Adams Important Irish Art Auction

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Some of the Artists in the Adams Important Irish Art Auction
Joseph Poole Addey (1852-1922) A Tabby Cat Drinking Milk
Brian Ballard RUA (b.1943) Standing Female Nude with Vase of Flowers
Brian Ballard RUA (b.1943) Reclining Female Model in Mirror
Brian Ballard RUA (b.1943) Moving Donegal
Sandra Bell (b.1954) Standing Figure
Sandra Bell (b.1954) Two Figures
George Barret Jnr (1767-1842) A Halt at the Inn
Pauline Bewick RHA (b.1935) ‘Asleep in Venice’
Pauline Bewick RHA (b.1935) “Man on the World” (1967)
Dorothy Blackham (1896-1975) Procession at Lucca
Dorothy Blackham (1896-1975) The Old Town Orvie
Alicia Boyle RBA (1908-1997) ‘Pink Ladders and Pear Orchard’ and ‘Cold Spring’
Charles Brady HRHA (1926-1997) Rear of Canvas (1993)
Charles Brady HRHA (1926-1997) Haycock
Irene Broe (1923-1992) Bust of Donagh O’Malley
Mildred Anne Butler RWS (1858-1941) Peacocks in a Garden
Mildred Anne Butler, RWS (1858-1941) The Doves
Mildred Anne Butler RWS (1858-1941) A Castle in Europe, 1885
Mildred Anne Butler RWS (1858-1941) Study of a Horse
Mildred Anne Butler RWS (1858-1941) Cats Resting in the Sun
Harry Epworth Allen ( 1894-1958) Claddagh Cottages
Mildred Anne Butler RWS (1858-1941) Three G. Rowney & Co. ring bound Whatman board sketch books


Mildred Anne Butler RWS (1858-1941) Cats Resting in the Sun

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Adams Important Irish Art Auction

  1. 1. Wednesday 29th May 2013 at 6.00pmEst1887Important Irish Art
  2. 2. Front Cover Paul henry Lot 21Opposite Frank McKelvey Lot 62Pages 2 & 3 Paul Henry Lot 22Page 4 Gerard Dillon Lot 86Page 7 Mildred Anne Butler Lot 49Inside Back Cover Sean Keating Lot 32Back Cover Walter Osborne Lot 44
  3. 3. Important Irish ArtAuction Wednesday 29th May 2013 at 6pm
  4. 4. 4
  5. 5. AUCTIONWednesday 29th May 2013 at 6.00pmVENUEAdam’s Salerooms26 St Stephen’s Green, Dublin 2.IrelandVIEWING HIGHlIGHTS MAy 9TH- 16THAt The Ava Gallery, Clandeboye Estate, Bangor, Co. Down BT19 IRNMonday - Friday 11.00am - 5.00pmSaturday 11thMay 2.00pm - 5.00pmSunday 12thMay 2.00pm - 5.00pmFUll SAlE VIEWING MAy 26TH- 29THAt Adam’s, 26 St Stephen’s Green, Dublin 2.Sunday 26thMay 2.00pm - 5.00pmMonday 27thMay 10.00am - 5.00pmTuesday 28thMay 10.00am - 5.00pmWednesday 29th May 10.00am - 5.00pmImportant Irish ArtBid online at our auctions through www.the-saleroom.com
  6. 6. 6Brian Coyle FSCSI FRICSCHAIRMANEamon O’Connor BADIRECTORe.connor@adams.ieNick NicholsonCONSULTANTn.nicholson@adams.ieJames O’Halloran BA FSCSI FRICSMANAGING DIRECTORj.ohalloran@adams.ieDavid Britton BBS ACADIRECTORd.britton@adams.ieAbigail Bernon BAFINE ART DEPARTMENTabigail@adams.ieKieran O’Boyle BA Hdip ASCSIFINE ART DEPARTMENT MANAGERk.oboyle@adams.ieStuart Cole MSCSI MRICSDIRECTORs.cole@adams.ieKaren Regan BAFINE ART DEPARTMENTkaren@adams.ieYou can now create your own account with us by signing up and registering your particulars online at www.adams.ieThe process involves uploading identification by way of passport or driving licence and supplying valid credit card information. This is a once off requestfor security purposes, and once the account is activated you will not be asked for this information again. You can leave absentee bids online, and add,edit or amend bids accordingly as well as other useful functions including paying your invoice.CREATE A ‘MY ADAM’S’ ACCOUNT26 St. Stephen’s Green , Dublin 2.Tel +353 1 6760261 Fax +353 1 6624725info@adams.ie www.adams.ieEst1887
  7. 7. 1. Estimates and ReservesThese are shown below each lot in this sale. All amounts shown are in Euro. The figures shown are provided merely as a guide to prospec-tive purchasers. They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will not beany higher than the lower estimate.2. Paddle BiddingAll intending purchasers must register for a paddle number before the auction. Please allow time for registration. Potential purchasersare recommended to register on viewing days.3. Payment, Delivery and Purchasers PremiumThursday, 30th May 2013, 10.00am - 1.00pm and 2.00pm -5.00pm. Under no circumstances will delivery of purchases be given whilstthe auction is in progress. All purchases must be paid for and removed from the premises not later than 5pm on Thursday 30th May2012. Auctioneers commission on purchases is charged at the rate of 20% (exclusive of VAT). Terms: Strictly cash, bankers draft or chequevouched to the satisfaction of the auctioneers, prior to sale. Purchasers wishing to pay by credit card (Visa & Mastercard) may do so,however, it should be noted that such payments will be subject to an administrative fee of 1.85% on the invoice total. American Expressis subject to a charge of 3.65% on the invoice total. Please contact our accounts department prior to sale with your payment queries.Artists Resale Rights (Droit de Suite) is not payable by purchasers.4. VAT RegulationsAll lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers premium must be invoiced at arate which is inclusive of VAT. This is not recoverable by any VAT registered buyer.5. Please note that imperfections are not stated.6. Absentee BidsWe are happy to execute absentee or written bids for bidders who are unable to attend and can arrange for bidding to be conductedby telephone. However, these services are subject to special conditions (see conditions of sale in this catalogue). All arrangements forabsentee and telephone bidding must be made before 5pm on the day prior to sale.7. AcknowledgmentsWe would like to acknowledge, with thanks, the assistance of Dr. S.B.Kennedy, Karen Reihill, Dickon Hall, Dr. Julian Campbell, Dr. RóisínKennedy, Dr Eimear O’Connor, Dr. Denise Ferran, Niamh McNally, Marianne O’Kane Boal, and Katharine Crouan whose help and researchwere invaluable in compiling many of the catalogue entries.8. All lots are being sold under the Conditions of Sale as printed in this catalogue and on display in the salerooms.IMPORTANT INFORMATION FOR PURCHASERS
  8. 8. Important Irish Art, wednesday 29th May 2013 at 6pm91 Grace Henry RHA RUA (1876-1958)The PiperOil on canvas, 30.5 x 25.5cm (12 x 10”)SignedProvenance: Brook Street Art Gallery, LondonExhibited: “Grace Henry - The Person and Artist” Loan Exhibition, Jorgenson Fine Art, January 2010Literature: “Grace Henry - The Person and Artist” 2010, illustrated p37€3,000 - 5,000
  9. 9. 102 Dorothy Blackham (1896-1975)Procession at LuccaOil on board, 36 x 66cm (14 x 26”)Signed, inscribed artist’s label verso€800 - 1,2003 Dorothy Blackham (1896-1975)The Old Town OrvieOil on board, 24 x 15cm (9½ x 6”)Inscribed artist’s label verso€400 - 600
  10. 10. Important Irish Art, wednesday 29th May 2013 at 6pm114 Gladys Maccabe HRUA ROI FRSA (b.1918)Donaghadee Harbour, August 1956Oil on board, 64 x 79cm (25¼ x 31¼”)Signed; Inscribed artist’s label versoProvenance: From the collection of the sculptor, Angela, Countess of Antrim (1911-1984) and thence bydescent to the current ownersExhibited: The Royal Ulster Academy 1956. Cat. No. 68, where purchased by the Countess of Antrim€4,000 - 6,000
  11. 11. 125 Mainie Jellett (1897-1944)Study for ‘A Woman’ (1937)Gouache, 23.5 x 12cm (9¼ x 4¾”)Provenance: Jorgensen Fine Art, Dublin wherepurchased by current owner€2,000 - 4,0006 Mainie Jellett (1897-1944)Rug DesignGouache, 30 x 14cm (11¾ x 5½”)Provenance: Jorgensen Fine Art, Dublin wherepurchased by current owner€1,500 - 2,500
  12. 12. Important Irish Art, wednesday 29th May 2013 at 6pm137 Mainie Jellett (1897-1944)Abstract CompositionGouache, 20 x 19cm (8 x 7½”)Provenance: From the artist’s family by descent. Sold by them in 1987 to raise funds forthe “Mainie Jellett Fund” that provides grants to assist Irish students from TCD andNCAD to travel abroad and study works of art.Exhibited : “Mainie Jellett Exhibition”, November/December 1987,The TaylorGalleries, Cat. No. 15Summer Exhibition, Jorgensen Fine Art, Dublin, 1999, Cat. No. 18 wherepurchased by current owner.Literature : Mainie Jellett 1987 Catalogue - Front cover illustrationThis early work by Jellett from 1922 is a study for a large oil of the same year, exhibitedwith the Independents in Paris in 1923, being one of four works Jellett exhibited thatyear.€2,000 - 4,000
  13. 13. 14note of drama to the painting while celebrating the poeticaspects of nature. Both suggest the simplicity of rural life.McGuinness makes these familiar motifs contemporarythrough the strong flattened patterning of the forms whichis ultimately derived from cubism, a style which she hadlearnt in Paris in the studio of André Lhote at the end of1920s and which continued to resonate in her work intothe 1960s. Cubism enabled her to simplify the subjectand to create decorative and almost abstract responses tothe subject. The subtle delineation of foliage, berries andbranches and the use of strong blocks of colour are typicalof the artist’s unmistakable style. They reveal an acuteawareness of the natural world, the product of a passionateinterest in gardening and more significantly a long careerspent developing a keen appreciation of landscape. Sheavoids any of the clichés of traditional touristic imageryin her representation of Ireland. This made McGuinness’swork attractive to the Arts Council and to collectors in the1960s. The Startled Bird is an excellent example of her latework at its most expressive.Dr. Roisin Kennedy1. James White, Irish Times, 10 November 1961.€20,000 - 30,0008 Norah McGuinness HRHA (1901-1980)The Startled Bird (1961)Oil on canvas, 68.5 x 81.25cm (27 x 32”)Signed and Dated 1961Provenance: Acquired directly from the artist in 1961 bya friend; as it was his daughter depicted in the woods, andthence by descent to the current owner.The location of thewood is the south side of Carrickgollogan near the artistshome.Exhibited: RHA Annual Exhibition 1961, Dublin, Cat.No. 41 (NFS),Exposition de la Peinture ContemporaineIrlandaise, Monaco, 1962,Twelve Irish Painters-An Exhibition of IrishModern Art, New York, 1963,Norah McGuinness Retrospective,TrinityCollege Dublin, 1968, Cat. No. 63Norah McGuinness’s work went through a great resurgencein the early 1960s when she produced some of her mostaccomplished paintings. In 1961 she had a very successfulshow at the Dawson Gallery. James White reviewing itin the Irish Times described it as ‘undoubtedly her finestexhibition’.1The Startled Bird, exhibited that year at theRHA, can clearly be related to the works in this show. Itsinclusion in international exhibitions of modern Irish artorganised by the Arts Council indicate the regard in whichit was held by the art establishment at the time.Inspired by her frequent sojourns in the countryside, thework evokes through its patterning of rich colours andstark forms, the physical sensation of woodland. The figureof the young girl and the blackbird in the foreground add a
