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IRISH ART AUCTION Tuesday 17th April at 6pm



Tuesday 17th April at 6pm


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


at de Veres, 35 Kildare Street, D2

Saturday 14th April Sunday 15th April Monday 16th April Tuesday 17th April


01 6768300

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

Dates for your diary:

DESIGN AUCTION Tuesday 22nd May On View: May 18-22 at 35 Kildare Street An auction of Classic design furniture, catalogue coming soon…



IRISH ART AUCTION Tuesday 12th June To include two Private Collections, including major sculpture pieces, Rowan Gillespie, etc Entries currently being accepted for this auction.

Front cover: Lot 33 William Scott BLACK AND WHITE COFFEE POT Back cover: Lot 18 Jack Butler Yeats DOWNPATRICK HEAD, BALLYCASTLE, CO MAYO Inside front cover: Lot 9 Daniel O’Neill THE BLACK ROCKS OF TYRELLA Inside back cover: Lot 32 Patrick Scott FIRE ISLAND (1932)

We are grateful to the following for their assistance in cataloguing this auction: Frances Ruane, Aidan Dunne, Brian Kennedy, Karen Reihill, Roisin Kennedy, Oliver Sears, Bernadette Madden, Jonathan Benington,

1 Charles Brady HRHA 1926-1997 BATCH LOAF Oil on canvas, 8" x 12½" (20 x 32cm), signed

â‚Ź1500 - 2500


2 Brian Ballard RUA b.1943 STILL LIFE OF BOTTLES, WITH A SEA VIEW Oil on canvas, 14" x 18" (35.5 x 45.7cm), signed & dated 2003

€600 - 900

3 Phoebe Donovan RUA 1902-1998 BOATS MOORED ON A LILY POND Oil on board, 16" x 20" (40.6 x 50.8cm), signed

€800 - 1200


4 James Le Jeune RHA 1910-1983 UPPER BAGGOT STREET Oil on board, 16" x 20" (40.5 x 51cm), signed

€2000 - 3000

5 Niccolo d’Ardia Caracciolo RHA 1941-1989 CANAL AT REGENTS PARK, LONDON Watercolour, 9½" x 15" (24.2 x 38.1cm), Atelier stamp verso

€600 - 900


6 Séan Keating PPRHA HRA HRSA 1889-1977 ARAN FISHERMAN Pastel, 16" x 13" (41 x 33cm), signed

€2000 - 3000


7 William Conor RHA RUA ROI 1881-1968 DRUMMERS Watercolour, 19" x 14" (48 x 36cm), signed; inscribed Exhibition label verso Belfast born, Conor has endeared himself to the art world by his sympathetic portrayals of working class life in Belfast. He was commissioned during World War I, by the British Government, to produce official records of soldiers and munition workers. He moved to London in 1920 and became friendly with fellow artists Sir John Lavery and Augustus John. He started exhibiting in the RHA in 1918 and up to 1967 he was to exhibit a total of 200 works. In 1944 and 1948 he exhibited with Victor Waddington in Dublin. The label on the back of this work indicates Conor was living at 107 Salisbury Avenue in Belfast at the time he painted it. He exhibited ‘The Drummers’ watercolour at The RHA in 1962, listing the same address, priced £24.

€8000 - 12000 7

8 Gerard Dillon 1916-1971 CLOAK AND CUPBOARD Oil on board, 16" x 12" (40.6 x 30.5cm), signed, inscribed verso

Exhibited: Dawson Gallery, 1957

Provenance: From the collection of the late Séamus Kelly and thence by descent to the current owner In October 1957 Gerard Dillon exhibited thirty works at Leo Smith’s Dawson Street Gallery and this painting ‘Cloak and Cupboard’ was one of three paintings depicting domestic interior scenes from the artist’s flat in Abbey Road, London. The cupboard depicted in this composition was Dillon’s Séamus Kelly wardrobe and can be viewed in other paintings from this period, ‘Self- Contained Flat’ (Ulster Museum), ‘Girl in a Bedsitter with Cat’ (private collection) and ‘In the London Flat’ (private collection). James White stated these works by Dillon “represented something of the greater interest he was taking in the community life of 102 Abbey Road with his Belfast artist’s friends in residence and the constant flow of visitors with visual art and literary backgrounds.” (Gerard Dillon an illustrated Biography, pg.69). Born into a Nationalist family off the Falls Road in Belfast, Dillon returned to London after the War to live in his sister Molly’s house in the Borough of Camden. The basement flat had a separate entrance, which allowed friends to contact Dillon directly and he routinely divided his flat with furniture to create another ‘room’ for visiting guests. The female portrait, big brimmed hat and cloak hanging from the furniture probably relates to one of Dillon’s close circle of friends who attended Dillon’s weekly evening art classes in Shepherd’s Bush. In ‘Girl in a Bedsitter with Cat’, the cupboard and young dark-haired woman is depicted reading a book. In 1957 Belfast artist Noreen Rice (1934-2015) lived in the top floor flat in the house in Abbey Road. Rice was mentored by Dillon and both were known to paint together. Paintings behind the furniture and still life setting of this subject suggest a lesson may be in progress. The coffee grinder in this painting appears in another composition ‘Coffee Grinder and Pears’ in the exhibition at the Dawson gallery in 1957 (Cat No. 24). Alternatively, the dark cloak and sun hat may belong to someone visiting Dillon for the annual summer Royal Academy show. One writer who attended the 189th Royal Academy’s exhibition in May 1957 commented on Dillon’s painting and ladies fashion, “The summer hats were out – the big turned-back brim seems to have thoroughly replaced the more uniform flower pot.” (Irish Times 4.5.57). This work was in the collection of drama critic, Séamus Kelly (1912-1979). From Dillon’s notes, we know this painting was returned to the artist after the exhibition in 1957, so it is likely the artist sold it directly to his Belfast friend. In 1945 Kelly joined the Irish Times and was best known for his ‘Quidnunc’ column in ‘An Irishman’s Diary’ and regularly commented on Dillon’s exhibitions in his column until his death in 1979. In an era when journalists were still bohemian, Kelly’s social life revolved around Dillon and his Belfast friends George Campbell and Arthur Armstrong when they were living in Dublin in the late 1960s. Their quintessential Belfast humour and common interests of theatre, sport, literature and music allowed Kelly to form a strong bond of friendship with the group. Passionate about Spanish culture, Kelly visited the Campbells in Spain and was known to have debates with George Campbell on the subject of Flamenco guitars. A founder member of The Dublin Joyce Society, Kelly’s encyclopedic knowledge on Irish literature and theatre would have appealed to Dillon who was known to be a Joycean scholar. After Dillon died in 1971, Kelly lamented the loss of his friend and discussions on the visual arts, “One of the reason that I lamented Dillon’s absence was that his comments… would have been lively, humorous and well spiced with his own mischievous judgements on the principal performers.” (Quidnunc’ Irish Times, 7.1.73). An influential drama critic for more than three decades, Kelly’s funeral in 1979 was attended by the then Taoiseach Jack Lynch, the leader of the Fine Gael Party, Garrett FitzGerald, and actor Peter O’Toole as well as numerous colleagues in the media, playwrights, actors, musicians, writers and dancers. 

