Important Irish Art | 15 September 2026

Important

IrishArt

AUCTION: 15 SEPTEMBER @ 2PM PREVIEW: 11 – 14 SEPTEMBER DURROW & LIVE ONLINE

CATALOGUE LIVE ONLINE

SHEPPARDS.IE

LOT 103

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Important

IrishArt

15 SEPTEMBER 2026

PREVIEW VENUE: DURROW, LAOIS, R32 FN88, IRELAND FRIDAY 11 SEPTEMBER 2026

10:00-17:00

SATURDAY 12 SEPTEMBER 2026

10:00-17:00

SUNDAY 13 SEPTEMBER 2026

10:00-17:00

MONDAY 14 SEPTEMBER 2026

10:00-17:00

ORDER OF SALE VENUE: DURROW, LAOIS, R32 FN88, IRELAND TUESDAY 15 SEPTEMBER 2026

14:00: LOTS 1 - 305

REMOVAL OF GOODS ITEMS MUST BE COLLECTED OR ARRANGEMENTS MADE FOR COLLECTION NO LATER THAN 16:00 ON 22 SEPTEMBER 2026. ITEMS NOT COLLECTED BY THIS TIME WILL ENTER A STORAGE FACILITY. STORAGE CHARGES OF €3 PER ITEM PER DAY WILL APPLY. WHERE ITEMS REMAIN IN STORAGE FOR LONGER THAN TWO WORKING WEEKS THEY MAY BE RE-SOLD BY PUBLIC AUCTION OR PRIVATELY WITHOUT NOTICE TO THE BUYER. ONLINE BIDDING ABSENTEE AND TELEPHONE BIDDING BIDDING FACILITIES ARE AVAILABLE VIA WWW.SHEPPARDS.IE. LIVE ONLINE BIDDING AVAILABLE VIA WWW.THE-SALEROOM.COM, AND/OR WWW.INVALUABLE.COM. CONTACT DETAILS DURROW, CO. LAOIS, R32 FN88, IRELAND • PHONE: +353 (0)57 874 0000 • INFO@SHEPPPARDS.IE ACCOUNTS@SHEPPARDS.IE • VALUATIONS@SHEPPARDS.IE

FOREWORD Sheppard’s are pleased to present this sale of Important Irish art, showcasing exceptional works from groundbreaking Irish artists such as Louis Le Brocquy, William Conor, Sir William Orpen, Leo Whelan, James Humbert Craig, William Percy French, Captain Richard Brydges Beechey, Frank McKelvey, John Shinnors, Erskine Nicol, Kenneth Webb, Sean McSweeney, Aloysius O’Kelly, Norah McGuinness, Sean Keating, Basil Blackshaw, Charles Vincent Lamb, James S. Brohan, John Behan, Frederick Edward McWilliam, John Burke, Eamonn O’Doherty, Rory Breslin, Joseph Sloan, Patrick O’Reilly, and many more.

The sale includes rediscovered works, such as William Conor’s masterpiece ‘Shawlie with Children, Quay Street, Skerries, Co. Dublin’. Conor became known as ‘The People’s Painter’ and even though he mostly depicted Ulster Life in his native Belfast, his Dublin scenes are exceedingly rare.

Works of equal importance contribute to the quality of this sale.

Works such as Sir William Orpen’s portrait of Emily Scobel - Study for ‘The Mirror’, which established his reputation as one of the foremost portrait painters of the Edwardian Era, and Leo Whelan’s Monumental Portrait of Thomas Grace, Bishop of Sacramento, California, which was part of a major commission for All Hallows College in Drumcondra. Whelan was a student of Orpen, who became one of the greatest Portrait painters in Ireland during the 20th Century, alongside his teacher Sir William Orpen, Sir John Lavery, Sarah Purser, and others.

A key pillar to the sale is the strong selection of sculpture. Works such as Frederick Edward McWilliam’s ‘Twisted Form’ (1935), Eamonn O’Doherty’s ‘Emigrants’ (1999), Joseph Sloan’s ‘Couple II’ (2005), John Burke’s Maquette for Kingfisher, Wilton Roundabout (C. 1984), and the five works by John Behan, as well as Rory Breslin’s three Clew Bay Series Masks, showcase the exceptional skill across different mediums, whether it be Bronze, Cherrywood, Porcelain or Steel, they convey Irish history and national identity, evoking a sense of place, as well as encouraging the viewer to look and look again at the incredible detail, craftsmanship and individuality contained within each work.

We are grateful to Dr. Peter Murray, Prof. Liam Kelly, Dr. Marianne O’Kane Boal, Dr. Yvonne Scott, Aidan Dunne, Dr. Niamh O’Sullivan, Brighid McLaughlin, and Green Acres Gallery, Wexford, for their assistance and contributions with this catalogue.

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LOT 200

LOT 145

1 DAVID HONE PPRHA (1929 - 2023)

Title: Towards Howth Medium: Oil on Board Signature: Signed Lower Right and Inscribed Verso Provenance: The Dawson Gallery, Dublin (Framing Label Verso); Private Collection Framed Image: 19.5 x 24.5cm Framed: 33.5 x 38.5cm €700 - 1,000

2 WILLIAM PERCY FRENCH (1854 - 1920)

Title: River Bog Landscape, Connemara Medium: Watercolour Signature: Signed Lower Left Provenance: Private Collection Framed Image: 16.5 x 13cm Framed: 34 x 29cm €2,000 - 3,000

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3 RONALD OSSORY DUNLOP RA (1894 - 1973) Title: Blossom Trees Medium: Oil on Board Signature: Signed Lower Left Provenance: Private Collection Framed Image: 39 x 49cm Framed: 74.5 X 84.5cm €1,000 - 1,500

4 MAJELLA O’NEILL COLLINS (B. 1964)

Title: Seas, Sherkin Island (2025) Medium: Oil on Canvas Signature: Signed and Inscribed Verso Provenance: Private Collection Framed Image: 60 x 40cm Framed: 63.5 x 43.5cm €1,000 - 1,500

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5 WILLIAM CROZIER HRHA (1930 - 2011) Title: Vine Series (1963) Medium: Gouache and Watercolour Signature: Signed and Dated Lower Right Provenance: Private Collection Framed Image: 62.5 x 48.5cm Framed: 82.5 x 63.5cm €1,400 - 1,800

6 HOWARD TANGYE (AUSTRALIAN, B. 1948)

Title: George (1993) Medium: Mixed Media on Pergamenata Paper Signature: Signed Lower Right Provenance: Private Collection Framed Image: 83 x 58.5cm Framed: 100.5 x 76cm €4,000 - 6,000

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7 GEORGE K. GILLESPIE RUA (1924 - 1995)

Title: Blarney Castle, County Cork Medium: Oil on Board Signature: Signed Lower Left and Inscribed on Sheldon Fine Art Label Verso Provenance: Sheldon Fine Art, Belfast, 1978 (Label Verso); Private Collection Note: With Original Receipt from 1978 Verso Framed Image: 24 x 34cm Framed: 36 x 46cm €1,000 - 1,500

8 HELEN MCCUSKER (CONTEMPORARY)

Title: Abstract Composition (2021) Medium: Oil on Canvas Signature: Signed and Dated Lower Right Provenance: Private Collection Framed Image: 77.5 x 61cm Framed: 102.5 x 86cm €800 - 1,200

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9 GRAHAM KNUTTEL (1954 - 2023) Title: The Bossman Medium: Acrylic on Canvas Signature: Signed Lower Right Provenance: Private Collection Framed Image: 45.5 x 35.5cm Framed: 58.5 x 48.5cm €2,500 - 3,500

10 PATRICK LEONARD HRHA (1918 - 2005) Title: Lagos Cafe, Algarve (1987) Medium: Oil on Board Signature: Signed Lower Left and Inscribed Verso Provenance: Private Collection Framed Image: 40 x 29.5cm Framed: 50 x 39cm €600 - 900

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11 GERARD DILLON RHA RUA (1916 - 1971) Title: Village at Night Medium: Charcoal Signature: Signed Lower Right Provenance: Private Collection Framed Image: 13.5 x 17.5cm Framed: 30.5 x 34.5cm €800 - 1,200

12 FLORA H. MITCHELL (1890 - 1973)

Title: Dame Street, Dublin Medium: Watercolour, Pen and Ink Signature: Signed Lower Right and Titled Lower Left Provenance: Private Collection Framed Image: 23 x 28cm Framed: 51 x 56cm €2,000 - 3,000

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13 EOIN MAC LOCHLAINN (CONTEMPORARY)

Title: Through the Archway (2011) Medium: Oil on Canvas Signature: Signed and Dated on Underside Provenance: Private Collection Exhibited: ‘ We are where we are’, The Paul Kane Gallery, Dublin, 2011; ‘Home’ - Bourn Vincent Gallery (University of Limerick), 2012; ‘Didean/Home’ - Culturlann McAdam O Fiaich, Belfast, 2013; ‘Didean/Home’ - Dunamaise Arts Centre, Portlaoise, 2014; ‘Didean/Home’ - Belltable, Limerick, 2014; Notes: After the first exhibition at the Paul Kane Gallery in 2011, this body of work

by Mac Lochlainn went on a tour to the venues above. It also featured on TG4 during its viewing at the University of Limerick. Mac Lochlainn also won the Friends of the RHA Award for a senior artist in 2026 Unframed 50.5 x 50.5cm €800 - 1,200

14 BRIAN MAGUIRE (B. 1951)

Title: The Big House (1988) Medium: Limited Edition Lithograph (No. 11/90) Signature: S igned and Dated Lower Right; Numbered Lower Left Provenance: Private Collection Framed Image: 76 x 54cm Framed: 79 x 57cm €400 - 600

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15 BASIL BLACKSHAW HRHA RUA (1932 - 2016)

Title: Head of a Traveller (C. 1980s) Medium: Oil on Board Signature: Signed Lower Right Provenance: The Gerry Cuddy Collection Notes: This work is part of the Tinker Series, which Blackshaw completed in the mid 1980s (C. 1984 - 6) and a number of these works in the Vincent and Noeleen Ferguson Collection were exhibited at the RHA in Dublin from January - March 1993 Framed Image: 25.5 x 14.5cm Framed: 45.5 x 34.5cm €2,500 - 3,500

16 BAMBI (20TH/21ST CENTURY)

Title: Top Fashion Accessory (2013) Medium: Artist’s Proof on Somerset Satin White Paper (From an Edition of 15) - Published

by Hyde Image, London, 2013 Signature: Signed Lower Right Provenance: Hyde Image, London; Private Collection Framed Image: 72.5 x 52cm (approx.)

Framed: 94.5 x 74cm €1,000 - 1,500

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17 WILLIAM CROZIER HRHA (1930 - 2011) Title: Vine Enclosure Series (1963) Medium: Watercolour and Gouache Signature: Signed and Dated Lower Left Provenance: The Collection of Stephanie Cole; Private Collection Framed Image: 68 x 46.5cm (approx.)

Framed: 89.5 x 71cm €2,500 - 3,500

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18 FRANK MCKELVEY RHA RUA (1895 - 1974)

Title: Grazing by the Lagan Medium: Oil on Canvas Signature: Signed Lower Left Provenance: Acquired at a Dublin Auction House in the 1930s by the Mother-in-Law of the Present Owner Framed Image: 39.5 x 49.5cm Framed: 56 x 66cm €10,000 - 15,000

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18 FRANK MCKELVEY RHA RUA (1895 - 1974) Frank McKelvey was a popular painter of landscapes and portraits. He was born in Belfast in 1895. His Father was a painter and decorator. He initially worked as a poster designer before becoming a student at the Belfast School of Art, where he won several prizes for life drawing, including the prestigious Sir Charles Brett prize for figure drawing. His portraits were accomplished but academic and formal. In Derry, he painted the Lord Mayor of London, Sir Percy Greenaway, at the time of the opening of the new Craigavon Bridge, as well as painting the first Governor of Northern Ireland, the Duke of Abercorn. He was also commissioned to paint the six U.S. Presidents of Ulster descent.

a looser use of paint was skilful but restrained. He largely eschewed drama, mood and romanticism unlike some other ‘West of Ireland’ artists.

By contrast his landscapes were more fluid and fresh in an quasi impressionist style. Brian Kennedy has noted that ‘(Paul) Henry… discovered the west of Ireland in 1910 and almost single-handedly forged a school of Irish painting based on landscape there, which in the hands of Lamb, Craig and McKelvey, dominated the period between the wars’. He was a technically skilled painter, but not given to experimentation. He learned from the French Impressionists about the painterly payoff of the juxtaposition of brushstrokes, and possibly the sylvan landscapes of the French artist Corot. His application of

Frank McKelvey’s first one man show in Dublin, was at The Victor Waddington Galleries. He regularly exhibited at The Royal Hibernian Academy, as well as The Oireachtas, and The RUA, Belfast. His work is represented in the Ulster Museum, Belfast, The Crawford Gallery, Cork and in other Irish collections. His work was included in the exhibitions of Irish art in Brussels (1930) and in North America (1950).

In ‘Grazing by the Lagan’, the turn in the river draws you in Colour-contrasts structure the composition – earth colours on the left bank with lighter reflecting colours to the right. The reflected clouded sky is dappled by the water’s movement, inducing a pastoral tranquillity. The work recalls the Barbizon School of artists who spurned idealism in favour of realism and naturalism. For me, his rendering of the left bank of the river with trees and cows recalls aspects of the English artist Constable.

Prof. Liam Kelly, August 2026

19 TOM BYRNE (B. 1962)

Title: Abstract Composition Medium: Acrylic on Board Signature: Signed Lower Right Provenance: Private Collection Framed Image: 45.5 x 61cm (approx.)

Framed: 51 x 66cm (approx.) €400 - 600

20 ROBERT B. HIGGINS (B. 1943)

Title: Connemara (2012) Medium: Oil on Board Signature: Signed and Dated Lower Right; Titled Verso Provenance: Private Collection Framed Image: 21 x 39cm Framed: 33 x 51cm €500 - 800

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21 MARY THERESA KEOWN (B. 1974)

Title: Landscape II - Phoenix Park in Autumn Medium: Oil on Canvas Signature: Signed Lower Right Provenance: The Solomon Gallery, Dublin (Label Verso), Where acquired by the Present Owner Framed Image: 25 x 49.5cm Framed: 47 x 72.5cm €1,000 - 1,500

22 MARKEY ROBINSON (1918 - 1999) Title: Still Life with Vessels Medium: Gouache Signature: Signed Lower Right Provenance: Private Collection Framed Image: 28 x 47cm Framed: 63 x 82.5cm €2,000 - 3,000

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23 MAJELLA O’NEILL COLLINS (B. 1964)

Title: View from Studio (2025) Medium: Oil on Canvas Signature: Signed and Inscribed Verso Provenance: Private Collection Framed Image: 39 x 39cm Framed: 55 x 55cm €800 - 1,200

24 JOHN TRICKETT (BRITISH, B. 1952) Title: Looking Towards the Marsh Medium: Oil on Canvas Signature: Signed Lower Right Provenance: Private Collection Framed Image: 49.5 x 90cm Framed: 65.5 x 106cm €600 - 900

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25 JOHN FRANCIS SKELTON (B. 1954)

Title: Chislers, Bertragh Bay, Carna, Co. Galway Medium: Oil on Board Signature: Signed Lower Right and Titled Verso Provenance: Private Collection Framed Image: 24.5 x 59.5cm Framed: 36.5 x 71.5cm €400 - 600

26 MARKEY ROBINSON (1918 - 1999)

Title: Harvest Moon Medium: Gouache on Board Signature: Signed Lower Left and Titled Verso Provenance: The Oriel Gallery, Dublin (Label Verso); Private Collection Framed Image: 31.5 x 55cm (approx.)

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27 JOHN FAULKNER RHA (1835 - 1894) Title: Couple Herding Sheep on a Country Path Medium: Watercolour Signature: Signed Lower Left Provenance: Private Collection Framed Image: 43 x 75cm Framed: 56.5 x 88.5cm €700 - 1,000

28 HONORA O’NEILL (CONTEMPORARY)

Title: Casadh Na Graige (The Turn of the Village) Medium: Oil on Canvas Signature: Signed Lower Right Provenance: The Artist’s Studio, The Dillon Gallery, Dingle, Co. Kerry Framed Image: 36 x 56cm Framed: 56.5 x 76.5cm €3,500 - 5,500

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29 HELEN FARRELL (B. 1961)

Title: Node (2005) Medium: Oil on Panel Signature: Signed and Inscribed on Artist’s Label Verso Provenance: The Paul Kane Gallery, Dublin (Label Verso), Where acquired by the Present Owner Exhibited: ‘ Helen Farrell - New Work’, The Paul Kane Gallery, Dublin, 2006 Framed Image: 54.5 x 55cm Framed: 61.5 x 60.5cm €700 - 1,000

30 FLORA H. MITCHELL (1890 - 1973) Title: London Bridge Medium: Watercolour, Pen and Ink Signature: Signed Lower Right and Titled Lower Left Provenance: Private Collection Framed Image: 24.5 x 28cm Framed: 43 x 44cm €1,200 - 1,500

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31 HARRY KERNOFF RHA (1900 - 1974)

Title: Portrait of a Girl Medium: Pastel Signature: Signed Lower Left Provenance: Private Collection Framed Image: 43.5 x 33cm Framed: 61.5 x 50cm €1,000 - 1,500

32 GRAHAM KNUTTEL (1954 - 2023)

Title: Ooh La La (2010) Medium: Limited Edition Archival Pigment Print (No. 86/200) Signature: Signed Lower Right and Numbered Lower Left Provenance: Private Collection Note: With Letter of Authenticity from the Artist Verso Framed Image: 26 x 26.5cm Framed: 48 x 39.5cm €500 - 800

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33 GERALDINE M. O’BRIEN (1922 - 2014) Title: Summer Roses Medium: Oil on Canvas Signature: Signed Lower Right and Titled Verso Provenance: Private Collection Framed Image: 29.5 x 45.5cm Framed: 50 x 66cm €700 - 1,000

34 FERGUS O’RYAN RHA (1911 - 1989)

Title: St. Patrick’s Park, Dublin Medium: Oil on Board Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 59 x 85cm Framed: 79 x 96cm €600 - 900

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35 DOROTHEA SHARP RBA ROI (BRITISH, 1874 - 1955) Title: Shrimping at Porthmeor Beach Medium: Oil on Canvas Signature: Indistinctly Signed Lower Right and Titled Provenance: Private Collection Framed Image: 59 x 49cm Framed: 70 x 60.5cm €8,000 - 12,000

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36 COLIN FLACK (B. 1973)

Title: Still Life of Flowers in a Vase Medium: Acrylic on Board Signature: Signed Lower Right Provenance: Private Collection Framed Image: 59 x 59cm Framed: 79 x 79cm €600 - 900

37 BARRIE COOKE HRHA (1931 - 2014)

Title: Ape (1955) Medium: Pencil Sketch Signature: Signed and Dated Lower Right Provenance: Family of the Artist Framed Image: 34 x 26.5cm Framed: 55.5 x 47cm €400 - 600

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38 LOUIS LE BROCQUY HRHA (1916 - 2012)

Title: The Dream (1944) Medium: Watercolour Signature: Signed and Dated Upper Left; Inscribed on Artist’s Label Verso Provenance: The Collection of Hugh Charlton, Apollo Gallery, Dublin (Stamped Verso); Private Collection Framed Image: 9.5 x 12.5cm (approx.)

Framed: 30.5 x 31.5cm €3,000 - 5,000

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38 LOUIS LE BROCQUY HRHA (1916 - 2012) A wonderful little watercolour by Louis Le Brocquy, ‘The Dream’ depicts two figures at a harbour, one behind the other, looking out into the distance, in quiet contemplation. There is always an element of mystery in the artwork of Le Brocquy, whether it be his image works, landscapes or various traveller works. In this work, he creates a fog-like outline, almost portraying the figures as ghosts. The moon is a very important factor of this dream-like atmosphere, illuminating the sea that contrasts with the dark-blue elements of the sky. Le Brocquy always believed in painting the inner spirit of the human being, and not just focusing on physical presence. Instead, he wanted to explore presence, consciousness, and isolation, and this work is a good example of this ideology. The figures’ spirituality almost becomes part of the harbour itself. Le Brocquy’s shading around the lower parts of the figures merge with the surroundings, creating a certain level of mystique in the foreground.

In 1940, Le Brocquy returned to Ireland from his time in France, and made numerous visiting trips to Connemara, until 1946. It is possible that this watercolour, dated 1944, depicts one of the harbour’s in Connemara, maybe even Roundstone harbour, as he was active in Emlaghmore, which is situated between Roundstone and Ballyconneely. In these six years, he focused on creating a series of watercolours and sketches on the landscape of Connemara. At the same time, he was travelling to other parts of rural Ireland, observing local tinker camps and communities, particularly in Tullamore, Co. Offaly, which laid the groundwork for his famous ‘Tinker Series’ that he started in August 1945.

Louis Le Brocquy was one of the greatest Irish Painters in History. He was born in Rathgar in Dublin, in 1916, to Albert, a manager of an Oil Company, and Sybil, a playwright and author, and patron of the arts. A selftaught painter, his grandfather, who owned the oil company in question, wanted Louis to join the family’s oil business, so he studied chemistry at Trinity College Dublin between 1934 and 1938, while at the same time, secretly painting and experimenting with art materials in the laboratory cupboards. He started travelling to Europe in 1939, visiting major art museums before starting to paint full time. From the Mid 1940s, he started painting his celebrated ‘Tinker Series’, as well as starting to make his well-known tapestries in France. In 1958, he married fellow artist, Anne Madden, from London. From the early 1960s onwards, he painted his famous head or image works, which are instantly recognisable, while at the same time, forming friendships with several important figures, such as Samuel Beckett and Seamus Heaney. His masterpiece, A Family (1951), was purchased for €1.7 million and donated to the National Gallery of Ireland. He founded the Irish Exhibition of Living Art in 1943, after some of his submissions to the RHA were rejected. He exhibited at several prominent museums and galleries, such as the Guggenheim Museum in New York, the Tate Modern in London, the Irish Museum of Modern Art, and the National Gallery of Ireland - being the first living artist featured in the permanent collection. He was elected an Honory member of the RHA in 1983. Le Brocquy’s sister, Melanie, was also an Honory member of the RHA and a celebrated Irish sculptor. Le Brocquy died in 2012 at his home in Dublin at the age of 95.

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39 ANTHONY ROBERT KLITZ (1917 - 2000) Title: Oxford Medium: Oil on Canvas Signature: Signed Lower Right Provenance: The Gerry Cuddy Collection Framed Image: 50 x 75cm Framed: 67 x 92cm €600 - 900

40 WILLIAM PERCY FRENCH (1854 - 1920) Title: On the Beach (1901) Medium: Watercolour Signature: S igned and Dated Lower Left Provenance: Private Collection Framed Image: 15.5 x 24.5cm (approx.)

Framed: 38.5 x 47.5cm €2,500 - 3,500

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41 RAY DELANEY (B. 1972) Title: Under Current Medium: Unique Bronze Signature: Signed Provenance: Private Collection 47cm high; 38.5cm wide; 8.5cm deep €1,200 - 1,500

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42 SEAN MCSWEENEY HRHA (1935 - 2018)

Title: August Bogland (2004) Medium: Acrylic on Paper Signature: Signed and Dated Lower Left and Inscribed Verso Provenance: Taylor Galleries, Dublin (Label Verso); The Oriel Gallery, Dublin (Label Verso); Private Collection Exhibited: ‘Sean McSweeney’, Taylor Galleries, Dublin, October - November 2004, Catalogue No. 29 Framed Image: 58 x 75.5cm Framed: 84.5 x 101cm €5,000 - 8,000

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42 SEAN MCSWEENEY HRHA (1935 - 2018) Seán McSweeney (1935 - 2018) was a self-taught artist, born in Dublin. He moved to his mother’s native Ballyconnell in Sligo in 1984 where the schoolhouse she had attended as a child became his studio. As with so many of his works, McSweeney’s painting August Bogland (2004) borders on abstraction as the artist emphasises the forms and structures rather than the illusionistic details of a place he knew well.

