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IRISH ART

17th SEPTEMBER 2002

Royal Dublin Society Ballsbridge
commencing at 6pm

Viewing at the RDS September 14-16, 10am to 6pm (to 9pm on Monday 16th)
Limited viewing on day of sale 10am-2pm

All estimates are in Euro.

 

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1
Patrick Leonard HRHA (b.1918)

HOME FROM SCHOOL
signed (twice) lower left and right
oil on board
25 by 36cm., 10 by 14in.

€1,500-€2,000 (IR £1,200-£1,600 approx.)

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2
Tony Klitz (d.2000)

MERCHANT’S ARCH, DUBLIN
signed lower right; inscribed on reverse and dated [1999]
oil on canvas
46 by 36cm., 18 by 14in.

Provenance:
Gift from the artist to the present owner

€1,500-€2,000 (IR £1,200-£1,600 approx.)

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3
Gladys Maccabe HRUA ROI FRSA (b.1918)

MARKET DAY
signed lower right; titled on reverse
oil on board
30 by 41cm., 12 by 16in.

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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4
Elizabeth Brophy

THE BEACH
signed lower right; titled on reverse
oil on board
30 by 46cm., 12 by 18in.

€1,800-€2,000 (IR £1,400-£1,600 approx.)

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5
Norman J. McCaig (1929-2001)

CATTLE GRAZING BY THE SEA
signed lower right
oil on canvas
46 by 61cm., 18 by 24in.

€3,000-€5,000 (IR £2,300-£3,900 approx.)

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6
Desmond Carrick RHA (b.1928)

MARSHLAND BELOW CAHERDANIEL, COUNTY KERRY
signed lower left; titled on reverse
oil on board
46 by 61cm., 18 by 24in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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7
Elizabeth Cope (b.1952)

FARM SCENE WITH GEESE AND SHEEP
signed lower right
oil on board
61 by 76cm., 24 by 30in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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8
Kenneth Webb RWA FRSA RUA (b.1927)

ROCKY INLET
signed lower left; titled on reverse
oil on canvas
61 by 51cm., 24 by 20in.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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9
Norman J. McCaig (1929-2001)

BLUE STACK MOUNTAINS
signed lower left
oil on board
41 by 122cm., 16 by 48in.

A relatively early work, painted in Donegal whilst the artist was studying under Kenneth Webb, whose vigorous palette knife technique McCaig has employed in this work.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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10
Peter Collis RHA (b.1929)

WICKLOW LANDSCAPE WITH THE SUGARLOAF MOUNTAIN IN THE DISTANCE
signed lower left
oil on canvas laid board
36 by 46cm., 14 by 18in.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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11
Robert Taylor Carson HRUA (b.1919)

ASHFORD CASTLE
signed lower right; original cheque payment dated 1950, pasted on reverse
oil on canvas
51 by 61cm., 20 by 24in.

Provenance:
Noel Huggard, hotelier and owner of Ashford Castle;
Sold in 1950 to a private collector, New York, for the sum of $75-00 (original cheque on reverse)

The former seat of the Earl of Iveagh, Ashford was sold in 1939 to Noel Huggard, who converted the castle into a hotel. It is located near Cong, Co. Mayo.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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12
Charles J. McAuley RUA ARCA (1910-1999)

RIVER LANDSCAPE, SUMMER
signed lower left
oil on canvas
38 by 51cm., 15 by 20in.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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13
Cecil Maguire RHA RUA (b.1930)

EVENING LIGHT AT THE BENAB
signed lower right; titled on reverse
oil on canvas
38 by 89cm., 15 by 35in.

€5,000-€7,000 (IR £3,900-£5,500 approx.)

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14
Maurice Canning Wilks RUA ARHA (1910-1984)

SUMMER, CASTLEWELLAN, COUNTY DOWN
signed lower left; inscribed on reverse
oil on canvas
46 by 56cm., 18 by 22in.

€6,000-€8,000 (IR £4,700-£6,200 approx.)

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15
George K. Gillespie RUA (1924-1995)

RIVER ESK, NEAR BARNSMORE, COUNTY DONEGAL
signed lower left; inscribed on reverse
oil on canvas
61 by 91cm., 24 by 36in.

€6,000-€8,000 (IR £4,700-£6,200 approx.)

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16
James Humbert Craig RHA RUA (1877-1944)

THE ANGLER
signed lower left
oil on panel
30 by 43cm., 12 by 17in.

Provenance:
William Rodman & Co., Belfast;
Bell Gallery, Belfast;
Eaton Gallery, London

€7,500-€8,500 (IR £5,900-£6,600 approx.)

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17
Seán McSweeney (b.1935)

P.J.’S, LUGGLASS (COUNTY WICKLOW)
signed and dated [1984] lower left; gallery label on reverse
oil on board
25 by 36cm., 10 by 14in.

Provenance:
Taylor Galleries, Dublin

Exhibited:
‘Seán McSweeney’, Taylor Galleries, Dublin, 13-28 July 1984, catalogue no. 13

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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18
Donald Teskey (b.1956)

WILD WOODLANDS
signed lower left
oil on board
58 by 79cm., 23 by 31in.

A view of part of Howth Castle grounds to the rear of the Deerpark Hotel.

€6,000-€8,000 (IR £4,700-£6,200 approx.)

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19
Henry Healy RHA (1909-1982)

HOWTH HARBOUR
signed lower right
oil on board
36 by 46cm., 14 by 18in.

€2,000-€2,500 (IR £1,600-£2,000 approx.)

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20
Peter Collis RHA (b.1929)

BEND IN THE ROAD, WICKLOW
signed lower right
oil on board
25 by 25cm., 10 by 10in.

€1,500-€1,800 (IR £1,200-£1,400 approx.)

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21
Maurice MacGonigal PPRHA (1900-1979)

BALLYCONNEELY, 1976
signed lower right; titled on reverse
oil on canvas
61 by 102cm., 24 by 40in.

Provenance:
Taylor Galleries, Dublin

€15,000-€20,000 (IR £11,700-£15,600 approx.)

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22
John Shinnors (b.1950)

MAGPIES OVER CATHEDRAL SQUARE
signed lower right; inscribed and dated [1997] on reverse
oil on canvas laid on board
18 by 22cm., 7 by 8.5in.

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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23
Nancy Wynne-Jones HRHA (b.1922)

ALLEGORY
signed and dated [1963] on reverse
mixed media on paper
38 by 55cm., 15 by 21.5in.

Originally from north Wales, Nancy Wynne-Jones studied art at Heatherleys in London and later moved to St. Ives. She held her first solo exhibition in 1962 at the New Vision Centre, London, and soon afterwards exhibited in Florence. In Cornwall she showed alongside artists such as Sir Terry Frost RA, Patrick Heron and Roger Hilton. She moved to Ireland in 1972 and began exhibiting with the Project Arts Centre, the Emmet Gallery, Lad Lane Gallery, Lincoln Gallery and most recently the Taylor Galleries, Dublin. She lives in west Cork with her husband, the sculptor Conor Fallon RHA.

€1,500-€2,000 (IR £1,200-£1,600 approx.)

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24
Brian Bourke HRHA (b.1936)

SELF AND DON QUIXOTE [SET OF SIX]
each one signed and numbered 4 out of an edition of 20
colour etchings
51 by 34cm., 20 by 13.5in.

Exhibited:
‘Self and Don Quixote’, Taylor Galleries, Dublin, 1981

Literature:
James White, The Art of Brian Bourke: A Catalogue, Goldsmith Press, The Curragh, 1982, illustrated p.82

Four are titled ‘Self and Don Quixote’ (April 1980), whilst the remaining two are ‘Don Quixote on his deathbed’ (April 1980) and an untitled work showing Don Quixote and Sancho Panza looking upon the skeleton of a horse, also dated April 1980.

€2,500-€3,000 (IR £2,000-£2,300 approx.)

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25
Seán McSweeney HRHA (b.1935)

THE WHITE THORN TREE
signed and dated [1983] lower left; inscribed on reverse
oil on board
25 by 18cm., 10 by 7in.

Provenance:
Taylor Galleries, Dublin

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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26
Tony O’Malley HRHA (b.1913)

SPRING SKY WITH BUSY ROOKS
signed with initials lower left; inscribed and dated [1985] on reverse
oil and sand on board
91 by 56cm., 36 by 22in.

Provenance:
Salthouse Gallery, Norway Square, St. Ives, whence purchased in 1985 by the current owner

Number 730 in the artist’s opus.

€15,000-€20,000 (IR £11,700-£15,600 approx.)

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27
Colin Middleton RHA (1910-1983)

THE READER
signed in monogram lower right
oil on panel
41 by 25cm., 16 by 10in.

€10,000-€12,000 (IR £7,800-£9,400 approx.)

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28
Louis le Brocquy HRHA (b.1916)

STUDY OF SELF
signed in pencil lower right
lithograph, number 10 out of an edition of 75
17 by 15cm., 6.5 by 6in.

Exhibited:
RHA, 1949 catalogue no. 229 (where individually mounted prints were sold at £2-0-0 each)

€1,500-€2,500 (IR £1,200-£2,000 approx.)

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29
Cecil ffrench Salkeld ARHA (1904-1969)

CRIPPLED MAN ON PATH
signed and dated [1935] lower left
gouache on canvas
61 by 46cm., 24 by 18in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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30
Basil Rákóczi (1908-1979)

BOY WITH FISH
signed lower left; inscribed, dated [1956] and signed again on reverse
gouache on paper
44 by 57cm., 17.5 by 22.5in.

Provenance:
Artist’s studio;
Jacqueline Robinson, Paris;
John & Lorna Harbottle, London;
Gorry Gallery, Dublin;
Private collection, Dublin

Exhibited:
‘Basil Ivan Rákóczi (1908-1979)’, Gorry Gallery, Dublin, 30 May - 12 June 1996

€5,000-€6,000 (IR £3,900-£4,700 approx.)

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31
Nevill Johnson (1911-1999)

PARTNERS
signed, inscribed and dated [1980] on reverse
charcoal and acrylic on canvas
51 by 41cm., 20 by 16in.

Provenance:
Tom Caldwell Galleries, Belfast

€8,000-€10,000 (IR £6,200-£7,800 approx.)

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32
George Campbell RHA (1917-1979)

SARDINES
signed and dated [1944] lower right
oil on board
25 by 30cm., 10 by 12in.

Provenance:
Bell Gallery, Belfast;
The Molly Lawrence Collection, Belfast

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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33
Fergus O’Ryan RHA ANCA (1911-1989)

GREEK FISHERMAN AND FAMILY
signed lower right; titled on reverse
oil on canvas laid on board
51 by 61cm., 20 by 24in.

€2,500-€3,500 (IR £2,000-£2,700 approx.)

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34
Markey Robinson (1918-1999)

DONEGAL, GOING HOME and STANDING FIGURE [SET OF THREE]
the former signed and inscribed on reverse; the latter signed in monogram lower right
each oil on panel, framed separately
10 by 13cm., 4 by 5in.

Provenance:
Tom Caldwell Galleries, Belfast

Exhibited:
‘Markey Robinson (1919-1999)’, Rowan Gallery, Ballyclare, Co. Antrim, 25 November - 5 December 1999, illustration of ‘Standing Figure’ on page 5

‘Going Home’ measures 4 x 4.5in., while ‘Standing Figure’ measures 7 x 3.5 inches. All three are early examples of Markey’s work.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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35
Markey Robinson (1918-1999)

SAILBOATS AT DUSK
signed lower left
oil on board
51 by 64cm., 20 by 25in.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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36
Daniel O’Neill (1920-1974)

THE RED CANOE
signed lower right; inscribed on reverse
oil on hardboard
46 by 61cm., 18 by 24in.

Provenance:
Waddington Galleries, London, whence purchased by John G. McConnell Esq.
Private Collection, Toronto;
Waddingtons, Toronto;
Private Collection, Belfast

€12,000-€15,000 (IR £9,400-£11,700 approx.)

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37
Charles Brady HRHA (1926-1997)

HAYCOCK
signed lower left; inscribed and dated [1975] on reverse
oil on canvas
46 by 56cm., 18 by 22in.

Provenance:
Purchased in 1975 by the family of the present owners (and with the framing label of the Dawson Gallery, Dublin, on reverse)

Exhibited:
‘Charles Brady’, Tom Caldwell Gallery, Dublin, 1975, catalogue no. 13

€8,000-€10,000 (IR £6,200-£7,800 approx.)

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38
Louis le Brocquy HRHA (b.1916)

CHILD WITH RED BALL
signed and dated [1948] lower right
watercolour, pen and ink
12 by 20cm., 4.75 by 8in.