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  15. 15. 169 Alicia Boyle RBA (1908-1997)‘Pink Ladders and Pear Orchard’ and ‘Cold Spring’A pair, oil on canvas, 35 x 46cm (13¾ x 18”) eachSigned with initials, also signed and inscribed verso (2)€800 - 1,20010 Evie Hone, HRHA (1894-1955)Stained Glass Design (Thérèse of Lisieux)Monotype, 28 x 10cm (11 x 4”)Provenance: The Dawson Gallery, label verso€500 - 800
  16. 16. Important Irish Art, wednesday 29th May 2013 at 6pm1711 Norah McGuinness HRHA (1901-1980)Western LandscapeOil on canvas, 71 x 102cm (28 x 40”)Signed and dated 1963€6,000 - 10,000
  17. 17. 1812 Eva Henrietta Hamilton (1876-1960)The Lifting Bridge, MonasterevinOil on canvas, 77 x 63.5cm (30¼ x 25”)Provenance: The artist’s family.Exhibited: Collector’s Eye Exhibition, Model Arts and Niland Gallery Sligo, January/February2004,The Hunt Museum Limerick, March/April 2004, Cat. No. 6Literature: The Collector’s Eye 2004, illustrated p.4This is the view of the ‘Lifting Bridge’ still in operation and the Church of St Peter and Paulin Monasterevin in the distance€5,000 - 8,000
  18. 18. Important Irish Art, wednesday 29th May 2013 at 6pm1913 Estella Frances Solomons, HRHA (1882-1968)PierrotOil on canvas, 66 x 46cm (26 x 18”)Exhibited: Estella Solomons Exhibition,The Crawford Gallery, Cork 1986, Cat. No. 25Estella Solomons Retrospective Exhibition,The Frederick Gallery, Dublin November 1999, Cat. No. 2A sketch for this painting but without the china horse is included in the Solomons Papers in Trinity College, Dublin (Ref. 4520, p.41)€6,000 - 8,000
  19. 19. 2014 Patrick Hennessy RHA (1915-1980)In the StudioOil on board, 45.5 x 35.5cm (18 x 14”)Signed, inscribed with artist’s label versoProvenance: Property of a deceased estate, Northern Ireland€4,000 - 6,000
  20. 20. Important Irish Art, wednesday 29th May 2013 at 6pm2115 Leo Whelan RHA (1892-1956)A Kitchen Interior with MaidOil on canvas, 63.5 x 63.5cm (25 x 25”)Signed, with a sketch of a chemist’s shop interior versoProvenance: From the Collection of Francis Murnaghan, Baltimore and his sale, Christies “Irish Sale” May 2004,Cat.No. 161, where purchased by current owner€7,000 - 10,000
  21. 21. 2216 William Conor RHA RUA (1884-1968)In the StreetMixed media, 42 x 30½ cm (16½ x 12”) signedTogether with a woodcut version of the work produced by The LinenHall Library, 1986 and numbered 5/300 (2)Provenance: The original work is thought to have been acquired in the1940s and thence by descent to current owners€2,000 - 4,000
  22. 22. Important Irish Art, wednesday 29th May 2013 at 6pm2317 William Conor RHA RUA (1884-1968)A Sunny Day on the DoorstepCrayon, 47 x 36cm (18½ x 14”)Gallery stamp verso - J.J. McGuigan, 34 Berry Street, Belfast.Provenance: Thought to have been acquired in the 1940s and thence by descentto current owners€7,000 - 10,000
  23. 23. 2418 William Conor RHA RUA (1884-1968)The Irish Scene. Belfast. Derek MacCord. 1944.Folio. p.p.26. 12 Full page illustrations, 6 in col-our. Green cloth. Gilt title on spineProvenance: Thought to have been acquired inthe 1940s and thence by descent tocurrent owners€100 - 20019 William Conor RHA RUA (1884-1968)The BenedictionCrayon, 45 x 35cm (17¾ x 13¾”)Signed.Gallery stamp verso - J.J. McGuigan, 34 Berry Street, LondonProvenance: Thought to have been acquired in the 1940s andthence by descent to current ownersAn almost identical painting in oils by Conor sold in these rooms4th October 2006, lot 138, for €38,000Conor was born in Belfast in 1881 and attended the Belfast Gov-ernment School of Art. In 1914 he became the official war artistin the Ulster Division and by 1918 he had work exhibited for thefirst time at the RHA in Dublin.In 1923 he exhibited at The Goupil Gallery London and in 1924and 1926 The Stephen’s Green Gallery, Dublin. He had an exhibi-tion with the Waddington Galleries, Dublin in 1948 and in 1957there was a retrospective exhibition at the Museum and Art Gal-lery, Belfast.He was a founder member of the Royal Ulster Academy of Artand became its President in 1957. He was elected ARHA in1938 and in 1946 became a full member of The Royal Hiber-nian Academy in Dublin and in all showed nearly 200 worksat the RHA.He wrote.. “All my life I have been completely absorbed withthe activities of the Belfast people and the surrounding country.Being a Belfast man myself it has been my ambition to revealthe character of its people in all vigour, in all its senses of life, inall its variety, in all its passion, humanity and humour”. In thisambition he was successful being described as a “sort of BelfastDostoyevsky”.Although he was Presbyterian, this did not hinder him depict-ing Northern Catholics either Going to Mass in the countrysideor praying in church as is shown here. In all of these churchinteriors he captures the different generations always focusingon the matriarchal grandmother in the foreground. Again hehas successfully captured a way of life that is now but a memoryin modern Ireland.€6,000 - 8,000
  24. 24. Important Irish Art, wednesday 29th May 2013 at 6pm25
  25. 25. 2620 William Conor RUA, RHA (1884-1968)The Shepherd and his FlockCrayon, 63.5 x 51cm (25 x 20”)Provenance: One of a collection of works by William Conor, sold atWaddington Auctioneers, Toronto, June 2001, Cat. No, 1710, wherepurchased by the current owner. Another smaller work from this sameCanadian collection, Dancing the Jig, was sold in these rooms December2012, Cat. No. 48, for €26,000, while another from this collection, TheStreet Musician sold for €15,000 in our sale 26th March, Lot 15John Hewitt has written ‘In the art history of Ireland, William Conormust be placed with Paul Henry and Jack B Yeats, as one of the first torecord the life of the people in painterly terms, without the trappingsof stage-Irishry. Few can have realised how representative he has been,how broadly typical of our best moods and impulses.’ According toCrookshank and Glin, ‘His early crayon drawings, with their verypersonal technique, using wax to achieve an uneven texture, developfrom his early training as a lithographer and he achieves something of asimilar effect in his oils.’ The composition, stance and treatment of thefigure in The Shepherd and his Flock are reminiscent of Jack B. Yeats’ Manfrom Arranmore 1905 rendered in chalk and watercolour. In Yeats’ workthe man assumes an almost heroic stance and is depicted against themountain with the surrounding landscape indicated. Here,the treatmentof the figure against the landscape is similar and even the shepherd’sgaze and that of the fisherman follow a similar path. Conor’s masterfuluse of crayon lends this work an almost aged photographic quality. Thetreatment of the figure, delineation of his features, his expression andeven the detailed faces of the sheep and lamb, create a quintessentialIrish study of country life. The subject is uncharacteristic of Conor whogenerally made his name as, ‘the pioneer in taking his subjects fromtown - rather than country - folk.’ (John Hewitt). Hewitt also admiresConor’s technical virtuosity; his vivid draughtsmanship, his adept use ofwatercolour, his skilful portraiture in many styles, his few but originalessays in landscape.’ This work may feature a scene from Co. Kerry.Conor spent some time on the Blasket Islands and rural studies includeThe Flax Gatherers, Gathering Potatoes and Going to Mass, Co. Kerry.Marianne O’Kane Boal€10,000 - 15,000
  26. 26. Important Irish Art, wednesday 29th May 2013 at 6pm27
  27. 27. 2821 Paul Henry RHA RUA (1876-1958)The Potato Diggers (1910-11)Oil on canvas, 71 x 81.5cm (28 x 32”)SignedProvenance: Acquired from the artist in the 1930s and thenceby descent to the present ownerExhibited: Paintings of Irish Life: Mr. & Mrs. Paul Henry, Pollock’sGallery, Belfast, 14-27 March 1911 (33, as Potato Digging)Paintings by Mrs. Frances Baker, Grace Henry, Paul Henry, CasimirDunin-Markiewicz and George Russell (AE), Leinster Hall, Dublin,16-21 October 1911 (27, as Potato Diggers)Paintings of Co. Mayo, Ireland (Synge’s Country) by Mr. and Mrs. PaulHenry, Allied Artists’ Association, London, till 17 February 1912(10, as Potato Diggers)Pictures of the West of Ireland by Mr. & Mrs. Paul Henry, Mills’ Hall,Dublin, 16-28 April 1917 (39)Paintings by Mr. & Mrs. Paul Henry, Magee’s Gallery, Belfast, from14 April 1920 (10); Paul & Grace Henry: Irish Life and Landscape,Leicester Galleries, London, from 6 January 1921 (50)New Irish Salon, Mills’Hall, Dublin, 8 February-6 March 1926 (2)Exhibition of Paintings, Drawings, Engravings & Small Sculptureby Artists Resident in Great Britain & the Dominions, Imperial ArtGallery, Imperial Institute, London, 12 April-30 June 1927 (123)Paintings and Charcoals: Paul Henry RHA, Waddington Galleries,Dublin, 21 February- 3 March 1952 (16);AnTostal: Exhibition of Paintings and Sculpture,International Hotel,Bray, 8-22 April 1953 (49)Some Paintings by Modern Irish Artists, Crawford School of Art,Cork, April-July 1960 (15, reproduced) Paul Henry 1876-1958;Paul Henry Retrospective Exhibition, Trinity College, Dublinand Ulster Museum, Belfast, October 1973-January 1974 (7,reproduced)Irish Art and Modernism 1880-1950, Lane Gallery, Dublin andUlster Museum, Belfast, 20 September 1991-26 January 1992(6, reproduced in colour)Literature: Arthur Power, ‘Reassessments-17: Paul Henry,’ IrishTimes, 29 June 1971, p. 8, reproducedS.B.Kennedy: Irish Art and Modernism 1920-1949,unpublishedPh.D. thesis, University of Dublin, 1987, vol. 1, pp. 34, 37,reproduced in colour vol. 2, pl.1‘Paul Henry: An Irish Portrait’, Irish Arts Review, Yearbook1989-90, 1989, p. 45, reproduced in colour p. 46Irish Times, 20 December 1989, p. 12 reproducedIrish Art and Modernism 1880-1950, Belfast: Institute of IrishStudies, 1991, pp. 19, 23, 216-7 reproduced in colour; PaulHenry, New Haven and London, Yale University Press, 2,000,pp. 46-7 reproduced in colour, 143Paul Henry: with a catalogue of the Paintings, Drawings,Illustrations, New Haven and London, Yale University Press,2007, pp. 34, 42, 62, 88, 89, 154, catalogue number 295,reproduced in colour; Kenneth McConkey, A Free Spirit: IrishArt 1860-1960, London, Antique Collectors’ Club and PymsGallery, 1990, p.159, reproduced in colour.