McSweeney had close family ties with Co Sligo. He recalled his summers there, assisting his uncle with cutting turf in a stretch of bogland that McSweeney eventually inherited. Some time ago, the artist explained how the turf on his uncle’s land was recovered.1 The bog was cut out in substantial square or rectangular sections up to six feet deep until the sandy base was reached and no further fuel could be excavated. Each cut out section was separated from the next by a ‘wall’ of turf that was left in place as a barrier. The moisture seeped back into the cut-out space, creating a kind of deep pool. McSweeney described how a separating ‘wall’ might suddenly collapse, causing water to flood into the area where they were working. It would be necessary to climb out as rapidly as possibly or risk drowning.

While the land he had inherited was not viable for either agricultural or building use, it provided an endless source

of inspiration for his painting. Each pool had regenerated with botanical and biological life, each creating a kind of wild garden. A series of paintings were crafted looking directly downwards on the land, observing and distilling from the forms and colours that were encountered there.

Seán McSweeney’s artistic method involved various implements besides brushes as he scraped and excavated the depths of the paint to draw on the layers beneath for what they might reveal. Green was generally created through mixing primaries, yellow and blue, in various combinations, sometimes with the addition of other colours.

August Bogland (2004) comprises a format that appears virtually abstract, particularly with its absence of a horizon - but reflects nonetheless the tangible nature of that local landscape. The deep blue ‘pool’ at the centre indicates both depth and a capacity to reflect the sky. The surrounding structure is rendered in primary yellow and acidic green in a format described by the writer, Dermot Healey, a friend and neighbour of McSweeney: “These edges of the pools have become his frames, and what appears abstract in the actual picture has in fact a home in reality.”2 Dr. Yvonne Scott, July 2026

Footnotes: 1. Yvonne Scott in several conversations with Sean McSweeney, summer 2002 2. Dermot Healy, ‘The Bogman’, introductory essay in Sean McSweeney, recent paintings, John Martin of London, April 2001, unpaginated

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43 MURIEL BRANDT RHA (1909 - 1981) Title: A Point to Point Meet Medium: Watercolour and Pastel Signature: Signed Lower Left Provenance: Private Collection Framed Image: 33 x 46cm Framed: 48.5 x 61.5cm €1,200 - 1,500

44 MARY GEORGINA BARTO SWA (1861 - 1949) Title: The Castle Inn Medium: Watercolour Signature: Signed Lower Right Provenance: Private Collection Framed Image: 38 x 29cm Framed: 52 x 42cm (approx.) €500 - 800

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45 MARKEY ROBINSON (1918 - 1999)

Title: Blue Clown Medium: Gouache Signature: Signed Lower Left Provenance: The Sandford Gallery, Dublin (Label Verso); Private Collection Framed Image: 29.5 x 49.5cm (approx.)

Framed: 67 x 47cm €2,000 - 3,000

46 MAINIE JELLETT (1897 - 1944)

Title: Seated Female Nude Medium: Pencil Sketch Signature: Unsigned Provenance: T he Collection of Bruce Arnold; Private Collection Framed Image: 20 x 28.5cm Framed: 33 x 43cm €1,000 - 1,500

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47 LOUIS LE BROCQUY HRHA (1916 - 2012)

Title: Dubliners - Tenement Doorway (1986) Medium: Limited Edition Lithograph (No. 4/35) Signature: Signed, Dated and Numbered Lower Right Provenance: Private Collection Framed Image: 45.5 x 31.5cm Framed: 68.5 x 54cm €1,200 - 1,500

48 JOHN CAREY (1861 - 1943)

Title: Othello and Desdemona Medium: Watercolour Signature: Signed Lower Right and Titled Lower Left; Inscribed Verso Provenance: The Molesworth Gallery, Dublin (Label Verso); Private Collection Framed Image: 22 x 15.5cm Framed: 42.5 x 33.5cm €400 - 600

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49 JARLATH DALY (B. 1956)

Title: Flight of Doves Medium: Bronze on Granite Base Signature: Signed Provenance: Private Collection 53.5cm high; 27cm wide (approx.); 27cm deep (approx.) €1,500 - 2,500

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50 HONORA O’NEILL (CONTEMPORARY)

Title: Orange Rushes Medium: Oil on Canvas Signature: Signed Lower Right Provenance: The Artist’s Studio, The Dillon Gallery, Dingle, Co. Kerry Framed Image: 56 x 76cm Framed: 78 x 98.5cm €4,000 - 6,000

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51 HENRY HEALY RHA (1909 - 1982)

Title: Near Carraroe Medium: Oil on Panel Signature: Signed Lower Right and Inscribed on Labels Verso Provenance: Private Collection Framed Image: 58 x 65cm Framed: 74 x 81cm €1,000 - 1,500

52 HARRY KERNOFF RHA (1900 - 1974)

Title: Entwined Form Medium: Watercolour Signature: Unsigned Provenance: Acquired directly from the artist by Jack Segal (A Friend and Patron of the artist), thence by descent; Whyte’s, ‘Important Irish Art’, Dublin, 28 May 2018’, Lot 46; Private Collection Framed Image: 7.5 x 7.5cm (approx.)

Framed: 17.5 x 17.5cm (approx.) €400 - 600

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53 GRAHAM KNUTTEL (1954 - 2023)

Title: Rachel Medium: Acrylic on Canvas Signature: Signed Lower Right Provenance: Private Collection Framed Image: 36 x 25cm Framed: 64 x 54cm €2,000 - 3,000

54 GERALD DAVIS (1938 - 2005)

Title: Foreboding (1976) Medium: Oil on Board Signature: Signed and Dated Lower Left; Inscribed Verso Provenance: Acquired directly from the family of the artist by the Present Owner Framed Image: 38 x 50.5cm Framed: 41.5 x 54.5cm €500 - 800

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55 DONNACHA CAHILL (CONTEMPORARY)

Title: Fawn Medium: Bronze Signature: Unsigned Provenance: Commissioned from the artist by the Present Owner Note: Raised on a supporting Granite Base 104cm high x 99cm wide x 41.5cm deep (Incl. Base); 88cm high x 79cm wide x 26cm deep (No Base) €5,000 - 8,000

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56 CHARLES CULLEN (B. 1939)

Title: Self-Portrait (1996) Medium: Pastel on Paper Signature: Signed and Dated Lower Right Provenance: Hillsboro Fine Art, Dublin; Private Collection Framed Image: 27.5 x 30cm Framed: 37 x 39.5cm €400 - 600

57 BARBARA WHITTY (20TH/21ST CENTURY) Title: Portmarnock Medium: Oil on Canvas Board Signature: Signed Lower Centre Right Provenance: Private Collection Framed Image: 39 x 49cm Framed: 59 x 69cm €500 - 800

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58 EDWARD MCGUIRE RHA (1932 - 1986)

Title: Long Eared Owl (1971) (Study for ‘Owl with Oak Leaves’, 1972) Medium: Ink on Paper Signature: Signed and Dated Lower Right Provenance: The Dawson Gallery, Dublin; Private Collection Framed Image: 20 x 28.5cm Framed: 27.5 x 35.5cm €1,000 - 1,500

59 ANTHONY ROBERT KLITZ (1917 - 2000) Title: Still Life of Flowers Medium: Oil on Board Signature: Signed Lower Right Provenance: Private Collection Framed Image: 18.5 x 13.5cm (approx.)

Framed: 29.5 x 24.5cm (approx.) €400 - 600

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60 ALBERT GLEIZES (1881 - 1953)

Title: Stained Glass Study with a Madonna and Child Medium: Gouache Signature: Indistinctly Signed Lower Left Provenance: The Collection of Jacques Vienot, friend of the artist, by descent; Private Collection Framed Image: 25.5 x 21cm (approx.)

Framed: 60 x 53cm €4,000 - 6,000

61 MARTIN GALE RHA (B. 1949)

Title: Study for Favourite Places (1982) Medium: Watercolour Signature: S igned and Dated Lower Centre; Titled Verso Provenance: Private Collection Framed Image: 15 x 20cm Framed: 34.5 x 38cm (approx.) €1,200 - 1,500

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62 WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)

Title: A Chat on the Park Bench Medium: Pen, Ink and Watercolour Wash Signature: Signed Lower Left Provenance: John Magee, Belfast (Label Verso); The Gerry Cuddy Collection Framed Image: 26 x 16cm Framed: 40 x 28cm

63 RACHEL STRONG (20TH CENTURY)

Title: The Artist’s Studio Medium: Acrylic on Paper Signature: Signed Lower Left Provenance: Apollo Gallery, Dublin (Stamped Verso); Private Collection Framed Image: 69 x 52cm Framed: 96 x 78cm €1,200 - 1,500

€800 - 1,200

64 MOILA POWELL (1895 - 1944) Title: Woodland Landscape Medium: Mixed Media Signature: Signed Lower Right Provenance: Private Collection Framed Image: 37 x 52cm Framed: 61.5 x 76.5cm €700 - 1,000

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65 MARTIN FINNIN (B. 1968)

Title: Garden Study (2002) Medium: Oil on Board Signature: Signed and Dated Lower Right; Inscribed Verso Provenance: Private Collection Framed Image: 55 x 69.5cm Framed: 83.5 x 97cm €1,200 - 1,500

66 MAINIE JELLETT (1897 - 1944) Title: Triangular Form Medium: Pencil Sketch Signature: Unsigned Provenance: Adam’s, Dublin, 1980s (As Part of a Folio of Sketches and Drawings); Private Collection Framed Image: 17 x 23cm Framed: 38 x 41cm €500 - 800

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67 JOHN MORRIS (B. 1958)

Title: Surfer Medium: Oil on Board Signature: Signed Lower Left and Titled Verso Provenance: Private Collection Framed Image: 29 x 29cm Framed: 48.5 x 48.5cm €500 - 800

68 JOHN BUTLER YEATS RHA (1839 - 1922) Title: Portrait of a Gentleman Medium: Pencil Sketch Signature: Unsigned Provenance: Yeats Family Collection; Private Collection Framed Image: 12 x 16.5cm Framed: 40.5 x 44.5cm €800 - 1,200 WWW.S HEPPAR D S. I E | 49

69 BASIL BLACKSHAW HRHA RUA (1932 - 2016)

Title: English Pointer Medium: Oil on Canvas Signature: Signed Upper Right Provenance: Gormley’s Art Auctions, Belfast, 29 November 2022, Lot 41, Where acquired by Gerry Cuddy Framed Image: 35 x 45 cm Framed: 49 x 59 cm €3,000 - 5,000

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69 BASIL BLACKSHAW HRHA RUA (1932 - 2016) Basil Blackshaw Is a critically respected and popular artist. Always experimenting, he explored various styles and formats, including expressionism, semi - abstraction and, in his later years, abstraction (e.g. the critically well - received ‘Windows’ Series’. He was born in Co. Antrim where he subsequently lived and worked. He studied at The Belfast College of Art, under Romeo Toogood from 1948 to 1951, where T. P. Flanagan was a fellow student.

The son of a horse trainer, he was very much a man ‘of’ the land, and those who worked it – farmers, horse trainers and so called ‘doggy’ men. His main preoccupying themes included landscapes, portraits, horses, and dogs. Painting horses was a constant and ever developing theme of his, over a number of decades - race horses exercising in the early morning mist; horse and rider taking a tumble at a fence. These developed from more strictly anatomical realistic studies to, in his later career, a more gesturally free use of paint.

Degas stylistically set a precedent for horse paintings and Blackshaw would also have been aware of the work of English artist Munnings’ work, painting horses.

characterised by the nature of his work which is to point to the game and retrieve it. As such Blackshaw registers the powerful physical presence of the dog. His left front leg is raised, his tail erect while his noble head is focused on the task ahead. Blackshaw has painted the animal naturalistically, whereas other dogs he painted, especially in his latter years, were painted, as with his horses, very much in a loose, more primitive and expressive and at times humorous style.

Dogs are usually around their owner throughout the day and a mutually affectionate relationship often develops. Blackshaw trained greyhounds for several years. In his triptych painting ‘Buaitheoirí na Straith’ (1978) three owners proudly present their greyhounds, as if at a dog show, where a painterly symbiosis is conjured up between dog and owner.

The rough heath/bogland-like hunting terrain in ‘English Pointer’ is painted thinly in a variety of earth colours: greys, browns and greens. The dog is painted in the breed’s typical colours of white and brown. The trees to the right are rendered translucent against the sky. The sky, in contrast to the land, is rendered in pastel light blue and green with wispy clouds. In a similar painting ‘Hound’ the landscape format, as in ‘Pointer,’ is reversed in which the dog looks forward. Likewise, in this painting, the dog’s weighty presence defines the pictorial charge of the work. Basil Blackshaw had his first solo show at the Belfast Museum and Art Gallery in 1955. He was a regular exhibitor at the Exhibition of Living Art. The ACNI arranged a mid-career retrospective in 1974. He was included in Rosc 88. The Royal Hibernian Academy organised a major retrospective of his work in 2012.

His paintings are included in many private and public collections, including, inter alia: The Ulster Museum, Belfast; The Hugh Lane Municipal Gallery, Dublin and IMMA, Dublin.

In Blackshaw’s painting English Pointer, this working dog is portrayed as set to move in the ‘field’, his stance

Prof. Liam Kelly, February 2026

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70 HENRY MORGAN (B. 1952)

Title: Rocky Shoreline, Spanish Point (2026) Medium: Oil on Canvas Signature: Signed and Dated Lower Left; Inscribed Verso Provenance: Private Collection Framed Image: 39.5 x 60cm Framed: 63 x 83.5cm €800 - 1,200

71 DONNACHA CAHILL (CONTEMPORARY)

Title: Fox Medium: Bronze Signature: Unsigned Provenance: Commissioned from the artist by the Present Owner 35cm high (approx.); 81.5cm wide (approx.); 32.5cm deep (approx.) €3,000 - 5,000

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72 CAROL ANN WALDRON (B. 1948)

Title: Sail Away Medium: Oil on Canvas Board Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 11.5 x 24.5cm (approx.)

Framed: 26 x 38.5cm €500 - 800

73 BANKSY (BRITISH, B. 1973)

Title: Peckham Rock (2018) Medium: T imber Cut Wooden Replica, Recreated by the British Museum in 2018 Signature: Unsigned Provenance: Private Collection Framed Image: 12 x 18cm Framed: 25.5 x 25.5cm €500 - 800

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74 WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968) Title: At the Galway Races Medium: Crayon Signature: Signed Upper Right Provenance: Private Collection, Greenisland, Co. Antrim; James Mullin Fine Art, Newtownabbey, Co. Antrim; Private Collection, Belfast; Adam’s, Important Irish Art, Dublin, 1 April 2018, Lot 36; The Gerry Cuddy Collection Framed Image: 26.5 x 18.5cm Framed: 53 x 44cm €2,000 - 3,000

William Conor was born in north Belfast in 1881. One of seven children, he attended the Belfast Government School of Art at a young age. Martyn Anglesea observes that at this time, the art school was focused on training students in drawing and design for industry. Belfast’s principal outlets in this regard were in linen design and lithographic poster firms. During the years 1904 - 1910 he served an apprenticeship as a lithographer and poster designer with David Allen & Sons. In this context Conor created the poster designs through applying black ink and lithographic chalk directly to the lithographic stone. ‘The work was highly disciplined and instilled early a sound sense of design and balance of forms’, the composition was simplified to ensure legibility from a distance and his work with the lithographic chalk was to give the artist ‘a liking for crayon as a drawing medium which was to last the rest of his life’ (Anglesea, 1999: 11).

It is likely that this early training ensured that Conor focused exclusively on the scene at hand without unnecessary background elements and it will have informed the confident black outlines that demarcate his figure groupings. This approach is evident in the majority of his practice and can be seen in ‘At the Galway Races’, where the two women are affectionately depicted at the race day. There is a definite sense of balance and harmony in the arrangement of the composition and the viewer is invited, not only to view the race, but also to join the discussion. The lady on the right stands with her hands aloft holding binoculars before her, but instead of looking through these, her head is turned conversationally to her companion, who is placed at a lower level in the composition and we see her smiling profile. Through

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the angle of the first lady’s head, Conor has employed a familiar linking device of figures in his work. It can be seen in ‘Three Singers’, where tilting the head of one figure to engage with another, unites the three. It also ensures that the viewer feels included in the composition. The draperies of the figures are sensitively represented and Conor has indicated light and shade in the long coats of the women through confident use of line and his restricted palette of colour. The background is secondary and features three horses racing, their jockeys sparsely indicated. The treatment of the background is fainter and designed simply to indicate the setting and event, as opposed to detracting from the scene of friendship in the foreground.

William Conor’s work remains important. I have previously written that ‘he has, single - handedly, created a comprehensive social catalogue for the first half of the twentieth century featuring working class existence, street games, family life and pursuits’ (O’Kane Boal, 2017). He was a devoted artist and carried a sketchbook everywhere with him which he would keep hidden in a folded newspaper so that he could observe people without interrupting the scene. This initial sketch from life on the spot has ensured that his work has an honesty and vitality that endures. Máirín Allen has observed in the Father Mathew Record that Conor was confident that the artist should record ‘his own epoch and give expression to what was happening around him’. He was fully engaged in representing scenes from everyday life and we continue to enjoy his commitment to his practice.

Dr. Marianne O’Kane Boal, February 2026

75 ANNIE ROBINSON (B. 1961) Title: December Snowfall Medium: Acrylic on Canvas Signature: Signed Lower Right Provenance: Private Collection Framed Image: 9.5 x 12cm Framed: 29.5 x 32cm €500 - 800

76 WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)

Title: The Violin Player Medium: Watercolour, Ink and Charcoal Signature: Signed Twice Upper Left Provenance: Purchased in Belfast, Circa 1970, by the Previous Owner (probably from John Magee); Private Collection, North Yorkshire; The Gerry Cuddy Collection Framed Image: 30 x 23cm Framed: 39 x 31.5cm €2,000 - 3,000

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78 DONALD TESKEY RHA (B. 1956)

Title: Castletownshend (2005) Medium: Limited Edition Drypoint (No. 2/30) Signature: Signed Lower Right and Numbered Lower Left Provenance: The Rubicorn Gallery, Dublin (Label Verso); Private Collection Framed Image: 14.5 x 15.5cm Framed: 35 x 36cm €500 - 800

77 MICHAEL FOLEY (B. 1963)

Title: Vaso (2026) Medium: Limited Edition Bronze (No. 3/9) Signature: Signed, Dated and Numbered on Base Provenance: Private Collection 61.5cm high (approx.); 20cm wide (approx.)

20cm deep (approx.) €1,500 - 2,500

79 EDWIN HAYES RHA RI ROI (1819 - 1904) Title: In Rough Seas Medium: Oil on Board Signature: Signed Lower Left Provenance: Private Collection Framed Image: 12 x 17cm Framed: 28 x 33cm €2,000 - 3,000

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80 JOHN BURKE (1946 - 2006)

Title: Maquette for Kingfisher - Wilton Roundabout (C. 1984) Medium: Welded Steel Signature: Unsigned Provenance: Acquired directly from the artist by Frances Lynch (A Friend and Patron of the artist) 117.5cm high; 127cm wide (approx.); 57.5cm deep (approx.) €30,000 - 50,000

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80 JOHN BURKE (1946 - 2006) Fabricated using plates of steel cut and welded together, Maquette for Kingfisher was created by John Burke in preparation for his large outdoor sculpture, which was installed in December 1984 at the Wilton Roundabout in Cork. Twenty-five feet high and weighing eight tons, the Wilton sculpture had been commissioned by Clayton Love and Séamus Gallagher, to commemorate the Cork 800 festival. This smaller maquette, with its elegant and playful triangles and arcs, was used by Burke as a guide in the making of the large sculpture, but it is also a delightful work of art in its own right. This work is painted bright blue: Burke generally painted his sculptures in primary colours, helping them stand out against their surroundings. As a sculptor, he had an uncompromising confidence; in addition to the Wilton piece, he made several other large-scale works; Red Cardinal for the Bank of Ireland (now the Dept. of Health), in Baggot Street, Dublin; a work for a roundabout at Fermoy (this later was transferred to University College Cork); and in 2005, Firefly, for the grounds of the Cork University Hospital.

Cork. In 1967, he won the Student of the Year Award and three years later a McCauley Fellowship. The adjudicator of the latter was Bernard Meadows, Head of Sculpture at the Royal College of Art in London, and Burke went on to study at the RCA, where Brian Kneale was his main tutor. After travelling in Europe, Africa and the Middle East, Burke returned to Cork where his first one-person exhibition was held in 1973. Three years later he had a show in New York, where he saw the monumental sculptures of David Smith, Alexander Calder and Richard Serra. From Calder, he learned the importance of revealing the process of construction, and the works he made on his return to Ireland were distinguished by exposed bolts and visible welded seams. From 1972 to 1977 he taught at the Crawford School of Art. Burke’s death in 2006 marked the end of an era in Cork’s art world, but his legacy is kept alive

by Frances Lynch, a leading collector and patron of his work. In 2020, a retrospective exhibition of his work, curated by Catherine Marshall, was held in Clonmel.

