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ART AUCTIONEERS & VALUERS

IRISH ART AUCTION Tuesday 12th June at 6pm

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ART AUCTIONEERS & VALUERS

AUCTION:

Tuesday 12th June at 6pm

AUCTION VENUE: 

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

ON VIEW:

at de Veres, 35 Kildare Street, D2

Saturday 9th June Sunday 10th June Monday 11th June Tuesday 12th June

CONTACT:

01 6768300

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

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

John de Vere White john@deveres.ie

Rory Guthrie roryguthrie@deveres.ie

Aisling Tรณth info@deveres.ie

de Veres 35 Kildare Street, Dublin 2 01 676 8300 www.deveres.ie deveresArtAuctions

@deveresartauctions

Live Bidding available at:

the-saleroom.com


Front cover: Lot 29 William Scott PAINTING 1959 Back cover: Lot 50 Rowan Gillespie CLICK Inside front cover: Lot 31 Colin Middleton PAYSAGE DES REVES MAUVAIS (1940) Inside back cover: Lot 30 Mainie Jellet 1897-1944 FLOWER FORMS This page: Lot 53 Patrick O’Reilly MARCHING ON


1 Robert Ballagh b.1943 PEOPLE AND A FERNAND LEGER Watercolour, 17" x 20" (43 x 51cm), signed, inscribed & dated 1975.

Provenance: The Irish Sale, Christies, May 2007 (lot 143), where acquired by the present owner.

€4000 - €6000

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2 Donald Teskey RHA b.1956 KIOSK Oil on card, 8¼" x 12" (21 x 30.5cm), signed & dated 1996, inscribed label verso.

€2000 - €3000

3 John B Valley b.1941 THE SONG OF THE CHANTER Oil on canvas, 12" x 14" (30 x 36cm), signed with initials.

Provenance: Kelly’s Hotel, Wexford (label verso).

€1500 - €2000 6


4 Charles Brady HRHA 1926-1997 STILL LIFE – FRUIT Oil on board, 10¼" x 17¼" (26 x 44cm), signed.

€3000 - €4000

5 Colin Davidson b.1968 GRATTAN Oil on canvas, 12" x 16" (30 x 40cm), signed; signed, inscribed & dated 2004 verso.

€800 - €1200

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6 Liam Belton RHA b.1947 HERB CUTTER WITH FIVE EGGS Oil on canvas, 20" x 16" (51 x 41cm), signed, inscribed & dated 2001 verso.

7 Donald Teskey RHA b.1956 MARKET AFTER HOURS Oil on canvas, 12" x 10" (30.5 x 25.5cm), signed; signed, inscribed & dated 2002 verso.

€3000 - €5000

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€2000 - €3000


8 John Shinnors SCOTTISH KITES – BANNA STRAND Dyptich, oil on linen laid on panel, each panel 20½" x 11½" (52 x 29.5cm), overall 20½" x 25" (52 x 63.5cm), signed; signed & inscribed verso; included is a watercolour sketch for this work.

S hinnors tends to work with a restricted palette, dominated by black and white (although he protests that it is not quite as limited as it sounds, as he uses five different shades of black). He enjoys using pattern, creating abstract images from which forms slowly emerge, rather than presenting his subject in an obvious or instantly revealing way. This work is offered with the sketch the artist made on Banna Strand, Co Kerry.

€10000 - €15000

Sketch included

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9 Martin Gale RHA b.1949 HILL PEOPLE Oil on canvas, 36" x 36" (92 x 92cm), signed; signed & dated 2005 verso.

€5000 - €7000

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10 John Doherty b.1949 JOHN & DENIS MANGAN’S SHOP, KILLORGLIN, CO. KERRY Acrylic on canvas, 43¼" x 70½" (109.8 x 179cm), signed, inscribed & dated ’84 verso.

Provenance: Taylor Galleries Dublin (label verso).

Born in Kilkenny in 1949, Doherty initially studied architecture at Bolton Street in Dublin. He then left Ireland and spent five years in Sydney before deciding to follow a full time career as an artist. He still spends several months a year in Sydney.

Described once in a conversation by Art Critic Brian Fallon, as the finest photo realist artist in Ireland and England. His work is immediately appealing for its benign normality with which he captures his subject matter: abandoned corner shops, rusting petrol pumps and as in this picture, landmark shop fronts such as Mangan’s in Killorglin, Co Kerry.

€30000 - €50000

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11 Micheal Farrell 1940-2000 RAILWAY STATION, LEZAN Acrylic on canvas, 53" x 79½" (135 x 202cm), signed verso.

Micheal’s painting shows the old Railway Station of Lezan, a village 2 kilometres from Cardet. In the past the mechanics serviced the trains in this building… Micheal added the train even though this finished a long time ago.

It became a wine cellar in 1988, the year we arrived in Cardet, and was one of the places Micheal bought his wine. The changing landscape with the seasons was one of the subjects in the early ’90s for several of his paintings. It was a very happy time for him but he was almost apologetic for doing ‘happy’ paintings.



Meg Early, wife of the artist, in conversation with John deVere White, in Cardet

€8000 - €12000

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12 Mary Swanzy HRHA 1882-1978 HOUSE WITH RED SHUTTERS Oil on canvas, 16¼" x 14¼" (42 x 36cm), signed.

Provenance: Pyms Gallery, London (label verso).

Mary Swanzy was one of the earliest Irish artists to absorb a thorough knowledge of Modernism. In David Lee’s words (Arts Review, October 1986), “she was one of the last surviving artists with first-hand experience of Paris in the first thrilling decades of the [twentieth] century when new and almost immediately discarded styles lay thick under foot”. But unlike, say, Roderic O’Conor, who was in thrall to Gauguin, she never embraced any one influence to the exclusion of others – she is “delightfully unconventional”, the Irish Times commented of her in 1922 – choosing rather to draw upon whatever sources she felt most comfortable with.