  28. 28. Important Irish Art, wednesday 29th May 2013 at 6pm29
  29. 29. 30This is one of Paul Henry’s most accomplished works. Henrywent to Achill Island for the first time in August 1910.Throughthe influence of his friends Robert and Sylvia Lynd in London,he had been introduced to the work of W. B. Yeats, whom hehad met in Paris in February 1899, and J. M. Synge, whosetragic tone poem, Riders to the Sea, had made a deep impressionon him. Synge, he later wrote in his autobiography, An IrishPortrait (London, 1951, p.48), ‘touched some chord whichresounded as no other music ever had done’ and, he tells us, itwas of Riders to the Sea that he was thinking as he left London‘on the couple of weeks’ holiday’ he had promised himself. Inmoving to Achill Henry had much to loose in London-theAllied Artists’ Association, Sickert’s ‘at homes’ in his FitzroyStreet studio, the Tour Eiffel in Charlotte Street, the CaféRoyal, ‘all of them places with blessed memories’. Moreover,he was beginning to make a reputation as a graphic artist on anumber of newspapers and journals.Nevertheless,he was drawnto Achill Island-he was to spend nine years there-as a sort ofhome-coming, for his maternal grandfather, the Rev. ThomasBerry, had preached the gospel on Achill in the mid-1830s.Soon after his arrival on the island Henry made for the villageof Keel, on its southern shore. He was enthralled by the life hefound there. ‘Achill … called to me as no other place had everdone’, he wrote (An Irish Portrait, p.50), yet, he said, although‘the persuasiveness of its voice charmed me’, it was not easy tofollow its meaning. It was, however, an emotional call and hedecided to settle there,‘not as a visitor but to identify myself withits life and to see it every day in all its moods.’ In particular thepeasantry working in the fields reminded him of Millet, whosework he knew as a student in Paris, and he had read AlfredSensier’s Jean François Millet, Peasant and Painter (London,1881). Millet’s The Spaders, which was reproduced in Sensier’sbook, deeply impressed on the young Henry as is evident inThe Potato Diggers. The fields in Achill were very small - ‘a manmight own a field or two beside his door and another bit ofland, about the size of a small suburban front garden, a mile orso away’- having,for hereditary reasons,been sub-divided manytimes over the years.The Potato Diggers picture was painted at the old post office inKeel, which was run by John and Eliza Barrett, where Henrylodged in 1910 and 1911. The post office was situated in thecentre of the village where the former Amethyst Hotel nowstands. Henry’s delight in his new-found circumstances ispalpable in his work done in these first months after his arrivalon the island and its ‘call’ is clear to be seen. In this picturehis Post-Impressionist background in Paris came back to him,notably in the composition, with the diagonal direction of theforeground rise where the figures are digging and the opposingdiagonal of the background mountain, which is Slievemore.The upward thrust of the two figures bent in toil unites thesediagonals with the sky and gives drama to the scene. Eachfigure, digging with a spade, is almost a direct quote fromMillet’s The Spaders. Here, like Millet, Henry wanted to paint ascene of life as it really was, the harshness of daily routine beingevident from the back-breaking work and the small return ofcrops produced. ‘I have yet to see people who worked so hardfor so little gain’, he wrote years later. ‘It meant incessant toilwith the spade’, ploughs being useless on those stony fields (AnIrish Portrait, p. 57). In pictures such as this, Henry introduceda new realism to Irish art. Gone is the ‘stage Irishness’ of muchnineteenth century art and, as with Millet’s field workers, werealize that life was difficult, being neither heroic nor idyllic,and the simple toil of the figures gives a natural dignity to theirefforts that is more convincing than much academic paintingof the time. In Irish terms, this new realism can be linkedback through George Moore to the French tradition of Zola,Flaubert and the Goncourts. Like J. M. Synge’s prose based onthe life he found on the Aran Islands, Henry’s distillation of theharsh life he found on Achill reflects the natural rhythm of lifeand nature.Often Henry made more than one version of a composition,and the exact pose of the figures depicted in The Potato Diggerswas represented in another picture of the same title (Kennedy,2007, p. 182, catalogue number 417) which dates from 1915-16. In this second, smaller composition, the setting has beenexpanded to show the sea in the background and the familiarprofile of the Cliffs of Menawn and Dooega Head, so that,as here, it must be close to the road between the villages ofKeel and Dooagh. In both pictures, the man digging is JohnnyToolis and the potatoes are being harvested from ridges, thetraditional method of cultivation on Achill (information fromJohn McNamara, conversation of 30 January 2003). The sametwo figures appear in yet another Henry composition,The PotatoHarvest of 1915-17 (Kennedy, 2007, catalogue number 425).Dr. S.B. Kennedy, May 2013€250,000 - 350,000
  30. 30. Important Irish Art, wednesday 29th May 2013 at 6pm31
  31. 31. 3222 Paul Henry RHA RUA (1876-1958)Thatched Cottages with Lake and Mountains Beyond (1933-5)Oil on canvas, 51 x 61cm (20 x 24”)Signed:Provenance: Sale: Sotheby’s, London, 1 May 1991, lot 55, as Cottages inConnemara;de Veres, Dublin: 25 May 1993, lot 69, as West of IrelandLandscape with Cottage and Lake, repr. in colour. 16 April 2002, lot125, repr. in colour, acquired by the Oriel Gallery.Literature: S. B. Kennedy, Paul Henry: with a catalogue of thePaintings, Drawings, Illustrations, New Haven and London, YaleUniversity Press, 2007, catalogue number 757, p. 251.Possibly a scene in Co. Kerry, an area that Henry first visited in late 1932 orearly 1933 when he stayed at Glenbeigh. The visit was a watershed in his life,for throughout much of the previous decade his relationship with Grace, hisfirst wife, had deteriorated and culminated with the break up of their marriagein 1929. However, only by the spring of 1934 were the legalities of the situationresolved.Thus,when he again visited Kerry in September of that year,accompaniedby Mabel Young who later became his second wife, did his mood lighten as didhis palette in terms of tone and colour. The freshness of this landscape, with thelight blues of the sky and the absence of angst, which characterizes so many of hisearlier paintings, reflects the artist’s more buoyant mood. Henry was enchantedwith the Kerry landscape. ‘It is lovely. Wherever one turns there is material fordozens of pictures’, he wrote to a friend in New York (Henry to James Healy, letterof 13 December 1934, James Healy Papers, Healy Collection of Modern IrishLiterature, Department of Special Collections and University Archives, StanfordUniversity Libraries). He continued, saying ‘I felt that if I spent a lifetime … Iwould never exhaust all the possible subjects’. Besides the area around Glenbeigh,he explored the peninsula as far westwards as Waterville. Many of the resultantpictures were included in his exhibition, Recent Paintings of Kerry and Connemara,at the Combridge Gallery, Dublin, in May 1935.The show was well received by thenewspapers, the Irish Press (7 May 1935) perceptively noting the ‘paler key’ of thepictures, as is well exemplified in this picture.Dr S.B. Kennedy, May 2013€120,000 - 160,000
  32. 32. Important Irish Art, wednesday 29th May 2013 at 6pm33
  33. 33. 3423 James Humbert Craig, RHA RUA (1877-1944)Coming Storm, Rosses Coast, Co. DonegalOil on board, 25 x 33cm (10 x 13”)Signed, signed and inscribed with title on label verso€2,500 - 3,50024 James Humbert Craig, RHA RUA (1877-1944)Co. Antrim Hills with Cattle GrazingOil on board, 24 x 34cm (9½ x 13½”)SignedProvenance: Jorgensen Fine Art, Dublin€1,500 - 2,500
  34. 34. Important Irish Art, wednesday 29th May 2013 at 6pm3525 James Humbert Craig RHA RUA (1877-1944)Cloud Shadows in the Rosses, Co DonegalOil on canvas, 51.5. x 61cm (20¼ x 24”)Signed, signed again and inscribed with title versoProvenance: Frost & Reid, LondonExhibited: Spring Exhibition 2000, The Frederick Gallery, Cat. No. 45 where purchased by current owner.€7,000 - 10,000
  35. 35. 3626 Frank McKelvey RHA RUA (1895-1974)Landscape in Co. ArmaghOil on canvas, 68.5 x 86.5cm (27 x 34”)Signed.Exhibited: RHA Annual Exhibition 1955 Cat. No. 104under the title Landscape in Co. Antrim.Frank McKelvey Retrospective Exhibition TheUlster Museum March/April 1993.Literature: “Frank McKelvey” by Dr SB Kennedy 1993illustrated P74 in artists homeProvenance: From the artist’s personal collection and thenceby descent to the current ownerMaírín Allen has written of the artist, ‘For the most part, hepaints or sketches direct from nature. His summers, spentin the country...are filled with amazing activity. As long asthe light lasts he paints...making rapid oil sketches, whichhe may finish on the spot, or may expand on larger canvasesat his leisure.’ ‘Landscape in Co. Armagh’ c.1950-5 is typicalof McKelvey’s landscape work and it features a pastoral vistathat offers a calm and contemplative mood. A small groupof four cattle are depicted at a bend in the road beneath thetrees. The entire composition is bathed in the light of highsummer and there are strategically placed rays of sunlight onthe road that lead the eye toward the cattle and also highlightthe livestock itself. The trees to left foreground and rightmiddle ground frame the landscape and McKelvey’s experttreatment of skies completes the composition. McKelveyoffers a more colourful twentieth century equivalent ofHugh Frazer’s landscape vignettes in this appealing viewof the Armagh countryside. S.B.Kennedy has observed ‘Inessence he was a Romantic... he had a sharp eye and could,with apparent ease, penetrate the essentials of his subject andset it down with a matching exactitude.’ McKelvey made asignificant contribution to Irish painting. In terms of the‘evolution of landscape painting in Ireland in those years itis notable how the driving force was an Ulster-inspired affairand its main protagonists - Paul Henry, J.H. Craig, FrankMcKelvey, Charles Lamb - each had his own distinctivetechnique, yet collectively, as the Irish Times pointed out asearly as 1925, they had the homogeneity of a distinct school.’(Kennedy). This painting was clearly a work that the artisthimself rated highly. In a photograph of McKelvey at hishome c.1960, the painting has pride of place above themantelpiece with McKelvey standing before it.Marianne O’Kane Boal€12,000 - 16,00027 Twelve Irish ArtistsProduced by The Victor Waddington Galleries 1940, Limited to 125 copies, ofwhich this is No. 36Provenance: From the personal collection of the artist Frank McKelvey, andthence by descent to the current owner€200 - 400
  36. 36. Important Irish Art, wednesday 29th May 2013 at 6pm37
  37. 37. 3828 Frank McKelvey, RHA, RUA (1895-1974)Near Castlebar, Co. MayoOil on canvasboard, 30 x 41cm (12 x 16”)Signed, inscribed with title on label verso€4,000 - 6,000
  38. 38. Important Irish Art, wednesday 29th May 2013 at 6pm3929 Frank McKelvey, RHA, RUA (1895-1974)Falcarragh, Co. DonegalOil on canvas, 34 x 44cm (13½ x 17½”)Signed€5,000 - 7,000
  39. 39. 4030 Harry Epworth Allen ( 1894-1958)Claddagh CottagesTempera on board, 38 x 53cm (15 x 21”)SignedProvenance: Anderson Auctioneers Belfast, 1st December 1999 (Front Cover Illustration), Cat. No. 80 where purchased bycurrent ownerLiterature: John Basford, Harry Epworth Allen - Catalogue of his works, listed page 105€5,000 - 8,000
  40. 40. Important Irish Art, wednesday 29th May 2013 at 6pm4131 Charles Lamb RHA RUA (1893-1964)“Sruthán Harbour”Oil on board, 27 x 35 cm (10.5 x 13.75”)SignedExhibited : Lamb in Connemara Exhibition ,The Ava Gallery, Clandeboye, January/February 2012 (ex Catalogue)€3,000 - 5,000
  41. 41. 4232 Seán Keating PRHA HRA (1889-1978)‘I Gave Him a Smoke’ (Circa 1922/3)Oil on board, 92 x 77cm (36¼ x 30¼”)SignedProvenance: The Imperial Gallery of Art, London, 1929;Sean Keating Retrospective RHA Gallery, Dublin, Nov/Dec 1989 RHA cat. no.111Literature: “Playboy of the Western World” by John Millington Synge (1927)illustrated P65Commissioned by the executors of the John Millington Synge Estate in 1922, IGave Him a Smoke is one of ten paintings made by Seán Keating to illustrate ThePlayboy of the Western World, published by George Allen and Unwin in 1927. Thepaintings feature students and friends from the Dublin Metropolitan School of Art,and several actors from productions of the play at the Abbey Theatre.Notably,Keatingappears throughout the series as Old Mahon, the man who was supposedly killed byhis erstwhile son. The story is well-known, and I Gave Him a Smoke refers to a pointin the play during which Old Mahon has, apparently, returned from the dead, andis entertaining the Widow Quin with stories about his son’s cowardice and lack ofmasculinity. He tells the Widow that Christy was so feeble that he would ‘get drunkon the smell of a pint.’He goes on to say that his son’s stomach was so weak that whenhe gave him three pulls from his pipe ‘...he was taken with contortions till I had tosend him in the ass-cart to the females’ nurse...’The painting illustrates those lines; itshows Keating, as Old Mahon, having a smoke from his clay pipe while his gormlessson writhes in anguish on the ground. The ass-cart waits in the background, ready totake Christy to the worst place imaginable for a man in those days - to the nurse whodealt with girls and women - a dreadful comedown for the man hailed as a hero forcommitting patricide.The illustrated edition of Synge’s play, which was described as acomedy in three acts, was published in an edition of one thousand copies. I Gave Hima Smoke is reproduced on page 65.Dr Éimear O’Connor HRHAResearch AssociateTRIARC-Irish Art Research CentreTCD.Éimear O’Connor’s book, Seán Keating: Art, Politics and Building the Irish Nation ispublished by Irish Academic Press, and is available in paperback, hard back (limitededition) and hard back slip cased (limited edition).€30,000 - 40,000
  42. 42. Important Irish Art, wednesday 29th May 2013 at 6pm43
