27 February 2017

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UP THE WORKERS' REPUBLIC, IRELAND
UP THE WORKERS' REPUBLIC, IRELAND
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 27 February 2017 / 52

Published Estimate: €800-1,200

Price Realised: €1600

  • Signature: signed lower left
  • Medium: watercolour
  • Dimensions: 5¾ x 7¾in. (14.61 x 19.69cm)
  • Provenance
  • Exhibited
  • Literature
  • The title of the work appears in nautical code (International Code of Signals) on the rows of the flags. A similar work was sold at Whyte's as lot 227 on 17 September 2007.

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GREY STILL LIFE
GREY STILL LIFE
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 27 February 2017 / 53

Published Estimate: €6,000-8,000

Price Realised: €7400

  • Signature: signed lower right; titled on reverse
  • Medium: oil on board
  • Dimensions: 19¾ x 22¼in. (50.17 x 56.52cm)
  • Provenance: Eakin Gallery, Belfast; Private collection
  • Exhibited
  • Literature
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MADGE CAMPBELL AND HER CAT, c.1945-50
MADGE CAMPBELL AND HER CAT, c.1945-50
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 27 February 2017 / 54

Published Estimate: €8,000-15,000

Price Realised: €8000

  • Signature
  • Medium: oil on board
  • Dimensions: 19½ x 18¼in. (49.53 x 46.36cm)
  • Provenance: Family of the artist
  • Exhibited
  • Literature
  • The painting, Madge Campbell and her Cat, with its elaborate frame, is ostensibely the principal subject of this picture, but it is complicated by another framed work which shows the artist painting a model while seated by a balcony - or perhaps this 'other' picture is one which has been deliberately placed in the background. But there is, as usual with Dillon - one is reminded of his Yellow Bungalow in the Ulster Museum - a lot going on in the picture: the sub-plot of the model; the elaborate frame around the 'portrait'; the intricacies of space within the composition, which shows the influence on Dillon of Cubism. And to the right is what appears to be a lamp, whose shade gives rise to yet more shapes; while below the lamp is a picture of the artist painting; and underneath the 'Madge' portrait is a plethora of shapes that are echoed to the centre right. This early Dillon is unusual in the manner of its production, for normally one would expect Madge - wife of fellow artist and friend George Campbell - to be the definite subject of the picture. Yet it is withal still characteristically 'Dillon'. It has, since its inception, been in the artist's family and therefore has rarely been seen in public. Dr S.B. Kennedy January 2017 FIGURATIVE

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LANDSCAPE NEAR CONDÉ, FRANCE, circa 1950
LANDSCAPE NEAR CONDÉ, FRANCE, circa 1950
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 27 February 2017 / 55

Published Estimate: €4,000-6,000

Price Realised: €6000

  • Signature: signed upper right; inscribed on Goodwin Galleries [Limerick] label on reverse
  • Medium: oil on board
  • Dimensions: 15½ x 19½in. (39.37 x 49.53cm)
  • Provenance: Goodwin Galleries, Limerick; Private collection; James Adam & Sons, 14 October 1976, lot 113; Private collection
  • Exhibited
  • Literature
  • In 1949 O'Neill visited France and was influenced be Georges Roulat, Maurice de Vlaminck, and Maurice Utrillo. The works that followed this visit were widely admired by critics. This painting dates to that period, circa 1950. LANDSCAPE

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REHEARSAL
REHEARSAL
Daniel O'Neill (1920-1974)

Auction Date / Lot No.: 27 February 2017 / 56

Published Estimate: €15,000-18,000

Price Realised: €20000

  • Signature: signed upper left; titled on reverse
  • Medium: oil on board
  • Dimensions: 12 x 16in. (30.48 x 40.64cm)
  • Provenance
  • Exhibited
  • Literature
  • Dan O'Neill was born in Belfast in 1920. He was one of a small group of talented Ulster painters which included Colin Middleton, George Campbell and Gerard Dillon who were largely self-taught and who absorbed in differing ways and to varying degrees aspects of European mainstream modernism. His first exhibition was a joint show with Gerard Dillon in 1946 and his first one man exhibition was at the Waddington Galleries, Dublin in 1946. Around that time he gave up his job as an electrician to devote his time to painting. He visited Paris in 1949 and one can detect influences from Vlaminck and other French artists in his work, including the present painting Rehearsal. Weddings seemed to attract O'Neill as a subject for his paintings in the 1950s, a theme that he dropped after the break-up of his own marriage. These early works depict a joyful event and perhaps are reminiscent of his own wedding. FIGURATIVE