€5000 - €7000

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13 Norah McGuinness HRHA 1901-1980 DONEGAL, SUNDAY Oil on canvas, 19¾" x 26" (50 x 66cm), signed.

Provenance: Dawson Gallery, Dublin (label verso).

€8000 - €12000

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14 William John Leech RHA 1881-1968 QUEEN MARYS GARDENS, LONDON Oil on panel, 10" x 13½" (25.5 x 34cm), signed.

€6000 - €9000

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15 George Campbell RHA 1917-1979 LATE EVENING PEDREGALEGOS, 1951 Gouache, 9" x 13" (23 x 33cm), signed & dated 1951, signed & inscribed label verso.

€1000 - €1500

16 Peter Curling b.1955 IN FULL FLIGHT Watercolour, 10¾" x 17½" (27.5 x 43.5cm), signed.

Provenance: Bell Gallery (label verso).

€1000 - €1500 16


17 Lilian Lucy Davidson ARHA 1879-1954 AT THE COTTAGE DOOR Gouache, 15" x 22¼" (38 x 57cm), signed with monogram.

€1400 - €1800

18 Peter Curling b.1955 JOCKEY & HORSE Gouache, 18" x 24" (46 x 61cm), signed & dated 1978 Bell Gallery (label verso).

€2000 - €3000

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19 Letitia Marion Hamilton RHA 1878-1964 BRINGING IN THE TURF, WEST OF IRELAND Oil on canvas, 20" x 24" (50.8 x 61cm), signed with initials.

€14000 - €18000

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20 Frank McKelvey RHA RUA 1895-1974 SUMMER ON THE BEACH Oil on canvas, 20" x 27" (51 x 69cm), signed.

€7000 - €10000

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21 Paul Henry RHA 1876-1958 A ROAD IN CONNEMARA Oil on board, 10" x 12½" (25.5 x 32cm), signed, inscribed verso.

T his picture, no doubt, dates from the close of Paul Henry’s painting career. He went to Achill Island in 1910 and returned from Achill, to Enniskerry, around 1920. But he continued to visit the West, on numerous occasions. In the early thirties, for example, he paid a visit to Connemara, staying in a cottage belonging to a friend. He continued to make paintings from sketchbooks done earlier, and this has the appearance of one such painting.

He has used his familiar themes: the road in front of the cottages, with its simple fence, is painted casually; there is some impasto on the walls and roof of the cottages; the foreground to the left is scrubland; which brings one to the mountains with the direction of light firmly indicated; while in the sky – which is the glory of the picture – there is heavier impasto.

‘A Road in Connemara’ is numbered 1348 in S.B. Kennedy’s on-going catalogue of Paul Henry’s oeuvre.



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

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22 Cecil Maguire RHA RUA b.1930 WINTER AFTERNOON, ROUNDSTONE Oil on board, 20" x 30" (51 x 76cm), signed & dated ’90.

Provenance: Bell Gallery (Label verso).

€5000 - €7000

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23 Cecil Maguire RHA RUA b.1930 STRANGFORD, CO DOWN Oil on board, 20" x 36" (51 x 92cm), signed & dated ’90.

Provenance: Bell Gallery (label verso).

€4000 - €6000

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24 Roderic O’Conor 1860-1940 LA BLOUSE VERTE (RENÉE HONTA) Oil on canvas, 26" x 21½" (66 x 55cm), signed. Provenance: Vente O’Conor, Hotel Drouot, Paris, 7 February 1956; Sean O’Criadain; Taylor Gallery, London; Milmo-Penny Fine Art, Dublin; Private Collection: Sothebys Irish Sale 9th May 2007, lot 86. Exhibited: Paris, Salon d’Automne, 1920, no.I658; London, Barbican Gallery, Roderic O’Conor, 12 September - 3 November 1985, with tour to Belfast, Dublin and Manchester, no.77 (label verso).

L iterature: Jonathan Benington, Roderic O’Conor, a Biography with Catalogue of his Work, Dublin 1992, no.217; Dominic Milmo-Penny and Daniel Fennely, Roderic O’Conor Private View, Dublin 2001, no.12, p.50, illustrated p.51.

Female models abound in the later work of Roderic O’Conor, when he was working out of a studio-cum-flat in the Montparnasse district of Paris. Most of these pictures showed the figure placed in an interior setting, with accompanying props of furniture, ceramics and coloured drapes. It was comparatively rare, however, for O’Conor to adopt a sufficiently close-up view of the model for it to function as a portrait. The present picture is so carefully studied and thoughtfully coloured – with its complimentary swathes of crimson and green, yellow and purple – and the model’s features bear so much resemblance to other images of Renée Honta, that it can only be a portrait of her.

 enée Honta (1894-1955), credited by Clive Bell as having been “a charming and gifted lady“, is said to have “mitigated the R painful loneliness” of O’Conor’s old age. Early in their relationship he wrote her a series of tender love letters, addressing her as “my dear little friend.” Renée came from Pau in the Basses Pyrenées and arrived in Paris as a young woman, aspiring to be a painter whilst working part-time as an artist’s model. It was doubtless her modelling that brought her into contact with O’Conor during the First World War. She became his mistress and learnt to paint under his guidance (the green over-garment she wears in ‘La Blouse Verte’, with its rolled-up sleeves, looks like an artist’s smock). She married him in 1933 and cared for him when his health started to decline. On his death in 1940 she inherited a life interest in his property, his investments and the extensive contents of his studio. A photograph of her taken during the 1930s shows the same rounded face and shoulders, the same prominent features and bushy hair as are captured in the present work.