  43. 43. 4433 Seán Keating PRHA HRA (1889-1978)The ImpCharcoal, 33 x 25cm (13 x 9.75”)Signed and inscribed with title versoProvenance: Sold in these rooms, Important Irish Art Sale, 31stMarch 1999, Cat. No. 103, where purchased by current owner€1,000 - 1,50034 Seán Keating PRHA HRA (1889-1978)Study for The Land of PromisePastel and chalk on paper, 60 x 49cm (23.5 x 19.25”)Signed€3,000 - 5,000
  44. 44. Important Irish Art, wednesday 29th May 2013 at 6pm4535 Paul Henry RHA RUA (1876-1958)Landscape and CloudsCharcoal, 45.5 x 37cm (17.8 x 14½”)SignedProvenance: Sold in these rooms, ImportantIrish Art Sale, 9th December 1998, Lot 33 andafterwards with:Jorgensen Fine Art, Dublin, where purchasedby the current ownersLiterature: Dr. S.B. Kennedy, Paul Henry:Paintings, Drawings and Illustrations, Cat. No.262, p144€4,000 - 6,000
  45. 45. 4636 Sir William Orpen RHA RA (1878-1931)Lord George HellOil on canvas, 76.2 x 66 cms (30 x 26”)SignedLiterature: The Art of a Nation:Three Centuries of Irish Painting, Pyms Gallery, London, June2002, cat.no.30Lord George Hell is the principal character in Max Beerbohm’s The Happy Hypocrite,who fallsin love with the dancer, Jenny Mere, an ingénue in the seedy world of corrupt impresarios.A Regency reprobate, he sets about to woo her, but in order to do so, must wear a mask tocover a pock-marked face. When he succeeds in his task and the mask is removed, his facehas miraculously healed and become ‘saintly’ - such is the power of love. The story waspublished in 1896 followed by a one-act dramatised version at the Royalty Theatre in 1900.Orpen’s first version of the subject is likely to have been inspired by seeing this production,rather than reading the book. This was shown at the new English Art Club in 1901.It is clear in the present work that Orpen wished to recreate the impression of late eight-eenth or early nineteenth century prints. The girl’s dress, bonnet and black shoes recallthe maidens of Gainsborough, Romney and Hoppner and the encounter mimics, to someextent, that of Gainsborough’s Haymaker and the Sleeping Girl. In the present version Jennyis undoubtedly startled by Lord George and by the transforming effect of his love for her.The story of the miracle, revisited late in his career, clearly had a profound effect on Orpensince the original drawing was placed on his easel just before his death so that it could betransferred to oil.€20,000 - 30,000
  46. 46. Important Irish Art, wednesday 29th May 2013 at 6pm47
  47. 47. 4837 John Butler Yeats RHA (1839-1922)Portrait of Jenny YeatsOil on canvas, 50.8 x 40.7 cms (20 x 16”)Exhibited: Pyms Gallery, London, Friendship Portraits, 11th May- 17th June 2005, cat. no. 1Literature: The Art of a Nation: Three Centuries of Irish Painting,Pyms Gallery London June 2002, cat. no. 15The son of a Protestant rector from Sligo, John Butler Yeats wasborn in Co. Down and studied Law at Trinity College, Dublin. In1865 after the birth of his first child, the poet William Butler Yeatshe moved to London and joined Heatherley’s School of Art. Hebecame friends with J.T. Nettleship, George Wilson and EdwinEllis who were all keen to extend the ideals of the Pre-Raphaelites.In 1872 Yeats produced his first portraits and in 1880 he returnedto Ireland showing regularly at the RHA. In 1908, after havingmoved back to London in 1887, he emigrated permanently to NewYork. He became friendly with Robert Henri and John Sloan, theleaders of the Ash Can School. He showed regularly with membersof the school in New York whilst also enjoying the patronage ofJohn Quinn.Yeats’ family, particularly his children, provided him with materialfor portraits throughout his career. Here he paints his sister JaneGrace or Jenny, named after their mother. Yeats, also gave thesame pair of names to his daughter who died in infancy. Like hersister Grace Jane (Gracie) she remained unmarried living quietlyin Morehampton Road, in Donnybrook. The ‘Morehampton RoadYeats’ (also including his brother Isaac) represented the respectableantithesis of the artist’s carefree and bohemian lifestyle, thoughon occasion they dutifully turned up to certain important eventssuch as Susan Mitchell’s lecture on their brother in 1919. Isaac inparticular was a conservative bourgeois, secretary of the ArtisanDwelling Company and a firm unionist ‘if he ever had a daringidea he successfully concealed it’. Surprisingly little informationsurvives about Jenny Yeats’s life, she hardly features in her brother’scorrespondence. She died shortly before the Second World War atthe age of ninety two.As early as the mid 1870s, Yeats had portrayed Gracie (in a workwhich was turned down by the Royal Academy), while the presentportrait of Jenny can be dated to the early 1890s. As such, it is arare early oil by the artist from his London period. Yeats himselfclaimed that he did not lift a paint brush between 1890 and 1897.This is not quite true as a Portrait of Ascheson Henderson (UlsterMuseum) is dated 1891,certainly,however,it was a fallow periodin his career, during which he was more concerned with bookillustration and failed literary projects. Nevertheless the portraitof his sister is an accomplished piece of painting with a strongsense of modelling and neat simplicity of composition. It showsJenny, on a visit to London, conservatively dressed, perhaps evena little prim, her attire contrasting with the oriental screen of thebackground. William Butler in his autobiography recalled thatthe family home in Bedford Park was decorated in the aestheticstyle with ‘peacock blue’and the juxtaposition of his buttoned upaunt with the sensual background, with all the connotations thatthe aesthetic movement conjured up in London of the 1890s issurely deliberate and not a little ironic€12,000- 18,000
  48. 48. Important Irish Art, wednesday 29th May 2013 at 6pm4938 Patrick Tuohy RHA (1894-1930)A Portrait of Lord Fingal, half length, seatedin hunting attireOil on canvas, 95 x 74cm (37½ x 29”)SignedExhibited: Royal Hibernian Academy, Dublin, 1924,Cat. No. 18This evocative portrait of a benign and moustachi-oed gentleman, seated, wearing a hunting coat ofthe Meath Foxhounds, is redolent of that patricianand tolerant society so well preserved in the pages ofSomerville and Ross. Arthur Plunkett (1859-1929)the 11th Earl of Fingall was the senior peer of a fam-ily that were ancient Lords of the Pale: Dunsany ofDunsany Castle and Lowth of Louth Hall.The storyis told how the Dunsany Plunketts conformed to theestablished church to protect their Catholic kins-mens’ land, through the Penal Laws; a trust that wasnever broken.Lord Fingall led an ornamental life as State Stewardin Dublin Castle (with an interlude of adventure asa yeomanry volunteer in the Boer War). He marrieda horse-mad woman from County Galway. In hermemoirs of 1937 ‘Seventy Years Young’, she describesa life of hunting and hunt balls, her husband alwaysreferred to as ‘Fingall’. Her account of sitting up withthe family jewellery awaiting the fate of Kileen Castle,having received in the night a laconic message fromtheir neighbour, Sir John Dillon, (“Dear Fingall,Theyare burning my house and say they are going on toyou. I thought I had better let you know”), is as gooda vignette as any of the end of the Anglo-Irish world.The Earldom ceased with the death of their son,Oliver, well remembered in County Meath, and thebarony of 1403, has reverted to the Dunsany’s.€5,000 - 7,000
  49. 49. 5039 Sir William Orpen RHA RA (1878-1931)Little Billy OrpenPen and ink, 20.5 x 15cm (8 x 6”)Signed and inscribed ‘Little Billy Orpen aged 12 at work inthe School of Art Dublin 1890 - To Mrs. S. with love Orps’€1,500 - 2,50040 Darius J. MacEgan, (The MacEgan) (1856-1939)Portrait of Kevin O’HigginsPencil, 40 x 31.5cm (15¾ x 11.4”)SignedKevin O’Higgins, the well known politician, was born in Stra-bally, Co. Laois in 1892. He was educated at Clongowes WoodCollege and later at St. Patricks College, Maynooth and UCD.While still a student he joined Sinn Féin. He was first elected asMP for Laois while he was imprisoned in 1918. He was on therun in 1920 and was elected TD for South Dublin in 1922. Hewas a strong advocate of acceptance of the 1921 Treaty.After the establishment of the Irish Free State in 1922 he be-came Minister for Justice and external affairs. O’Higgins estab-lished An Garda Síochána as an unarmed police force to replacethe RIC. While on his way to mass on 10th July 1927 at Boot-erstown, Co. Dublin he was shot dead by an unknown gunman.This work is thought to be one of a series of pencil drawingsof the first executive Government that The Mac Egan did circa1924 - another of the series of T.M. Healy as Governor-Generalof the Irish Free State is in Áras an Uachtaráin.€400 - 600
  50. 50. Important Irish Art, wednesday 29th May 2013 at 6pm5141 Edward Luttrell (c.1650-1710)Portrait of a Wigged Gentleman, half-length, wearing brown robesand a lace jabotPastel, oval, 22.5 x 18.5cm (9 x 7½”)Provenance: Sotheby’s Irish Sale, London, 9th May 2007, Lot 2Born in Dublin, Luttrell is Ireland’s earliest pastelist. Examples of his work canbe found in the NGI collection.€1,500 - 2,500
  51. 51. 5242 Alexander Williams RHA (1846-1930)Lake Side, Co. KerryOil on canvas, 61 x 107cm (24 x 42”)Signed€2,000 - 4,000
  52. 52. Important Irish Art, wednesday 29th May 2013 at 6pm5343 Edwin Hayes RHA RI ROI (1819-1904)Roche’s Point with Shipping at the Entrance to CorkHarbourOil on canvas, 25.5 x 43cm (10 x 17”)Signed and dated 1851Edwin Hayes is undoubtedly Ireland’s most dedicated andtalented marine painter, with an output spanning over 60years. His knowledge of the sea and of ships, and his equalinterest in these two elements brings a realism and life to hiswork which is unmatched.The Pilot cutter in the foreground is running out of CorkHarbour, passing Roche’s Point Lighthouse, with shipping inthe background, and the forts of Carlisle and Camden justvisible. Presumably on its way to transfer the Cork pilot to aship waiting to enter harbour.The cutter is using a temporaryrigged square sail, evidenced by the top and bottom yards,which has been rigged to take advantage of the wind on thestern. The boat is also flying the red ensign, which is nowcommonly known as the ensign carried by British registeredcommercial shipping, however in 1851, the date of this work,the red ensign was carried by Royal Navy vessels from the redfleet. In addition the Royal Cork Yacht Club, also flew a redensign at this time.This view of Cork Harbour, is one of Hayes’s very few viewsof this part of Ireland. The RHA records list few Cork titles,and none after 1851.€4,000 - 5,000
  53. 53. 54Some of Walter Osborne’s most memorable pictures were paint-ed in Brittany. He spent the spring of 1883 at Dinan, summer atPont-Aven and autumn at Quimperlé, painting scenes of Bretonlife in a naturalistic manner, and also taking photographs. Pont-Aven was one of the most beautiful villages in Finistere with itsbridge over the river Aven, stone mills, boats in the port, andsurrounding woods. Pont-Aven later became celebrated throughits association with Gauguin and his followers, but in 1883, atthe time of Osborne’s arrival, it was already at the height of itspopularity as an artist’s village amongst American, British andScandinavian artists.Osborne painted small pictures of an old mill and the port, andstudies of children in a little square, beside the river, and in themarket place. The larger canvas Driving a Bargain is a colourful,carefully observed painting of groups of women and children inthe centre of Pont-Aven on market day.This painting was sold atAdam’s on 29th May 2002 (No. 23 - €620,000).The present painting A Grey Morning in a Breton Farmyard isset at Keramperchec, a hamlet a mile from Pont-Aven, along theestuary and sheltered by trees. The pre-fix ‘KER’ is ubiquitous inBrittany, referring to a village, hamlet or farmhouse. Each villageor dwelling was proud of its old stone well, often carved in an in-dividual, regional style. Keramperchec was particularly admiredfor its secluded rustic setting, with its thatched cottages, farm-yard, and beautiful stone well and graceful cupola with carvedhead, dating from 1783 just before the period of the VendeanWars.Keramperchec attracted a number of artists, including Jona-than Pratt in 1877, Fernand Quignon (1880), Walter Lang-ley (1881), Sylvain Depeige and Osborne in 1883, NathanielHill in 1884, Arthur Wesley Dow in 1885 and Paul Abram inc. 1895, (and probably Adrian Stokes in 1877 and Henry R.Robinson in 1886), as well as photographers in the early twen-tieth century. Even though it appears to have been a workingfarm,even in Osborne’s day Keramperchec had become a placewhere peasants and village girls would pose in a natural settingfor artists.Osborne’s A Grey Morning in a Breton Farmyard, 1883, fea-tures a man, a girl and two calves in the farmyard at Keramp-erchec. The man wears a soft Breton hat and blue jacket. Hepours water from a wooden bucket into a stone trough for thecalves to drink. Nearby, a girl, perhaps the daughter or grand-daughter of the man, sits quietly watching. She wears a pinkand white bonnet and white collar, characteristic of the Pont-Aven region, a brown apron over blue dress, and wooden clogs.An earthenware pitcher is placed near her.In her monograph on Walter Osborne, published in 1974,Jeanne Sheehy writes of A Grey Morning in a Breton Farmyard:“It is very much an Academy work, being carefully built upand meticulously finished - a typical example of early Osborne,with the child and young animals’’. (p.19).44 Walter Osborne RHA (1859-1903)A Grey Morning in a Breton Farmyard (1883)Oil on canvas, 52 x 73cm (20¼ x 28¾”)Provenance: H.D. Brown, (by 1883), his sale. Edmund Lupton, his sale, (c. 1942). James J. Davey.Sold in these rooms, Important Irish Art Sale, 5th December 2006, lot 93, where purchased by the current ownerExhibited: Dublin, Royal Hibernian Academy, 1884, no. 99;Liverpool, Autumn Exhibition, 1884, No.884;Walter Osborne Memorial Exhibition, RHA 1903, No.21 lent by H.D.Brown EsqLiterature: T.Bodkin, Four Irish Landscape Painters, 1920 (Irish Academic Press ed. 1987), pp. 188, 131, 141.J. Sheehy, Walter Osborne, Gifford and Craven, Ballycotton, 1974, p. 19, no. 62.J. Campbell, Walter Osborne’s Wallet of Photographs, Irish Art Review Yearbook, 2001, vol. 17, p. 153, illustrated p. 154.