Born in Clonmel, Co. Tipperary in 1946, aged eighteen, John Burke entered the Crawford School of Art in

Dr. Peter Murray, August 2026

John Burke overseeing the construction of Kingfisher for the Wilton Roundabout, Cork, at Leslie’s Cross, where the roundabout is today (1984)

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81 DES MURRIE (20TH/21ST CENTURY) Title: Polo in the Park Medium: Oil on Board Signature: Signed Lower Right and Titled Verso Provenance: Private Collection Framed Image: 60 x 45.5cm Framed: 78.5 x 63cm €500 - 800

82 CARMELA BRENNAN (CONTEMPORARY) Title: Fleur de Lis Medium: Oil on Canvas Signature: Signed Lower Right Provenance: Private Collection Framed Image: 24 x 29cm Framed: 38 x 43cm €500 - 800

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83 ANNEMARIE BOURKE (B. 1957)

Title: Boatyard at Oldcourt, West Cork Medium: Oil on Canvas Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 59 x 89cm Framed: 78.5 x 108cm €1,200 - 1,500

84 PAULINE BEWICK RHA (1935 - 2022)

Title: Taurus (1968) Medium: Watercolour Signature: Signed and Dated Lower Right Provenance: The Dawson Gallery, Dublin (Framing Label Verso); Private Collection Framed Image: 57 x 76cm Framed: 82.5 x 100cm €3,000 - 5,000

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85 SARAH PURSER HRHA (1848 - 1943) Title: The Concert Medium: Pencil Sketch Signature: Unsigned Provenance: Gorry Gallery, Dublin, 1993 (Label Verso); Private Collection Exhibited: ‘Sarah Purser RHA 1848 - 1943, Drawings and Watercolours’, Gorry Gallery, Dublin, 21 May - 3 June 1993 Framed Image: 11 x 18.5cm Framed: 30.5 x 36.5cm €500 - 800

86 MILDRED ANNE BUTLER RA RWS (1858 - 1941)

Title: Figure Studies of the Butler Family, Kilmurry House Medium: Pen and Ink Signature: Signed Lower Right and Inscribed Verso Provenance: The Artist’s Studio Sale, Christie’s, London, October, 1981; Private Collection Framed Image: 17 x 22cm Framed: 33.5 x 37.5cm €600 - 900

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87 MAINIE JELLETT (1897 - 1944) Title: Portrait of a Lady Medium: Pencil Sketch Signature: Unsigned Provenance: Private Collection Framed Image: 32.5 x 24cm Framed: 61 x 52.5cm €800 - 1,200

88 LIAM DELANEY (B. 1948)

Title: Ace of Spades (1990) Medium: Charcoal and Pencil on Paper Signature: Signed and Dated Lower Centre Right Provenance: Combridge Fine Arts, Dublin (Label Verso); Private Collection Framed Image: 28 x 20cm Framed: 38 x 30cm €400 - 600

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89 GLADYS MACCABE MBE HRUA ROI FRSA (1918 - 2018) Title: The Fruit Cart Medium: Oil on Board Signature: Signed Lower Right and Titled Verso Provenance: Private Collection Framed Image: 39 x 49cm Framed: 54 x 64cm €3,500 - 5,500

90 JOHN SKELTON (1923 - 2009)

Title: Nude Study (1956) Medium: Mixed Media on Card Signature: Signed and Dated Lower Left Provenance: Private Collection Framed Image: 48.5 x 33.5cm Framed: 69 x 53.5cm €500 - 800

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91 MARLENA TOBIN (CONTEMPORARY)

Title: Order of the Oil Medium: Oil on Board Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 70 x 40cm Framed: 74.5 x 44.5cm €500 - 800

92 JOHN FRANCIS SKELTON (B. 1954)

Title: A Tale of Knots - The Blasket Islands Medium: Oil on Board Signature: Signed Lower Right and Titled Verso Provenance: Private Collection Framed Image: 49.5 x 60cm Framed: 61.5 x 71.5cm €500 - 800

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93 JOHN BEHAN RHA (B. 1938) Title: Oar Boat Medium: Bronze Signature: Signed Provenance: Private Collection 48.5cm high; 29.5cm wide; 24cm deep (approx.) €6,000 - 9,000

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94 JAMES HUMBERT CRAIG RHA (1877 - 1944) Title: The Farm in the Glens Medium: Oil on Canvas Signature: Signed Lower Left Provenance: J ohn Magee, Belfast (Label Verso); Private Collection Framed Image: 50 x 65cm Framed: 68 x 83cm €5,000 - 8,000

95 JOHN BOYD (B. 1957)

Title: The Threatened Medium: Pen and Ink on Paper Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 30 x 22cm Framed: 55 x 45cm €400 - 600

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96 TOM BYRNE (B. 1962)

Title: Perfect Day for a Wedding Medium: Acrylic on Canvas Signature: Signed Lower Right Provenance: Private Collection Unframed 40 x 30cm €500 - 800

97 DONALD MCPHERSON RUA (1920 - 1986)

Title: Feeding the Doves (1917) Medium: Oil on Board Signature: Signed and Dated Lower Right Provenance: F.G. Davis & Sons Ltd., Belfast (Label Verso); Private Collection Framed Image: 26 x 36cm (approx.)

Framed: 40.5 x 50.5cm €500 - 800

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98 JOSEPH SLOAN (B. 1940)

Title: Couple II (2005) Medium: Limited Edition Bronze on Marble Base (No. 2/3) Signature: Signed, Dated and Numbered Provenance: Private Collection Exhibited: K ilkenny Arts Week, Ormonde Hotel, Kilkenny, 2010; Wexford Festival Opera, Green Acres Gallery, 2010; Extensively exhibited with Kilcock Art Gallery, Kildare (Including being showed at the K Club) We are Grateful to Green Acres Gallery, Wexford for their assistance in cataloguing this work 194cm high; 53.5cm wide; 33cm deep €15,000 - 25,000

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98 JOSEPH SLOAN (B. 1940) Music, Joseph Sloan once said to the art historian Frances Ruane, is “the sound of the human spirit”, and in many respects, the spirit of music is at the heart of his work, which is unfailingly harmonic and rhythmic, with a balletic sense of movement and grace. He was for a time fascinated by the orchestral conductor and made a series of sculptures inspired by the figure of the conductor as a co-ordinator of beauty and order. In other works he envisions the roles of, variously, individual musicians, dancers and a poet. The artist has noted that he operates on the border between representation and abstraction, but the underlying impetus is always the same: to respond to “the mystery and magic of life… the essence of the human condition, which I try to look at on as many levels as possible.” His art is unmistakably joyful and optimistic.

It’s notable that, when he sculpted individual figures, some of them merged into tree-like natural forms, as though growing directly out of the earth, evoking the myth of the nymph Daphne who, when she spurns Apollo, is transformed into a laurel. It’s not the only instance of a mythological character becoming a tree and evidently the trope greatly appealed to the artist. Several of his multiple figure pieces explore the space, including the mental space, between performer and audience. In time, this strategy of bringing together separate individuals led him to the paired singers or dancers that make up his bronze Duets, and then his Couple. The Couple elaborates on the symbolism of the tree as a human being and the space between individuals. Unabashedly romantic, it suggests the two figures merging and becoming one shared consciousness, an emblem of tenderness, unity and love. It is, in Ruane’s phrase, “an elegant, rhapsodic form”, intense and passionate.

Sloan, born in Warrenpoint, Co. Down, didn’t begin adult life as an artist. He was drawn first to the theatre for the magical, transformative nature, of what happens on stage and he worked in the London theatre world for the best part of a decade. Gradually, however, he began to lament the lack of creative control: you were dutifully realising someone else’s vision and ideas. He mentioned to a friend, sculptor Brian Burgess, that the idea of making sculpture increasingly interested him. Burgess knew that sculpture happened in the real world, not as a vague aspiration, and he rather bluntly pointed to a corner of his studio and a pile of working materials and invited Sloan to get on with it. Perhaps, surprisingly, he did, and was immediately smitten.

Like many self-taught sculptors, he is familiar with every aspect of the process and has cast many of his own works.

He also pursued wood engraving, studying with the renowned Zelma Blakely at Heatherley’s School of Art. He has made several fine series of engravings, including a set inspired by life on the Aran Islands (as well as sculptures on the same theme), and he illustrated William Towrie Cutt’s memoir of his Orkney childhood, Faraway World, published in 1977. He has taught both bronze casting and wood engraving. He has exhibited extensively in Ireland, Britain, France and elsewhere and his work in both sculpture and print, is included in numerous private and public collections. He was commissioned to create the Irish Air Corps memorial installed at Baldonnell in 1992.

Aidan Dunne, August 2026

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99 DEBORAH BROWN (1927 - 2023)

Title: Owena Glush, Co. Antrim (1946) Medium: Oil on Canvas Signature: S igned Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 39.5 x 49.5cm Framed: 52 x 62cm €500 - 800

100 CARINA SCOTT (B. 1963)

Title: Atlantic Swell (2022) Medium: Oil on Canvas Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 59.5 x 79.5cm Framed: 63.5 x 84cm €2,000 - 3,000

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101 ANDY WARHOL (USA, 1928 - 1987)

Title: Campbell’s Soup - Oyster Stew Medium: Limited Edition Silkscreen (No. 147/1500) - Published by Sunday B. Morning Signature: Unsigned; Numbered and Inscribed Verso Provenance: Private Collection Framed Image: 85 x 53cm Framed: 98 x 66cm €800 - 1,200

102 PAULA MCKINNEY (20TH CENTURY) Title: Summer Flowers Medium: Oil on Canvas Signature: Signed Lower Right Provenance: Private Collection Framed Image: 29 x 60cm Framed: 46.5 x 77.5cm €500 - 800 WWW.S HEPPAR D S. I E | 73

103 SIR WILLIAM ORPEN KBE RA RI RHA (1878 - 1931)

Title: Portrait of Emily Scobel - Study for ‘The Mirror’ (1900) Medium: Pencil, Red Chalk, and Grey Wash Signature: Signed and Dated Upper Right Provenance: The Artist;

By Whom Given to Mary ‘Guinea’ Price;

By Descent to Kathleen Fairbanks (1866 - 1966) (Niece of the Above); and Thence by Descent; Christie’s, ‘20th Century British and Irish Art’, London, 27 May 2010, Lot 91; Private Collection, London; Private Collection, Ireland Exhibited: New English Art Club, London, Winter 1900 (Orpen’s First Post - Slade Exhibition) Literature: The Artist, August 1901; Antiques Trade Gazette, 10 June 2023, Illustrated Pg 43 Notes: One of the most important studies by Orpen, it was known as ‘The Pink Lady’ in the Fairbanks family, and was chosen to illustrate the first-ever in-depth article on Orpen, in the August edition of ‘The Artist’ Magazine.

Framed Image: 31 x 16cm Framed: 58 x 41cm €5,000 - 8,000

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103 SIR WILLIAM ORPEN KBE RA RI RHA (1878 - 1931) A superb work by William Orpen, this drawing in red chalk, pencil and grey wash depicts the model Emily Scobel standing, dressed in a shift, while taking off an elaborate tiered dress. Although a sensual and intimate image, the artist has concentrated on depicting the folds and textures of material, rather than the sitter, whose face is shaded by the brim of her hat. In its polished technique, the drawing reveals Orpen’s debt to artists, such as earlier artists Frederico Zuccaro, Peter Paul Rubens and Jean Antoine Watteau, all of whom practised drawing ‘aux trois crayons’, using different tints of chalk.

Orpen adapted this technique, combining chalk and pencil with grey wash. The result is a refined and elegant work of art, yet one that also conveys something of the passions that animated Orpen throughout his life.

While a student at the Slade School of Art in London, Orpen frequently sketched and painted Amelia (Emily) Scobel. An aspiring architect, Scobel had run away from home and earned her living as a life model at the Slade.

It is likely that she and Orpen became lovers, and her modelling for the artist extended beyond his years as a student. In 1900, Scobel was the subject in three of Orpen’s most important paintings - ‘The Mirror’, ‘The English Nude’ and ‘The Bedroom’. The first of these was completed early in the year although, as Bruce Arnold recounts in his biography Orpen – Mirror to an Age, it was not exhibited until November 1900, when it was shown at the New English Art Club. ‘The English Nude’ probably dates from the early summer of that same year, while ‘The Bedroom’ was painted at Cany, in Normandy, later that summer.

The Mirror, 1900

Although Orpen and Scobel were in a relationship that went beyond her being a model in his paintings, while at the same time, he was courting Grace Knewstub.

However, as Knewstub was not prepared to model for Orpen, Scobel posed for both his drawings and paintings.

In his magnificent ‘The English Nude’, he depicted her on a four poster bed in his studio at 21 Fitzroy Street. The resulting painting was kept by Orpen in his own collection until his death. In the painting ‘The Mirror’, the pose used was not that adopted by Scobel in the present drawing, but instead she is depicted seated, beside a circular mirror, looking at the viewer, her eyes shaded by the brim of her hat and her hands folded. While Scobel was fond of Orpen, and they were even engaged at one point, she was eventually put off by his obsession with work and left him to marry one of his contemporaries at the Slade, Max West.

Dr. Peter Murray, August 2026

Article from the Antiques Trade Gazette, 10 June 2023

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LOT 103

104 PABLO PICASSO (SPANISH, 1881 - 1973)

Title: Three Women and Bullfighter (1954) Medium: Lithograph - Printed by Kunstverlag Fingerle and Co., Authorised reproduction

by SPADEM in 1954 Signature: Signed and Dated Lower Right Provenance: Private Collection Framed Image: 26.5 x 34cm Framed: 41.5 x 60.5cm €500 - 800

105 MILDRED ANNE BUTLER RA RWS (1858 - 1941)

Title: Study of a Horse Medium: Watercolour Signature: Unsigned Provenance: From a Portfolio of Sketches sold at the artist’s studio sale, Christie’s, October 1981; David Ryan, Goresbridge, Co. Kilkenny, 1982, Where acquired by the Previous Owner; Private Collection Framed Image: 16 x 19cm (approx.)

Framed: 37 x 40.5cm €700 - 1,000

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106 MARKEY ROBINSON (1918 - 1999) Title: Still Life with Flowers Medium: Gouache on Wallpaper Signature: Signed Lower Right Provenance: Private Collection Framed Image: 49.5 x 39cm Framed: 95 x 86cm €1,500 - 2,500

107 MAEVE O’BYRNE (20TH/21ST CENTURY)

Title: Studio with Starry Sky (1993) Medium: Oil on Canvas Signature: Signed and Dated Lower Right; Inscribed Verso Provenance: Private Collection Framed Image: 87 x 114cm Framed: 100 x 126.5cm €600 - 900

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108 JOHN SKELTON (1923 - 2009)

Title: A Good Harvest, Inishboffin Island (2000) Medium: Oil on Board Signature: Signed Lower Left and Inscribed Verso Provenance: The Artist’s Studio, Dublin (Label Verso); Private Collection Framed Image: 49 x 75cm Framed: 71 x 96cm €3,500 - 5,500

109 JOHN MORRIS (B. 1958) Title: Reflections Medium: Oil on Board Signature: S igned Lower Left and Titled Verso Provenance: Private Collection Framed Image: 24.5 x 24.5cm Framed: 44 x 44cm €500 - 800

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110 WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)

Title: Shawlie with Children, Quay Street, Skerries, Co. Dublin (C. 1915) Medium: Oil on Canvas Signature: Signed Lower Left Provenance: Private Collection Framed Image: 50.5 x 40.5cm Framed: 70 x 60cm €8,000 - 12,000

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Preliminary sketch

110 WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968) ‘If a […] town could have folk-songs and if those folksongs could be translated into pictures, or if the feelings that inspired them could be pictorially represented, they would take the form of the art of William Conor.’ Holbrook Jackson.

Within this work there is a ‘shawlie’ or working-class woman, whose shawl served as a coat and hat. This shawled woman is walking and cradling a baby in her arms, swaddled in her shawl. Following her is a small boy, who holds on to his mother with his left hand and looks behind him, over his right shoulder. He is clearly in motion with his right foot on the ground and his other foot in mid-step. He wears a pullover of rich brown and trousers, and although his feet are bare, he appears hale and hearty. Indeed, his face is full of character and this little fellow is the focal point of the composition. It is a simple but cohesive figure group, where the mother’s forward gaze and the children’s faces angled to the rear of the composition, lends the scene an active dimension and creates interest.

This artwork is distinguished by the existence of a preliminary sketch for the background. It is rare that companion sketch pieces are found or preserved and thus, fascinating to view the artist’s process in setting the scene for his genre study. In this case we can see the geometric grid of large squares that acted as an organising method for positioning the street buildings and ensuring topographical accuracy in both the sketch and finished works. The added detail in the sketch of the series of telegraph poles that would have been placed as part of Skerries Electricity Works 1915-1940,

and this helps provide a date for the work as Conor was well-known for leaving the majority of his work undated. Skerries was a popular seaside resort in the early twentieth century, known for fishing and hand-embroidery.

It also housed Skerries Mills where wind and water milling ceased in the early 20th century but the bakery remained active until the mid-eighties. Conor was renowned for depicting mill workers or ‘shawlies’, predominantly in Belfast, so this is an important artwork with a different location.

While the medium is oil on canvas, there is continuity with Conor’s earlier works in conté crayon. A direct compositional connection can be made with Conor’s ‘Gossiping’ 1910, that is part of the Ulster Folk and Transport Museum collection. Although this work includes two additional figures; a woman and child, the remainder is almost a mirror arrangement of a woman and baby with small child holding on to her back. This time it is a little girl who looks directly out of the artwork to meet the viewer’s gaze. She opens the composition up beyond the gossiping session that occurs to the left. The paredback background is a cut-off composition of a sliding sash window with open shutters and the slope of the street.

Conor is well-known for creating aesthetically finalised artworks that delight the eye. It is due to his capacity to create a narrative within the pictorial frame, to invite the viewer in, but also to let the figure groups have their space, that this balance of approach is achieved and ensures enduring appeal.

Dr. Marianne O’Kane Boal, August 2026

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LOT 110

111 VICTOR RICHARDSON (B. 1952)

Title: Nohoval Cove Medium: Pastel on Board Signature: Signed Lower Right and Inscribed Verso Provenance: Acquired directly from the artist by the Previous Owner; Private Collection Framed Image: 47.5 x 57.5cm Framed: 78.5 x 87.5cm €1,200 - 1,500

112 GORDON KING (1939 - 2022)

Title: Woman in the Garden Medium: Watercolour Signature: Signed Lower Right Provenance: Private Collection Note: This work was reproduced for a set of 475 prints by the artist Framed Image: 37.5 x 26.5cm Framed: 68.5 x 55.5cm €500 - 800

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113 GERALD DAVIS (1938 - 2005)

Title: The Watchman Medium: Oil on Board Signature: Unsigned Provenance: Acquired directly from the family of the artist by the Present Owner Framed Image: 38 x 51cm Framed: 41.5 x 54.5cm €500 - 800

114 DESMOND CARRICK RHA (1928 - 2012) Title: Olive Grove, Spain Medium: Oil on Canvas Board Signature: Signed Lower Right Provenance: Private Collection Framed Image: 44 x 59.5cm (approx.)

Framed: 66 x 80.5cm €1,000 - 1,500

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115 OISIN KELLY RHA (1915 - 1981)

Title: Grouse Medium: Hand-Painted Ceramic Signature: Stamped ‘Kilkenny Pottery, Ireland’ on Underside Provenance: The Kilkenny Design Workshops (Stamped on Underside); Private Collection 16cm high; 21cm wide (approx.); 9.5cm deep €400 - 600

116 DAVID FRENCH LE ROY (B. 1971)

117 BRIDGET FLINN (20TH/21ST CENTURY)

€2,000 - 3,000

€1,500 - 2,500

Title: Still Life - Jugs and Eggs (2008) Medium: Oil on Board Signature: Signed and Dated Lower Left Provenance: Private Collection Framed Image: 46.5 x 38cm (approx.)

Framed: 78 x 70cm

Title: Nude on Blue Medium: Acrylic on Board Signature: Signed Lower Centre Right; Inscribed on Label Verso Provenance: Private Collection Framed Image: 77 x 53cm Framed: 96 x 70.5cm

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118 LEO WHELAN RHA (1892 - 1956)

Title: Portrait of Bishop Thomas Grace, of Sacramento, California, USA (1841 - 1921) (C. 1913) Medium: Oil on Canvas Signature: Signed Lower Left Provenance: Commissioned from the artist by All Hallows College, Drumcondra, during the Presidency of Fr. Thomas O’Donnell; The Trustees of All Hallows College, Drumcondra Note: This Portrait was part of a series of 12 Portraits Whelan painted of distinguished people associated with the college Framed Image: 180 x 135.5cm (approx.)

Framed: 210.5 x 165.5cm €5,000 - 8,000

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118 LEO WHELAN RHA (1892 - 1956) An impressive portrait of a leading churchman of the early twentieth century, this large canvas was completed by Leo Whelan around 1913, not long after he had established his painting studio in Dawson Street, Dublin. Dressed in episcopal robes, Thomas Grace, Bishop of Sacramento, is shown seated, his purple robes contrasting with a white lace surplice. The Bishop’s left arm rests on a table, while in the background hangs a green curtain. The portrait was one of several commissioned by Fr. Thomas O’Donnell (1864 - 1949), when director of All Hallows Missionary College in Dublin. Born in 1892, Whelan had studied at the Dublin Metropolitan School of Art, and was at the outset of his career when he received this prestigious commission. He rose to the challenge, creating a work that, while likely painted from models and photographs, shows clearly the influence of John Lavery and William Orpen - the latter having taught a generation of Irish portrait painters at the Metropolitan School of Art. Although perhaps not well-known in Ireland, the subject, Thomas Grace, was at that time a leading churchman in California. Born in Wexford, Grace had been educated at St. Peter’s College, before training for the priesthood at All Hallows. Ordained in 1876, he was sent to California, where he travelled by horse through the mining towns of the Sierra Nevada. The first discovery of gold had taken place in 1848 at Sutter’s Mill, just forty miles east of Sacramento, and the young Irish priest found himself amidst the boarding houses, theatres and saloons of mining towns such as Grass Valley. Winning respect for his work on behalf of ordinary people, which included founding day care centres and hospitals, Grace was noted also for an energetic campaign of church building, including one at Carson City. In 1896 he was appointed Bishop of the State Capitol, Sacramento, and around 1913, was one of the All Hallows alumni selected by Fr. O’Donnell to have his portrait painted, for display in Woodlock Hall at the College. Several leading artists of the day were also involved in the project, among them John Lavery, Leo Whelan and Albert Powers. Over the following years, Whelan was to receive commissions for over ten more portraits, including one of Fr. O’Donnell himself.

Among the subjects chosen for portraits in Woodlock Hall were the founder of the College, Meath-born Fr. John Hand; a former President, William Fortune; and Professors James Moore and Joseph Sheehy. There were also prominent alumni; Bishops Edmund Heelan of Sioux City; Patrick O’Connor of Armidale, Australia; Thomas Grace of Sacramento, and Richard Scannell of Omaha. Archbishops included Patrick Clune of Perth; Edward Roche of St. John’s, Newfoundland; William Walsh of Dublin and Cardinal John Glennon of St. Louis Missouri. However, a century later, with a decline in the number of seminarians, All Hallows, which had been run by the Vincentian Order, closed, and its buildings are now part of Dublin City University. The portraits from Woodlock Hall were deaccessioned from the collection, and the Hall itself transformed into a library for DCU, winning an AAI award in 2022. Replacing the portraits of churchmen, the library is now embellished with a series of portraits of leaders of the 1916 Rising, painted by Mick O’Dea RHA. Dr. Peter Murray, August 2026

LOT 118

119 ALICIA BOYLE RBA RHA RUA (1908 - 1997) Title: Head with Orange Eye Medium: Watercolour Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 49.5 x 38cm Framed: 60.5 x 48.5cm €400 - 600

120 HARRY KERNOFF RHA (1900 - 1974)

Title: Brendan Behan Medium: Mixed Media Signature: Signed Centre Left and Titled Lower Left Provenance: Private Collection Framed Image: 43 x 35cm Framed: 75 x 67cm €4,000 - 6,000

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121 PATRICK WILLIAM ADAM RSA (SCOTTISH, 1854 - 1929)

Title: O’Brien’s Bridge, Limerick (1899) Medium: Watercolour Signature: Unsigned; Inscribed on Labels Verso Provenance: Forrest McKay, Edinburgh, 1991 (Label Verso); The Frederick Gallery, Dublin, 2000 (Label Verso); Private Collection Exhibited: ‘Autumn Exhibition’, The Frederick Gallery, Dublin, 2000, Catalogue No. 71 Framed Image: 32.5 x 47cm Framed: 54 x 67.5cm €1,000 - 1,500

122 MILDRED ANNE BUTLER RA RWS (1858 - 1941) Title: View Towards the Bridge Medium: Watercolour Signature: Signed Lower Left Provenance: William Rodman and Co., Belfast (Label Verso); Private Collection Framed Image: 21.5 x 28.5cm Framed: 49.5 x 56cm €2,000 - 3,000

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123 LOUIS VAN STAATEN (DUTCH, 1836 - 1909)

Title: Groot Kelk, Dordrecht Medium: Watercolour Signature: Signed Lower Right and Titled Provenance: Private Collection Framed Image: 86 x 62cm Framed: 113.5 x 89.5cm €800 - 1,200

124 NICHOLAS DOLAN (B. 1979) Title: Extreme Self (2022) Medium: Unique Bronze Signature: Unsigned Provenance: Private Collection 50cm high (approx.); 28cm wide (approx.); 15cm deep €2,500 - 3,500

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125 MARKEY ROBINSON (1918 - 1999)

Title: Waiting for the Catch Medium: Pen, Ink and Watercolour Signature: Signed Lower Centre Right Provenance: A cquired directly from the artist by the Previous Owner; Private Collection Framed Image: 13.5 x 19.5cm (approx.)

