Whytes Important Irish & International Art Auction May 2014

WHYTESS I N C E 1 7 8 3
,
IMPORTANT IRISH &
INTERNATIONAL ART
26 MAY 2014

MONDAY 26 MAY 2014
IMPORTANT IRISH &
INTERNATIONAL ART
VIEWING
Royal Dublin Society,
Anglesea Road, Ballsbridge, Dublin 4
Saturday 24 May 10am to 6pm (Gallery Talk 3pm)
Sunday 25 May 10am to 6pm (Gallery Talk 3pm)
Monday 26 May 10am to 6pm
AUCTION
Monday 26 May at 6pm
Royal Dublin Society,
Anglesea Road, Ballsbridge, Dublin 4
ENQUIRIES
Whyte's 38 Molesworth Street Dublin 2
Tel: 01 676 2888 Fax: 01 676 2880 E-mail: info@whytes.ie
BIDS
Whyte's 38 Molesworth Street Dublin 2
Tel: 01 676 2888 Fax: 01 676 2880 E-mail: bids@whytes.ie
Live bidding and on-line bids: www.whytes.ie
Front cover: lot 66, Gerard Dillon, Home with the Catch (detail)
Inside front cover: lot 176, Patrick Hennessy, Strand, 1977 (detail)
Page 6, 7: lot 60, Nano Reid, Salmon Fishing on the Boyne (detail)
Back cover: lot 150, Andy Walhol, Van Heusen (Ronald Reagan), From Ads, 1985
Whyte’s Auction App
now available for free download

BUYERS’ COMMISSION
20% (excluding VAT) is added to the hammer price of all lots. No
extra fee is charged for on-line bidding.
ROOM BIDDERS
1. Room bidders must register and obtain a bidding number on
arrival. Proof of identity is required from clients new to us.
2. If successful in obtaining a lot please ensure you display your
number clearly to the auctioneer and that it is your number that
is called out. If there is any doubt about the hammer price or
buyer, please draw this to the attention of the auctioneer
immediately.
3. Payment may be made by cash, bank draft, cleared cheque,
debit or credit card — we accept Mastercard or Visa (a charge of
2% is made on credit card transactions). There is no charge on
debit card transactions..
ABSENTEE BIDDING
1. If you are unable to attend you may bid before the sale, using
the form provided. Enter the maximum you are prepared to
offer for each lot and the auctioneer will represent you as if you
are personally attending the sale. Lots are knocked down at one
step above the next highest bid, and not necessarily at your
highest bid. Example: your bid is €1,000 and next highest bid is
€800 – the hammer price is €850.
2. LIMIT BIDDING: Absentee bidders may limit their total purchases
to a set amount by entering their limit on the bidding form. This
is especially useful for bidders wishing to cover as many lots as
possible while setting a maximum amount to spend.
3. “OR” BIDDING: Absentee bidders who wish to bid on two or
more lots, but only wish to purchase one, may do so by entering
“OR” between the bids – the lots will be bid on in catalogue
order.
4. EQUAL BIDS: In the event of equal bids being received for the
same lot the first received will be given preference. If the
instruction “break ties” is entered on the bid form the auctioneer
will increase the bid by one step in the event of equal bids being
received or in the event of a tie with a room bidder.
5. “BUY” BIDS: Unless otherwise instructed bids of “Buy” or “Buy at
Best” shall be taken to indicate bids of up to three times the
stated higher estimate in the catalogue.
6. LIVE INTERNET BIDDING AT NO EXTRA CHARGE: You may watch
and/or bid live with video and audio link to the saleroom on our
website www.whytes.ie at no extra charge.
7. LIVE TELEPHONE BIDDING may be arranged on request, subject
to availability and given at least 24 hours notice. This facility is only
available on lots estimated at €2,000 or more, and a minimum
bid may be requested.
8. INVOICING AND PAYMENT: Successful absentee bidders will be
sent a pro forma invoice immediately after the sale with details
of payment methods. All invoices must be paid within 7 days of
the date of the sale or the lot(s) may be deemed in default and
any subsequent losses incurred on resale become the
responsibility of the bidder. The Auctioneers and House Agents
Act, under which we are licensed to hold public auctions, only
allows for lots to be handed over to purchasers when paid for in full.
PRICES REALISED
A complete list of prices realised and unsold lots will be posted to
our Internet website (www.whytes.ie) on the day after the sale.
SPECIAL NOTICES CONCERNING THIS AUCTION
VENUE FOR AUCTION NIGHT
The venue for the auction is the Royal Dublin Society, Anglesea
Road, Ballsbridge, Dublin 4 and the sale starts at 6pm.
Bidder registration will take place here from 5pm on Monday
26 May and the sale starts at 6pm. Complimentary tea and coffee
will be served in the café.
COLLECTION OF LOTS
Collection of purchases at this sale may be effected 10am to 3pm
on Tuesday 27 May from the RDS. After that date lots may be
collected from our Molesworth Street premises.
Purchasers must pay for and collect all lots within 7 days of the
date of sale. Note: each lot is at the buyer’s risk from the fall of the
hammer. Storage charges will apply after 7 days.
MORE INFORMATION ON OUR WEBSITE
whytes.ie or whytes.com
Here you will find much useful information pertaining to lots in this
auction, including biographies and previous results for many of the
artists featured in this sale.
WHYTE’S GUARANTEE OF AUTHENTICITY
Whyte’s takes especial care to ensure that all works offered in this
catalogue are as described and are the work of the artists they are
attributed to. In the event of any work sold from this catalogue to be
subsequently proved to be a “deliberate forgery”, subject to our terms and
conditions of sale (especially Clause 5c) as printed elsewhere in this
catalogue Whyte’s will cancel the sale and refund to the buyer the total
amount paid by the buyer to Whyte’s for the item, in the currency of the
original sale. This guarantee is provided for a period of seven (7) years after
the date of the relevant auction, and may be extended at Whyte’s
discretion.
GLOSSARY OF TERMS
The following are examples of the terminology used in this catalogue.
1 Sir John Lavery
in our opinion a work by the artist.
2 Attributed to Sir John Lavery
In our opinion probably a work by the artist but less certainty as to
authorship is expressed than in the preceding paragraph.
3 After Sir John Lavery
In our opinion a copy of a known work by the artist. We also use this
term for prints of works by the artist.
4 The term signed and/or dated and/or inscribed means that in our
opinion the signature and/or date and/or inscription are from the hand
of the artist.
5 The term bears a signature and/or initials and/or date and/or
inscription means that in our opinion the signature and/or date and/or
inscription has been added by another hand.
IMPORTANT NOTES
ALL LOTS ARE SOLD SUBJECT TO OUR TERMS AND CONDITIONS OF SALE PRINTED ON PAGE 5

CONTENTS
Whyte's Terms & Conditions 5
IMPORTANT IRISH & INTERNATIONAL ART 8
Abbreviations 132
Topographical and General Index 132
Index of Artists inside back
This catalogue was compiled by Adelle Hughes with assistance from Ian Whyte,
Sarah Gates and contributions from Dr Riann Coulter, Dickon Hall, Dr. Róisín
Kennedy, Dr. S. B. Kennedy, Seán Kissane and Prof. Kenneth McConkey.
We would also like to thank the staff of the National Irish Visual Arts Library, the
National Library of Ireland and the many artists, art historians, collectors, dealers
and galleries who have assisted in our research for this catalogue.
Copyright 2014 Whyte & Sons Auctioneers Limited. All rights reserved.
ENQUIRIES
This catalogue:
Sarah Gates and
Adelle Hughes
Accounts:
Seán Kelly
Bids & General
Enquiries:
Samantha Woolley
Collection of Lots:
Aaron Lowry
CONTACTS
E-mail
info@whytes.ie bids@whytes.ie
Telephone
01 676 2888 (+3531 676 2888 from UK and elsewhere)
Fax
01 676 2880 (+3531 676 2880 from UK and elsewhere)
Postal address
38 Molesworth Street, Dublin 2, Ireland
Websites
whytes.ie whytes.com
Seán Kelly
Accounts
Samantha Woolley
Administration
Ian Whyte
Managing Director
Sarah Gates BA
Director
Adelle Hughes BA MA
Associate Director
Marianne Newman
Director
Aaron Lowry BA
Curator

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5
,
Whyte & Sons Auctioneers Limited, trading as Whyte’s, exercises all reasonable
care to ensure that all descriptions are reliable and accurate, and that each item
is genuine unless the contrary is indicated. However, the descriptions are not
intended to be, are not and are not to be taken to be, statements of fact or
representations of fact in relation to the lot. They are statements of the opinion
of Whyte’s, and attention is particularly drawn to clause 5 set out below.
Comments and opinions, which may be found in or on lots as labels, notes,
lists, catalogue prices, or any other means of expression, do not constitute part
of lot descriptions and are not to be taken as such unless they are made or
specifically verified by Whyte’s.
Clause 1
(a) Each lot is put up subject to any reserve price imposed by the vendor
(b) Subject to sub-clause (a) of this clause, the highest bidder for each lot shall
be the buyer thereof
(c) If any dispute arises as to the highest bidder the auctioneer shall have
absolute discretion to determine the dispute and may put up again and re-sell
the lot in respect of which the dispute arises
Clause 2
(a) The bidding and advances shall be regulated by and at the absolute
discretion of the auctioneer and he shall have the right to refuse any bid or
bids. NOTE: Where an agent bids, even on behalf of a disclosed client, the
auctioneer nevertheless has the right at his discretion to refuse any such bid.
(b) The buyer of each lot shall immediately on its sale, if required by the
auctioneer, give him the name and address of the buyer and pay to Whyte’s at
his discretion the whole or part of the purchase money. If the buyer of any lot
fails to comply with any such requirement Whyte’s may put up again and re-
sell the lot; if upon such re-sale a lower price is obtained than was obtained on
the first sale the buyer in default on the first sale shall make good the difference
in price and expenses of re-sale which shall become a debt due from him.
(c) Where an agent purchases on behalf of an undisclosed client such agent
shall be personally liable for payment of the purchase money to Whyte’s and
for safe delivery of the lot to the said client.
Clause 3
(a) Whyte’s reserves the rights to bid on behalf of clients including vendors, but
shall not be liable for errors or omissions in executing instructions to bid.
(b) Whyte’s reserves the rights, before or during a sale, to group together lots
belonging to the same vendor, to split up and to withdraw any lot or lots at
Whyte’s absolute discretion and without giving any reason in any case.
(c) Whyte’s acts as agent only, and therefore shall not be liable for any default
of the buyer or vendor.
Clause 4
(a) Each lot shall be at the buyer’s risk from the fall of the hammer and shall be
paid for in full before delivery and taken away at his expense within one day of
the sale. The buyer will be responsible for all removal, storage and insurance
charges in respect of any lot which has not been collected within 7 days of the
date of sale.
(b) If any buyer fails to pay in full for any lot within 7 days of the date of sale
such lot may at any time thereafter at Whyte’s discretion be put up for sale by
auction again or sold privately; if upon such re-sale a lower price is obtained
than was obtained on the first sale the buyer in default on the first sale shall
make good the difference in price and the expenses of re-sale which shall
become debt due from him.
(c) Interest at 2 per cent per month and legal costs (if any) for recovery of
monies due shall be payable by the buyer on any overdue account.
Clause 5
(a) All lots are made available for inspection before each sale and each buyer,
by making a bid, acknowledges that he has satisfied himself as to the physical
condition, age and catalogue description of each lot (including but not
restricted to whether the lot is damaged or has been repaired or restored).
(b) All lots are sold with all faults and imperfections and errors of description
and Whyte’s and its employees, servants or agents shall not be responsible for
any error of description or for the condition or authenticity of any lot, save for
Clause 5 (c) below.
Written or verbal condition reports may be supplied by Whyte’s on request
but these are merely statements of opinion, and any error or omission in these
reports may not be taken as grounds for a cancellation of sale or refund of
any part of the purchase price or the cost of any repairs to the lot or lots
reported on.
(c) If any lot sold at this auction is subsequently proved to be a “deliberate
forgery”, Whyte’s will cancel the sale and refund to the buyer the total amount
paid by the buyer for the item, in the currency of the original sale. The onus of
proving a lot to be a “deliberate forgery” is on the buyer. For these purposes,
“deliberate forgery” means a lot that in Whyte’s reasonable opinion is an
imitation created to deceive as to authorship, where the correct description of
such authorship is not reflected by the description in the catalogue (taking into
account any Glossary of Terms). No lot shall be considered a deliberate forgery
by reason only of any damage and/or restoration and/or modification work of
any kind (including repainting or overpainting). This guarantee does not apply
if (i) either the catalogue description was in accordance with the generally
accepted opinions of scholars and experts at the date of the sale, or the
catalogue description indicated that there was a conflict of such opinions; (ii) or
the only method of establishing at the date of the sale that the item was a
counterfeit would have been by means of processes not then generally
available or accepted, unreasonably expensive or impractical to use; or likely to
have caused damage to the lot or likely (in Whyte’s reasonable opinion) to have
caused loss of value to the lot; or (iii) there has been no material loss in value of
the lot from its value had it been in accordance with its description. This
guarantee is provided for a period of seven (7) years after the date of the
relevant auction, is solely for the benefit of the buyer and may not be
transferred to any third party. Whyte’s has discretion to extend the guarantee
for a longer period. To be able to claim under this Guarantee, the buyer must (i)
notify Whyte’s in writing within three (3) weeks of receiving any information
that causes the buyer to question the authenticity or attribution of the item,
specifying the lot number, date of the auction at which it was purchased and
the reasons why it is thought to be a deliberate forgery; and (ii) return the item
to Whyte’s in the same condition as the date of the sale to the buyer and be
able to transfer good title in the item, free from the third party claims arising
after the date of the sale. Whyte’s has discretion to waive any of the above
requirements. Whyte’s may require the buyer to obtain at the buyer’s cost the
reports of two independent and recognised experts in the field, mutually
acceptable to Whyte’s and the buyer. Whyte’s shall not be bound by any
reports produced by the buyer, and reserves the right to seek additional expert
advice at its own expense. In the event Whyte’s decides to rescind the sale
under this Guarantee, it may refund the buyer the reasonable costs of up to
two mutually approved independent expert reports.
(d) Any lot listed as a “mixed lot, collection, range, portfolio etc.” or stated to
comprise or contain a collection or range of items which are not described
shall be put up for sale not subject to rejection and shall be taken by the buyer
with all (if any) faults, lack of genuineness and errors of description and
numbers of items in the lot, and the buyer shall have no right to reject the lot;
except that, notwithstanding the foregoing provisions of this sub-clause, where
before a sale a person intending to bid at the sale gives notice in writing to,
and satisfies Whyte’s that any such lot contains any item or items not described
in the sale catalogue and that person specifically describes that item or those
items in that notice, then that item or those items shall, as between Whyte’s
and that person, to be taken to form part of the description of the lot.
Clause 6
The respective rights and obligations of the parties shall be governed and
interpreted by Irish law, and the buyer hereby submits to the exclusive
jurisdiction of the Irish Courts.
SPECIAL CONDITIONS
(a) The buyer shall pay Whyte’s a commission at the rate of 20% (plus VAT
under The Margin Scheme and which is not reclaimable).
(b) Whyte’s or its employees, servants or agents may, on request organise
packing and shipping of lots purchased or may order on the buyer’s behalf
third parties to pack or ship purchases. Under no circumstances does Whyte’s
accept any liability whatsoever for any loss or damage howsoever occasioned
in the course of such service.
(c) The buyer authorises Whyte’s to use any photographs or illustrations of any
lot purchased for any or all purposes as Whyte’s may require.
The placing of a bid will be taken as full agreement to all the above conditions.
WHYTE & SONS AUCTIONEERS LIMITED
38 Molesworth Street, Dublin 2
TERMS AND CONDITIONS OF SALE NOTICE