Karen Reihill, March 2018 €4000 - 6000



9 Daniel O’Neill 1920-1974 THE BLACK ROCKS OF TYRELLA Oil on canvas, 20" x 30" (50.8 x 76.2cm), signed, inscribed verso

Exhibited: The Royal Hibernian Academy Dublin, 1957 No. 8 (£90)

Reviewing O’Neill’s solo exhibition in 1955 at Waddington’s Galleries, one critic praised O’Neill’s focus on landscapes. In the 1950s, O’Neill was living with his partner Sheilagh Deacon in Saul Co, Down and after the property was sold, they rented a cottage and studio from Major Corbett of Tyrella House. From the cottage in Corbett’s Field, O’Neill’s focus centered on harvest and beach scenes in the local area of Tyrella. This work, ‘The Black Rocks of Tyrella’ belongs to this period of work before O’Neill moved to London in 1958. A popular picnic destination, Tyrella beach sits at the foot of the Mountains of Mourne and its mature dunes and flat beach offers scenic walks and bathing for families. Today Tyrella House is an elegant Georgian Country Guest house and the beach is managed by Down District Council. Born in Belfast, O’Neill was the son of a Belfast electrician, Frank O’Neill. ‘Danny’ or ‘Dan’ as he was known to his friends was educated locally at St John’s public Elementary School, Colinward Street just off the Springfield Road in West Belfast. Having an early interest in art, he served his apprenticeship with a Belfast electrical contractor while attending a few art classes at the Belfast College of Art. From 1940-1945 O’Neill led a pattern of a ‘double existence’ of painting during the day and working on the night shift as an electrician until he met the Dublin dealer, Victor Waddington whose financial support allowed him to devote himself to being a full-time painter. Recalling his early attempts at painting, O’Neill stated “I suppose that all came out of the frustration of trying to paint at night after a hard day’s work.” (Irish Times,19.3.55.). From 1946, O’Neill held regular one man shows at Waddington Galleries and showed at the Irish Exhibition of Living Art, Royal Hibernian Academy and the Oireachtas annual exhibition in Dublin. O’Neill also contributed to group exhibitions in Waterford, Dundalk, Limerick and his work went on touring exhibitions in America, Amsterdam, Wales, Scotland and London. Characteristically from the mid 1950s O’Neill’s work contained mystery and drama with elements of surrealism. He didn’t follow fashion or trends and while he had strong friendships, he avoided social occasions preferring sketching excursions to capture a flash of lightening in stormy weather or painting dreamy landscape images of figures cast in shadows in his studio. Fascinated by the Italian Old Masters, O’Neill became adept at applying thin glazes to add subtlety, depth and nuance to his subjects. He also enjoyed experimenting with different means of applying paint which involved fingers, sponge, crumpled paper, confectioner’s icing bag, palette knife, camel and hog brushes. Here, the appearance of dramatic light in a darkening sky has disrupted a serene evening on Tyrella beach. In the foreground rays of golden sunshine cast soft shadows over rocks as pebbles sparkle near a turquoise pool of shallow water. A shift in the weather, however draws the viewer away from this surreal scene to the ghostly cottage cradled between two slabs of rock. O’Neill succeeds in holding our attention but the outcome remains a mystery. 

Karen Reihill, March 2018 €8000 - 12000



10 Basil Blackshaw HRHA HRUA 1932-2016 WOODED LANDSCAPE Oil on board, 10¼" x 12" (26 x 30.5cm), artist’s label verso

€2000 - 3000

11 Charles Brady HRHA 1926-1997 HAYSTACK AT KILLESHANDRA Oil on canvas, 17" x 15" (43.2 x 38.2cm), signed, inscribed & dated 1967 verso


€2000 - 3000

12 Patrick Swift 1927-1983 STUDY FOR “PAINTING ʹ74” Oil on canvas, 8" x 10" (20.4 x 25.4cm) Exhibited: S. Mamede Gallery March 1974 (label verso); Irish Museum of Modern Art , Ulster (label verso); Irish Museum of Modern Art, (label verso)

€1500 - 2000

13 Barbara Warren RHA 1925-2017 STILL LIFE Oil on canvas, 17½" x 13½" (44.5 x 34.3cm), signed Provenance: Taylor Galleries, Dublin (label verso)

€1000 - 1500


14 John B Vallely b.1941 THE FIDDLE PLAYER Oil on canvas, 30" x 40" (76 x 102cm), signed with initials Musicians are the dominant force in the work of artist John Vallely. His subject matter has remained linked to the past but his feeling for paint is vigorously contemporary. Rural Ireland, its traditions, music, sports and mythology create strong themes within his work.

In this painting, the figure playing the fiddle is said to represent the artist’s brother.

â‚Ź8000 - 12000


15 Hector McDonnell ARUA b.1947 CONSERVATORY, BELFAST Oil on canvas, 40" x 30" (102 x 76cm), signed, inscribed & dated 1996 verso

Provenance: Solomon Gallery, Dublin (label verso)

€5000 - 7000


16 Paul Henry RHA RUA 1876-1958 1871-1956 GUBELLAUNAUN FROM THE ROCKS (ACHILL), 1911-1913 Oil on canvas, 15" x 17½" (38 x 44.5cm), signed Given the signature this must be early Paul Henry. As he stood on the rocks he thought of his future and where he wanted to be. “Achill spoke to me, it called to me as no other place ever had done”. And later he wrote, “The absence of hurry was one of the most endearing qualities of my new way of life”, he wrote in his autobiography, ‘An Irish Portrait’, (London, Batsford, 1951, pp. 50, 51). Before that he had lived in London, which he described with it’s wealth, hustle and bustle. This picture was almost certainly painted on Gubellaunaun as Henry looked over the rocks. The signature, with its dots in his name, confirms the date with accuracy, for Henry rarely, if ever, used this form of signature after 1913. The scene is mundane, except for where the sea breaks upon the rocks. “It was not Paul Henry’s ‘The Lookout’ difficult to make friends on the island because everyone was so kind and helpful. They just came into my life naturally and unexpectedly”, he continued in ‘An Irish Portrait’ (p. 62). ‘Gubellaunaun from the Rocks 1911-13’ is numbered 1334 in S. B. Kennedy’s on-going cataloguing of Paul Henry’s oeuvre. 

Dr. S. B Kennedy, February 2018 €40000 - 60000



17 Roderic O’Conor 1860-1940 NUDE SEATED ON A CHAISE LONGUE Oil on board, 24" x 19¾" (61 x 50cm), Atelier ‘O’CONOR’ stamp verso

Provenance: Private Collection, London

Roderic O’Conor’s fascination with the female nude began in earnest after he left Brittany for good in 1904 and moved to Paris. The spacious studio he rented at 102 rue du Cherche-midi in Montparnassse became the setting for countless explorations of this time-honoured subject. The present example, with sumptuous,reds, pink, oranges and yellows recreates something of the effect of a boudoir, the model being captured as if she is just about to rise from her couch in order to get dressed. The sense of immediacy is reinforced by the cropping of the figure’s feet and hair from the top and bottom edges of this picture, with the result that her position in space is very close to the plane of the picture. The intimate setting and unselfconscious pose of this nude relate it closely to other interiors dating from O’Conors intimiste period, 1905-11. Inspiration for this body of work was provided by the late nudes of Renoir (compare for example the latter’s ‘Bather Sitting on a Rock’ (Baigneuse) of 1892; private collection, Paris), as well as Pierre Bonnard’s radiant and seemingly unposed depictions of his wife. O’Conor sought, like Bonnard, to create unpretentious pictures of women in intimate settings, engaged in everyday activities such as reading, resting, arranging their hair or fastening a stocking. An early example of 1905 entitled Repos, showing a clothed model asleep, was bought from O’Conor by the famous Russsian collector of modern European art, Ivan Morosov, and is now in the State Hermitage Museum, St. Petersburg. The features of the young woman seen here can be found in a number of O’Conor’s paintings from this period. He would normally start work by making rapid drawings of the model in a range of different poses – an approach that allowed him to establish an understanding of her movements and proportions. In ‘Nude’ seated on a chaise longue the model has been placed left of centre, seated on the edge of a divan (a favourite studio prop), with three Chinese vases located in the background to lend an air of cultured refinement. The model’s expression, as so often in O’Conor’s work, is contemplative and introspective, rather than overtly glamorous or sensual. The figure is lit by daylight entering the picture from the right, throwing the left side of her figure in shadow and thereby enhancing the illusion of rouned, three dimensional forms. By paving careful attention to the overall balance of the light and shade, O’Conor demonstrates his awareness of traditinal themes and approaches, simultaneously in this painting was one of his favourite colours, inevitably calling Renoir to mind once again. Whereas the seated nude on the front of this picture is a highley considered statement that must have demanded frequent sittings of the model over a prolonged period, reclining nude on the reverse is a spontaneous and vibrant sketch, painted in one sitting. The two contrasting treatments show how the extent to which O’Conor was prepare to adapt his approach, working rapidly alla prima in order to deseize a pose or light effect before it was lost for ever, while at the the same time producing pictures with a much higher degree of ‘finish’, perhaps with a exhibition in mind. Even in more developed works, however, the artist still liked to retain a degree of spontaneity: compare for example the bold patch of creamy paint on the seated nude’s left shoulder, with the incredibly delicate, feathered brushstrokes used in her right cheek and neck.

