborne 1859-1903 HIGH STREET, RYE Watercolour, 14" x 10" (25.5 x 25.5cm), signed.

 oving from France to England in 1883, Osborne would remain there until his permanent move home to M Dublin in the early 1890’s. Like his friends and fellow painters with whom he had studied and lived in France, Osborne, Nathaniel Hill, Augustus Burke, William Blandford Fletcher and Edward Stott all lived somewhat nomadic lives exploring communities not dissimilar to those they had left behind in France. Small, rural villages in Norfolk, Oxfordshire, Berkshire and Hampshire were sought out and the environs and its inhabitants painted en plain air in both oils and watercolours.

Osborne’s beautifully rendered sketches were often used in the preparation of a more highly finished studio oil as is the case with High Street, Rye which has a near identical viewpoint to the more heavily populated Cherry Ripe (Ulster Museum, Belfast). There are numerous oil and watercolour studies of this subject by Osborne as well as a photograph (the artists photograph album, collection National Gallery of Ireland, Dublin) taken by the artist close to the same spot.

T he compositional progenitor for the street views in Rye came from 1887’s Near St Patricks Close, Dublin (National Gallery of Ireland, Dublin) which amalgamated many facets of Osborne’s studies into what would become a compositional archetype that carried through the Rye paintings to inform later paintings such as 1891’s Rags, Bones and Bottles (sold Sotheby’s London, The Irish Sale, 9 May 2007, lot 76).

€14000 - 18000 17

17 Louis Le Brocquy HRHA 1916-2012 TINKERS PICKING WHITETHORN Watercolour, 20" x 15½" (51 x 39.5cm), signed.

Provenance: Mark Adams Fine Art, London; Christies, London 21st November 2013 lot 186.

Exhibited: National Gallery of Ireland (label verso).

L e Brocquy was drawn again and again to Irish themes and in the late 1940s became fascinated with Travellers as a subject. He had a romantic attraction to the Irish gypsy, to their customs and nomadic life, their fierce independence and their detachment from the security of mainstream life. Le Brocquy felt that, like artists, they were perceived as outsiders. The enthusiasm for depicting Traveller life was shared by other painters of the period, like Patrick Collins and Jack B. Yeats. Although le Brocquy lived in London at the time, he spent periods in Ireland so he could make sketches of ‘tinkers’ (a word that only acquired pejorative meaning much later), capturing glimpses of their rituals with what he called ‘mutual curiosity’.

T inker Breaks Whitethorn has kept the immediacy and freshness of the initial sketch that inspired it. There is a delicacy and intimacy that is immensely appealing, with a lightness of touch and subtlety of colour that we associate with le Brocquy. While the man is intently focussed on breaking a branch of Whitethorn, he’s watched by his wife, with five small children at their feet clamouring for attention. The picture’s composition is deliberately and noticeably compact so that it clearly becomes a statement about family, elevated here into something solid and unbreakable. It may be a coincidence that in ancient Irish folklore the Whitethorn, or ‘Fairy Tree’, has long been associated, among other things, with fertility. The theme of Family was developed further by le Brocquy in the early 1950s, when the gentleness of this picture gives way to a bleaker vision of contemporary family life.

Dr Frances Ruane HRHA, May 2019

€40000 - 60000



18 Stephen McKenna PRHA 1939-2017 BLACK AND YELLOW LIGHTHOUSE Oil on canvas, 53" x 39" (134.5 x 99cm), signed with initials; signed, inscribed & dated 1994 verso.

Provenance: Kerlin Gallery Dublin (label verso).

The lighthouse at St John’s Point in County Down is unmistakable. Its exceptionally tall, columnar tower is coloured in broad bands of yellow and black. The original structure, completed in 1844, was significantly lower and painted a more traditional white. Its height more than tripled in a major building project in the 1880s. It first acquired its current colouring in 1954. Stephen McKenna made a fine gouache study of the lighthouse in 1994, identical in composition to this exceptional oil painting, which is richer in nuance and atmosphere while preserving the iconic clarity of the landmark structure.

One of the outstanding representational painters of his time, McKenna’s mother was Scottish and his father from Co Tyrone. His father was a military policeman in the British army, whose postwar postings (including Hong Kong and Austria), decided Stephen’s peripatetic childhood and left him with a lifelong fondness for travel, though he eventually settled happily in Co Carlow. He studied art at the Slade from 1959 but was never at ease with the dominance of abstraction there. To his surprise, when he visited Germany early in the 1970s he found a climate more suited to representational painting and he lived there for a number of years.

 e became identified with the Neo-Expressionism that brought renewed attention H to figurative art at the end of the 1970s. It was very good for his market value but he was never an expressionist. When he moved to Italy early in the 1980s it was as if he found his spiritual home. The essence of his style lies in the conviction of the “Metaphysical” Italian painters like Carlo Carra and Giorgio de Chirico that the principles of Renaissance painting made complete sense in the modern world. McKenna did exactly that in his pictorial allegories, studies of landscapes and cities, and interiors.

 hen his father retired to the southern coast of Co Donegal, McKenna often stayed W with him there. As it happens, the St John’s Point lighthouse on Donegal Bay is one of two St John’s Point lighthouses, and the coincidence may have led him to St John’s Point on the opposite, eastern Co Down coast, where he was clearly delighted to find such a striking, memorable subject.

Aidan Dunne, May 2019

€20000 - 30000



19 William Scott CBE RA 1913-1989 MINGULAY Coloured lithograph, sheet size 21½" x 26" (54.6 x 66cm), signed & dated ʹ62, edition 44/75.

€3000 - 4000

20 William Scott CBE RA 1913-1989 IONA Coloured lithograph, sheet size , 19½" x 24" (49.5 x 61cm), signed & dated ʹ61, edition 64/300.

€1500 - 2000 22

21 Hughie O’Donoghue RA b.1953 COURSE OF THE MEDUSA Oil on canvas, 27" x 41" (69 x 104cm), signed, signed, inscribed & dated 2007 verso.

€10000 - 15000


22 Hughie O’Donoghue RA. B. 1953 MARSH OF THE COWS II Oil on linen, 22½" x 26¼" (57 x 67cm), signed.

Provenance: Rubicon Gallery, Dublin (Label verso).

€6000 - 9000


23 Patrick Scot HRHA, 1921-2014 MP19 Gold leaf, palladium & acrylic on canvas, 24" x 24" (61 x 61cm), signed, inscribed & dated 2006, verso.