7
Monday 26 May 2014 at 6pm
Lots 1-229
IMPORTANT IRISH &
INTERNATIONAL ART

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8
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1
William Percy French
(1854-1920)
BOG LANDSCAPE, 1916
watercolour
signed and dated lower right; Oriel
Gallery label on reverse
9 by 13in. (23 by 33cm)
Provenance:
Oriel Gallery, Dublin, c.1990s
Where purchased by the present
owner
€4,000-€6,000
(£3,310-£4,960 approx.)
2
William Percy French
(1854-1920)
IN CONNEMARA, 1912
watercolour
signed and dated lower left; with
inscribed exhibition label on
reverse
7¼ by 10in. (18 by 25cm)
Provenance:
A gift from the artist to Marjorie
Elvery (sister of Lady Beatrice
Glenavy);
Thence by descent to the present
owner
Exhibited:
Modern Gallery, Bond St., London,
autumn, 1912, catalogue no. 41
€2,000-€3,000
(£1,650-£2,480 approx.)

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9
3
William Percy French (1854-1920)
TWO VIEWS OF THE GALTEES, 1910
watercolour; (double-sided)
signed, titled and dated recto
6½ by 9½in. (15 by 23cm)
€3,000-€4,000 (£2,480-£3,310 approx.)
,
4
LANDSCAPE WITH PINE TREES AND LAKE
watercolour
signed with initials lower right; with Combridge
framing label on reverse
10½ by 14½in. (25 by 36cm)
€2,000-€3,000 (£1,650-£2,480 approx.)
5
PURPLE HEATHERS AND MOUNTAINS
watercolour
signed lower right
7 by 10in. (18 by 25cm)
Provenance:
Acquired directly from the artist by the present
owner’s family
€1,500-€2,000 (£1,240-£1,650 approx.)
Ex 3Ex 3
4
5

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10
6
COTTAGES WITH MOUNTAIN RANGE IN THE
DISTANCE
watercolour
signed lower left
4¾ by 6¾in. (10 by 15cm)
Provenance:
owner’s family
€1,000-€1,500 (£830-£1,240 approx.)
7
A BOG LAKE
watercolour
signed lower left
6½ by 9½in. (15 by 23cm)
Provenance:
owner’s family
€1,500-€1,800 (£1,240-£1,490 approx.)
8
TALL TREES WITH TURF STACKS BEYOND
watercolour
signed lower left
6½ by 9½in. (15 by 23cm)
Provenance:
owner’s family
€1,500-€1,800 (£1,240-£1,490 approx.)
,

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11
9
ON THE ROCKS [ROCK OF CASHEL, COUNTY TIPPERARY]
watercolour
signed lower left; titled on reverse; with Oriel Gallery label on reverse
9¾ by 6½in. (23 by 15cm)
Provenance:
Oriel Gallery, Dublin;
Private collection;
Whyte’s, 30 May 2011, lot 66A;
Whence purchased by the present owner
Literature:
Nulty, Oliver, Lead Kindly Light, 35 Years of Percy French at the Oriel Gallery:
A Millennium Retrospective, Oriel Gallery, Dublin, 2002, p.122 (illustrated)
€2,000-€2,500 (£1,650-£2,070 approx.)
10
LIGHT GLISTENING ON WATER
watercolour
signed lower left
6¾ by 9½in. (15 by 23cm)
Provenance:
owner’s family
€1,500-€1,800 (£1,240-£1,490 approx.)
11
SAIL BOATS ON A LAKE, 1914
watercolour
signed with initials and dated lower left
5 by 9¾in. (13 by 23cm)
Provenance:
owner’s family
€1,200-€1,500 (£990-£1,240 approx.)
,

12
,
12
BOG LAKE
watercolour
signed lower left
6½ by 9½in. (15 by 23cm)
Provenance:
Oriel Gallery, Dublin, 1981;
Where purchased by the present owner
€2,000-€3,000 (£1,650-£2,480 approx.)
,
13
SNOW SCENE WITH LOG CABIN, SWITZERLAND
watercolour
5 by 6½in. (13 by 15cm)
Provenance:
owner’s family
A similar scene can be found in the North Down Museum,
dated 1914.
€1,000-€1,500 (£830-£1,240 approx.)
14
PINE FOREST AT SUNSET
watercolour
signed lower left
4¾ by 6¾in. (10 by 15cm)
Provenance:
owner’s family
€700-€900 (£580-£740 approx.)

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16
Andrew Nicholl RHA
(1804-1886)
MALLARDS IN FLIGHT
watercolour with bodycolour
and sgraffito
signed lower left
14 by 23in. (36 by 58cm)
Provenance:
Whyte’s, 28 November 2006,
lot 114;
Whence purchased by the
present owner
€2,000-€3,000
(£1,650-£2,480 approx.)
13
15
Edmond Delrenne
(Belgian, fl.1915-18)
DUBLIN 1916 INCLUDING A VIEW OF THE
IRISH REPUBLIC FLAG OVER THE G.P.O.,
SACKVILLE STREET (A PAIR)
pastel; (2)
signed and inscribed [Dublin] and dated
lower left
6 by 9½in. (15 by 23cm)
Dimensions of second work, 5.75 by 8.5in.
Edmond Delrenne was a Belgian refugee who
arrived in Dublin circa 1914 and remained here
throughout the First World War. He exhibited four
war scenes at the RHA in 1915 and 1916, giving
his address as care of Dermod O’Brien, at whose
home in Cahirmoyle, Co. Limerick, he stayed for a
period. According to Dermod O’Brien’s son, Dr
Brendan O’Brien, Delrenne was in Dublin at the
time of the 1916 Easter Rising and witnessed a
man beside him killed by a stray bullet (see
Adrian le Harivel and Michael Wynne (ed.s),
National Gallery of Ireland Acquisitions 1982-
1983, NGI, Dublin, 1984). One of Delrenne’s
watercolours is in the collection of the National
Gallery (NGI 18,486), whilst an oil painting of his
sold with Whyte’s, 9 April 2006, lot 128, and later,
two watercolours of Dublin dated 1916 also sold
through Whyte’s on 30 April 2007, lot 102.
€3,000-€5,000 (£2,480-£4,130 approx.)
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14
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18
William Sadler II
(c.1782-1839)
DONNYBROOK FAIR IN ALL ITS GLORY,
1830
pen and ink with watercolour
inscribed with title, medium, artist’s
name and date lower centre
9½ by 13¾in. (23 by 33cm)
€2,000-€3,000 (£1,650-£2,480 approx.)
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17
William Sadler II (c.1782-1839)
VIEW OF THE GREAT SUGAR LOAF AND LITTLE SUGAR LOAF, COUNTY WICKLOW
oil on panel
11 by 16in. (28 by 41cm)
Possibly sold at Sotheby’s, Dublin, 25 June 1979 as lot 447, View of Sugar Loaf.
€5,000-€6,000 (£4,130-£4,960 approx.)