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GLENDOWAN, COUNTY DONEGAL
GLENDOWAN, COUNTY DONEGAL
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 27 February 2017 / 57

Published Estimate: €1,000-1,500

Price Realised: €900

  • Signature: signed with monogram lower right; titled on reverse
  • Medium: pastel and watercolour
  • Dimensions: 8½ x 12in. (21.59 x 30.48cm)
  • Provenance
  • Exhibited
  • Literature
  • Glendowan is a townland near Churchill. ABSTRACT

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GLENDOWAN, 1959
GLENDOWAN, 1959
Colin Middleton MBE RHA (1910-1983)

Auction Date / Lot No.: 27 February 2017 / 58

Published Estimate: €800-1,200

Price Realised: €700

  • Signature: signed with monogram, titled and dated upper right
  • Medium: pastel and wash on paper
  • Dimensions: 4 x 6in. (10.16 x 15.24cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Glendowan is a townland near Churchill. ABSTRACT

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THE KING'S HOUSE, TORY ISLAND, COUNTY DONEGAL
THE KING'S HOUSE, TORY ISLAND, COUNTY DONEGAL
Derek Hill CBE HRHA (1916-2000)

Auction Date / Lot No.: 27 February 2017 / 59

Published Estimate: €8,000-12,000

Price Realised: €10000

  • Signature: signed with initials lower right; inscribed on Dawson Gallery label on reverse
  • Medium: oil on canvas
  • Dimensions: 35½ x 28½in. (90.17 x 72.39cm)
  • Provenance: Dawson Gallery, Dublin; Where purchased by Dr & Mrs J. B. Kearney; Adam's, 4 December 2007, lot 66; Private collection
  • Exhibited
  • Literature
  • Derek Hill first visited Tory Island - off the Donegal coast in Northwest Ireland - in 1956. And was captivated by the landscape and its light. He rented a hut there where he painted for weeks at a stretch during the summer months. The islanders were curious about his work and how he created it and soon Hill found himself working with, and teaching, some of the naive local artists. Thus, the Tory Island Painters group was set up, which included Patsy Dan Rodgers, Antóin Meenan and James Dixon among others. The king who lived here was Pádraig Mac Ruairí (Patrick Rodgers) who was the island's king before Patsy Dan. Pádraig was known as Pádraig Pháidí Bhig and the house is Teach Pháidí Bhig. The original king's son, Paul, lives in this house with his wife, Mary to the present day. Rí Thoraí (King of Tory) was an unofficial honorary title given him by the islanders as recognition of his work in promoting the island and its unique culture. Thus, Hill gives his depiction of the Rodgers' home as The King's House.

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LANDSCAPE WITH OLD BUILDINGS
LANDSCAPE WITH OLD BUILDINGS
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 27 February 2017 / 60

Published Estimate: €3,000-5,000

Price Realised: €3000

  • Signature: signed lower centre; titled on reverse
  • Medium: oil on board
  • Dimensions: 28¾ x 38½in. (73.03 x 97.79cm)
  • Provenance
  • Exhibited
  • Literature
  • Arthur Armstrong (1924–1996) was a painter from Carrickfergus, County Antrim, Northern Ireland, who often worked in a Cubist style and produced landscape and still-life works. He studied architecture at Queen's University Belfast, but after two years he moved to study art at Belfast College of Art.[ The influence of Cubism and the School of Paris can be clearly seen in his work, which took him to England, France and Spain. He also travelled and painted in the West of Ireland and Connemara inspired some of his best work. In 1950 he exhibited in the Grafton Gallery in Dublin, and subsequent exhibitions took place in England, Spain and the United States, as well as in Belfast and Dublin. In 1957 he was awarded a travelling scholarship from the Council for the Encouragement of Music and the Arts (CEMA, a forerunner of the Arts Council of Great Britain) and went to Spain. He eventually settled in Dublin in 1962 and began showing work at the Royal Hibernian Academy. In 1968 he was awarded the Douglas Hyde Gold Medal at the Oireachtas Exhibition. In 1969 he designed sets (with his close friends George Campbell and Gerard Dillon) for the Seán O'Casey play, Juno and the Paycock, at the Abbey Theatre in Dublin.. He became a member of the Royal Hibernian Academy in 1972 and in 1973 he was awarded the Art in Context prize from the Arts Council of Northern Ireland. He became a member of Aosdána in 1981,[the same year that a retrospective exhibition of his work from 1950 to 1980 was held by the Arts Council of Northern Ireland. LANDSCAPE

