Adam's Important Irish Art 28th September 2022.pdf

28
th
September
2022
Auction Wednesday 28TH
SEPTEMBER 2022
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IMPORTANT IRISH ART
ADAM’S
Est.1887

Front cover : Lot 15 Gerard Dillon
Back cover : Lot 46 Roderic O’Conor
Inside front : Lot 22 Daniel O’Neill
Opposite: Lot 11 Patrick Hennessy
Inside back : Lot 50 Charles Lamb

CONTENTS
SPECIALISTS AND AUCTION ENQUIRIES
3
VIEWING AND SALE DETAILS
5
HOW TO BID
6
IMPORTANT INFORMATION FOR PURCHASERS
7
INDEX OF ARTISTS
143
CONDITIONS OF SALE
144
EXPLANATION OF VAT SYMBOLS ETC
148

5
James O’Halloran BA FSCSI
FRICS
MANAGING DIRECTOR
j.ohalloran@adams.ie
Stuart Cole MSCSI MRICS
DIRECTOR
s.cole@adams.ie
Nicholas Gore Grimes
DIRECTOR
nicholas@adams.ie
Niamh Corcoran BA
FINE ART DEPARTMENT
niamh@adams.ie
Bidding & Registration
Specialists for this auction
Adam Pearson BA
FINE ART DEPARTMENT
a.pearson@adams.ie
Collection & Shipping
Accounts
Important Irish Art
Eamon O’Connor BA
DIRECTOR
accounts@adams.ie
Ronan Flanagan HDip
FINE ART DEPARTMENT
r.flanagan@adams.ie

Important Irish Art
26 St. Stephen’s Green, Dublin 2. Ireland
+353 1 676 0261
info@adams.ie | www.adams.ie
AUCTION
28 SEPTEMBER 2022 AT 6.00 PM
26 St. Stephen’s Green, Dublin 2. Ireland,
D02 X665
+353 (01)6760261
adams.ie
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this auction, including absentee bidding.

8
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IMPORTANT INFORMATION FOR PURCHASERS
1.
ESTIMATES AND RESERVES
These are shown below each lot in this sale. All
amounts shown are in Euro. The figures shown are
provided merely as a guide to prospective purchas-
ers. They are approximate prices which are expect-
ed, are not definitive and are subject to revision. Re-
serves, if any, will not be any higher than the lower
estimate.
2.
PAYMENT,DELIVERYANDPURCHASERSPREMIUM
All purchases must be paid for no later than Friday
30th September 2022. Please contact a member
of staff to arrange collection/delivery of your pur-
chases. Auctioneers commission on purchases is
charged at the rate of 25% (inclusive of VAT). Terms:
Strictly cash, card, bankers draft or cheque drawn
on an Irish bank. Cheques will take a minimum of
eight workings days to clear the bank, unless they
have been vouched to our satisfaction prior to the
sale, or you have a previous cheque payment history
with Adam’s. We also accept payment by credit and
debit card (Visa & MasterCard only). For payments
by bank transfer please ensure all bank charges are
paid in addition to the invoice total, in order to avoid
delays in the release of items. Goods will only be re-
leased upon clearance through the bank of all mon-
ies due.
Artists Resale Rights (Droit de Suite) is not payable
by purchasers.
3.
VAT Regulations
All lots are sold within the auctioneers VAT margin
scheme. Revenue regulations require that the buy-
er’s premium must be invoiced at a rate which is in-
clusive of VAT. This is not recoverable by any VAT
registered buyer.
Lots marked * are to be sold whilst subject to Tem-
porary Admission (Import) regulations. For purchas-
ers based in the Republic of Ireland - the hammer
price will be subject to import VAT at the reduced
rate, currently 13.5%, and the Buyer’s Premium will
be subject to VAT at the standard rate, currently
23%. For purchasers outside of the Republic of Ire-
land, please contact our Accounts Department for
further details.
4.
CONDITION
It is up to the bidder to satisfy themselves prior to
buying as to the condition of a lot. In relation to Con-
dition Reports, whilst we make certain observations
on the lot, which are intended to be as helpful as pos-
sible, references in the condition report to damage
or restoration are for guidance. The absence of such
a reference does not imply that an item is free from
defects or restoration, nor does a reference to par-
ticular defects imply the absence of any others. The
condition report is an expression of opinion only and
must not be treated as a statement of fact. Please
ensure that condition report requests are submitted
before 12 noon on Tuesday 27th September 2022 as
we cannot guarantee that they will be dealt with after
this time.
5.
ABSENTEE BIDS
We are happy to execute absentee or written bids
for bidders who are unable to attend or bid online
themselves and can also arrange for bidding to be
conducted by telephone. However, these services
are subject to special conditions (see conditions of
sale in this catalogue). All arrangements for absen-
tee and telephone bidding must be made before
5pm on the day prior to sale. Bidding by telephone
may be booked on all lots. Early booking is advis-
able as availability of lines cannot be guaranteed.
6.
ACKNOWLEDGMENTS
We would like to acknowledge, with thanks, the
assistance of Niall McMonagle, Dr. Marie Bourke,
Aidan Dunne, Dr. Roy Johnston, Ciaran MacGonigal,
Dickon Hall, Julian Campbell, Niamh Corcoran, Da-
ragh Geraghty-Singleton and Simon Bhuiyan in the
preparation of this catalogue.
7.
ALL LOTS ARE BEING SOLD UNDER THE
CONDITIONS OF SALE AS PRINTED IN THIS
CATALOGUE AND ON DISPLAY ON OUR WEBSITE.