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15
19
Erskine Nicol ARA RSA (1825-1904)
HIS OWN FIRESIDE
oil on canvas
signed lower right; with title printed on slip
18 by 24½in. (46 by 61cm)
Provenance:
Gorry Gallery, Dublin;
Private collection
Exhibited:
Likely to have been exhibited at the RSA, Edinburgh, 1861, no. 405 as His own Foirside [sic]
(Lent by John Walker Esq., of Holywell Green);
‘An Exhibition of 18th - 21st Century Irish Paintings’, Gorry Gallery, Dublin, 26 May to 8
June, 2013, catalogue no. 34 (illustrated on p. 11)
Scottish born Erskine Nicol began to visit Ireland during the Famine period (from 1846). He is
celebrated for his acute attention to detail in his genre scenes.The subject of the present work is a
19th century Irish bachelor mending his clothes watched closely from behind the door by a woman
in a red petticoat. Delightful details include the holy water font in the window, the wove basket of
wool and needles and the subject’s blue and white Connemara walking socks.
For further reading see, Dr. Claudia Kinmonth’s note, Gorry Gallery catalogue 2013.
€6,000-€7,000 (£4,960-£5,790 approx.)
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16
20
Richard Staunton Cahill (1826-1904)
A LECTURE ON WOMEN’S RIGHTS, COCKERMOUTH, CUMBRIA,
1888
oil on canvas
signed and dated lower left
15 by 11in. (38 by 28cm)
Cockermouth presented a petition on suffrage in April 1869. On 17
January 1882 Lydia Becker promoted William Woodall’s bid at a meeting
at Cockermouth. Later, in 1906,The Women’s Political Union helped
present the Liberal candidate being elected at Cockermouth.
€1,500-€2,000 (£1,240-£1,650 approx.)
21
Sarah Henrietta Purser HRHA (1848-1943)
SKETCHBOOK OF 20 WORKS INCLUDING PORTRAITS AND
LIFE DRAWING
pencil on paper bound in linen boards
variously inscribed, one signed [s.h. purser] and dated
[17.7.94] lower right
9½ by 6in. (23 by 15cm)
€2,500-€3,500 (£2,070-£2,890 approx.)
,
Ex 21

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17
22
Howard Helmick (1845-1907)
AGAINST WITCHES, 1880
oil on canvas
24 by 20in. (61 by 51cm)
Born in the United States, Helmick attended
the Ohio Mechanics Institute in Cincinnati
and later travelled to Paris and London where
he became friendly with artist James Abbott
McNeill Whistler. He exhibited at London’s
Royal Academy and several of the titles
shown there suggest Irish subjects.The RHA,
Dublin lists exhibits by him in 1879 and 1889
and his time spent in Cork was recorded by a
writer friend, Hawthorne.
For further reading see: Kinmonth, C., ‘Howard
Eaton Helmick Revisited; Matrimony and
Material Culture through Irish Art’ in V.
Krielkamp ed., Rural Ireland:The Inside Story
(Exhibition Catalogue, Boston
College/McMullen Museum, 2012), 89-102.
€5,000-€6,000 (£4,130-£4,960 approx.)
23
James Mahoney ARHA
(1810-1879)
THE CHURCH OF ST. ROCH, PARIS, 1844
oil on canvas
extensively inscribed on exhibition label
on reverse
24 by 30in. (61 by 76cm)
Provenance:
The Collection of William Tighe of
Woodstock, Co. Kilkenny, acquired
through the Art Union of Ireland;
with the Gorry Gallery, Dublin;
Private collection
Exhibited:
RHA, Dublin, 1844, catalogue no. 55;
‘An Exhibition of 18th - 21st Century Irish
Paintings’, Gorry Gallery, Dublin, 26 May
to 8 June, 2013, catalogue no. 8
(illustrated on p. 9)
Cork native James Mahoney is best known for
his wonderful watercolours in the collection
of the National Gallery of Ireland which depict
the visit of Queen Victoria to the Industrial
Exhibition in Dublin (1853).
For further reading see: ‘An Exhibition of 18th
- 21st Century Irish Paintings’, Gorry Gallery,
Dublin, 26 May to 8 June, 2013.
€4,000-€5,000 (£3,310-£4,130 approx.)
,

18
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24
Aloysius C. O’Kelly (1853-1936)
UN VERRE DE VIN
oil on canvas
signed lower right
26 by 21½in. (66 by 53cm)
Exhibited:
‘An Exhibition of 17th - 20th Century Irish Paintings’, Gorry
Gallery, Dublin, 19 May to 2 June 2010, catalogue no. 30
(illustrated p.28)
Provenance:
O’Sullivan, Niamh, Aloysius O’Kelly: Art Nation, Empire, Dublin
2010, catalogue no. 81
O’Kelly executed a number of portraits of elderly men and women to
exude character.These demonstrate his vigorous prowess as a portrait
painter.What these portraits show is a progressively fluid and
impressionistic treatment, as the handling becomes looser and livelier.
The fisherman is dressed in his working clothes, smock and sabots.
Pannier at his feet, he is smiling and at ease. Although verging on the
monochromatic he seems to be full of the joys of life. Somewhat
unusually for O’Kelly – who tends towards solemn when treating the
fishermen and farmers, the labourers of the western seaboards of
France and Ireland – this one has the air of a bon viveur.
Sitting by the rustic table, bottle to hand, traces of Bonnat’s influence,
specifically his rugged naturalism, can clearly be discerned. In the
virtuosity of draughtsmanship, these portraits are a tribute to Gérôme
while the loose yet controlled brushwork, broad values, and the use of
dramatic light and shade are a testimony to Bonnat’s realist teaching.
But, ultimately, O’Kelly’s portraits are his own. From the late 1870s
through to his old age, he produced a range of rural portraits of
considerable power. Although psychologically penetrative, in many
respects these portraits are less about the individual than the human
condition.
We are grateful to the Gorry Gallery and Prof. Niamh O’Sullivan for their
permission to reproduce this note.
€5,000-€7,000 (£4,130-£5,790 approx.)

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25
Walter Frederick Osborne RHA ROI (1859-1903)
EVENING MISTS, c.1891
oil on board
signed lower left;
5½ by 9in. (13 by 23cm)
Provenance:
Collection of the late Mr. and Mrs. Oisín Kelly;
Adam’s, 14 December 1989, lot 52;
Whence purchased by the previous owner;
Adam’s, 5 December 2012, lot 63;
Private collection
Exhibited:
Dublin Art Club, 1891 [9.5gns]
Literature:
Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974,
p.130, catalogue no. 297 (listed);
€8,000-€12,000 (£6,610-£9,920 approx.)
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20
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Eileen Reid (1894-1981)
AN OFFICER, 1923 and THE RED WAISTCOAT (A PAIR)
oil on canvas; (2)
the first, signed “Oulton” (artist’s maiden name),
inscribed and dated on reverse; second, signed and
with exhibition label on reverse
27½ by 21in. (69 by 53cm)
Provenance:
Both by descent from the artist to the present
owner
Exhibited:
‘The studio of Eileen Reid, 1894-1981’, Cynthia
O’Connor Gallery, Dublin, 3-21 December 1984,
catalogue nos. 30 and 18, respectively
Dimensions of The Red Waistcoat, 24 by 16ins.
Re: An Officer, 1923
Submitted for the annual exam at the Royal Academy
Schools, 1924.This is possibly a portrait of the artist’s
husband Hugh C. Reid, who served in the Colonial Office
in Nigeria.The pair married in June 1923 in St Stephen’s
Church, Dublin. Reid returned to Nigeria immediately after,
only to contract black water fever and die in February
1924.
Born Eileen Oulton, she lived most of her life at 19 Upper
Mount St., Dublin. Interested in both art and music, she
studied first at the Royal Irish Academy of Music and later
at the RA School of Art London. Her early paintings show
the influence of William Orpen who was a friend of the
family. She married in 1923 but was widowed within a
year, and soon afterwards abandoned oil painting in
favour of watercolours. She was secretary for the WCSI for
over 30 years , allowing administrative work to come
before her own art. A retrospective was held at the
Cynthia O’Connor Gallery in 1984. See Snoddy, p. 555-556.
€1,000-€1,500 (£830-£1,240 approx.)
27
Mildred Anne Butler RWS (1858-1941)
“AN OLD SONG” [PORTRAIT OF THE ARTIST’S SISTER
ESSIE BUTLER], 1886
watercolour
signed with initials lower right; with various exhibition
labels on reverse; also with Oriel Gallery label on
reverse
10 by 6½in. (25 by 15cm)
Provenance:
Christie’s, Glasgow, 28 October 1988, lot 297;
with Oriel Gallery, Dublin;
Private collection
Exhibited:
The Butler Society, Kilkenny, 1982 (illustrated on front
cover of catalogue)
‘Mildred Anne Butler (1858-1941): An Irish Edwardian
Watercolour Collection’, Crawford Municipal Art Gallery,
Cork, 25 August to 30 September 1987, catalogue no. 5
(illustrated on cover of catalogue);
‘Mildred Anne Butler (1858-1941)’, Ulster Museum
Belfast, 29 April to 12 June, 1988 and Royal Hospital,
Kilmainham, Dublin, July to October 1988, catalogue
no. 3
€3,000-€5,000 (£2,480-£4,130 approx.)
Ex 26

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Sir William Orpen RA RI RHA (1878-1931)
AN ONLOOKER IN FRANCE [1924] ILLUSTRATED WITHIN BY THE
ARTIST
book
illustrated, signed, inscribed and dated
9¾ by 7in. (23 by 18cm)
Illustrated with a humorous self-portrait of Orpen holding a glass of whiskey
on the front free-endpaper of his book An Onlooker in France 1917-1919,
published by Williams and Norgate, London, 1924. Illustration is dedicated
and signed, London, 1930.
€1,000-€1,500 (£830-£1,240 approx.)
29
MYSELF WALKING DOWN THE CHAMPS-ÉLYSÉES DURING THE
PEACE CONFERENCE [PARIS] 1919
ink and wash over pencil
signed [Le Petit Major] and dedicated upper left; inscribed with
title and dated lower left
9½ by 6¾in. (23 by 15cm)
Provenance:
Whyte’s 30 April 2007, lot 87;
Private collection
€800-€1,200 (£660-£990 approx.)
30
ILLUSTRATED LETTER TO SIR HUGH LANE: PUZZLE FIND THE OWNER
OF THE STUDIO (c.1906-1908)
ink on [5, Bolton Gardens South, S.W.] letterhead; (double-sided)
dedicated, signed and illustrated
6¾ by 8¾in. (15 by 20cm)
Provenance:
Christie’s, London, 12 May 2006, lot 70;
Private collection
€800-€1,000 (£660-£830 approx.)

31
Jack Butler Yeats RHA (1871-1957)
THE CAROL SINGER
Indian ink
signed lower right
6¾ by 4½in. (15 by 10cm)
€3,000-€4,000 (£2,480-£3,310 approx.)
22
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CHRIST’S COMING
Indian ink
signed upper right in monogram; with Dawson Gallery
labels preserved on reverse
4¾ by 4in. (10 by 10cm)
Provenance:
Dawson Gallery, Dublin;
Private collection, Galway;
Whyte’s, 21 February 2006, lot 112;
Private collection
Literature:
Pyle, Hilary, The Different Worlds of Jack B.Yeats: His
Cartoons and Illustrations, Irish Academic Press, Dublin,
1994, catalogue no. 2073, p.293 (illustrated)
Reproduced as a Cuala Press Christmas card alongside a
poem of the same title by Pádraic Pearse.
€2,000-€3,000 (£1,650-£2,480 approx.)
32A
JACK B.YEATS: A CATALOGUE RAISONNÉ OF THE OIL
PAINTINGS by HILARY PYLE HRHA
numbered [778] on editions page vol. I
11¼ by 9in. (28 by 23cm)
Published by Andre Deutsche, London, 1992. Limited edition
of 1550 copies, of which this is number 778.Three volumes
set in dark green cloth stamped in gilt and in matching slip
case as issued.The definitive listing of Yeats’ oil paintings,
with numerous illustrations. An invaluable resource in mint
condition for any Yeats aficionado.
€700-€900 (£580-£740 approx.)

23
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33
A PATRIOT, c.1902
watercolour
with monogram lower left; with typed Victor
Waddington Gallery label preserved on reverse
13¾ by 6½in. (33 by 15cm)
Provenance:
Victor Waddington Gallery, London;
Whence purchased by A.S. Alkin Esq.;
Sotheby’s London, 21 May 1999, lot 341;
Private collection;
Whyte’s, 25 April 2006, lot 62;
Private collection
Literature:
Pyle, Hilary , Jack B.Yeats: His watercolours Drawings
and Pastels, Irish Academic Press, Dublin, 1993, no.
393a, p.112 (illustrated )
As Hilary Pyle observes “a picture of Robert Emmet is seen
through the open doorway, hanging over the fireplace”.
€15,000-€20,000 (£12,400-£16,530 approx.)