  54. 54. Important Irish Art, wednesday 29th May 2013 at 6pm55
  55. 55. 56But the painting easily transcends any academic conventions.The fig-ures are crisply drawn, and convincingly integrated into the open-airsetting, a characteristic of Osborne’s ‘plein-air’ pictures that distin-guishes him from many of his contemporaries. Moreover, his atten-tion to detail and his feeling for textures can be seen in the gentle fallof light on the girl’s face, the texture of the granite well, with lichengrowing, the rough stone walls, small windows and thatched roof ofthe cottage, and the garden wall where moss is spreading. The farm-yard had somewhat fallen into neglect. But wiry trees are in leaf, andthrough the arched doorway a verdant cabbage patch can be seen.Thin cloud covers the blue sky. Such overcast days were favoured bymany ‘plein-airists’, allowing them to work in an even grey light, withemphasis upon the tonal greys, grey-greens, browns and blue-greys.But in Osborne’s painting the ochres, greens and silvers have a glow-ing warmth, suggesting that the sunshine is going to break through.Nathaniel Hill’s smaller painting Goose Girl in a Breton Farmyard,1884 (Crawford Gallery, Cork) focuses on the right-hand side of theyard, but takes an identical view of the wall, and doorway behind.He represents a girl in white bonnet and apron crouching to feed aflock of young geese. His careful realistic style is almost identical tothat of Osborne, although the figure and birds are more generalisedin treatment.Osborne may have regarded A Grey Morning in a Breton Farmyard asa companion piece to Apple Gathering, Quimperlé (N.G.I.), the for-mer being painted at Pont-Aven in summer, the latter at Quimperléin autumn; and both pictures being exhibited at the R.H.A., and atthe Irish section of the Liverpool Autumn Exhibition the followingyear.A Grey Morning was loaned to the Walter Osborne Memorial Exhi-bition in Dublin in 1903, the year of the artist’s untimely death. Asmall pencil drawing of Osborne’s painting is included in the artist’ssketchbook (NGI no. 19,201, facing p.3,[i])A Grey Morning in a Breton Farmyard catches a real sense of rustic lifethat engages our attention. Osborne combines qualities of intensityof observation with detachment,naturalism with affection for his hu-man subject-matter,that became characteristic aspects of his paintingthroughout his career.Dr. Julian Campbell€100,000 - 150,000
  56. 56. Important Irish Art, wednesday 29th May 2013 at 6pm5745 Roderic O’Conor, RHA (1860-1940)Seated Woman with RosesOil on canvas, 55 x 46cm (21¾ x 18”)Painted circa 1923-5O’Conor painted another similar work but without the roseson the table, see Benington Cat. No. 277 (Private CollectionNorther Ireland)Exhibited: The Frederick Gallery, Autumn Exhibition 1998,Cat. No. 2, where purchased by current owner;Shades of a Master Roderic O’Conor Exhibition, The HuntMuseum Limerick June/August 2003, Cat. No. 23 (illus-trated)Literature: Roderic O’Conor, Jonathan Benington’s biographyand catalogue of his work, Cat. No. 278, illustrated p223O’Conor paints the subject of this carefully arranged portraitin a pose he much favoured, with the sitter’s head slightlylowered and light entering from the side. This allowed himto create a tranquil atmosphere through his deft treatmentof light and shade. While the model sits in a conventionalfrontal pose, her reluctance to meet the viewer’s gaze andO’Conor’s adoption of a closer than usual viewpoint createsan air of intimacy generally absent from formal portraits.€20,000 - 30,000
  57. 57. 5846 Richard Thomas Moynan RHA (1856-1906)Invitation to go HaymakingOil on canvas, 56 x 26cm (22 x 30”)Provenance: Sold in these rooms, 28th May 1997 (front coverillustration), Lot. No. 41 , where purchased by currentownerMoynan was born in Dublin and first studied medicine at the RoyalCollege of Surgeons, before attending the Metropolitan School ofArt with Roderic O’Conor. He trained at the Antwerp Academybetween 1883 and 1885 where he won first prize in painting fromlife, and shared lodgings with fellow Irish artist Henry Allan. Hereturned to Dublin in 1888 and was employed for a time by localnewspaper The Union as a political cartoonist under the pseudonym‘Lex’, but hoped to become renowned for large scale genre paintingssuch as this. He exhibited regularly at the RHA between 1880 and1905.He was the principal recorder of Dublin city and county in the lateVictorian era, and was influenced by Osborne in his portrayal ofnaturalistic scenes of village life. Moynan painted several pictures ofchildren such as this, which were popular amongst late nineteenthcentury artists. Moynan brings his individual strong narrative qualityand his cultivated naivety belies a keen eye for detail and composition.This is one of two known versions of this work, the other was sold atChristie’s London, 15th March 1985, Lot No. 85€20,000 - 30,000
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  59. 59. 6047 William John Leech RHA ROI (1881-1961)The Bridge, AmboiseOil on board, 34.25 x 45cm (13½ x 17¾”)Signed. Inscribed artist’s label versoProvenance: Sold in these rooms, Important Irish Art sale, May 1991, Lot 35(Illustrated on front cover); where purchased by the current ownerLeech captures the bridge over the Loire in the beautiful, historic town of Amboise,believed to be the final resting place of Leonardo de Vinci. Paintings titled ‘TheConvent,Amboise’and ‘St.Denis,Amboise’were exhibited at the RHA in 1937 and1938 respectively, suggesting Leech spent time painting in Amboise in 1936 ± 37,before the outbreak of the 2nd World War, after which he did not return to paint inFrance. Leech’s broad paint handling, in capturing the evening glow of the settingsun on the parapet and buildings beyond,show his development as an artist from hismore formal depiction of ‘The Bridge at Paris’ c. 1912.Denise Ferran April 2013€15,000 - 25,000
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  61. 61. 6248 Mildred Anne Butler RWS (1858-1941)Peacocks in a GardenWatercolour, 15 x 24cm (6 x 9.5”)Signed€2,000 - 3,000
  62. 62. Important Irish Art, wednesday 29th May 2013 at 6pm6349 Mildred Anne Butler, RWS (1858-1941)The DovesWatercolour, 46 x 63.5cm (18 x 25”)SignedProvenance: Sotheby’s “Irish Sale” May 1998, where purchased by current owner€7,000 - 10,000
  63. 63. 6450 Mildred Anne Butler RWS (1858-1941)A Castle in Europe, 1885Watercolour, 24 x 17.5cm (9½ x 6¾”)Provenance: Mrs Doreen Archer-HoublonExhibited: Mildred Anne Butler Travelling Exhibition,Crawford Municipal Art Gallery, Cork, August 1987,Cat. No. 96; Galway, Ulster Museum, Belfast, April-June 1988€400 - 60051 Mildred Anne Butler RWS (1858-1941)Study of a HorseWatercolour, 21 x 27cm (8¼ x 10½”)Provenance: Mrs Doreen Archer-HoublonExhibited: Mildred Anne Butler Travelling Exhibition,Crawford Municipal Art Gallery, Cork, August 1987,Cat. No. 73; Galway, Cat. No. 46; Ulster Museum, Bel-fast, April-June 1988€500 - 800
  64. 64. Important Irish Art, wednesday 29th May 2013 at 6pm6552 Mildred Anne Butler RWS (1858-1941)Cats Resting in the SunWatercolour, 20 x 25.5cm (8 x10”)Signed€2,000 - 3,000
  65. 65. 6653 Mildred Anne Butler RWS (1858-1941)Three G. Rowney & Co. ring bound Whatman board sketch books with seven watercolur studies comprising1. Lake scene with boat (i)(1)18 x 25.7cm (7 x 10”)2. Rosebush in bloom (i); Daffodils in bloom(ii); Wooded pasture with bluebells (iii) (3)13 x 18.3cm (5 x 7¼”)3. Aix en Provence (i); A Promenade (ii) Continental Lake Scene & Sketch of Birds (iii) (3)13 x 18.3cm (5 x 7¼”)Provenance: Mrs Doreen Archer-Houblon€2,000 - 4,00054 Joseph Poole Addey (1852-1922)A Tabby Cat Drinking MilkWatercolour, 32.5 x 46.5cm (12¾ x 18¼”)Signed and dated 1888€600 - 800Sketchbook 2 (iii)Sketchbook 2 (i)Sketchbook 1 (i)
  66. 66. Important Irish Art, wednesday 29th May 2013 at 6pm6755 Charles MacIver Grierson, RI (1864-1934)Circus TricksWatercolour, 61 x 76cm (24 x 30”)Signed and dated 1890Provenance: Sold in these rooms, “Important Irish Art” sale, 26th May 1999, Cat. No. 111, where purchased by thecurrent ownerCharles MacIver Grierson was born in Queenstown, now Cobh, Co. Cork, in December 1864. His father was the man-ager of the Cunard Steamship Company, Queenstown. He studied at the Crawford School of Art and for a time wenton to the Westminister School of Art.The main venue for his output was the Royal Institute of Painters in Watercolourwhere over the years he exhibited over 80 works including some Irish views.He met his wife while staying in Sligo in theperiod between 1899-1904 and several of his works are in private collections in Sligo. He exhibited extensively includingat the RHA, RA, Walker Gallery, Liverpool, 64 works at the Abbey Gallery, Manchester City Gallery and the Societyof Artists, Birmingham and as a far afield as Sydney and Adelaide where the City Art Gallery was an official purchaser.€2,000 - 4,000
  67. 67. 68As Walter Strickland observed, Andrew Nicholl was devotedto art from his boyhood, and ‘won a reputation as a landscapepainter in his native town.’ He would later be known as the mosttalented, renowned and prolific topographical Irish artist of thenineteenth century. His training was important. He workedas a talented apprentice at the printing business of F.D. Finleywhere he was under the instruction of his elder brother William.While in London, he spent considerable time at the DulwichCollege Gallery, where he copied paintings on show. He admiredthe work of J.M.W. Turner. Jeanne Sheehy has written; ‘Mostof his work is interesting, but particularly exciting is the seriesin which wildflowers in the foreground form a screen throughwhich we dimly perceive the landscape. The paintings have asharpness and naïveté which is totally captivating.’ This series,of which ‘Distant View of Derry through a Bank of Poppies,’ isan exemplary case, demonstrates the artist’s talents aptly. He isevidently a master of the watercolour medium. The work featuresthe fine exactitude of botanical illustration and combines thiswith a distant view of Derry City where a unifying cast of evenlight allows background and foreground to complement. Theeye eagerly explores the frieze of wildflowers in the foreground- poppies, cornflowers, oxeye daisies, dandelions - the beautifulcolours of this remarkable roadside display. The city appearsalmost incidental in the distance, viewed at this range, and yetits placement is highly strategic. In this vignette, placed largelyto the left and glimpsed through the flowers, Nicholl includesenough detail to demonstrate Derry’s importance at the time.Rebuilt in the Georgian style in the eighteenth century, theprincipal detail shown is the city’s first bridge across the RiverFoyle, which Earl Bishop Frederick Augustus Hervey wasresponsible for building. As well as indicating the ecclesiasticallandmarks, the artist includes a range of shipping to demonstratethe importance of the City’s port in the nineteenth century asan embarkation point for Irish emigrants leaving for NorthAmerica. These combination views of wildflowers and landscapewere a speciality of Nicholl’s and feature a number of locationsincluding; Newcastle, Fairhead, Howth, Bray, Carlingford, LoughSwilly, Ramelton, Rathmullan, Dunluce Castle, and DownhillMussendon Temple. This style of depiction surely came fromNicholl’s interest in topographical art, combined with his interestin botanical illustration, which became popular and refined interms of accuracy in the eighteenth century due to advances inthe printing process, of which Nicholl had first-hand experience.In Ireland’s Painters 1600-1940, Crookshank and Glin, write ‘Inthose near-surrealist watercolours...there is an originality whichmakes them amongst the most haunting...Irish paintings of theearly nineteenth century. These are his masterpieces.’(p210) JohnHewitt observes ‘...his originality appears most strongly [in his]landscape of distant hills, foregrounded by a wedge or bank ofroadside wild flowers. By scratch and scrape of the surface of hispaper,...for the spray-frayed tips of breaking waves, he gave hisflowers and grasses an illusory precision and finish.’ The ‘sgraffitto’or ‘scraping out’ technique that Hewitt mentions is the idealdevice to capture the delicacy and fine lines within the wildflowers.Nicholl began painting these wildflowers works quite early in hiscareer. In 1830, the sister of his patron Emerson Tennent wrote asonnet after receiving from the artist ‘a beautiful coloured drawingof flowers.’He was a highly prolific artist and the Ulster Museumalone has almost 400 works by Andrew Nicholl.Marianne O’Kane Boal€7,000 - 10,00056 Andrew Nicholl, RHA, RUA (1804-1886)A View of Derry Through a Bank of PoppiesWatercolour, 36 x 52cm (14 x 20½”)SignedProvenance: Previously in the collection of John O’Sullivan;Sold in these rooms, “Important Irish Art” Sale, 29th March 2000 (front coverillustration), Lot 83, where purchased by current owner