10
1
CECIL MAGUIRE RHA RUA
(1930-2020)
After Mass, Roundstone
Oil on board, 30 x 25.5cm (12 x 10”)
Artist’s studio label verso
€ 1,500 - 2,000
2
CECIL MAGUIRE RHA RUA
(1930-2020)
Pookaun, Roundstone
Oil on board, 38 x 30cm (15 x 12”)
Signed; artist’s studio label verso
€ 2,500 - 3,500

www.adams.ie Important Irish Art | 28 September 2022
11

12
3
CECIL MAGUIRE
RHA RUA
(1930-2020)
Pookaun, Round-
stone Harbour
Oil on board, 8 x
9.5cm (3 x 3.7”)
Signed
€ 800 - 1,200
4
CIARAN CLEAR
(1920-2000)
Winter Evening,
Dublin Mountains
Pastel on board,
20.5 x 31cm (8 x
12¼”)
Signed
€ 800 - 1,200

13
5
KENNETH WEBB RWS FRSA RUA
(B.1927)
Martello Tower, Sandymount
Oil on canvas, 41 x 61cm (16¼ x 24’’)
Signed
Provenance: With The Blue Door Studio, Dublin.
€ 3,000 - 5,000

14
6*
MAURICE MACGONIGAL PRHA
(1900-1979)
Clifden, Connemara
Oil on canvas, 101 x 126cm (39¾ x 49½)
Signed, inscribed verso
€ 15,000 - 20,000
(Painted from the D’Arcy Monument o’er looking the town of Clifden; Monument to John D’Arcy (1785-1839) the founder &
owner of the Clifden Estates. The hill is known as Cloghaunard and the monument commenced soon after his death about
1841). The Estate being burdened with pre-existing debts and post famine debts added, it crippled the estate and after D’Ar-
cy’s death his son, the Rev Hyacinth D’Arcy (then Rector of Clifden in the Omey Union) was bankrupted, the estates were sold
through the ‘Encumbered Estates’ to the Eyre family of east County Galway and Bath for £21,245 and again became encum-
bered with further debts, resold before 1900, and by 1919 acquired locally, the house (Clifden Castle) became ruinous, and
the Land Commission redistributed the agricultural land to local farmers following a period of agitation.
The artist had frequently painted a view of the town from the vicinity of the monument but never found a day nor time when
he could get the pictorial value of a ‘spring tide’ to give a cohesion of pictorial elements including the distant Twelve Bens. By
this I mean that the light and colour as well as reflections from the inrushing water were not all present together. In his ‘70s by
then he insisted we find the date when a particular ‘spring tide’ would fall so that he could work on a larger canvas. He pre-
pared both the stretcher (the timber internal frame if you like) and the canvas himself - visits to ship’s chandlers for the correct
canvas weave and art suppliers went on for quite a time. Using an old German art book (Max Friedländer) on ‘artists materials’
for the correct ‘recipe’ he primed the canvas flat and then attached it to the stretcher framework - the job of transporting it by
van (our estate car being too small) was an adventure. Climbing that steepish hill with the canvas holding onto the stretcher
framework was memorable to me as the carrier. Having to fetch his painting box laden with materials was doubly memorable.
After some hours he indicated that he was done - for safety I photographed the work ‘in situ’ (my polaroid camera was at least
useful) .. said photograph survived intact in the artist’s file and was only coincidentally re-found very recently in the artist’s