Provenance:
Given by the artist to his godson

Bearing label of Gimpel Fils, London, on reverse.

€7,000-€9,000 (IR £5,500-£7,000 approx.)

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39
Louis le Brocquy HRHA (b.1916)

The Táin
each print signed and numbered
twelve boxed lithographs
54 by 38cm., 21.5 by 15 in.

Provenance:
Given by the artist to his godson

Portfolio number 1, containing the first twelve lithographic brush drawings, printed by Frank O’Reilly in Dublin in 1969, in an edition of 70. Each print is individually numbered and signed by le Brocquy. Large boxed folio, unbound. ARTIST’S PRESENTATION COPY to his godson Ormody Oisín, INSCRIBED BY LE BROCQUY on title-page and dated March 1970.

€5,000-€6,000 (IR £3,900-£4,700 approx.)

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40
Charles Brady HRHA (1926-1977)

PEG
signed lower right
oil on canvas
21 by 36cm., 8.25 by 14in.

€6,000-€8,000 (IR £4,700-£6,200 approx.)

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41
Patrick Collins HRHA (1910-1984)

SUN ON THE BOG
signed and dated [1964] lower right; original exhibition label on reverse
oil on board
46 by 61cm., 18 by 24in.

Provenance:
Denis Dunne Esq.

Exhibited:
Ritchie Hendriks Gallery, Dublin, July 1964

Collins’ series of bog paintings developed during a nine month period spent digging drainage ditches in Connemara in the 1960s. Again, like with so many of his works, the focus is on the land, uninterrupted by the suggestion of animals, people, trees or buildings. "We are forced to focus on the bog and to contemplate the ultimate return of all living matter to the earth."1 The composition is developed simply with a few strong lines set against an empty space with the slightest hint of the "window" treatment. Collins’ bog paintings are often interpreted as expressions of loneliness or isolation. However, the reference to the sun in this piece suggests a sense of hope and awakening.

1 Frances Ruane, Patrick Collins, The Arts Council, Dublin, 1982, pp.54-55

€40,000-€60,000 (IR £31,200-£46,800 approx.)

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42
Daniel O’Neill (1920-1974)

THE WINNERS
signed lower left; inscribed with title on reverse
oil on board
46 by 61cm., 18 by 24in.

Provenance:
Oriel Gallery, Dublin

€10,000-€12,000 (IR £7,800-£9,400 approx.)

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43
Gerard Dillon (1916-1971)

BACK VIEW, ROUNDSTONE
signed lower left; inscribed on reverse
oil on board
45 by 64cm., 17.5 by 25in.

Provenance:
Collection of Phil Rafferty (1919-1996), artist and friend of Dillon’s;
Phil Rafferty studio sale, De Vere’s, Dublin, 4 March 1997, Lot 171

Dillon often returned to Roundstone in Connemara after his first visit there with Campbell and Macintyre in 1939. Around 1950 he was staying in a friend’s cottage on the isle of Inishlackan, off Roundstone, when Phil Rafferty, whom Dillon had met in London during the war, came to visit. (see Snoddy, pp.137-139, 549). This painting is thought to date to that time.

€8,000-€10,000 (IR £6,200-£7,800 approx.)

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44
Colin Middleton RHA (1910-1983)

BUILDINGS WITH DISTANT SPINNEY
signed and dated [1939] lower left
oil on canvas
41 by 51cm., 16 by 20in.

1939 was a year of extraordinary variety within Colin Middleton’s work. Paintings that date from this year include surrealist work in a range of styles, quiet views of Belfast executed in an impressionist manner, and also a small number of landscapes similar to the present picture.

This seems to have been the first body of work Middleton completed that is based around the landscape, and he would not return to it in depth for about another eight years. These paintings could be seen as a sister group to the Belfast street scenes of this period. It is likely that both sprung from the same sources, in particular two events of that year, the death of Middleton’s first wife, Maye, and the outbreak of war in Europe. The Belfast paintings have an atmosphere of pathos and slight melancholy, and an affection for the ordinariness of these familiar scenes.

The landscapes have a similar mood. The tones of the present work are predominantly autumnal, and quite high-toned rather than dark. The location is soft and full of compositional interest, quite different from the emotionally charged post-war landscapes, and the brushwork is even and unfussy. The contrast between the geometric buildings and the rolling landscape is very reminiscent of John Luke’s work of the same period, such as ‘The Fox’, creating an harmonious, rhythmic composition that has a heightened atmosphere that combines artificiality and naturalism. There is no evidence that Middleton would at this time have been aware of the British neo-romantic movement that had come to prominence in the 1930s, but there is a sense of affinity with Sutherland and others whose sense of unity with their surroundings had been brought into a sharper focus by the threat of war.

Middleton’s interest in his natural surroundings was also a feature of his symbolist paintings of this time, which were often based around themes of nature such as the cycles of the sun and moon.

Dickon Hall, Killinchy, August 2002.

Dickon Hall is the author of Colin Middleton: A Study, JOGA Press, Belfast, 2001.

€10,000-€12,000 (IR £7,800-£9,400 approx.)

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45
Norah McGuinness (1901-1980)

SHELLS AND STONES
signed with initials lower right; inscribed on reverse
oil on canvas
36 by 51cm., 14 by 20in.

Provenance:
Dawson Gallery, Dublin, whence purchased by the present owner

Exhibited:
‘Norah McGuinness’, Dawson Gallery, Dublin, 3 - 27 April 1968, catalogue no. 17

€8,000-€9,000 (IR £6,200-£7,000 approx.)

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46
Gerard Dillon (1916-1971)

MAC DARA’S YARD
signed lower right; inscribed on reverse
oil on canvas laid on board
36 by 47cm., 14 by 18.5in.

Provenance:
Dawson Gallery, Dublin

Exhibited:
‘Paintings of the West’, Dawson Gallery, Dublin, 4 – 27 March 1971, catalogue no.15

Dr. James White, in his book, Gerard Dillon: An Illustrated Biography, (Wolfhound Press, Dublin 1994) notes that Dillon’s west of Ireland paintings mark the departure from "his former preoccupation with anecdote and reportage". He now began to focus on a central subject which, in this case, is everyday life in ‘MacDara’s Yard’. In contrast to his life in London at the time, he enjoyed "the simplicity which the inhabitants of Connemara took on as they worked in the crags and tiny fields of their farmlands". Indeed it was these frequent visits to Connemara that gave him the inspiration and motivation especially in his vivid use of colour. His depiction of the rugged landscape strewn with stones, the local inhabitants and their quaint whitewashed farms and cottages was wholly different to the treatment of the west of Ireland landscape by artists such as Paul Henry, Charles Lamb and their contemporaries. Rather than concentrate solely on the open landscape, "he picked out the little images of men and women at work, of horses and donkeys, goats and ducks".

€30,000-€40,000 (IR £23,400-£31,200 approx.)

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47
Charles Vincent Lamb RHA RUA (1893-1964)

INNISHMAAN
signed lower left
oil on board
33 by 41cm., 13 by 16in.

Inishmaan is one of the Aran Islands off the coast of Galway.


€6,000-€8,000 (IR £4,700-£6,200 approx.)

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48
George Russell ‘Æ’ (1867-1935)

DUSKY LANDSCAPE WITH COTTAGES
signed in monogram lower left
oil on canvas
41 by 61cm., 16 by 24in.

Provenance:
Gore-Booth family, Lisadell, Co. Sligo;
Mealy’s, Castlecomer, Co. Kilkenny

€8,000-€10,000 (IR £6,200-£7,800 approx.)

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49
Jack Butler Yeats RHA (1871-1957)

CARRYING SEAWEED FOR KELP
signed lower left
pen and ink with watercolour
29 by 23cm., 11.5 by 9in.

Provenance:
Sold in 1918 to Ignatius J. O’Brien;
Catalogued as ‘Bringing Home the Kelp’ at Christie’s, Dublin, 12 December 1990, Lot 19 (colour reproduction)
Private Collection, Dublin

Exhibited:
‘Drawings and Pictures of Life in the West of Ireland’, Mills Hall, Dublin, 23 March - 6 April 1918, catalogue no. 26

Literature:
Illustrated in the Irish Independent, 11 May 1909;
Hilary Pyle, The Different Worlds of Jack B. Yeats: His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994, catalogue no. 1365.

This work was drawn as an illustration to John M. Synge’s The Aran Islands (Maunsel & Co., Dublin, 1907) and originally appeared facing page 84. In a letter to the prominent New York collector, John Quinn, dated 28 July 1906, Yeats wrote that he had completed all twelve illustrations for the book. Publication however, was delayed, and the first, limited edition of 150 copies - signed by both Synge and Yeats – did not appear until the following year. The book was an immediate success and subsequently reprinted many times. Most of the other eleven drawings are in private collections, with one in the NGI and one in the Sligo County Library and Museum.

€20,000-€30,000 (IR £23,400-£31,200 approx.)

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50
Sir William Orpen RA RI HRHA (1878-1931)

KILDARE STREET CLUB
inscribed lower centre
pen and black ink
20 by 33cm., 8 by 13in.

Provenance:
The artist’s family;
Christie’s, London.

Depicts Orpen (seated right) dining with Major General Sir Henry Merrick Lawson, C.B., at the Kildare Street Club, 26 January 1907. Orpen was in Dublin during the month of January, 1907, working on at least two portrait commissions, including one of General Lawson. From Orpen’s correspondence with his wife Grace, we learn that after the dinner with General Lawson on the evening of the 26th – as depicted in this sketch - Orpen joined Lady Gregory at the Abbey for the opening night of Synge’s Playboy of the Western World. (Information supplied by the Orpen Research Project).

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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51
Jack Butler Yeats RHA (1871-1957)

A JOLLY CHRISTMAS
inscribed with title
pen and ink with watercolour
8 by 11cm., 3 by 4.25in.

Provenance:
Miss Olive Pollexfen Jackson, Lisroyan, Sligo;
Private collection, Dublin

€3,000-€4,000 (IR £2,300-£3,100 approx.)

52
Jack Butler Yeats RHA (1871-1957)

WOMAN RAISING HER HAT IN GREETING
signed in monogram and inscribed both on front and reverse
watercolour
14 by 9cm., 5.5 by 3.5in.

Provenance:
Mrs Alice Pollexfen Jackson, Lisroyan, Sligo;
Private collection, Dublin

Painted directly onto an Irish postal card and inscribed below image: "Wishing you all good things for Xmas & the New Year" and signed in a monogram incorporating the image of a snail with a tower on top of its shell. Also with this lot, a Jack B. Yeats printed card, depicting a toppled horse and carriage in the snow, inscribed on reverse: "Aunt Alice with love from Jack wishing you all a happy new year".

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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53
Flora H. Mitchell (1890-1973)

IN YORK STREET, DUBLIN
signed lower right, titled lower left
pen and ink with watercolour
21 by 29cm., 8.25 by 11.5in.

Provenance:
Dawson Gallery, Dublin

€1,800-€2,200 (IR £1,400-£1,700 approx.)

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54
Jack Butler Yeats RHA (1871-1957)

A YOUNG MAN’S TROUBLES
signed lower right
watercolour, pastel and pencil on paper
15 by 46cm., 6 by 18in.

Provenance:
Clausen Galleries, New York whence purchased by John Quinn in 1904;
Purchased by W. C. Murphy at the Quinn Collection Sale, American Art Galleries, New York, 10 February 1927, Lot 268

Exhibited:
‘Sketches of Life in The West of Ireland’, series of exhibitions:
Leinster Hall, Dublin, March 1900
Clarendon Hotel Oxford, 24-29 October 1900
Walker Art Gallery, London, February 1901
Clausen Galleries, New York, 31 March-16 April, 1904

Literature:
All Ireland Review, 10 March 1900, p.5;
Hilary Pyle Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, catalogue no. 267, p. 93

This work was described in the All Ireland Review of 10 March 1900 as depicting "a shop interior in a Connaught town; a sad-faced young man stands brooding at one side of a broad board or counter; behind him pasted on the wall are a row of emigration notices; in front of him, at the far side of the counter, two elderly men stand drinking, and they watch with kindly distant disinterest the working of his thoughts". Purchased by the famed art collector John Quinn – then Chairman of the board of the Metropolitan Museum and a great supporter of European modernists – the work was later sold as part of his collection, where it was listed in the inventory as ‘The Bar’.

€20,000-€30,000 (IR £15,600-£23,400 approx.)

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55
Mildred Anne Butler RWS RUA (1858-1941)

PEACOCKS
signed lower right
watercolour
27 by 38cm., 10.5 by 15in.

Provenance:
Sotheby’s Irish Sale, 16 May 1996, Lot 428

€6,000-€8,000 (IR £4,700-£6,200 approx.)