In ‘La Blouse Verte’ the twenty-five year old Renée looks directly out of the picture, confidently returning the painter’s gaze, her head inclined to one side allowing it to rest on the extended fingers of her right hand. The light from an adjacent window throws the figure into sharp relief, making her sleeve, hand, neck and face stand out as the brightest parts of the picture. The dark shadows running down her right cheek and along the line of her raised arm give the figure a presence that is almost sculptural. This effect is further enhanced by the dense build-up of paint, which must have necessitated a prolonged period of gestation in the studio, given that each layer had to be allowed time to dry before the next one could be applied. The result is as textured and rich an impasto as can be seen in any of O’Conor’s intimiste nudes from the previous decade.

La blouse verte was one of five paintings O’Conor exhibited at the 1920 Salon d’Automne. The fact that his other four submissions were still lifes suggests that the picture, rendered unique owing to its figurative content, was one that gave him particular satisfaction.



Jonathan Benington (taken from Sothebys Auction catalogue note, May 2007)

€15000 - €20000

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25 Daniel O’Neill 1920-1974 MIXED BUNCH Oil on board, 20" x 28" (51 x 71cm), signed, inscribed verso.

€8000 - €12000

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26 Daniel O’Neill 1920-1974 PORTRAIT OF A POET Oil on board, 19¼" x 28" (49 x 71cm), signed, titled on label verso.

€8000 - €12000

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27 Patrick Collins HRHA 1911-1984 SWALLOWS UNDER THE ROOF Oil on canvas, 21½" x 26" (53 x 66cm), signed; inscribed verso.

In 1959 an Irish Press report described how Patrick Collins climbed down to the Liffey at Capel Street Bridge to rescue a drowning pigeon, an incident which isn’t surprising given this artist’s lifelong fascination and sympathy for birds. They appear again and again in his paintings, where he has shown them hunting, feeding, singing and flying home; he’s painted them caged as well as calmly nesting under a roof, as in this picture.

‘Swallows Under the Roof’ is a very unusual and bold take on the bird motif. Pared down to its most essential elements, the painting is more like an abstract composition than a literal depiction. The painting revolves around the idea of contrast or ‘opposition.’ There is a strong, taut horizontal band that anchors a jewel-like form in the centre. The artist has created an image with great visual tension, with this dense, weighty ‘jewel’ suspended in a space that is its opposite: pale, insubstantial and delicately ethereal. Collins is playing with abstract visual ideas and succeeds in creating dramatic impact.

 owever, the artist’s starting point was something he observed: a nest that, inside, was pulsing with life. In this vast space, H the only source of sound, warmth, movement and energy is the birds’ nest. The tension between nest and barn echoes the way the painting is visually constructed, reinforcing its meaning.



Frances Ruane HRHA

€8000 - €12000

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Camille Souter HRHA b.1926 CALARY BOG Oil on paper, 22" x 32" (56 x 81cm), signed, inscribed & dated 1962. Provenance: Taylor Galleries, Dublin (label verso).

E xhibited: Twelve Irish Painters, Arts Center, New School for Social Research, New York, 1963, no. 59; Camille Souter, Douglas Hyde Gallery, Dublin, 1980, addenda no. 6.

Literature: Cormican, Garrett, Camille Souter – the Mirror in the Sea, 2006, p. 243 (illus.).

 amille Souter’s move in 1962 to a farm near Calary Bog in County Wicklow led to her creation of a series of memorable C paintings, including ‘Quiet, Calary Bog’. In the early ’sixties the restless abstract expressionist surfaces of previous work calmed down as the artist formed a connection with the surrounding landscape. Jittery lines gave way to ordered compositions, where rectangular geometric shapes are used to give weight and definition to the landscape. In this painting one can also see how Souter manages to balance on that thin edge that separates representation and pure abstraction. She’s inspired by the landscape but she also ‘plays’ with the shapes so that there’s a satisfying abstract ‘dance’ on the surface – the rectangles pulling your eye forward and back in space, left and right, up and down. This isn’t a static scene, frozen in time, but an active one.

The artist has also begun her lifelong preoccupation with outdoor light, infusing this painting with a golden glow. As the title of the painting suggests, Souter was interested in conveying the atmosphere of the place, its ‘quietness’ expressed in the restrained colour palette and in the gently undulating horizontal bands of the composition. She’s an artist who has an innate feel for the most subtle variations of colour and light in nature, while remaining faithful to the character of the brushwork and the paint. This painting is both luscious and austere, Souter’s response to a ripe and gentle landscape.



Frances Ruane, HRHA

€15000 - €20000

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29 William Scott RA 1913-1989 PAINTING 1959 Oil on canvas, 83½" x 53½" (212 x 135cm), signed.

 rovenance: Hanover Gallery, London; Galleria dell’Ariete, Milan, whence purchased P by the previous owner, 1959; Sotheby’s London, 24th October 2005, lot 77 (catalogue note below) where purchased by the present owner.

E xhibited: Milan, Galleria dell’Ariete, 20 Quadri, Premio dell’Ariete, Selezione Biennale di Pittura Internazionale, 1959, illustrated in the exhibition catalogue, p.45.

T his work won the Jury’s purchase prize. The jury included Sir Herbert Read and Antonio Tapies.

The present work is recorded in the William Scott Archive as no.1597.

 aving returned from a brief essay into abstraction in the early 1950s Scott had, to a H large extent, concentrated for much of the rest of the decade on the still-life subject of his early career. However, as the paintings developed in the last years of the decade, the objects themselves became less and less important, their forms becoming increasingly simplified and distorted, with their importance lying in their use as formal compositional elements. Freed from a need to keep the recognisable form of the object, Scott became ever more willing to use each one as vehicle for textural diversity, either heightening a colour contrast with the brushwork, or in some paintings using the paint handling itself to delineate forms within a like-coloured background.