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STILL LIFE IN PURPLE AND BROWN
STILL LIFE IN PURPLE AND BROWN
Arthur Armstrong RHA (1924-1996)

Auction Date / Lot No.: 27 February 2017 / 61

Published Estimate: €1,000-2,000

Price Realised: €1000


MAN AND WOMAN, c.1968
MAN AND WOMAN, c.1968
Gerard Dillon (1916-1971)

Auction Date / Lot No.: 27 February 2017 / 62

Published Estimate: €4,000-6,000

Price Realised: €5200


ARAFO, TENERIFE
ARAFO, TENERIFE
George Campbell RHA (1917-1979)

Auction Date / Lot No.: 27 February 2017 / 63

Published Estimate: €1,500-2,000

Price Realised: €0

  • Signature: signed right centre; titled on reverse
  • Medium: gouache and watercolour with collage on paper
  • Dimensions: 19 x 17½in. (48.26 x 44.45cm)
  • Provenance
  • Exhibited
  • Literature: Susan Stairs, The Irish Figurists and Figurative Painting in Art, George Gallery Montague Ltd., Dublin, 1990, illustrated p. 39
  • ABSTRACT

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CHERUB, 1952
CHERUB, 1952
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 February 2017 / 64

Published Estimate: €20,000-30,000

Price Realised: €0

  • Signature: signed and numbered on weaver's label on reverse; also with weaver's monogram upper left
  • Medium: Aubusson tapestry, Atelier Tabard Frères et Souers, France; (no. 8 from an edition of 10)
  • Dimensions: 43½ x 52in. (110.49 x 132.08cm)
  • Provenance: Taylor Galleries, Dublin; Where purchased by the mother of the present owner; Thence by descent
  • Exhibited
  • Literature: Dorothy Walker, Louis le Brocquy, Dublin, 1981, p.29; Taylor Galleries, Dublin, Louis le Brocquy, Tapestries, exh. cat., 2000, illustrated (another version); The Hunt Museum, Limerick Louis le Brocquy, exh. cat., 2006, illustrated. p.75 (another version)
  • In 1948, Edinburgh Tapestry Weavers, an ancient industry under the patronage of the then Marquis of Bute, invited a number of painters, working in London, to design tapestries. The artists included Stanley Spencer, Jankel Adler, Graham Sutherland and Louis le Brocquy, who later continued his work in this medium in collaboration with the Tabard workshop at Aubusson in France. In 1951, Mrs. S.H. Stead-Ellis, whose art collection already included le Brocquy tapestries, commissioned three related tapestries, adaptable as screen, rug and fire screen, on the theme of the Garden of Eden - Adam and Eve in the Garden, Eden and Cherub. He treated the theme with archetypal imagery in a classical, even traditional manner, the sun and the moon appearing respectively in the male and female spheres. The angel of the Cherubim in the smallest work is an ambiguous figure suggesting apocalyptic disaster rather than heavenly glory, carrying in its palms a prophetic stigmata. But the beautiful rose-pink colour of the angelic figure does suggest some heavenly background. The artist, in an interview with Harriet Cooke published in The Irish Times in May 1973, describes his involvement with tapestry as something he had "rather stumbled into by accident". But after that first commission from Edinburgh Weavers, the medium took on its own distinct fascination: "I always found it a kind of recreation, involving completely different problems, it is refreshing in the sense that one is exhausted in a different way. There is also another aspect of it which is very exciting to the painter, who has this struggle with the angle, and that is the same aspect which is so exciting, say, to the Japanese Satsuma potter, when he puts his jar in the oven and waits on tenterhooks for it to come out. It always comes out a little different from what he had imagined and sometimes he has wonderful surprises. The method I use is a system of notation, a linear design which is numbered in the colours of a range of wools. Although one can visualise what one is doing, to a certain extent, when the tapestry is palpably there this causes an independent birth of something, and that is so contrary to the whole involved process of painting that it is rather refreshing." Extracts from www.anne-madden.com ABSTRACT