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56
Mildred Anne Butler RWS RUA (1858-1941)

MOUNTAINOUS LANDSCAPE
watercolour
27 by 37cm., 10.5 by 14.5in.

Provenance:
Kilmurray studio sale, conducted by McCreery Auctioneers, Kilkenny, 1981, whence purchased by David Ryan;
Private collection, Co. Wexford

€2,000-€2,500 (IR £1,600-£2,000 approx.)

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57
Joseph William Carey RUA (1859-1937)

DUBLIN BAY
signed and dated [1919] lower left; titled lower right
watercolour heightened with bodycolour
22 by 46cm., 8.5 by 18in.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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58
William Percy French (1854-1920)

LIMERICK
signed lower left
watercolour
27 by 36cm., 10.5 by 14in.

€8,000-€10,000 (IR £6,200-£7,800 approx.)

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59
Seán O’Sullivan RHA (1906-1964)

HAYMAKING
signed and dated [1927] lower right
oil on canvas
41 by 51cm., 16 by 20in.

€3,500-€4,000 (IR £2,700-£3,100 approx.)

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60
Claude Hayes RI ROI (1852-1922)

LANDSCAPE
signed and dated [1892] lower left; inscribed on reverse
watercolour heightened with white
25 by 37cm., 10 by 14.5in.

Provenance:
Originally purchased by W. R. Deighton, July 1895, for 8 guineas;
Private collection, London

€1,000-€1,200 (IR £800-£900 approx.)

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61
Charles Vincent Lamb RHA RUA (1893-1964)

A SUMMER DAY ON ROAD TO MAAM CROSS
signed lower right; inscribed and dated [1938] on reverse
oil on panel
27 by 36cm., 10.5 by 14in.

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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62
Harry Kernoff RHA (1900-1974)

COTTAGES, NEAR RENVYLE, CONNEMARA
signed and dated [1933] lower right
watercolour
25 by 36cm., 10 by 14in.

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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63
George Russell ‘Æ’ (1867-1935)

GAZING OVER THE LOUGH
signed in monogram lower right
oil on canvas
53 by 81cm., 21 by 32in.

€8,000-€10,000 (IR £6,200-£7,800 approx.)

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64
Grace Henry HRHA (1868-1953)

RED SAIL, VENICE
signed with initials lower left
oil on board
23 by 30cm., 9 by 12in.

€5,000-€7,000 (IR £3,900-£5,500 approx.)

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65
Mary Georgina Barton SWA (1861-1949)

SPANISH IDYLL
signed lower left
oil on board
41 by 50cm., 16 by 19.5in.

Provenance:
Eveling & Tress, London;
Zwemmer Gallery, London (where it was purchased for 50 gns)

An inveterate traveller, Mary Georgina Barton was born in Dundalk and studied art at the Westminster School, London,1895-1898. She financed her many overseas trips by teaching, both at home and abroad, and painting ‘exotic’ landscapes and genre pictures in India, Canada, France, Spain, Portugal and Mexico, producing a lively illustrated account of her journey through the latter, published as Impressions of Mexico (1911). Hugh Lane showed two of her pictures at his exhibition of Irish painters in the Guildhall London in 1904. She exhibited extensively at the WCSI and the SWA of which she was elected a full member in 1911, as well as showing at the Fine Arts Society, London and the Paris Salon among others. Examples of her work are hung in the Hugh Lane Municipal Gallery, Dublin.

€1,500-€2,000 (IR £1,200-£1,600 approx.)

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66
Stella Steyn (1907-1987)

ROOFTOPS
studio stamp on reverse
oil on canvas
51 by 76cm., 20 by 30in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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67
Letitia Marion Hamilton RHA (1878-1964)

THE HARBOUR, DUBROVNIK
signed with initials lower left; titled on reverse
oil on canvas
51 by 66cm., 20 by 26in.

Exhibited:
RHA, 1938, catalogue no. 58

€8,000-€10,000 (IR £6,200-£7,800 approx.)

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68
Norah McGuinness (1901-1980)

DESERTED COTTAGE
signed and dated [1971] lower right; inscribed label on reverse
watercolour and gouache
38 by 55cm., 15 by 21.5in.

Exhibited:
Possibly exhibited as ‘Deserted Cottages, Donegal’, WCSI, 1971, catalogue no. 49

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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69
Evie Hone (1894-1955)

AT SPIDER’S BAY, LOUGH MASK, COUNTY MAYO
inscribed on reverse
gouache on paper
44 by 33cm., 17.5 by 13in.

Provenance:
A gift of the artist to the aunt of the present owner (full details on request)

‘Spider’s Bay’ was the Hone family’s affectionate name for the small cottage in Co. Mayo owned by Evie’s sister, Mrs Dorothy Teacher. Dorothy was a keen botanist, an interest which Evie draws attention to in this work. (With thanks to Mrs Muriel Hone for her help in cataloguing this work).

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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70
Evie Hone HRHA (1894-1955)

HEAD OF THE VIRGIN
signed and inscribed on reverse
monotype
43 by 48cm., 17 by 19in.

Provenance:
Mrs Russell Cooke

Exhibited:
‘Evie Hone (1894-1955)’, University College, Dublin, 29 July - 5 September 1958, catalogue no. 16;
‘Evie Hone (1894-1955)’, the Tate Gallery, London, 2 January - 15 February 1959, catalogue no. 79

Executed circa 1947.

€1,000-€2,000 (IR £800-£1,600 approx.)

71
Father Jack Hanlon (1913-1968)

CHRIST OF CLONMACNOISE
signed lower centre
oil on canvas
41 by 64cm., 16 by 25in.

Provenance:
Dawson Gallery, Dublin

€10,000-€12,000 (IR £7,800-£9,400 approx.)

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72
Colin Middleton RHA (1910-1983)

K. AT THE PIANO
signed lower left; inscribed with title and date [Portrush, Novemnber 1957] on reverse
oil on canvas
91 by 61cm., 36 by 24in.

Colin Middleton - ‘K at the Piano’ 1957

The second half of the 1950s was a time of personal and professional upheaval for Colin Middleton. His dealer and mentor, Victor Waddington, had ended their business relationship and closed his Dublin gallery, and Middleton had been forced to return to teaching, moving to Coleraine to take up his post at the town’s Technical College. His output as a painter seems to have dropped dramatically during the second half of this decade, and it was clearly a period of re-evaluation.

This painting is the probably the earliest of the varied and inventive images of Middleton’s wife Kate playing the piano that were to recur in his work throughout much of the next decade. In technique, tone and subject matter it seems to mark a break with his painting of the previous ten years, and the seriousness of intent with which Middleton approached this work is evident in the scale of the canvas he selected.

After a decade in which Middleton had painted landscapes or unlocated figures, this interior scene is unusual, and the intimiste nature of the picture is a reminder of his interest in Bonnard. Compared to the expressionist manner that preceded this painting, it introduces a very muted tonality, largely neutral greys and dull browns, beiges and red, with the single light source providing occasional striking highlights in red. Middleton’s brushwork in general remains broken up, and in occasional passages of particular boldness it harks back to pictures of the earlier 1950s such as Gypsy, Ardglass, although it does not have the same rhythm as the work of this time.

This is an extremely carefully constructed composition, in which objects are flattened while the three dimensional space of the interior remains firmly delineated. Between the geometry of the piano and the pale lines on the wall, and the looser rounded forms of the guitar (which was to feature more centrally in later paintings) and the armchair in the foreground, the figure of Middleton’s wife holds the work together. The Middletons were a musical couple, and the piano was a much-loved object in the household. When they bought a new piano years later, the memories of the instrument which had featured in this series of paintings were so strong that they kept the old piano.

Dickon Hall, Killinchy, March 2002

Dickon Hall is the author of Colin Middleton: A Study, JOGA Press, Belfast, 2001.

€40,000-€50,000 (IR £31,200-£39,000 approx.)

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73
Colin Middleton RHA (1910-1983)

PRISONERS AND GUARDS
signed lower right; inscribed, dated [2 October 1966] and signed again on reverse
oil on canvas
76 by 76cm., 30 by 30in.

Provenance:
Collection of Kate Middleton, the artist’s widow;
Artist’s studio sale, Christie’s, London, 4 October 1984, catalogue no. 145;
Private collection, London

Exhibited:
‘Colin Middleton’, The Arts Council Gallery, Belfast, 1967, catalogue no. 6

€10,000-€12,000 (IR £7,800-£9,400 approx.)

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74
George Campbell RHA (1917-1979)

TWO CATS
signed lower left; inscribed label on reverse
oil on board
41 by 51cm., 16 by 20in.

Provenance:
Ritchie Hendriks Gallery, Dublin, whence purchased in May 1962 by J. A. Byers

Campbell’s cats provided both company and - occasionally - inspiration for the artist; see for instance his work entitled ‘My two cats, El Palo’, exhibited at the Tom Caldwell Gallery, Dublin, in 1975.

€10,000-€12,000 (IR £7,800-£9,400 approx.)

 

75
Louis le Brocquy HRHA (b.1916)

SIX MASKS FOR THE PLAYBOY OF THE WESTERN WORLD
signed, numbered and dated [1971] lower right
aquatint on Japanese rice paper laid on handmade rag paper in a pillar
arrangement ("has mirikake")
178 by 43cm., 70 by 17in.

Provenance:
Taylor Galleries, Dublin

Literature:
Dorothy Walker, Louis le Brocquy, Ward River Press, Dublin, 1981, illustrated p.110

The six character masks, in descending order, are: Christie Mahon, the Widow Quinn, Michael James, Shawn Keogh, Pegeen Mike and Old Mahon. Etched and printed at the Atelier Maeght, Paris. Number 16 in an edition of 75.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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76
Charles Harper ARHA (b.1943)

HEAD
inscribed with title on reverse
mixed media on paper
44 by 57cm., 17.5 by 22.5in.

Born on Valentia Island, Co. Kerry, Harper studied at the NCAD and the Limerick School of Art, (now the Limerick Institute of Technology School of Art & Design) where he is Head of Fine Art. He also spent a year studying animation in Germany in 1960 - an influence which was later seen in his series of heads and nudes suspended on a grid system (a series to which the present work belongs). Harper has been an active organinsing spirit in Irish art since 1972, when he was elected to the IELA organising committee; he was also a founder member of the EVA, Limerick, in 1977, and Aosdána. He is represented in the collections of the Arts Council (Ireland and the N.I.), the Hugh Lane Gallery, Dublin, IMMA Dublin, the Crawford Gallery, Cork, and the San Francisco Museum of Modern Art.

€1200-€1,500 (IR £900-£1200 approx.)

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77
Brian Ferran HRHA RUA (b.1940)

TÁIN THEME X
signed and dated [1980] lower centre; titled on reverse
watercolour and acrylic on paper
56 by 38cm., 22 by 15in.

€1,500-€2,000 (IR £1,200-£1,600 approx.)

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78
William Crozier HRHA (b.1930)

LANDSCAPE WITH BLUE SKY
signed and dated [1960] lower right
oil on paper
50 by 37cm., 19.5 by 14.5in.

Provenance:
Drian Gallery, London;
Croydon Galleries, London

€1,600-€1,800 (IR £1,200-£1,400 approx.)

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79
Patrick Collins HRHA (1910-1984)

WEEDY FIELD AND TREES
signed and dated [1967] lower right; inscribed on reverse
oil on board
46 by 61cm., 18 by 24in.

Provenance:
David Hendriks Gallery, Dublin

Exhibited:
‘Patrick Collins’, Ritchie Hendriks Gallery, Dublin, May – June 1968, catalogue no. 13

The muted green and earth tones of ‘Weedy Field and Trees’ successfully convey the irregularity yet softness of the Irish countryside. The nature of Collins’ art is essentially rural. In it "we find land used both directly as a landscape subject and indirectly as an influence of Collins’ use of light, colour and atmosphere"1. Here the overall colour is subdued interspersed with splashes of vibrant yellow as if to signify sunny spells in overcast Irish day. He is not depicting any particular place nor are there any topographical references. Instead he is creating "a timeless image of land" 2 devoid of any human presence. The painting is dominated by a soft green rather than the signature blue which suggests the open expanse of the weedy field in spite of the flat pictorial format.

1 Frances Ruane, Patrick Collins, The Arts Council, Dublin, 1982, pp.47-79
2
Op. cit., p.48

€40,000-€50,000 (IR £31,200-£39,000 approx.)

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80
William Crozier HRHA (b.1930)

PAINTING 1960
signed lower left; inscribed exhibition label on reverse
oil on hardboard
152 by 122cm., 60 by 48in.