Provenance: Taylor Galleries, Dublin (label verso) .

â‚Ź6000 - 9000


24 Tony O’Malley HRHA 1913-2003 STUDIO TABLE Oil on paper, 24" x 36" (61 x 91.5cm), signed.

O’Malley, one of the most important Irish artists of his generation, turned to painting full-time relatively late. Stifled by the conservatism of the period, he left his career as an Irish banking official and moved to St Ives, Cornwall where he became part of a vibrant and influential circle of innovative artists. In the decade that followed, his work moved away from realism toward a looser, more quasi-abstract style that is associated with the St Ives School. Studio Table is a rare early work that provides insights into the way he quickly absorbed modern thinking. It was likely painted in St Ives around 1962, having the brooding wintery feel that permeates O’Malley’s work of that period. Dark velvety plum and chocolate tones are set against a silvery ground, enlivened by flashes of white. It’s a tonal harmony marked by great restraint and subtlety.

The artist has flattened the picture space and has simplified the shapes of all the implements on his studio table (paint pots, a glass, bottle, palette and knife, etc.) so he can play with them as an abstract composition. The objects, which initially seem randomly placed, are deliberately ‘orchestrated’ so that they seem to dance around the brightly lit glass at the centre of the picture. They seem to gravitate towards the middle, the static still life becoming animated. The loose application of paint and the spontaneous quality of the lines that outline some of the objects reinforce the liveliness of the composition.

Dr Frances Ruane HRHA, May 2019

€6000 - 8000


25 Tony O’Malley HRHA 1913-2003 LOCHAN AGUS SPEIR Oil on board, 36" x 25" (92 x 63.5cm), signed with initials; signed, inscribed & dated 11/95 verso, OPUS No. 5972.

Provenance: Peppercanister Gallery, Dublin (label verso).

€10000 - 15000


26 Jack Donovan 1934-2014 NUDE TURNING, 1962-1963 Oil on board, 48" x 48" (122 x 122cm).

 rovenance: owned by the artist and P gallery owner Gerald Davis thence by descent.

E xhibited: Jack Donovan retrospective of paintings 1959-2004, Limerick City Gallery of Art, September-October 2004 (both works illustrated in the catalogue).

€1400 - 1800

27 Jack Donovan 1934-2014 NUDE DRYING HER HAIR, 1962-1963 Oil on board, 37½" x 37½", (95 x 95cm).


 rovenance: owned by the artist and P gallery owner Gerald Davis thence by descent.

E xhibited: Jack Donovan retrospective of paintings 1959-2004, Limerick City Gallery of Art, September-October 2004 (both works illustrated in the catalogue).

€1400 - 1800

28 Tony O’Malley HRHA 1913-2003 COTTAGE, TREVAYLOR 1962 Mixed media, 8" x 13½" (20.32 x 34.29cm), signed with initials label verso, stock no. 2004 verso.

€800 - 1200

29 Arthur Armstrong RHA 1924-1996 BROWN TO GREEN ABSTRACTION Oil on board, 22" x 36" (56 x 91.5cm), inscribed verso.

€3000 - 5000 29

30 Robert Ballagh b.1943 HOMAGE TO MAGRITTE Acrylic on 8 panels, each 24" x 24" (61 x 61cm), overall 96" x 48" (244 x 122cm), signed with initals & dated 1973.

 obert Ballagh began his series of ‘People Looking at Art’ in the late 1960s R 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 inaugural 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. Catherine Marshall, October 2016

In this work the viewer is looking at Renee Magritte’s ‘Le Monde des Image 1950’.

€14000 - 18000

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



31 William Crozier HRHA 1930-2011 AUGHADOWN Oil on canvas, 19" x 22" (49 x 57cm), signed, signed & inscribed verso.

€6000 - 9000


32 Hughie O’Donoghue b.1953 FOG Mixed media, 22" x 30" (56cm x 76cm), signed.

€5000 - 7000

33 William Crozier HRHA 1930-2011 CUTTING-WEST CORK Watercolour , 22" x 32" (56 x 81.5cm), signed & dated 1989.

€5000 - 7000 33

34 Tony O’Malley HRA 1913-2008 WORK TABLE II 1977 Gouache and charcoal on paper, 17" x 12" (42 x 30cm), signed with initials, inscribed & dated.   P  rovenance: ex collection of George and Maura McClelland.

€2000 - 4000

34A Alan Davie 1920-2014 MONUMENT TO A CELTIC SPIRIT – NO 5 TAPESTRY DESIGN Gouache on paper, 20" x 30" (51 x 76cm), signed & dated 2001.


D  avie is included in numerous public galleries including Fine Art Museum, San Francisco, Metropolitan Museum of Art, National Galleries of Scotland, Peggy Guggenheim Collection, The Tate, etc.

€4000 - 6000

35 Fr. Jack Hanlon 1913-1968 DRYING CLOTHES Oil on canvas 13" x 18¾" (33 x 47cm), signed, Taylor Galleries label verso.



36 Grace Henry HRHA 1868-1953 KILLARY BAY, EARLY MORNING Oil on canvas, (39 x 46cm), signed & signed, inscribed with title & dated 1934 on John Magee Limited label verso.

Provenance: John Magee Limited, Belfast (label verso).

€4000 - 6000


37 Lady Beatrice Glenavy RHA 1881-1970 COUNTRY LIFE Oil on board, 24" x 29" (61 x 73.5cm), signed with monogram; title verso.

Exhibited: RHA 1943 No. 67 £30.

€6000 - 9000


38 Clare Langan b.1967 GLASS HOUR – 2002 Photographic still, 29" x 46¾" (74 x 120 cm).

 rovenance: acquired directly from the P artist by the present owner.

Irish artist Clare Langan studied fine art at the National College of Art and Design, Dublin. She received a Fulbright Scholarship to New York University in 1992. Langan evokes feelings of nostalgia, loss and isolation in her atmospheric films. She represented Ireland at the Sao Paulo Biennale in 2002. In 2003 Langan presented her ambitious ‘A Film Trilogy’ at moMA, New York and the Royal Hibernian Academy, Dublin. The following year she took part in ‘Tir na nOg’ a group show at IMMA.