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Sir John Lavery RA RSA RHA (1856-1941)
A STREET IN TANGIER
oil on board
signed lower left; inscribed “A Street in Tangier / by John
Lavery / 5 Cromwell Pl / London”; also with typed Pyms Gallery,
London label on reverse
10 by 14in. (25 by 36cm)
Provenance:
With Pyms Gallery, London, c.1990;
Their sale, 1992;
Sotheby’s, 13 May 2005, lot 60;
Private collection
Exhibited:
‘Cabinet Pictures by John Lavery’, Leicester Galleries, London,
1904 , no. 7 (?) as Tangier, A Street;
‘A Free Spirit, Irish Art 1860-1960’, Royal Hibernian Academy,
Dublin, 1990
Literature:
Kenneth McConkey, ‘The White City - Sir John Lavery in
Tangier’, GPA Irish Arts Review, 1989, p. 62 (illustrated);
Kenneth McConkey, A Free Spirit, Irish Art 1860-1960, 1990
(Antique Collectors Club in association with Pyms Gallery,
London), p.101 (illustrated)
The ‘chief note’ of Tangier was ‘whiteness’ according to RB
Cunninghame Graham. In an essay on artists’ haunts in 1909 he
described a city that throughout the nineteenth century had provided
writers and painters with an instant authentic experience of Muslim
culture.1 A short sea crossing from the southernmost tip of Europe, its
souks, mosques, and moonlit rooftop music and dancing formed an
essential part of the texture of western European Orientalism.
Graham’s observations are confirmed by the series of small luminous
oil sketches recently produced by his close friend, John Lavery, and
reproduced to illustrate the article.2 It took a painter to tell him what
he was seeing and on several occasions he pays tribute to the artist –
theirs was a lifelong friendship. Lavery had known the ‘adventurer-
laird of Gartmore’ for at least eighteen
years and recently, in company with
The Times correspondent,Walter
Harris, they had ridden across the
desert together to visit the Sultan’s
court at Fez.3
But it was the ‘white houses, sands
like snow, and, above all … dazzling
white atmosphere’ of the old coastal
city overlooking the Straits of
Gibraltar that enchanted them. In the
maze of the Kasbah, ‘the Arabs flitted
to and fro, silent as shadows … they
seemed like a population of
uncloistered friars’, said Graham in his
introduction to the catalogue of
Lavery’s exhibition in 1904.4 He could
easily have been looking at the
present picture. Under a vivid cobalt canopy the whitewashed houses
glowed in the sunlight, and sharp shadows cut rectangles of pale blue,
violet and ochre – their irregular shapes, performing an abstract
theatre, that momentarily disorientated the western eye.
Lavery first confronted this marquetry of intersecting planes in 1891 in
a small study painted from the rooftop of the Hotel Continental (fig 1),
but it was only on subsequent visits that the secrets of narrow
alleyways revealed themselves in the furtive glance from a doorway in
the infamous Rue des Femmes, or the bustle of figures retreating up
the hill from the souk at the call to prayer.
This was the essential appeal of a setting vividly described by the Irish
painter, Norman Garstin, when in 1897 he wrote to fellow artists,
… that wall in front of you is homely whitewash, and steeped for a
moment in a violet shade; a door opens and a rectangular slab of
yellow white light from the opposite wall of the patio makes you
blink and deepens the violet of the near wall; purple patches of
shade stain the patio’s red tiles with silhouetted pictures of fig
leaves …5
This was Lavery’s quest in small studies that, like the present example,
were painted not as preparations for larger works, but as ends in
themselves.They were vivid snapshots of familiar corners that he
would give to painter-friends like Alfred East – and others like
Cunninghame Graham.6 Such pictures are difficult to date precisely,
although it is likely that A Street in Tangier, precedes the trip to Fez in
1906. Its specific location and the vantage point from which it was
painted remain to be determined – although it is likely to show the
winding street that leads up into the Kasbah.
Throughout the years 1891-1920, when he visited Morocco regularly,
Welsh, Scots, English, Canadian and French artists - Frank Brangwyn,
Arthur Melville, Alfred East, James Wilson Morrice and Henri Matisse –
all felt the rejuvenating effect of the ‘white atmosphere’ of Tangier, but
it was Lavery, in small stunning pictures of the streets of the old city
who definitively caught it.
Prof. Kenneth McConkey
April 2014
€20,000-€30,000 (£16,530-£24,790 approx.)
,
Fig 1 Tangier from the Hotel
Continental, 1891 (45.5 by 35.5cm),
Private Collection
1 RB Cunninghame Graham, ‘The Atmosphere of Morocco’, in Alfred East introd.,
Sketching Grounds, 1909 (Studio Special Number), p.145.
2 The two had probably met on Lavery’s first visit to the city in 1891, when
according to Graham, he rode swiftly to the rescue after the painter’s horse
had bolted. In Lavery’s account, he helped to rescue Graham from a group of
belligerent Moors when he was haranguing them on his favourite topics –
Free Speech and Democracy – neither of which they could remotely
comprehend; see Walter Shaw Sparrow, John Lavery and his Work, n.d. [1912],
(Kegan Paul,Trubner,Trench and Co), p.84.
3 Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books),
pp. 96-7.
4 RB Cunninghame Graham, ‘Introduction?’, Cabinet Pictures by John Lavery,
1904 (Exhibition catalogue, Leicester Galleries, London), p.7
5 Norman Garstin, ‘Tangier as a Sketching Ground’, The Studio, vol 11, 1897, p.
178.
6 East, a student friend from the Haldane Academy in Glasgow, owned several
small Moroccan street scenes.

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35
James Humbert Craig RHA RUA (1877-1944)
TURF GATHERERS
oil on board
signed lower left
12 by 17in. (30 by 43cm)
Provenance:
Emer Gallery, Belfast;
Private collection
€8,000-€10,000 (£6,610-£8,260 approx.)
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36
Paul Henry RHA (1876-1958)
TURF STACKS WITH MOUNTAIN BEYOND, c.1940
oil on canvas laid on board
faintly signed lower left
8 by 8¾in. (20 by 20cm)
Provenance:
A gift from the artist to the present owner’s grandmother, proprietor of the Parkside Hotel,
North Circular Road, Dublin
Exhibited:
Possibly exhibited at ‘Recent Paintings by Paul Henry’, Combridge’s Gallery, Dublin, from 24
October 1941, catalogue no. 20, as Turf Bog, Connemara
Formerly signed on the reverse but that inscription has been lost over time. Also, the artist’s signature
is present on the lower left but has in part been erased by, presumably, the replacement slip, the
picture having been reframed some years ago; the original frame, in black, was the artist’s choice.
A late work by Henry with an unusual amount of impasto in the sky and the foreground but,
characteristic for the artist and showing the influence of his teacher,Whistler, on him, the paint has
been applied directly to the canvas with no over-painting.Thus it retains great freshness. Dated c.1940-
5 on stylistic grounds. Turf Stacks with Mountain Beyond may be the same picture as Turf Bog,
Connemara, c.1940-1, in S. B. Kennedy, Paul Henry: with a catalogue of the Drawings, Paintings,
Illustrations,Yale University Press, New Haven and London, 2007, p.301, catalogue number 1011.
Dr. S.B. Kennedy
April 2014
€15,000-€20,000 (£12,400-£16,530 approx.)
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28
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Frank McKelvey RHA RUA (1895-1974)
VIEW OF ARMAGH CATHEDRAL
oil on canvas
signed lower left; with Bell Gallery label preserved on reverse
20 by 27in. (51 by 69cm)
Provenance:
Whyte’s, 19 September 2006, lot 137;
Private collection
€8,000-€10,000 (£6,610-£8,260 approx.)

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38
LOUGH NEAGH, COUNTY ANTRIM
oil on canvas
signed lower left; titled on hand-written label on reverse
20 by 27in. (51 by 69cm)
Exhibited:
Probably exhibited at the Royal Ulster Academy, Belfast, 1952,
catalogue no. 30, Lough Neagh
€6,000-€8,000 (£4,960-£6,610 approx.)

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James Humbert Craig
RHA RUA (1877-1944)
TURF CUTTERS
oil on board
signed lower left
12 by 16in. (30 by 41cm)
€2,500-€3,500
(£2,070-£2,890 approx.)
40
Mabel Young (1889-1974)
ANCIENT TREES, POWERSCOURT,
COUNTY WICKLOW
oil on canvas
signed lower right
20 by 24in. (51 by 61cm)
€1,200-€1,500
(£990-£1,240 approx.)
,

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31
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41
CATTLE GRAZING
oil on canvas
signed lower left; with John Magee label on reverse
19 by 24in. (48 by 61cm)
€6,000-€8,000 (£4,960-£6,610 approx.)

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William Conor OBE RHA RUA ROI
(1881-1968)
DANCE
crayon
signed lower right; with Oriel Gallery label on
reverse
12½ by 9in. (30 by 23cm)
Provenance:
James Adam & Sons, Dublin, 14 May 1987, lot
136;
Private collection;
with Oriel Gallery, Dublin, c.1987;
Private collection
€5,000-€7,000 (£4,130-£5,790 approx.)
43
William Conor OBE RHA RUA ROI
(1881-1968)
THE FIDDLER and WRITING A CHRISTMAS CARD,
c.1953
ink and watercolour; (1); ink and crayon on
paper; (1)
signed lower right and upper left respectively
5 by 4½in. (13 by 10cm)
Provenance:
A gift from the artist to the previous owner;
Adam’s, 26 March 2003, lot 86 & 87 respectively;
Private collection
Dimensions of second title, 4.75 by 3.75in.
Both framed.
€1,000-€1,500 (£830-£1,240 approx.)
32
Ex 43

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33
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44
George Russell (“Æ”) (1867-1935)
THE APPLE PICKERS
oil on board
signed in monogram lower right; with labels detailing provenance on reverse
18½ by 24in. (46 by 61cm)
Provenance:
Christie’s, Glasgow, 28 October 1988, lot 355;
Exhibited:
‘George Russell ~ AE’ at the Oriel 21st Anniversary Exhibition, Oriel Gallery, Dublin,
13 November to 2 December 1989, no. 1 (illustrated p.14 of catalogue)
A note on reverse states the work was formerly in the collection of George and Maura
McClelland.
€7,000-€9,000 (£5,790-£7,440 approx.)

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45
George Russell (“Æ”)
(1867-1935)
SUMMER EVENING - HILL OF HOWTH
oil on canvas
signed in monogram lower right;
with title on typed label on reverse
14 by 16in. (36 by 41cm)
Provenance:
James Adam & Sons, 17 June 1992,
lot 67;
Private collection
€3,000-€4,000
(£2,480-£3,310 approx.)
46
Cecil Galbally RHA
(1911-1995)
FISHING BOATS AT KINSALE, CORK
oil on board
signed lower right; titled on reverse;
with Victor Waddington label also
on reverse
12 by 15¼in. (30 by 38cm)
Provenance:
Victor Waddington Gallery, Dublin;
Private collection
Contained in original Waddington
frame.
For further reading on this Dublin born
artist see Snoddy p.177-179.
€1,000-€1,500
(£830-£1,240 approx.)

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35
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47
Lady Beatrice Glenavy RHA (1881-1970)
UNICORN, c.1950
oil on board
signed with initials lower right; inscribed with title, artist’s name [Lady Glenavy] and
address [Rockbrook House, Rathfarnham, Co. Dublin] and original price [£20] on reverse
16 by 20in. (41 by 51cm)
Exhibited:
Irish Exhibition of Living Art, 1950, catalogue no. 22
€5,000-€7,000 (£4,130-£5,790 approx.)

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Mary Swanzy HRHA (1882-1978)
TREES
oil on canvas
signed lower left
21 by 18in. (53 by 46cm)
Provenance:
Family of the artist
Although she studied art in Paris in 1905 and 1906 where she was amongst the first Irish artists to see the work of
Pablo Picasso, Swanzy did not begin making and exhibiting Cubist inspired work until the 1920s and 1930s. She was
one of Ireland’s most innovative exponents of this approach, using it in imaginative ways in a range of landscapes,
figure studies and paintings of propellers. As she never dated her paintings, it is difficult to be precise about the
chronology of the work, but she appears to have made and exhibited most of her Cubist inspired paintings after
1920.
Having moved back to Dublin from Paris, Swanzy continued to travel widely visiting London, Italy, Czechoslovakia,
Polynesia and the United States. She maintained contact with the French art world throughout the 1910s and 1920s,
exhibiting at and becoming a committee member of the Salon des Independants, the largest show of modern art in
Paris. Her work was shown at this venue alongside that of the Orphic cubists, Sonja and Robert Delaunay. Orphism, a
hugely influential movement, was concerned with the impact of light and colour on the vision of the artist.The
paintings of Robert Delaunay are preoccupied with aeronautical flight and altitude through which he could
demonstrate how form is made of pure colour.The influence of these ideas is apparent in Trees.
The bright colours and dynamic geometric patterning of the composition of Trees are also evocative of speed and
movement. Swanzy was clearly aware of Italian Futurism and British Vorticism when she painted the work. Both
movements stress the importance of dynamism in art and of representing technology. The railway track or roadway
in the foreground of Trees suggests movement through the landscape resulting in a distortion of the forms. Swanzy’s
father was a well-known ophthalmic surgeon and her fragmentation of the composition is equally reminiscent of
ophthalmic lenses and optical devices.
The giant pink trees with their swaying yellow barks are probably inspired by the exotic vegetation that Swanzy saw
on her travels to Samoa and Hawaii in the 1920s.The tall towers in the distance (to the right) recur in several of her
paintings, a memory of San Gimignano, the medieval city in Tuscany, near to Florence where the artist lived for a
period before World War One. Swanzy draws on her vast experiences of travel and modern art in her work.The result
is an inventive and unique engagement with Cubism and Futurism that was not always valued by her contemporaries
in Dublin which she left in 1926 to settle with her sister in London.The originality of her work, however, ensured
Swanzy’s rediscovery as one of Ireland’s most significant modernist painters at the end of her life in the 1960s and
1970s when she finally enjoyed critical and commercial success. Trees is an important example of her Cubist work.
Dr. Róisín Kennedy
April 2014
€15,000-€18,000 (£12,400-£14,880 approx.)