Framed: 37.5 x 43.5cm €500 - 800

126 LIAM BELTON RHA (B. 1947)

Title: Portrait of the Poet Austin Clarke Medium: P en, Ink, Wash and Chalk on Paper Signature: Signed and Inscribed Lower Right; Inscribed Verso Provenance: Private Collection Framed Image: 16.5 x 12cm (approx.)

Framed: 41.5 x 36.5cm (approx.) €500 - 800

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127 JOHN SCHWATSCHKE (B. 1943) Title: Kathleen Back from America Medium: Oil on Canvas Signature: Signed with Monogram Upper Right and Inscribed Verso Provenance: Private Collection Framed Image: 75 x 59.5cm Framed: 97 x 81.5cm €800 - 1,200

128 JOHN BUTLER YEATS RHA (1839 - 1922)

Title: Portrait of a Lady Medium: Pencil Sketch Signature: Unsigned Provenance: Yeats Family Collection; Private Collection Framed Image: 22 x 14.5cm Framed: 50.5 x 43cm €800 - 1,200

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129 KENNETH WEBB RWA FRSA RUA (B. 1927) Title: Poppies and Irises Medium: Oil on Canvas Signature: Signed Lower Right Provenance: Private Collection Framed Image: 49.5 x 74.5cm Framed: 74.5 x 99cm €15,000 - 25,000

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129 KENNETH WEBB RWA FRSA RUA (B. 1927) Kenneth Webb, often referred to as a British artist, was born in London in 1927. He later moved to Gloucestershire, where he studied at The Lydney School of Art. In 1945, he received a scholarship to The Slade School in London. However national service intervened.

After his national service in 1948, he decided to enrol at the Gloucestershire College of Art, studying painting, pottery and graphics. From 1953-60 he held the post of Head of Painting at, what is now called The Belfast School of Art. Although exhibiting in Ireland and in England he developed his career mostly in Ireland, painting colourful, florid landscapes (at times almost in Day-Glo hues) in the west of Ireland, in a quasi-impressionist style. He also painted figurative works and many flower studies (he had a wild Flower garden and studio in Ballinaboy, Connemara). Paintings of poppies were frequent. Occasionally, he painted abstract and semiabstract works. There is a painting of sweet peas where the flowerheads are blocked-in, as a variety of coloured squares, and also a ‘pointillist’ style painting entitled ‘Land of Poppies’.

Although painted naturalistically, in ‘Poppies and Irises’ the flowers seem to strive forward for the viewer’s attention, against a dry stone wall. The scale of the wall’s stones is somewhat inflated and monumental, with a linear, marine blue stretch of water and a lighter blue sky, at the distant horizon. It appears as if the blood red and

cooler blue flowers, among green leaves, are surreal and animated, and, calling out in a cacophany of sounds, as if anticipating evening, as the sky begins to change colour.

As with this painting, Webb often sees more than the sum of the parts of a bunch of individual flowers. The power of this cumulative charge is also evident in his painting ‘Enchanted Forest’. The shifting cycle of the seasons often play their part in the scenography of his flower painting, with light an enabling protagonist.

Early in his career he showed with the Magee Gallery in Belfast and later in his career, with The Kenny Bookshop and Art Gallery in Galway. He first exhibited at The Royal Academy in 1947. He was included in ‘Some of the Moderns’ exhibition, 1988, at The Belgravia Gallery, London. During his time teaching in Belfast, he had a one-person show at the Arts Council Gallery in the city.

In 2018, an exhibition of his work was held at The Royal Dublin Society. Some 170 of his paintings from between 1955 and 2018 were exhibited. He painted the altarpiece for Bangor Abbey and received commissions from British Steel and The Post Office. The Crawford Art (online collection) has samples of his work. (See also: ‘Gladwell and Patterson: In Conversation with Kenneth Webb’, YouTube) Prof. Liam Kelly, August 2026

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130 MARIE CARROLL (20TH CENTURY) Title: The Four Courts, Dublin Medium: Acrylic on Card Signature: Signed Lower Left Provenance: Private Collection Framed Image: 71 x 47.5cm Framed: 87 x 63cm €600 - 900

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131 JOHN BEHAN RHA (B. 1938)

Title: Guitar (Homage to Picasso) (2003) Medium: Unique Steel Signature: Signed and Dated Provenance: Mullan Gallery, Belfast, Where acquired by the Present Owner 79cm high; 38cm wide; 23.5cm deep €6,000 - 9,000

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131 JOHN BEHAN RHA (B. 1938) At the age of 16, John Behan took evening classes with Paddy McIlroy in art metalwork at the North Strand Technical School in Dublin, where he was taught how to make small sculptures in copper and steel. One of the early works that resulted from this was a Steel and Copper Bull, which he sold at the Irish Exhibition of Living Art (IELA) in 1960, marking the beginning of what was to become one of the finest careers in Irish Sculpting History.

Guitar (Homage to Picasso) is a rare work compared to some of his more well known works in this medium, such as ‘Bloom in the Bath’ and his various Fish and Bull works.

The work was inspired from Picasso’s 1914 sheet metal and wire Guitar sculpture, now housed at the Museum of Modern Art (MOMA) in New York. Behan uses this work to explore the revolutionary use of scrap metal, industrial materials, and assemblage pioneered by Picasso, who transformed scrap into expressive three-dimensional forms and redefined modern art by breaking traditional rules of volume and space.

Just like Picasso’s 1914 masterpiece, Behan’s Guitar projects from the wall, creating a strong sense of depth.

The work is built from overlapping steel plates, cylindrical tubing, and raised rods acting as strings, bringing the work to life. The layered forms cast shadows and encourage the viewer to look and look again. Negative space enhances the work as well, with the open sound hole in the centre, skeletal neck and exposed spaces create an interplay between positive and negative space, almost creating an optical illusion. Although the industrial steel gives the impression of a heavy solid object, the work is much lighter than it appears, challenging the viewer’s expectations of weight and mass. An earlier one of these Unique Steel guitars by Behan was exhibited at the Hallward Gallery in Dublin in January 1998, and Brian Fallon notes: ‘in recent years, he had moved into the ‘open’ forms which are now dominant in metal sculpture’.

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Fallon also commented on the guitar in the same Irish Times article from the time of the exhibition, stating that: ‘the Guitar (Homage to Picasso) gives a half-humorous nod towards Cubism’ (The Irish Times, 16 January 1998).

Perhaps one of the most unusual things about this guitar is that it is a hanging or wall sculpture, which is uncommon in Behan’s oeuvre, acting as an elegant and useful feature, allowing the viewer to step back from it and admire the raw, sculptural energy of a powerful homage to one of the greatest cubist painters in history, by one of the greatest Irish sculptors of all time.

Born in Sheriff Street, Dublin, in 1938, John Behan studied at the National College of Art and Design from 1956 to 1960, and started sculpting in the late 1950s, while continuing to improve his studies, attending Ealing Art College, London for a year between 1960 and 1961, and Oslo’s Royal Academy School later. Around the same time, he completed a metalwork apprenticeship at the J&C McLoughlin Ironworks, starting at the age of 15 in 1960. In 1967, he helped establish the Dublin Art Foundry and the Project Arts Centre in Dublin, while three years later, he received his first big commission, where he created the Cuchulainn relief panels for the Gresham Hotel, Dublin. His most famous work would be the National Famine Memorial in Murrisk Millennium Peace Park at the foot of Croagh Patrick in County Mayo. His retrospective was held in association with the RHA and the Galway Arts Centre between 1994 and 1995, which also toured to the Sligo Art Gallery. He has exhibited a number of times, including at the Irish Exhibition of Living Art, the Oireachtas, and the RHA, which he became an elected member of in 1989. He was also made a member of Aosdana in 1978. He is represented by a number of galleries across Ireland, including Solomon Fine Art, The Kenny Gallery and Kilcock Art Gallery, and he currently lives near Galway City.

132 TONY O’MALLEY HRHA (1913 - 2003)

Title: Spanish Galleons Sinking Off Donegal, 1795 (1974) Medium: Charcoal Signature: Signed and Dated Centre Left; Inscribed on Label Verso Provenance: Private Collection Framed Image: 19 x 18cm Framed: 47.5 x 46.5cm (approx.) €500 - 800

133 HENRY MORGAN (B. 1952)

Title: Burren Road, Near Fanore (2025) Medium: Oil on Canvas Signature: Signed Lower Left and Inscribed Verso Provenance: Private Collection Framed Image: 50 x 75.5cm Framed: 73 x 98.5cm €1,000 - 1,500

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134 HARRY KERNOFF RHA (1900 - 1974)

Title: Abstract Composition Medium: Watercolour Signature: Unsigned Provenance: A cquired directly from the artist by Jack Segal (A Friend and Patron of the artist), thence by descent; Whyte’s, ‘Important Irish Art’, Dublin, 28 May 2018’, Lot 46; Private Collection Framed Image: 7 x 7cm Framed: 18.5 x 18.5cm €400 - 600

135 GRAHAM KNUTTEL (1954 - 2023)

Title: Not Impressed!

Medium: Oil on Canvas Signature: Signed Lower Right Provenance: Private Collection Framed Image: 30 x 25cm Framed: 47 x 41.5cm €2,000 - 3,000

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136 GORDON KING (1939 - 2022) Title: By the Garden House Medium: Watercolour Signature: Signed Lower Left Provenance: Private Collection Framed Image: 37.5 x 26.5cm Framed: 68.5 x 55.5cm €500 - 800

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137 ERSKINE NICOL RSA ARA (1825 - 1904)

Title: The Seanchaí (C. 1848) Medium: Oil on Canvas Signature: Unsigned; Inscribed on Labels Verso Provenance: Dillon Antiques, Dublin, Where acquired by the late Brian P. Burns in the Mid - 1980s; Sotheby’s, ‘Irish Art’, London, 16 - 22 November, Lot 224; Morgan O’Driscoll, ‘Irish Art’, Skibereen, 7 March 2023, Lot 81; These Rooms, ‘Irish and International Art’, 14 May 2025, Where acquired by the Present Owner Exhibited: America’s Eye: Irish Paintings from the Collection of Brian P. Burns, Boston College Museum of Art, Boston, 26 January - 19 May, 1996, Catalogue No. 10 (Illustrated Exh. Cat. Pg 85), Which travelled to: Hugh Lane Municipal Gallery of Modern Art, Dublin, 18 June - 25 August, 1996; Yale Center for British Art, New Haven, Connecticut, 25 September 1997 - 4 January 1998; Later Exhibited: Irish Paintings from the Collection of Brian P. Burns, John F. Kennedy Center, Washington, 13 - 28 May, 2000; A Century of Irish Painting: Selections from the Brian P. Burns Collection, Phoenix Art Museum, Phoenix, Arizona, 3 March - 29 April, 2007 (Illustrated Exh. Cat. Pg 83) Literature: Thomas J. O’Gorman, ‘For All the World to See: The Brian Burns Collection’ in The World of Hibernia, Summer 1996, Illustrated; Susan Moore, ‘Land of Heart’s Desire’, in Apollo, September 2009, Pg 66; Roger Kohn (ed.), ‘A Rising People, The Brian P. Burns Collection of Irish Art’, Nicholas Bass Ltd., Newtownabbey, 2017, Illustrated Pg 73 Framed Image: 48 x 62 cm Framed: 65 x 76 cm €7,000 - 10,000

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137 ERSKINE NICOL RSA ARA (1825 - 1904) One of Erskine Nicol’s finest genre scenes, The Seanchaí depicts a charming scene of everyday rural life in the nineteenth century. At the door of a thatched cottage, a woman and young child stand, listening with rapt attention to a story being told by a travelling storyteller (the word seanchaí translates as ‘old lore’). Wearing a battered hat, coat and white gaiters, the seanchaí sits on a stool as he recounts his tale. Although somewhat run down, the cottage depicted in this painting is a solid building, unlike the turf cabins in the West of Ireland that often feature in Nicol’s work. The setting has not been identified, but the house, built of timber and stone, with brick window surrounds, is clearly intended to convey an idea of a family, while not prosperous, equally is not beset by famine and poverty. Above the head of the seanchaí, a leaded window bears the marks of several repairs. Beside it is a small birdcage containing two finches. Wearing a bonnet and shawl, the young woman leans on a traditional birch or willow broom, her brown dress tied up to protect her clothing as she works.

Behind the seanchaí is an outdoor well, with a cracked pottery jug and an iron-hooped wooden bucket. Nicol is noted for the authentic detail in his paintings, including clothing, furniture and buildings. Many of his paintings are charming; some are caricatures or satirical, while others invest humour into scenes of poverty. He stayed true to the conventions of Dutch ‘kermesse’, festival and tavern scenes, in his depiction of country people and rustic settings. However, he was also one of the few artists to depict the realities of Irish rural life in the years

after the Great Famine, including scenes of emigration and eviction. The theme of youth and age is at the heart of The Seanchaí, with the lore memorised by the old storyteller being imparted to the young child, who listens shyly but attentively.

Born in 1825 in Leith, Scotland, Erskine Nicol was initially apprenticed to a house painter, before studying art at the Trustees Academy in Edinburgh, where his teachers included Thomas Duncan and William Allen.

For a short time, he was employed as a drawing master at Leith Academy. Moving to Dublin in 1845, he worked for four years as a teacher with the Department of Science and Art, and also painted portraits. In 1850, he returned to Edinburgh, and the following year was elected an associate member of the Royal Scottish Academy. However, following the example of his compatriot David Wilkie, who had travelled in Ireland in the 1830s, Nicol continued to make painting trips to Ireland, where he built a studio on Clonave Island, on Lough Derravaragh, in Co. Westmeath. The sketches he made in Ireland were then worked up into finished paintings on his return to Scotland. In 1862, Nicol moved to London and six years later, was made an Associate of the Royal Academy. He also exhibited at the RHA. Sixteen paintings by him were used as illustrations in the 1910 book by S. C. Hall, Tales of Irish Life and Character.

Dr. Peter Murray, August 2026

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LOT 137

138 GEORGE POTTER RHA (1941 - 2017)

Title: Still Life of Flowers Medium: Acrylic on Paper Signature: Signed Lower Right Provenance: Private Collection Framed Image: 72 x 52cm Framed: 92 x 71cm €1,500 - 2,500

139 DAMIEN HIRST (BRITISH, B. 1965)

Title: The Currency Medium: Porcelain Plate Signature: Stamped Signature Verso Provenance: Private Collection Framed Image: 26.5 x 26.5cm Framed: 45.5 x 45.5cm €500 - 800

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140 BRIAN MCCARTHY (B. 1960)

Title: Poppy (2004) Medium: Oil on Canvas Signature: S igned Lower Left and Inscribed Verso Provenance: Combridge Fine Arts, Dublin (Label Verso); Private Collection Framed Image: 60 x 90.5cm Framed: 80 x 110.5cm €1,000 - 1,500

141 BRIAN MACMAHON (B. 1955)

Title: Reclining Nude Medium: Oil on Board Signature: Unsigned Provenance: The Collection of Tommy Smith, Grogan’s Pub, Dublin; Private Collection Framed Image: 64 x 99cm Framed: 68 x 103cm €600 - 900

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142 BANKSY (BRITISH, B. 1973)

Title: Visit Historic Palestine Medium: Offset Lithograph Signature: Unsigned Provenance: The Walled Off Hotel, Bethlehem (Original Receipt Verso); Private Collection Framed Image: 56.5 x 39.5cm Framed: 70 x 53cm €1,000 - 1,500

143 ALICE HANRATTY (1939 - 2025)

Title: The Prophet (1979) Medium: Gouache Signature: Signed and Dated Lower Right Provenance: The Collection of Tommy Smith, Grogan’s Pub, Dublin; Private Collection Framed Image: 50.5 x 35.5cm Framed: 79.5 x 59.5cm €400 - 600

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144 PATRICK O’REILLY (B. 1957) Title: Self Made Bear (2007) Medium: Limited Edition Bronze - From an Edition of 9 Signature: Signed and Dated Provenance: Private Collection 40.5cm high; 21.5cm wide; 19.5cm deep €5,000 - 8,000

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145 JAMES HUMBERT CRAIG RHA RUA (1877 - 1944)

Title: Glendun River, Co. Antrim Medium: Oil on Board Signature: Signed Lower Left and Inscribed Verso Provenance: John Magee, Belfast (Label Verso); Ross’s, ‘The Lawrence Collection’, Belfast, 6 February 2002, Lot 12; Private Collection Framed Image: 50 x 58cm Framed: 74 x 84cm €8,000 - 12,000

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145 JAMES HUMBERT CRAIG RHA RUA (1877 - 1944) In this delightful oil painting, Craig captures a peaceful scene on a summer’s day, with the Glendun river flowing through verdant countryside, wending its way towards the Antrim coast. The name of the river is derived from the Gaelic word ‘dun’, or brown, due to the waters of the river being tinted by peat bogs close to where it rises, at Trostan, south-west of Cushendall. From there it flows through one of the nine glens of Antrim, before entering the sea at Cushendun. A favourite with landscape painters, the Glendun river has been depicted by many artists, including Maurice Wilks, George Gillespie and Charles Mcauley. Craig paints the scene with skill, using a limited palette of greens, blues and browns, to capture the effect of sunlight on foliage, fields, rocks and water.

His art is based on direct observation of nature; the reflection of trees and sky can be discerned in the dark waters, while trees provide shade for grazing cattle. The composition is formed of gentle diagonals, with the river zig-zagging along the valley, flanked by green fields.

Rocks and plants in the foreground add perspective to the scene, which is enclosed in the distance by mountains.

Born in Belfast in 1877, James Humbert Craig grew up at Bangor, Co. Down. The eldest, and only boy, in a family of several children, he was taught painting and drawing from an early age by his mother Marie Sabine Metzenen (1854 - 1927), who came from Lausanne in Switzerland.

After working for a time in his father Alexander’s, tea importing business, Craig took up painting full-time.

Although he attended classes at the Belfast School of Art,

he was largely self-taught, and specialised in depicting the landscapes of counties Donegal, Galway, Mayo, and particularly the Glens of Antrim, around Cushendun, where he had a house named Tornamona Cottage. In 1915, Craig began showing his work at the RHA, and a decade later, was elected an associate member of the Academy: in 1928, he was elected a full member, and also that year, participated in a group exhibition of Irish artists, at the Fine Art Society in London.

Over the years, Craig was to exhibit regularly with the Fine Art Society. In 1930, on the foundation of the Royal Ulster Academy, he was elected a member, and that year also, he was included in the prestigious exhibition of Irish art held in Brussels. His approach to landscape painting combined an Impressionist plein-air tradition with a solidly-grounded realism, not unlike that of Paul Henry, who was an early influence on his work. Craig spent some time in the United States - his work was shown at the Olympic Art Exhibition in Los Angeles in 1932 - and he travelled also in Switzerland, France and Spain. He had little interest in Modernist innovations, and remained a solidly Realist painter. A memorial exhibition of his work was held at the Belfast Museum and Art Gallery in 1945, a year after his death. There is a fine collection of Craig’s paintings at Bangor Castle, in a museum maintained by Ards and North Down Borough Council.

Dr. Peter Murray, August 2026

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146 MICHAEL MULCAHY (B. 1952)

Title: Mopti II (1988) Medium: Oil on Paper Signature: Signed and Dated Lower Right Provenance: Private Collection Framed Image: 25 x 33cm Framed: 39.5 x 47.5cm €500 - 800

147 LOUIS LE BROCQUY HRHA (1916 - 2012)

Title: Dubliners - Davey Byrnes (1986) Medium: Limited Edition Lithograph (No. 4/35) Signature: Signed, Dated and Numbered Lower Right Provenance: Private Collection Framed Image: 39.5 x 52.5cm Framed: 54.5 x 67.5cm €1,200 - 1,500

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148 GERARD DILLON (CONTEMPORARY)

Title: Connemara and Cottage, Doolin (2023) (Pair) Medium: Oil on Board Signature: Both Signed and Dated Lower Left; Titled Lower Right Provenance: Private Collection Framed Image: 19 x 19cm (Each) Framed: 40.5 x 40.5cm (Each) €500 - 800

149 CECIL MAGUIRE RHA RUA (1930 - 2020)

Title: Pucan Cloch Na Ron (1993) Medium: Oil on Board Signature: Signed and Dated Lower Right; Inscribed Verso Provenance: Private Collection Framed Image: 15 x 20cm Framed: 29 x 34cm €2,000 - 3,000

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150 MARKEY ROBINSON (1918 - 1999) Title: Waiting for the Catch Medium: Gouache on Board Signature: Signed Lower Left Provenance: Private Collection Framed Image: 36 x 60.5cm (approx.)

Framed: 53.5 x 78cm €2,000 - 3,000

151 KEN MORONEY (B. 1949)

Title: Ploughing (2008) Medium: Oil on Board Signature: Signed and Dated Lower Right Provenance: Private Collection Framed Image: 24 x 33cm (approx.)

Framed: 47.5 x 56.5cm €800 - 1,200

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152 JOHN NOLAN (B. 1958)

Title: Fish (2001) Medium: Acrylic on Board Signature: Signed and Dated Lower Left Provenance: Private Collection Framed Image: 50 x 59cm Framed: 84 x 92cm €1,000 - 1,500

153 GEORGE K. GILLESPIE (1924 - 1995)

Title: Horn Head from Bloody Foreland, Co. Donegal Medium: Oil on Canvas Signature: Signed Lower Left and Inscribed on Label Verso Provenance: DeVeres, Dublin, Major Irish Art Auction, 17 April 2018, Lot 70, Where acquired by Gerry Cuddy Framed Image: 50 x 59cm Framed: 74 x 84cm €1,500 - 2,500

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154 MARIE CARROLL (20TH CENTURY)

Title: Winter Blooms and Sisters on the Shore 2 (Pair) Medium: Acrylic on Card Signature: Each Signed Provenance: Private Collection Framed Winter Blooms Sisters on the Shore 2 Image: 20 x 14cm Image: 21.5 x 18cm Framed: 33 x 27cm Framed: 34.5 x 30.5cm €500 - 800

155 JOHN KINGERLEE (B. 1936)

Title: Flying High (Pair) Medium: Mixed Media on Paper Signature: Each Signed with Monogram Lower Right and Titled Verso Provenance: Private Collection Framed Image: 24 x 18cm (Each) Framed: 43 x 33cm (Each) €500 - 800

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156 STELLA STEYN (1907 - 1987) Title: Female Nude Medium: Oil on Board Signature: Unsigned; Inscribed Verso Provenance: Private Collection Framed Image: 23.5 x 12cm Framed: 41 x 30cm €500 - 800

157 PATRICK LEONARD HRHA (1918 - 2005)

Title: Gone Shopping Medium: Red Chalk (Conte) on Paper Signature: Signed Lower Right Provenance: Magil Fine Art, Dublin (Label Verso); Private Collection Framed Image: 37 x 27cm Framed: 59.5 x 49cm €400 - 600

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158 WILLIAM PERCY FRENCH (1854 - 1920)

Title: Where the Mountains of Mourne Sweep Down to the Sea (1919) Medium: Watercolour Signature: Signed Lower Right and Inscribed with Musical Bar by Houston Collison Verso Provenance: Acquired by the Grandfather of the Previous Owner before 1932 - more than likely directly from the artist; Private Collection, UK; Private Collection Exhibited: Percy French Exhibition, Percy French Hotel, Strokestown, Co. Roscommon, 20 September 2023 Framed Image: 26.5 x 36.5cm (approx.)