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LIFE STUDY [SELF], c.1970
LIFE STUDY [SELF], c.1970
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 February 2017 / 65

Published Estimate: €30,000-50,000

Price Realised: €34000

  • Signature
  • Medium: oil on canvas
  • Dimensions: 35½ x 28in. (90.17 x 71.12cm)
  • Provenance: With The Dawson Gallery, circa 1970; Private collection
  • Exhibited
  • Literature
  • This work is thought to have been created circa 1970, during a period when le Brocquy was embarked on a particularly productive period of his vocation as an artist. Inspired by the Corlech head which he came across in the 1940s, an exhibit of reconstructed Polynesian heads at the Museé de l'Homme, Paris in 1964, a 1965 visit to see archaeological remains demonstrating a Celto-Ligurian head cult at Entremont and Roquepertuse in the South of France, le Brocquy created his Ancestral Heads series of paintings. Over the next ten years the heads would lose their anonymity and become the Portrait Heads, with which le Brocquy would become synonymous. The present work is almost a discovery - and if that, a discovery of immense importance. It can be placed with certitude between the series of Ancestral Heads (1964-1974) and the Portrait Heads (1975-2005). As far as we can find it has not ever been exhibited or illustrated in any medium until now; it was purchased privately from the artist through the agency of his Dublin gallery, The Dawson, by a friend of Louis le Brocquy, and it is consigned by her estate. It is among the very few - the other subjects being his father, his wife, Anne, and James Joyce - of the pre-1975 series of Head paintings to be recognisable - in this case the visage is that of the artist himself, and can be called 'a forerunner' of the Portrait Heads of a few years later. The sequence of four images is similar in composition to Head Sequence 1970, an oil on canvas in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC. Another painting in that collection, Head In The Sun, 1968, is distinctively related to the present work with its bright golden hue, as opposed to the dark blues and browns of most of the other works in the Ancestral Heads series. ABSTRACT

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PEARS, 1979
PEARS, 1979
William Scott CBE RA (1913-1989)

Auction Date / Lot No.: 27 February 2017 / 66

Published Estimate: €2,000-3,000

Price Realised: €4200

  • Signature: signed and dated lower right; numbered lower left
  • Medium: lithograph on wove paper; (no. 144 from an edition of 150)
  • Dimensions: 19¾ x 25¼in. (50.17 x 64.14cm)
  • Provenance: Bonham's, 2 October 2006, lot 303; Private collection
  • Exhibited
  • Literature
  • Published by CCA Galleries, London.

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ODEON SUITE II, 1966
ODEON SUITE II, 1966
William Scott CBE RA (1913-1989)

Auction Date / Lot No.: 27 February 2017 / 67

Published Estimate: €2,000-3,000

Price Realised: €3800

  • Signature: signed and dated lower right; inscribed [AP] lower left
  • Medium: lithograph; (artist's proof set aside from an edition of 75)
  • Dimensions: 19½ x 24½in. (49.53 x 62.23cm)
  • Provenance
  • Exhibited
  • Literature: Brian Balfour-Oatts, William Scott: A Survey of his Original Prints, Archeus Editions, London, 2005, page 53, listed as no. 20 in the chronological checklist
  • Sheet size: 24.5 by 29.5 inches. Printed on Rives paper Matthieu AG, Zurich, and published by Editions Alecto. The Odeon Suite was named after the Odeon Café in Zurich, which Scott frequented whilst working in the city. The entire suite of prints was exhibited at the Fifth International Biennial in Tokyo in 1966, where Scott was awarded the Ministry for Foreign Affairs Prize. ABSTRACT

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IMAGE OF SEAMUS HEANEY, 2009
IMAGE OF SEAMUS HEANEY, 2009
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 February 2017 / 70

Published Estimate: €3,000-5,000

Price Realised: €5400

  • Signature: signed and numbered lower right
  • Medium: intaglio print on Japanese Kozu natural paper; (no. 35 from edition of 75)
  • Dimensions: 23 x 17½in. (58.42 x 44.45cm)
  • Provenance
  • Exhibited
  • Literature
  • Sheet size 30 by 21.5 in. Printed by Stoney Road Press, Dublin. ABSTRACT

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ENCLOSED FIELD, BEARA, 1988
ENCLOSED FIELD, BEARA, 1988
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 February 2017 / 71