38
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49
LANDSCAPE
oil on board
with Studio Stamp on reverse
13¼ by 7¼in. (33 by 18cm)
Provenance:
Studio of the artist;
Christie’s,The Irish Sale Part II, including works from the Studio of
Mary Swanzy, 10 May 2007
€1,000-€1,500 (£830-£1,240 approx.)
50
Stella Steyn (1907-1987)
RECLINING WOMAN
oil on canvas
signed lower right; titled on reverse
24 by 36in. (61 by 91cm)
€1,000-€1,500 (£830-£1,240
approx.)

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51
TWO WOMEN IN A VILLAGE
oil on canvas
with typed Pyms Gallery label on reverse
17 by 21in. (43 by 53cm)
Provenance:
The Artist’s Estate;
Pyms Gallery, London;
Private collection;
deVere’s, 6 March 2001, lot 129
Private collection
Exhibited:
‘Mary Swanzy HRHA (1882-1978)’ Pyms Gallery, London, 6-29 May 1998, catalogue no. 16
(illustrated in catalogue)
€6,000-€8,000 (£4,960-£6,610 approx.)

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Mainie Jellett (1897-1944)
PAINTING, 1930
oil on canvas
signed and dated lower right; with small hand-written label on
reverse; with Irish Art Exhibition [Brussels] label inscribed with
artist’s name, address [36 Fitzwilliam Sq., Dublin] and title; with
Corporation of Dublin exhibition label on reverse; also with
James Bourlet & Son’s label on reverse
30 by 36in. (76 by 91cm)
Provenance:
Mr & Mrs James Creed Meredith K.C., LL.D. (1875-1942);
Thence by descent to the present owner
Exhibited:
Irish Art Exhibition, Brussels, May 1930;
‘Mainie Jellett Retrospective Exhibition’, Hugh Lane Gallery
Dublin, July - October 1962, catalogue no. 3;
Handwritten label verso reads: 34. / oil / 30 by 36 / A054 / Painting
Brussels / Ref Abstract.
In 1921 the young Irish artists Mainie Jellett and Evie Hone arrived in
Paris to study with the Cubist master André Lhote. Jellett and Hone
had studied in London under Walter Sickert where they absorbed
important lessons in anatomy and classical portraiture, but this wasn’t
enough, they wanted to be ‘modern’ and in the early 1920s the terms
‘Modern’ and ‘Cubist’ were synonymous. Lhote was one of the first
generation of Cubists, having shown in the second public exhibition of
Cubism at the Salon des Indépendents of 1912. Following the
Armistice in late 1918, cultural activity was renewed in Paris and Lhote
opened an academy where a significant number of Irish artists were
taught to paint along cubist principles. From work produced by Jellett
at this time, we know that working from the nude model, seated
portraits, and still-lifes were central to the curriculum. For Jellett and
Hone this was too similar to the training they had received in London,
so in 1922 they famously asked to be taken on as students by the
painter Albert Gleizes, who had neither an academy nor an open
studio. Gleizes had been developing a form of Cubist abstraction more
in tune with Mondrian than Picasso and in 1920 published ‘Du
Cubisme et les moyens de le comprendre’1, arguing that “Cubism had
been a search for a precise scientific method to replace the old
scientific method of single point perspective, and that the essential
elements of this new method are now known”2.
Working together, the artists developed a system of ‘translation and
rotation’ the early result of which, Jellett’s Painting, 1923 (National
Gallery of Ireland) was shown at the Dublin Painters Gallery that year
to critical derision. Although on first glance Painting ,1923 is abstract,
closer inspection of the format, composition, medium, and patterning
relate it directly to early Renaissance religions icons like Cimabue’s
Maestà (c.1280).This was not co-incidental. Although much of the
modern movement was fiercely secular, Gleizes, Jellett and Hone
maintained a deeply Christian faith and sought to integrate Christian
imagery into their modern vision.Through the mid-20s they worked
on a series of ‘Elements’ paintings – largely abstract exercises in colour
and form. In 1927-28 Jellett produced her major work Homage to Fra
Angelico, a cubist interpretation of Angelico’s Coronation of the Virgin
(c.1435, Louvre, Paris).This is a mature work in Jellett’s oeuvre
demonstrating the successful cubist reduction of a form with
traditional religious content, something we also see in the present
work, Painting, 1930.
An unusual feature of Homage to Fra Angelico and Painting is the
colour palette. In the case of Homage the colours range from mustard-
green through to taupe and similarly Painting, 1930, utilises ochres
and umbers reminiscent of brick burned by the sun. It is likely that the
‘L’Exposition des Arts Décoratifs’ in Paris in 1925 may have influenced
this.This major exhibition of Art Deco included pavilions from around
the Francophone world such as the colonies Tunisia, Morocco and
Algeria and so the colours and light of North Africa would have
permeated the visual plane.The source of the vertical, tripartite
composition of Painting, 1930, can be compared to a typical
quattrocento painting like Perugino’s Madonna and Child with St John
the Baptist and St Sebastian (1493) which could be considered an
evolution from the earlier work by Cimabue. Certainly the composition
of Painting, 1930 reflects the architectural setting within a vaulted
space, with the Virgin and Child seated on a dais. Jellett would go on
to further simplify this composition in one of her most important
works The Madonna of Éire (1943, NGI) in which Saints Patrick and
Brigid are seen either side of the Virgin. In these late works, Jellett
combines influences from Celtic art and familiar images of the Virgin
but produces a resolutely ‘modern’ image thereby making cubism and
abstraction more palatable to a conservative audience.
Seán Kissane, Curator, IMMA
April 2014
Author & Curator: ‘Analysing Cubism’, Irish Museum of Modern Art,
Dublin and Crawford Municipal Gallery, Cork, 2013
1 On Cubism and the means to understand it.
2 Peter Brooke, Albert Gleizes, Chronology of his life, 1881-1953.
http://www.peterbrooke.org.uk/a&r/chronology
€20,000-€30,000 (£16,530-£24,790 approx.)

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53
Evie Hone HRHA (1894-1955)
CARTOON FOR STAINED GLASS WINDOW
SHOWING ST JOHN THE EVANGELIST
gouache
21 by 7in. (53 by 18cm)
€1,200-€1,500 (£990-£1,240 approx.)
54
Father Jack P. Hanlon (1913-1968)
MADONNA AND CHILD
oil on board
signed lower right
17½ by 13¾in. (43 by 33cm)
Provenance:
Whyte’s, 25 April 2006, lot 49;
The Collection of Jill Cox;
Her sale, Adam’s, 7 September 2011, lot 707;
Private collection
€1,200-€1,500 (£990-£1,240 approx.)

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55
Louis le Brocquy HRHA (1916-2012)
(TONE) STUDY FOR CLASSICAL THEME 3, 1944
pencil, pastel and watercolour
signed and dated [January] lower right; signed, inscribed and dated on reverse
7½ by 5in. (18 by 13cm)
Provenance:
Frederick Gallery, Dublin;
Private collection
Exhibited:
‘Irish Art’, Frederick Gallery, Dublin, 29 May to 26 June 1995, catalogue no.19 (illustrated in catalogue)
Inscription verso states (in the artist’s hand) that the present work is a study for an “oil painting on canvas 6ft by 4ft”.This
larger work the artist refers to - Classical Theme 3 - was exhibited at the Irish Exhibition of Living Art, 1944, catalogue no. 16.
€6,000-€8,000 (£4,960-£6,610 approx.)

44
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Evie Hone HRHA (1894-1955)
HOUSES NEAR SERRIÈRES, FRANCE
pastel on tinted paper
signed lower right; with inscribed Dawson Gallery label on
reverse
10½ by 14½in. (25 by 36cm)
Provenance:
Collection of artists William Carron and Barbara Warren
Contained in original Dawson Gallery frame.
€800-€1,000 (£660-£830 approx.)
57
Elizabeth Rivers (1903-1964)
HORSEMAN, ARAN HARBOUR and EARLY MORNING, ARAN
ISLANDS (A PAIR)
oil on canvas; (1); wood engraving; (no. 6 from an edition of
50)
oil, signed left of centre, signed again and titled on reverse;
engraving, signed, numbered and titled in the lower margin
8 by 12in. (20 by 30cm)
Provenance:
Collection of artists William Carron and Barbara Warren
Dimensions, Early Morning, Aran Islands, 8 by 6in. (framed).
€600-€800 (£500-£660 approx.)
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58
Anne Yeats (1919-2001)
ABSTRACT IN BLACK, RED AND YELLOW
oil on canvas board
10 by 14in. (25 by 36cm)
€600-€800 (£500-£660 approx.)
Ex 57

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59
Norah McGuinness HRHA (1901-1980)
ORANGE SHAPES, c.1970
oil on canvas
signed lower right; titled on handwritten label on reverse; also with inscribed
Dawson Gallery label and typed Keys Gallery label on reverse
16 by 22in. (41 by 56cm)
Provenance:
Private collection;
with Keys Gallery, Londonderry, 1976;
Private collection
Exhibited:
’Norah McGuinness’, Dawson Gallery, Dublin, 9-30 April 1970 catalogue no. 27;
’Norah McGuinness’, Keys Gallery, Londonderry, June 1976, catalogue no. 2
€6,000-€8,000 (£4,960-£6,610 approx.)