We are grateful to Jonathan Benington for kindly preparing this catalogue entry.

€25000 - 35000



18 Jack Butler Yeats RHA 1871-1957 DOWNPATRICK HEAD, BALLYCASTLE, CO MAYO Watercolour, 13¼" x 9¾" (35 x 25cm), signed

Exhibited: 1910 Dublin (19); 1912 London (24)

Provenance: Dawson Gallery, Dublin (label verso)

Collection: Sold to John Burke 1945; Alexis Fitzgerald, Dublin; Private Collection Literature: ‘Yeats, Jack B., Life in the West of Ireland (1912, 1915)’ 103; No. 652 in ‘Jack B Yeats, His Watercolours, Drawings and Pastels’ by Hilary Pyle

J ack Yeats visited Ballycastle in county Mayo several times in his career. He greatly admired the spectacular beauty of the North Mayo coast and was equally intrigued by the life of its inhabitants. He travelled to the area with the writer J.M. Synge in 1905 when he made numerous sketches, several of which he referred to in later oil paintings and watercolours. Yeats returned to Ballycastle in the summer of 1909 when he painted this work and several other oil paintings and watercolours of Downpatrick Head and Ballycastle Bay. He also made a number of pastel paintings of the landscape near Ballycastle in 1915 (these may have been made from memories of the 1909 visit or possibly from a subsequent undocumented stay).

This watercolour differs from Yeats’s other paintings of Ballycastle in its dramatic inclusion of a horseman and the use of the framing device of a stone archway through which we can see the expansive view of the coastline. The architectural feature divides the composition into the natural sector behind it and the world of man and commerce in the foreground. Downpatrick Head, located just beside the town of Ballycastle, is an imposing headland that extends out into the Atlantic Ocean. Its rising profile can be seen on the horizon in this painting, at the centre of the composition (not evident in the work but well known to visitors is Dún Briste, the enormous sea stack that lies just beyond Downpatrick Head). Above the archway, the sill and bottom of a window appear incongruously. Their inclusion subtly offsets the impact of the distant headland, making the image a highly unconventional view of the landscape. The exotic looking male figure personifies the extreme beauty and geography of the region. His vivaciousness and that of his spirited horse offset the windswept tree and barren terrain behind them. The large hat and the deep archway cast the man’s long thin face in shadow. His sideward gaze suggests the exotic nature of his life amidst the desolate but spectacular surroundings of the West of Ireland, as well as his familiarity with it. Yeats’s admiration for the work is evident by the fact that he included a reproduction of it in his book, ‘Life in the West of Ireland’, (Maunsel Press, Dublin, 1912). 

Dr. Róisín Kennedy, March 2018 €15000 - 20000



19 Patrick Scott HRHA 1921-2014 GOLD PAINTING Gold leaf & tempera on unprimed canvas, 32" x 32" (81.2 x 81.2cm), signed, inscribed & dated 1982 verso

Provenance: Private Collection, Dublin

â‚Ź10000 - 15000

Patrick Scott is exceptional in Irish cultural history for the range and quality if his work across the fields of art and design for well over half a century. He initially trained as an architect, and for 15 years worked with Michael Scott in that capacity. He greatly admired the Japanese flag, a red solar disc against a white ground, and what it exemplified: a pared down, Zen-influenced aesthetic of formal simplicity, naturalness and tranquility. There is one other important factor: the occasional asymmetrical interruption, to stir things up. After the circle, the square is the form he used most frequently. Often, symmetrical divisions and rhythmic patterns spring directly from these motifs. The square-on-circle technique recall the meditation technique of visualising a dark ground, a geometric shape of a different colour and a central form into which one’s attention is directed. 22

20 Patrick Scott HRHA 1921-2014 FIRE ISLAND (1987) Acrylic on canvas, 24" x 24" (61 x 61cm), signed, inscribed & dated 1987 verso

€3000 - 5000


21 John Shinnors b.1950 JANUARY FIELD FORMS Oil on canvas, 13½" x 17½" (34.4 x 44.5cm), signed, signed & inscribed verso

€3000 - 5000


22 William Crozier HRHA 1930-2011 WEST OF IRELAND LANDSCAPE Watercolour, 22½" x 29½" (57.2 x 75cm), signed

Provenance: Sotheby’s, London, Irish Art Auction 18/5/2000 (lot 221)

€2500 - 3500


23 John Shinnors b.1950 OCTOBER LANDSCAPE WITH FIGURES Oil on canvas, 13½" x 17½" (34.4 x 44.5cm), signed, signed & inscribed verso

€3000 - 5000

24 John Shinnors b.1950 OVER A FIELD Oil on panel, 11¼" x 14¾" (28.5 x 37.5cm), signed, signed & inscribed verso

€3000 - 5000 26

25 Sean Scully b.1945 TITIAN’S ROBE Coloured aquatint, sheet size 18½" x 20½" (47 x 52cm), signed, inscribed & dated 2008, ed 4/40

€3000 - 5000


26 Charles Tyrrell b.1950 C9.12 2012, oil on canvas, laid on board, 27½" x 27½" (70 x 70cm), signed & inscribed verso

€4000 - 6000

Tyrrell’s paintings are anchored by geometric grids, his compositions characterised by an underlying block-like strength and sense of order. Spatially sophisticated, the artist creates taut spaces where your eye is pulled between action at the painting’s centre and what’s going on along its perimeter. However, the really intriguing aspect of his work is the way this controlled space is animated, the grid giving way to unexpected fluidity, spontaneity and drama. In C9.12, carefully orchestrated thin bands of colour along the perimeter seem to dance around the central core. The surface of the painting is richly layered, scratched and scored so that slivers of light glimmer against the dark ground.


27 Charles Tyrrell b.1950 A16.14 2014, oil on aluminium, 19¾" x 15¾" (50 x 40cm), signed & inscribed verso  €2500 - 3500

Always interested in the allure of materials, Tyrrell uses aluminium to great effect in A16.14, with the paint applied and removed in flowing movements of a spatula. Engraved lines and a watery current flow through the rectangular grid, leaving us with a hint of nature interrupting man’s best laid plans. Although these paintings are abstract, one senses that the wild weather and rugged terrain of the Beara peninsula, where Tyrrell lives, has filtered into his paintings.  Dr Frances Ruane, HRHA Tyrrell in his studio


28 Richard Gorman RHA b.1946 P5M96 Oil tempera on linen, 36¼" x 35½" (92 x 90cm), signed & inscribed Milan 1996 verso

€3000 - 5000


29 Diane Copperwhite b.1969 FUNCTION FINDING IT’S FORM Oil on canvas, 39⅓" x 39⅓" (100 x 100cm), signed, inscribed & dated 2012 verso

Provenance: Kevin Kavanagh (label verso)

“Copperwhite’s work focuses on how the human psyche processes information, and looks at the mechanisms of how we formulate what is real. With her work, she is fully aware that such realities may only hold validity for an instant, and that we are constantly processing and changing what we logically hold as experience and memory. Layering fragmented sources that range from personal memory to science, from media and internet to personal memory, Copperwhite’s canvases become worlds in which the real is unreal and this unreality is in a constant state of reforming.” 