€800 - 1200

39 Dermot Seymour b.1956 TOWARDS THE BOREDOM OF THE TURGID BRIMMING MALE Oil on canvas, 44" x 42" (112 x 132cm), signed, inscribed & dated 1991 verso.


E xhibited: Dermot Seymour; Fish, Flesh and Fowl a Retrospective, 15 Dec 11-4 Feb 2012 (illus. p.50) curated by Jim Smyth and in collaboration with The Kevin Kavanagh Gallery, Dublin and Golden Thread Gallery, Belfast.

 n the occasion of this exhibition Seamus O Heaney wrote ‘Dermot Seymour’s picture knows what it is doing but does not end up, as so much art of this sort does, merely looking knowing. What strikes you first is not the decodable constituent of the picture but the overall oddity of it, and that the impression of not having got to the bottom of it remains no matter how long you stay with it’

€2000 - 4000

40 Colin Davidson RUA b.1968 PORTRAIT OF LOVERS Oil on canvas, 41" x 37" (104 x 94cm), signed & dated 2000.

€3000 - 5000


41 Barbara Warren RHA 1925-2017 TARAGONA REMEMBERED Oil on canvas, 24" x 20" (61 x 51cm) signed, inscribed & dated verso.

42 Norah McGuinness HRHA RHA RUA 1901-1980 VIEW FROM A WINDOW, PARIS Gouache, 18½" x 13½" (47 x 34.5cm), signed & dated 1944.

Exhibited: Taylor Galleries, September 1986, label verso.

€2000 - 3000


€2500 - 4000

43 Father Jack Hanlon 1913-1968 CONTINENTAL VILLAGE Watercolour, 12½" x 17½" (32 x 44.5 cm).

€800 - 1200

44 Gerard Dillon 1916-1971 STILL LIFE WITH DONKEY Monotype, 17" x 19" (43.5 x 48.5cm), signed.

Provenance: Grant Fine Art (label verso).

€ 3000 - 5000 41

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

€6000 - 10000


46 Harry Kernoff 1900-1974 THE LIBERTIES, DUBLIN Watercolour, 20" x 20½" (50.8 x 52cm), signed verso with self portrait.

€7000 - 10000


47 Louis Le Brocquy HRHA 1916-2012 ALLEGORY Aubusson Tapestry, 71" x 88½" (180 x 225cm), signed & dated 50 (woven), Tabard Freres & Soeurs, No. 1352 label verso.

E xhibited: Louis le Brocquy, ‘A Family and Other New Works’, Gimpel Fils London, 1951; Louis le Brocquy, Waddington Galleries, Dublin 1951; ‘Recent Paintings and Tapestries by Louis le Brocquy’, Gimpel Fils, London, 1955; Goulding Collection, The Hugh Lane Municipal Gallery of Modern Art, Dublin 1961; Louis le Brocquy, ‘Seven Tapestries’, The Dawson Gallery, Dublin, 1966; Ulster Museum, Belfast, 1967; ‘Reproduced: Louis le Brocquy with His Tapestries, House and Garden’, August 1951; ‘Contemporary Tapestries from France and Britain’, W.J. Strachan, the Studio, December 1955; Louis le Brocquy, Dorothy Walker, Introd. John Russell, Ward River Press, Dublin 1981; Hodder & Stroughton, London 1982.

It is remarkable that the international reputation acquired by Louis le Brocquy as a designer of tapestries was solely based on seven initial works, including ‘Allegory’, designed some fifty years ago. These are the years which span his ‘grey’ period in painting, during which he completed his largest canvas, ‘A Family’, which was awarded a major prize at the Venice Biennale in 1956.

‘Allegory’ is the artist’s third tapestry design following ‘Travellers’ (1948) and ‘Garlanded Goat’ (1949-50), it is contemporary with ‘A Family’, but the theme is treated with gaiety and with monumentality, surprising in its modest dimensions. A relationship may be perceived between the paintings of this period and the tapestry, not evidently in colour or mood, but clearly in drawing and in its characteristic planes. Allegorical allusions appear to include a sun, a moon, the winding of a skein of vermillion wool and the emergence of a child. The tapestry belongs to a series of early weavings that vary in colour and size from later versions woven within the same edition of ten by the experts Lissiers of the 17th Century firm of Tabard Frere et Soeurs in Aubusson, France.

It is held that no artist from these islands has shown a deeper understanding of the medium of tapestry than Louis le Brocquy.

€60000 - 90000



48 Patrick Scott HRHA 1921-2014 GOLD PAINTING 33 Gold leaf & tempera on unprimed canvas, 97" x 97" (246 x 246cm), signed & inscribed verso.

Provenance: the artist by descent.

E xhibited: Irish Exhibition of Living Art, Dublin, 1965; Hamilton Galleries, London 1966; Rothe House, Kilkenny, 1976; Rosc, Irish Art 1943-1973, Cork, 1980; ‘Patrick Scott’ (retrospective exhibition), The Douglas Hyde Gallery Dublin; Ulster Museum Belfast; Crawford Municipal Gallery Cork, 1981; ‘Patrick Scott Fifty Years’, Penn Castle, Cork, 1994; ‘Patrick Scott A Retrospective’ Hugh Lane, Dublin, 2002, cat no 30, (colour plate in book); Reproduced in “Patrick Scott” by Aidan Dunne, p.117.

€25000 - 35000



49 Patrick Scott HRHA 1921-1914 THE LAKE (ST STEPHEN’S GREEN) Oil on board, 18" x 35", (46 x 89cm), signed & dated 1944, reproduced in ‘Patrick Scott’ by Aidan Dunne p.34.

Provenance: the artist by decent.

€6000 - 9000


50 Patrick Scott HRHA 1921-2014 GIRL CARRYING EMPTY BOXES, 1958 Oil on canvas, 30" x 24", (76 x 61cm), signed.

Provenance: the artist by descent.

L iterature: ‘Patrick Scott’ by Aidan Dunne, p.64; exhibited Venice Biennale 1960; ‘Patrick Scott, Image, Space, Light’ IMMA, Dublin; Cultural Centre Letterkenny/ Glebe Gallery Donegal, 2014.

€5000 - 7000


51 Louis Le Brocquy HRHA 1916-2012 ADAM Colour inverted Aubusson Tapestry, 78" x 55" (200 x 140cm), Atelier Rene Duche, signed by the artist on a label verso, edition 5 of 9, dated 1999.