46
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Nano Reid (1900-1981)
SALMON FISHING ON THE BOYNE, c.1950
oil on panel
signed lower left; with exhibition label affixed on reverse
24 by 48in. (61 by 122cm)
Provenance:
James Adam & Sons, 29 March 1995, lot 36 as Fishermen;
Private collection
Exhibited:
‘Nano Reid and Gerard Dillon’, Highlanes Gallery, Drogheda, 6
November to 10 January 2009 (loaned by present owner)
Literature:
Ed., Coulter, Dr. Riann and NicGhabhann, Niamh, Nano Reid and
Gerard Dillon Curated by Riann Coulter, Highlanes Gallery,
Drogheda, 2009 (edition of 1,000), p.16-17 (illustrated)
Salmon Fishing on the Boyne is an extremely important work within
Nano Reid’s oeuvre. It is both a scene of everyday life in mid-century
Ireland and a valuable historical record of a particular time and place.
Born in Drogheda in 1905, Nano Reid studied and worked in Dublin,
London and Paris before she eventually settled back in her home town.
During the 1950s Reid painted several works inspired by Drogheda
including Where the Ships Unload, Old Town by the River and the large
mural she painted for her family’s pub.That mural, now in the
Drogheda Municipal Collection and on display in the Highlanes Gallery,
is stylistically similar to Salmon Fishing on the Boyne and dates from
the same period c. 1950.
Although Salmon Fishing on the Boyne was not intended to be
documentary and includes the Modernist distortions of scale and
perspective that were typical of Reid’s work in this period, it still
constitutes a valuable record of a traditional way of life. For centuries
salmon fishing was an important source of food and revenue for those
who lived along the Boyne.There were around forteen fishing stations
on the river and while it is difficult to identify the exact location of this
scene, it may be an area of the river bank close to the town centre,
which is known as The Ramparts. According to Leo Boyle, Boyne salmon
fishermen had a particular method of working which involved two
men. One man stayed on shore holding a rope attached to the net,
while the other rowed out into the river with the other end of the net.
Once the whole net was spread out, the boatman rowed back to shore
and the two men pulled the net to shore, trapping fish as it went.1
In Reid’s painting the catch has been hauled in.Two fishermen are
inspecting (or mending) the net, while a third man pulls a rope through
the water.Two small row boats are moored nearby and more can be
seen across the river.The chimney-like structures on the far shore
resemble the lime kilns that were a historic feature of this area.
Despite the years that she spent in Dublin, Reid always attributed her
initial interest in art to Drogheda and the Boyne. In 1974 she told the
journalist Martin Dillon,
What started me off was an interest in the prehistoric Irish remains.
An interest grew up around all that and the natural thing was to
paint it. ... I looked around me more and painted what appealed to
me in an emotional way.The thing is I have to have a subject that I
feel about and the only ones I feel about are those places (Boyne
Valley).There is no use in trying to paint a place I have no feeling
for.The essence of a place is very important to me.2
In addition to its subject matter, Salmon Fishing on the Boyne is
successful in purely formal terms.The composition is unusual but
balanced and there are notable formal elements such as the group of
swans, whose dynamic bobbing is echoed and emphasised through
the reflections in the river and the hatching of the fishing net. Curves
flow through the composition from the outline of the shore to the
boats, nets, rope and men’s baggy trousers.The shape of the boats
echoes the fish and the fishermen’s flat caps.The warm palette
dominated by yellows, pinks and blues, contradicts those critics who
have condemned Reid’s use of earthy greens and browns in later
paintings including Cave of the Firbolg (Collection Arts Council of
Ireland). Ultimately, Salmon Fishing on the Boyne proves that, despite
being so firmly rooted in a particular place, Reid could produce work of
universal appeal.
Dr Riann Coulter
April 2014
1 Leo Boyle, Salmon Fishing on the Boyne River, A Brief Synopsis of the Boyne
River Salmon Fishery, www.patburnsphotography.net, accessed 16/4/2014.
2 Nano Reid interviewed by Martin Dillon, BBC Northern Ireland, 1974.Transcript,
Reid Archive, Highlanes Gallery, Drogheda.
€25,000-€35,000 (£20,660-£28,930 approx.)

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Nano Reid (1900-1981)
BOATS AT CLOGHERHEAD, c.1933
watercolour
signed lower right beneath the
mount; with typed Arts Council
exhibition label on reverse
8¾ by 11¼in. (20 by 28cm)
Provenance:
Acquired directly from the artist by
the present owner’s mother;
Thence by descent
Exhibited:
‘Nano Reid Retrospective’, Hugh Lane
Municipal Gallery of Modern Art,
Dublin, and the Ulster Museum,
Belfast, from 27 November 1974 to
February 1975, catalogue no. 6 (lent
by the present owner);
‘Camille Souter / Nano Reid’,
Droichead Arts Centre, Drogheda and
Linenhall Arts Centre, Mayo,
5 May to 26 June, 1999, catalogue no.
55
€1,000-€1,500 (£830-£1,240 approx.)
62
Nano Reid (1900-1981)
THE HEAD AT CLOGHERHEAD, c.1940
watercolour
signed lower left; with exhibition
label affixed to glass (recto); with
note on provenance hand-written
on reverse
8½ by 11in. (20 by 28cm)
Provenance:
Given as payment by Nano Reid to a
taxi driver, 1979;
Private collection
€700-€900 (£580-£740 approx.)

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63
Nano Reid (1900-1981)
BATHERS AT MORNINGTON, c.1945
oil on panel
signed lower left; with title in pencil and date [1948] on reverse; also with exhibition
labels on reverse
14 by 20in. (36 by 51cm)
Provenance:
Purchased directly from the artist c.1940s
Exhibited:
‘Camille Souter / Nano Reid’, Droichead Arts Centre, Drogheda and Linenhall Arts Centre,
Mayo, 5 May to 26 June, 1999, catalogue no. 1 (Bathers at Mornington, 1945);
‘Nano Reid: A Retrospective Exhibition’, Droichead Arts Centre, Drogheda, 5 April to 31
May 1991, catalogue no. 10 (illustrated on front cover of catalogue)
‘Nano Reid and Gerard Dillon’, Highlanes Gallery, Drogheda, 6 November to 10 January
2009 (loaned by present owner)
Literature:
Mallon, Declan, Nano Reid 1900 - 1981, Sunnyside Publications, Drogheda, 1994, plate no.
5 (illustrated on p. 57 and on dust-jacket);
Ed., O’Connor, Éimear, Irish Women Artists 1800-2009, Familiar but Unknown, Four Courts
Press, Dublin, 2010, p.141 (illustrated); (also illustrated on dust-jacket);
Ed., Coulter, Dr. Riann and NicGhabhann, Niamh, Nano Reid and Gerard Dillon Curated by
Riann Coulter, Highlanes Gallery, Drogheda, 2009 (edition of 1,000), p.19 (illustrated)
€4,000-€6,000 (£3,310-£4,960 approx.)

50
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64
Gerard Dillon (1916-1971)
ANY OLD TOWN
oil pastel with mixed media
signed lower right; with Taylor Galleries label on reverse
15 by 22in. (38 by 56cm)
Provenance:
Taylor Galleries, Dublin;
The Collection of Jim O’Driscoll SC
€3,000-€4,000 (£2,480-£3,310 approx.)

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65
Nano Reid (1900-1981)
ISLAND DWELLERS
oil on canvas
signed lower left; with title inscribed on original label on reverse
14 by 21in. (36 by 53cm)
This scene depicts the distinctive Dunquin Pier at the western tip of the
Dingle Peninsula, overlooking the Blasket Islands.
€2,000-€3,000 (£1,650-£2,480 approx.)

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66
HOME WITH THE CATCH
oil on canvas
signed lower right
23 by 23½in. (58 by 58cm)
Provenance:
Waddington Galleries, Dublin;
Where purchased by the present owner’s father
Exhibited:
‘Four Ulster Painters’,Victor Waddington Galleries, Dublin,
September, 1947;
‘Four Ulster Painters’, Heals Mansard Gallery, London, May to
June 1948, catalogue no. 36 (a joint exhibition with Daniel
O’Neill, George Campbell and Neville Johnson);
‘Gerard Dillon, Art and Friendship Summer Loan Exhibition’,
Adam’s, Dublin, 2-26 July 2013 (travelled to Ava Gallery,
Clandeboye, 1-29 August 2013) catalogue no. 39
Literature:
‘Gerard Dillon, Art and Friendship Summer Loan Exhibition’,
Adam’s, Dublin, 2013, catalogue no. 39, p.41 (illustrated)
Gerard Dillon was born in West Belfast in 1916 but spent much of his
life in London where he earned a living as a painter and decorator.
Many of his most popular, and important, paintings depict scenes of
everyday life on the west coast of Ireland. He first visited the west in
1939 and became enchanted with the landscape and the people,
making them the major theme of his work throughout the 1940s and
1950s.
Home with the Catch is a western scene where a young family make
their way through the village with their daily catch of fish. Fish were
both a staple of their diet and a commodity that they could trade.Their
clothing is recognisable as the traditional dress once common in
Connemara and the Aran Islands.The woman’s red skirt and white
woollen jumper along with the man’s baggy woollen trousers and
waistcoat and their simple leather shoes, known as pampooties, locate
this image in a particular time and place. Stylistically similar to Irish
Peasant Children (c.1949), this work also resembles the young couple
carrying fish depicted in Dillon’s textile work Gentle Breeze, which he
hand stitched in 1952.
Recalling his first experience of the western seaboard, Dillon wrote that
the west was ‘a great strange land of wonder to the visitor from the
red-brick city’.1 Like many artists and writers before him, he held a
romantic view of the west as both the locus of an authentic Irish
culture and a ‘primitive’ place, free from many of the restraints of wider
Irish society.Writing in 1955, he claimed that Connemara is ‘the place
for a painter’ and eulogising about the variety of the rugged landscape,
the quality of the light and the simplicity of daily life, concluded: ‘one
could live here forever but being neither a fisherman nor farmer, but
only a painter, I’m forced to come back to city life to sell work – and
hope to save enough to come back to Connemara’.2
Although Dillon recognised that he was an outsider in Connemara,
during the period he spent living on Inishlacken in 1950, he adopted
elements of traditional dress, travelled back and forth to the mainland
in a currach and embraced the way of life wholeheartedly. As James
White pointed out: ‘For a nationalist Catholic like Gerard Dillon, living in
London and desperately wanted to belong to a Republican nation
called Ireland ... Connemara with its remoteness, its delightful stonewall
fields, mountains, lakes and seacoast and above all islands like
Inishlacken where he could cut himself off for a spell and live in a tiny
cottage, with no social life to speak of and a boat journey away from
barracks, church or pub – all this gave him the feeling of having found a
land free of all the restrictions of oppression which he had come to
accept as being there to offend him’.3
Dillon’s initial interest in painting the west and its inhabitants was
sparked by Seán Keating’s illustrations for Playboy of the Western
World.William Conor’s focus on the daily lives of working people in
Ulster was another early influence. In Home with the Catch, Dillon
brings these influences together to create an original vision of the west
which combines romance and realism.
Dr Riann Coulter
April 2014
1 Gerard Dillon, ‘The Artist Speaks’, Envoy, 4 February, 1951, p.39.
2 Gerard Dillon, ‘Dear Tourist’, Ireland of the Welcomes, Bord Fáilte, Dublin,
May/June, 1955, p.30.
3 White, James, Gerard Dillon: An Illustrated Biography, Dublin:Wolfhound Press,
1994, p.10.
€60,000-€80,000 (£49,590-£66,120 approx.)

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67
Colin Middleton MBE RHA (1910-1983)
SEATED FIGURE: 6.72 [1972]
oil on gesso-prepared board
signed in monogram lower right; signed again on reverse and
inscribed with title [Seated Figure: 6.72]; with inscribed Arts
Council of Northern Ireland label on reverse; also with [1985]
Studio stamp on reverse
36 by 36in. (91 by 91cm)
Provenance:
Collection of the artist;
His sale, Christie’s, London, 4 October 1985, lot 177 (full colour
illustration in catalogue);
with Jorgensen Fine Art, Dublin;
Where purchased by the previous owner;
Thence by descent
Exhibited:
‘Colin Middleton’, David Hendriks Gallery, Dublin, January to
February 1973, catalogue no. 3;
‘Colin Middleton’, David Hendriks at the Cork Arts Society
Gallery, Cork, until 21 July 1973, catalogue no. 2;
’Colin Middleton Retrospective’, Arts Council exhibition, Ulster
Museum, Belfast, and Municipal Gallery of Modern Art, Dublin,
1976, catalogue no. 173 (loaned from the collection of the
artist);
Seated Figure 6.72 is part of an ambitious series of large paintings of
the female nude that Colin Middleton completed in the early 1970s.
While the female figure occurred frequently in his work from previous
decades it was often seen in a more narrative or symbolic context.
These paintings depict a female figure, highly abstracted and
depersonalised, with no setting or attributes that identify her. Even the
titles of the works refrain from any detail, conceding only the most
basic details of the subject and the date of its production.
It is interesting to compare the series of work to which Seated Figure
6.72 belongs to the single figure paintings of the early 1950s, such as
Gypsy, Ardglass or Teresa, both of which remove all context from the
actual painting and concentrate almost entirely on the sitter, but also
suggest a specific identity, place or narrative in the title.
Seated Figure 6.72 is more schematised than these in its treatment of
the female figure, although it retains the strong sense of physical
presence that these earlier works share.The figure is sexualised but not
eroticised and the interlocked hands evoke a more awkward presence
and a suggestion of tension.While many of the Seated Figure group
use an extremely reduced palette there is a much stronger and wider
range of colour in the present painting. Rather than looking back at the
formalised synthesis of nude with landscape that Middleton
experimented with in the 1960s Seated Figure 6.72, in its palette and
stronger forms, seems to look forward to the often vibrantly colourful
and more geometric female figures of Middleton’s late Spanish
paintings.
Blocks of flat colour and shape reiterate the flatness of the picture
plane and contrast with the volumetric female form.The physical
surface of the prepared board is also noticeable across the work,
maintaining the sense of controlled design.The repeated vertical
strokes of various scales that run throughout the work recall
Middleton’s landscapes of the period, suggesting spatial depth, but
ultimately the isolation of the figure is deliberate and adds to the focus
on the formal construction of the work.
Clearly Middleton felt that this group of female nudes was at the heart
of his work at this time, as the earlier Seated Figure K.371.1 was
selected to represent him in the 1971 publication Causeway. In
addition, Middleton selected the present work to be included in the
Arts Council’s 1976 touring retrospective of his work.
Dickon Hall
April 2014
€25,000-€35,000 (£20,660-£28,930 approx.)