S imilarly the setting of the image could be manipulated, with the suggested planes of a still life composition becoming an equally weighted element in the image. Thus, in the present work Scott has broken down the recognisable elements of a still life to such an extent that it appears at first sight to be entirely abstract. However, closer inspection begins to suggest the line of the edge of the table dividing the picture plane and the vestiges of the familiar forms of cup and pan floating across the surface. By removing their obvious connotations, the forms were released by the artist to act as simple signifiers and mark a path forward towards the full abstraction Scott would achieve in the early 1960’s.

 ne distinguishing feature of Scott’s work at this time is the supremely confident and O varied handling of the paint surface which is seen at its very best in the present painting. The range of textures that are drawn together are quite remarkable in their variance, from the richly stroked palette-knifed background to the deeply incised line which delineates the large circular forms which provide the central feature of the composition.

€250000 - €350000

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Mainie Jellet 1897-1944 FLOWER FORMS Oil on canvas, 18" x 24" (46 x 61cm), signed; inscribed label verso. Provenance: Sothebys, The Irish Sale, London 21 May 1998, lot 329; Private Collection, Dublin.

E xhibited: ‘Mainie Jellet’, Painters Gallery, Dublin, 1937; Mainie Jellet Memorial Exhibition 1944, No.26; Hugh Lane, Mainie Jellet Retrospective, 1962, No.70.

Literature: ‘Mainie Jellet and the Modern Movement in Ireland’, by Bruce Arnold, for Yale University Press, 1991, pp.160 and 162 (no.210 col. illus.).

In the deeply conservative Irish art world of the 1920s and ’30s, 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.

 s her work evolved, the austere abstractions of the early twenties gradually became more layered and visually complex. A Also, her work moved towards semi-abstraction, frequently using religious imagery. Her paintings, like this one, dispense with perspective, replacing it with the two dimensional picture plane embraced by Cubists.

‘Flower Forms’ is a glorious late work, with the rigidity of her early paintings giving way to a more spontaneous expression of form. Jellett wanted each of her compositions to be inspired by the outer appearance of something, but not reproduce it. So when she looked at flower forms in real life, Jellett wanted to find their ‘inner rhythms’ or internal patterns—some ‘inner principle’ that defined the subject. In this painting the artist has embraced the circular pattern that she perceived was at the heart of her subject, then repeats, overlays, shifts and rotates the motif around a central axis. She has infused a static ‘still life’ with movement and energy.

Jellett also wrote about wanting to produce an emotional reaction to her pictures. Looking at Flower Forms one can’t help but be caught up in its joyous spirit.



Frances Ruane, May 2018

€30000 - €50000

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31 Colin Middleton 1910-1983 PAYSAGE DES REVES MAUVAIS (1940) Oil on canvas, 18" x 24" (46 x 61cm), signed & inscribed.

 rovenance: from the Collection of George and Maura McClelland and on loan from them to IMMA from 1999-2004; P Private Collection, Dublin.

E xhibited: Colin Middleton: Paintings and Drawings from the McClelland Collection, IMMA, Dublin, Jan-June 2001 – Northern Artists from the McClelland Collection, IMMA, Dublin, 2004-2005; Droichead Arts Centre, Drogheda, 2005 – The Surreal in Irish Art, F.E. McWilliam Museum, Banbridge, May-Sept 2011; The Highlanes Gallery, Drogheda, Sept-Nov 2011.

L iterature: The Hunter Gatherer, IMMA 2004, illustrated fig. 61 page 53; The Surreal in Irish Art, F.E. McWilliam Museum 2011 (used as the invitation image for the exhibition), fig. 6 page 11.

T he world of the dream, presenting a parallel reality to our own that operates by entirely independent rules, is a staple of surrealism. The landscape of nightmares Middleton creates here is full of drama and movement; perhaps the suggested fragility of the world he depicts is a reference to the wartime environment in which it was painted, where the threat of violence undermined the normal rules and logic of life.

T he dynamic and contorted form of the semi-clothed figure, with its broad contours of rich colour and shadow that is typical of Middleton’s early work, is dramatically set against the harsh angularity of three tall sticks that lean against each other. She falls back against a tiny ladder; pieces of material bind her to these three sticks which seem inexplicably to support her weight, as if this is a moment frozen in time. This world is both primitive and also disturbingly mechanised; parts of the figure almost seem to dissolve into unravelling lengths of steel. An impossibly extended finger points over the top of the sticks and towards a dressing table with a broken mirror, adding a sense of violence or threat to the vast desert landscape, whose hostility is increased by the sudden gorge that seems to be at the very front of the composition, in dangerous proximity to this figure.

T he emotional impact of this painting is arguably as consistently strong and visceral as Middleton achieved in his surrealist work. His strength in design and illusionistic painting is very apparent here but it never undermines the uneasy and threatening immediacy of the work.



Dickon Hall

€50000 - €70000

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32 Tony O’Malley HRHA 1913-2003 DEATH OF CUCHULAIN Oil on board, 48" x 10½" (122 x 26.5cm), signed, inscribed & dated 1972 verso, opus no. R98.

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 rovenance: Taylor Galleries, Dublin, where acquired P by the present owner.

€6000 - €9000


33 William Crozier HRHA 1930-2011 ROARING WATER BAY Oil on canvas, 20" x 24" (51 x 61cm), signed.

€8000 - €12000

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34 Sean McSweeney HRHA b.1935 BOG Oil on canvas, 20" x 30" (51 x 76cm), signed; signed & inscribed verso.

€4000 - €6000

35 Tony O’Malley HRHA, 1913-2003 COLLAGE, 1975 Gouache, pen and collage, 10" x 13½" (25.5 x 34.3cm), signed with initials & dated 11/75.

Provenance: Fenton Gallery, Cork (label verso).