Provenance:
Major C. J. H. Jolley, M. C., Eastbourne;
Langham Hotel, Eastbourne;
Private collection, Sussex

Exhibited:
Towner Art Gallery, Old Town, Eastbourne, circa 1960

€6,000-€8,000 (IR £4,700-£6,200 approx.)

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81
William Scott OBE RA (1913-1989)

TWO PEARS
signed and dated [1974] upper left
wax crayon on paper
20 by 25cm., 8 by 10in.

Provenance:
Walter Moos Gallery, Montreal, Canada;
Eakin Gallery, Belfast

€6,000-€8,000 (IR £4,700-£6,200 approx.)

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82
Louis le Brocquy HRHA (b.1916)

ORANGE
signed and dated [1968] on reverse
oil on canvas
36 by 33cm., 14 by 13in.

Exhibited:
‘Louis Le Brocquy: recent paintings’, Gimpel Fils Gallery, London, 1 - 26 October 1968 and Gimpel & Hanover Galerie, Zurich, 10 January - 12 February 1969, catalogue no. 33 (illustrated)

No.221 in the artist’s opus.

€40,000-€60,000 (IR £31,200-£46,800 approx.)

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83
Patrick Scott HRHA (b.1921)

ROMANTIC LANDSCAPE
inscribed label on reverse
tempera on unprimed canvas
76 by 84cm., 30 by 33in.

Provenance:
Dawson Gallery, Dublin;
James Stafford Esq.

In 1960 Scott made a technical discovery which would eventually lead to his renowned series of gold leaf paintings. Dorothy Walker has related that at this time Scott was making frequent journeys from Dublin to Loughrea, Co. Galway, to supervise the decoration of a private home. As the train crossed the midland bogs, Scott was struck by the ethereal nature of the light, diffused as it so often was through mist and rain. It was in an attempt to capture this effect that he experimented with applying paint onto unprimed, moistened canvas, allowing the paint to soak in and thereby dissolve any visible traces of brushstrokes. The result, as Walker has written, was that he captured the "subtlety, elusiveness, almost hallucinatory quality of the Irish twilight, with the inherent sadness of the bog, in superb paintings which remain at the highest level of his work". (Dorothy Walker, Patrick Scott, Douglas Hyde Gallery, TCD, 1981, pp.23-24).

€8,000-€10,000 (IR £6,200-£7,8 00 approx.)

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84
Patrick Scott HRHA (b.1921)

MAGNETIC FIELD
signed, inscribed and dated [1960] on reverse
tempera on hardboard
122 by 152cm., 48 by 60in.

Exhibited:
IELA, 1960, catalogue no. 84;
‘Patrick Scott: an exhibition of recent paintings’, Dawson Gallery, Dublin, February - March 1961, catalogue no. 15

In many ways 1960 was a seminal year for Scott. He was involved in two major international art events, representing Ireland at the Venice Biennale with a group of eighteen works, and participating along with four other Irish artists (Nano Reid, Louis le Brocquy, Dan O’Neill and Richard Kingston) in the invitation-only Guggenheim International Award in New York, where he won the National Award. Dr Yvonne Scott has identified the artist’s dual concerns at this time: registering both the terrestrial environment (as evidenced in the series of bog paintings which he had just begun), and the extra-terrestrial environment, "reflecting the increasing general interest in rocket-age science from the late 1950s"1. These works, with their "stellar explosions" of white paint - spilt, dripped and sprayed - anticipate the Device series of 1962-64 which were in turn painted in reaction to the testing of H-bombs (‘devices’) at this time2.

1 Yvonne Scott, Patrick Scott: A Retrospective, Hugh Lane Gallery, Dublin, 2002, p.42.
2 Op. cit., p.43

€6,000-€8,000 (IR £4,700-£6,200 approx.)

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85
Patrick Scott HRHA (b.1921)

TURF STACK
signed lower right; inscribed label on reverse
tempera on unprimed canvas
41 by 30cm., 16 by 12in.

Provenance:
Dawson Gallery, Dublin

Exhibited:
IELA, 1961, catalogue no. 20

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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86
William Scott OBE (1913-1989)

BLACK AND WHITE ON OCHRE
signed and dated [1972] lower right
gouache
58 by 79cm., 23 by 31in.

Exhibited:
Lister Gallery, Perth, 1977;
Julian Lax Gallery, 1999

This work is recorded in the William Scott archive as no. 933.

William Scott was born in Greenock, Scotland, and came to live with his family in his father’s home town, Enniskillen, County Fermanagh in 1924. He studied at the Belfast College of Art and The Royal Academy, London. Scott lived in France in 1938/39, then briefly in Dublin before settling in England. He exhibited throughout the world and was honoured with many international awards. A major retrospective exhibition of Scott’s work was held at The Tate Gallery in 1972. His work is included in most major collections in Europe and America and he is regarded as one of the world’s foremost artists of the 20th century.

His work of the 1930s and 1940s was predominantly still life but in the 1950s he turned to abstract painting, and he slowly and methodically developed his style to produce the critically acclaimed masterpieces of the height of his career in the 1960s and 1970s.

Anne Crookshank’s remarks, written in 1975, apply very much to the work offered here: "The spaciousness, the sense of light and air, the understanding and exquisite use of white all help to give an enveloping serenity to his recent pictures."


€12,000-€15,000 (IR £9,400-£11,700 approx.)

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87
Gerard Dillon (1916-1971)

BLUE HOOP
signed lower left; inscribed on reverse
oil on board
44 by 58cm., 17.5 by 23in.

Exhibited:
‘Exhibition of Paintings by Gerard Dillon’, Arts Council Gallery, Belfast, August – September 1966, catalogue no. 11

€20,000-€25,000 (IR £15,600-£19,500 approx.)

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88
Gerard Dillon (1916-1971)

NATIVITY SCENE (CHRISTMAS CARD)
inscribed on reverse: "Wishing you a very Happy Christmas and New Year. From Gerard"
watercolour, wax crayon, pen and ink on card
13 by 18cm., 5 by 7in.

€1,500-€2,000 (IR £1,200-£1,600 approx.)

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89
Charles Harper ARHA (b.1943)

HEADS IN GRID
signed and dated [1986] lower right; inscribed on reverse
watercolour, pen and ink on Japanese paper
79 by 103cm., 31 by 40.5in.

A very similar work, entitled ‘Nowadays’, is illustrated in Charles Harper, Gandon Editions, Kinsale, 1998, on page 29.

€4,500-€5,500 (IR £3,500-£4,300 approx.)

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90
Mike Fitzharris (b.1952)

ORANGE ABSTRACT
signed and dated [1989] lower right
oil on canvas
36 by 46cm., 14 by 18in.

€1,500-€1,800 (IR £1,200-£1,400 approx.)

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91
Michael Gemmell (b.1950)

THE TOP FIELDS
signed lower right
oil on canvas
30 by 30cm., 12 by 12in.

€1,000-€1,500 (IR £800-£1,200 approx.)

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92
Piet Sluis (b.1929)

COBRA ABSTRACT - WHITE BIRD WITH YELLOW BEAK
signed lower left
collage, watercolour and gouache with pen and ink on board
44 by 58cm., 17.5 by 23in.

€2,000-€2,500 (IR £1,600-£2,000 approx.)

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93
Brian Bourke HRHA (b.1936)

SWEENEY DESCENDING
signed and dated [1988] lower right; inscribed lower left
watercolour, charcoal and pastel on rag paper
112 by 76cm., 44 by 30in.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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94
Michael Mulcahy (b.1952)

CH’UKSOAM XII
signed lower left; dated [1994] and signed again on reverse
oil on canvas
91 by 76cm., 36 by 30in.

Provenance:
Taylor Galleries, Dublin

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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95
Barrie Cooke HRHA (b.1931)

BONE (NO. 23)
signed and dated [1972] lower right
watercolour over pencil
51 by 38cm., 20 by 15in.

Exhibited:
‘Barrie Cooke’, David Hendriks Gallery, Dublin, 20 April - 6 May 1972, catalogue no. 23

This work relates to a series of bone paintings and bone boxes made by the artist in the early seventies. Another example of the series is in the collection of the Arts Council, Dublin. Séamus Heaney also wrote a poem in response to the series, entitled ‘Bone Dreams’, which first appeared in The Arts in Ireland, Autumn 1972, pp.52-53.

€1,200-€1,500 (IR £900-£1,200 approx.)

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96
Brian Bourke HRHA (b.1936)

HEAD OF A WOMAN
cast plaster sculpture, hand painted
18 x 9 x 8 inches

Provenance:
Taylor Galleries, Dublin

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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97
Martin Mooney (b.1960)

INTERIOR OF RUINED CATHEDRAL (SPAIN)
signed, inscribed and dated [1989-90] on reverse
oil on canvas
146 by 114cm., 57.5 by 45in.

Provenance:
Bruton Street Gallery, London

With thanks to both the artist and the Solomon Gallery, Dublin, for their help in identifying the title of this work.

€10,000-€15,000 (IR £7,800-£11,700 approx.)

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98
Patrick Hennessy RHA (1915-1980)

CARAPACE
signed lower left
oil on canvas
89 by 64cm., 35 by 25in.

Provenance:
The artist’s estate;
Private collection, Co. Wexford

Exhibited:
‘Patrick Hennessy’, David Hendriks Gallery, Dublin, 9 November - 2 December 1972, catalogue no. 20

The present work depicts the armour of Edward IV (1330-1376), the so-called Black Prince of England, who is buried in Canterbury Cathedral. There, in the Trinity Chapel, his tomb supports an effigy of the prince lying in state in full armour. Hennessy is believed to have visited Canterbury en route from Ireland to north Africa, where he and Robertson Craig lived from 1968 onwards. Rather than being a mere exercise in virtuoso tromp l’oeil effect, the painting is remarkably literary in its explicit play on words, that is to say, in the double entendre of the "carapace" (or shell) of the painting’s title, which refers equally to the empty shell of the suit of armour (which ironically is not empty at all, but rather solid cast alloy metal) and the large conch shell painted in superb realism in the lower right hand corner of the composition.

€10,000-€12,000 (IR £7,800-£9,400 approx.)

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99
Grace Henry HRHA (1868-1953)

SELF PORTRAIT
signed lower left; inscribed on reverse
oil on unprimed canvas laid on board
43 by 33cm., 17 by 13in.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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100
Muriel Brandt RHA (1909-1981)

SINÉAD, BEAN DE VALERA
signed lower left
oil on board; titled on reverse
37 by 30cm., 14.5 by 12in.

Provenance:
Dawson Gallery, Dublin;
Howth Art Gallery, Howth, Co. Dublin;
Private collection, Howth, Co. Dublin

Sinéad de Valera, née Flanagan (1878-1975), teacher, writer, and wife of Eamon de Valera (1882-1975) was born in Balbriggan Co. Dublin. She was married to de Valera in 1910, having met him at a Gaelic League college where she taught Irish. After he became President of the Irish Free State in 1932 she began to write for children in both English and Irish and she published many poems, plays and short stories, several of which became prescribed texts in schools.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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101
Louis le Brocquy HRHA (b.1916)

Eight Irish Writers
each print signed
eight lithographs
33cm by 28cm., 13 by 11 in.

A series of eight charcoal drawings by Louis le Brocquy, printed by collotype lithography on Rives paper by the Imprimerie Arte Adrien Maeght, Paris, 1981, in an individually numbered and signed edition of 100. With texts, edited by Andrew Carpenter and a preface by Séamus Heaney. The writers depicted are W. B. Yeats, J. M. Synge, James Joyce, Francis Stuart, Samuel Beckett, Thomas Kinsella, John Montague and Séamus Heaney. Unbound portfolio, in original linen case. Fine.

€8,000-€10,000 (IR £6,200-£7,800 approx.)

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102
John Behan RHA (b.1932)

JAMES JOYCE
sif bronze
16 x 5.5 x 3 inches

A fictionalised image of James Joyce based on Stephen Daedalus in Ulysses

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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103
Harry Kernoff RHA (1900-1974)

PORTRAIT OF LIAM O’FLAHERTY
signed and dated [1933] lower left
oil on panel
51 by 38cm., 20 by 15in.

Provenance:

The Godolphin Gallery
Private Collection, Dublin.

Exhibited:

Oireachtas Art Exhibition 1963, no. 64, as "Liam Ó Flatharta"
Godolphin Gallery, 1975, as "Liam O’Flaherty".

Liam O’Flaherty (1896-1984) was a novelist and short story writer. Born on a small farm on Inishmore, Aran Islands, (which forms the background to this portrait) he was educated at Rockwell College and UCD as a seminarian. He forsook the church for the army in 1915 and was invalided out in 1917. After wandering around North and South America and working in a great variety of jobs he took to writing in 1922 and published his first novel Thy Neighbour’s Wife in 1923. He is best remembered for The Informer (1925), awarded the James Tait Black Prize and made into a successful film (1935), Skerret (1932), Famine (1937), his various short stories, of which there are over 150, including a collection in Irish, Dúil (1953).