Published Estimate: €2,000-3,000

Price Realised: €0

  • Signature: signed, titled, dated and numbered lower left
  • Medium: lithograph; (no. 13 from an edition of 25)
  • Dimensions: 17½ x 22¾in. (44.45 x 57.79cm)
  • Provenance: Whyte's, 20 September 2005, lot 175; Private collection
  • Exhibited
  • Literature
  • ABSTRACT

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STUDY FOR RIVERRUN: PROCESSION WITH LILIES, 1984
STUDY FOR RIVERRUN: PROCESSION WITH LILIES, 1984
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 February 2017 / 72

Published Estimate: €40,000-60,000

Price Realised: €46000

  • Signature: signed with initials and dated lower right; signed, dated, titled and numbered [521] on reverse; with typed Taylor Galleries label on reverse
  • Medium: oil on canvas
  • Dimensions: 14¾ x 18in. (37.47 x 45.72cm)
  • Provenance: With Taylor Galleries, Dublin, 1985; Private collection
  • Exhibited
  • Literature: Dublin: Taylor Galleries, Louis le Brocquy, Procession with Lilies and other new work, 27 March to 25 April 1985. Interview by Ann Cremin, extract from 'Louis le Brocquy now', Social & Personal, Dublin, December 1984
  • A 1939 news clipping was to inspire Louis le Brocquy to create a painting of children, entitled Procession With Lilies, over twenty years later in 1962 and a series of paintings in 1984-1992 entitled Procession. Dorothy Walker1 notes: 'The image of these jeunes filles en fleur (et aux fleurs) has been simmering in the artist's mind since 1939 when a friend in Dublin sent him, to France where he was then living, a newspaper cutting from the Evening Herald showing a group of young girls in white First Communion dresses, coming around a corner, laughing and carrying white lilies. The caption to the photograph was "Schoolgirls returning from Church after the blessing of the Lilies on the Feast of St Anthony." The present work is described by the artist as a study for the larger works in the series but it is a fully finished painting and was executed in the same manner as the others in the series. Peter Murray2 writes: "The oil studies certainly show le Brocquy's interest in the use of pure patches of colour - reds, yellows and blues -on a white or off-white background. The paint is dragged, pulled, thinned with turpentine, and applied in washes, almost like watercolour. The figures of the girls are depicted in a state of immanence, emerging from and receding into the background, a sense of procession conveyed by complex dancing brushstrokes." Louis le Brocquy writes 3 "These paintings are centrally concerned with what I might describe as the mystery of time" and "In the case of the Procession With Lilies, to do with an instant in an event which occurred years ago within a succession of present moments". 1. Dorothy Walker, Louis le Brocquy, Ward River Press, Dublin 1981. 2. Peter Murray Louis le Brocquy Procession catalogue for exhibition at Crawford Municipal Art Gallery, Cork, and Taylor Galleries, Dublin, 2003. In a letter to Peter Murray, September 2003. ABSTRACT

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THE TÁIN. CÚCHULAINN IN WARP SPASM, 1969
THE TÁIN. CÚCHULAINN IN WARP SPASM, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 February 2017 / 73

Published Estimate: €15,000-18,000

Price Realised: €26000

  • Signature: signed and numbered on label on reverse
  • Medium: Aubusson tapestry; (no. 2 from an edition of 9)
  • Dimensions: 72½ x 50½in. (184.15 x 128.27cm)
  • Provenance: Taylor Galleries, Dublin; Private collection
  • Exhibited
  • Literature
  • Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland's oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin. The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce's Finnegans Wake drew on its meandering style - but Thomas Kinsella's Táin was the first widely-accessible version, especially when Oxford University Press' 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass' Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation. The images le Brocquy called 'shadows thrown by the text' became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in these tapestries. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post. Le Brocquy's innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. The present work, Cúchulainn's Warp Spasm, speaks both of calligraphic marks from Sun Tzu's The Art of War and Yves Klein's bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples. The translation into tapestry, via le Brocquy's Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché's subtly-textured cottons and wools freed le Brocquy's black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book's relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or Medb Ruane, April 2012. [Abridged note reprinted from Whyte's Important Irish Art auction catalogue, May 2012] ABSTRACT

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THE TÁIN. CÚCHULAINN CONFRONTING FERDIA, 1969
THE TÁIN. CÚCHULAINN CONFRONTING FERDIA, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 February 2017 / 74