archive which had been retrieved by Professor Katharine Crouan who had written the original MacGonigal catalogue for the
exhibition in the Dublin City - Hugh Lane Gallery many years ago.
The artist was using the oddity of perspective of the two churches in the town to create a powerful diagonal and a lesser di-
agonal of the road from the town towards the Sky Road and the monument. It’s or their purpose was to stress the decorative
elements of the town houses which have the pictorial quality of being very tall in front and even taller in some cases at the rear
owing to the cliff-like nature of the site on which the town was based by Alexander Nimmo’s designs for the landlord (D’Arcy)
then developing the hamlet into a town.
The artist avoids the dangers of centering the composition with another diagonal of the banked elements of the backs of the
houses as well as the smaller ‘cross cutting’ Ardbear Road to the right of the composition. The middle distances are those of
the boglands and small fields and the massive effects of the Twelve Bens (in Irish na Benna Beola) whose sharp peaked quartz-
ite summits form the backbone of Connemara and give and gave such an impetus to artists working to the aesthetic ideals of
‘en plein air’ forming the rise above the horizon line of this work.
The foreground of the tide suggested to the artist that it was about to “turn and recede” so he pushes on to give reflections
in the water in order to pull the entire composition together. The artist spent over 50 years of his painting life looking at and
painting, drawing and colour-noting the qualities of the Connemara landscape, and appropriately he lies in Connemara for-
ever looking at a beloved land and seascape.
Ciarán MacGonigal, August 2022

15

16
7
JAMES LE JEUNE RHA
(1910-1983)
‘Nerja’
Oil on canvas on board, 30 x
40cm (11¾ x 15 3/4”)
Signed
€ 1,000 - 1,500
8
LETITIA MARION HAMILTON
RHA
(1878 - 1964)
A House on the Hill
Oil on board, 13.5 x 17.5cm (5¼
x 7”)
Signed with initials
€ 800 - 1,200

17
9
KITTY WILMER O’BRIEN RHA
(1910 - 1982)
Windowsill with Pot Plants
Oil on canvas on board, 67 x 55cm (261/4 x 213/4”)
Signed
€ 2,000 - 4,000

18
10
PATRICK HENNESSY RHA
(1915-1980)
Interior with Staffordshire Model
of Prince Albert on Horseback
Oil on canvas, 61 x 45.5cm (24 x 18”)
Signed
€ 3,000 - 5,000
11
PATRICK HENNESSY RHA
(1915-1980)
Man Made Man and Rose
Oil on Canvas, 61 x 45.5cm (24 x 18”)
Signed (on the airmail envelope, top right)
Exhibited: Rosc ’71, Irish Imagination 22 Octo-
ber – 29 December 1971 label verso, illustrat-
ed page 67.
Provenance: With David Hendriks Gallery,
Dublin, label verso
€ 5,000 - 7,000

19

20
12
NANO REID
(1900-1981)
Horse at the Gate
Watercolour, 42 x 29cm (16½ x 11½”)
Signed
Provenance: With Dawson Gallery ,
Dublin, label verso.
€ 1,200 - 1,600
13
GEORGE CAMPBELL RHA
(1917-1979)
Rooftops in Malaga
Pastel on paper, 27.5 x 36cm (103/4 x
14”)
Signed
€ 500 - 700

21
14
GERARD DILLON
(1916 - 1971)
The Garden, Chelmsford Avenue, Dublin
Watercolour, 23.5 x 35cm (91/4 x 133/4”)
Signed
€ 2,000 - 3,000