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

L e Brocquy designed his first tapestries in 1948, leading a few years later to a fruitful collaboration with the Tabard workshop in Aubusson, France which was to continue over many decades. Although the artist was first drawn to the Garden of Eden as a subject for his tapestries in 1951-52, he returned to it again nearly fifty years later when he created two entirely new works, ‘Adam’ and ‘Eve’. When they were first exhibited, in 2000, le Brocquy wrote: “As we enter the third millennium, it is perhaps not inappropriate for us to reflect on our origins beyond the Christian era, to the imaginative legend of Adam and Eve in the garden of nature, of the awakening of human consciousness, the birth of the mind.”

In both ‘Adam’ and ‘Eve’ the artist has successfully retained much of the quivering ambiguity found in his oil paintings, where he teased the human figure out of the surface and just at the point when the features began to solidify, he let go again. Le Brocquy’s Adam and Eve are fluid ‘presences’; he conveys their aura rather than precise physical features, so that they become the timeless ‘everyman’ and ‘everywoman’.

The artist has always understood that this medium required a bold, graphic approach. Each figure stands out from a dark background, dramatically illuminated by an ethereal light. The body is reduced to a few simple shapes, pared down to essentials. Le Brocquy overlays these core shapes, moving from dark to lighter tones so that the figures seem to pulsate with life. This sense of energy is reinforced in the abstracted garden, where leaves and fruit flutter in the wind. The garden stimulates the senses, as you can almost hear the rustle of the trees, smell the fruit, and feel the wind. These tapestries don’t set out to illustrate a legend; they aim to imaginatively convey the sense of being alive.

Dr Frances Ruane HRHA, May 2019

€30000 - €50000



52 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 5 of 9, dated 1999.

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

â‚Ź30000 - 50000



The following sculpture lots will be on view in the garden of The Merrion Hotel, Dublin

53 Alexandra Wejchert 1921-1995 FLAME Steel on granite base, 76¾" x 26" x 17¼" (195 x 66 x 44cm), (incl. base), 48" high (excluding stone pillar base), private collection.

Born in Cracow but grew up in Gdansk and studied architecture at Warsaw University and painting at the Academy of Fine Arts in Warsaw, before moving from Poland to live permanently in Ireland in 1965. Prior to this, she had worked in France and Italy and her move to Ireland coincided with her brother, Andreji, an architect, winning the competition for the design of the Arts Building at University College, Dublin. Within a year of her arrival, Alexandra exhibited at the Irish Exhibition of Living Art (IELA) and at the Molesworth Gallery run by Liam Proud in Nassau Street in 1966 before moving to the David Hendrick’s Gallery on St. Stephen’s Green. The much loved Molesworth Gallery, now long defunct, provided a lively launch pad for many artists, as it did for me in 1967 before I moved to the Hendrick’s Gallery. I was therefore familiar with Wejchert’s work from 1965.

 t the Irish Exhibition of Living Art in 1968, Alexandra Weichert won the valued Carroll’s prize and with her exhibition at the A Hendrick’s the following year, she attracted the attention of architects an astute collectors, resulting in a flow of commissions from influential clients; the Bank of Ireland; Allied Irish Bank; University College, Dublin; Trinity College, Dublin: University College, Cork and the University of Limerick. Stone, wood, brass, bronze, various other metals and perspex were her favoured materials and her images have deep roots in 20th Century European abstract tradition, a characteristic she shared with the Czechoslovakian born artist Gerda Frömel (1931-1975) although of German parents. She moved to Ireland in 1956 and the following year exhibited in the IELA.

 oth Frömel and Wejchert arrived in Ireland during a period of optimism and the beginning of public interest in contemporary B art. In 1966, the Hendrick’s Gallery presented an exhibition of Kinetic Art and followed this in 1967 by a wide ranging exhibition of Op Art and in 1968 an exhibition of work by Soto, Vasarely and Le Parc, brought from the Denise René Gallery in Paris. Significantly, the first ROSC exhibition was presented in Dublin at the RDS in 1967, which had a resounding impact and irrevocably changed public perception of the visual arts. Abstract works became interesting and sought after. Subsequently, two of Ireland’s most significant and ambitious large scale public sculptures of the last three decades of c.20th were made by Gerda Frömel in 1970 for Carroll’s factory in Dundalk, entitled ‘Sails’ a 3 part mobile, 8 metres high and ‘Freedom’ by Wejchert, 1985, 11.5 metres high, for the Allied Irish Bank Building in Ballsbridge, Dublin. Both sculptures are made in stainless steel and ‘Freedom’, the taller of the two, is totally abstract with its geometric planes reflecting light from its shining surfaces, in a way that involves the upward flight of an elegant bird.

 lexandra Wejchert became an Irish citizen in 1979 and in 1985, her self-portrait was included in the National Self-Portrait A Collection at the University of Limerick. In 1992, the Solomon Gallery, Dublin, presented a striking exhibition of her works. She was elected a Royal Hibernian Academician and a Member of Aosdana. Her work ‘Aleatoric Composition’, made in 1969 of wood and paint on canvas, is in the collection of IMMA. The work for auction is similar to ‘Flame’ 1995, brass on granite base, which is in the collection of the Department of Anatomy in University College, Cork.

Brian Ferran May 2019

€8000 - 12000



54 Patrick O’Reilly b.1957 BULL Bronze, 21" x 25" (53.5 x 63.5cm), signed & dated 2013.

€4000 - 6000


55 Patrick O’Reilly b.1957 HORSE Bronze, 22" x 64" (56 x 162.5cm), signed & dated 2007, ed 1/1.

€5000 - 7000

55A Patrick O’Reilly b.1957 BEAR WALKING Bronze, 20" (51cm), signed & dated 2012.


€4000 - 6000

56 Frederick Edward McWilliam HRUA RA 1909-1992 CARVING Polished walnut, 18" x 14" (45.75 x 35.5 cm) (incl.base), signed with initials, on a revolving base, unique.