Kernoff became involved with Liam O’Flaherty and his brother Tom through his membership of The Radical Club which they had founded. It was in the Radical Club that he was introduced to and joined The Studio Art Club which held an exhibition at Daniel Egan’s in 1926 at which Kernoff was well represented. O’Flaherty was also a member of the Communist Party – he accompanied a group of unemployed dockers that occupied the Rotunda for four days in 1922 – and he was probably the influence that led to Kernoff’s membership of the Friends of Soviet Russia and his membership of a delegation to visit Russia in 1930. Kernoff designed the masthead of Irish Workers Voice, the Communist Party’s journal and to which he also contributed several pen sketches of political personalities of the time.

€15,000-€20,000 (IR £11,700-£15,600 approx.)

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104
James Sinton Sleater PRHA (1885-1950)

STILL LIFE WITH FAN
signed lower left
oil on canvas
46 by 36cm., 18 by 14in.

Provenance:
William Rodman & Co., Belfast

€1,500-€2,000 (IR £1,200-£1,600 approx.)

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105
Ruth Brandt (1936-1989)

STILL LIFE WITH MACKEREL AND SHELL-FISH
oil on canvas
51 by 38cm., 20 by 15in.

The daughter of Muriel Brandt RHA (1909-1981), Ruth Brandt won acclaim primarily as a printmaker. She worked as a lecturer at NCAD from the mid-1970s onwards, and exhibited mainly with other women artists, including Barbara Warren RHA and Anita Shelbourne ARHA at the United Arts Club, the Lincoln Gallery, the James Gallery in Dalkey, the RHA, WCSI and the Independent Artists Group, Dublin, among others.

€1,500-€2,000 (IR £1,200-£1,600 approx.)

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106
John Ryan (1925-1992)

FROM THE GARDEN
signed lower right
oil on canvas
56 by 61cm., 22 by 24in.

Exhibited:
RHA, 1955, catalogue no. 78 (£40-0-0)

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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107
Letitia Marion Hamilton RHA (1878-1964)

PEOPLE IN THE PARK
signed with initials lower left
oil on board
24 by 25cm., 9.5 by 10in.

€5,000-€7,000 (IR £3,900-£5,500 approx.)

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108
Simon Coleman RHA (1916-1995)

AN ÁIREADEACHT
signed lower left; inscribed on reverse
oil on canvas
38 by 47cm., 15 by 18.5in.

Exhibited:
RHA, 1940, catalogue no. 202

One of Coleman’s first paintings to be accepted and hung by the RHA, it is inscribed on reverse with the title, price (7 gns), name and his address: "Duleek, Co. Meath" (his family’s address; Coleman himself lived in Dublin at the time). The influence of Maurice MacGonigal PRHA, who had taught Coleman at the Dublin Metropolitan School of Art in the thirties, is evident here in the treatment of the figures.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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109
Kitty Wilmer O’Brien RHA PWCSI (1910-1982)

PETER MURPHY’S YARD, RINGSEND
signed lower left; inscribed on reverse
oil on canvas board
41 by 51cm., 16 by 20in.

Provenance:
Estate of the artist;
Private collection, Dublin

Exhibited:
‘Kitty Wilmer O’Brien R.H.A.’, Taylor Galleries, Dublin, September 1983, catalogue no. 48

Painted in 1938. With a signed letter of authentication from the artist’s son, Dermod W. O’Brien (grandson of Dermod O’Brien PPRHA), dated 28 July 1992, on reverse.

€4,000-€6,000 (IR £3,100-£4,700 approx.)

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110
William Percy French (1854-1920)

FALCARRAGH, COUNTY DONEGAL
signed and dated [1916] lower right; inscribed on reverse
watercolour
13 by 19cm., 5.25 by 7.5in.

Provenance:
Private collection, Nottinghamshire

€3,000-€5,000 (IR £2,300-£3,900 approx.)

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111
Alexander Williams RHA (1846-1930)

THE DELPHI HILLS, KILLARY BAY, CONNEMARA and ROSSDOWAN, PARKNASILLA, KENMARE BAY [A PAIR]
the former signed and inscribed lower left; the latter signed lower right and inscribed lower left
watercolour heightened with white
20 by 38cm., 8 by 15in.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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112
William Bingham McGuinness (1849-1928)

THE WEST COAST OF IRELAND
signed lower right
watercolour heightened with white
34 by 51cm., 13.5 by 20in.

€1,000-€1,500 (IR £800-£1,200 approx.)

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113
John Faulkner RHA (1835-1894)

HORSEMAN AT BRIDGE
signed lower left
watercolour
71 by 44cm., 28 by 17.5in.

€3,000-€4,000 (IR £2,300-£3,100 approx.

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114
Andrew Nicholl RHA (1804-1886)

A BANK OF WILD FLOWERS (MORNING)
signed lower right
watercolour heightened with white, with scratching out
50 by 74cm., 19.5 by 29in.

Provenance:
Dudley Gallery, London, whence purchased by Mr Hayn;
Private collection, Wales

€12,000-€15,000 (IR £9,400-£11,700 approx.)

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115
John Faulkner RHA (c.1830-1890)

THE COAST ROAD
signed lower left
watercolour heightened with bodycolour
46 by 95cm., 18 by 37.5in.

€5,000-€6,000 (IR £3,900-£4,700 approx.)

116
William Bingham McGuinness RHA (1849-1928)

ON THE ANTRIM COAST NEAR LARNE, LOOKING BALLYGALLY DIRECTION
signed lower left; inscribed on label on reverse
watercolour heightened with white
25 by 36cm., 10 by 14in.

Provenance:
William Rodman & Co., Belfast

€1,500-€2,000 (IR £1,200-£1,600 approx.)

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117
Andrew Nicholl RHA (1804-1886)

VIEW OF THE RIVER FOYLE
signed lower right
watercolour with pen and ink and scratching out
32 by 46cm., 12.5 by 18in.

€5,000-€6,000 (IR £3,900-£4,700 approx.)

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118
Edwin Hayes RHA RI ROI (1819-1904)

HARBOUR MOUTH
signed and dated [1851] lower left
oil on canvas
41 by 56cm., 16 by 22in.

€9,000-€10,000 (IR £7,000-£7,800 approx.)

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119
George Armfield (c.1808-1893)

CORNERED
signed lower left
oil on canvas
46 by 36cm., 18 by 14in.

Armfield was a successful portrait painter of domestic animals - particularly dogs. He exhibited frequently at the RA (1836-1862) and the RBA (1850-1875) and also submitted four works including ‘Dogs’ and ‘Terriers on the Watch’ to the RHA in 1866 and 1872. He is represented in the collections of the Walker Gallery in Liverpool and the Glasgow Art Gallery.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

120
Samuel McCloy (1831-1904)

A COUPLE WITH A DOG
signed and dated [1864] lower right
oil on canvas
25 by 20cm., 10 by 8in.

Provenance:
Gorry Gallery, Dublin

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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121
Augustus Nicholas Burke RHA (1838-1891)

A GROUP OF CATTLE, HOWTH HILL, WITH A COTTAGE IN THE BACKGROUND
signed in monogram lower right
oil on canvas
46 by 36cm., 18 by 14in.

The companion to this piece was exhibited at the RHA in 1874 (no. 309 ‘A Group of Cattle, Howth Hill’) and again more recently with Milmo-Penny Fine Art, Dublin, in their 1992 exhibition of Irish art (catalogue no. 5). It is thought that the present work preceded that painting, which was inscribed "N.2" on reverse. The latter work was also illustrated in the Irish Arts Review, accompanying an article commemorating the centenary of Burke’s death (1990-1991, p.108). Burke was born at Knocknagur, near Tuam, Co. Galway, and studied art in London. He settled in Dublin in 1869 and was elected in rapid succession first an Associate then a full Member of the RHA in 1871. He spent much time in the 1870s painting in Breton, and in 1882 finally severed all ties with the country of his birth following the murder of his brother, Thomas Henry Burke, Under-Secretary for Ireland. Augustus Burke died in Florence, 28 December 1891.

€5,000-€7,000 (IR £3,900-£5,500 approx.)

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122
Francis William Topham RA OWS (1808-1877)

WOMEN AND CHILDREN LISTENING TO AN UILLEANN PIPER, OUTSIDE A STONE COTTAGE
signed and dated [1862] lower right
watercolour heightened with white
44 by 62cm., 17.5 by 24.5in.

Born in Leeds, 13 April 1808, Topham originally trained as an artist-engraver. He found employment from an early age in London working as a book engraver for a number of companies including George Virtue’s publishing firm, for whom he engraved the illustrations to the Complete Works of Robert Burns. He soon turned however to concentrate on watercolour painting, exhibiting his work with both the New Watercolour Society (of which he was made a full member in 1843) and the Old Watercolour Society (to which he was elected in 1844). He concentrated on scenes of rural life, an interest which remained with him during his travels in Ireland, Scotland, Italy and Spain. Topham visited Ireland three times in 1844, 1862 and 1868. The present work dates from his second visit and must rank as one of his finest Irish compositions. Other works painted by him in Ireland are in the British Museum, the Ulster Museum and the NGI.

€10,000-€12,000 (IR £7,800-£9,400 approx.)

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123
Douglas Alexander (1871-1945)

LANDSCAPES WITH TURF STACKS
signed lower left
oil on canvas board
51 by 61cm., 20 by 24in.

Provenance:
Presented to Bro. James McCaldin, Monaghan, in recognition of his service as Secretary of the Monaghan Orange Order, 1924-1945;
Private collection, Belfast

€2,500-€3,500 (IR £2,000-£2,700 approx.)

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124
John Faulkner RHA RI (1835-1888)

THE MILL OF THE PLAINS
signed and inscribed lower right
watercolour heightened with white
44 by 75cm., 17.5 by 29.5in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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125
Thomas Rose Miles RCA (fl.1869-1888)

KILLARY BAY, CONNEMARA
signed lower left; inscribed and signed again on reverse
oil on canvas
41 by 66cm., 16 by 26in.

Best known for his maritime scenes and coastal landscapes, Thomas Rose Miles exhibited in London at the Arthur Tooth & Sons gallery, and with the RA, the RBA, and in Dublin with the RHA. His work is represented in the collection of the New South Wales Art Gallery, Australia.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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126
Frank McKelvey RHA RUA (1895-1974)

LANDSCAPE WITH RIVER ON A FINE DAY
signed lower left
watercolour on paper laid on board
23 by 28cm., 9 by 11in.

€1,800-€2,200 (IR £1,400-£1,700 approx.)

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127
William Conor RHA RUA ROI (1881-1968)

HUNTSMEN IN THE WOODS
signed lower right; titled on label on reverse
pen and ink with wax crayon
39 by 27cm., 15.5 by 10.5in.

Provenance:
Bell Gallery, Belfast

€4,000-€6,000 (IR £3,100-£4,700 approx.)

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128
Ronald Ossory Dunlop RA RBA NEAC (1894-1975)

CATTLE BEING HERDED THROUGH FARMYARD
signed and dated [1938] lower right
oil on panel
46 by 43cm., 18 by 17in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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129
Maurice Canning Wilks RUA ARHA (1910-1984)

WINDMILLS
signed lower left
oil on canvas
41 by 51cm., 16 by 20in.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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130
Frank McKelvey RHA RUA (1895-1974)

CLAUDY RIVER, NEAR BUNBEG, COUNTY DONEGAL
signed lower right
watercolour
25 by 37cm., 10 by 14.5in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

131
Frank Egginton RCA (1908-1990)

A RIVER LANDSCAPE
signed lower right
watercolour
37 by 53cm., 14.5 by 21in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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132
Kenneth Webb RWA FRSA RUA (b.1927)

FIELD PATTERN
signed lower right
oil on canvas
41 by 102cm., 16 by 40in.

Literature:
Max Wykes-Jones, Kenneth Webb, The Bell Gallery, Belfast, [n.d., circa 1973], colour plate no. 4

Painted in 1969.

€6,000-€7,000 (IR £4,700-£5,500 approx.)

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133
George Campbell RHA (1917-1979)

RUGGED MOUNTAINS, GLENGARIFF, COUNTY CORK
signed lower left; inscribed with title (in another hand) on reverse
oil on board
51 by 61cm., 20 by 24in.