Framed: 48.5 x 60.5cm €15,000 - 25,000

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158 WILLIAM PERCY FRENCH (1854 - 1920) A delicate and finely-painted watercolour by one of Ireland’s best-loved artists of the early twentieth century, this view depicts a bog and lake with the Mountains of Mourne in the distance. Above the mountains, the clouds are tinted pink in the light of the setting sun. Dark silhouettes of turf ricks contrast with the pale blue waters of the lake. The horizon line is low, allowing the artist to convey an idea of the immensity of the sky. A label on the back of the frame gives the title: Where the Mountains of Mourne Sweep down to the Sea, which is also the famous song written by French in 1896, in collaboration with William Alexander Houston Collison. The label also contains a section of the musical score. A graduate of TCD, Collison was an organist at several churches in Dublin, before being ordained an Anglican priest in 1899, after which he served in Truro Cathedral, Cornwall, and other parishes in England. He was also a concert impresario and performed on stage with Percy French.

Painted the year before French’s death, this watercolour is one of several he produced during his lifetime depicting the Mountains of Mourne.

Born at Clooneyquinn House, near Tulsk in county Roscommon, William Percy French came from a landowning family, and was the third of nine children. After attending school in England, he studied at Foyle College in Derry. His career as a songwriter began in 1877, when

he was still a student at Trinity College Dublin. He also honed his skills as a watercolour painter during these years, and was a member of the Dublin Sketching Club.

Graduating with a BA degree in civil engineering in 1880, French worked for the Midlands Railway, before joining the Board of Works. While working in Co. Cavan, he continued his song-writing and painting, and showed his watercolours at the Royal Hibernian Academy, sometimes giving his paintings lyrical titles derived from his songs.

He became a keen cyclist, and sketched as he cycled around the countryside. In 1888, he left the Board of Works to become a journalist with The Jarvey, a weekly comic paper founded by the cyclist Richard James Mecredy. The paper lasted two years, and French then embarked on a successful career as a songwriter and stage performer. He married Ethel Armitage-Moore, a talented artist who contributed a weekly column to The Jarvey, but she died after giving birth to their daughter in 1891; the child died soon afterwards. French then married Helen Sheldon from Warwickshire and they went on to have three daughters. From 1894 to 1900, the French’s lived at 35 Mespil Road, Dublin, before moving to St John’s Wood in London. French died in Liverpool in 1920, and is buried in St. Luke’s Church in Merseyside.

Dr. Peter Murray, August 2026

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Musical Bar by Houston Collison Verso

LOT 158

159 PATRICK HICKEY HRHA (1927 - 1998)

Title: King Cups, Cruit, Donegal (1990) Medium: Pencil and Coloured Pencils on Paper Signature: Unsigned; Titled and Dated Lower Right Provenance: Family of the artist, by descent; Private Collection Framed Image: 29.5 x 42cm Framed: 33.5 x 46cm €500 - 800

160 MICHAEL HALES (B. 1971)

Title: Vernacular, Cardboard Boxes Medium: Encaustic and Oils on Birch Ply Signature: S igned Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 59 x 80cm Framed: 80 x 100cm €1,000 - 1,500

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161 MARK RODE (B. 1965)

Title: Intrusion, Extrusion Medium: Limited Edition Bronze (No. 1/5) Signature: Signed and Numbered Provenance: Private Collection 35cm high; 30.5cm wide; 22cm deep €3,000 - 5,000

162 KEN MORONEY (1949 - 2018)

Title: A Pint of Guinness (1986) Medium: Oil on Board Signature: Signed with Pseudonym Lower Left and Inscribed Verso Provenance: Distinguished London Collection; Private Collection Framed Image: 40 x 31.5cm Framed: 64.5 x 56cm €1,000 - 1,500

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163 JOHN SHINNORS (B. 1950)

Title: Moored Boat at Evening (1973) Medium: Oil on Board Signature: Signed and Dated Lower Left Provenance: Acquired directly from the artist by the Previous Owner; Private Collection Framed Image: 44 x 71cm Framed: 66.5 x 93cm €4,000 - 6,000

164 JOHN MORRIS (B. 1958)

Title: Dog’s Bay, Connemara Medium: Acrylic on Board Signature: Signed Lower Left and Inscribed Verso Provenance: Private Collection Framed Image: 29 x 60.5cm Framed: 47 x 78cm (approx.) €600 - 900 WWW.S HEPPARDS. I E | 123

165 JOHN BUTLER YEATS (1839 - 1922)

Title: Self - Portrait (C. 1911) Medium: Pencil Sketch Signature: Unsigned Provenance: Yeats Family Collection; Private Collection Notes: This portrait closely relates to Yeats’ last great self portrait, which was commissioned in 1911 by John Quinn, while living in New York. This present work is from a series of sketches he composed towards the final masterpiece. Yeats quoted ‘I think of nothing else and dream of it’ in James White, John Butler Yeats and the Irish Renaissance, 1972, Pg 27 Framed Image: 47.5 x 35cm Framed: 71.5 x 59cm €2,500 - 3,500

166 GERARD MARJORAM (1936 - 2024) Title: Roundstone Bog, Connemara Medium: Oil on Canvas Signature: Signed Lower Left and Titled Verso Provenance: Private Collection Framed Image: 34 x 59cm Framed: 61 x 86cm €700 - 1,000

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167 GEORGE K. GILLESPIE RUA (1924 - 1995)

Title: The Bundorragha River, Co. Mayo Medium: Oil on Board Signature: Signed Lower Right Provenance: The Stables Gallery, Ballymoney, Co. Antrim (Label Verso); Private Collection Framed Image: 25 x 30cm Framed: 49 x 54.5cm €1,000 - 1,500

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168 RORY BRESLIN (B. 1963)

Title: The July Marine Mask (From the Clew Bay Marine Series) Medium: P orcelain (No. 1 from an edition of 3) Signature: Signed Provenance: The Artist’s Private Collection, Co. Mayo 48cm high (approx.); 31cm wide (approx.); 18cm deep (approx.) €3,000 - 5,000

The Clew Bay Marine Series are a series of ‘seascapes’, chronicling by month the wealth and variety of sea life in Irish coastal waters.

Usually associated with bronze sculpture, Breslin is constantly experimenting with various materials and techniques. The translucency and beauty of porcelain is explored to great tonal effect in these wall sculptures.

A great dusk-hunting Thornback Ray glides forward, its wings elegantly up-curved. Running externally underneath this Raja and flowing to a bow at the base of the work, the intertidal Bladderwrack, used as fertiliser of potato ‘lazy beds’ and in folklore for protection against mental derangement; encapsulates the remainder of the marine iconography.

From the top the blind and regimental razor fish are arranged like strata in formation to the lower jawline. Below these and foraging in the Wrack, two shore crabs at odds with each other on either side of the seaweed, Dead Man’s fingers, Codium Fragile, that curl up below the chin.

Perwinkles, an ancient human food source, adorn the seaweed while the inquisitive and open-mouthed youth’s countenance is decorated in the spiralling curls of the Lugworms castings.

But while he passed before a plashy place, A lug-worm with its grey and muddy mouth Sang that somewhere to north or west or south There dwelt a gay, exulting, gentle race Under the golden or the silver skies.

W.B. Yeats

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169 COLM HENRY (B. 1953)

Title: Sinead O’Connor, Phil Lynnott and Shane MacGowan (Set of Three) Medium: Limited Edition Photographic Print - O’Connor (No. 162/400) / Lynnott (No. 647/1100) / MacGowan (No. 285/1100) Signature: Studio Bossed; Each Signed Lower Right and Numbered Lower Left Provenance: Private Collection Framed Image: 24 x 19cm (Each approx.)

Framed: 48 x 43cm (Each approx.) €500 - 800

170 BERNARD REYNOLDS (1915 - 1997)

Title: On the Slopes of Knocknarea, Co. Sligo (1995) Medium: Oil on Board Signature: Signed Lower Left and Inscribed Verso Provenance: Private Collection Framed Image: 40 x 33cm Framed: 57.5 x 50.5cm €1,000 - 1,500

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171 SEAN O’SULLIVAN RHA (1906 - 1964) Title: Sketch of the Artist’s Wife, Rene, Seated Medium: Pencil Sketch Signature: Unsigned; Inscribed Verso Provenance: The Artist’s Estate; Private Collection Framed Image: 28 x 24cm Framed: 41 x 37cm €400 - 600

172 KENNETH WEBB RWA FRSA RUA (B. 1927)

Title: Meadow Medium: Oil on Canvas Signature: Signed Lower Left Provenance: Private Collection Framed Image: 35 x 24.5cm Framed: 61 x 50.5cm €3,000 - 5,000

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173 PATRICK LEONARD HRHA (1918 - 2005) Title: Fashion Medium: Red Chalk (Conte) on Paper Signature: Signed Lower Right Provenance: Magil Fine Art, Dublin (Label Verso); Private Collection Framed Image: 37 x 27cm Framed: 59.5 x 49cm €400 - 600

174 MICHAEL HALES (B. 1971)

Title: Shop Fronts (Lost City Series) Medium: Encaustic and Oils on Birch Ply Signature: Signed Lower Left and Inscribed Verso Provenance: Private Collection Framed Image: 60 x 60cm Framed: 80 x 80cm €1,000 - 1,500

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175 JOHN BEHAN RHA (B. 1938) Title: The Fiddle Player Medium: Bronze on Marble Base Signature: Indistinctly Signed Provenance: Private Collection 48cm high; 15cm wide; 15cm deep €5,000 - 8,000

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175 JOHN BEHAN RHA (B. 1938) John Behan, one of Ireland’s leading sculptors is mainly known for his historical and mythological works, figures, bulls, goats, ships and famine imagery so this sculpture of a solitary traditional fiddler, bursting from its marble plinth is highly unusual and subsequently rare.

Seamus Heaney described encountering something like an ‘ancient self’ in Behan’s work and stressed its material - ‘this worldly physical presence, while simultaneously recognising the sculpture as spiritual in essence’. This is an exceptionally perceptive description that certainly applies to Behan’s ‘The Fiddle Player’.

From a distance, the silhouette of the musician is wonderfully clear.

Up close, the surface becomes marvellously complicated. There are rough ridges, marks, crust like passages, weld like interruptions, patina, indentations. Behan makes its construction almost forensically visible.

The fiddle seems to be almost growing out of the man himself, the instrument is literally an extension of his entire body. At first glance, the feet initially look almost crude, but I think they are wonderful. They are elongated and firmly planted. They give a degree of awkwardness and vulnerability that I like very much. This isn’t a heroic musician standing on a grand plinth. This is an endearing, slightly ungainly human presence that has tenderness. The awkwardness makes the extraordinary sensitivity of the hands more affecting. This figure belongs much more to the humanistic Behan. In a rare move he turns from the monumental, historical and mythological subjects, which he is so readily associated with, towards an intimate image of human absorption. This is valuable as a collector. Unusually, history disappears for Behan. Monumentality becomes intimacy.

Instead of commemorating an event, the sculptor observes a human activity. From my own experience as an observer of art, a perfectly polished bronze can often lack soul. This very sweet piece has it in spades.

Brighid McLaughlin, August 2026

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176 MARK O’NEILL (B. 1963) Title: Mill House Brothers Medium: Artist’s Proof Signature: Signed Lower Right Provenance: Private Collection Framed Image: 35 x 66cm (approx.)

Framed: 57 x 87cm €500 - 800

177 KEN HOWARD RA RWS ROI NEAC (1932 - 2022)

Title: Luxembourg Gardens Medium: Watercolour Signature: Signed Lower Right and Inscribed Verso Provenance: Arthur Ackerman and Peter Johnson Ltd., London (Label Verso); Private Collection Framed Image: 17 x 21cm Framed: 45.5 x 49.5cm €600 - 900

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178 JOHN KINGERLEE (B. 1936)

Title: Pneuma Grid (2024) Medium: Oil on Board Signature: Signed with Monogram Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 32.5 x 24cm Framed: 61 x 51.5cm €1,500 - 2,500

179 JOHN FAULKNER RHA (1835 - 1894) Title: An Old Tollgate Medium: Watercolour Signature: Signed and Titled Lower Left Provenance: The Gerry Cuddy Collection Framed Image: 42.5 x 71.5cm Framed: 61 x 91cm €700 - 1,000

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180 JOHN BELLANY CBE RA HRSA (1942 - 2013)

Title: Fisherwoman Medium: Watercolour Signature: Signed Lower Right Provenance: The Solomon Gallery, Dublin, Where acquired by the Present Owner Exhibited: ‘ John Bellany - Celtic Vision’, The Solomon Gallery, Dublin, 2006 Framed Image: 37.5 x 27.5cm Framed: 64 x 52cm €2,500 - 3,500

181 GERARD MARJORAM (1936 - 2024)

Title: Connemara Medium: Oil on Canvas Signature: Signed Lower Right Provenance: Combridge Fine Arts, Dublin (Label Verso); Private Collection Framed Image: 49.5 x 74.5cm Framed: 69.5 x 92cm €800 - 1,200 134 | I M P O RTA N T I R I SH ART

182 GEORGE CAMPBELL RHA (1917 - 1979) Title: Profile of a Gentleman Medium: Pencil Sketch (Second Image Verso) Signature: Signed Lower Right Provenance: Private Collection Framed Image: 17 x 14.5cm Framed: 42 x 34cm €400 - 600

183 COLIN MIDDLETON RHA RUA MBE (1910 - 1983)

Title: The Keyholder (1946) Medium: Pencil Sketch Signature: Unsigned; Dated Lower Right Provenance: The Collection of Cecil McCartney, friend of the artist; Private Collection Framed Image: 21 x 27cm (approx.)

Framed: 33 x 24cm €400 - 600

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184 SARAH CECILIA HARRISON HRUA (1863 - 1941) Title: Moonlight Medium: Oil on Canvas Signature: Unsigned Provenance: The Artist’s Family, by descent; Gorry Gallery, Dublin; Christie’s, ‘The Irish Sale’, 14 May 2004, Lot 17; Private Collection Framed Image: 60 x 45cm Framed: 82 x 67cm €3,000 - 5,000

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184 SARAH CECILIA HARRISON HRUA (1863 - 1941) As rare and beautiful as a Frank O’Meara, this work is one of very few surviving landscapes by Sarah Cecilia Harrison. The first thing that draws the eye is the golden pathway, illuminated by the moon, which breaks through the clouds and adds a calm and peaceful atmosphere to the composition. The overall scene is dominated by earthy greens and hints of brown, along the pathway, with the large tree in the centre - left partially obscuring the view in the distance, only visible to the far left, where it leads the viewer’s eye to what appears to be fields, emphasised by the pale tones of green, adding a sense of coolness and depth. Overall, it is a charming evocation of tranquility that attracts the viewer’s eye very easily, turning a simple landscape into a deeply moving and encapsulating scene.

Today, she is recognised as an important portrait painter who depicted several significant figures, such as Sir Hugh Lane and Henry Joy McCracken, as well as her very-well executed self-portraits. There are very few landscapes by her in public collections, but one titled ‘Sketch of a Boat with a Reddish Sail’ in the Hugh Lane Gallery, acts as an important work that acts as an insight to her time in France. A notable link between Harrison and Frank O’Meara is Etaples, on the North West Coast of France.

O’Meara spent the winter of 1877-88 there, and two years later, in 1890, Harrison painted in the artist’s colony there, ultimately leading to another notable landscape ‘On the road to Etaples’, which was exhibited at the RHA in 1891.

One of the finest French painters, Eugene Boudin, was also painting at the artist’s colony there in 1890.

Sarah Cecilia Harrison was born in 1863 in Holywood, Co. Down. Her father was a prosperous landowner and Justice of Peace, while her mother came from a prominent political family, being the granddaughter of Robert James Tennent, a liberal MP for Belfast. At the age of 15, she enrolled in the Slade School of Art in London and studied for the next seven years under Alphonse Legros between 1878 and 1885. She also studied at Queen’s College, London and received a silver medal for antique style painting. After studying, she travelled to France, Italy, Amsterdam and Belgium, exploring the Old Masters. When she returned, she moved to Dublin in 1889 and established herself as one of Ireland’s foremost portrait painters. Both herself and her brother, Henry, became involved in politics. Henry was a strong supporter of Charles Stewart Parnell, and Sarah became the first woman to serve on Dublin City Council in 1912. When she initially arrived in Dublin, she was appalled by the poverty and squalor of the city’s slums, and she embarked on a series of campaigns - for better housing, support for the unemployed and the establishment of allotments, which ultimately led her to stand for office. She also worked to promote women’s rights. Onwards from 1889, Harrison exhibited 60 paintings at the RHA, as well as exhibiting with the RUA and Royal Academy. She was elected an Honorary member of the RUA in 1931, and ten years later, in 1941, she died in Drumcondra, Dublin. Her headstone in Mount Jerome Cemetery, Dublin, is inscribed ‘Artist and Friend of the Poor’.

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185 BERNARD REYNOLDS (1915 - 1997)

Title: On the Road by Lough Hyne (2004) Medium: Oil on Board Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 52.5 x 105cm Framed: 74.5 x 127.5cm. €2,000 - 3,000

186 SEAN KEATING PPRHA HRA HRSA (1889 - 1977)

Title: Portrait of a Girl Medium: Pastel Signature: Signed Lower Left Provenance: Sotheby’s, 20th Century British and Irish Art, 8 June 2005, Lot 31; Private Collection Framed Image: 34.5 x 27cm Framed: 56 x 43cm €1,400 - 1,800

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187 SALVADOR DALI (SPANISH, 1904 - 1989)

Title: Venus de Oro (Venus of Gold) Medium: Limited Edition Lithograph (No. 153/250) Signature: Signed Lower Right and Numbered Lower Left Provenance: Private Collection Framed Image: 76 x 56cm Framed: 92.5 x 72.5cm €1,000 - 1,500

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188 WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968) Title: Taking a Nap Medium: Wax Crayon Signature: Signed Upper Right Provenance: The Gerry Cuddy Collection Framed Image: 20 x 18cm Framed: 41.5 x 39cm €700 - €1,000

189 PATRICK GRAHAM (B. 1943)

Title: Transfiguration (1986) Medium: L imited Edition Lithograph (No. 94/150) Signature: Signed and Dated Lower Right; Titled Lower Centre; Numbered Lower Left Provenance: Private Collection Framed Image: 65 x 37cm Framed: 79 x 59cm €400 - 600

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190 EAMONN O’DOHERTY (1939 - 2011) Title: Emigrants (1999) Medium: Bronze Signature: Signed and Dated Provenance: Private Collection Framed 48cm high; 47cm wide; 25.5cm deep €4,000 - 6,000

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190 EAMONN O’DOHERTY (1939 - 2011) Along the Foyle waterfront in Derry/Londonderry, there is a striking sculptural tableau by Eamonn O’Doherty. It consists of three groupings of figures and, one could say, the space between them. One features an elder couple, another a departing younger couple with their two children. On from them, a lone, seated young girl strains forward, seawards. The work is titled The Emigrants, and it acknowledges and commemorates Derry’s role as the main emigration port for the northern part of the island of Ireland. It was a significant point of emigration from as early as the late 17th century and well into the 1930s.

O’Doherty’s work encapsulates the emigrant experience from a personal, familial perspective to a wider, societal view. The central family group is reluctantly departing their ancestral homeland, bidding farewell to their bereft parents. The inescapable reality is that the disaster of the Great Famine pushed emigration figures to unprecedented heights. At the same time, the sculpture looks to a more optimistic future: the two children in the family carry a book and a fiddle: emblematic of Irish cultural traditions and creative potential. The other, single figure of the girl looks to the future with hope. This maquette-sized cast of the central family group is an outstanding, self-contained expression of the facts of the Irish emigrant experience, a tribute to the individuals and a recognition of their courage in adversity. It is rendered with an easy, expressive naturalism, unforced and fluent.

O’Doherty was himself from Derry and attended St Columb’s, though the family moved to Dublin when he was 11 or so. He studied architecture at UCD, though he was a man of many talents and interests and no single discipline could define or hold him. Nonetheless, he never abandoned architecture and was a lecturer at Bolton Street. A capable musician, he played several instruments including the flute and in the 1960s was road manager for Andy Irvine’s group Sweeney’s Men. He consistently photographed life around him, including the traditional Irish music scene.

He brought a direct, unaffected approach to his work in the visual arts. In his forties by the time he turned to public sculptures, he found that his architectural knowledge and experience served him well in dealing with scale, proportion and the practicality of delivering projects. Throughout numerous commissions, he moved with ease from abstraction to representation.

Over time he produced a remarkable series of works, from the James Connelly monument at Liberty Hall to the widely admired Great Hunger memorial in Westchester County, New York. Public sculptures inevitably inspire controversy, and his Galway Hookers on Eyre Square in Galway attracted critical views.

Most infamously, perhaps, his Anna Livia, originally on O’Connell St and now, in less than satisfactory form, in the Croppies Acre down the Liffey Quays, attracted a great deal of unfair comment for what is such benign, likeable work.