Published Estimate: €1,500-2,000

Price Realised: €3700

  • Signature: signed, numbered and dated lower right
  • Medium: lithographic brush drawing; (no. 53 from an edition of 70)
  • Dimensions: 21¼ x 15in. (53.98 x 38.10cm)
  • Provenance: Whyte's, 30 April 2007, ex lot 52; Private collection
  • Exhibited
  • Literature
  • Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof. The present example is no. 1 in the series. ABSTRACT

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THE TÁIN. NOISIU, 1969
THE TÁIN. NOISIU, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 February 2017 / 75

Published Estimate: €1,500-2,000

Price Realised: €2000

  • Signature: signed, numbered and dated lower left
  • Medium: lithographic brush drawing; (no. 24 from an edition of 70)
  • Dimensions: 21 x 15in. (53.34 x 38.10cm)
  • Provenance
  • Exhibited
  • Literature
  • Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof. The present example is no. 13 in the series. ABSTRACT

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THE TÁIN. THE INFANT CÚCHULAINN, 1969
THE TÁIN. THE INFANT CÚCHULAINN, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 February 2017 / 76

Published Estimate: €1,500-2,000

Price Realised: €2300

  • Signature: signed, numbered and dated lower right
  • Medium: lithographic brush drawing; (no. 53 from an edition of 70)
  • Dimensions: 15 x 21¼in. (38.10 x 53.98cm)
  • Provenance: Whyte's, 30 April 2007, ex lot 52; Private collection
  • Exhibited
  • Literature
  • Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof. The present example is no. 12 in the series. ABSTRACT

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THE TÁIN. FERDIA DEAD, 1969
THE TÁIN. FERDIA DEAD, 1969
Louis le Brocquy HRHA (1916-2012)

Auction Date / Lot No.: 27 February 2017 / 77

Published Estimate: €1,500-2,000

Price Realised: €1500

  • Signature: signed, numbered and dated lower right
  • Medium: lithographic brush drawing; (no. 53 from an edition of 70)
  • Dimensions: 15 x 21¼in. (38.10 x 53.98cm)
  • Provenance: Whyte's, 30 April 2007, ex lot 52; Private collection
  • Exhibited
  • Literature
  • Printed in Dublin in 1969 by Frank O’Reilly in an edition of 70 plus one artist’s proof. The present example is no. 4 in the series. ABSTRACT

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AUTUMN AND BLACK, CALLAN, COUNTY KILKENNY, 1979
AUTUMN AND BLACK, CALLAN, COUNTY KILKENNY, 1979
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 78

Published Estimate: €5,000-7,000

Price Realised: €5000

  • Signature: signed and dated [11/79] in pastel right centre; signed, dated and titled in pen lower centre
  • Medium: gouache
  • Dimensions: 20¼ x 30¼in. (51.44 x 76.84cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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SUMMER INSCAPE, CALLAN, COUNTY KILKENNY, 1981
SUMMER INSCAPE, CALLAN, COUNTY KILKENNY, 1981
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 79

Published Estimate: €12,000-15,000

Price Realised: €17000

  • Signature: signed, titled, dated and numbered on reverse
  • Medium: oil on board
  • Dimensions: 36 x 48in. (91.44 x 121.92cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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CIRCULAR PAINTING, 1977
CIRCULAR PAINTING, 1977
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 80

Published Estimate: €2,500-3,500

Price Realised: €4000

  • Signature: signed with initials and dated [Sep 1977] on reverse
  • Medium: oil on chipboard; (circular)
  • Dimensions: 18 x 18in. (45.72 x 45.72cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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MASK AND BOOK, 1979
MASK AND BOOK, 1979
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 81

Published Estimate: €2,000-3,000

Price Realised: €2300

  • Signature: signed with initials and dated [10/79] lower right; signed, titled and dated [4th October 1979] on reverse
  • Medium: oil on canvas
  • Dimensions: 14 x 18in. (35.56 x 45.72cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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EARLY MORNING, BAHAMAS, 1979
EARLY MORNING, BAHAMAS, 1979
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 82

Published Estimate: €12,000-15,000

Price Realised: €16500

  • Signature: signed, inscribed [Miles Apart Exhib 81/82], titled, dated and numbered [R209] on reverse
  • Medium: oil on board
  • Dimensions: 48 x 36in. (121.92 x 91.44cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Another work from the McClelland's collection was used to decorate the front cover of the exhibition catalogue for the 'Miles Apart' show. ABSTRACT