Noel Kelly, Director of Visual Artist Ireland, (2011) (Ref: €6000 - 9000


30 Hughie O’Donghue b.1953 BAIA IV Oil on canvas, 83" x 75" (212 x 195cm), signed & dated 2003; signed, inscribed & dated 2003 verso

Provenance: Private Collection, Northern Ireland

Baius, the pilot of Ulysses gives his name to Baia, a coastal town near Naples. It’s also a location visited by O’Donoghue’s father, a navigator in the British Expeditionary Force, during the Second World War and the inspiration for a series of monumental paintings made in 2003. O’Donoghue has often mined his father’s harrowing experience to create images whose multiple layers and surfaces attempt to describe the grand themes of identity, war and loss. In ‘Baia IV’ the human figure is wretched, half Christ like, seemingly shouldering the burden of military action, depicted in a photograph printed on gampi paper and melded between surfaces at the top of the painting. O’Donoghue’s trademark hues and partial glazing add a sense of confused haze to the battle weary figure, not his father alone, but all men. With these paintings, O’Donoghue represents both the experience of war for the individual participant and those who come after, through inherited memory. 

Oliver Sears, March 2018 €25000 - 35000



31 Rowan Gillespie b.1953 TWO Bronze, 17¼" high (43.8cm), signed & dated 2003, inscribed ‘Two’, study for Bad Ragaz 2/9, signed & dated 2003 on base This is a study for a 8ft high sculpture made for the 1003 Bad Ragaz Sculpture Biennale in Switzerland. The larger version is in a private collection in the Principality of Liechtenstein

€8000 - 12000


32 Hughie O’Donoghue b.1953 MOONLIGHT CURRACH Oil on canvas, 22 ½" x 28" (54.5 x 71.1cm), signed, signed, inscribed & dated 2014 verso

€6000 - 8000


33 William Scott CBE RA 1913-1989 BLACK & WHITE COFFEE POT (1955) Oil on Canvas, 16" x 20" (40.6 x 50.8cm), signed

Provenance: Hanover Gallery, London; acquired 1958 by Mrs. Stuart Krinsly 

Literature: Sarah Whitfield, William Scott Catalogue Raisonne of Oil Paintings, vol. 4, p. 349 (appendix of untraced works), #A82 (not illustrated) As with the great Italian painter and printmaker Giorgio Morandi, William Scott’s treatment of still life lifts the genre to the monumental and architectonic. And as in the case of Morandi, still life was, unusually, the central focus of Scott’s artistic output. In his studies of basic kitchen objects – pots and pans, utensils and crockery, basic foodstuffs – the rituals and materials of everyday domesticity assume a heightened, even sacred character. His starkly simplified pictorial language and immensely tactile use of paint disengages the objects or, in this case object, from its familiar scale and function. While remaining absolutely true to the source of the image, Scott’s flattened, quasi-geometric treatment means that we could as easily be looking at something else entirely, such as a building or buildings of considerable size, a plaza rather than a kitchen. By 1955 Scott was well on the way to consolidating his mature pictorial style, and he was able to seamlessly absorb the influence of Egyptian and, later, Japanese art into his personal aesthetic as his sensibility became more developed and refined through the decades. Black and White Coffee Pot is exceptional in its purity of statement. There’s an honesty to the way the artist does not try to disguise the struggle involved in the process of drastically simplifying and editing the subject matter: we can trace his effort in the gestures captured in the incisive lines and blocks of pigment that constitute the picture surface. 

Aidan Dunne, March 2018 €60000 - 90000



34 Basil Ivan Rakoczi 1908-1979 STILL LIFE WITH FISH ON A PLATE Oil on canvas, 8¾" x 23½" (22.3 x 59.6cm), signed

€1000 - 1500

34A Barabara Warren RHA 1925-2017 CLIFDEN CONNEMARA Oil on board, 5½" x 8¾" (14 x 22.3cm), signed; signed & inscribed verso

€600 - 900


35 Rowan Gillespie b.1953 THE COUPLE Polished Aluminium, 31" (78.6cm) high, signed & dated 1976, unique This unique sculpture was made in 1974. It was the very first sculpture Rowan ever sold in Ireland. It shows his wife Hanne pregnant with their first child Alexander. Rowan explains that “It was a big cast for me at the time and I remember being delighted how well it came out. It shows us as gentle, loving but also fearful about our future, how we would cope with that new life we were about to bring into the world even although we had no money”.

€10000 - 15000


36 Elizabeth Magill b.1959 VIEW (GREEN) Oil on canvas, 36Âź" x 48" (92 x 112cm), signed, inscribed & dated 1997 verso

Provenance: Kerlin Gallery, Dublin (label verso)

â‚Ź6000 - 9000


37 Brian Bourke HRHA b.1939 HEAD IN A LANDSCAPE 1 & 2 Oil on canvas, each 50" x 33" (127 x 83.8cm), signed; signed, inscribed & dated 1970 verso

€4000 - 6000


38 Hughie O’Donohue b.1953 MURNAU’S GHOST Oil on canvas, 22" x 26" (56 x 66cm), signed, inscribed & dated 2012 verso

€7000 - 9000


39 Mary Lohan b.1954 EVENING SHORELINE, MAYO I Oil on canvas, triptych, each 12¼" x 10¼" (31 x 26cm), signed verso

Provenance: Taylor Galleries, Dublin (label verso)

€1500 - 2000

40 Ciaran Lennon b.1947 FIVE PART ARBITRARY COLOUR COLLECTION (5) Acrylic on steel, each panel 9" x 6¼" (23 x 16cm), signed & inscribed verso, with studio labels

€2000 - 3000


41 Mark Francis b.1962 UNTITLED (2000) Oil on paper, 31½" x 26" (80 x 65cm)

Provenance: Kerlin Gallery, Dublin (label verso)

Over the past thirty years, Mark Francis has made paintings of singular optical intensity – powerful, apparently abstract combinations of concentrated patterning and stark colour contrasts that are in fact principally based on what the unaided human eye lacks the power to see. His work draws significantly on discoveries about the form and substance of reality that result from technologically enhanced vision. An enduring fascination, for instance, has been the visual worlds made accessible by the matter-penetrating gaze of electron microscopes: the dark, scattered, interconnecting orbs or the variously taut and slack lines of his paintings have drawn their strange forms from imagery of the miniature universe, the realm of molecular structure and cellular association out of which all life is assembled. (Ref:

â‚Ź5000 - 7000


42 Patrick O’Reilly b.1957 DUBLIN GOSSIPS Bronze, 11" high x 12" diameter (28 x 30cm), signed & dated 2002, unique

€3000 - 5000


43 Patrick Scott HRHA 1921-2014 ARCADY I Silkscreen print, 24" x 24" (61 x 61cm), signed & dated 1974, ed. 21/25

Provenance: Taylor Galleries (label verso)

€1000 - 1500

44 Sean McSweeney HRHA b.1935 THE POOL Oil on board, 8" x 10" (20.3 x 25.4cm), signed & inscribed verso


€800 - 1200

45 Evie Hone 1894-1955 CUBIST COMPOSITION 1923 Gouache, 7½" x 7½" (19 x 19cm), signed & dated 1923 on the mount Exhibited: Gorry Galley, May-June 2011 (Cat No. 34) Provenance: Taylor Galleries, Dublin (label verso)

€1000 - 1500

46 Charles Brady HRHA 1926-1997 TAN ENVELOPE Oil on canvas laid on board, 17" x 21" (43 x 53.2cm), signed

€2000 - 3000


47 Louis Le Brocquy HRHA 1916-2012 HEAD OF SAMUEL BECKETT Lithograph, 15" x 17¼" (38.1 x 43.8cm), signed & dated 1981, ed. 3/20

€800 - 1200

47A Louis Le Brocquy HRHA 1916-2012 THE TÁIN – THE LION Lithographic brush drawing, 15" x 21¼" (38.1 x 54cm), signed & dated 1969, ed. 21/70