  68. 68. Important Irish Art, wednesday 29th May 2013 at 6pm69
  69. 69. 7057 Andrew Nicholl RHA (1804-1886)Pigeon Cave, DonegalWatercolour, 22.5 x 33cm (10 x 13”)Signed€600 - 80058 Joseph W. Carey RUA (1859-1937)Cushendall Bay, Co. AntrimWatercolour, 23.5 x 37cm (9¼ x 14½”)Signed and inscribed with title€400 - 600
  70. 70. Important Irish Art, wednesday 29th May 2013 at 6pm7159 Erskine Nicol ARA RSA (1825-1904)The Apple of Her Eye - “It’s my baby boy they’ll be murtherin’, but its own motherwill see it safe over the bog.”Watercolour, 34 x 24.5cm (13.4 x 9.6”)Signed and dated 1885€4,000 - 6,000
  71. 71. 7260 Patrick Hennessy RHA (1915-1980)Fruit StandOil on canvas, 34.5 x 61cm (13½ x 24”)SignedExhibited: The David Hendriks Gallery, Dublin, August 1980, (label verso)3,000 - 5,000
  72. 72. Important Irish Art, wednesday 29th May 2013 at 6pm7360A Patrick Hennessy RHA (1915-1980)Lake IslandOil on canvas, 50 x 60cm (20 x 24”)Signed. Inscribed P.H. 105 versoProvenance. Sold in these rooms, Important Irish Art Sale, 14th March 1991 Cat. No. 138where purchased by current owner.Exhibited: The David Hendriks Gallery, Dublin, (label verso)4,000 - 6,000
  73. 73. 74THE JAMES GIBSON COLLECTION Lot 61-81James Gibson was a Belfast schoolmaster whose passion for collecting manifested itself in the 1960s. This was a rich time for collectors of Irish art and over thenext four decades he was able to assemble an extensive collection that included a number of fine works by some of the major Irish artists of the twentieth century.There is a marvellous unifying taste that runs through much of the collection. Clearly what appealed to James Gibson was the confident touch of the experiencedplein air painter who was as interested in capturing the light and tones of a momentary glimpse of a landscape, or an opening in the clouds that created a magicaleffect of light. It is notable that one of the three paintings by Paul Henry in this collection is the impressionistic and highly evocative Waterville, Co.Kerry. Thesame taste runs through to the smaller paintings whose kinship with the work of Craig, Henry and Iten were seen by the collector.Provenance was of the utmost importance for James Gibson and many of the works sold here can be traced back to their initial sale from the artist or their family,or from galleries such as Rodman’s or leading auction houses.Many of these works were bought from the Bell Gallery and reflect the fine judgement of Nelson Bell.It is rare to see a collection of this scale that has so many jewels within it.Both James Gibson’s Frank McKelvey paintings are exceptional; his three Paul Henrys areeach different but significant; while the Humbert Craig paintings again represent varied aspects of this fine artist.The exquisite Colin Middleton painting is unu-sual and demonstrates this Ulster landscape tradition moving gently into the modern era.The series of small panels by Hans Iten that James Gibson put togetherover many years are a particular pleasure, recalling that this was a collector who knew Belfast and the surrounding landscape that was so uniquely evoked by Iten.Dickon Hall May 201361 Paul Henry RHA RUA (1876-1958)A Connemara BogOil on board, 24 x 28cm (9½ x 11”)SignedProvenance: From the estate of the late James GibsonExhibited: 1931 RHA (Alleged to have been 19, as The BogStream); 1935 Dublin (20, as Bog Stream, Donegal)Literature: Anne M. Stewart (ed.), Royal Hibernian Academyof Arts: Index of Exhibitors and their Works 1826-1979, 3 vols.,Dublin: Manton Publishing, 1985, vol. 2, p. 81; S. B. Kennedy,Paul Henry: with a catalogue of the Paintings, Drawings,Illustrations, Yale University Press, New Haven and London,2007, p. 246, catalogue number 726.Although thought to have been exhibited at the RHA in 1931as catalogue number 19-and there is an unidentified label onthe reverse with an exhibition number ‘19’-the imagery inthis composition does not quite match the title of that work,although with Henry such things should never be taken onface value. Judged stylistically, however, the use of fluid paintcontrasts with the dryer palette typical of his work in the late1920s and points to a date of around 1930/1. Although thesetting cannot be identified, the nature of the terrain suggeststhe area around Maam at the north-western tip of LoughCorrib in County Galway, where Henry often painted inthese years. Certainly the handling of the paint is comparableto other pictures he painted there, such as The Muinteroneat Maam, 1928-30, or, a later work, The Maam Valley, 1942(Kennedy, 2007, numbers 692 and 1035 respectively, bothreproduced).The billowing cumulous clouds and the growingbrightness of the sky are used in a masterly fashion to radiatelight on the foreground landscape, a device characteristic ofHenry’s work in general.Dr. S.B. Kennedy, May 2013€25,000 - 35,000
  74. 74. Important Irish Art, wednesday 29th May 2013 at 6pm75
  75. 75. 7662 Frank McKelvey RHA RUA (1895-1974)Camlough Fair, the Clinching BidOil on board, 33 x 39cm (13 x 15½”)Signed and dated 1924, inscribed with title verso. Bell Gallery label versoProvenance: From the estate of the late James GibsonCamlough, meaning ‘Crooked Lake’ in Irish, is a few miles from McKelvey’s wifeElizabeth Murphy’s homeplace, a farm, at Bessbrook, Co. Armagh and this workwas painted the year that they got married (6th Feb 1924) at Craigavad, Co. Down.In their time, the fair towns were very important, places the population concen-trated on,and people walked for miles on a fair day to sell their produce. Camloughis one of thirty towns listed in Co. Armagh as fair towns in Wilson’s Directory ofIreland, 1834. ‘Camlough Fair, the Clinching Bid’ is a superb work by the artist. Itchannels some of the principal motifs of impressionism - the play of light, thefleeting moment, a general mood - into a perfectly rendered composition. Everyelement is carefully orchestrated and the result is a pleasure for the eye to peruse.The figure group in the left foreground initially draws the viewer’s gaze. Thesemen in their coats are treated in a manner akin to the early work of Jack B Yeats.They are depicted on a neutral backdrop to highlight the point of the handshake,the deal being struck. This action is observed by the lady in profile and the manadjacent, and the composition naturally invites the viewer to look on from the side-lines. The light in this painting shows McKelvey at his best, capturing the essenceof a summer’s day and the event of the Fair Day; the sheep practically glow as dothe cattle beyond as these animals are bathed in light. To further demonstrate thebustle and activity in Camlough, McKelvey introduces a range of colours before theterraced houses to indicate the crowds of people enjoying the proceedings. Shaftsof light again streak across the terraced facade and enliven the painting further. Thetrees are much looser than in McKelvey’s other work of the time, but this is a well-informed deviation as the composition is already sufficiently developed. This is akey work in the artist’s oeuvre. McKelvey has made another work on this subjectFair Day at Camlough, Co. Armagh, a fine watercolour on paper of a similar scenefrom another angle. It also comprises of two principal groups, one to fore, and oneto the left, to unify the composition. In his work ‘Market Scene’ c1935, painted adecade after the featured painting,the work is looser and is concerned with portray-ing an overall mood of a market town, rather than a definitive place or transaction.McKelvey continued to capture this subject on occasion, his latest known work ‘TheCattle Fair’ painted in 1971.Marianne O’Kane Boal€12,000 - 16,000
  76. 76. Important Irish Art, wednesday 29th May 2013 at 6pm77
  77. 77. 7863 Frank McKelvey RHA RUA (1895-1974)Feeding Chickens at The Back of the HouseOil on board, 35.5 x 44.5cm (14 x 17½”)SignedProvenance: From the estate of the late James GibsonDuring the twenties, McKelvey regularly painted farmyard scenes, within whicha woman, often accompanied by a child, would be engaged in scattering feed tosurrounding chickens. Simply titled, examples include; Feeding Chickens 1922,Feeding the Chickens late 1920s, this painting The Back of the House and laterFarmyard, Co. Antrim c1950-3 and Bridget’s Hens 1968. Around 1921, FrankMcKelvey took a cottage at the Maze,Hillsborough,Co.Down and later after theirmarriage in 1924, he and his wife settled there. At this residence the McKelveyskept a large flock of hens that the artist used as subject-matter for his pictures.(In his papers he later wrote) ‘“It was through this opportunity that I was ableto study poultry in all effects of sunlight - a subject in which I have always beendeeply interested.” Indeed, it is for his compositions of hens, often picking forfood in the dappled sunlight of a farmyard, that McKelvey is most remembered bymany admirers. Occasionally the McKelveys paid a visit, sometimes for a holiday,to the Murphy’s farm in County Armagh and there he painted numerous studiesof farmyard scenes, such as ‘Feeding the Chickens’ and other semi-genre scenes.’S.B Kennedy. The Back of the House is an attractive work, carefully composed andrendered with a bright palette, dappled sunlight highlighting the main elements;the middle ground, the figures engaged in their domestic ritual and the cottageitself - the back of the house. Realist artists such as Jean-Francois Millet (1814-75) would evidently have been an influence on the artist in his attention shown tosubjects drawn from everyday life and farming. Also the intimacy of the farmyard/orchard setting was one that Walter Osborne would have explored in works suchApple Gathering, Quimperlé 1883 and such genre studies would have interestedMcKelvey,which he would then treat in his looser individual manner.The farmyardas a subject was one he revisited on many occasions for over forty years.Marianne O’Kane Boal€9,000 - 12,000