€1000 - €1500 40


36 Mark Pepper, Contemporary LEMONS Oil on canvas, 16" x 18" (41 x 46cm), signed & dated 2001.

Provenance: Kelly’s Resort, Wexford (label verso).

€800 - €1200

37 Patrick Pye RHA 1929-2018 LUCY AMIDST THE BRIC A BRAC Oil on board, 9½" x 12" (24 x 30.5cm), signed.

€600 - €900 41


38 John B Vallely b.1941 NIALL PLAYING CONCERTINA Oil on canvas, 30" x 40" (76 x 102cm), signed with initials.

Provenance: Kelly’s Resort, Wexford.

 usicians are the dominant force in the work of artist John Vallely. His subject matter has remained M 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.

€10000 - €15000

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39 John Shinnors b.1950 STRIPED DRESS Oil on canvasboard, 9½" x 8" (24 x 20cm), signed & dated ’87, exhibition label verso.

40 Tony O’Malley HRHA 1913-2003 THE CROSS – TEGUISE (LANZAROTE) 1990 Acrylic & collage on paper, 16" x 12" (41 x 30.5cm), signed with initials & dated 9/2/90; signed, inscribed & dated 1990 verso, opus no. 7448.

€2000 - €3000

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Provenance: Taylor Galleries, Dublin (label verso).

€2000 - €3000


41 Sean McSweeney HRHA b.1935 APRIL HILL FIRES Oil on board, 30" x 24" (76 x 61cm), signed & dated ’84; signed, inscribed & dated verso.

€5000 - €7000

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42 Tony O’Malley HRHA 1913-2003 TWO DOGS AND MOONLIGHT, BAHAMAS (1979) Gouache, 32½" x 26¾" (83 x 68cm), signed, inscribed & dated 1/1/79.

Provenance: Taylor Galleries Dublin 1984 (label verso).

€4000 - €6000

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43 Blaise Smith RHA b.1967 LAUNDRY & LAVENDER WATER Oil on gesso panel, 24" x 36" (61 x 92cm), signed, inscribed & dated 2003 verso.

€2000 - €4000

44 Albert Irvin, English 1922-2015 AMITY III Acrylic on canvas, 24" x 24" (61 x 61cm).

Provenance: Gimpel Fils Gallery, London (label verso).

€4000 - €6000 46


45 Blaise Smith RHA b.1967 LAUNDRY Oil on gesso panel, 24" x 36" (61 x 92cm), signed, inscribed & dated 2002 verso.

Provenance: Molesworth Gallery, Dublin (label verso).

€2000 - €4000

46 Jane O’Malley b.1944 NEW YEARS DAY PAINTING 1993 Oil on board, 24" x 24" (61 x 61cm), signed; signed, inscribed & dated verso.

€800 - €1200 47


47 Eithne Jordan b.1954 PINK HOUSE 2005 Oil on linen, 19¾" x 25½" (50 x 65cm), signed & dated 2005 verso.

€1000 - €1500

48 Mary Therese Keown, Contemporary MOTHER Oil on canvas, 25¼" x 43" (65 x 109cm), signed; signed, inscribed & dated 2004 verso.

€1500 - €2500

49 No Lot 48


SCULPTURE

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ROWAN GILLESPIE Gillespie, a major sculptor of international standing whose reputation far exceeds our shores is an Irish artist of great importance . Drawing on the wellspring of his own personal experience, the nature of his work is instinctual and has always remained true to itself. His truth to form retains the freshness and vitality of his original development. None more so than in the three examples of his sculpture included in this auction. Gillespie being a master craftsman is also unique by the fact that he personally models and casts all his own work and is an expert in this highly skilled area. 

Suzanne MacDougald, May 2018

50 Rowan Gillespie b.1953 CLICK Bronze, 44" high (112cm), excluding stone plinth; signed, inscribed & dated 2004, ed. 2/9.

The inspiration for this beautiful sculpture came from a Festival in Dun Laoighaire in 2003. Ireland was opening its doors to a new wave of immigrants and a celebration of cultural diversity was been held there with dance and music. Gillespie was particularly taken with a graceful dancer weaving her rhythmic way around the stage clicking her fingers, hence the title.



Suzanne MacDougald, May 2018

â‚Ź20000 - â‚Ź30000 50


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51 Rowan Gillespie b.1953 IN AWE Bronze, 44" high (112cm), excluding stone plinth; signed, inscribed & dated 2003, ed. 2/9.

T his sculpture one could almost describe as being part of a trilogy, commencing with ‘Looking at the Moon’ (Gouda Holland), ‘Looking at the Sea’ (Malahide) and the third being ‘In Awe’.



Having worked on ‘Ripples of Ulysses’ (Merrion Hotel ) also in 2001 , a detailed and complicated sculpture the three sculptures that followed consisted of distilled forms and shapes. Even in their simplicity, these pieces have enormous presence and are as always elegant and arresting. Suzanne MacDougald, May 2018

€20000 - €30000 52


“If you can keep your head when all about you    Are losing theirs and blaming it on you, If you can trust yourself when all men doubt you, …you’ll be a man my son.”

52 Rowan Gillespie b.1953 LIFE 2002 Bronze, 59" high (150cm), signed & dated 2002, ed. 2/9.

Gillespies ability to convey feeling and emotion is evident in this sculpture. The small figure teetering on its bronze branch signifys how precarious life can be.

An earlier private commission entitled ‘If’, based on the poem by Rudyard Kipling included this same figure.



 ecent Commissions include ‘Footsteps’ , a major group of sculptures commissioned for Hobart Tasmania, unveiled by R HE the President Mr Michael Higgins. Suzanne MacDougald, May 2018

€10000 - €15000 53


53 Patrick O’Reilly b.1952 MARCHING ON Bronze, 55" high x 65" long x 21¾" wide (140 x 165 x 55cm), signed, unique.

€25000 - €30000

Please note: This lot is situated in a garden in Foxrock, Dublin 18 and is only viewable by prior appointment. Please talk to a member of staff to arrange a viewing.