22
15
GERARD DILLON
(1916 – 1971)
Man on a Chair (Self-portrait)
Oil on canvas on board, 35.5 x 50.7cm (14 x 20”)
Signed; inscribed with title verso
Provenance : With The Oriel Gallery, Dublin, label verso
€ 50,000 - 80,000
The self-portrait is usually based on a mirror image but there is nothing usual about this Gerard Dillon painting, Man on a Chair, which
has always been thought of as a self-portrait. The setting is the West of Ireland, which Dillon first visited in 1939, and four figures are
included in this outdoor scene. Dillon himself is seated on a sturdy kitchen chair. In the background a fisherman figure on the quay
goes about his business, another figure is seated in a currach, a rope links both. But it is the fourth figure, a young man, by a stone
wall and the relationship between him and Dillon that interests and intrigues. They gaze intently at each other and though both are
fore-grounded they are separated by a low stone wall.
That the wall divides them invites questions. Is the actual wall also symbolic? Is this a casual conversation? Or do they know each other
well? Beyond the wall the land falls away towards the sea meaning that the young man could be standing or kneeling but, whether
kneeling or standing, he is portrayed as a still presence. Both of the central characters in this quiet drama have clasped hands and
the focus of Dillon’s attention is clearly on a youth beyond the stone wall. That wall could be said to be a divide between youth and
age or a younger self and older self. Both man and boy seem absorbed with each other. The seated figure looks intently, the object
of his gaze seems equally engaged.
Lower left, Dillon lets the curled-up, sleeping cat lie, its anthropomorphic face adds a delightful detail as do the patterned quayside,
the striped shirt, the two cottages, the blue sea and sky all rendered in thinly-applied paint with assured brushwork. James White [in
Gerard Dillon, An Illustrated Biography] says ‘the most important development in his life as an artist was his discovery of Connemara
. . . with its remoteness , its delightful stonewall fields, mountains, lakes and seacoast, and above all islands like Inislacken where he
could cut himself off for a spell and live in a tiny cottage . . . – all this gave him a feeling of having found a land free of all the restrictions
and suggestions of oppression which he had come to accept as being there to offend him.’
In 1955, Dillon wrote [in Ireland of the Welcomes, May/June 1955] ‘Connemara is the place for a painter. The stony parts are the parts
for me . . . . The light is wonderful here. Rocks, stones and boulders change colour all the time’ and in July 1964 he said ‘My numerous
stays in Connemara have always been heaven, even when the bottom of heaven fell out and about us drenching everything around’.
Dillon thought the people there ‘a race apart, very friendly and polite, they never intrude’. This is clearly a personal painting by Dillon
who, born in Belfast in 1916, the youngest of eight children, left school at fourteen and worked as a painter and decorator. He at-
tended evening classes at Belfast College of Art but moved to London [1934-1941], then to Dublin, to London again [1945-1968] but
painted in Inislacken and Roundstone in the late 1940s and 1950s. The small harbour and pier in Man on a Chair suggest Roundstone
and most likely this work dates from the 1950s. His interest in Ireland’s folklife and countyside life featured in many of his paintings
but as Catherine Marshall observes ‘there is also a strong sense of alienation, which may derive from perceptions of his difference as
an artist, and also from his homosexuality in a repressive Roman Catholic environment’.
Dillon had several solo exhibitions in Belfast and London and his work was shown in Paris, Rome, Boston, Washington and New York.
He represented Ireland at the Guggenheim International and Britain at Pittsburg International Exhibition. In a letter to the Irish Times,
dated 20 August 1969, at the outbreak of the Troubles, Dillon asked other artists to join him in his refusal to be included in the Belfast
Living Art Exhibition in protest, as he out it, ‘against the persecution of the Irish people by a planter Government in the Six Counties
of Ulster’.
Dillon died two years later, in 1971, aged fifty-five. Writing of Dillon’s lasting impact, Dorothy Walker [in Modern Art in Ireland] says
Dillon was ‘a genuine primitive, a self-taught painter whose early work of the forties and fifties . . . are delightful’. Man on a Chair is one
such work but it not only delights, its quiet narrative puzzles, intrigues and draws the viewer in.
Niall MacMonagle, August 2022