F .E. McWilliam, on completing his stu signed with initials, on a revolving base. dies at the Slade School of Art in London, he won the Robert Ross scholarship and travelled to Paris where he and his future wife and fellow student at the Slade, Beth Crowther, planned to live from their art. A highlight of their stay, was a visit to Constantine Brancusi’s studio who was then famous for his uncompromisingly avant-garde abstract sculptures and for his white studio space which had become an essential element of his art and of its presentation. This meeting gave McWilliam a memorable impression and a lifelong respect for the Romanian sculptor, who combined simplicity of abstraction, with the emotional power of surrealism, without being a slave to either. In Paris, McWilliam also spent time looking at African Sculpture in the ethnographic Musée de l’Homme which was then a dynamic influence on European sculpture and painting. McWilliam was astutely aware of the sculptural possibilities proffered by the example of both primitive and archaic carving, as well as classical models. In the 1930’s, biomorphic shapes, prevailed in the work of McWilliam and of his sculpture friends, Henry Moore and Barbara Hepworth. Additionally, at the time carving was considered more serious and commendable than modeling.

Unfortunately, when the McWilliams were in Paris, in 1932-33, the pound sterling collapsed against the French franc and the McWilliams were forced to return to England. They rented a house in Chartridge in Buckinghamshire, where McWilliam began to focus on carving, using the cherry wood and sycamore, gathered from the orchard and woods surrounding his home. These pre-war carvings spring from the artist’s unconscious, informed, by simplified African shapes. The nature of his materials ebony, sycamore, cherry wood, teak, ebonized hardwood, beech, walnut, elm, lignum vitae, lime, plane and mahogany, are all respected in his perusal of his quest for ‘truth to materials’. The present work, signed McW, belongs to this period and is similar to ‘Cave’ 1935, illustrated in F.E.McWilliam, Denise Ferran and Valerie Holman, Lund Humphries in association with the Henry Moore Foundation, 2012.

In his retrospective exhibition, presented by the Arts Council of Northern Ireland in 1980, only 5% of the works were sculptures in wood, whereas, almost ten years later, the Tate Gallery’s retrospective comprised more that 40% of his sculptures in wood due to several factors. One of these was the revisiting and re-examination of his early wood carvings which he decided to rework and the final impetus was the result of a storm in 1987, when a large mulberry tree fell in his garden, resulting in a new series of wood sculptures executed in his eightieth year. Another was the gift of five major pieces of valuable wood from his good friend, the architect Eugene Rosenberg, who designed Altnagelvin Hospital in Derry in 1957, and who was instrumental in securing McWilliam’s commission for his large bronze, ‘Princess Macha’ for the hospital entrance which was McWilliam’s most important public commission in Ireland.

Brian Ferran May 2019

€8000 - 12000



57 Frederick Edward McWilliam HRUA RA 1909-1992 STUDY FOR HOMER II Bronze, 9½" (24cm), signed with initials, edition 3/3.

 rovenance: Waddington Gallery, London, P 30 November 1961 where acquired by current owner.

Literature: ‘The Sculpture of F.E. McWilliam’, 2012, by Denise Ferran and Balerie Holman, Cat. No. 168, p123.

 y this point in his career, McWilliam was teaching B sculpture at the Slade, and exhibiting all over the world, including London, New York and South America. This is a study for a large scale public sculpture, the year after his commission for Princess Macha at Altnagelvin Hospital, and demonstrates the artist's progression into large, freestanding, surface textured bronze works. The angular elongated legs of the figure preempts his exploration of legs in bronze, which occupied him in the late 1970s. The full size version of this sculpture is at Belfast City Hospital where it is affectionately known as ‘The man with the broken arm’.

€6000 - €9000


58 Michael Quane RHA b. Cork 1962 HORSE WITH RIDER Carrera marble, 25" (h) x 16" (w) (63.5 x 40.6cm), signed & dated 09.

 ichael studied at The Crawford School of Art in Cork. His reputation has grown year by year. He has held M acclaimed exhibitions in New York, Amsterdam, Belgium, Switzerland and England. His many public works are in limestone or marble. Major commissions include: Tomás ÓCriomhthain, at the Blasket Centre, Dunquin, Co. Kerry (1993); Horses and Riders, Mallow, Co. Cork (1995) and Lapidophytum Stagnalis at The National Botanic Gardens, Dublin (1997), to name a few.

€3000 - 5000



Rowan Gillespie b.1953 PORTRAIT OF A DREAMER 1982 (HOMAGE TO JOHN LENNON) Bronze, 7ft 5" high (226cm), signed & dated 1982, unique.

Provenance: collection of the artist’s wife.

At the age of 16 Rowan enlisted at The York School of Art, continued on to the Sculpture Department at Kingston College of Art and finally, Ku kunst Og Håndverk Skole in Oslo. He lived and exhibited widely in Sweden before returning to live in Ireland in 1977.

S ince then Rowan has become one of the finest sculptors of our time. He has exhibited extensively in Ireland, England, Russia and America to name just a few of the countries where his work has won numerous plaudits. He has been commissioned to create numerous public pieces both in Ireland and across the world. One of his most admired works is The Famine Trilogy on Custom House Quay in Dublin; Ireland Park in Toronto and Hunter Island, Tasmania.

“ The hope and optimism expressed in John Lennon’s peace anthem, ‘Imagine’, had long been the sound track of my life, however his assassination in 1980 came as an abrupt awakening, the end of an era. Perhaps I simply grew up and for the first time saw the world for what it really was but, in my mind, the dream of peace and a new dawn was gone and the world seemed to be on the brink of nuclear war and self destruction. As a response I created a sculptural tribute to Lennon in a series of five sculptures which I called ‘The Death of a Dreamer Series’. Included in the series were two larger pieces – ‘Imagine’ which is now in the dining room of Kelly’s Hotel, Rosslare and this piece, ‘Portrait of a Dreamer’.”

The Death of a Dreamer Series was successfully shown by the Jonathan Poole Gallery in the Inaugural Arts Fair of the Puck Building, New York in 1983.

Jonathan Poole later became sole agent for the art estate of John Lennon.

€40000 - 60000



60 Patrick O’Reilly b.1957 GI BEAR Bronze, unique of a series, circa circa 8ft x 9ft (250 x 280cm).

 atrick studied at the Belfast School of Art. Resident in Dublin he divides P his time between foundries in Dublin, Madrid and New York. He has exhibited throughout Europe and his work is include in the collection of The Hugh Lane Gallery in Dublin where he held a highly acclaimed one man exhibition some years ago.

One of Ireland’s most original sculptors, his work can be seen in many Irish locations including The Bord Gáis Theatre, Adare Manor Hotel etc.