47B Louis Le Brocquy HRHA 1916-2012 THE TÁIN – ULSTER RISES FROM ITS PANGS Lithographic brush drawing, 15" x 21¼" (38.1 x 54cm), signed & dated 1964, ed. 21/70

€800 - 1200

€800 - 1200


48 Liam Belton RHA b.1947 CREAM JAR WITH FOUR EGGS Oil on canvas, 20" x 16" (51x 41cm), signed; signed, inscribed & dated 2002 verso

€3000 - 5000

48A John Behan RHA b.1938 BIRDS IN FLIGHT Bronze, 20" high (31cm), excluding base

48B Carolyn Mulholland b.1944 GLIMPSE II - MAN WITH A KITE, SANDYMOUNT, 2001 Bronze, 12" x 20 1/2" (30.5 x 52cm), signed and inscribed

€1000 - 1500

€800 - 1200


49 Blaise Smith ARHA b.1967 BIG PEARS Oil on canvas, 28" x 40" (71.1 x 101.6cm), signed, inscribed & dated 2006 verso

Provenance: The Molesworth Gallery, Dublin (label verso)

â‚Ź3000 - 5000


The following works (lots 50-76A) come from a Corporate Collection We are grateful to Bernadette Madden for her assistance in cataloging these works, which she helped assemble for the corporate client over the last 20 years

50 Martin Gale RHA b.1949 FREE TRAVEL Oil on canvas, 42" x 48" (106.7 x 122cm), signed & dated 2001 verso

Provenance: Taylor Galleries, Dublin (label verso)

â‚Ź6000 - 9000


51 Geraldine O’Neill b.1971 STUDIO STILL LIFE Oil on canvas, 32" x 28¾" (81.3 x 73cm), signed & dated 1996 verso

Provenance: acquired directly from the artist

A graduate of the National College of Art, O’Neill was elected an associate of the RHA in 1993. An artist of real imagination she has won numerous awards. Her work has received critical acclaim both here in Ireland as well as in London, Frankfurt and Florence where she has exhibited. Her work is included in numerous public collections including The Irish Museum of Modern Art, The European Central Bank, The Office of Public Works and The Glucksman University College Cork Collection. She is represented by the Kevin Kavanagh Gallery in Dublin.

€3000 - 5000 52

52 Gwen O’Dowd b.1957 CLADACH 21 Oil on canvas, 66" x 48" (167.6 x 122cm), signed, inscribed & dated 2004 verso

Provenance: Hillsboro Fine Art, Dublin (label verso)

€1000 - 2000


53 Tony O’Malley HRHA 1913-2003 AEOLUS AUTUMN (1994) Oil on canvas, 40" x 30" (101.6 x 76.2cm), signed, inscribed & dated 1994 verso, Opus No. 3248

Provenance: purchased from Taylor Galleries, Dublin

Tony O’Malley was never solely interested in depicting the way things looked. Paintings like ‘Aeolus Autumn’ try to convey the totality of the artist’s sensory experience, not just what he sees with his eyes. Yes, there is a suggestion of falling leaves in the rhythmic strokes that dance on the surface of the painting, but there is also the feeling of wind against the face, of the warmth of autumnal sun against the skin, of the sound of the breeze rustling though treetops. The title of this painting is revealing, as the mythological Aeolus had been referred to in both the Odyssey and the Aeneid as the ‘Keeper of the Winds’. Recreating this feeling of warm gusts of wind and connecting with the viewer’s own shared memories of a similar experience is the artist’s intention. O’Malley is also a master of abstract pictorial composition. Although he achieves an overall effect of spontaneity, of winds changing direction and whipping things up with random unpredictability, the artist remains in subtle control of the composition. The painting’s key feature the lively staccato movement of brushstrokes that flow across the surface. However, beneath this we can detect the diagonal flow of much larger shapes, dominated by a pale orange wedge that dips from the top of the picture into the centre. This ‘V’ shaped wedge is cleverly echoed by two much smaller ones. Perhaps the most satisfying element in this painting is the abstract visual ‘conversation’ between the large ‘V’ wedge and its tiny but domineering bright blue counterpart. Then, there is the dense earthy rectangle at the top. Impervious to the winds, it anchors the composition. Like in so many of his paintings, this one draws on O’Malley’s totality of experience, the seeing plus the feeling. He looks, feels, digests and then remembers a sensation, using this ‘inscape’ as the starting point for a visually satisfying abstract composition. 

Frances Ruane, March 2018 €6000 - 9000



54 Charles Tyrrell b.1950 C6.07 Oil on canvas, 39½" x 39½" (100 x 100cm), signed & dated verso 2007 This painting’s carefully calculated symmetrical composition is pure abstraction, a search for visual ‘rightness’, a satisfying balance of all the visual elements. Tyrrell takes simple, inactive rectangles yet manages to bring the composition to life. C6.07 has a satisfying tension that comes from the artist’s use of oppositions: order/disorder, geometry/fluidity, hardness/softness, light/darkness, edge/centre. He also blurs the boundaries of pure abstraction. We get the sense that gusts of sea air from the Beara (where Tyrrell lives) have whipped up the surface. Solid blocks have opened up to become airy windows on a watery world. 

Dr Frances Ruane, HRHA €4000 - 6000


55 Bernadette Kiely b.1958 HAYSTACKS BURNING, MARINA’S FIELD II Oil on canvas, 38" x 47 " (96.5 x 119.5cm), signed, inscribed & dated 2001/02 verso

Provenance: Taylor Galleries, Dublin (label verso)

€1500 - 2000


56 Comhghall Casey b.1976 QUARTZIZE ROCK Oil on linen, 7" x 7" (18 x 18cm), signed & dated 2007

Provenance: Solomon Gallery, Dublin (label verso)

€300 - 500

57 Barrie Cooke HRHA 1931-2014 STUDY II FOR PUNAKAKI ROCKS 2003 Oil on canvas, 8" x 9¾" (20 x 25cm)

Provenance: Kerlin Gallery, Dublin (label verso)

€600 - 900 58

58 Tony O’Malley HRHA 1913-2003 YELLOW POND Oil on paper, 30" x 22¼" (76.2 x 56.5cm), signed, inscribed & dated 10/93, signed, inscribed & dated 1993 verso, opus No. 3122

Provenance: Taylor Galleries, Dublin (label verso)

€4000 - 6000


59 Paddy McCann b.1963 THE MESSAGE II Oil on canvas, 10½" x 13¾" (26.6 x 35cm), signed, inscribed & dated 2003 verso

Provenance: Hillsboro Fine Art, Dublin (label verso)

€400 - 600

60 Mary Lohan b.1954 EVENING TIDE OUT, MAYO Oil on card, 19½" x 25½" (49.5 x 64.8cm)

Exhibited: The RHA Annual Exhibition 1996 (label verso)

€1000 - 1500 60

61 Donald Teskey RHA b.1956 ST. JOHN’S POINT LIGHTHOUSE IV Watercolour, 12" x 15½" (30.5 x 39.4cm), signed & dated 1999, signed inscribed & dated verso

Provenance: Rubicon Gallery, Dublin (label verso)

€1000 - 1500

62 Stephen Lawlor b.1958 GLASNEVIN, BOTANIC GARDENS Oil on canvas, 24" x 30" (61 x 76.3cm)

Provenance: Hillsboro Fine Art, Dublin, 2007 (label verso)

€800 - 1200 61

63 Michael Canning b.1971 KNOWING THE DISTANCE Oil on canvas, 36" x 48" (91.5 x 122cm), signed, inscribed & dated 2003 on label verso

Provenance: purchased from The Hallward Gallery

 ichael Canning was born in Limerick and studied at the School of Art & Design and then in Greece at the School of Fine Art in M Athens. In 1999 he received his Masters degree in Fine Art from the National College of Art and Design in Dublin. In 2003 he received the prestigious Hennessey Craig Prize. His work has received wide acclaim both here in Ireland, in the UK and further afield.