Provenance:
Bell Gallery, Belfast

Thought to have been painted circa late 1940s - early 1950s, judging by the title of the works: ‘Rugged Country’ and ‘Evening near the Mountains’, which were both exhibited at the IELA in 1950 (catalogue nos. 11 and 26 respectively). A friend of Yeats (whose portrait he drew and which is now in the Sligo Model Arts and Niland Centre), this picture bears testament to Campbell’s debt to his older colleague. Wielding his brush as a pencil, Campbell creates a powerfully linear description of rocky outcrops and turbulent sky. As James White has written, Campbell’s early landscapes "depend[ed] largely on his recognition of form in the scene rather than its general contours. Rocks are described with light glancing off their surfaces to give embodiment to everything. Skies are in small proportion or else the clouds are heavy masses of light and shade". (George Campbell RHA, Three Candles Press, Dublin, n.d. p.8). The human element, rarely absent from such landscapes is here suggested by pack of roaming dogs, possibly the companions of a group of tinkers encamped nearby.

€6,000-€8,000 (IR £4,700-£6,200 approx.)

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134
Charles Vincent Lamb RHA RUA (1893-1964)

A BREAK IN THE CLOUDS, WEST OF IRELAND
signed lower left
oil on board
32 by 39cm., 12.5 by 15.5in.

Provenance:
Purchased from the artist’s wife in Carraroe, in 1965; thence by descent

€5,000-€7,000 (IR £3,900-£5,500 approx.)

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135
Norman J. McCaig (1929-2001)

JOYCE’S COUNTRY
signed lower left; inscribed on reverse
oil on canvas
61 by 91cm., 24 by 36in.

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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136
Louis le Brocquy HRHA (b.1916)

A VIEW IN THE PHOENIX PARK
signed with initials and dated [23 March 1931] lower left
watercolour
23 by 14cm., 9 by 5.5in.

Provenance:
Dawson Gallery, Dublin

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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137
Patrick Leonard HRHA (b.1918)

LANDSCAPE WITH ROADSIGN TO DUBLIN
signed lower right
oil on board
72 by 57cm., 28.5 by 22.5in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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138
Norman J. McCaig (1929-2001)

LOUGH INAGH, RECESS, CONNEMARA
signed lower left; titled on reverse
oil on canvas
61 by 91cm., 24 by 36in.

€4,500-€5,500 (IR £3,500-£4,300 approx.)

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139
George K. Gillespie RUA (1924-1995)

AT KILLARY, CONNEMARA, COUNTY GALWAY
signed lower left; inscribed on reverse
oil on canvas
51 by 76cm., 20 by 30in.

€6,000-€7,000 (IR £4,700-£5,500 approx.)

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140
Maurice Canning Wilks RUA ARHA (1910-1984)

WINTER NEAR MAGEE ISLAND, STRANGFORD LOUGH
signed lower right; inscribed on reverse
oil on canvas board
25 by 36cm., 10 by 14in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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141
Ronald Ossory Dunlop RA RBA NEAC (1894-1973)

WINTER LANDSCAPE
signed lower right
oil on canvas
41 by 51cm., 16 by 20in.

Provenance:
Alex Fraser Galleries, Vancouver, Canada;
Private collection, Co. Antrim

€1,800-€2,200 (IR £1,400-£1,700 approx.)

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142
Kenneth Webb RWA FRSA RUA (b. 1927)

COTTAGES IN THE WEST
signed lower right
ink and gouache on artist’s board
39 by 56cm., 15.5 by 22in.

€3,000-€5,000 (IR £2,300-£3,900 approx.)

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143
Kenneth Webb RWA FRSA RUA (b.1927)

SHANDON TOWER (CORK)
signed lower right
oil on canvas
76 by 38cm., 30 by 15in.

€4,000-€6,000 (IR £3,100-£4,700 approx.)

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144
Kitty Wilmer O’Brien RHA PWCSI (1910-1982)

MALL, WESTPORT
signed lower right
gouache on board
30 by 46cm., 12 by 18in.

€3,500-€4,500 (IR £2,700-£3,500 approx.)

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145
Maurice MacGonigal RHA (1900-1979)

THE CROSS IN THE WOODS
signed lower left; signed again and inscribed on reverse
oil on board
41 by 51cm., 16 by 20in.

Provenance:
Taylor Galleries, Dublin

Inscribed on reverse with title and the location, Kilmurray, Aran.

€6,000-€8,000 (IR £4,700-£6,200 approx.)

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146
Cherith McKinstry (b.1928)

BEN BULBEN
signed lower right
oil on canvas
41 by 51cm., 16 by 20in.

Exhibited:
Frederick Gallery, December 1999, catalogue no. 58

€1,200-€1,500 (IR £900-£1,200 approx.)

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147
Flora H. Mitchell (1890-1973)

MOORE STREET MARKET, DUBLIN
signed and dated [1971] lower right; titled lower left
pen and ink and watercolour
27 by 25cm., 10.5 by 10in.

€2,000-€2,500 (IR £1,600-£2,000 approx.)

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148
Thomas Ryan PPRHA (b.1929)

ARTIST (SELF PORTRAIT) plus THREE STUDIES OF MEN DRINKING PINTS
the former signed lower right, inscribed and dated [15 January 1998] lower left; the latter three all signed lower left, with one dated [15 December 1998] lower right
watercolour over pencil, heightened with white
14 by 14cm., 5.5 by 5.5in.

€2,000-€2,500 (IR £1,600-£2,000 approx.)

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149
Patrick Hennessy RHA (1915-1980)

KINSALE
signed, inscribed and dated [1941] on reverse
watercolour
39 by 23cm., 15.5 by 9in.

Provenance:
Private collection, Liverpool

In this fine watercolour - an unusual medium for Hennessy - a view is given of a street in Kinsale, West Cork, where the artist spent much of his time during the war years. Notably, despite the highly realistic treatment of the buildings, an air of enigma permeates the work, much as it does in Hennessy’s well known oil of the previous year, ‘Kinsale Harbour 1940’ (Limerick City Gallery of Art). This air of mysterious quietude is heightened by the contrast between the houses - starkly outlined in architectural precision - and the nebulous, stylised, vegetative forms.

€3,000-€3,500 (IR £2,300-£2,700 approx.)

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150 
Hector McDonnell (b.1947)

SKETCH OF ROBINSON’S BAR, OPPOSITE THE EUROPA
signed in monogram and dated [1978] lower right; inscribed on reverse
oil on canvas laid on board
33 by 25cm., 13 by 10in.

Originally built opposite the old Great Northern Railway station in Great Victoria Street, Belfast, Robinson’s Bar was a first port of call for many visitors by train. Whilst the station and its trade has since moved and the original bar (as depicted by McDonnell) destroyed in 1993 by a terrorist bomb, Robinson’s remains today one of the best-known pubs in Belfast.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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151
Peter Collis RHA (b.1929)

THE GARDEN PATH
signed lower right; inscribed studio label on reverse
oil on canvas
61 by 61cm., 24 by 24in.

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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152
Patrick Leonard HRHA (b.1918)

COUNTRY LANE - MIDDAY, RUSH, COUNTY DUBLIN
signed lower left; inscribed on reverse
oil on board
69 by 51cm., 27 by 20in.

Depicts the artist’s brother, Tom Leonard, on horseback and with Leonard’s taunting inscription on reverse: "Tommy (‘Smuts the General’) Leonard contemplating his Income Tax Demand at the Blacklands, Rush, 1942".

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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153
John Skelton (b.1923)

ROCK FISHING, COUNTY KERRY
signed lower left; inscribed, dated [2001]
oil on canvas board
30 by 41cm., 12 by 16in.

€2,000-€2,500 (IR £1,600-£2,000 approx.)

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154
Cecil Maguire RHA RUA (b.1930)

SILKS AT THE START
signed lower right
oil on hardboard
46 by 46cm., 18 by 18in.

Provenance:
Taylor Galleries, Belfast

€6,000-€8,000 (IR £4,700-£6,200 approx.)

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155
Henry Robertson Craig RHA (1916-1984)

UNLOADING THE CATCH, PORTIMAO, ALGARVE
signed lower left
oil on canvas board
24 by 34cm., 9.5 by 13.5in.

Provenance:
Gift from the artist to his neighbour in Portimao, thence by decent

€2,500-€3,000 (IR £2,000-£2,300 approx.)

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156
Cecil Maguire RHA RUA (b.1930)

LUNCH, FONTANA DI TREVI, ROMA
signed and dated [1997] lower right; inscribed and signed again on reverse
oil on hardboard
41 by 61cm., 16 by 24in.

€5,000-€7,000 (IR £3,900-£5,500 approx.)

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157
Arthur K. Maderson (b.1942)

EVENING STUDY BY THE POOL
signed lower left; inscribed and signed again on reverse
oil on panel
117 by 79cm., 46 by 31in.

Depicts the artist’s daughters, Jess and Ciara.

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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158
Elizabeth Brophy

THE SHELL DIGGERS
signed lower left; titled on reverse
oil on board
41 by 61cm., 16 by 24in.

€2,500-€3,000 (IR £2,000-£2,300 approx.)

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159
Brian Ballard RUA (b.1943)

STILL LIFE WITH CLOCK
signed and dated [2001] lower right
oil on canvas
46 by 61cm., 18 by 24in.

€5,000-€6,000 (IR £3,900-£4,700 approx.)

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160
Ken Hamilton (b.1956)

MODEL SLEEPING
signed lower left
oil on board
41 by 51cm., 16 by 20in.

Born in Nigeria, west Africa, Ken Hamilton moved to Ireland with his family at the age of eleven. He studied art at the Belfast College of Art and in Europe. His work is much sought after both here in Ireland and overseas, especially in North America. Hamilton says he focuses on "transient beauty, eschewing contemporary theories concerning aesthetics and the nature of beautiful objects".

€8,000-€10,000 (IR £6,200-£7,800 approx.)

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161
Ronald Ossory Dunlop RA REA NEAC (1894-1973)

STUDY OF A WOMAN IN A BLUE WRAP, READING
signed lower right
oil on canvas
76 by 61cm., 30 by 24in.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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162
Stuart Morle (b.1960)

STILL LIFE WITH OYSTERS AND PEWTER TANKARD
signed lower right
oil on panel
23 by 29cm., 9 by 11.5in.

€2,000-€2,500 (IR £1,600-£2,000 approx.)

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163
Elizabeth Brophy

RELAXING
signed lower left
oil on board
36 by 46cm., 14 by 18in.

€2,000-€2,500 (IR £1,600-£2,000 approx.)

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164
Gladys Maccabe HRUA ROI FRSA (b.1918)

STUDYING THE FORM, DOWN ROYAL
signed lower right; inscribed studio label on reverse
oil on board
38 by 60cm., 15 by 23.5in.

€5,000-€6,000 (IR £3,900-£4,700 approx.)

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165
Pauline Bewick RHA (b.1935)

PAT GROWING THINGS
signed and dated [1979] lower right
watercolour with pen and ink
58 by 77cm., 23 by 30.5in.

Exhibited:
Taylor Galleries, Dublin, 28 November - 13 December 1980, catalogue no. 34

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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166
Markey Robinson (1918-1999)

THE BATHERS
signed lower left
oil on panel
36 by 51cm., 14 by 20in.

€5,000-€7,000 (IR £3,900-£5,500 approx.)

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167
Markey Robinson (1918-1999)

VILLAGE OF RUGAPA, MALORCA
signed and inscribed on reverse
oil on hardboard
61 by 104cm., 24 by 41in.

€9,000-€10,000 (IR £7,000-£7,800 approx.)

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168
Gladys Maccabe HRUA ROI FRSA (b.1918)

AT THE BALL
signed lower left
oil on board
41 by 51cm., 16 by 20in.

€4,500-€5,500 (IR £3,500-£4,300 approx.)

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169
Arthur K. Maderson (b.1942)

HORSE FAIR
signed lower right
oil on board
84 by 114cm., 33 by 45in.

€3,500-€4,500 (IR £2,700-£3,500 approx.)

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170
Desmond Carrick RHA (b.1928)

AN OVERCAST DAY, BURRIANA BEACH, NERJA
signed lower right; inscribed on reverse
oil on canvas board
46 by 61cm., 18 by 24in.

€2,500-€3,500 (IR £2,000-£2,700 approx.)

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171
Elizabeth Cope (b.1952)

READY FOR BED
signed and dated [1991] lower right and again on reverse
oil on board
51 by 83cm., 20 by 32.5in.

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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172
Brian Ballard RUA (b.1943)

DARK FIELDS, MOURNES
signed and dated [1989] lower right; inscribed on reverse
oil on canvas
46 by 55cm., 18 by 21.5in.

Provenance:
Apollo Gallery, Dublin

€3,500-€4,500 (IR £2,700-£3,500 approx.)