€80000 - 120000

D E L I E ng V i N w U e E i v B e O T th At 64

61 Derek Rowan (GUGGI) b.1959 BOWL Brushed bronze, 20" (h) x 31" (w) (51 x 78.7cm).

€6000 - 9000

Guggi bronze at Chateau la Coste


62 Anthony Scott RUA b.1968 PERFECT TIMING Bronze, edition of 3, 22" (l) x 12" (w) x 22" (h) (56cm x 30cm x 56cm).

 nthony attended university in Belfast and he completed an MA in ceramics in Cardiff in 1993. Bronze has become an A important part of his work. Nearly all his work is inspired by Celtic mythology although they are viewed from the perspective of the animal rather than the human.

Anthony has won numerous awards including the 1997 Craft Council of Ireland Purchase Award at The Royal Dublin Society.

â‚Ź8000 - 12000


63 Anthony Scott RUA b.1968 LITTLE BULL ‘CONOR’ Bronze, 13¾" (l) x 12" (h) x 6" (w) (35cm x 30cm x 15cm).

€2500 - 4000

63A Killian Schurmann FOURTH SERIES Coloured glass, 20 x 20cm.

I have been making a limited amount of these pieces since I started glassmaking in 1980. Usually about 10 to 15 pieces per series and this represents the fourth series. Each one punctuating an event which is clearly defined, the recurring theme is the notion of a head within a solid glass bubble.

In this case i had to leave my original studio space which I had occupied for approx 25 years. This space was also the same space my father Werner Schurmann occupied (the first bronze foundry in Dublin). He cast many sculptures for my Mother Gerda Fromel and many other artists.

I wanted to mark this departure by creating a series of glass heads which were pushed while still liquid into the walls of this building. So they carry an original one off print of the space and display a sharp contrast between the rough walls and the smooth glass surface. 

€3500 - 4500 67

64 Orla de Brí b.1965 WOMAN IN A BIRCH Bronze, 25" (h), 18" (w), 10" (d),  edition 5/6. 

€3000 - 5000


65 Michael Foley b.1963 CIOTOLA DI FUSIONE Bronze and stainless steel vessel, 7½" x 12" x 12", (19 x 31 x 31cm), signed & dated 1/6, 2018.

€2500 - 3500

66 Michael Foley b.1963 CIOTOLA CONICA Bronze Vessel, 5¾" x 16⅓" x 16⅓", (14.5 x 41.5 x 41.5cm), signed & dated 1/9/2019.

€2000 - 3000 69

67 Catherine Greene b.1960 CARTOGRAPHERS Bronze,19" x 21" (48 x 54cm), ed of 2/3.

€5000 - 7000

68 Melanie le Brocquy HRHA 1919-2018 LADY ON STONE WALL Bronze, 29cm (h) x 18cm (w), an edition of 6, artist’s cast.


€1500 - 2500

69 Patrick O’Reilly b.1957 ALL THE LOVE THAT I HAVE Bronze, 68¾" x 25½" (175 x 65cm), 2018 1/1 unique (of series).

€30000 - 40000


71 Killian O’Flaherty, Contemporary BIRD BATH Hand carved granite, 39" high (99cm), including base.

70 Anna Duncan OBSERVER V Bronze, 18" x 16" x 13" (46 x 41 x 34cm), ed. 3/8, signed.

Killian O’Flaherty is an eight generation stone mason from the granite village of Ballyknockan, Co Wicklow. Ballyknockan granite has been used on many historical building for centuries and right up to the present day. The Four Courts, Dublin Castle and The Dáil are examples. Killian is a master craftsman as this bird bath shows.

€4000 - 6000

72 Patrick O’Reilly b.1957 GARDENER Bronze, 13" (33cm) high, signed & dated ’13, ed 1/1.

73 Patrick O’Reilly b.1957 ICE SKATER Bronze, 13" (33cm) high, signed & dated ’13, ed 1/1.

€3000 - 5000

€3000 - 5000


€800 - 1200

74 Jerome Connor 1874-1943 PLASTER BUST OF SHAMROCK TRENCH (1908-1974), actress in Abbey Theatre production of Oscar Wilde’s ‘Salome’ 1928, 7½" (19cm) (inc wooden base).

€800 - 1200


75 Jason Ellis LAKE GENEVA Carrara marble, 17¾" x 11¾" x 9¾" (45 x 30 x 25cm) high.

“ I first encountered sculpture at the Barbara Hepworth Museum at St. Ives as an ‘A’-Level art student. The three-dimensional world made much more sense and I was glad to abandon ‘flat art’ in pursuit of this vital goal; painting was all illusion – sculpture was real.” (Jason Ellis)

Born in Cornwall in 1965, Jason Ellis studied sculpture at the University of Chichester under Alan Saunders, a former student of Anthony Caro’s. Following his degree, he spent 20 years as a sculpture conservator, firstly in London then in Ireland, having moved to Dublin in 1994. Stone became his master at this time and he began to carve pieces to commission.

In 2006 he left conservation and began carving full-time. Public works include Bantry Boats, the Bantry House Archive Gift, Co. Cork, 1997, and The McDonogh Stone for the Druid Theatre, Galway, 2009. His largest commission, Figurehead, stands over 7 metres high, completed for University College Dublin in 2008. In 2010 he installed Black Pool, White Water at the Garda Memorial Garden in Dublin Castle and showed -hedra at the 12th Venice Architecture Biennale.

He joined the Oliver Sears Gallery in 2011, held his first solo show there in 2013, and in 2014 was invited into the National Self-Portrait Collection of Ireland. 2016 saw his second solo show with Oliver Sears and his participation at both Sculpture in Context in Dublin and the RUA Annual Show in Belfast as an invited artist. In 2017 he exhibited at the RHA Annual Show in Dublin as an invited artist.

Most recently he was shortlisted for the Royal College of Surgeons in Ireland’s Art Award, 2018.

€6000 - 9000


76 Patrick O’Reilly b.1957 BLOCKS Bronze, 19½" x 17" (49.5 x 30cm).

€3000 - 5000


78 Charles Brady HRHA 1926-1997 STACK OF BOOKS Oil on linen, 8½" x 11" (22 x 28cm), signed.

€1000 - 1500

77 Arthur Armstrong RHA 1924-1996 INTERIOR Oil on canvas, 29" x 17" (74 x 43.5cm), signed.

€3000 - 5000 79 Arthur Power HRHA 1891-1984 AFRICA CHANTING Oil on canvas board, 18" x 23½" (45.72 x 59.6cm), signed & dated 1970, inscribed & signed verso.