  78. 78. Important Irish Art, wednesday 29th May 2013 at 6pm79
  79. 79. 8064 Paul Henry RHA RUA (1876-1958)Waterville, Co.KerryOil on canvas laid on board, 40.5 x 46cm (16 x 18”)SignedProvenance: Combridge Gallery, Dublin, 1946, by whomlent for a time to the Shelbourne Hotel, Dublin; thencethe artist’s studio; Mrs McAreavey, acquired from MabelYoung in 1962; from the estate of the late James GibsonExhibited: Paintings by Paul Henry, R.H.A., Combridge’sGallery, Dublin, 23 October-6 November 1945 (cataloguenumber 9, as Waterville); Pictures by Paul Henry, RHA,Heal & Son, Tottenham Court Road, London, from 14January 1946 (5); Paintings and Charcoals: Paul Henry RHA,Waddington Galleries, South Anne Street, Dublin, 21February- 3 March 1952 (21); Paintings and Drawings byPaul Henry, The Studio, Sidmonton Square, Bray, until 8November 1956 (10); Paul Henry: Retrospective Exhibition,Ritchie Hendriks Gallery, St. Stephen’s Green, Dublin,and Belfast Museum & Art Gallery, Belfast, May-July1957 (10); Paul Henry: Paintings and Drawings, ShannonAirport, Limerick, August 1957 (10)Literature: S. B. Kennedy: Paul Henry, 2000, p. 136;Paul Henry: with a catalogue of the Paintings, Drawings,Illustrations, 2007, pp. 82, 308, catalogue number 1063(both the 2000 and 2007 books published in New Havenand London by Yale University Press)This is probably the picture of this title that Paul Henry firstexhibited at the Combridge Gallery, Dublin, in October1945. It was almost certainly painted in the summer ofthat year when Henry and his second wife, Mabel Young,stayed at the Great Southern Hotel in Waterville.They hadfirst visited the Iveragh Peninsula a decade earlier, in 1932,staying on the northern side of the Peninsula at Glenbeigh.Paul was enchanted by the area. ‘It is lovely. Whereverone turns there is material for dozens of pictures … I feltthat if I spent a lifetime … I would never exhaust all thepossible subjects,’he wrote to a friend, James Healy, in NewYork (letter of 13 December 1934, Healy Papers, StanfordUniversity Libraries).The Peninsula produced a paler key inhis paintings, as the Irish Times commented (7 May 1935),which contrasts with the heavier, more brooding works ofthe late 1920s and early 1930s when his marriage to hisfirst wife, Grace, was breaking up and at a time when hehad other domestic difficulties. By 1945, with a much moresettled lifestyle, Paul and Mabel returned to Kerry-there isno record of their having been there since the 1930s-and,staying at Waterville, they used that as a base to exploremuch of the Peninsula. The area around Waterville haswelcomed many celebrities over the years,the most notable,perhaps, being Walt Disney and Charlie Chaplin. TheIveragh Peninsula, of course, is traversed by the famousRing of Kerry tourist route.The stretch of water depicted in this composition isprobably Lough Currane, which lies immediately tothe east of Waterville, which is the town crowning thehilltop in the middle distance. The ‘paler key’ that typifiesHenry’s work in these late years of his painting career-hesuffered almost total blindness shortly after this picturewas painted-is well seen in this composition, where themounting cumulus clouds in the sky are reflected in thesea in the foreground, which is almost without detailing ofany sort, save for the masterly dexterity of the brushwork.In this regard, Waterville, Co, Kerry may be compared withone of Henry’s finest late works, Kinsale, of 1939 (Kennedy,2007, number 994).For a discussion of Henry’s other Iveragh Peninsula picturessee S. B. Kennedy, Paul Henry’s Iveragh Paintings, in JohnCrowley & John Sheehan (eds.), The Iveragh Peninsula: ACultural Atlas of the Ring of Kerry, Cork Cork UniversityPress, 2009, pp.441-4.Dr. S.B. Kennedy, May 2013€50,000 - 80,000
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  81. 81. 8266 James Humbert Craig RHA RUA(1878-1944)Cattle in a LandscapeOil on board, 25.5 x 35.5cm (10 x 14”)SignedProvenance: From the estate of the late James Gibson€2,000 - 4,00065 Rowland Hill ARUA (1915-1979)Figure by CottagesOil on canvas, 35.5 x 51cm (14 x 20”)SignedProvenance: From the estate of the late James Gibson€400 - 600
  82. 82. Important Irish Art, wednesday 29th May 2013 at 6pm8367 James Humbert Craig RHA RUA (1878-1944)Collecting Turf, Glaneen, CushendallOil on canvasboard, 25.5 x 35.5cm (10 x 14”)SignedProvenance: From the estate of the late James Gibson€3,000 - 5,000
  83. 83. 8468 Attributed to James Humbert CraigRHA RUA (1878-1944)Fishermen by boatOil on board, 14 x 20cm (5½ x 8”)Provenance: From the estate of the lateJames Gibson€300 - 50069 Paul Henry RHA RUA (1876-1958)Mountain Landscape with CottagesOil on board, 28 x 35.5cm (11 x 14”)SignedProvenance: Sold Adams, Dublin, 24 March 1977 Cat No. 41, as Cottages by the Lake, Outer Killary,Connemara; from the estate of the late James GibsonAlthough one cannot be certain, the profile of the mountains that dominate this scene are similar to thosein other Henry pictures of these years, such as West of Ireland Cottages c. 1926-30 (Kennedy, ongoingcataloguing, number 1253) and Cottages, West of Ireland, 1928-30 (Kennedy, 2007, number 689, reproduced).The handling of the paint,which is relatively ‘dry’,and the brushwork suggest a date of execution of 1926-30.The barest hint of the direction of the overcast light that sets the mood of the painting is typical of Henryand its brooding nature, derived from the towering mountains, illustrates the growing personal difficultiesthat dominated his life in these years.Mountain Landscape with Cottages is numbered 1272 in S.B.Kennedy’songoing cataloguing of Paul Henry’s oeuvre.Dr. S.B. Kennedy, May 2013€30,000 - 50,000
  84. 84. Important Irish Art, wednesday 29th May 2013 at 6pm85
  85. 85. 8670 Irish School, (c.19th Century)Figures by the CoastOil on panel, 12 x 19.5cm (4¾ x 7 ¾”)Provenance: From the estate of the late James Gibson€300 - 50071 William Conor RHA RUA ROI OBE (1881-1968)Aw YouLinoprint, handcoloured by the artist, 10 x 7.5cm (4 x 3”)Signed, inscribed in pencil lower leftProvenance: R.B. Jackson Collection; Bell Gallery, Belfast;From the estate of the late James Gibson€200 - 400
  86. 86. Important Irish Art, wednesday 29th May 2013 at 6pm8772 James Humbert Craig RHA RUA (1878-1944)Boats in Harbour, with Children Playing on the BeachOil on board, 28 x 39cm (11 x 15½”)Signed, John Magee Gallery label versoProvenance: From the estate of the late James Gibson€5,000 - 7,000
  87. 87. 8873 Hans Iten RUA (1874-1930)Hayfield, Belvoir ParkOil on board, 15 x 21.5cm (6 x 8½”)Provenance: W. Rodman & Co.;From the estate of the late James Gibson€1,000 - 2,00074 Hans Iten RUA RUA (1874-1930)Belvoir ParkOil on board 15 x 21.5cm (6 x 8½”)SignedProvenance: W. Rodman & Co.; Ross’s, Belfast,15/11/1990, Lot 428; from the estateof the late James Gibson€1,000 - 1,500
  88. 88. Important Irish Art, wednesday 29th May 2013 at 6pm8975 Hans Iten RUA (1874-1930)The Lagan PathOil on board, 15 x 22cm (6 x 8¾”)SignedProvenance: W. Rodman & Co., 1979; From the estate of the late James Gibson€1,500 - 2,500
  89. 89. 9076 Hans Iten RUA (1874-1930)Path through TreesOil on panel, 16.5 x 21.5cm (6½ x 8½”)Provenance: Ross’s, Belfast, 11/12/1980,Lot 250; From the estate of the late JamesGibson€1,000 - 1,50077 Hans Iten RUA (1874-1930)Path through TreesOil on panel, 16.5 x 21.5cm (6½ x 8½”)Provenance: Ross’s, Belfast, 11/12/1980,Lot 250; From the estate of the late JamesGibson€1,000 - 1,500
  90. 90. Important Irish Art, wednesday 29th May 2013 at 6pm9178 Hans Iten RUA (1874-1930)Coastal Landscape, IslandmageeOil on panel, 15 x 21.5cm (6 x 8½”)Provenance: The Artist’s Estate; PrivateCollection; Bell Gallery; from theestate of the late James Gibson€1,000 - 1,50079 Hans Iten RUA (1874-1930)Blackhead, Belfast LoughOil on panel, 14.5 x 21cm (5¾ x 8¼”)Provenance: The Artist’s Studio; Ross’s,Belfast, 3/3/99, Lot 24; PrivateCollection; Bell Gallery; from theestate of the late James Gibson€1,000 - 1,500
  91. 91. 9280 Charles McAuley RUA ARSA (1910-1999)Wooded Landscape with HutsOil on canvasboard, 35.5 x 45cm (14 x 17¾”)SignedProvenance: From the estate of the late James Gibson€800 - 1,20081 Colin Middleton RHA MBE (1910-1983)Farmhouse and Outbuildings, c.1958Oil on canvas, 23 x 28cm (9 x 11”)SignedProvenance: From the estate of the late James GibsonThis beautifully organised painting is typical of theintriguing period in the late 1950s that Colin Middletonspent in Portrush. Both natural and man-made formsare brought together as an architecturally conceivedwhole. The apparent solidity of form is belied by thesmall deliberate brushstrokes and the carefully controlledpalette is built up from a full range of colour.Shapes are repeated across the canvas,such as the trianglesin the gate, theee haystacks, the tree trunks and eventhe triangle of sky framed between the farmhouse roofand the top of the tree beside it. A series of intersectingdiagonals lead the eye through towards the repeatedhorizontal rectangles of the buildings and the landscapefleetingly glimpsed behind.The scarecrow is almost lost within the compressed planesof the field and the garden and its subdued presencesuggests something between the natural and the man-made. Painted in the years before he embraced a moreabstract manner of working, the present work suggestsMiddleton’s increasing formal interests but also his love offarmland and his environment as well as the mischievouswit that pervades all periods of his work.Dickon Hall, May 2013€4,000 - 6,000
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  93. 93. 9482 Romeo C. Toogood RUA ARCA(1902-1966)Coastal Inlet in Village with boatsOil on board, 49.5 x 39.5cm (19½ x 15½”)SignedToogood studied at the Belfast School of Art and theRoyal College of Art in London. Returning to hishome town of Belfast in 1930 he joined a small groupof artists known as the Ulster Unit, and taught at vari-ous high schools and institutes including the BelfastCollege of Art where his students included TerenceFlanagan and Basil Blackshaw. Toogood’s work wasexhibited at the RHA, Ulster Academy of Arts, RUAand the Piccolo Gallery in Belfast. Following hisdeath retrospectives were held by the Arts Council ofNorthern Ireland (1978) and the Bell Gallery (1989).€700 - 1,000
  94. 94. Important Irish Art, wednesday 29th May 2013 at 6pm9583 Daniel O’Neill (1920-1974)The Road to RostrevorOil on board, 46 x 61.4cm (18 x 24”)Signed. Inscribed with title verso and framing label for Dawson Gallery, Dublin€6,000 - 10,000
  95. 95. 9684 George Campbell RHA RUA (1917-1979)Berne Street SceneOil and mixed media on board, 44.5 x 34.5cm(17½ x 13½”)Exhibited: Artists of Fame & Promise II, Leices-ter Galleries, Leicester Square, London, August1950, Cat. No. 179, where purchased by C.B.Renshaw Esq. (label verso)€2,500 - 3,500
  96. 96. Important Irish Art, wednesday 29th May 2013 at 6pm9785 George Campbell RHA RUA(1917-1979)Still Life, Evening LightOil on board, 49.5 x 39.5cm (19½ x 15½”)Signed. Inscribed with title versoExhibited: The Ritchie Hendriks Gallery,Dublin, August 1967 (label verso)€3,000 - 5,000