23

24
16
HARRY KERNOFF
RHA
(1900-1974)
Watling Street,
Dublin, 1933
Watercolour 26.5 x
35.5 (10½ x 14”)
Signed and dated
(19)’33
€ 2,000 - 3,000
17
HARRY KERNOFF
RHA
(1900 - 1974)
Bridge at the Mall,
Westport, Co
Mayo
Watercolour, 24.5 x
31cm (9½ x 121/4”)
Signed; inscribed
and dated 1947
€ 1,500 - 2,000

25
18
HARRY KERNOFF RHA
(1900 - 1974)
The Old Mill, Portmarnock
Oil on board, 29 x 39cm (11½ x 151/4”)
Signed verso
€ 3,000 - 5,000

26
19
NORAH MCGUINNESS HRHA
(1901 - 1980)
Waterweeds
Oil on canvas, 122 x 91.5cm (48 x 35¾”)
Signed; inscribed with title and dated 1968 verso
€ 30,000 - 40,000
Though this Norah McGuinness painting is clearly of water, weeds and three ducks, its brilliance belongs to its handling of
colour and its structure and composition which includes abstract as well as representational qualities. In Waterweeds, the
subject matter is familiar but there is nothing everyday about this stunningly beautiful work. Dated, verso, 1968, McGuinness
painted this when she was sixty-seven. Her palette frequently features blues and greens and browns, her subject matter
favoured landscape, shorelines, bogland and in well-known works such as her early 1930’s painting, The Thames, browns
predominate, Garden Green, dated 1962, celebrates several shades of green and Flight, also from 1962, contains different
and harmonious blues.
Waterweeds not only combines all three of these strong colours but, unusual for McGuinness, the chosen shape here is por-
trait not landscape and the focus is close-up. Many of McGuinness’s shorescape and landscapes are broad in scope and are
bright, light-filled works. This painting has a unique atmosphere and depth.
At the centre of the painting, a pair of ducks, behind them a solitary one. They could be, they look like, common male scooter
ducks with their black plumage but McGuinness is more interested in capturing their quiet lives rather than offering an or-
nithological study. Using blocks of colour the water is patterned and the decorative ovoid-like shapes in dark purplebrown
and pale green on the water could represent nesting spots. Her strong lines and bold colours resemble stained glass.
The varying and speckled tall, strong, green weeds on the right, asymmetrical and striking, add a luxuriantly lush detail. They
reach upwards and McGuinness paints some stalks reaching beyond the edge of the painting. Their powerful presence gives
the painting its title.
The varying brown shape that dominates the top third of Waterweeds could be a stylised shoreline with small pools of water
reflecting the sky? Clearly non-representational, what matters is its striking effect, contrasting as it does with the expanse of
blue water and those touches of white pick up on the whites in the floating stylised shape lower down as does the use of white
at the very top of the painting.
This aspect of Waterweeds, with its irregular blue shapes and patches of white and the bold lines, give the painting an ab-
stract quality. At the very top of the canvas the light grey suggests something beyond. Though every detail is not always
recognisable in this Cubist influenced work, this does not prevent the work from being a magnificent mood piece. Cubism
allows for different perspectives and what McGuinnes achieves here is in keeping with McGuinness’s view that ‘Cubism gets
rids of things that are not essential. It is a great simplifying aid and I think in that way its influence is apparent in my work as part
of an overall simplification process’ [quoted by Karen E. Brown in her essay ‘Norah McGuinness, W.B. Yeats and the Illustrated
Book’]
Born in Derry in 1901, McGuinness, against her family’s wishes, chose art and, aged eighteen, attended the Dublin Metro-
politan School of Art where she studied under Patrick Tuohy, Oswald Reeves and Harry Clarke and, later, with André Lhote
in Paris. In 1923 she was awarded an RDS gold medal and exhibited for the first time at the RHA in 1924. She lived in London
and New York – her paintings New York Skyline and East River date from that time – and when she returned to Dublin, in 1937,
she worked as a book illustrator, illustrating books by, among others, Laurence Sterne, W.B. Yeats, Elizabeth Bowen and Maria
Edgeworth.
McGuinness also worked for Vogue and Harper’s Bazaar and inspired by Salvador Dali, who did a window design for Bonwit
Telller on Fifth Avenue, she got herself a job designing and dressing New York windows. On returning to Dublin McGuinness
decorated Brown Thomas windows for over twenty years. She also designed theatre sets and costumes for Abbey and Pea-
cock productions. In 1950 she and Nano Reid represented Ireland, when Ireland participated in the Venice Biennale for the
first time.
Her work is held in many important collections including The National Gallery of Ireland, IMMA, the Hugh Lane, the Ulster
Museum and the Crawford Gallery.
Niall MacMonagle, August 2O22