Provenance: Dawson Gallery, label verso.

€600 - 900


81 Rosaleen Davey, Contemporary RAKING LIGHT II (1999) Oil on board, 28¼" x 32¼" (71 x 82cm).

Provenance: Cavancor Gallery, Donegal, (label verso).

€1000 - 1500

80 Fr. Jack Hanlon 1913-1968 ABSTRACT COMPOSITION Oil on canvas, 21" x 17 ½" (54 x 45cm), signed.

€2000 - 3000

82 Charles Harper RHA b.1943 YOUTH Acrylic on linen, 18" x 24" (45.7 x 61cm), signed & dated 2007.


€500 - 800

83 Norah McGuinness HRHA 1901-1988 GEESE AT SUTTON Gouache, 8¼" x 11½" (21 x29cm), signed with initials, inscribed Dawson Gallery, label verso.

84 Norah McGuinness HRHA 1901-1988 GEESE AT SUTTON CROSS Gouache, 8" x 11½" (20.3 x 29cm), signed with initials, inscribed Dawson Gallery, label verso.

€800 - 1200

€800 - 1200

85 Geraldine Hone b.1938 WEST WICKLOW LANDSCAPE – SOURCE OF THE RIVER LIFFEY Oil on paper laid on board, 20" x 24" (51 x 61cm), signed with initials.

€600 - 900


86 Patrick Leonard HRHA 1918-2005 CORFU, OLIVE PICKERS Oil on board, 14" x 18" (35 x 45 cms), signed, signed & inscribed label verso.

Provenance: the artist’s estate.

€800 - 1200

87 Patrick Leonard HRHA 1918-2005 SKYSCAPE, RUSH 1991 Pastel 21½" x 29½" (55 x 75cm), signed & dated 1949.

Provenance: the artist’s estate.

€800 - 1200

88 Geraldine Hone b.1938 CONNEMARA LANDSCAPE - SOLITUDE Oil on canvas, 16" x 20" (40.6x 51cm), signed with initials.

€400 - 600


89 George Campbell RHA 1917-1979 SPANISH WOMAN Oil on card, 18" x 14", (46 x 36cm).

90 Peter Collis RHA 1929-2012 WICKLOW LANDSCAPE Pastel, 33" x 23" (84 x 58cm), signed.

 rovenance: the artist’s estate; private P collection.

€800 - 1200

91 Markey Robinson 1918-1999 WALKING PAST THE GABLE ENDS Gouache, 20" x 24" (51 x 61cm), signed.

€2000 - 3000 80

€800 - 1200

92 Neil Shawcross RHA RUA b.1940 STILL LIFE – PEARS Watercolour, 15" x 20" (38 x 51cm), signed & dated 1989.

93 Anita Shelbourne RHA LANDSCAPE Mixed media, 9" x 12½" (22.8 x 31.75cm), signed.

€400 - 600

€600 - 900

94 Graham Knuttel b.1954 AT THE KITCHEN TABLE Oil on paper, 21" x 29" ( 53.5 x 74cm), signed.

€1000 - 1500


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

€3000 - 5000

96 Nevill Johnson 1911-1999 THE THIRD DAY Oil on board, 15" x 24" (38 x 61cm), signed & inscribed verso.


E xhibited ROSC 1975, Crawford Gallery Cork, see page 41 entry 70.

 rovenance: ex collection P Cecil King.

€3000 - 5000

97 Sean Scully RA b.1945 CONSERVATION Woodblock print, sheet size  52¼" x 37" (94 x 133cm), signed, inscribed & dated ʹ86, edition 1/40.

€2000 - 4000


98 John Shinnors b.1950 EARLY MORNING Oil on canvas laid on board, 18½" x 22" (47 x55.8cm), signed & dated ʹ73.

€2000 - 4000


99 Petra Fox, 20th Century GIRL WITH CATS Oil on board, 13½" x 13½" (34 x 34cm), signed.

€600 - 900

100 Michael Kane b.1935 FARMYARD Mixed media, 23" x 19" (58.42 x 48cm), signed, inscribed & signed verso.

P  rovenance: Ritchie Hendriks Gallery label verso.

Kane is one of the earliest members of Aosdána. His work is included in many prestigious private and public collections.

€400 - 600


101 Ivan Sutton, contemporary CLADDAGH REFLECTIONS, GALWAY CITY Oil on canvas, 26" x 36" (66 x 91.4cm), signed, signed & inscribed verso.

€1400 - 1800

102 Tom Molloy b.1964 JOHN DORY AND THE DANCE OF DEATH Oil on paper, 13" x 14" (33 x 36cm), signed & dated ʹ93.

103 Patrick Leonard HRHA 1918-2005 DOLLYMOUNT BUS Oil on board, 14½" x 11" (37 x 28cm), signed; signed & inscribed verso.

P  rovenance: Rubicon Gallery, Dublin (label verso.)

€800 - 1200

€300 - 500 86

104 Gladys Maccabe 1918-2018 STREET MUSICIAN Oil on board, 13" x 9" (33 x 23cm), signed.

105 Gladys Maccabe 1918-2018 STREET CELLIST Oil on board, 13" x 9" (33 x 23cm), signed.

€1000 - 1500

€1000 - 1500

106 Patrick Leonard HRHA 1918-2005 GIRLS, RUSH HARBOUR 1942 Pastel, 24" x 19½" (61 x 50cm), signed & inscribed & dated 1942.

107 Patrick Leonard HRHA 1918-2005 GIRL SEATED Pastel, 19" x 15" (48 x 38cm) .

Provenance: the artist’s estate.

€800 - 1200 87

Provenance: the artist’s estate.