  97. 97. 98In the late 1940s Gerard Dillon entered into a stipendarrangement with Victor Waddington, which allowed himto spend more time in Connemara. Recognizing the broadappeal of Dillon’s narrative images, Waddington encouragedthe artist to return to Connemara in preparation for his firstsolo exhibition with him in November 1950. Dillon rented acottage in Moyard located between Clifden and Letterfrack,visiting the surrounding area recording local events of ponyraces, tinkers and religious processions or depicting the localpeople in their cottages and carrying out their daily chores ofthatching, harvesting, cutting and collecting turf.Born in Belfast, Dillon admired both William Conor for hisportrayal of working class people in Belfast and Seán Keating’sillustrations of J.M. Synge’s Playboy of The Western World. Bothartists recorded and highlighted the harshness of people’s livesin an urban environment and in the West of Ireland. It ishardly surprising, therefore when Dillon first visited the weston a cycling trip in 1939 that he should have responded tothe people and the landscape as he did. He was immediatelyenthralled by the landscape of misty hills, spongy bogs, lakes,streams, and a patchwork design of tiny plots protected byancient dry stonewalls over carpets of stony land. Living amongthe people on these frequent visits evoked strong feelings forthe artist, which he expressed throughout his life. Followinghis exhibition at Waddington’s, one reviewer commented, “Inhis paintings of the people of Connemara, Gerard Dillon isdeliberately, but not self-consciously naïve and such canvasses…have a simple, kindly humour.”A Wet Day, Ireland, was executed on one of these visits toConnemara when he invited friends,George Campbell,ArthurArmstrong,Nano Reid,and Mollie Dillon to stay with him. InAugust 1950 Dillon invited other friends he met at the AbbeyArts Centre outside London. The visitors Bernard Smith,Leonard French and Arthur Rose were Australians belongingto the London artists’ colony, which served as a temporaryhome for a range of artists trying to get a foothold in London’scontemporary art industry.The composition depicts a mother protecting her bare footedchildren with a homespun shawl from rain as they walk on abog road close to ponies. The dyed red wide skirt, the darkcloak,mountains,blanket bogs and grey and brown ponies pointto Connemara. During the turf-cutting season, woman andchildren helped to spread out the turf after the men had cutthe sods and thrown them up onto the heather to dry. With noshelter on the bog roads, woman and children would have oftengot caught in showers of rain. Woman would have worn thegenerous shawl or cóta to keep warm from the prevailing windsand its oiled wool would have acted as a barrier from the rain.After Bernard Smith departed Moyard, Dillon wrote to himdescribing the success of his sketching trips with LeonardFrench due to good weather but was unable to get out whenArthur Rose stayed, “It pissed the whole time, so he mustthink Connemara is hell”. Dillon also gave a description of apony show in Clifden remarking on the ponies, “such unusualcolours-smoky grey as you get out of a chimney -the oaken mealcolour…it was wonderful”Karen Reihill is currently researching the life and work ofGerard Dillon€20,000 - 30,00086 Gerard Dillon (1916-1971)A Wet Day, IrelandOil on board, 38.5 x 52.5cm (15 x 20½”)Signed. Inscribed with title versoProvenance: Sold in these rooms, Important Irish Art Sale, 5th December 2006, Lot 64
  98. 98. Important Irish Art, wednesday 29th May 2013 at 6pm99
  99. 99. 10087 Gerard Dillon RHA RUA (1916-1971)Boy SeatedWatercolour, 35.5 x 25.5cm (14 x 10”)Signed€2,000 - 4,000
  100. 100. Important Irish Art, wednesday 29th May 2013 at 6pm10188 Gerard Dillon RHA RUA (1916-1971)AbstractOil on canvas, 92 x 127cm (36¼ x 50”)SignedProvenance: Acquired directly from the artist by thecurrent owner who was friend.€2,000 - 4,000
  101. 101. 10289 Tom Carr, HRHA, ARWS, NEAC, HRUA (1909-1999)Mother and ChildOil on canvas, 49.5 x 44.5cm (19½ x 17½”)SignedExhibited: Tom Carr Exhibition,Leicester Galleries,London,Novem-ber 1946, where purchased by J. Stanley Clarke.The majority of workson display at this exhibition were watercolours, this lot was obviouslyex-catalogue, and sold under the title Girl and Small ChildMother and Child is a typical example of Carr’s careful observation ofthose close to him - in this case, probably Stella and Veronica. Thesetting is a modest kitchen or scullery with a wash top, looking outonto the seafront in Newcastle.The focus is very much on the intimacybetween mother and child, capturing that sense of excitement andtrepidation written on the child’s face as she stands on the worktop.The viewer’s eye is drawn to the child with her little red jumper and asuggestion of a tee shirt underneath it.The light from the tall windowcatches the hair of the mother and child and manages to draw at-tention to a copper kettle in the foreground. The sheet or bath towelhanging on the line, acting as a backdrop to the child was so muchpart of the country scullery in those days long before central heating.This painting, while having an echo of the Dutch painters in its es-sence in the view of some observers, bears all the hallmarks of theEuston Road school of painters. A decade earlier, Carr was centrallyinvolved with the exponents that school.Their preoccupation was withcolour, tone and fine drawing. Carr, having spent two years in HenryTonks’ life drawing room at the Slade learned well.Eamonn Mallie€5,000 - 7,000
  102. 102. Important Irish Art, wednesday 29th May 2013 at 6pm10390 Tom Carr HRHA, ARWS, NEAC, HRUA (1909-1999)Beach Scene, Dundrum BayOil on canvas, 45.5 x 85cm (18 x 33½”)Signed, inscribed with title versoProvenance: Lord & Taylor, New York€5,000 - 7,000
  103. 103. 10491 William Conor RHA RUA (1884-1968)The Slighted ChildOil on canvas, 75 x 62.5cm (29½ x 24½”)SignedProvenance: The artist’s studio, which was above the Bell Gallery inBelfast where this work was purchased by the current owners circa 1968In 1925, Holbrook Jackson wrote ‘In the first place William Conor isa painter of genius, and in the second place he is a painter of Belfast.There are notes in his work that suggest he could not have paintedanywhere else, and this despite the fact that he had looked upon theFrench impressionists with affection and understanding.’ John Hewitthas also observed, ‘The inhabitants of Conor’s little streets belong tothe old economy before the Welfare State, to Belfast of the Twenties.’In 1923, Conor wrote that he had for some time carried a sketchbookin his pocket, ‘to note down any little happening which strike[s] me asinteresting and significant. With my sketching block held under coverof a newspaper, I have been able to garner many happy impressions,which I have afterwards worked up into drawings and paintings.’ TheSlighted Child suggests a painting that has been worked from an earliersketch, when the artist would have observed the boy, standing forlornand dejected following an upbraiding by the woman (his mother per-haps) standing in a doorway further up the street, at the top left of thepainting. Most likely, the boy with his open mouth and darkly rendereddowncast eyes, has been crying due to his perceived injustice of adults -that heartfelt emotion particular to childhood. The painting has beenpared down to its essential elements which is typical of Conor. Thefocus is firmly on the child in his orange jacket, the sun hitting the topof his head and the side of his face. The muted palette and treatmentof the terraced facade suggest a recollection on the part of Conor andan attendant sense of nostalgia. The city of Belfast is indicated throughthe backdrop of houses and the streetscape environment suggests thathouses opposite could witness The Slighted Child, a further injustice,when clearly the child has fled outside in search of solitude to regaincomposure. It is a powerful rendition of a familiar feeling recollectedfrom childhood. In 1926 Conor went to Philadelphia is the USA andstayed there for nine months. According to Theo Snoddy, at that timethe artist showed at the Babcock Galleries, New York where an attrac-tive child-study by Conor, saw the artist inundated with requests fromparents who wanted their children drawn or painted.Marianne O’Kane Boal€10,000 - 15,000
  104. 104. Important Irish Art, wednesday 29th May 2013 at 6pm105
  105. 105. 10692 William Conor RHA RUA (1884-1968)“A Wayside Crack”Pen, ink and crayon, 15.5 x 15.5cm (6 x 6”)SignedProvenance: Bell Gallery Exhibition label verso;Property of a deceased estate, Northern Ireland€800 - 1,200
  106. 106. Important Irish Art, wednesday 29th May 2013 at 6pm10793 William Conor RHA RUA (1884-1968)Young Woman with BabyCrayon, 36 x 26cm (14¼ x 10¼”)Signed; John Magee Gallery label versoProvenance: Property of a deceased estate, Northern Ireland€2,000 - 3,000
  107. 107. 10894 Elizabeth Taggart (b.1943)“Bird Trio”Oil on canvas, 29.25 x 29.25cm (11½ x 11½”)Signed, signed again and inscribed with title versoProvenance: The Alexander Clayton Gallery, Stratford Upon Avon,where purchased by current owner€800 - 1,20095 Elizabeth Taggart (b.1943)“A Dream and a Day Lily”Oil on canvas, 24.5 x 29.5cm (9½ x 11¾”)Signed, signed again and inscribed with title versoProvenance: The Alexander Clayton Gallery, Strat-ford Upon Avon, where purchased by current owner€700 - 1,000
  108. 108. Important Irish Art, wednesday 29th May 2013 at 6pm10996 Elizabeth Taggart (b 1943)The DrummerOil on canvas, 80 x 60cm (31½ x 23½”)SignedExhibited: The Molesworth Gallery, Dublin“Elizabeth Taggart” Exhibition, June 2007,Cat. No. 6, where purchased by current ownerLiterature: “Elizabeth Taggart” 2007, full pageillustration p15€1,500 - 2,500
  109. 109. 11097 Harry Kernoff RHA (1900-1974)Fishing Men, West River, Nova Scotia (1957)Oil and pastel on board, 40.5 x 51cm (16 x 20”)SignedProvenance: The Smurfit Collection and their sale in these rooms, 8th December 2004, Cat. No. 113; wherepurchased by the current ownerLiterature: Smurfit Art Collection 2001, full page illustration p73€4,000 - 6,000
  110. 110. Important Irish Art, wednesday 29th May 2013 at 6pm11198 James Dixon (1887-1970)Gut Fishing, in Camus More, Tory IslandOil on paper, 55 x 75cm (21½ x 29½”)Signed, inscribed and dated “Gut Fishing in Camus More/ToryIsland/by James Dixon/14.10.64”Provenance: Sold in these room, “Important Irish Art” sale,December 2006, Cat. No. 174, where purchased by current ownerJames Dixon is probably Ireland’s only true primitive painterhaving very rarely ever ventured away from his native Tory Islandoff the Northwest coast of Donegal. His discovery by the painterDerek Hill is now legend. Observing Mr Hill painting a landscapeof the West End Village on Tory he is said to have remarked ‘’Ithink I could do better’’. Hill immediately encouraged him bysending him paints. Dixon preferred to work on paper and whenoffered paint brushes he said he would make his own out ofhair from his donkey. Hill organised exhibitions of the workof the Tory painters, the first of which took place at the NewGallery, Belfast in 1966 but following on shortly afterwardshe had exhibitions at the Dawson Gallery, Dublin, AutodidakyGallery, Vienna and the Portal Gallery, London. His workentered the collections of The Scottish National Gallery ofModern Art, The Hugh Lane Gallery and Bournemouth ArtGallery. His legacy lives on in what is now referred to as theTory Island school of painting. Homage was paid to him whenin 2000 there was a joint exhibition with that other famousprimitive painter Alfred Wallis,organised by the Irish Museumof Modern Art and the Tate Gallery St. Ives, Cornwall€4,000 - 6,000

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