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173
Brian Ballard RUA (b.1943)

JUG AND BOWL, CILL RIALAIG
signed and dated [1996] lower left; inscribed on reverse
oil on canvas board
41 by 51cm., 16 by 20in.

Painted during a residency at Cill Rialaig, the deserted famine village which is now an artists’ retreat in Ballinskelligs, Co. Kerry.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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174
Markey Robinson (1918-1999)

STILL LIFE WITH BLUE JUG
signed lower left
gouache on board
53 by 33cm., 21 by 13in.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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175
Elizabeth Cope (b.1952)

STILL LIFE WITH FRUIT DISH AND TEA THINGS ON A PATTERNED CLOTH
signed and dated [1996] on reverse
oil on board
61 by 76cm., 24 by 30in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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176
Brian Ballard RUA (b.1943)

TWO JUGS AND BRUSHES
signed and dated [1987] lower right; titled on reverse
oil on board
36 by 25cm., 14 by 10in.

Provenance:
Solomon Gallery, London

€3,000-€4,000 (IR £2,300-£3,100 approx.)

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177
Gladys Maccabe HRUA ROI FRSA (b.1918)

GOING TO MASS
signed lower right
oil on board
41 by 51cm., 16 by 20in.

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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178
John Schwatschke (b.1943)

THE RED HAT
signed in monogram and dated [1999] lower right; inscribed on reverse
oil on canvas
51 by 76cm., 20 by 30in.

No. 1315 in the artist’s oeuvre.

€2,000-€2,500 (IR £1,600-£2,000 approx.)

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179
Markey Robinson (1918-1999)

STILL LIFE WITH TEAPOT AND EGGS
signed lower right
gouache on board
46 by 58cm., 18 by 23in.

€1,800-€2,200 (IR £1,400-£1,700 approx.)

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180
Markey Robinson (1918-1999)

MOURNE MOUNTAINS
signed lower left; inscribed on reverse
gouache on board
30 by 46cm., 12 by 18in.

€2,500-€3,500 (IR £2,000-£2,700 approx.)

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181
Graham Knuttel (b.1954)

UP TO NO GOOD
signed lower right
oil on canvas
122 by 91cm., 48 by 36in.

€7,000-€9,000 (IR £5,500-£7,000 approx.)

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182
Gladys Maccabe HRUA ROI FRSA (b.1918)

JUGGLING CLOWN
signed lower left
oil on board
51 by 41cm., 20 by 16in.

€2,500-€3,000 (IR £2,000-£2,300 approx.)

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183
Graham Knuttel (b.1954)

MY GIRL
signed lower right
oil on canvas
71 by 56cm., 28 by 22in.

€4,000-€6,000 (IR £3,100-£4,700 approx.)

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184
Brian McCarthy (b.1960)

FANTAIL PIGEONS
signed lower left
oil on canvas
25 by 51cm., 10 by 20in.

€2,000-€2,500 (IR £1,600-£2,000 approx.)

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185
Arthur K. Maderson (b.1942)

DUSK, CAPPOQUIN FAIR
signed lower left; inscribed and signed again on reverse
oil on panel
80 by 118cm., 31.5 by 46.5in.

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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186
Liam Treacy (b.1934)

MILL AT CASTLEBRIDGE, COUNTY WEXFORD
signed lower right
oil on canvas
36 by 46cm., 14 by 18in.

Exhibited:
Our Lady’s Hospice, 1989

€2,000-€2,500 (IR £1,600-£2,000 approx.)

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187
John Ryan (1925-1992)

THE ASGARD RETURNS
signed lower right; inscribed and signed again on reverse
oil on board
28 by 38cm., 11 by 15in.

Inscribed as follows: "This was the yacht designed by Colin Archer of Norway in the early nineteenth century and given to Erskine Childers by his prospective father-in-law, Dr. Osgood of Boston (Mass.) as a wedding present. It was involved in the landing of guns in Ireland in 1914. Returned to Howth, Co. Dublin having been purchased by the Irish Government in 1962. Now preserved in Kilmainham Museum Dublin. Childers wrote the classic The Riddle of the Sands and was executed in 1922 during the Irish Civil War. I painted this from a sketch I made at the time from a boat outside Howth Harbour."

€1,200-€1,500 (IR £900-£1,200 approx.)

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188
Robert Taylor Carson HRUA (b.1919)

FIGURES ON THE STRAND
signed lower left
oil on canvas
64 by 76cm., 25 by 30in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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189
Ken Moroney (b.1949)

ON THE STRAND
signed lower right
oil on board
46 by 61cm., 18 by 24in.

€1,800-€2,000 (IR £1,400-£1,600 approx.)

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190
Ivan Sutton (b.1944)

COLIEMORE HARBOUR, DALKEY, COUNTY DUBLIN
signed lower right
oil on canvas board
41 by 51cm., 16 by 20in.

€1,500-€2,000 (IR £1,200-£1,600 approx.)

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191
Tony Klitz (d.2000)

THE LIFFEY, DUBLIN
signed lower right; inscribed on reverse and with studio stamp, dated [1977] on reverse
oil on canvas
51 by 102cm., 20 by 40in.

€2,500-€3,500 (IR £2,000-£2,700 approx.)

192
Norah McGuinness HRHA (1901-1980)

THE CLADY RIVER, COUNTY DONEGAL
signed lower right; inscribed label on reverse
watercolour
25 by 36cm., 10 by 14in.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

193
Mabel Young RHA (1889-1974)

TREES AGAINST A DARK SKY, WINTER
oil on board
61 by 51cm., 24 by 20in.

Provenance:
Dawson Gallery, Dublin

€2,500-€3,000 (IR £2,000-£2,300 approx.)

194
Rose Brigid Ganly HRHA (1909-2002)

THE LAKE
signed in monogram and dated [1943] lower left; inscribed on reverse
oil on canvas
47 by 51cm., 18.5 by 20in.

Provenance:
Victor Waddington Galleries, Dublin

€1,800-€2,200 (IR £1,400-£1,700 approx.)

195
Mildred Anne Butler RWS RUA (1858-1941)

SUMMER GARDEN
signed with initials lower left
watercolour heightened with bodycolour, oval
20 by 15cm., 8 by 6in.

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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196
John Crampton Walker ARHA (1890-1942)

A COTTAGE IN KERRY
signed and dated [1925] lower right; inscribed on reverse
oil on canvas
51 by 76cm., 20 by 30in.

€1,500-€2,000 (IR £1,200-£1,600 approx.)

197
Eileen Murray (1885-1962)

EVENING IN THE WEST
signed in monogram lower right; inscribed on reverse
oil on paper
36 by 25cm., 14 by 10in.

Inscribed label on reverse giving artist’s name and the work’s title and original price (5 gns), along with a Dublin Horse Show label. Born Eileen Chester in Templemore, Co. Cork, she studied under Stanhope Forbes RA at Newlyn in Cornwall. In 1908, she married a major in the Indian Army and spent the next twelve years in India, winning numerous prizes there in art competitions. On her return to Ireland, she settled at Mosstown, Kenagh, Co. Longford. She exhibited with the RHA, the Dublin Sketching Club, the Belfast Art Society and the Oireachtas, and Daniel Egan gave her a solo show in 1926. She is represented in the collections of the Waterford Municipal Art Gallery and the Ulster Museum.

€1,800-€2,000 (IR £1,400-£1,600 approx.)

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198
James Arthur O’Connor (1792-1841)

JERPOINT ABBEY, WATERFORD
inscribed on reverse
oil on canvas
11 by 13cm., 4.5 by 5in.

€2,000-€4,000 (IR £1,600-£3,100 approx.)

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199
Francis Bindon (c.1690-1765)

SWIFT’S MAN
inscribed on reverse
oil on canvas, lined
81 by 62cm., 32 by 24.5in.

An amateur portrait painter and architect from Co. Clare, Bindon is best known for his portraits of Jonathan Swift (1667-1745), which have been extensively documented by F. R. Falkiner, in his article "On the Portraits, Busts, and Engravings of Swift and their Artists", which appeared in Temple Scott (ed.), The Prose Works of Jonathan Swift, Vol. XII, London, 1908, pp.19-24, and by Walter Strickland op. cit. in 1913. Strickland found Bindon’s portraits "stiff and awkwardly painted", although he did allow the artist’s genuine ability to capture his sitter’s character. Bindon travelled abroad as a young man, studying in Padua and later in London at the Academy of Painting, where he received tuition from Sir Godfrey Kneller. Upon returning to Ireland in the 1720s he achieved considerable success as a portrait artist, possibly owing to his family connections (his father was MP for Ennis and his brother Thomas was Dean of Limerick). He also worked on a number of architectural designs, including those for Russborough House, Co. Wicklow. Bindon continued painting until the mid-1750s, at which point he retired due to failing eye-sight (see Nicola Figgis and Brendan Rooney, Irish Paintings in the National Gallery of Ireland, Vol. I, Dublin, 2001, pp.82-83). The present work is similar in size and execution to the National Gallery’s later portrait of Swift (NGI 4069) which is likewise composed within a false oval. The inscription on reverse appears to have been overwritten in a later hand and reads: "Swift’s Man MacEncatra / Francis Bindon fecit". MacEncatra would seem to be an inaccurate anglicisation of Mac an Carta, which is turn is the original Irish for McCarthy. The man in question is depicted in half-length, seated at a table which is covered with a striped cloth and upon which stands an inkwell. In his right hand a pen is poised above a document, whilst a pair of wire-frame spectacles are clasped in his left hand. A row of ledgers visible in the background suggest his role to be that of clerk or secretary to Swift.

€2,000-€4,000 (IR £1,600-£3,100 approx.)

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200
Attributed to James Reily (d.1780)

PORTRAIT OF A YOUNG MAN IN A TIE WIG, WEARING A RED WAISTCOAT AND BLUE COAT WITH SILVER BUTTONS AND TRIM
watercolour and bodycolour on ivory
4 by 3cm., 1.5 by 1.25in. (oval)

Educated at the Blue-coat School, Oxmantown (1745-48), he later studied at the Dublin Society under Robert West, served an apprenticeship along with Gustavus Hamilton (1739-1775) under Samuel Dixon. He exhibited miniatures at the Society of Artists in Dublin between 1765 and 1779. Examples of his work are in the National Museum of Ireland and the Victoria & Albert Museum, London.

€1,000-€1,200 (IR £800-£900 approx.)

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201
Style of Edwin Hayes RHA RI ROI (1819-1904)

SHIPWRECK and A VIEW FROM KILLINEY TOWARDS BRAY AND THE SUGAR LOAF (A PAIR)
oil on panel
each 11 by 25cm., 4.5 by 10in.

€1,200-€1,500 (IR £900-£1,200 approx.)

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202
George Trobridge (1857-1909)

ON THE RIVER LAGAN and A HORSE AND CART ON A STRAND, WITH A VIEW OF FAIRHEAD, ANTRIM, BEYOND [A PAIR]
the former signed in monogram and dated [1884] lower left; the latter signed in monogram and dated [1886] lower left
oil on canvas
61 by 46cm., 24 by 18in. and 46 by 61cm., 18 x 24in. respectively

With a clipping from the Belfast Evening Telegraph dated July 1908, discussing some of Trobridge’s works in the Belfast Art Gallery and giving a brief biography of the artist. See also Strickland, Vol. II, pp.458-459.

€1,500-€2,000 (IR £1,200-£1,600 approx.)

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203
William Mason (b.1906)

FISHING BOATS
signed lower right
oil on board
61 by 79cm., 24 by 31in.

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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204
William Mason (b.1906)

FIGURES IN A BOAT YARD
signed lower right
oil on board
51 by 61cm., 20 by 24in.

Provenance:
Ex. Collection of George McClelland

€2,000-€3,000 (IR £1,600-£2,300 approx.)

205
Estella Solomons HRHA (1882-1968)

FOLIO OF ETCHINGS
etchings on cream wove paper

Provenance:
Family of the artist, by descent

Contains 21 etchings, mostly of Dublin scenes. One of only four un-numbered sets made posthumously for members of the Solomons family. Various sizes from 3.5 by 4in. to 5.5 by 9in.

€1,500-€2,500 (IR £1,200-£2,000 approx.)

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206
Estella Frances Solomons HRHA (1882-1968)

FOLIO OF ETCHINGS
etchings on cream wove paper

Provenance:
Family of the artist

Contains 22 etchings, mostly of Dublin scenes. One of only four un-numbered sets made posthumously for members of the Solomons family. Various sizes from 4 by 3 in. to 5.5 by 9 in.

€1,500-€2,500 (IR £1,200-£2,000 approx.)

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207
Harry Kernoff RHA (1900-1974)

THE FLY AND THE CHAMELEON
signed and dated [1957] upper right
watercolour over pencil
33 by 24cm., 13 by 9.5in.