€400 - 600

108 Cecil Maguire RHA RUA b.1930 GALWAY HOOKER ‘TONY’ Oil on canvas board, 7½" x 9" (19 x 23cm), signed & dated ʹ87, signed & inscribed verso. €1500 - 2000

109 Pauline Bewick WOMAN AND SUN, KERRY Watercolour, 63" x 43" (160 x 110cms), signed & dated 1971.

110 Rita Duffy b.1959 FIGURE STUDY Watercolour, 44" x 33½" (112 x 85cm), signed. €1000 - 1500

€2000 - 3000 88

111 Tom Molloy b.1964 WORLD GONE WRONG Oil on paper, 22" x 31" (56 x 79cm), signed, inscribed & dated ʹ94 verso.

Provenance: Rubicon Gallery, Dublin (label verso)

€600 - €900

112 Barrie Cooke HRHA 1931-2014 RIVER FLOWING Watercolour, 19" x 14" (48.5 x 36cm), signed & dated ʹ61.

113 Eddie Kennedy b.1960 SETTLEMENT Oil on linen, 21" x 17" (54 x 44cm), signed, inscribed & dated 2013 verso.

€500 - 700

Provenance: Hillsboro Fine Art Gallery, label verso.

€1200 - €1800 89

114 John Faulkner RHA 1835-1894 STACKING HAY Watercolour, 18" x 38" (46 x 97cm), signed & inscribed. €1000 - 1500

115 Alexander Williams RHA 1846-1930 EVENING, ROSAPENNA HOTEL DONEGAL Watercolour, 8" x 15" (20 x 38cm), signed & inscribed.

116 Anne King -Harman 1919-1979 LOUGH NALTALTORA,CONEMARA Watercolour, 10¼" x 19" (26 x 48.5 cm), signed; titled verso.

€400 - 600

Provenance: these rooms February 2006.

€300 - 500


117 Alexander Williams RHA 1846-1930 FIRST LOCK, GRAND CANAL – HAZY AFTERNOON Oil on canvas laid on card, 6" x 8" (12 x 20cm), signed.

118 Norah McGuinness HRHA 1901-1988 MONASTERY RUINS BY THE SEA Gouache, 10" x 13½" (25.4 x 34.3cm), signed with initials.

Exhibited: RHA, 1889 (£5.50)

€800 - 1200

€600 - 900

119 David Crone RHA RUA b.1937 UNTITLED Gouache, 21" x 29" (53.3 x 73.6cm). €400 - 600


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

VENDOR’S CONDITIONS 9. Instructions All goods delivered to the Auctioneers’ premises will be deemed to be delivered for sale by auction and will be catalogued and sold at the discretion of the Auctioneer and accepted by them subject to all the Sale Conditions. By delivering the goods to the Auctioneers for inclusion in their auction sales the vendor acknowledges that he or she has accepted and agreed to be bound by all these Conditions. 10. Collection and Deliveries The Auctioneers do not normally undertake the packing, collection or delivery of goods but will if requested use their best endeavors as Agent of the Owner to arrange for an independent contractor on the owner’s behalf to deal with packing, collection and/or delivery. The Auctioneer will not in any event arrange insurance of the goods and will accordingly not be liable for any loss or damage to goods howsoever arising including breakages or for any damage to premises, fixtures or fittings therein caused by such contractor or otherwise and the owner is responsive for all arrangements to verify that any such contractor and the goods is/are appropriately insured. Unless instructions are received to the contrary, charges (including VAT) for such services will be charged to the vendor’s account or discharged through the Auctioneers by the purchaser as the case may be. The Auctioneers’ liability (if any) will rise only where they themselves carry out packing and collection/delivery and only in the case of breakage or loss caused through deliberate negligence of their employees and in any event in one single contract and the Auctioneers’ liability will not exceed £500. Provided further than the Auctioneers will not be liable for consequential loss in any circumstances whatsoever. 11. Loss or Damage and Storage The Auctioneers reserve the right to store or arrange for the storage of goods held by them or delivered to them either on their own premises or elsewhere at their sole discretion and entirely at the owner’s risk. The Auctioneers shall not be liable for any loss (including consequential loss) howsoever caused of damage to goods of any kind including breakages, or for unauthorised removal of goods. Should the owner of goods so wish it will be his/her goods while they are in the possession of the Auctioneers. 12. Right to Re-sell The Auctioneer reserves the right to re-sell any item which has not been collected within thirty days of purchase. 13. 6% commission due to for lots purchased using Live Bidding. 14. Our payment terms are cheque drawn on an Irish bank, bank draft, bank transfer. We also accept debit cards up to a maximum of €1,500. We do not accept credit cards. 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. Items must be collected promptly. If uncollected after 10 days they will be removed to storage and charges may apply. 92

Armstrong, A 


Ballard, B  Ballagh, R  Bewick, P  Brady, C 

3 30 4, 109 78

Lamb, C  Langan, C  LeBrocquy, L  LeBrocquy, M  Leonard, P  

Campbell, G  Castle, B Cooke, B  Collis, P  Connor, J  Crone, D  Crozier, W  Cullen, M 

15, 89 9 112 90 74 108 31, 33 10

Maccabe, G  McGuinness, N   McKenna, S  McSweeney, S  McWilliam F.E  Maguire, C  Molloy, T 

104, 105 11, 42, 83, 84, 118 18 12 56, 57 118 80, 111

Davidson, C  Davey, R  Davie, A  De Bri, O  Dillon, G  Donovan, J  Duffy, R  Duncan, A 

40 81 34A 64 44 26, 27 110 70

O’Donoghue, H  O’Malley, T  O’Neill, D  O’Reilly, P   Osborne, W F 

21, 22, 32 24, 25, 28, 34 45 54, 55, 55A, 60, 69, 72, 76 16

Egan, F  Ellis, J  Eun-Mo, C 

5, 95 75 6

Farrell, M  Faulkner, J  Foley, M 

7 114 65, 66

Gillespie, R  Glenavy, B  Greene, C 

59 37 67

Hanlon, Fr J  Harper, C  Harris, P  Henry, G  Hone, G 

35, 43, 80 82 13 36 85, 88

Jellet, M  Johnson, N 

8 35

Kane, M  Keating, S  Kennedy, E  Kernoff, H  King-Harman, A  Knuttel, G 

21 14 113 46 97 94

Power, A  Quane, M 

1 38 17, 47, 51, 52 68 86, 87, 103, 106, 107

79 58

Robinson, M  Rowan, D  Schurmann, K  Scott, A  Scott, P  Scott, W  Scully, S  Seymour, D  Shelbourne, A  Shawcross, N  Shinnors, J  Sutton, I  Warren, B  Wejchert, A  Williams, A 

91 61 63A 62,63 23, 48, 49, 50 19, 20 97 39 93 92 98 101 2, 41 53 115, 117

Irish Art Auctioneers & Valuers

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

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Irish Art & Sculpture Auction