27

29
20
CECIL FFRENCH SALKELD ARHA
(1904-1969)
Rock Temple, Vishnugram, India
Oil on canvas, 61 x 51cm (24 x 20”)
Signed
€ 5,000 - 8,000
21
CECIL FFRENCH SALKELD ARHA
(1904-1969)
The Ballet
Signed
€ 5,000 - 8,000

30
22
DANIEL O’NEILL
(1920 - 1974)
Portrait of a Young Woman
Oil on board, 45 x 35cm (173/4 x 133/4”)
Signed
€ 15,000 - 20,000
The epithet Romantic is often applied to the work of Daniel O’Neill, though that can be misleading. His paintings are
indeed romantic, but not in the strict art historical sense of Romanticism and the Romantic movement. Rather they are
romantic in the sense that Puccini’s La Bohème is romantic, evoking the bohemian life of artists in the Latin Quarter in
Paris, a world of intense emotion and passionate creativity. O’Neill visited and loved this world in 1948, when he stayed
in Montmartre, brilliantly capturing the atmosphere in one of his best known paintings, Place du Tertre (now in the Ulster
Museum). But imaginatively, artistically, he always seemed to inhabit it.
Born in Belfast, the son of an electrician, he followed his father into the trade, working for the corporation’s transport
department and the shipyards. But even in his early teens he was drawn to art, studying books in the library and attend-
ing night classes at technical college. At work he opted for night shifts, painting during daylight. He was taken up by the
fine painter and muralist Sidney Smith and befriended Gerard Dillon, exhibiting with him in Dublin in 1943. The great
dealer Victor Waddington put him on contract two years later, establishing him as an artist. He had a natural instinct for
simplified, stylised imagery, innate compositional ability, and an eye for drama (little wonder he was commissioned by the
Abbey to design the set for a production of Synge’s Playboy).
Dreamy melancholy is one of the defining moods of his work, a term that perfectly suits this outstanding, idealised study
of a young woman. She looks not back at the viewer but is lost in her own thoughts. The agitated background unmistak-
ably suggests a tempestuous inner life. Quite early on, Cecil ffrench Salkeld noted O’Neill’s exceptional skill at juggling
contrasting paint textures in a single composition, marrying the vigorous impasto of brush and palette knife with soft,
silky glazes. That skill is used to great effect here in the caressing dialogue between fabric and flesh, figure and ground. In
addition, O’Neill illuminates his subject with the expertise of a Hollywood lighting cameraperson.
Aidan Dunne, August 2022