€2,000-€2,500 (IR £1,600-£2,000 approx.)

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208
Pauline Bewick RHA (b.1935)

KICKING WATER and LOOKING AT A LAKE STONE [A PAIR]
both signed lower right and inscribed with title and edition
hand coloured etchings
each 75 by 57cm., 29.5 by 22.5in.

Both etchings numbered 3 out of an edition of 13.

€1,200-€1,500 (IR £900-£1,200 approx.)

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209
Pauline Bewick RHA (b.1935)

RAM AT LUNCH and WINE LABEL (A PAIR)
each signed lower right and inscribed lower left
etchings hand coloured with watercolour and gold leaf
51 by 25cm., 20 by 9.75in. and 17.5 x 24cm., 7 by 9.5 in. respectively

The former is one of a numbered edition of 100, whilst the latter is an artist’s proof.

€1,500-€2,000 (IR £1,200-£1600 approx.)

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210
Mainie Jellett (1897-1944)

ABSTRACT
signed and dated [1927] lower right
silkscreen print hand-finished in gouache
39 by 30cm., 15.5 by 12in.

Provenance:
Purchased on a visit to Ireland in the 1930s by Californian artist Marie T. Scott, on whose death in 1976 it passed to a friend;
Subsequently bequeathed in 1998 to another friend of Ms Scott’s

€1,000-€2,000 (IR £800-£1600 approx.)

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211
Evie Hone HRHA (1894-1955)

ST ANTHONY OF PADUA - DESIGN FOR STAINED GLASS
signed lower right; inscribed on reverse
brush and ink with watercolour
23 by 19cm., 9 by 7.5in.

Provenance:
Dawson Gallery, Dublin

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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212
Harry Kernoff RHA (1900-1974)

HARLEQUIN
signed and dated [1931] in ink, lower left
hand-coloured print
13 by 11cm., 5 by 4.5in.

Literature:
Used as the front cover image for the catalogue of Kernoff’s ‘Exhibition of Contemporary Portraits and Landscapes’, 7 Stephen’s Green, September - October 1929;
Also appeared as the cover for the programme of Erin through the Ages: A Pageant of Irish History, for which Kernoff had designed and painted the stage settings, presented by Madame Cogley in the People’s Park, Dublin, July 1930.

Original invitation card for Kernoff’s first London exhibition, held at the Gieves Gallery, 22 Old Bond Street, from 3-13 March, 1931 (see reverse of card for details).

€500-€700 (IR £400-£550 approx.)

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213
Gladys Maccabe HRUA ROI FRSA (b.1918)

IN THE PARK
signed lower right; titled on reverse
oil on board
33 by 47cm., 13 by 18.5in.

€4,000-€5,000 (IR £3,100-£3,900 approx.)

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214
Markey Robinson (1918-1999)

WAITING FOR THE BOATS
signed lower left
gouache on board
23 by 38cm., 9 by 15in.

Provenance:
Leinster Gallery, Dublin
Private collection, Dublin

€2,000-€3,000 (IR £1,600-£2,300 approx.)

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215
Graham Knuttel (b.1954)

PUNCH
signed lower right
oil on canvas
51 by 41cm., 20 by 16in.

€2,000-€3,000 (IR £1600-£2,300 approx.)

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216
Markey Robinson (1918-1999)

ROAD TO THE SEA
signed (indistinctly) lower right
oil on board
26 by 50cm., 10 by 19.5in.
€1,500-€2,000 (IR £1,200-£1600 approx.)

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217
Markey Robinson (1918-1999)

SOLITARY SHAWLIE BY A COTTAGE
signed lower centre
oil on board
15 by 50cm., 6 by 19.5in.

€1,500-€1,800 (IR £1,200-£1,400 approx.)

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218
Mark O’Neill (b.1963)

VENICE, TUESDAY’S COLOURS
signed and dated [1999] lower left
oil on board
55 by 64cm., 21.5 by 25in.

Provenance:
Frederick Gallery, Dublin

€3,000-€4,000 (IR £2,300-£3,100 approx.)

219
Liam Treacy (b.1934)

CORNER OF GRAFTON STREET, DUBLIN
signed lower right; inscribed studio label on reverse
oil on canvas
30 by 41cm., 12 by 16in.

€1,500-€2,000 (IR £1,200-£1600 approx.)

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220
James English (b.1946)

CANAL VENICE
signed lower right
oil on canvas
41 by 30cm., 16 by 12in.

€2,000-€2,500 (IR £1600-£2,000 approx.)

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221
Robert Taylor Carson HRUA (b.1919)

DOWNINGS STRAND
signed lower right; inscribed on reverse
oil on canvas
51 by 64cm., 20 by 25in.

Downings is an inlet at Sheep Haven, Co. Donegal.

€2,000-€3,000 (IR £1600-£2,300 approx.)

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222
Norman J. McCaig (1926-2001)

BLUEBELL TIME
signed lower left
oil on canvas board
41 by 51cm., 16 by 20in.

€2,000-€3,000 (IR £1600-£2,300 approx.)


LITERATURE AND RELATED EPHEMERA

223
Rose Maynard Barton RWS (1856-1929)

Familiar London, Adam & Charles Black, London, 1904.

First edition. A charming book, with 61 colour plates showing London as it was just before the advent of the motor car. Octavo, in pictorial red cloth, lightly worn at head of spine. Endpapers a little foxed, else a very good copy of a scarce book.

€200-€250 (IR £160-£200 approx.)

224
NO LOT

225
[Margaret Clarke RHA (1888-1961)]

Paul Gauguin, The Intimate Journals of Paul Gauguin, William Heinemann, London, [1923].

LIMITED EDITION OF 530 COPIES, of which 500 were sold to subscribers only and 30 were presentation copies. Translated by Van Wyck Brooks, with a preface by Emile Gauguin. MARGARET CLARKE’S COPY, SIGNED AND DATED [17 April 1925] on the front free-endpaper. Quarto, beige cloth - rather soiled - over bevelled boards, stamped in gilt. With 24 plates, offering a revealing source of information regarding Clarke’s early artistic influences.

€250-€300 (IR £200-£240 approx.)

226
Gaetano de Gennaro
Paintings and Pastels, Three Candles Press, Dublin, 1945.

LIMITED EDITION OF 1,000 COPIES, each numbered and SIGNED BY THE ARTIST. Contains 36 tipped-in plates of de Gennaro’s works, many of which were painted in Ireland in 1943-1944, including portraits of Jerome Connor, Albert Power, Seán Keating, Jack B. Yeats and Douglas Hyde. Folio; quarter cloth over printed boards. Ex-lib. copy, missing dust jacket; else very good.

€80-€100 (IR £65-£80 approx.)

227
Paul Henry RHA (1878-1958)

John Davidson, The Ballad of a Nun, John Lane, London, 1905.

Contains six plates by Paul Henry. A scarce edition; 16mo, in gilt-stamped green cloth. Also with this lot, Sarah Austin, The Story Without an End, Duckworth & Co., London, 1904. Gilded green cloth with parchment at spine. A romantic children’s tale, with four plates by Paul Henry. Both very good copies; very scarce.

€200-€300 (IR £160-£240 approx.)

228
Evie Hone HRHA (1894-1955)

Stella Frost (ed.), A Tribute to Evie Hone and Mainie Jellett, Browne & Nolan Limited, Dublin, 1957.

With an ORIGINAL WATERCOLOUR by EVIE HONE tipped in, facing page vii. The watercolour is an abstract composition, measures 7 x 5 inches and is signed lower right. A valuable addition to a scarce book, which is itself in very good condition in a chipped - now protected - dust jacket.

€600-€800 (IR £500-£600 approx.)

229
Louis le Brocquy HRHA (b.1916)

John M. Synge, The Playboy of the Western World, Printed at the Dolmen Press for the Imprint Society, Barre, Massachusetts, 1970.

With six colour illustrations by Louis le Brocquy, SIGNED BY LE BROCQUY. One of a limited edition of 1950 copies, bound in gilt-stamped cloth, in slipcase.

€500-€700 (IR £400-£500 approx.)

230
Louis le Brocquy HRHA (b.1916)

Samuel Beckett, Poems 1930-1989, Calder Publications, London, 2002.

Bound with AN ORIGINAL SIGNED LITHOGRAPH BY LE BROCQUY, titled, ‘Images of Samuel Beckett’. No. 26 of a limited edition of 100. Bound in quarter goatskin, with raised bands at spine, hand-tooled. Top edge gilt; marbled boards with matching slipcase. Mint.

€800-€1,000 (IR £630-£780 approx.)

231
Flora H. Mitchell (1890-1973)

Vanishing Dublin, Allen Figgis & Co., Dublin, 1966.

First edition, of which approximately 600 copies were printed. With fifty full-page colour plates, and an introduction by the Earl of Wicklow. Quarto; original green cloth. Fine, in a very good, price-clipped dust-jacket.

€400-€500 (IR £300-£400 approx.)

232
Sir John Rothenstein (ed.)

The Masters, Knowledge Publications, London, 1965.

Numbers 1-30, issued serially. With many full colour plates and critical appreciations of such masters as Goya, Vermeer, Canaletto etc; through to such twentieth century masters as Kandinsky and Miró. Large quarto, printed wrappers. Very good.

€100-€150 (IR £80-£120 approx.)

233
Sir William Orpen RA RI HRHA (1878-1931)

An Onlooker in France 1917-1919, Henry Holt & Co., New York, 1923.

First U.S. edition, one of 100 numbered copies. Quarto; gilt-stamped blue cloth over bevelled boards, with 96 photogravure plates of paintings by the author.

€140-€160 (IR £110-£130 approx.)

234
Dorothy Walker
Modern Art in Ireland, Lilliput Press, Dublin 1977.

With a foreword by Séamus Heaney. This copy is one of a LIMITED EDITION OF 100, numbered and SIGNED BY DOROTHY WALKER AND SÉAMUS HEANEY on rear colophon. Crown quarto; bound in cloth covered boards with a matching slipcase.

€500-€600 (IR £400-£500 approx.)

235
Jack Butler Yeats RHA (1871-1957)

James Flaunty or the Terror of the Western Seas, Elkin Matthews, London, [1901].

Chap Book, foolscap octavo, in original printed brown wrappers, hand-coloured. Matthews published three such miniature plays of Yeats’s, of which James Flaunty was the most successful. Touted as one of Yeats’s "Plays in the Old Manner", it contained six black and white illustrations, each framed by a mock proscenium arch with the stage-lights visible along the bottom. Ernest Marriott wrote of these chap books, "Together they do not weigh more than a few ounces. Placed flat on top of one another they are not an inch high. Yet within that small compass there is much of the quaint and the beautiful... Not one of these books takes more than a quarter of an hour to read, but - the inspiriting glory of those fifteen minutes!" (Jack B. Yeats: His Pictorial and Dramatic Art, 1911, p.14).

€200-€300 (IR £160-£240 approx.)

236
Jack Butler Yeats RHA (1871-1957)

Frank O’Connor (trans.), A Lament for Art O’Leary, Irish University Press, Shannon, 1971.

Facsimile reprint of the Cuala Press edition on 1940, of which only 130 copies were published. With six illustrations by Yeats. Tall octavo; printed papered boards with cloth at spine. Fine.

€70-€90 (IR £55-£70 approx.)

237
Jack Butler Yeats RHA (1871-1957)

Collection of ten letters written by William Butler Yeats (2) and Jack Butler Yeats (5) and Lily Yeats (3).

Provenance:
Miss Olive Pollexfen Jackson, Lisroyan, Sligo;
Private collection, Dublin

All written to the Yeats siblings’ aunt on their mother’s side, Mrs Alice Jackson, and to their cousin Miss Olive Pollexfen Jackson, both of Lisroyan, Sligo. The letters range in date from 9 February 1916 (Lily to Alice) to 11 January 1956 (Jack to Olive). Several of them relate to matters of family history as well as the usual family gossip; for instance, Lily Yeats discussing her niece, the late Anne Yeats (1919-2001), a gifted artist in her own right: "I would like her to take more care of her appearance, Michael is very much against her ‘slacks’ - she always calls on me in a skirt, stuffy old Aunt Lily she probably thinks" (11 July 1943). An interesting lot.

€3,000-€4,000 (IR £2,300-£3,100 approx.)

238
William Butler Yeats (1865-1939)
The Speckled Bird, Cuala Press, Dublin, 1973/4.

Two volumes in linen-backed printed boards with spine labels, in the publisher’s matching slipcase. LIMITED TO 500 COPIES. The first edition of this youthful, semi-autobiographical novel, unpublished in Yeats’ lifetime.

€100-€200 (IR £78-£160 approx.)

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