Aidan Dunne, July 2026

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191 MICHAEL FOLEY (B. 1963)

Title: Ciotola Blanca (2026) Medium: Limited Edition Bronze (No. 5/9) Signature: Signed, Dated and Numbered on Base Provenance: Private Collection 9.5cm high; 29.5cm wide; 29.5cm deep €1,200 - 1,500

192 MARIE CARROLL (20TH CENTURY)

Title: Quiet Harbour Medium: Oil on Canvas Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 121 x 91cm Framed: 138.5 x 108.5cm €1,000 - 1,500

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193 KATE EGGLESTON (CONTEMPORARY)

Title: Horse Studies (Pair) Medium: Oil on Board Signature: Each Signed Lower Right Provenance: Private Collection Framed Largest - Image: 41.5 x 29cm Smallest - Image: 41 x 29cm Framed: 65 x 52.5cm Framed: 62.5 x 50.5cm €500 - 800

194 JOHN BEHAN RHA (B. 1938)

Title: Bull (1997) Medium: Limited Edition Lithograph (No. 268/325) Signature: Signed and Dated Lower Right; Titled Lower Centre; Numbered Lower Left Provenance: Private Collection Framed Image: 25 x 36.5cm Framed: 37 x 51.5cm €400 - 600

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195 NORAH MCGUINNESS HRHA (1901 - 1980) Title: Still Life with Fruit Medium: Oil on Board Signature: Signed Lower Right Provenance: The Artist’s Estate; Private Collection Framed Image: 26 x 37cm Framed: 43.5 x 53.5cm €4,000 - 6,000

196 GRAHAM KNUTTEL (1954 - 2023)

Title: The Chef’s Special (2010) Medium: Limited Edition Archival Print (No. 54/200) Signature: Signed Lower Right and Numbered Lower Left Provenance: Private Collection Note: With Letter of Authenticity from the Artist Verso Framed Image: 29 x 23cm Framed: 48 x 39.5cm €500 - 800

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197 GEORGE CAMPBELL RHA (1917 - 1979)

Title: Tinker Man and Woman Medium: Watercolour and Crayon Signature: Signed Lower Right Provenance: The Estate of George and Madge Campbell; Private Collection Exhibited: ‘ George Campbell and the Belfast Boys’, Adam’s, Dublin, July 2015; The Ava Gallery, Clandeboye, August 2015, Catalogue No. 118; ‘George Campbell: Centenary Exhibition’, Arklow Library, July - September 2017 Literature: Karen Reihill, ‘George Campbell and the Belfast Boys’, 2015, Illustrated on Pg. 121 Framed Image: 32.5 x 19.5cm Framed: 57.5 x 41.5cm €700 - 1,000

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198 COLIN MIDDLETON RHA RUA MBE (1910 - 1983)

Title: Connections (1948) Medium: Charcoal on Paper Signature: Unsigned; Studio Sale Stamp Verso; Dated Lower Right Provenance: The Artist’s Studio Sale, Christie’s, London, 4 October 1985, Lot 41 (Stamp Verso); Private Collection Framed Image: 25 x 27cm Framed: 32 x 24cm €500 - 800

199 BEA ORPEN HRHA (1913 - 1980) Title: Hillside Farm Medium: Mixed Media Signature: Signed Lower Right Provenance: Private Collection Framed Image: 34 x 51cm Framed: 60.5 x 77.5cm €600 - 900 WWW.S HEPPARDS. I E | 147

200 FREDERICK EDWARD MCWILLIAM CBE RA HRUA (1909 - 1992)

Title: Twisted Form (1935) Medium: Cherrywood on Stone Base Signature: Signed with Initials and Inscribed on Waddington Label (Stock No. B12919) Provenance: The London Gallery, 1939; Waddington Galleries, London, 1984 (Label Attached to Base); Morgan O’Driscoll, ‘Irish and International Art’, Skibereen, 24 October, 2023, Lot 81; Sotheby’s, ‘Irish Art’, Paris, 2 May 2024, Lot 6 Exhibited: T he London Gallery, 1939 (McWilliam’s First Solo Exhibition); Waddington Galleries, London, 31 May - 23 June 1984; Arts Council of Great Britain, ‘A Salute to British Surrealism 1930 - 1950’, The Minories, Colchester, April - May 1985 this exhibition travelled to: Blond Fine Art, London, May - June 1985; and Ferens Art Gallery, Hull, July - August 1985, Catalogue No. 41 57cm high; 19cm wide; 12.5cm deep €20,000 - 30,000

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200 FREDERICK EDWARD MCWILLIAM CBE RA HRUA (1909 - 1992) F.E. McWilliam was born in Banbridge in 1909. In 1926, for two years, he attended The Belfast School of Art and later The Slade School of Art, London. Tom Carr and John Luke were also studying there at the time. In 1931 he won a scholarship which allowed him to spend a year in Paris where he visited Brancusi’s studio, whose simplified figurative forms would become an influence. While in Paris, he also visited the Musée d’Ethnographie du Trocadéro viewing so called primitive and African works which generally had a strong impact on the development of European modernism. Having initially studied painting, he now turned his energies to sculpture in a variety of materials – in wood, stone, concrete and bronze. On his return to England, he rented a cottage in Buckinghamshire, where he made his first serious carvings in wood, using locally sourced cherry wood from the area close to his home. It may be noted that craftsmanship remained important to him throughout his life. In his early days in Banbridge he often watched craftsmen at work and noted their skills working with various materials.

Twisted Form (1935) is one of the artist’s early works.

The abstracted, elegant figurative form is carved from cherry wood, supported on a stone base. The twist or ‘contraposto’ animates the form and is reminiscent of Renaissance figurative sculpture, by the way the position of the stance is disposed with the body weight shifted onto one leg, animating the body and creating an asymmetrical twist. The head of the ‘figure’ is rounded into a circular form with an opening. In so-called primitive art, the head was conceived as a ‘spirit box’. There is an early work, also in cherry wood, in the collection of the Royal Academy, London, entitled ‘The Couple’. A male and female couple are physically and emotionally aligned.

There is an influence here from Cubism and possibly the work of Ossip Zakine, which he would have seen in Paris. In the early 1980s, he returned to wood carving. Subsequently he became interested in Surrealism and exhibited with the British Surrealist Group in 1938. Throughout his career he ‘played’ in various ways with biomorphic forms and inflated and juxtaposed body fragments.

He often developed works in series. In his ‘Women of Belfast’ Series (1972-73), McWilliam saw the sculptural possibilities of turning women as blast victims into a series of ‘balletic’ forms, in which the power of a bomb to violate is caught in a figurative transformation. In these works the face is covered by blastswept clothes making the emotional charge more corporeal. He received a number of important commissions, notably: The Four Seasons, The Festival of Britain (1951); Elizabeth Frink, Harlow Town Hall (1956) and Princess Macha, Altnagelvin Hospital, Derry 1957. The F.E. McWilliam Gallery and Studio was set up in Banbridge, his home town in 2008. His work is represented in many major national collections including the Tate Gallery, London, Museum of Modern Art, New York, and the Ulster Museum, Belfast. Retrospectives of his sculptures were held at Arts Council of Northern Ireland, 1981 and the Tate Gallery, London, 1989.

Prof. Liam Kelly, August 2026

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LOT 200

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201 TOM CULLEN (1934 - 2001)

Title: Bridge at Glenbeigh, Co. Kerry Medium: Oil on Canvas Signature: Signed Lower Left and Inscribed Verso Provenance: Private Collection Framed Image: 29 x 69.5cm Framed: 43.5 x 84cm €500 - 800

202 PATRIC COOGAN (1935 - 2025)

Title: Cliffs of Moher Medium: Oil on Board Signature: Signed Verso Provenance: Private Collection Framed Image: 56 x 59cm Framed: 66.5 x 68.5cm €500 - 800

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203 MIA FUNK (CONTEMPORARY)

Title: Irish Winter’s Audience Medium: Oil on Canvas Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Unframed 68 x 103cm €800 - 1,200

204 MARLENA TOBIN (CONTEMPORARY)

Title: Please can we go to the Garden?

Medium: Acrylic on Board Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 49 x 24cm Framed: 61 x 36cm €500 - 800

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205 MARKEY ROBINSON (1918 - 1999)

Title: Nuns in a Garden Medium: Gouache Signature: Signed Lower Right and Inscribed Verso Provenance: Acquired directly from the artist in 1990; Private Collection Literature: Susan Stairs, The Irish Figurists’ (Front Cover Illustration) Framed Image: 68 x 47.5cm Framed: 93 x 72.5cm €4,500 - 6,500

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205 MARKEY ROBINSON (1918 - 1999) I first saw Markey Robinson rifling through a skip in Duke Street in 1989. I always met him near skips. He was encased in a large full length black leather coat and an endearingly grubby Aran jumper with tassles sticking out from under his tummy. A new pair of false teeth danced and drowned in his face and made it hard to hear what he was saying. He was rummaging through all sorts of rubbish and produced a sheaf of flattened Clarkes shoe boxes.

“Och, these will be grande for painting on,” then adding the shoe boxes to a stack of discarded shop advertising boards that he then pushed into a battered tartan trolley. I peered inside and saw wads of cash tied in big fat bundles with twine. You’d never think looking at him - battered, ancient and happy - that this man had painted some of the most important paintings of this century.

After he had finished with the skip we went to Graham O’Sullivans coffee shop for a doughnut and tea. He sat back triumphantly, his gnarled blackthorn stick in one hand and told me wild tales of his travels with the Indians in Canada, his odysseys down the rivers Amazon and Plate, his sojourns in Salt Lake City and the Empty Quarter of Saudi Arabia, painting under winches in the tropics, his time in Paris with the artist Raoul Dufy. Losing the thread of the conversation at several points, I watched as Markey produced a large tin of Dulux paint. “It is a great wee help”, he said and gave a guffaw as loud as a sneeze. I was amazed that one of Ireland’s greatest painters had a fondness for house paint with recognition on a grand scale behind him and public plaudits before him, Markey could get away with almost anything.

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I tried to interview him several times but he was never interested and remained completely dismissive of promoting his own work until December 1998 when he finally agreed to be interviewed in Geraldine Walsh’s office and gallery in Duke Street. He was a hoot. Sadly, he died four days after the article was published in January 1999.

He phoned me to say it ‘was bucking good’.

I used to find it fascinating that despite being a presbyterian, nuns were an established Markey subject.

He affectionately referred to them as his “pretty papist penguins”. I remember him telling me that he painted nuns with fruit and put ‘two good-looking ones in a garden.” This painting ‘Nuns in a Garden’ is very familiar to me. It was so important to Markey that it was used as the front cover image of Susan Stair’s book The Irish Figurists’. Stairs had written a biography on Markey, ‘Markey Robinson: A life, the Retrospective’, in 1998 while Robinson was alive. No mean feat., Markey trusted no one and amazingly, she gained his. There is a quiet mystery in this painting, with simplified figures, muted colour and a dreamlike stillness, Markey transforms an everyday religious scene into something timeless and contemplative. The anonymous nuns seem less like portraits than symbols of faith, community and solitude.

It’s a gem.

Brighid McLaughlin, August 2026

206 MARIE CARROLL (20TH CENTURY)

Title: Kite Flying on the Beach Medium: Acrylic on Board Signature: Signed Lower Left Provenance: Private Collection Framed Image: 49 x 69cm Framed: 74 x 95cm €500 - 800

207 JOSEPH WILLIAM CAREY RUA (1859 - 1937)

Title: Fair Head, North Antrim Coast (1917) Medium: Watercolour Signature: Signed and Dated Lower Right Provenance: J ohn Magee, Belfast (Label Verso); Private Collection Framed Image: 21 x 48cm Framed: 38 x 63.5cm €500 - 800

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208 JOHN KINGERLEE (B. 1936)

Title: Untitled (2023) Medium: Mixed Media Signature: S igned with Monogram Lower Left and Inscribed Verso Provenance: Private Collection Framed Image: 20.5 x 29cm Framed: 49.5 x 58.5cm €500 - 800

209 JIM FITZPATRICK (B. 1946)

Title: Steve Jobs (Set of Three) Medium: Limited Edition Prints (Purple: 02/60, Blue: 07/60, Purple: 19/60) Signature: Each Signed and Numbered Lower Centre Right Provenance: Commissioned for Web Summit, Circa 2018; Private Collection Framed Image: 56 x 48cm (Each) Framed: 68 x 60.5cm (Each) €1,500 - 2,500

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LOT 210

210 FREDERIC CAYLEY ROBINSON ARA RWS (BRITISH, 1862 - 1927) Title: Interior with Figures Medium: Oil on Canvas Signature: Signed Lower Right Provenance: Private Collection Framed Image: 48 x 58.5cm Framed: 68 x 78cm €6,000 - 9,000

211 DANIEL O’NEILL (1920 - 1974) Title: At Home Medium: Pen, Ink and Watercolour Signature: Signed Lower Right Provenance: Private Collection Framed Image: 20.5 x 30.5cm Framed: 37.5 x 47.5cm €800 - 1,200

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212 COLIN FLACK (B. 1973) Title: The Burren Medium: Acrylic on Board Signature: Signed Lower Right Provenance: Private Collection Framed Image: 48 x 73.5cm Framed: 66.5 x 92cm €600 - 900

213 PAT O’BREARTUIN (20TH/21ST CENTURY)

Title: Ships in the Harbour Medium: Oil on Canvas Signature: Signed Lower Left Provenance: Private Collection Framed Image: 29.5 x 29.5cm (approx.)

Framed: 52.5 x 52.5cm €500 - 800

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214 JOHN BEHAN RHA (B. 1938) Title: Mayo Famine Ship (2003) Medium: Bronze Signature: Signed and Dated Provenance: Private Collection 38cm high; 44cm wide (approx.); 10cm deep €8,000 - 12,000

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215 MAURICE CANNING WILKS RUA ARHA (1911 - 1989) Title: Late Spring in the Dun Valley Medium: Oil on Canvas Signature: Signed Lower Right and Titled Verso Provenance: Private Collection Framed Image: 44 x 34cm (approx.)

Framed: 74 x 64cm €1,200 - 1,500

216 MARIE CARROLL (20TH CENTURY)

Title: The Regatta Medium: Oil on Board Signature: Signed Lower Left Provenance: Apollo Gallery, Dublin (Stamp Verso); Private Collection Framed Image: 63 x 59.5cm Framed: 80 x 77cm €800 - 1,200

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217 JOSEPH SLOAN (B. 1940)

Title: Aran Study IV Medium: Limited Edition Bronze (No. 6/8) Signature: Signed and Numbered Provenance: Private Collection 23.5cm high; 11cm wide; 5.5cm deep €700 - 1,000

218 JENNIFER COLLINS (CONTEMPORARY)

Title: Across Dublin Bay Medium: Oil on Board Signature: Signed Lower Right and Titled Verso Provenance: Private Collection Framed Image: 11.5 x 16.5cm (approx.)

Framed: 27.5 x 32.5cm €400 - 600

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219 MILDRED ANNE BUTLER RA RWS (1858 - 1941) Title: Terrace with Flowers Medium: Watercolour Signature: Signed Lower Left Provenance: Private Collection Framed Image: 28.5 x 48.5cm Framed: 79.5 x 59.5cm €2,500 - 3,500

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220 FRANK O’DEA (20TH/21ST CENTURY)

Title: Hello Medium: Oil on Canvas Board Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 34 x 24cm Framed: 51 x 41cm (approx.) €400 - 600

221 CHRISTOPHER CAMPBELL (1908 - 1972)

Title: Richelieu and Barradas Medium: Oil on Board Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 39 x 32.5cm (approx.)

Framed: 54.5 x 48.5cm €800 - 1,200

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222 TRUDIE MOONEY (B. 1961)

Title: Still Life with Fuchsia Bowl (2002) Medium: Oil on Board Signature: Signed Lower Right and Inscribed on Labels Verso Provenance: The Solomon Gallery, Dublin (Label Verso), Where acquired by the Present Owner Framed Image: 18 x 24cm Framed: 31 x 37cm €800 - 1,200

223 MAURICE C. WILKS RUA ARHA (1920 - 1984) Title: Courtyard, Antrim Castle Grounds Medium: Watercolour Signature: Signed Lower Left and Inscribed on Label Verso Provenance: The Bell Gallery, Belfast (Label Verso); The Gerry Cuddy Collection Framed Image: 36 x 47cm Framed: 57 x 65.5cm €500 - 800

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224 CAPTAIN RICHARD BRYDGES BEECHEY HRHA (1808 - 1895)

Title: The Flower of Yarrow (C. 1845) Medium: Oil on Canvas Signature: Unsigned; Inscribed on Labels Verso Provenance: Francis Nathaniel Conyngham, 2nd Marquess Conyngham (1797 - 1876); These Rooms, ‘Five Centuries of Fine Art, C. 1490 - 1941’, 9 July 2014; Private Collection Notes: W ith Marquess Conyngham Label Verso and Bonhams, London Consignment Label Verso Framed Image: 45 x 61cm Framed: 63 x 79cm €8,000 - 12,000

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224 CAPTAIN RICHARD BRYDGES BEECHEY HRHA (1808 - 1895) Painted around 1845, this canvas by Richard Brydges Beechey depicts a large yacht on a port tack, cutting through the waves under full sail. A white burgee with red cross flies from the masthead, indicating the vessel belongs to the Royal Yacht Squadron of Cowes. The yacht is also flying a white ensign. The sky is cloudy with a hint of rain, and the taut sails and scudding waves suggest a stiff breeze. Near the yacht, a patch of sunlight illuminates the sea. The Flower of Yarrow is cutter-rigged, with one mast, and an exceptionally long bowsprit carrying two jib sails. Other boats can be seen in the background, including cutters, schooners and yawls, suggesting a race is in progress. The type of vessel depicted in this work appears in other paintings by Beechey, such as ‘A Pilot Cutter and Schooner Tacking in Choppy Waters’ (Sothebys, 4 April 2024).

Based on working boats - such as pilot or revenue cutters, these large yachts, built for pleasure cruising and racing, were fast and carried a huge amount of sail. The name of this vessel was inspired by Mary Scott, a young woman known as the “Flower of Yarrow”, who lived amongst Scottish border raiders in the sixteenth century.

Listed as belonging to the Royal Yacht Squadron in

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Cowes, the Flower of Yarrow is mentioned in Guest and Boulton’s 1902 history of the club: “To Lord Conyngham belongs the distinction of being the greatest owner of yachts of his own or any other time. During the thirty-six years of his membership he rang the changes on all rigs and tonnages and never failed to bring a new boat to the Solent at least every other season. He began with the little Medina in 1840, a cutter of 43; in the following year, his Flower of Yarrow was a famous yawl of 183 tons; the Constance, 218, was a noted schooner of 1850; he glanced as it were at the discredited luggers with the Panther, 35, in 1860, and his series of steam yachts ending with the Helen, 420, in 1872, were among the most notable in their class”. While Conyngham’s yacht is described as a yawl, it was common for owners to alter their sailing rigs. Other yachts in the RYS bore the name Flower of Yarrow over the years; one owned by the Duke of Buccleuch made a voyage to Iceland in 1834, while a later yacht, owned by Charles Harbord, 5th Baron Suffield in the early 1870s, was also named Flower of Yarrow.

Dr. Peter Murray, August 2026

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225 MARIE CARROLL (20TH CENTURY) Title: The Foyer, Shelbourne Bar Medium: Acrylic on Card Signature: Signed Lower Right Provenance: Private Collection Framed Image: 50 x 75cm Framed: 66 x 91cm €1,000 - 1,500

226 JOSEPH SLOAN (B. 1940)

Title: Aran Study III Medium: Bronze - Artist’s Proof (No. 3/4) Signature: Signed and Numbered Provenance: Private Collection 21.5cm high; 9.5cm wide; 8cm deep €700 - 1,000

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227 JARLATH DALY (B. 1965) Title: The Flying Column Medium: Bronze Signature: Signed Provenance: Private Collection 21cm high; 30cm wide; 9.5cm deep €1,400 - 1,800

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228 ALOYSIUS O’KELLY RHA (1853 - 1936)

Title: The Return, Concarneau, Brittany (1914) Medium: Oil on Board Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection, Boston; Shannon’s Fine Art Auctioneers, ‘American and European Art’, Milford, Connecticut, USA, 23 October 2014, Lot 78; Paul Mayhew Fine Art, Dorset, UK; Private Collection, Ireland Exhibited: Paul Mayhew Fine Art, Petworth Park Antiques and Fine Art Fair, 17 - 19 May 2024, The Marquee, Petworth House and Park, West Sussex, UK Framed Image: 24.5 x 31.5cm Framed: 34.5 x 41.5cm €4,000 - 6,000

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228 ALOYSIUS O’KELLY RHA (1853 - 1936) This painting is set just outside the fishing village of Concarneau in Brittany and is quintessentially, in style and treatment, typical of the work of O’Kelly in the early twentieth century. O’Kelly was among the first Irish artists to study at the École des beaux-arts in Paris under the tutelage of Jean-Léon Gérôme. He was also the first Irish artist to discover Brittany. From the mid-1870s, during the long summer breaks from the École, artists of all nationalities made their way to Pont-Aven. At the time Brittany was undergoing rapid economic development, becoming one of the most productive regions in France, having been among the poorest in the mid-century. There was a remarkable growth in agriculture and fishing, as well as population, especially in the south of the peninsula where the artists concentrated.

From the mid 1880s, the over-crowding in Pont-Aven compelled the more experimental artists to seek new locations, notably Concarneau, the most important fishing village of Cornouaille. Here, O’Kelly worked under the influence of Jules Bastien-Lepage, oscillating between a form of rural realism and naturalism. In Brittany, O’Kelly executed a series of tavern and kitchen scenes, landscapes

and harbour scenes. Although he never fully absorbed Impressionism, his skill in his application of iridescent Impressionist-type techniques for his outdoor subjects is evident. His harbour scenes are carefully composed, as we see here, but he also achieves the effect of spontaneity, especially in the handling of the colourful sails, and their reflections in the translucent water. There is a strong stylistic cohesion about these early twentieth-century paintings. Throughout these years, O’Kelly was also over and back from New York (where he now lived). From 1909 to 1912, he spent two years continuously in Brittany, and during this time produced the paintings in this series.

These were exhibited in New York where they were well received. For such small paintings, they convey a sense of spontaneity and vivacity, showing him at his most confident and expressive.

Dr. Niamh O’Sullivan, Professor Emerita of Visual Culture (National College of Art and Design Ireland); Founding Curator of Ireland’s Great Hunger Museum, Quinnipiac University, July 2026

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229 FRANK O’DEA (20TH/21ST CENTURY)

Title: Ladies Night Out Medium: Oil on Canvas Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 60 x 120cm Framed: 74 x 135cm €500 - 800

230 PÁDRAIG Ó MATHÚNA (1925 - 2019) Title: Bowl Medium: Copper and Ceramic Signature: Signed on Base Provenance: Private Collection 4.5cm high; 13.5cm wide; 13.5cm deep €400 - 600

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231 MATT LAMB (IRISH/AMERICAN, 1932 - 2012) Title: Figures (1994) Medium: Mixed Media on Canvas Signature: Unsigned; Dated on Stretcher Verso Provenance: Private Collection Framed 76 x 101.5cm €600 - 900

232 MARIE CARROLL (20TH CENTURY)

Title: A Very Early Morning and Companion (Pair) Medium: Acrylic on Card Signature: Each Signed Lower Left Provenance: Private Collection Framed A Very Early Morning Companion Image: 13.5 x 19.5cm Image: 24 x 17.5cm Framed: 26.5 x 32.5cm Framed: 37 x 30.5cm €500 - 800

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233 JOHN KINGERLEE (B. 1936)

Title: Ding - Dong, Bell (2022) Medium: Mixed Media Signature: S igned with Monogram Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 31 x 21cm (approx.)

Framed: 56 x 46cm €500 - 800

234 JAMES HUMBERT CRAIG RHA RUA (1877 - 1944) Title: Peat Stacks, Connemara Medium: Oil on Board Signature: Signed Lower Right Provenance: Private Collection Framed Image: 49.5 x 60cm Framed: 64.5 x 75cm €4,000 - 6,000

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235 PHILIPPA BAYLISS (NEE GARNER) (1940 - 2025) Title: Still Life with Poppies in a Vase (1991) Medium: Oil on Board Signature: Signed and Dated Lower Right Provenance: Private Collection Framed Image: 49 x 39cm Framed: 59 x 49cm €1,000 - 1,500

236 FRANK FITZSIMONS (1930 - 2008) Title: Down on the Beach Medium: Oil on Board Signature: Signed Lower Left Provenance: Private Collection Framed Image: 50 x 74.5cm Framed: 71 x 95.5cm €600 - 900

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237 PADRAIG LYNCH (B. 1936)

Title: Barney McCoy, Hale Street, Ardee Medium: Oil on Board Signature: S igned Lower Right and Inscribed on Artist’s Label Verso Provenance: Private Collection Framed Image: 37 x 29cm (approx.)

Framed: 61 x 53.5cm €1,000 - 1,500

238 MARY GEORGINA BARTON SWA (1861 - 1949) Title: Seated Figure by an Ancient Arch Medium: Watercolour Signature: Signed Lower Right Provenance: Private Collection Framed Image: 34.5 x 37.5cm Framed: 53 x 43cm €500 - 800

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239 LOUIS LE BROCQUY HRHA (1916 - 2012)

Title: Study Towards an Image of Federico Garcia Lorca (1978) Medium: Watercolour Signature: Signed and Dated Lower Left; Inscribed Verso Provenance: Private Collection Framed Image: 40 x 35cm (approx.)

Framed: 61.5 x 56.5cm (approx.) €10,000 - 15,000

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239 LOUIS LE BROCQUY HRHA (1916 - 2012) This watercolour portrait represents the great Spanish poet and playwright, Federico García Lorca (1898 - 1936).