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54 Michael Warren b.1950 HAYEDO (BEECH FOREST) Bronze, 32¾" high x 30½" wide x 30¾" deep (83 x 77.5 x 78cm), signed with initials & dated 2004; with Bronze Art Foundry stamp 2007.

€8000 - €12000

 lease note: This lot is situated in a garden in Foxrock, Dublin P 18 and is only viewable by prior appointment. Please talk to a member of staff to arrange a viewing.

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55 James McCarthy, Contemporary HERON IN THE REEDS Bronze, 60" high, incl. base (152.5cm).

€3000 - €5000

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56 Bob Quinn b.1948 TUMBLING Bronze, total height 75½" (192cm), figures 32" high (81cm), signed, ed.1/9.

€3000 - €5000

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57 Colm Brennan b.1943 EOGHAININ NA N’EAN (SWALLOWS) Bronze, 52" high x 39" diameter (132 x 99cm).

€6000 - €9000

Please note: This lot is situated in a garden in Foxrock, Dublin 18 and is only viewable by prior appointment. Please talk to a member of staff to arrange a viewing. 58


58 Colm Brennan b.1943 SEDGE WARBLERS Bronze, 82" high (208cm), signed.

€3000 - €5000

 lease note: This lot is situated in a garden in Foxrock, Dublin 18 and is only viewable by prior appointment. P Please talk to a member of staff to arrange a viewing. 59


59 Bob Quinn b.1948 STARS LOOK DIFFERENT TONIGHT Bronze, 37" high (94cm), signed, ed.2/9, on a rectangular granite base.

€2000 - 4000 60


60 Jim Flavin 1961-2004 LUTE Bronze, 26¾" high (68cm) ed. 2/5, signed & dated 1989.

Jim Flavin was born in Limerick and went on to study at NCAD, The Crawford School of Art in Cork and Lasallian International Art & Culture Centre, Florence. He was primarily an abstract artist, interested in the fluidity of bronze and the forms and textures he could create with the material and patina. He favoured soft, flowing shapes and focused on the different sections of each artwork and the way in which he bought them together to achieve the form and texture he desired. He was a regular exhibitor at The RHA, Dublin in the 1990s and is represented in Private and Corporate Collections including AIB, Áras an Uachtaráin, Dublin and Limerick Corporations.

€4000 - €6000

61 John Behan b.1938 DANCING FIGURES Welded copper, 18¾" high (48cm), signed.

€800 - €1200

61


62 Colm Brennan b.1943 SILVER SHOAL Bronze, silver plated bronze, 16" wide x 10" deep, signed & inscribed label underneath, an edition of 9.

63 Colm Brennan b.1943 CALVES Bronze, 5" high x 13" wide, signed.

€1000 - €1500

64 Patrick O’Reilly b.1957 BAG OF BRONZE Bronze & steel, 23" x 26½" (58.5 x 67.4cm), edition 1/1.

€1500 - €2000

62

€1000 - €1500


65 Patrick O’Reilly b.1957 BIRD ON A BRANCH Bronze, signed & dated 05, edition 1/1.

€1500 - €2000

66 Leo Higgins b.1951 BIRD IN A TREE Bronze, 80cm (h).

63

€2000 - €3000


67 Leo Higgins b.1951 WINTER TREES (2005) Bronze & stone, 21" high x 12¾" wide (53 x 32.4cm).

€2500 - €3500

68 Patrick O’Reilly b.1952 PITCH FORK Galvanised steel & larch wood, 494" long (1250cm), signed.

€4000 - €6000

 lease note: This lot is situated in a garden in Foxrock, Dublin 18 and is P only viewable by prior appointment. Please talk to a member of staff to arrange a viewing.

64


69 Anthony Scott RUA b.1968 ETAIN 6 Bronze, 18" x 20" (46 x 51cm), signed, ed.3/9.

Born in rural Fermanagh, Anthony Scott attended university in Belfast and completed an MA in Cardiff in 1993. Now living and working in Blacklion on the border, Scott is primarily known for his beautifully stylised bronze animals, traditional in form, but with a modern twist. His animals and figures draw upon Celtic mythology and literature, their expressions and stances imbued with human characteristics invoking heroism and passion. They are each open to interpretation and at once animal, divine, spirit, male, female, depending on which story one might choose to recount.

â‚Ź6000 - â‚Ź9000

65


70 John Coen b.1941 TELL JACOB Bronze, 31½" x 18" (81 x 46cm).

71 John Behan RHA b.1938 ST FRANCIS AND THE BIRDS Bronze, 41" high (104cm).

€3000 - €5000

66

€3000 - €5000


72 Dick Joynt 1938-2003 SUN WORSHIPPER Bronze, 15" high (38cm), ed. 2/6, bearing stamp ed.2/67.

73 Robert Frazier b.1958 SPIRAL Kilkenny marble, 35½" high (90cm), including base.

€400 - €600

Provenance: Kilcock Art Galleries.

€1000 - €2000

67


74 Breon O’Casey 1928-2011 YELLOW OVER GREY Oil on board, 21" x 32" (53 x 81cm), signed, inscribed & dated 2001 verso.

€1500 - €2500

75 John Shinnors b.1950 THE MODEL Oil on canvas, 14" x 14½" (35.5 x 37cm), signed & inscribed label verso.

Provenance: Kelly’s Resort, Wexford (label verso).

€3000 - €5000 68


76 Patrick Caulfield 1936-2005 LAMP AND PINES (1975) Screenprint in colour, 29" x 39½" (73.5 x 100cm), signed, edition 14/70, published by Waddington Graphics, London.