â‚Ź2000 - 3000


64 James Hanley RHA 1965 SPARE THE CHILD AND SAVE THE HORSES Oil on canvas, 72" x 60" (183 x 152.5cm), signed, inscribed & dated 1992 verso

€3000 - 5000


67 Vivienne Roche RHA b.1953 BELL Bronze, the bell 24" x 5½" (61 x 14cm), stand 17" Provenance: acquired at an RHA fundraiser €600 - 900

65 Alice Maher b.1956 CHEVELURE Bronze, 21" x 11" (53.4 x 27.9cm)

€1000 - 1500

66 Dick Joynt 1938-2004 OWL Marble, 10" x 7½" x 5" (25.4 x 19 x 12.7cm)

Provenance: acquired directly from the artist €400 - 600


68 Patrick Scott HRHA 1921-2014 THE FOURTH DAY Carborundum print with gold and platinum leaf, 19¾" x 25½" (50.2 x 64.8cm), signed, ed.27/39

Provenance: acquired from The Graphic Studio, Dublin

€800 - 1200

69 Paul Doran b.1972 UNTITLED Oil on canvas, 13½" x 12½" (34.3 x 31.8cm)

€1000 - 1500 65

70 George K. Gillespie RUA 1924-1995 HORN HEAD FROM BLOODYFORELAND, CO. DONEGAL Oil on canvas, 20" x 24" (50.8 x 61cm), signed, inscribed on label verso

€800 - 1200

71 George K. Gillespie RUA 1924-1995 MAY DAY, LOUGH SWILLY Oil on canvas 24" x 30" (61 x 76.3cm), signed, inscribed on label verso

€1400 - 1800


72 George K. Gillespie RUA 1924-1995 GALWAY HOOKERS Oil on canvas board, 8" x 10" (20.3 x 25.4cm), signed, inscribed on label verso

€400 - 600

73 Norman J. McCaig 1929-2001 LOUGH CURRANE, CO.KERRY Oil on board, 14" x 18" (35.5 x 45.7cm), signed

€400 - 600


74 Norman J. McCaig 1929-2001 A WALK IN THE PARK Oil on canvas, 17" x 21" (43.2 x 53.4cm), signed

75 James Nolan RHA b.1929 BATHERS BURROW STRAND Oil on canvas, 18" x 20" (45.7 x 50.8cm), signed

€400 - 600

76 Liam Treacy 1934-2004 GRAFTON STREET Oil on canvas, 24" x 30" (61 x 76.2cm), signed

€300 - 500

76A George K. Gillespie RUA 1924-1995 LISCANNOR, CO.CLARE Oil on canvas, 20" x 30" (50.8 x 76.3cm), signed, inscribed on label verso

€600 - 900

€1400 - 1800


77 Patrick Leonard HRHA 1918-2005 SUMMERS DAY – LOUGHSHINNY, CO DUBLIN Oil on board, 20" x 24" (51 x 61cm), signed, signed and inscribed verso

€2000 - 3000

77A Markey Robinson 1918-1999 HOMEWARD BOUND Gouache on board, 11¾" x 26" (30 x 66cm), inscribed label verso

Provenance: Acquired directly from the artist

€2000 - 3000 69

78 Maurice Canning Wilks ARHA RUA 1911-1984 AT ROUNDSTONE, CO GALWAY Oil on canvas, 20" x 24" (51 x 61cm), signed; signed, inscribed verso, signed & inscribed on artist’s label verso

€3000 - 5000


79 Martin Mooney b.1960 SANDYCOVE HARBOUR Oil on paper, 25½" x 39" (64.8 x 99cm), signed & dated 1993

Provenance: Solomon Gallery (label verso)

€4000 - 6000


80 Arthur Maderson b.1942 RIVER DORDOGNE, TOWARDS SUNSET Oil on board, 35" x 48" (89 x 122cm), signed & inscribed verso

€3000 - 5000

81 Arthur Maderson b.1942 TOWARDS EVENING, TALLOW HORSE FAIR Oil on board, 42" x 32" (107 x 81cm), signed; signed & inscribed verso


€3000 - 5000

83 Patrick Leonard HRHA 1918-2005 DOLLYMOUNT BUS, 9.45pm, 2nd NOVEMBER, 1950 Oil on board, 14½" x 11", (37 x 28cm), signed, signed & inscribed verso

82 Cian McLoughlin b.1977 KIERA 1 Oil on board, 24" x 20" (61 x 50.8cm), signed, signed & inscribed verso

€2000 - 3000


€800 - 1200

84 Kenneth Webb RWA FRSA RUA b.1927 GORM-NA-LOICHE Oil on canvas, 20" x 50" (51 x 127cm), signed, inscribed verso

€6000 - 9000

85 Colin Davidson RUA b.1968 DUBLIN, FOUR COURTS Oil on canvas, 20" x 30" (50.8 x 76.2cm), signed

€4000 - 6000 74

86 Fergus O’Ryan RHA ANCA 1911-1989 STUDY OF CHRIST CHURCH, DUBLIN Oil on board, 14" x 30", (35.5 x 76cm), signed, inscribed verso

€1000 - 1500

87 Paul Kelly b.1968 PREPARING THE THATCH – RUSH Oil on canvas, 24" x 28" (61 x 71cm), signed & dated 1992, inscribed verso

87A Tony O’Malley HRHA 1913-2003 FRUIT ON A WINDOW SILL NOVEMBER 1965 Conte on paper, 9½" x 11½" (24 x 32cm), signed, inscribed & dated 1965

Provenance: The Gorry Gallery (exhibition cat. attached)

OPUS NO. 6399

Provenance: Taylor Galleries, Dublin (Label Verso)

€800 - 1200

€1500 - 2000


88 Cecil Maguire RHA RUA b.1930 FAIR DAY, CLIFDEN Oil on board, 13½" x 17½", (34.5 x 45cm), signed & inscribed verso

€3000 - 5000

89 Norman J. McCaig 1929-2001 FISHING BOATS, CARRAROE, GALWAY Oil on canvas board, 16" x 12" (40.8 x 30.5cm), signed, inscribed verso

€500 - 700 76

90 Ciaran Clear 1920-2000 MOONLIGHT, CONNEMARA COAST Oil on board, 14" x 20" (35.5 x 51cm), signed & inscribed verso

€800 - 1200

91 Norman J. McCaig 1929-2001 BOATS, LOUGH REE, ATHLONE Oil on canvas, 12" x 16" (30.5 x 40.7cm), signed, inscribed & dated 1983 on studio label (verso)

€400 - 600 77

92 George K Gillespie RUA 1924-1995 THE FERRYMAN, CONNEMARA LOUGH Oil on board, 24" x 36" (61 x 92cm), signed, inscribed label verso

€2000 - 3000


William Percy French 1854-1920 BOGLAND RIVER Watercolour, 6¾" x 9½" (17.1 x 24.1cm), signed €1000 - 1500 78

94 Frank Egginton RCA FIAL 1908-1990 A STORMY DAY, CO TYRONE Watercolour, 13" x 20¾" (33 x 52.5cm), signed, titled verso

€600 - 900

95 Frank Egginton RCA FIAL 1908-1990 LACKAN, CO MAYO Watercolour, 21" x 30" (53.5 x 76cm), signed, inscribed on label verso

Exhibited: Waterford Art Exhibition, 1949, No 2 (label verso)

€1000 - 1500 79

96 BRIAN BOURKE HRHA b.1936 POLLING 66 Oil on canvas, 49" x 33" (124.5 x 84cm), signed, inscribed & dated 1966 verso

Provenance: The Dawson Gallery, Dublin (label verso)

€2000 - 4000


97 Terence P. Flanagan RHA PRUA 1929-2011 WINTER SEQUENCE – RAIN CLOUDS LIFTING Oil on board, 16" x 16" (41 x 41cm), each signed & dated 1996