The painting is dated to the year that eighty-eight images of Lorca by Louis le Brocquy (1916 - 2012) were exhibited at the Galeria Maeght in Barcelona (October - November, 1978).1 As with the artist’s portrait paintings generally, the face is presented frontally, is clearly recognisable, and absent any reference to clothing.2 Without contextual elements to suggest status or era, the portraits emphasise the psychology of the sitter.

Anne Crookshank observed just a year or two after the Lorca show in Barcelona (in a New York publication): “Le Brocquy always has been a great practitioner of watercolor and the thin washes of his early oils have much in common with this method. But in the last few years, his watercolors have taken on a new value. The irregular dabs of brilliant color, purple, blue, and green … build up the form of his heads with a tense, nervous immediacy which oil with its overlapping layers and opaque thickness can never achieve.”4

When it first emerged, the portrait series was a significant departure in Louis le Brocquy’s work. He famously found himself without direction in the early 1960s and destroyed many of his own works until a visit to the Musée de l’Homme in Paris inspired his next phase, devoted to the human head. Initially, he explored generalised ancestral heads, alluding to heritage, before his focus on portraits of specific creative individuals. He wrote of the face as a billowing curtain behind which the creative mind was at work. Le Brocquy knew the physicist Erwin Schrödinger, whose observation that the complexity of human creativity could not be captured in a single image, resonated with the artist and explains his multitude of portraits of each of his subjects, including those of Lorca.

The painting of Lorca concentrates on the features of the face, in particular the intensity of the eyes, deeply set below dark eyebrows. While le Brocquy had never met Lorca – the artist was only 20 when Lorca was killed – he was familiar both with Lorca’s appearance and with his work, finding that: “For me, an Irishman, it was curiously enough the plays of [John Millington] Synge which provided the key to the understanding of Lorca’s fierce, lyrical world.”5

After Barcelona, the show then transferred to the Gallery Kreisler Dos in Madrid, and finally to Fundación RodriguezAcosta in Granada, the city of Lorca’s birth. Anne Madden explains in her biography of her husband: “Louis was fascinated by Lorca’s ambiguity: the personal and artistic brilliance of the man, his social display obscuring that dark within him .. ”. She notes too the response to Louis’s work, how “ … many in Granada were touched and excited by the varied and often tender effigies. They appeared on the covers of local magazines and publications celebrating the poet.”3 While the artist is known for his oil paintings, the unique achievements enabled by watercolour have been recognised, not least his remarkable use of colour. As

In his representations of Lorca, the artist presented an interpretation that extends beyond the surface facts of the face to suggest the psychology beneath – the character, the intellect, the creativity – just as he had done with other creative subjects that he addressed, including W.B. Yeats, James Joyce, Samuel Beckett, Francis Bacon, and others, some of whom he knew primarily from their work.

Crookshank’s observations on Louis le Brocquy’s watercolour paintings are relevant to the those of Lorca as they: “… create the truly magical effect of images coagulating in front of your eyes, coming alive, meditating, speaking, and ultimately returning to their own imaginative genius.”6 Dr. Yvonne Scott, Assoc. Prof. Emeritus and Fellow Emeritus, Dept. of History of Art and Architecture, Trinity College Dublin; Recipient of RHA Gold Medal, 2025, July 2026

Footnotes: 1. The catalogue states that the show in Barcelona comprised charcoal drawings (24), watercolours (49), oil paintings on canvas (13), and two aquatints (i.e. 88 artworks in all). In addition, four sculptures in bronze of Lorca’s distinctive brow are listed. A photograph provided of the back of the present painting indicates the number 54, and the scale 39 x 35 cm, factors that are consistent with inclusion in the show: the catalogue for Galeria Maeght in Barcelona lists works numbered 51-60 as ‘aquarelles’, of 39 x 35 cm. In addition, the artwork carries the designation W381 to indicate its place in the artist’s oeuvre.

2. While most of the portraits are only of the face, a few include expressive hands where these represent the sitter’s means of expression, as with the painting Reaching. Homage to John Montague (1968).

3. Anne Madden le Brocquy, Seeing his Way, Gill & Macmillan Ltd., Dublin, 1994, p.218.

4. Anne Crookshank, ‘Louis le Brocquy’, in Louis le Brocquy and the Celtic Head Image, New York State Museum, New York, 1981, p.38.

5. Louis le Brocquy, ‘Notes on painting and awareness’, reproduced in Dorothy Walker, Louis le Brocquy, Ward River Press, Dublin, 1981, p.151.

6. Crookshank, op.cit., p.38.

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240 JOHN TRICKETT (BRITISH, B. 1952) Title: Looking Out Medium: Oil on Canvas Signature: Signed Lower Right Provenance: Private Collection Framed Image: 39.5 x 75cm Framed: 58 x 94cm €600 - 900

241 JOHN FRANCIS SKELTON (B. 1954)

Title: Tide and Tied, Kinsale Head, Cork Medium: Oil on Canvas Board Signature: Signed Lower Right and Titled Verso Provenance: Private Collection Framed Image: 24.5 x 60cm Framed: 37.5 x 72.5cm €400 - 600

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242 JOHN BEHAN RHA (B. 1938) Title: Birds in Flight Medium: Unique Bronze Signature: Signed Provenance: Private Collection 42cm high; 19cm wide (approx.); 13.5cm deep €5,000 - 8,000

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243 JAMES CAHILL (20TH/21ST CENTURY)

Title: Nude with White Scarf Medium: Oil on Canvas Board Signature: Signed Lower Left; Inscribed on Label Verso Provenance: Private Collection Framed Image: 29 x 24cm Framed: 48.5 x 43.5cm €1,000 - 1,500

244 FRANCIS TANSEY (B. 1959)

Title: Translucent Study with Grey (1992) Medium: Oil on Canvas Signature: Signed and Inscribed Verso Provenance: Private Collection Framed Image: 97 x 43cm Framed: 116.5 x 63.5cm €1,000 - 1,500

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245 PABLO PICASSO (SPANISH, 1881 - 1973)

Title: La Comedie Humaine (Human Comedy) (1954) Medium: Lithograph Signature: Unsigned; Dated Lower Right Provenance: Private Collection Framed Image: 23 x 33cm Framed: 54 x 64cm €500 - 800

246 MARY THERESA KEOWN (B. 1974)

Title: Landscape I - Phoenix Park Medium: Oil on Canvas Signature: Signed Lower Right Provenance: The Solomon Gallery, Dublin (Label Verso), Where acquired by the Present Owner Framed Image: 25 x 45cm Framed: 47 x 67.5cm €1,000 - 1,500

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247 CHARLES VINCENT LAMB RHA RUA (1893 - 1964) Title: Summer in Carraroe, Connemara Medium: Oil on Canvas Signature: Signed Lower Left Provenance: Combridge Fine Arts, Dublin (Framing Label Verso); Private Collection Framed Image: 39.5 x 49.5cm Framed: 47 x 57cm €4,000 - 6,000

248 MARKEY ROBINSON (1918 - 1999)

Title: Towards Muckish Mountain Medium: Gouache on Board Signature: Signed Lower Right Provenance: P rivate Collection Framed Image: 22.5 x 25.5cm Framed: 53 x 68cm €1,000 - 1,500

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249 JACK CUDWORTH (1930 - 2010)

Title: Still Life with a Rose and Fruit (1977) Medium: Oil on Board Signature: Signed and Dated Lower Centre Left Provenance: Private Collection Framed Image: 34 x 39cm Framed: 48 x 53cm €400 - 600

250 TRUDIE MOONEY (B. 1961)

Title: Still Life with Topiary Bowl (2002) Medium: Oil on Board Signature: S igned Lower Right and Inscribed on Labels Verso Provenance: The Solomon Gallery, Dublin (Label Verso), Where acquired by the Present Owner Framed Image: 18 x 24cm Framed: 31 x 37cm €800 - 1,200

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251 OISIN KELLY RHA (1915 - 1981)

Title: Eider Sea Duck Medium: Hand-Painted Ceramic Signature: Stamped ‘Kilkenny Pottery, Ireland’ on Underside Provenance: The Kilkenny Design Workshops (Stamped on Underside); Private Collection 9.5cm high; 25.5cm wide; 10.5cm deep €400 - 600

252 JOHN SKELTON (1923 - 2009)

Title: Female Nude (1971) Medium: Pencil Sketch Signature: Signed and Dated Lower Left Provenance: Private Collection Framed Image: 38 x 41cm Framed: 53 x 56cm €400 - 600

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253 JACK BUTLER YEATS RHA (1871 - 1957)

Title: Irish Place Names Medium: C igarette Cards - Set of 25 created by Jack B. Yeats in 1927 Signature: Unsigned Provenance: Private Collection Framed Image: 7 x 3.5cm (Each) Framed: 50.5 x 34.5cm €400 - 600

254 HENRY CLIFFE (1919 - 1983)

Title: Blue/Black (1973) Medium: Gouache Signature: Signed and Dated Lower Left; Inscribed on Label Verso Provenance: Private Collection Framed Image: 41 x 56cm Framed: 48.5 x 64cm €500 - 800 WWW.S HEPPARDS. I E | 189

255 HARRY KERNOFF RHA (1900 - 1974)

Title: Abstract Triangular Composition Medium: Watercolour Signature: Unsigned Provenance: Acquired directly from the artist by Jack Segal (A Friend and Patron of the artist), thence by descent; Whyte’s, ‘Important Irish Art’, Dublin, 28 May 2018’, Lot 46; Private Collection Framed Image: 12 x 8cm Framed: 22.5 x 18cm €400 - 600

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256 JAMES S. BROHAN (B. 1952) Title: The Garden Path Medium: Oil on Canvas Signature: Signed Lower Left Provenance: Private Collection Framed Image: 74 x 58cm Framed: 107.5 x 92cm €12,000 - 15,000

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257 JACK BUTLER YEATS RHA (1871 - 1957)

Title: Farmers at the Fair Medium: Hand-Coloured Cuala Press Print Signature: Unsigned Provenance: Private Collection Framed Image: 21 x 15cm Framed: 37.5 x 30cm €800 - 1,200

258 NORMAN J. MCCAIG (1929 - 2000) Title: Resting Medium: Oil on Canvas Signature: Signed Lower Left Provenance: Private Collection Framed Image: 28 x 38.5cm Framed: 48 x 58.5cm €500 - 800

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259 WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)

Title: Working in the Mill Medium: Wax Crayon and Charcoal Signature: Signed Lower Left Provenance: The Gerry Cuddy Collection Note: Oil paintings on the theme of Mill Workers by Conor were shown at the RHA, Dublin in 1919 (No. 137) and 1920 (No. 214) Framed Image: 41.5 x 38cm Framed: 54 x 60cm €3,000 - 5,000

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259 WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968) John Hewitt has described William Conor as Ulster’s ‘representative artist’ for the middle decades of the twentieth century and emphasises that Conor came to epitomise ‘our best moods and impulses’ (Hewitt, 1977: 86). Born in Belfast in 1881, William Conor’s father was a sheet metal worker and the artist inherited his father’s name. This familial link to the manufacturing industry was to impact on Conor’s choice of subject matter and his depictions of Belfast life, with his compositions featuring shipyard workers, mill workers or ‘shawlies’. The ‘shawlie’ was a working-class woman who wore a shawl to protect her from the elements. In Belfast they were associated with the linen mills, such as Brookfield Mill on the Crumlin Road. A bronze sculpture ‘The Mill Worker’ (2010) by Ross Wilson, located at the top of Cambrai Street, takes William Conor’s painting ‘Going to the mills, Crumlin Road, 1914’, as inspiration for the sculpture.

The information board that accompanies the work provides context for the importance of this industry at the time, ‘Belfast was one of the fastest growing urban centres in Europe in the nineteenth - century, with the linen industry a major driver. The city’s status as the world’s biggest linen producer came about partly as a result of the cotton shortages in the 1860s caused by the American Civil War. In 1896, 96,000 people worked in linen in Belfast, making it the city’s biggest employer.

The profits enabled other industries to grow, including engineering, shipbuilding, tobacco, whiskey and rope - making. Belfast became a world leader in all of these industries.’ In his depictions of millworkers, Conor tended to depict small groups of women travelling to or from work. These ranged from intimate studies in charcoal, crayon or oil, to pairs in conversation, and wider groups.

Examples include: ‘In the Morning, Mill Girls Going to Work’, ‘The Mill Girls’, ‘Belfast Mill Girls’, 1907, and ‘Going to the Mills, Crumlin Road’, 1914.

The subject is also addressed in Conor’s large scale painting ‘Ulster Past and Present’, commissioned in 1931

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for the Belfast Museum and Art Gallery and measuring 2.8m by 7.4m. The painting features ancient Irish warriors marching into battle to represent the past and the present is denoted by a group of Belfast mill and shipyard workers coming from work, with the mill buildings and cranes featured in the background. It was the largest mural in Ireland at the time. Unlike these works that focus on the active work journey, this composition ‘Working in the Mill’ in wax crayon and charcoal is a distinctive work in Conor’s oeuvre as it constitutes a detailed interior scene and one of the few examples of this working environment. The treatment of materials is interesting. He uses charcoal to indicate the vast industrial interior and the monochrome upper half of the work underlines its utilitarian focus.

Within the lower half of the composition, he incorporates colour, predominantly green, blue, black and light red.

The colour enlivens the figures, lending rhythm and a productive focus to the women’s work. They sit at long tables with sewing machines before them. The figures on the left and right of the composition are treated differently. Two women stand engaged in conversation on the far right. To their left is a woman seated at the table with her back to them and she is working intently.

These three figures have heightened definition in line and colour creating a scene within the overall scene. This serves to mark the passage of time, the three figures signifying a present moment and the remaining crowd of women having a lighter ethereal quality that suggests the nostalgic past. Conor is perhaps commenting on the recession between the world wars that signalled a dramatic reduction in the demand for linen internationally.

This artwork is essentially a piece of social history and it also celebrates the textile heritage of Belfast. It invites and holds the eye through the colour and dynamic activity of the composition.

Dr. Marianne O’Kane Boal, February 2026

260 NORAH MCGUINNESS HRHA (1901 - 1980)

Title: Harbour Medium: Limited Edition Lithograph (No. 9/12) Signature: Signed and Numbered Lower Right; Titled Lower Left Provenance: The Dawson Gallery (Framing Label Verso); Private Collection Framed Image: 33.5 x 49cm Framed: 60 x 75.5cm €500 - 800

261 MARKEY ROBINSON (1918 - 1999) Title: Towards the Village, Morocco Medium: Gouache on Card Signature: Signed Lower Left Provenance: Private Collection Framed Image: 9.5 x 24.5cm Framed: 20.5 x 35.5cm €600 - 900

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262 LOUIS LE BROCQUY HRHA (1916 - 2012) Title: Human Image Medium: Limited Edition Lithograph (No. 27/75) Signature: Signed and Numbered Lower Right Provenance: Apollo Gallery, Dublin (Stamped Verso); Private Collection Framed Image: 86 x 60.5 cm.

Framed: 124.5 x 96 cm. €3,000 - 5,000

263 IVAN SUTTON (B. 1944)

Title: Fastnet Lighthouse Off Baltimore, Co. Cork Medium: Oil on Board Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 50 x 75cm Framed: 74 x 99cm €1,500 - 2,500

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264 NICHOLAS DOLAN (B. 1979) Title: Held Attention (2022) Medium: Unique Bronze Signature: Signed Provenance: Private Collection 36cm high; 16cm wide; 16.5cm deep (approx.) €1,500 - 2,500

265 MARIE CARROLL (20TH CENTURY)

Title: Dancers and Boats (Pair) Medium: Oil on Board Signature: Each Signed Lower Left and Inscribed Verso Provenance: Apollo Gallery, Dublin; Private Collection Framed Image: 28.5 x 20cm Framed: 42.5 x 32.5cm (Each) €500 - 800 WWW.S HEPPARDS. I E | 197

266 MAJELLA O’NEILL COLLINS (B. 1964) Title: Beneath the Surface (2025) Medium: Oil on Canvas Signature: Signed and Inscribed Verso Provenance: Private Collection Framed Image: 70 x 100cm Framed: 73.5 x 103.5cm €2,500 - 3,500

267 JOHN MORRIS (B. 1958)

Title: Along the Shore Medium: Oil on Board Signature: Signed Lower Left and Titled Verso Provenance: Private Collection Framed Image: 79 x 79cm Framed: 100.5 x 100.5cm €2,000 - 3,000

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268 IVAN SUTTON (B. 1944)

Title: Launching Currach, Inishmore, Aran Islands, Co. Galway Medium: Oil on Board Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 50 x 75cm Framed: 70 x 95cm €1,500 - 2,500

269 GRAHAM KNUTTEL (1954 - 2023) Title: Portrait of the Artist Paddy Collins Medium: Acrylic on Card Signature: Signed Lower Right Provenance: Private Collection Framed Image: 41.5 x 38.5cm Framed: 55 x 52cm €1,000 - 1,500

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270 GERALD DAVIS (1938 - 2005)

Title: Landscape (1996) Medium: Oil on Paper Signature: Signed and Dated Lower Left; Inscribed Verso Provenance: Gifted from the artist to the Previous Owner, C. 1997; Private Collection Framed Image: 11.5 x 16.5cm Framed: 32.5 x 36.5cm €400 - 600

271 FERGUS O’RYAN RHA (1910 - 1989)

Title: Grand Canal, Digby Bridge, Sallins Medium: Oil on Board Signature: Signed Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 28.5 x 39.5cm Framed: 48.5 x 59.5cm €500 - 800

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272 BRIAN MACMAHON (B. 1955) Title: Connemara Coast Medium: Oil on Canvas Signature: Signed Lower Right Provenance: Private Collection Framed Image: 54.5 x 69.5cm Framed: 66.5 x 81.5cm €600 - 900

273 ALICIA BOYLE RBA RHA RUA (1908 - 1997) Title: The Sailor and the Birds Medium: Watercolour Signature: S igned Lower Right and Inscribed Verso Provenance: Private Collection Framed Image: 28 x 35cm Framed: 37.5 x 45.5cm €500 - 800

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274 SEAN O’SULLIVAN RHA (1906 - 1964)

Title: Head Study of the Artist’s Wife, Rene Medium: Pencil Sketch Signature: Unsigned; Inscribed Verso Provenance: The Artist’s Estate; Private Collection Framed Image: 28 x 24cm Framed: 41 x 37cm €400 - 600

275 IRISH SCHOOL

Title: Bust of a Lady Medium: Red Clay Signature: Unsigned Provenance: Private Collection 50.5cm high; 19cm wide; 24cm deep (approx.) €500 - 800

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276 MURIEL BRANDT RHA (1909 - 1981)

Title: House by a River Medium: Watercolour Signature: Signed Lower Left Provenance: The Dawson Gallery, Dublin (Framing Label Verso); Private Collection Framed Image: 22 x 28cm Framed: 46.5 x 49cm €700 - 1,000

277 WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)

Title: Shawlie with Children, Belfast Medium: Wax Crayon Signature: Signed Upper Right and Inscribed Verso Provenance: Private Collection Framed Image: 22.5 x 16.5cm Framed: 42.5 x 35cm €2,000 - 3,000

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278 IRISH SCHOOL

Title: Stained Glass Study with three Kings Medium: Stained Glass Signature: Unsigned Provenance: Private Collection Framed Image: 46.5 x 60.5cm (approx.)

Framed: 55 x 70cm €800 - 1,200

279 IRISH SCHOOL

Title: The Barber’s Tools Medium: Polished Steel Signature: Unsigned Provenance: Private Collection 26cm high; 33.5cm wide (approx.); 19cm deep €500 - 800

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280 GRAHAM KNUTTEL (1954 - 2023)

Title: Impatient Medium: Artist’s Proof Signature: Signed Lower Right Provenance: Private Collection Framed Image: 76 x 76.5cm Framed: 107.5 x 107.5cm €700 - 1,000

281 STELLA STEYN (1907 - 1987) Title: Study of a Man Medium: Red Chalk Signature: Studio Stamp Upper Left Provenance: Brock Fine Arts, Dublin (Stamped Verso); Private Collection Framed Image: 25 x 19cm Framed: 36.5 x 30.5cm €400 - 600

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282 RORY BRESLIN (B. 1963)

Title: The November Marine Mask (From The Clew Bay Marine Series) Medium: Porcelain (No. 1 from an edition of 3) Signature: Signed Provenance: The Artist’s Private Collection, Co. Mayo 42cm high (approx.); 32cm wide (approx.); 14cm deep (approx.) €3,000 - 5,000

The Clew Bay Marine Series are a series of ‘seascapes’, chronicling by month the wealth and variety of sea life in Irish coastal waters.

Usually associated with bronze sculpture, Breslin is constantly experimenting with various materials and techniques. The translucency and beauty of porcelain is explored to great tonal effect in these wall sculptures.

A small shoal of juvenile red gurnards, the grunting fish, cascade from the upper central aspect of the sculpture with brown crabs like protective sentinels on either side of the fish. Eaten by hominoids since the cave dwelling Neanderthals, the goddess Hera placed the pagurus amongst the stars as the constellation Cancer. The fish and the crabs are tethered to a coif of sequentially patterned mussels or Diúilicín, the makers of ‘sea silk’ much coveted

by Roman and Greek emperors.

The mussels are overlapped on either side of the youth’s cheeks by serrated wrack, rich in minerals and known for its potential anti-inflammatory and antioxidant properties.

Two large sea urchins are partially enveloped by the wrack which also cups on either side the great sea bean, the Entada Gigas, deposited at Dooagh in Achill Island from the tropics of South America by the Gulf Stream and its continuation, the North Atlantic Drift.

Below the urchins and the wrack, two curved mermaids purses, incubators of sharks, skates and chimaeras, frame the lower section of the mask. The ever-bobbing common sandpiper leaves its prints and its exploratory beak holes in the cheeks of the sedate and peaceful youth.

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283 GERARD DILLON RHA RUA (1916 - 1971)

Title: Portrait of a Girl Medium: Watercolour and Ink Signature: Indistinctly Signed Lower Right Provenance: Private Collection Framed Image: 17.5 x 13.5cm (approx.)