€1500 - €2500

77 Cecily Brennan b.1955 CRATER Oil on linen, 14" x 16" (35.5 x 40.5cm), signed & dated 1993 verso.

€600 - €900 69


78 Nano Reid HRHA 1900-1981 DROOPING FLOWER Oil on board, 24" x 18" (61 x 46cm), signed, inscribed label verso.

Provenance: The Dawson Gallery, Dublin; Private Collection, America.

€6000 - €9000

70


79 Eithne Jordan b.1954 PORTRAIT IN AN ARID LANDSCAPE Oil on canvas, 39¾" x 32" (101 x 82cm).

Provenance: Rubicon Gallery, Dublin (label verso).

€2000 - €4000

71


80 William Scott RA 1913-1929 STILL LIFE WITH PAN Lithograph 26¼" x 34¾" (67 x 88cm), signed & dated 1973, ed. 185/250.

€3000 - €5000

72


81 Camille Souter HRHA b.1926 UNTITLED Oil on newspaper, 15" x 21" (38 x 53cm), signed & dated August ’57.

Provenance: Sold these rooms 22nd June 1999.

€5000 - €7000

73


82 Colin Watson b.1966 REFLECTION Oil on canvas, 22" x 28" (56 x 71cm), signed with initials.

€3000 - €5000

74


83 Barrie Cooke HRHA 1931-2014 GREY AND ORANGE Oil on canvas, 43½" x 37¾" (110.5 x 94.5cm), signed & dated ’67.

Provenance: Formerly in the collection of Sir Basil Goulding; Ritchie Hendricks Gallery (label verso).

€6000 - €9000

75


84 Corban Walker b.1967 UNTITLED 2007 Autocad drawing, 28" x 36" (71 x 91.4cm).

Provenance: Green On Red Gallery, Dublin (label verso).

€1400 - €1800

85 Colin Crotty, Contemporary FOREST Oil on canvas, 48" x 48" (122 x 122cm), signed & dated 2003 verso.

€3000 - €5000 76


86 Sarah Longley, Contemporary ASLEEP Charcoal & ink on paper, 34" x 24½" (86.5 x 62cm).

87 Anne Donnelly b.1932 YELLOW LANDSCAPE Oil on canvas, 19½" x 13½" (49.5 x 34cm), signed & dated 2002.

€1000 - €1500

77

€600 - €900


88 Paddy McCann b.1963 BRIDGE HOUSE Oil on canvas, 17¼" x 15¼" (43.8 x 38.8cm), signed, inscribed & dated 2006 verso.

€800 - €1200

89 Peter Collis RHA 1929-2012 ABOVE LOUGH DAN Oil on canvas, 28" x 30" (71 x 76cm), signed; inscribed artist’s label verso.

€3000 - €4000 78


90 Paddy McCann b.1963 STORMONT AS A BALLOON Oil on canvas, 17¼" x 15¼" (43.8 x 38.8cm), signed, inscribed & dated 2006 verso.

€800 - €1200

91 Mick Mulcahy b.1952 CHALLENGE II Oil on canvas, 27¾" x 29¾" (70.5 x 75.5cm), signed; signed & inscribed verso.

€400 - €600 79


92 Evie Hone RHA 1894-1955 WOMAN WITH WASHING Gouache, 15" x 12" (38 x 30.5). Provenance: Sold these rooms 21st November 2000.

€2000 - €4000

93 Jack B. Yeats 1871-1957 NEAR BALLYCASTLE, CO MAYO Watercolour, 9¾" x 13" (24 x 33cm). Catalogue No. 6526, p.158 of ‘Jack B. Yeats: His Watercolours, Drawing and Pastels’ by Hilary Pyle.

80

€3000 - €5000


94 William Conor RHA RUA 1881-1968 A QUIET READ Wax crayon, 12½" x 9½" (32 x 24cm), signed.

€2000 - €3000

95 George Russell (A.E.) 1867-1935 IN THE SAND DUNES Oil on canvas, 16" x 20" (40.5 x 51cm), signed with monogram.

€2000 - €4000

81


96 Maurice MacGonigal PPRHA 1900-1979 EARLY MORNING, CLIFDEN, CONNEMARA Oil on canvas, signed & inscribed verso, 39" x 49" (99 x 124.5cm), signed.

€14000 - €18000

82


97 Frank McKelvey RHA RUA 1895-1974 BROWN’S BAY, ANTRIM COAST Oil on board, 12" x 17" (30.5 x 43cm), signed.

Provenance: Bell Gallery (label verso).

€2000 - €4000

98 Kieran McGoran 1932-1990 MENDING THE NETS Crayon, 18" x 15" (45.5 x 38cm), signed. €400-600 83


99 Harry Kernoff RHA 1900-1974 ON THE LIFFEY, SOUTH WALL, DUBLIN Oil on board, 15" x 20" (38 x 51cm), signed.

€6000 - €9000

84


100 Martin Mooney b.1960 LOOKING TOWARDS THE FOUR COURTS, DUBLIN Oil on linen, 36" x 48" (91.5 x 122cm), signed with initials. Provenance: The Solomon Gallery, Dublin (label verso). €8000 - €12000

85


101 Neil Shawcross RHA RUA b.1940 CABARET, WINNER OF BEST SHOW AWARD Acrylic on paper, 32" x 37½" (81.2 x 95.2cm), signed & dated 2004. €3000 - €5000

102 Barbara Warren RHA 1925-2017 CONNEMARA SUMMER Oil on canvas, 20" x 24" (51 x 61cm), signed.

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

€1500 - €2000 86


103 Mary Lohan, Contemporary LISCANNOR, SUMMER Oil on canvas, diptych, each 18" x 22" (46 x 46cm), signed, inscribed & dated 2004 verso. €1500 - €2500

104 Michael Mulcahy b.1952 YELLOW JUG Oil on linen, 22" x 27" (56 x 68.5cm), signed. €600 - €900 87


105 Neil Shawcross RUA b.1940 BOUQUET Watercolour, 30" x 21" (76 x 53cm), signed & dated 1993.

106 Sean Scully b.1945 4.10.87 Screenprint, paper size 14" x 14" (35.5 x 35.5cm), signed, ed. 65/75.

€1500 - €2500

€800 - €1200

88


107 Gillian Ayres CB RA 1930-2018 WILL SUMMERS NO.4 Hand painting in acrylic on paper with carborundum printing, 41" x 41" (104 x 104cm), signed & dated 2005.