€1000 - 1500

98 Terence P. Flanagan RHA PRUA 1929-2011 WINTER SEQUENCE – MOUNTAIN FIRES Oil on board, 16" x 16" (41 x 41cm), each signed & dated 1996

€1000 - 1500


99 Felim Egan b.1952 UNTITLED Oil on canvas laid on board, 30" x 30" (76.2 x 76.2cm), signed & dated 2003 verso

€2000 - 3000

99A Neil Shawcross RHA RUA b.1940 FRUIT BASKET Acrylic on paper, 25½" x 36¾" (64.8 x 93.4cm), signed & dated 1993


€3000 - 5000

100 Sean Scully RA b.1945 NIGHT LIGHT Aquatint, 19½" x 15" (49.5 x 38.1cm), signed, inscribed & dated 2000, ed. no. 42/50

101 William Crozier HRHA 1930-2011 HOMAGE TO MANET Oil on lead, 17¼" x 13¼" (43.8 x 33.6cm), signed Provenance: Acquired directly from the artist

€2000 - 4000

€2000 - 4000

101A Mary Lohan b.1954 WINTER SEA II Oil on canvas, 12" x 31" (30.5 x 79cm) Provenance: Taylor Galleries, Dublin, April 2004 (label verso) €1000 - 1500 83

102 William Scott CBE RA 1913-1989 STILL LIFE, 1988 Lithograph, 22¾" x 30½" (58 x 77cm), signed & dated 1988, ed. no.20/100 €4000 - 6000

103 Hughie O’Donoghue RA b.1953 CROW STUDY II Charcoal, 22¾" x 30¼" (58 x 77cm), signed & dated 1988 Provenace: James Hyman Gallery (label verso) €4000 - 6000 84

104 Michael Cullen RHA b.1946 ANDALUCIAN HORSE AND RIDER Oil on linen, 9½" x 13" (24.1 x 33cm), signed; inscribed & dated 2005 verso Literature: MICHAEL CULLEN – Gandon, p.120 (illus) €600 - 900

105 William Crozier HRHA 1930-2011 ENGLISH LANDSCAPE Oil on canvas, 12" x 12" (30.5 x 30.5cm), signed; signed & inscribed verso €2000 - 3000 85

106 Bob Lynn b.1940 STUDIO PLANT NO.4 Oil on canvas, 30" x 24" (76.3 x 61cm), signed; signed, inscribed & dated 2007 verso

106A Barrie Cooke HRHA 1931-2014 FOREST LIGHT Oil on canvas, 24" x 18" (61 x 45.8cm), signed Exhibited: David Hendricks Gallery, Dublin 1976

€1000 – 1500

€2000 - 3000

107 Paul Doran b.1972 HARVEST Oil on canvas on board, 12" x 12" (31 x 31cm), signed & dated 2001 verso

108 Paul Doran b.1972 RIPPER Oil on canvas on board, 12" x 12" (31 x 31cm), signed & dated 2001 verso

Provenance: Green on Red Gallery, Dublin, Armory Show 2002 (label verso)

Provenance: Green on Red Gallery, Dublin, Armory Show 2002 (label verso)

€1000 - 1500

€1000 - 1500 86

109 Stephen Lawlor B.1958 HORSE Bronze, 9" x 10" (22.8 x 25.5cm), signed & dated 2010, ed.2/9 €2000 - 3000

110 Patrick O’Reilly b.1957 GOLFING BEAR Bronze, 16" high (41cm), signed, edition 1/1 €4000 - 6000


110A Michael Cullen RHA b.1946 THE GUITAR MAN Oil on canvas, laid on board, 19" x 19¾" (48.4 x 50.2cm), signed & dated 1997 €1500 - 2000

111 Sean Hillen b.1961 WHAT’S WRONG? WITH THE CONSOLATIONS OF GENIUS #10 Photo collage, 8" x 9" (20.4 x 22.8cm), signed, inscribed & dated 1st dec. 2010 €1000 - 1500

112 David Godbold b.1961 I THINK IT’S KINDA FUNNY… 2006 Ink on tracing paper, 11" x 8" (28 x 20.5cm), artists stamp Provenance: Kerlin Gallery, Dublin (label verso) €1000 – 1500 88

113 Colin Martin, Contemporary BRIDGE STUDY Oil on board, 7¾" x 11¾" (19.7 x 29.8cm), inscribed verso Provenance: Kevin Kavanagh Gallery, Dublin, 2003 (label verso) €800 - 1200

114 Anita Shelbourne RHA b.1938 RIVER COTTAGE Oil on paper, 19¾" x 27½" (50 x 70cm), signed Exhibited: RHA Annual Exhibition 2012 (label verso) €800 - 1200 89

115 William Crozier HRHA 1930-2011 BASKET OF SPANISH GRAPES Oil on metal tray, 12¼" x 17" (31 x 43.2cm), signed Provenance: Acquired directly from the artist €2000 - 4000

116 Pauline Bewick RHA b.1935 GIRL WITH KITTENS Pen & watercolour, 20" x 24" (51 x 61cm), signed

117 Patrick Pye RHA 1929-2018 STILL LIFE IX Tempera on board, 27" x 21" (68 x 53.3cm), signed; signed & inscribed verso

Provenance: The Dawson Gallery ( Label verso).

Provenance: Ritchie Hendrick’s Gallery, Dublin (label verso)

€1400 - 1800

€800 - 1200 90

118 Neil Shawcross RHA RUA b.1940 STILL LIFE, LEMONS Oil on paper, 28½" x 31½" (72.5 x 79.5cm), signed & dated 2007 €2000 - 4000

119 Trevor Geoghegan b.1946 FUNERAL AT BURGAGE Oil on canvas, 30" x 30" (76 x 76cm), signed, inscribed & dated 1980 verso

120 Trevor Geoghegan b.1946 SHELTER Oil on canvas, 20" x 24" (50.8 x 61cm), signed, inscribed & dated 1989 verso

Provenance: The Lincoln Gallery (inscribed verso)

Provenance: The Solomon Gallery (exhibition catalogue attached)

€1000 - 1500 €800 - 1200


121 Ivan Sutton, Contemporary ROUNDSTONE VILLAGE, CO GALWAY Oil on board, 20" x 30", (51 x 76cm), signed, signed & inscribed verso €1500 - 2000

122 Charles J. McAuley RUA ARSA 1910-1989 FISHING ON THE BANKS Oil on canvas, 18" x 22", (46 x 56cm), signed €1000 - 1500 92

123 John Skelton 1924-2009 SUMMER REFLECTIONS, THE CANAL, MOUNT STREET, DUBLIN Oil on canvas board, 20" x 24" (51 x 61cm), signed, inscribed verso €800 - 1200

124 Mark O’Neill b.1963 CARRIGDUFF, MORNING LIGHT Oil on board, 9" x 11" (22.9 x 27.9cm), signed €600 - 900

125 Tom Carr HRHA HRUA ARWS 1909-1999 McDONALD’S FIELD Watercolour, 15" x 22" (38.1 x 55.8cm), signed Provenance: The Eakin Gallery (label verso) €700 - 1000


126 Jeremiah Hoad 1924-1999 TRA INBHEAR – AN LANYMOR Oil on board, 20" x 24" (50.8 x 61 cm), signed, inscribed verso, dated 1904 €400 - 600