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GOATS [ST MARTIN'S SERIES], 1975
GOATS [ST MARTIN'S SERIES], 1975
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 83

Published Estimate: €800-1,200

Price Realised: €1250

  • Signature: signed with initials, titled and dated [5/75] lower right; titled on reverse
  • Medium: gouache
  • Dimensions: 6½ x 9½in. (16.51 x 24.13cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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OUTDOOR STUDIO II
OUTDOOR STUDIO II
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 84

Published Estimate: €1,000-1,500

Price Realised: €1500

  • Signature: signed with initials lower left and dated lower right; inscribed with artist's name, title and date on reverse as well as artists studio address
  • Medium: gouache on paper
  • Dimensions: 11½ x 17¼in. (29.21 x 43.82cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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PIGEON FLIGHT, 1975
PIGEON FLIGHT, 1975
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 85

Published Estimate: €1,200-1,500

Price Realised: €1300

  • Signature: signed with initials, dated [10/75] and titled lower right
  • Medium: watercolour and gouache
  • Dimensions: 11½ x 16¼in. (29.21 x 41.28cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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SELF PORTRAIT,1977
SELF PORTRAIT,1977
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 86

Published Estimate: €2,000-3,000

Price Realised: €1900

  • Signature: signed with initials and inscribed [at Alex's, Newmill] lower right; dated [20 May 1977] lower left
  • Medium: gouache on paper
  • Dimensions: 15½ x 11in. (39.37 x 27.94cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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UNTITLED [BLACK, YELLOW AND BLUE], 1977
UNTITLED [BLACK, YELLOW AND BLUE], 1977
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 87

Published Estimate: €1,500-2,000

Price Realised: €2100

  • Signature: signed with initials lower left and centre; dated lower centre
  • Medium: gouache
  • Dimensions: 16½ x 11¾in. (41.91 x 29.85cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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CÓILL NA PRÉACAIN, CALAINN, 1980
CÓILL NA PRÉACAIN, CALAINN, 1980
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 88

Published Estimate: €1,000-1,500

Price Realised: €2000

  • Signature: signed lower left; titled lower centre; dated [8/80] lower right
  • Medium: gouache, pencil, watercolour and sand on paper
  • Dimensions: 16 x 11in. (40.64 x 27.94cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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SAMHAIN NO. 2, 1969
SAMHAIN NO. 2, 1969
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 89

Published Estimate: €1,000-1,500

Price Realised: €2500

  • Signature: signed lower left; dated lower right; signed and numbered [R75] on reverse; also with exhibition label on reverse
  • Medium: oil and acrylic on board
  • Dimensions: 15½ x 11½in. (39.37 x 29.21cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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TWO FIELDS, CALLAN, 1972
TWO FIELDS, CALLAN, 1972
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 90

Published Estimate: €1,000-1,500

Price Realised: €1400

  • Signature: signed [Ó Máille] lower left; dated lower right; titled in another hand on reverse
  • Medium: gouache on paper
  • Dimensions: 15 x 10in. (38.10 x 25.40cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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UNTITLED [RED, YELLOW AND BLUE], 1978
UNTITLED [RED, YELLOW AND BLUE], 1978
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 91

Published Estimate: €1,000-1,500

Price Realised: €1300

  • Signature: signed and dated [11/1980] lower right; indistinctly titled lower left; signed with initials and dated upper left
  • Medium: oil and gouache on paper
  • Dimensions: 9½ x 14¾in. (24.13 x 37.47cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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UNTITLED, 1976
UNTITLED, 1976
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 92

Published Estimate: €1,000-1,500

Price Realised: €1200

  • Signature: signed with initials lower left; dated lower right
  • Medium: gouache on board
  • Dimensions: 9 x 18in. (22.86 x 45.72cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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EARTH MARKS, CALLAN, 1980
EARTH MARKS, CALLAN, 1980
Tony O'Malley HRHA (1913-2003)

Auction Date / Lot No.: 27 February 2017 / 93

Published Estimate: €1,000-1,500

Price Realised: €1600

  • Signature: signed with initials and dated lower right
  • Medium: gouache on paper
  • Dimensions: 8 x 11in. (20.32 x 27.94cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • ABSTRACT