Framed: 37 x 33cm €600 - 900

284 GERALD DAVIS (1938 - 2005)

Title: Waiting Game (1972) Medium: Oil on Board Signature: Signed and Dated Lower Left Provenance: Acquired directly from the family of the artist by the Present Owner Framed Image: 38 x 50.5cm Framed: 41.5 x 54.5cm €500 - 800

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285 FLORA H. MITCHELL (1890 - 1973)

Title: Cleopatra’s Needle, London Medium: Watercolour, Pen and Ink Signature: Signed Lower Right and Inscribed Lower Left Provenance: Private Collection Framed Image: 35 x 25.5cm Framed: 51 x 40.5cm €1,200 - 1,500

286 DES MURRIE (20TH/21ST CENTURY)

Title: Curragh Racecourse (1991) Medium: Oil on Board Signature: Signed and Dated Lower Right; Inscribed Verso Provenance: Private Collection Framed Image: 62.5 x 56cm Framed: 80.5 x 73.5cm €500 - 800

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287 BRIAN MACMAHON (B. 1955)

Title: The Gap (2010) Medium: Oil on Canvas Signature: Signed and Dated Lower Right Provenance: The Collection of Tommy Smith, Grogan’s Pub, Dublin; Private Collection Framed Image: 76 x 101.5cm Framed: 85 x 110cm €600 - 900

288 BASIL BLACKSHAW HRHA RUA (1932 - 2016)

Title: Three Trees Medium: Oil on Board Signature: Signed Lower Left Provenance: The Gerry Cuddy Collection Framed Image: 22.5 x 28.5cm Framed: 45.5 x 51.5cm €2,000 - 3,000

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289 BANKSY (BRITISH, B. 1973)

Title: Walled Off Hotel Box Set Medium: Print and Concrete Element Signature: Unsigned Provenance: The Walled Off Hotel, Bethlehem (Original Invoice Verso); Private Collection Framed Image: 23.5 x 23.5cm Framed: 27 x 27cm €700 - 1,000

290 VICTOR RICHARDSON (B. 1952)

Title: The Tributary of the Bandon River, Inishannon (1983) Medium: Pastel Signature: Signed Lower Left and Inscribed Verso Provenance: Private Collection Framed Image: 16 x 25cm Framed: 33 x41cm €500 - 800

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291 TOM BYRNE (B. 1962)

Title: First Signs of Spring Medium: Acrylic on Canvas Signature: Signed Lower Centre Left Provenance: Private Collection Unframed 40 x 30cm €500 - 800

292 TIMOTHY JOYCE (CONTEMPORARY) Title: The Irish Hare Medium: Limited Edition Bronze (No. 1/6) Signature: Signed and Numbered Provenance: Private Collection 42cm high 18.5cm wide 20cm deep €1,000 - 1,500

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293 STEPHANE HOUDART (CONTEMPORARY) Title: Dublin Impression (2003) Medium: Oil on Canvas Signature: Signed and Inscribed Verso Provenance: Private Collection Unframed 66 x 122cm (approx.) €1,000 - 1,500

294 SEAN SCULLY RA (B. 1945) Title: Roland Garros Medium: Poster Signature: Signed in Green Marker Lower Right Provenance: Private Collection Framed Image: 73.5 x 54.5cm Framed: 83 x 63cm €700 - 1,000

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* The proceeds of the sale of this work will be donated to the charity Samaritans*

295 FRANK MCKELVEY RHA RUA (1895 - 1974)

Title: Marsh Landscape in Co. Down Medium: Oil on Canvas Signature: Signed Lower Left and Inscribed on John Magee Label Verso Provenance: John Magee, Belfast (Label Verso); Private Collection Framed Image: 38.5 x 48.5cm Framed: 53 x 63cm €5,000 - 8,000

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295 FRANK MCKELVEY RHA RUA (1895 - 1974) Frank McKelvey was born in Belfast in 1895. His Father was a painter and decorator. He initially worked as a poster designer before becoming a student at the Belfast School of Art, where he won several prizes for life drawing, including the prestigious Sir Charles Brett prize for figure drawing.

When he acquired a car it allowed him to travel more widely in the West of Ireland, at times with fellow Ulster artist James Humbert Craig. He painted many works of County Donegal. The scrubland in ‘Marsh Landscape in Co. Donegal’ contrasts with the pastoral setting of ‘Cattle Grazing on the Lagan’. Here, the foreground marshy field is somewhat impoverished, emphasised by the small naked bushes and trees. The structure of the composition is also in contrast to the Lagan painting. Whereas, in one, a river meanders; in the other an open series of parallel sections allows for a scanning survey of the barren front field where the cows huddle. As is often the case with Craig, Lamb, and others, the ‘clouded’ sky owes a debt to Paul Henry.

He regularly exhibited at The Royal Hibernian Academy as well as The Oireachtas and The RUA, Belfast. His work is represented in the Ulster Museum, Belfast, The Crawford Gallery, Cork and in other Irish collections. His work was included in the exhibitions of Irish art in Brussels (1930) and in North America (1950).

Prof. Liam Kelly, August 2026

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296 SEAN MCSWEENEY HRHA (1935 - 2018)

Title: Reclaimed Mountain Field (1980) Medium: Oil on Canvas Signature: Signed Lower Right and Inscribed on Taylor Galleries Label Verso Provenance: T aylor Galleries, Dublin (Label Verso); Private Collection Exhibited: Sean McSweeney Exhibition, Taylor Galleries, Dublin, June 1980, Catalogue No. 7 Framed Image: 67.5 x 88cm Framed: 99.5 x 120cm €4,000 - 6,000

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296 SEAN MCSWEENEY HRHA (1935 - 2018) Sean McSweeney (1935 - 2018) is recognised as one of the most significant Irish landscape painters of the twentieth century and was justifiably described in an obituary as a “radical painter who rendered the Irish landscape poetically”.1 Born in Dublin, McSweeney lived for a time in Co. Wicklow before eventually moving to his mother’s birthplace in Co. Sligo in 1984, the year he was elected to Aosdána.

McSweeney was self-taught as an artist, preferring to learn by observation and experiment. Brought up by his mother following his father’s early death, he was exposed to art in various galleries and was attracted to the example provided by a host of artists including Nathaniel Hone, Jack B. Yeats, Paul Henry, Nano Reid, Patrick Collins and Camille Souter in Ireland, but absorbing also the international innovations of Abstract Expressionism.2 Following his initial employment as a clerk, McSweeney began painting full time and achieved his first solo show in 1965, at the Dawson Gallery. Before his move to Sligo, he lived for almost two decades in Co. Wicklow, and Reclaimed Mountain Field (1980) suggests the landscape he encountered there.

Reclaimed Mountain Field demonstrates McSweeney’s particular approach to landscape representation. While the Co. Wicklow terrain, characterised by mountains and forests, is significantly different from that of the more lateral and open bogland landscape of Co. Sligo,

McSweeney’s capacity to embrace a combination of the tangible and the emotive remained a common feature throughout his life as an artist. This painting reflects his preference for the atmosphere and character of place over illusionistic detail.

The deep blue upper reaches of sky contrast effectively with the intense brightness at the horizon, before giving way to the browns and greens of the body of the landscape. Touches of colour – the rusty yellow, the chalky whites, the hints of blue – give life and texture to an otherwise brooding landscape; the tactile meets the abstract. Dark bands that can just be made out in the fading light suggest field boundaries, and while scale remains intriguingly ambiguous there is the sense of an unimpeded perspective over the terrain. Landscape was of crucial significance in the Irish cultural cannon, with a historical legacy that led inevitably to the nationalistic, politicised imagery that underpinned the work of many artists in the early decades of the twentieth century. During the course of the century however, artists developed an increasingly outward-looking perspective. McSweeney’s work reflects a combination of poetic sensitivity to the connection with the land but expressed through an increasingly international sensibility as Irish artists gained in confidence regarding their place in the world.

Dr. Yvonne Scott, July 2026

Footnotes: 1. Irish Times, 23 June 2018 2. See Yvonne Scott, introductory essay for Seán McSweeney, Bogland and Shorelie Sligo, Taylor Galleries, October 2002, unpaginated

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297 SAMUEL JOHN LAMORNA BIRCH RA RWS RWA (BRITISH, 1869 - 1955) Title: Lily Pads on a River (1889) Medium: Watercolour Signature: Signed and Dated Lower Left Provenance: Private Collection Framed Image: 23 x 33cm Framed: 51.5 x 61.5cm €500 - 800

298 SALVADOR DALI (SPANISH, 1904 - 1989)

Title: Tristan’s Last Fight (1970) Medium: Limited Edition Coloured Etching (No. 9/125) Signature: Signed Lower Right and Numbered Lower Left Provenance: Private Collection Literature: Field, Albert, The Official Catalog of the Graphic Works of Salvador Dali, 1996, No. 75 - 10T; Michler and Lopsinger, Salvador Dali: Catalogue Raisonne of Etchings and Mixed - Media Prints, 1924 - 1980, No. 425 Framed Image: 44.5 x 33cm Framed: 60.5 x 49cm €700 - 1,000

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299 WILLIAM CONOR OBE RHA RUA ROI (1881 - 1968)

Title: The Old County Down Railway Office (1930) Medium: Crayon Signature: Signed and Dated Lower Left; Inscribed on Bell Gallery Label Verso Provenance: The Bell Gallery, Belfast (Label Verso); The Collection of George and Maura McClelland; The Gerry Cuddy Collection Exhibited: The Bell Gallery, Belfast, 1964 Framed Image: 24.5 x 20cm Framed: 45 x 37.5cm €1,500 - 2,500

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300 LILIAN LUCY DAVIDSON ARHA (1879 - 1954)

Title: The Old Village Medium: Watercolour Signature: Signed with Monogram Lower Left Provenance: Private Collection Framed Image: 35 x 26cm Framed: 57 x 48.5cm €800 - 1,200

301 SALVADOR DALI (SPANISH, 1904 - 1989)

Title: Cosmos Medium: Limited Edition Limoges Ceramic Panel (No. 1520/4000) Signature: Signed in the Block Lower Right Provenance: Private Collection Framed Image: 22.5 x 22.5cm Framed: 31.5 x 31.5cm €500 - 800

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302 RORY BRESLIN (B. 1963)

Title: The February Marine Mask (From The Clew Bay Marine Series) Medium: Porcelain (No. 1 from an edition of 3) Signature: Signed Provenance: The Artist’s Private Collection, Co. Mayo 50cm high (approx.); 30cm wide (approx.); 18cm deep (approx.) €3,000 - 5,000

The Clew Bay Marine Series are a series of ‘seascapes’ chronicling by season the wealth and variety of sea life in Irish coastal waters. A microcosm of the abundance and richness of Irish marine life and of our human relationship with the sea, the works celebrate the beauty, diversity and also the tenacity of life on our coasts. The latent energy that permeates the sculpture underlines that dynamic tenacity, pushing the techniques of bronze sculpture extensively to gain spatial and emotional tension and immediacy.

Breslin is usually associated with bronze sculpture but is constantly experimenting with various materials and techniques. With this wall sculpture, the translucency and beauty of porcelain is explored to great tonal effect.

The February Marine Mask Shells open, a diadem of Clams curves across the forehead of the engaged youth. These thick trough shells, unfairly labelled ‘an bia bocht’ or poor man’s food have a history that date to the Cambrian Period.

This crown is broken only by the iodine rich Toothed wrack that permeates through it to float above on the upper section of the sculpture.

Buoyed within the upper wrack one of three Kemps Ridley turtles that align with its siblings at the peripheries of the work infer a circular movement around the mask giving a feeling of weightless ‘flow’. A rare and unfortunate visitor to Irish shores, this endangered and smallest of turtles inevitably succumbs to cold stunning.

A hermit crab, Pagurus bernhardus, nestles below the chin of the free-flowing and thalasso therapeutic Bladderwrack that flows from the bottom upwards on either side of the cheeks.

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303 PETER DEE (20TH/21ST CENTURY)

Title: Still Life with Oranges Medium: Acrylic on Board Signature: Signed Lower Left Provenance: Private Collection Framed Image: 39 x 39cm Framed: 53.5 x 53.5cm €500 - 800

304 MARKEY ROBINSON (1918 - 1999) Title: Setting Sail Medium: Gouache on Card Signature: Signed Lower Left Provenance: Private Collection Framed Image: 19 x 27cm (approx.)

Framed: 35 x 42.5cm €600 - 900

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305 LOUIS LE BROCQUY HRHA (1916 - 2012)

Title: Dubliners - St. George’s Church (1986) Medium: Limited Edition Lithograph (No. 4/35) Signature: Signed, Dated and Numbered Lower Right Provenance: Private Collection Framed Image: 52.5 x 39cm Framed: 68.5 x 54cm €1,200 - 1,500

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LOT 129

CONDITIONS OF SALE 1.

DEFINITIONS IN THESE CONDITIONS, SHEPPARD’S, WHO ACT ONLY AS AUCTIONEERS AND AGENTS FOR THE VENDOR, ARE CALLED ‘THE AUCTIONEERS’ AND THE REPRESENTATIVES OF SHEPPARD’S CONDUCTING THE AUCTION IS CALLED ‘THE AUCTIONEER’.

2.

GENERAL: WHILST SHEPPARD’S 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 LOT OR LOTS IS SOLD BY THE VENDOR WITH ALL FAULTS, IMPERFECTIONS AND ERRORS OF DESCRIPTIONS. (B) SHEPPARD’S DO NOT ACCEPT RESPONSIBILITY FOR THE AUTHENTICITY, ATTRIBUTION, GENUINENESS, ORIGIN, AUTHORSHIP, DATE, AGE, PERIOD, CONDITION OR QUALITY OF ANY LOT, UNLESS THEY HAVE BEEN INSTRUCTED IN WRITING BY THE VENDOR SO TO CERTIFY, AND IN SUCH CASE THE AUCTIONEERS DO SO AS AGENTS OF THE VENDOR ARE NOT THEMSELVES RESPONSIBLE FOR SUCH CLAIMS. (C) ALL STATEMENTS, WHETHER PRINTED IN THE CATALOGUE OR MADE ORALLY, AS TO ANY OF THE MATTERS SET OUT IN (B) ABOVE ARE STATEMENTS OF OPINION ONLY AND ARE NOT TO BE TAKEN AS BEING OR IMPLYING ANY WARRANTIES OR REPRESENTATIONS OF FACT BY SHEPPARD’S, UNLESS THEY HAVE BEEN INSTRUCTED IN WRITING BY THE VENDOR SO TO CERTIFY AND IN SUCH CASE THE AUCTIONEERS DO SO AS AGENTS OF THE VENDOR AND ARE NOT THEMSELVES RESPONSIBLE FOR SUCH CLAIMS.

3.

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, REGULAR BIDDING OR CANCEL THE SALE WITHOUT IN ANY CASE GIVING ANY REASON OR WITHOUT 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 HAS ARISEN, HE HAS ABSOLUTE DISCRETION TO SETTLE IT OR RE-OFFER THE LOT. THE AUCTIONEER MAY AT HIS SOLE DISCRETION DETERMINE THE ADVANCE OF BIDDING OR REFUSE A BID. (C) 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.

4.

RECISSION: NOTWITHSTANDING ANY OTHER FORMS OF THESE CONDITIONS. IF WITHIN FOURTEEN DAYS AFTER THE SALE SHEPPARD’S HAVE RECEIVED FROM THE BUYER OF ANY LOT 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 SHEPPARD’S IN THE SAME CONDITION AS AT THE TIME OF SALE AND BY PRODUCING EVIDENCE, THE BURDEN OF PROOF TO BE UPON THE BUYER, SATISFIES SHEPPARD’S 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 SAME REFUNDED.

5.

DEFAULT: SHEPPARD’S 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.

6.

IN THE EVENT OF A SALE BY PRIVATE TREATY BOTH THE VENDOR AND THE BUYER AGREE TO BE BOUND BY THE GENERAL AND ANY SPECIAL CONDITIONS OF SALE.

7.

INSPECTION: EACH BUYER BY MAKING A BID FOR A LOT ACKNOWLEDGES THAT HE HAS SATISFIED HIMSELF FULLY BEFORE BIDDING BY INSPECTION OR OTHERWISE AS TO ALL THE SALE CONDITIONS THE PHYSICAL CONDITION OF AND DESCRIPTION OF THE LOT INCLUDING BUT NOT RESTRICTED TO WHETHER THE LOT IS DAMAGED OR HAS BEEN REPAIRED OR RESTORED.

8.

PROPERTY AND RISK LEGAL TITLE WILL NOT PASS TO THE BUYER UNTIL THE LOT(S) HAS BEEN PAID FOR IN FULL AND THE AUCTIONEERS SHALL HE ENTITLED TO A LIEN ON ANY LOT SOLD UNTIL THE PURCHASE PRICE (AS DEFINED IN 11 BELOW) IS PAID IN FULL BUT EACH LOT IS AT THE SOLE RISK OF THE BUYER FROM THE FALL OF THE HAMMER. EACH BUYER SHALL FORTHWITH GIVE HIS FULL NAMES AND PERMANENT ADDRESS AND IF CALLED UPON TO DO SO BY THE AUCTIONEER SHALL FORTHWITH PAY TO SHEPPARD’S SUCH PROPORTION OF THE PURCHASE PRICE AS THE AUCTIONEER MAY REQUIRE. IF THE BUYER FAILS TO DO SO, THE LOT MAY AT THE AUCTIONEER'S SOLE DISCRETION BE PUT UP AGAIN AND RE-SOLD.

9.

EVERY BIDDER SHALL BE DEEMED TO ACT AS PRINCIPAL UNLESS THERE IS IN FORCE A WRITTEN ACKNOWLEDGMENT BY SHEPPARD’S THAT HE ACTS AS AGENT ON BEHALF OF A NAMED PRINCIPAL.

10. REMOVAL OF GOODS. (A) NO PURCHASE SHALL BE CLAIMED UNTIL IT HAS BEEN PAID FOR AND THE SALE HAS BEEN CONCLUDED. ALL PURCHASES SHALL BE PAID FOR AND REMOVED AT THE BUYER’S RISK AND EXPENSE, FAILING WHICH THE AUCTIONEER SHALL NOT BE RESPONSIBLE IF THE SAME ARE LOST, STOLEN, DAMAGED, OR DESTROYED AND ALL LOTS NOT SO REMOVED SHALL REMAIN AT THE RISK OF THE BUYER AND SUBJECT TO A MINIMUM WAREHOUSING CHARGE OF €5 PER ITEM PER DAY. IF THEY ARE NOT PAID FOR AND REMOVED WITHIN SEVEN DAYS OF THE SALE THE AUCTIONEER MAY RE-SELL THEM BY AUCTION OR PRIVATELY WITHOUT NOTICE TO THE BUYER. ANY LIABILITY WHICH THERE MAY BE ON THE PART OF THE AUCTIONEER IN RESPECT OF ANY LOSS SHALL BE RESTRICTED TO A MAXIMUM OF THE PRICE PAID BY THE BUYER OF THE LOT. (B) IN THE EVENT OF ANY FAILURE OF THE BUYERS TO COMPLY WITH ANY OF THE CONDITIONS THE DAMAGES RECOVERABLE BY THE SELLER OR THE AUCTIONEERS FROM THE DEFAULTER SHALL INCLUDE ANY LOSS ARISING ON ANY RE-SALE OF THE LOT, TOGETHER WITH THE CHARGES AND EXPENSES IN RESPECT OF BOTH SALES, AND ANY MONEY DEPOSITED IN PART PAYMENT SHALL BE HELD BY THE AUCTIONEERS ON ACCOUNT OF ANY LIABILITY OF THE DEFAULTER TO THEM OR TO THE SELLER. THE AUCTIONEERS ARE UNABLE TO ACCEPT PAYMENT FROM SUCCESSFUL BIDDERS OTHER THAN IN CASH OR BY THE BIDDER’S OWN CHEQUE. CHEQUES DRAWN BY THIRD PARTIES WHETHER IN THE AUCTIONEER’S FAVOUR OR REQUIRING ENDORSEMENT, CANNOT BE ACCEPTED. 11. PURCHASE PRICE: THE PURCHASER SHALL PAY THE HAMMER PRICE TOGETHER WITH A PREMIUM OF 25% ( INCLUDING VAT). THE PREMIUM ATTRACTS VAT AT THE STANDARD RATE AND IS PAYABLE BY ALL PURCHASERS. THE VENDOR AUTHORISES THE AUCTIONEER TO DEDUCT COMMISSION AND EXPENSES AT THE STATED RATES FROM THE HAMMER PRICE AND ACKNOWLEDGES THE AUCTIONEER’S RIGHT TO RETAIN THE PREMIUM PAYABLE BY THE PURCHASER. PAYMENT BY CASH OR GUARANTEED CHEQUE. ALTHOUGH EVERY EFFORT IS MADE TO REPORT DAMAGE AND RESTORATION TO LOTS IN THIS CATALOGUE, ABSENCE OF CONDITION DOES NOT IMPLY A LOT IS FREE FROM DAMAGE, AND PROSPECTIVE PURCHASERS MUST IN ALL CASES BE RESPONSIBLE FOR DETERMINING CONDITION THEMSELVES.

COMMISSION BIDS: IF INSTRUCTED WE WILL EXECUTE BIDS AND ADVISE INTENDING PURCHASERS. THE SERVICE IS FREE. LOTS WILL ALWAYS BE BOUGHT AS CHEAPLY AS IS ALLOWED BY OTHER BIDS AND RESERVES. BIDS, WHEN PLACED BY TELEPHONE, ARE ACCEPTED ONLY AT THE SENDER’S RISK, AND MUST BE CONFIRMED BY LETTER. IMPERFECTIONS NOT STATED SPECIAL CONDITION: ALL PURCHASES TO BE PAID FOR THE EVENING OF SALE. EXPLANATION OF CATALOGUING PRACTICE: A WORK CATALOGUED WITH THE NAME(S) OR RECOGNISED DESIGNATION OF AN ARTIST, WITHOUT ANY QUALIFICATION, IS, IN OUR OPINION, A WORK BY THE ARTIST IN OTHER CASES. THE FOLLOWING EXPRESSIONS, WITH THE FOLLOWING MEANINGS ARE USED: “ATTRIBUTED TO . . .’’ IN OUR OPINION PROBABLY WORK BY THE ARTIST IN WHOLE OR IN PART. “STUDIO OF . . .” IN OUR OPINION A WORK EXECUTED IN THE STUDIO OR WORKSHOP OF THE ARTIST, POSSIBLY UNDER HIS SUPERVISION. “CIRCLE OF . . .’’ IN OUR OPINION A WORK OF THE PERIOD OF THE ARTIST AND SHOWING HIS INFLUENCE. “FOLLOWER OF . . . ” IN OUR OPINION A WORK EXECUTED IN THE ARTIST’S STYLE BUT NOT NECESSARILY BY A PUPIL. “MANNER OF . . . ’’ IN OUR OPINION A WORK EXECUTED IN THE ARTIST’S STYLE BUT OF A LATER DATE. “AFTER . . .’’ IN OUR OPINION A COPY (OF ANY DATE) OF A WORK OF THE ARTIST. “SIGNED . . .’’ IN OUR OPINION THE WORK HAS BEEN SIGNED/DATED/INSCRIBED BY THE ARTIST. “WITH SIGNATURE . . ’’ IN OUR OPINION THE SIGNATURE/DATE/INSCRIPTION IS BY A HAND OTHER THAN THAT OF THE ARTIST. “WITH DATE . . .’’

“WITH INSCRIPTION . . .’’

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LOT 239

ABSENTEE BID FORM

IMPORTANT IRISH ART 15 SEPTEMBER 2026 @ 2PM Fax: 057 873 6546 ∙ Email: bids@sheppards.ie Telephone Bids: +353 (0)57 874 0000 Please bid on my behalf for the undermentioned lots up to the prices shown which do not include the buyer’s premium. These bids are to be executed as cheaply as is permitted by other bids, or reserves, if any, and subject to the conditions of sale printed in the catalogue.

NAME ADDRESS EMAIL TELEPHONE/MOBILE LOT

DESCRIPTION

MAXIMUM BID

Please bid early. Telephone bids should be confirmed in writing, preferably on this bid form.

Buy-bids are not accepted. Your limit should be the amount at which you would stop if you were bidding in the room.

25% Buyer’s Premium including V.A.T. will be added to your successful bid.

LOT 175

Important

IrishArt

CATALOGUE LIVE ONLINE

SHEPPARDS.IE

AUCTION: 15 SEPTEMBER 2026 Durrow & Live Online

VIEWING: Durrow, Co. Laois, R32 FN88, Ireland Friday - Monday 11 - 14 SEPTEMBER 2026︱10:00-17:00 each day AUCTION: Durrow, Co. Laois, R32 FN88, Ireland Tuesday 15 SEPTEMBER 2026︱14:00 ADMITTANCE IS STRICTLY BY SALE OF CATALOGUE (€20): ADMITS TWO PERSONS