127 Harry Scully 1863-1935 BEND IN THE ROAD Watercolour, 7" x 4½" (18 x 12cm), signed & dated 1904

128 Lady Kate Dobbin WCSI 1868-1955 FROM MY WINDOW Watercolour, 13½" x 9" (34 x 23cm), signed & inscribed label verso

€300 - 500

€300 - 500 94

129 Norman J. McCaig 1929-2001 RIVER SCENE Oil on canvas, 24" x 36" (61 x 91.5cm), signed

131 James Le Jeune RHA 1910-1983 STREETSCENE Watercolour, 9¼" x 6" (23.5 x 15.2cm), signed & dated 1944

€1500 - 2000 €300 - 500 130 Sir William Orpen RA RHA 1878-1931 THE ROSCOMMON DRAGOON Colour collotype print, 18" x 14" (45 x 35.5cm), signed by the artist in pencil, limited edition of 300, printed by The Fine Art Society, London in 1919 Provenance: The Hone Family, by descent to the current owner Exhibited: ‘3rd Annual Exhibition of Facsimiles en Colour’, Daniel Egan Gallery, February 1932 Literature: Bruce Arnold, Orpen - Mirror to an Age, p.285 The painting depicts Miss Vera Brewster of Cincinati, later to become Mrs Vera Hone, wife of W.B. Yeats’ biographer, Joseph Hone. She was a favourite model of Orpens and the original was painted in 1913. It shows Mrs Hone in the military tunic of the Armagh Infantry dating to c.1865. €400 - 600


132 William Percy French 1854-1920 BOGLAND Watercolour, 5" x 9¼" (12.7 x 23.5cm), signed €1000 - 1500

133 Maurice Canning Wilks RUA ARHA 1910-1984 AT CUSHENDUN, CO ANTRIM Oil on canvas, 16" x 30", (40.5 x 76cm), signed, inscribed verso €2000 - 3000 96

134 Markey Robinson 1918-1999 CLOWN Gouache, 19½" x 12" (49.5 x 30cm), signed €1000 - 1500

135 Moyra Barry 1886-1960 WHITE LILACS Oil on canvas, 14" x 15½" (36 x 39cm) Provenance: Moyra Barry Studio, Gorry Gallery, Dublin, 1982 (label verso); Private Collection, Dublin €800 - 1200

136 Peter Collis RHA 1929-2012 MOUNTAIN LANDSCAPE Oil on board, 13¼" x 15" (33.5 x 38.1cm), signed €600 - 900 97

137 Maurice MacGonigal PPRHA 1900-1979 CAMPSITE, BALLYMUN Watercolour, 10" x 16" (25.5 x 40.1cm), signed & dated 1977 Provenance: Dawson Gallery (label verso) €600 - 900

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

139 Mainie Jellett 1897-1944 HARVESTING Watercolour, 5½" x 9" (14 x 22.8cm), signed & dated August 1918 €500 - 700

€600 - 900 98

140 Maurice Canning Wilks RUA ARHA 1910-1984 GALWAY LANDSCAPE Oil on canvas, 12" x 16" (30.5 x 40.6cm), signed; inscribed verso €1400 - 1800

141 Dorothy Blackham RUA 1896-1975 SPRING IN THE WOODS Watercolour, 20" x 14½" (50.8 x 36.8cm), signed with monogram, inscribed artist’s label verso

142 Hans Iten RUA 1874-1930 STILL LIFE WITH FLOWERS Oil on board, 11" x 8" (28 x 20.4cm), signed verso €400 - 600

€400 - 600 99

143 Norah McGuinness HRHA 1901-1980 RIVERBANK Watercolour, 15" x 18" (38.1 x 45.7cm), signed indistinctly €700 - 1000

144 Kenneth Webb RWA FRSA RUA B.1927 FIELD FLOWERS Oil on canvas, 16" x 24" (40.6 x 61cm), signed Provenance: The Blue Door Studio (label verso) €3000 - 5000 100

145 Desmond Carrick RHA 1928-2012 EVENING AT RUSSEY (OISE), FRANCE Oil on board, 16" x 20" (40.7 x 50.8cm), signed €700 - 1000

146 Joseph O’Connor b.1936 RUGBY PLAYERS IN FULL FLIGHT Gouache, 30" x 22" (76 x 56cm)

147 Keith Critchlow, 20th Century HEAD OF A GIRL Oil on board, 18" x 15" (46 x 38cm), inscribed verso

€300 - 500 €400 - 600


148 Markey Robinson 1918-1999 FIGURE ON THE ROAD Gouache, 11" x 18¾" (28 x 47.5cm), signed €800 - 1200

149 Moyra Barry 1886-1960 SELF PORTRAIT Oil on canvas, 15½" x 14" (39.5 x 35.5cm)

150 Michael Healy 1873-1941 DUBLINERS – SLAUGHTER HOUSE Watercolour, 7" x 4 ½" (18 x 11.5cm), inscribed

€1000 - 1500

Provenance: The Dawson Gallery, Dublin (label verso) €400 - 600


151 Markey Robinson 1918-1999 WAITING AT THE HARBOUR Gouache, 6¼" x 14" (16 x 35.5cm), signed €700 - 1000

152 Charles Cullen b.1939 PORTRAIT OF A MAN Oil on canvas, 12" x 10" (30.5 x 25.4cm), signed

153 Liam Treacy 1939-2004 STILL LIFE WITH PRIMROSES Oil on board, 10" x 8" (25.4 x 20.3cm), signed, artist studio label verso

€300 - 500 €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. 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. 104

B Ballard, B  Barry, M  Behan, B  Belton, L  Bewick, P  Blackham, D  Blackshaw, B  Bourke, B  Brady, C 

2 135,149 48A 48 116 141 10 37,96 1,11,46

C Canning, M  63 Caracciolo, N  5 Carr, T  125 Carrick, D  145 Casey, C  56 Conor, W  7 Cooke, B  57 106A Collis, P  136 Copperwhite, D  29 Clear, C  90 Critchlow, K  147 Crozier22,101,105,115 Cullen, C  152 Cullen, M  104,110A D Davidson , C  Dillon, G  Dobbin, K  Donovan, P  Doran, P  E Egan, F  Egginton, F  F Flanagan, T.P  Francis, M  French, W 

85 8 128 3 69,107,108 99 94,95 97,98 41 93,132

G Gale, M  50 Geoghegan, T  119,120 Gillespie, G  70,71,72,76A,92 Gillespie, R  31,35 Godbold, D  112 Gorman, R  28 H Hanley, J  Healy, M  Henry, P  Hillen, S 111 Hoad, J 126 Hone, E 45, 138 I Iten, H 

64 150 16


J Jellet, M  Joynt, D  K Keating, S  Kelly, P  Kiely, B  L Lawlor, S  LeBrocquy, L  LeJeune, J  Lennon, C  Leonard, P  Lohan, M  Lynn, B 

139 66

6 87 55


O O’Connor, J  146 O’Conor, R  17 O’Dowd, G  52 O’Donoghue, H  30,32,38,103 O’Neill, D  9 O’Neill, G  51 O’Neill, M  124 O’Malley, T  53,58,87A O’Reilly, P  42, 110 O’Ryan, F  86 Orpen, W  130 P Pye, P 

S Scott, P  Scott, W  Scully, H 

19,20,43,68 33,34,102 127

62,109 47,47A,47B 4,131 40 77,83 39,60,101A 106

M Madderson, A  80,81 Maher, A  65 Magill, E  36 Maguire, C  88 Martin, C  133 MacGonigal, M  137 McAuley, C  122 McCAig, N  73,74,89,91, 143 McDonnell, H 15 McCann, P 59 McGuinness, N 143 McLoughlin, C  82 McSweeny, S  44 Mooney, M  79 Mullholland, C  48B N Nolan, J 

R Robinson, M  77A, 134,148,151 Roche, V  67


Scully, S 25,100 Shawcross, N 99A, 118 Shelbourne, A  114 Shinnors, J  21,23,24 Skelton, J 123 Sutton, I 121 Smith, B 49 Swift, P  12 T Teskey, D  Tracey, L  Tyrrell, C  V Vallely, J  W Warren, B  Webb, K  Wilks, M  Y Yeats, J.B 

61 76,153 26,27,54


13 84,144 78,133,140



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

Irish art auction  

An auction of Irish Art and sculpture

Irish art auction  

An auction of Irish Art and sculpture