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UNTITLED [REVERSE]
UNTITLED [REVERSE]
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 27 February 2017 / 94

Published Estimate: €1,500-3,000

Price Realised: €1600

  • Signature
  • Medium: oil on canvas laid on board
  • Dimensions: 19¼ x 15in. (48.90 x 38.10cm)
  • Provenance: A gift from the artist to Rachel Wroe-Sawko; thence by descent.
  • Exhibited
  • Literature
  • Rachel Wroe-Sawko (1933-2013) was a stained glass artist who studied at Birmingham School of Art and The Slade School. She lived in Ireland for 16 years and was a neighbour and friend of Charles Brady in Dun Laoghaire. ABSTRACT

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COTTAGE
COTTAGE
Charles Brady HRHA (1926-1997)

Auction Date / Lot No.: 27 February 2017 / 94.1

Published Estimate: €1,500-2,000

Price Realised: €2600

  • Signature: signed lower right; signed, titled and with artist's address [Royal Terrace West, Dun Laoghaire] on reverse
  • Medium: oil on canvas
  • Dimensions: 14¾ x 15¾in. (37.47 x 40.01cm)
  • Provenance
  • Exhibited
  • Literature
  • LAMDSCAPE

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PORTRAIT STUDY
PORTRAIT STUDY
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 27 February 2017 / 95

Published Estimate: €6,000-8,000

Price Realised: €3200

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 25 x 17½in. (63½ x 44.45cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • FIGURATIVE

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COTTAGE
COTTAGE
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 27 February 2017 / 96

Published Estimate: €3,000-5,000

Price Realised: €7000

  • Signature: signed lower left
  • Medium: oil on canvas
  • Dimensions: 9¼ x 11¼in. (23½ x 28.58cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • ABSTRACT

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ROAD NEAR LISSADELL WITH BENBULBEN IN THE DISTANCE
ROAD NEAR LISSADELL WITH BENBULBEN IN THE DISTANCE
Terence P. Flanagan RHA PPRUA (1929-2011)

Auction Date / Lot No.: 27 February 2017 / 97

Published Estimate: €2,000-3,000

Price Realised: €1900

  • Signature: signed lower right; with David Hendriks framing label verso
  • Medium: watercolour
  • Dimensions: 23 x 30in. (58.42 x 76.20cm)
  • Provenance: Collection of George and Maura McClelland
  • Exhibited
  • Literature
  • Born in Co Fermanagh, he [Terence Flanagan] also spent a great deal of time during his childhood in Co. Sligo in and around Lissadell, and these linked landscapes, together with the rather different physical environment of Co. Donegal, form the core of his subject matter. His work has a very precise sense of place. He is thoroughly at home in low-lying, soft, watery Fermanagh, and in the dense romantic woods of Lissadell. His evocations of these close-up worlds of impossibly lush growth, tangled vegetation, glimpses of water and warm, moist air are atmospherically precise. Aidan Dunne, The Irish Times, 23 July 2003. LANDSCAPE

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BLACK DOG SWIMMING
BLACK DOG SWIMMING
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 27 February 2017 / 98

Published Estimate: €8,000-12,000

Price Realised: €0

  • Signature: signed lower left
  • Medium: oil on board
  • Dimensions: 11¾ x 9¾in. (29.85 x 24.77cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • ABSTRACT

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STILL LIFE WITH VASE OF FLOWERS
STILL LIFE WITH VASE OF FLOWERS
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 27 February 2017 / 99

Published Estimate: €2,000-3,000

Price Realised: €3600

  • Signature: signed in pencil lower left
  • Medium: oil on paper
  • Dimensions: 11¼ x 7in. (28.58 x 17.78cm)
  • Provenance: Acquired directly from the artist
  • Exhibited
  • Literature
  • ABSTRACT

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POST BOX
POST BOX
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 27 February 2017 / 100

Published Estimate: €2,000-3,000

Price Realised: €3400


LANDROVER
LANDROVER
Basil Blackshaw HRHA RUA (1932-2016)

Auction Date / Lot No.: 27 February 2017 / 101

Published Estimate: €5,000-7,000

Price Realised: €6400


UNTITLED
UNTITLED
Cecil King (1921-1986)

Auction Date / Lot No.: 27 February 2017 / 102

Published Estimate: €600-800

Price Realised: €850


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