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68
Patrick Collins HRHA (1910-1994)
OISÍN OF THE BIRDS, c.1950s
oil on board
signed lower right
16 by 14½in. (41 by 36cm)
Provenance:
Hendriks Gallery, Dublin late 1950s;
Collection of artists William Carron and Barbara
Warren
€2,000-€3,000 (£1,650-£2,480 approx.)
69
Colin Middleton MBE RHA
(1910-1983)
UNTITLED ABSTRACT
oil on masonite board
signed in monogram lower left; signed on reverse;
with studio stamp also on reverse
18 by 23½in. (46 by 58cm)
Provenance:
‘The Colin Middleton Studio Sale’, Christie’s,
4 October 1985
Private collection
€1,000-€1,500 (£830-£1,240 approx.)
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57
70
Colin Middleton MBE
RHA (1910-1983)
CELTIC ICON, c.1963
oil on board
signed in monogram lower right;
titled and numbered [39] on
reverse; also with Oriel Gallery
label on reverse
12 by 12in. (30 by 30cm)
Provenance:
Magee Gallery, Belfast;
Private collection;
‘Modern British Paintings,
Watercolours and Drawings’,
Phillips, London, 8 March 1988,
lot 69;
owner
Exhibited:
‘Colin Middleton’, Magee Gallery,
Belfast, 25 October to 9 November
1963, catalogue no. 39;
‘Colin Middleton’, Oriel Gallery,
Dublin, 29 March to 15 April 1995,
catalogue no. 27 (illustrated on
exhibition invitation card)
Literature:
Nulty, Oliver (ed.), 100 Years of Irish
Art, Oriel Gallery, Silver Jubilee
(1968-1993), Nicholson & Bass Ltd.,
Dublin, 1993, p.88 (illustrated)
€3,000-€5,000
(£2,480-£4,130 approx.)
,
71
Colin Middleton MBE
RHA (1910-1983)
CASTLE ARCHDALE [FERMANAGH]
and WOMAN AND BIRD
[BARCELONA] c.1970s (A PAIR)
pencil on paper
the first signed in monogram
lower right and titled lower left
4 by 4in. (10 by 10cm)
Of equal size; framed and mounted
uniformly.
€400-€600 (£330-£500 approx.)

58
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72
GOSSIP & SCANDAL, 1943
oil on canvas
titled and dated [July] on reverse; further
inscribed [... street by night / March ‘43] on
tacky margin on reverse
12 by 9½in. (30 by 23cm)
€800-€1,000 (£660-£830 approx.)
73
Daniel O’Neill (1920-1974)
FIGURE IN A LANDSCAPE
oil on board
signed lower left
8½ by 12in. (20 by 30cm)
€2,000-€2,500 (£1,650-£2,070 approx.)
74
ABSTRACT COMPOSITION
oil and sand on board
inscribed with title and artist’s name on reverse; with
Arthur Armstrong Studio stamp on reverse
20 by 19in. (51 by 48cm)
Provenance:
The Collection of Arthur Armstrong;
His studio sale, de Veres, 3 February, 1998;
Private collection;
with Garrett O’Connor & Associates, 12 September 2005,
lot 163;
Private collection
€1,000-€1,500 (£830-£1,240 approx.)
,

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75
Deborah Brown HRUA (b.1927)
MAN SEA AND SKY, c.1951-1953
oil on board
signed lower right; titled on original label on
reverse
18 by 22in. (46 by 56cm)
Provenance:
Collection of Vincent Ferguson;
Whyte’s, 18 November 2003, lot 63;
Private collection
Painted circa 1951-1953, Man Sea and Sky is an
extremely early example of Deborah Brown’s work,
predating her move into abstract painting and later
sculpture. Born in Belfast, she enrolled at the Belfast
College of Art in 1946, spending only twelve
months there before switching to the National
College of Art in Dublin. Upon completing her
formal studies in 1950 she went to Paris for a year,
absorbing the lessons of the Old Masters whilst
simultaneously stimulated by contemporary trends
in art. Upon returning to Belfast in 1951 she met
with great success when the Arts Council of
Northern Ireland gave her a solo show in their
gallery at Donegall Place. Anne Crookshank has
noted of Brown’s work of this period: “her painting
was still realist, if already notably simplified, and
great attention was focused on the forms created
by the brushstrokes”.1
In this sense it was typical of much of the best work
being produced in Belfast at the time by artists such
as Basil Blackshaw and T. P. Flanagan, who in turn
were influenced by the slightly older generation of
artists who had styled themselves in the thirties as
the Ulster Unit. Indeed, Man Sea and Sky bears
comparison with both Blackshaw’s similarly titled
Men, Sea and Moon of 1952, and with Daniel O’Neill
and Colin Middleton’s work of the late forties and
early fifties in which figures are pressed up close to
the picture plane and brooding dark colours lend
the scenes a poetic romanticism.
1 Deborah Brown: A Selected Exhibition of Works
Completed Between 1947-1982, Arts Council of Northern
Ireland, Belfast, 1982, unpaginated
€1,200-€1,500 (£990-£1,240 approx.)
76
THEATRE SCENE
oil on canvas
14 by 12in. (36 by 30cm)
€800-€1,000 (£660-£830 approx.)
,

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77
Brian Bourke HRHA (b.1936)
MOTHER AND DAUGHTER, 1987
watercolour and coloured pencil; (1); pastel with mixed media on paper; (1)
signed, titled and dated [July] lower left; with Taylor Galleries exhibition label
on reverse; second work signed and dated lower left; titled on original label
on reverse
22 by 14¾in. (56 by 36cm)
Provenance:
Whence purchased by the present owner
Exhibited:
‘Brian Bourke’,Taylor Galleries, Dublin,1987, catalogue no. 25
Also with this lot, Daughter, Daughter, 1989/90 by Jay Murphy, dimensions: 25 by 20ins.
(2 works total).
€1,000-€1,500 (£830-£1,240 approx.)
78
Patrick Pye RHA (b.1929)
ST PATRICK AND EMBLEM, STUDY FOR LITTLE POOR BOY and APOSTLES,
1965 (SET OF 3)
pastel on card; (1); oil on card with mixed media; (1); gouache on card; (1)
variously signed, inscribed and dated
32 by 7in. (81 by 18cm)
Provenance:
Gifts from the artist to the current owner
Contained in originals Hendriks Gallery frames.
Dimensions of second and third titles, 8.5 by 4.5in. and 7.5 by 5.5ins., respectively.
€1,000-€1,500 (£830-£1,240 approx.)
79
Neil Shawcross RHA RUA (b.1940)
NUDE, 1979
watercolour
signed and dated lower right
18½ by 22½in. (46 by 56cm)
€800-€1,200 (£660-£990 approx.)
Ex 77
Ex 78

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61
80
Nevill Johnson (1911-1999)
MARINER’S LADY, 1987
acrylic on board
signed lower right; signed again, titled
and dated on reverse
20 by 22in. (51 by 56cm)
€1,200-€1,500 (£990-£1,240 approx.)
81
Neil Shawcross RHA RUA
(b.1940)
NUDE, 1973
oil on canvas
signed and dated lower right
10 by 14in. (25 by 36cm)
€800-€1,200 (£660-£990 approx.)
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62
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82
Charles Brady HRHA (1926-1997)
FOLDED ENVELOPE
oil on paper
with Solomon Gallery label on reverse; also with card detailing
provenance affixed on reverse
11½ by 8in. (28 by 20cm)
Provenance:
A gift from the artist to Gerald Davis;
with Solomon Gallery, Dublin;
Private collection
Exhibited:
‘Collectibles’, Solomon Gallery, Dublin, October, 2006
€1,800-€2,200 (£1,490-£1,820 approx.)
83
Louis le Brocquy HRHA
(1916-2012)
CHILDREN IN A WOOD II, 1991
lithograph on handmade Japan
paper; (no. 8 from an edition of 75)
signed and numbered in pencil in
the margin lower left
20 by 26in. (51 by 66cm)
Sheet size: 22.5 by 30in.
Printed by the Atelier Chave,Vence, 1991
in an edition of 75 (with 15 Hors de
Commerce and 15 Artist’s Proofs).
€1,500-€2,000
(£1,240-£1,650 approx.)

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63
85
William Scott CBE RA
(1913-1989)
GRAPES, 1975
pencil with watercolour on paper
signed and dated upper right; with
inscribed Taylor Galleries
exhibition label on reverse
11½ by 15¼in. (28 by 38cm)
Provenance:
owner
€4,000-€5,000
(£3,310-£4,130 approx.)
84
William Scott CBE RA
(1913-1989)
YELLOW PEARS, 1975
watercolour and pencil on paper
signed and dated lower right; with
Dawson Gallery framing label on
reverse
11¾ by 15½in. (28 by 38cm)
Provenance:
€4,000-€5,000
(£3,310-£4,130 approx.)
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64
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86
Kenneth Webb RWA
FRSA RUA (b.1927)
SPANISH GATE, GALWAY
oil on canvas
signed lower left; titled and
signed again on reverse
16 by 24in. (41 by 61cm)
€1,500-€2,000
(£1,240-£1,650 approx.)
87
Kenneth Webb RWA
FRSA RUA (b.1927)
LANDSCAPE AFTER RAIN
[COTTAGE AT ROUNDSTONE]
1961
oil on canvas
signed and dated lower left;
titled on reverse
16 by 24in. (41 by 61cm)
€1,500-€2,000
(£1,240-£1,650 approx.)
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65
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88
Pauline Bewick RHA (b.1935)
WYNDHAMS THEATRE (TRIPTYCH), 1984-85
watercolour with gouache, ink and gold paint on paper
signed, inscribed [Winter] and dated [1984 & 1985] lower right
67½ by 31in. (170 by 79cm)
Provenance:
Odette Gilbert Gallery, London;
Private collection
Exhibited:
‘Pauline Bewick,Watercolours and Tapestries’,
Odette Gilbert Gallery, London, 26 November to
24 December 1987, plate no. 8 in catalogue (full-
page illustration); also reproduced as a postcard
€5,000-€7,000 (£4,130-£5,790 approx.)

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66
89
Comhghall Casey (b.1976)
STILL LIFE
oil on canvas
titled on reverse
43¼ by 27½in. (109 by 69cm)
€2,500-€3,500 (£2,070-£2,890 approx.)
90
ROCK VI, 1999
oil on canvas
signed and dated lower right; signed, titled
20 by 19in. (51 by 48cm)
€1,000-€1,500 (£830-£1,240 approx.)
91
THREE PINK POTATOES, 2001
oil on linen
signed and dated lower right; signed
again, titled and dated on reverse
20 by 20in. (51 by 51cm)
€1,000-€1,500 (£830-£1,240 approx.)