108 Neil Shawcross b.1940 BENTWOOD CHAIR Acrylic on canvas, 14" x 10" (36 x 25.5cm), signed & dated 2007.

€1000 - €1500

€400 - €600

89


109 Basil Blackshaw HRHA RUA 1932-2016 WINDOW 2 Pastel, 8" x 5¼" (20.3 x 13.4cm), signed & inscribed. €800 - €1200

110 Nancy Wynne Jones HRHA 1922-2006 MAYO FARM Acrylic on paper, 12" x 16½" (30.5 x 41.8cm). Provenance: Peppercannister Gallery, Dublin (label verso). €600 - €900

90


111 Ross Wilson b.1957 TWO MEN AND THREE DOGS Oil on board, 8" x 6" (20 x 15cm), signed with initials, signed & inscribed verso. €400 - €600

112 Cherith McKinstry HRHA, 1928-2004 BUILDING WORKER Oil on board, 12½" x 11½" (31.8 x 29.2cm), signed.

P  rovenance: The RHA Annual Exhibition, 2002 (label verso).

€600 - €900

91


113 Maurice Canning Wilks ARHA RUA 1910-1984 EVENING, INAGH VALLEY, CONNEMARA Oil on canvas, 18" x 24" (46 x 61cm), signed; signed & inscribed verso. €2000 - €4000

114 George Gillespie RUA 1924-1995 ON GLENDUN RIVER, CUSHENDUN, CO ANTRIM Oil on canvasboard, 8" x 10" (20.3 x 25.4cm), signed, inscribed verso. €400 - €600

115 Maurice Canning Wilks ARHA RUA 1910-1984 IN THE ROSSES, CO DONEGAL Oil on canvas, 18" x 24" (46 x 61cm), inscribed verso. €2000 - €3000

92


116 Colin Watson b.1966 TIN MAL Oil on canvas, 10" x 14" (25.5 x 35.5cm), signed with initials. Provenance: Pyms Gallery, London (label verso). €400 - €600

117 Maurice Canning Wilks ARHA RUA 1910-1984 ON LOUGH ERNE, NEAR GARRISON, CO. FERMANAGH Oil on canvas, 16" x 30" (41 x 76cm), signed, inscribed verso. €1500 - €2000

118 Maurice Canning Wilks ARHA RUA 1910-1984 WINTER EVENING, RIVER BANN Oil on canvas, 18" x 24" (46 x 61cm), signed; signed & inscribed verso. €1500 - €2000

93


119 Barrie Cooke HRHA 1931-2014 ROOT STUDY Oil on board, 7" x 11" (17.8 x 28cm). Provenance: Ritchie Hendricks Gallery (label verso). €800 - €1200

120 Maria Simmons-Gooding b.1939 EARTH SHELTERS Pencil & mixed media, 17" x 24¾" (43 x 63cm), signed. €400 - €600

121 Neil Shawcross RHA RUA b.1940 KNEELING FIGURE Acrylic on paper, 6" x 8½" (15.4 x 21.5cm). €800 - €1200

94


122 Alice Maher b.1956 THE MUSIC OF THINGS Etching, paper size 15" x 18" (38 x 46cm), signed & inscribed, artist’s proof. €500 - €700

123 Paddy McCann b.1963 AT A GLANCE Oil on canvas, 10" x 8" (25.5 x 20.5cm), signed & dated 2003.

124 Paddy McCann b.1963 LEAVING Oil on canvas, 12" x 8" (30.5 x 20cm), signed, inscribed & dated 2001 verso.

Provenance: Hillsboro Fine Art (label verso).

Provenance: Hillsboro Fine Art (label verso).

€400 - €600

€400 - 600 95


126 Charles Brady HRHA 1926-1997 LANDSCAPES (2) Oil on card, a pair, each 8" x 10" (20 x 25.5cm), signed verso. €800 - €1200

127 Charles Brady HRHA 1926-1997 LANDSCAPES (2) Oil on card, a pair, each 8" x 10" (20 x 25.5cm), signed verso. €800 - €1200

125 Evie Hone HRHA 1894-1955 OUR LADY OF MERCY – DESIGN FOR STAINED GLASS WINDOW Watercolour, 16½" x 6" (42 x 15cm), signed.

P  rovenance: The Dawson Gallery, Dublin (inscribed label verso).

€1000 - €2000

128 Charles Brady HRHA 1926-1997 LANDSCAPE Oil on card, 8" x 10" (20 x 25.5cm), signed verso. €800 - €1200 96


Ballymaloe Annual Sculptural Exhibition 2018 by Richard Scott Sculpture Opening Thursday, June 21st (6 to 8pm) and runs through to August 30th. Free, one hour guided tour of the show every Tuesday and Thursday evening at 6pm. Featuring 45 pieces by 20 sculptors including works by Patrick O’Reilly, Eileen McDonagh, Michael Quane, Ester Barrett, John Coll and Jason Ellis.


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.

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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.


ART AUCTIONEERS & VALUERS

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Irish art auction june 12th  

Auction of Irish Art & Sculpture

Irish art auction june 12th  

Auction of Irish Art & Sculpture