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67
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92
Martin Gale RHA (b.1949)
HER REST, 1990
oil on canvas
signed lower left; signed and dated on reverse;
with Taylor Gallery label on reverse
22 by 22in. (56 by 56cm)
Provenance:
€3,000-€5,000 (£2,480-£4,130 approx.)
93
ROSBEG, NO. 5, 1998
oil on canvas
27½ by 22in. (69 by 56cm)
€1,500-€1,800 (£1,240-£1,490 approx.)
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94
Michael Mulcahy (b.1952)
UNTITLED
oil on canvas
signed lower right; signed again on reverse;
inscribed [No. 3] on reverse
29 by 36in. (74 by 91cm)
Provenance:
In 1994 Mulcahy held an exhibition entitled,
‘Ch’uksoam’, with the Taylor Galleries in Dublin.
Based on the style of the present work, it is
possible that it too belongs to the same series.
The Hugh Lane Municipal Gallery, Dublin also
played host to a solo exhibition entitled ‘Do-
Gong Series’ that year.
€1,000-€1,500 (£830-£1,240 approx.)
95
Jane O’Malley (b.1944)
CHRISTMAS DAY PAINTING, 1992
oil with silver paint and incising on board
dated [25/12/92] upper right; signed, titled,
dated and with archival number [647] on
reverse
20 by 29in. (51 by 74cm)
Also with this lot, John Kelly RHA (1932-2006)
Harlequin, 1974, (etching with aquatint from an
edition of 56), dimensions 9.5 by 8.25ins. (2 items
total).
Proceeds of this sale to go to the Peter McVerry
Trust.
€500-€700 (£410-£580 approx.)
96
Robert Armstrong (b.1953)
SHINE and BROWN POND, 1997 (A PAIR)
oil on canvas
each signed, titled and dated on reverse; also
with Hallward Gallery label on reverse
14 by 12in. (36 by 30cm)
Provenance:
Hallward Gallery, Dublin;
Private collection
Both works of equal dimensions; unframed.
€800-€1,200 (£660-£990 approx.)
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68
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Ex 95

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97
Tony O’Malley HRHA (1913-2003)
SIENA, 2000
oil on board
signed with initials lower left; signed with initials, titled, dated and with archival
number [No. 6372] on reverse; with Fenton Gallery label also on reverse
24 by 36in. (61 by 91cm)
Provenance:
Fenton Gallery, Cork;
€6,000-€8,000 (£4,960-£6,610 approx.)
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98
Seán McSweeney HRHA
(b.1935)
TRAPPED WATER, 1993
oil on board
signed and dated lower left;
signed, titled and dated on reverse;
also with archival number [94.1]
on reverse; with label of Vangard
Gallery on reverse
23 by 17in. (58 by 43cm)
Provenance:
Vangard Gallery, Cork;
Private collection
€2,500-€3,500
(£2,070-£2,890 approx.)
99
Seán McSweeney HRHA
(b.1935)
SHORELINE SLIGO, 1991
oil on board
signed, titled and dated on
reverse
23 by 31in. (58 by 79cm)
Provenance:
€4,000-€6,000
(£3,310-£4,960 approx.)
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71
101
Tony O’Malley HRHA
(1913-2003)
NIGHT PIECE, 1965
oil with gouache and pen on
paper
signed with initials lower right;
with title and date [June]
inscribed lower centre; also with
inscription on reverse detailing
artist’s archival number [7214]
7 by 13in. (18 by 33cm)
Provenance:
Private collection;
Whyte’s, 14 March 2011, lot 18;
present owner
€1,000-€1,500
(£830-£1,240 approx.)
100
Tony O’Malley HRHA
(1913-2003)
BAHAMAS COLLAGE, 1985
gouache and sand with collage
on paper
signed with initials lower left;
dated lower right [2/85]; signed,
titled [Bahamas Collage - (I-85)]
and dated on reverse; with
artist’s archival number [1031]
also on reverse
11 by 22in. (28 by 56cm)
Provenance:
Purchased by the previous
owner in St. Ives, 1988;
Whyte’s, 29 November 2005, lot
180;
present owner
€4,000-€6,000
(£3,310-£4,960 approx.)
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102
Michael O’Dea RHA (b.1958)
ROCK I, SKYROS, GREECE, 2001
acrylic on Fabriano paper
22 by 30in. (56 by 76cm)
Provenance:
A gift from the artist to the previous owner
Exhibited:
‘Abroad’, Kevin Kavanagh Gallery, Dublin,
summer 2002
Literature:
‘Mick O’ Dea Paintings 2001’, RHA Ashford
Gallery, Dublin (illustrated on back cover of
catalogue to advertise forthcoming Kevin
Kavanagh show)
The present work was painted en plein air at
Skyros and is considered an important example
from the artist’s oeuvre.
€400-€600 (£330-£500 approx.)
103
Vivienne Roche RHA (b.1953)
SURGE I, 2003
bronze in relief; (no. 1 from an edition of 3)
with Vangard Gallery label on reverse
23¾ by 17 by 1¼in. (58 by 43 by 3cm)
Provenance:
Private collection
Exhibited:
‘Hinge Works’,Vangard Gallery, Cork, 27 May
to 18 June 2005
€2,000-€3,000 (£1,650-£2,480 approx.)
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106
Seán McSweeney HRHA (b.1935)
TREES, LISSADELL, COUNTY SLIGO
oil on canvas
signed and dated lower right; signed, titled and dated
on reverse; also with archival number 92/31 on reverse
10 by 14in. (25 by 36cm)
Provenance:
€1,000-€1,500 (£830-£1,240 approx.)
105
POOL, 2001
oil on board
signed and dated lower left; with artist’s archival
number [01.93] on reverse
15 by 19in. (38 by 48cm)
Provenance:
Acquired directly from the artist by the present owner
€1,500-€2,000 (£1,240-£1,650 approx.)
104
BOG POOL, 1998
oil on board
signed and dated lower left; signed again, titled and
with archival number [98/3] on reverse
13 by 17in. (33 by 43cm)
€2,000-€3,000 (£1,650-£2,480 approx.)
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107
Donald Teskey RHA (b.1956)
LIGHTHOUSE ON ERRIS HEAD, BELMULLET, COUNTY MAYO
acrylic on paper
signed lower right; inscribed with title on reverse
10 by 14in. (25 by 36cm)
Provenance:
Acquired directly from the artist by the present owner
€2,000-€3,000 (£1,650-£2,480 approx.)
108
Donald Teskey RHA (b.1956)
UNTITLED, 2008
charcoal on Fabriano paper
22¼ by 30in. (56 by 76cm)
€1,500-€2,000 (£1,240-£1,650 approx.)
109
Pádraig MacMíadhacháin RWA (b.1929)
TWO CURRAGHS ON A REMOTE BEACH,THE MULLET,
COUNTY MAYO
oil on canvas
signed lower left; signed again and titled on reverse; also
with Molesworth Gallery exhibition label on reverse
24 by 24in. (61 by 61cm)
Provenance:
Molesworth Gallery, Dublin;
Private collection
Exhibited:
‘Pádraig MacMíadhacháin’, Molesworth Gallery, Dublin,
March 2003, catalogue no. 7
€800-€1,000 (£660-£830 approx.)
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111
Pádraig MacMíadhacháin RWA (b.1929)
WINTER DARK WINDS and A SQUALL OF LOVE ON RAIN [THE MULLET, COUNTY MAYO] (A PAIR)
oil on canvas
the first signed lower left; each signed, titled and dated on reverse; the first with Fenton Gallery
label on reverse; second with Molesworth Gallery label on reverse
10 by 12in. (25 by 30cm)
Provenance:
Fenton Gallery, Cork and Molesworth Gallery, Dublin, respectively;
Private collection
Of equal size; framed uniformly.
€500-€700 (£410-£580 approx.)
110
John Shinnors
(b.1950)
RAINBOW, BLACK ARMED
SCARECROW
oil on canvas
signed lower right; signed
and titled on reverse
11 by 15½in. (28 by 38cm)
€4,000-€5,000
(£3,310-£4,130 approx.)
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112
John Noel Smith (b.1952)
U.F.P. [UNTITLED FIELD PAINTING] 2005
oil on canvas; (diptych)
(top) signed, titled, dated and with archival number [NR: 056] on
reverse; with inscribed Hillsboro Fine Art label on reverse; (bottom)
titled and numbered [NR: 056] on reverse
78½ by 35¾in. (198 by 89cm)
Provenance:
Hillsboro Fine Art Gallery, Dublin;
Private collection
€2,500-€3,500 (£2,070-£2,890 approx.)
113
Martin Finnin (b.1968)
HALF TRUTHS AND ONE AND A HALF TRUTHS, 2003
oil on card
signed lower left; with typed Vangard Gallery label on reverse
40 by 10in. (102 by 25cm)
Provenance:
Private collection
Exhibited:
‘Martin Finnin’,Vangard Gallery, Cork, 12 - 27 September,
2003, no. 19
€800-€1,200 (£660-£990 approx.)
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115
Gillian Lawler (b.1977)
SUSPENSION, 2008
oil on canvas
signed, titled and dated on reverse
27½ by 31½in. (69 by 79cm)
Provenance:
€1,000-€1,500 (£830-£1,240 approx.)
114
Richard Gorman
RHA (b.1946)
UNTITLED, 1998
oil tempera on linen
signed, titled and dated on
reverse; also with Kerlin
Gallery exhibition label on
reverse
59 by 59in. (150 by 150cm)
Provenance:
Kerlin Gallery, Dublin;
Where purchased by the
present owner
Exhibited:
‘Richard Gorman’, Kerlin
Gallery, Dublin, 4 December
to 11 January 1999,
(catalgoue nos. 1-5 all
untitled works of this size)
€2,000-€3,000
(£1,650-£2,480 approx.)
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Lots (116-170) are from the collection of The Taylor Gallery, Belfast (in administration).
The Taylor Gallery was one of the leading art galleries in Northern Ireland and had
established a reputation, not just for Irish paintings and sculpture, but also for works
by international artists such as Andy Warhol, Damien Hirst, Joan Miró, and, more
recently, in street artists such as Banksy.
116
THE CURRAGH, 1991
watercolour
signed and dated in pencil lower left; titled and numbered [W1077] on
Solomon Gallery label on reverse
7 by 10in. (18 by 25cm)
Provenance:
Solomon Gallery, Dublin
€4,000-€5,000 (£3,310-£4,130 approx.)

79
,
117
BEING, 1998
watercolour
signed and dated in pencil lower left; also numbered in pencil [1430] on reverse
23 by 17in. (58 by 43cm)
Provenance:
Taylor Galleries, Dublin
Exhibited:
‘Louis le Brocquy: Human Images, Early & Recent Works on Paper’,Taylor Galleries,
Dublin, 10 December 1998 to 16 January 1999 (listed as W1430)
€8,000-€10,000 (£6,610-£8,260 approx.)

80
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118
HUMAN IMAGE I, 2005
silkscreen print; (no. 35 from an edition of 75)
signed and numbered in pencil in the margin lower right
34 by 25¼in. (86 by 64cm)
Sheet size, 39.75 by 30in.
€2,000-€3,000 (£1,650-£2,480 approx.)
119
HUMAN IMAGE II, 2005
34 by 25¼in. (86 by 64cm)
Sheet size, 39.75 by 30.25in.
€2,000-€3,000 (£1,650-£2,480 approx.)
120
HUMAN IMAGE III, 2005
34 by 25in. (86 by 64cm)
Sheet size, 40 by 30in.
€2,000-€3,000 (£1,650-£2,480 approx.)
121
HUMAN IMAGE VII, 2005
silkscreen; (no. 35 from an edition of 75)
34 by 23¾in. (86 by 58cm)
€2,000-€3,000 (£1,650-£2,480 approx.)

81
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122
HUMAN IMAGE VIII, 2005
34 by 23¾in. (86 by 58cm)
Sheet size, 40 by 28.75in
€2,000-€3,000 (£1,650-£2,480 approx.)
123
HUMAN IMAGE IX, 2005
34 by 23¾in. (86 by 58cm)
Sheet size, 40 by 28.5in.
€2,000-€3,000 (£1,650-£2,480 approx.)
124
HUMAN IMAGE X, 2005
34 by 25¾in. (86 by 64cm)
€2,000-€3,000 (£1,650-£2,480 approx.)
125
HUMAN IMAGE XI, 2005
34 by 25in. (86 by 64cm)
Sheet size, 39.75 by 30in.
€2,000-€3,000 (£1,650-£2,480 approx.)

82
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126
HUMAN IMAGE XII, 2005
34 by 23¾in. (86 by 58cm)
€2,000-€3,000 (£1,650-£2,480 approx.)
127
HUMAN IMAGE XIII, 2005
silkscreen; (no. 35 from an edition of 75)
27½ by 21½in. (69 by 53cm)
€2,000-€3,000 (£1,650-£2,480 approx.)

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128
John Noel Smith (b.1952)
SPIRAL II
oil on canvas
signed, titled and numbered [NR: 0115] on reverse
83 by 63in. (211 by 160cm)
€3,000-€5,000 (£2,480-£4,130 approx.)

Whytes Important Irish & International Art Auction May 2014

Whytes Important Irish & International Art Auction May 2014

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Whytes Important Irish & International Art Auction May 2014