31

32
A COLLECTION OF TEN WORKS ON PAPER BY COLIN MIDDLETON MBE RHA RUA (LOTS 23 - 32)
From the earliest stages of his career, drawing was central to Colin Middleton’s art. His training and work in the rig-
orous discipline of damask design was the basis of his remarkable technical skill, but it also seems to have been in
drawing that Middleton’s visual imagination found its freest expression, and the ideas that dominate his paintings
are often initially explored in his sketchbooks. Middleton chose to exhibit works on paper in exhibitions throughout
his career, including his 1976 retrospective, and even held one exhibition completely devoted to drawings.
This group of works ranges across Middleton’s career and includes many of the themes most significant to him. A
number of drawings from the 1940s almost certainly relate to ideas for paintings, although only one, Harvest Moon,
is identified. In various ways they explore the idea of the female archetype that remained a consistent element in
Middleton’s work, associated with ideas of generation and regeneration and a harmonious relationship with the
natural world. Intriguingly one drawing also suggests the Annunciation or a similar subject; Biblical references
recur frequently in Middleton’s work until the late 1950s.
Two drawings from the 1960s develop the idea of the female archetype, locating the landscape and the figure
within the same stylised and abstracted image, creating an inventive formal ambiguity. They suggest the physical
identity of certain landscapes as well as their history and mythology, and it is notable that the Drumrush drawing
also includes a bird, a significant symbol for Middleton that was often used in conjunction with the female figure
and that re-emerged in a series of paintings in the late 1960s.
The drawings of Middleton’s wife, Kathleen, demonstrate two different aspects of his drawing, one full of subtle
tonal shifts as she plays the piano, again a notable subject in Middleton’s later work, and the other a more swiftly
delineated, linear study of Kate reading. They both travelled to Australia in the early 1970s as part of a trip around
the world, and stayed with their daughter Alison, and the light and scale of the landscape, as well as the influence
of Aboriginal art, inspired a series of watercolours and some graphic work, including this lithograph which Middle-
ton seems to have developed from a drawing illustrated in John Hewitt’s 1976 monograph. Middleton’s interest
in printmaking in the 1970s was perhaps partly due to his son John, a highly talented artist who had just returned
from London where he had studied printmaking at the Royal College of Art.
Middleton was arguably one of the greatest draughtsmen in Irish art, but beyond the skill and inventiveness of his
drawings they also remain significant as so many of the original ideas for his paintings were explored and resolved
in this form and in some cases exist only as drawings.
23
COLIN MIDDLETON MBE RHA RUA
(1910 - 1983)
Mother and Child – study for EL Nene I
Pencil, 19 x 13cm (7½ x 5”)
Dated 23 April, (19)‘75
€ 600 - 800

33
24
COLIN MIDDLETON
MBE RHA RUA
(1910 - 1983)
Dancing Figure
Pencil, 16 x 12.5cm (6½
x 5”)
Signed with monogram
and dated 16 May,
(19)’45;
Together with another
sketch of the same
subject,
Unframed, attached
verso
€ 500 - 700
25
COLIN MIDDLETON
MBE RHA RUA
(1910 - 1983)
The Harvest Moon
Pencil, 16.5 x 17.5cm
(6½ x 7”)
Inscribed and dated 14
Jan, (19) ‘44
€ 500 - 700
26
COLIN MIDDLETON
MBE RHA RUA
(1910 - 1983)
Female Figure in
Landscape
Pencil, 15.5 x 17.5cm
(6 x 7”)
and dated 11 July
(19)’46
€ 600 - 800

34
29
(1910 - 1983)
Kate Reading
Pen and Indian ink, 18 x 13.6cm (7 x 51/4”)
Signed with monogram and dated 12 March (19)’75
€ 300 - 500
28
(1910 - 1983)
Drumrush, Figure with Bird
Pencil, 8.2 x 8.2cm (31/4 x 31/4”)
Signed with monogram, inscribed and dated 24 July (19)’68
€ 300 - 500
27
(1910 - 1983)
Female Figure
Pencil, 8.3 x 8.3cm (31/4 x 31/4”)
Signed with monogram and dated 23 July, (19)‘68
€ 300 - 500

Important Irish Art | 28 September 2022
35
30
(1910 - 1983)
Kate Playing the Piano
Pencil, 14 x 11.5cm (5½ x 4½”)
Signed with monogram, inscribed ‘K’ and dated 6 June (19)’74
€ 400 - 600
32
(1910 - 1983)
Exotic Creature
Screenprint, 17 x 10cm (63/4 x 41/4”)
Signed, inscribed ‘Rossmoyne’, dated, (19)’72, and numbered
32/50
€ 200 - 300
31
(1910 - 1983)
Annunciation
Pencil, 25.5 x 17.5cm (10 x 7”)
€ 600 - 800

36
33
GERARD DILLON
(1916-1971)
Clown Dreaming
Signed, inscribed verso
Provenance: With The Dawson Gallery, Dublin, label verso
€ 20,000 - 30,000
A fantastically imaginative and slightly surreal work, Dillon has placed his sleeping clown atop of what appears
to be the traditional striped roof of a circus tent. It spreads out around him enveloping him in a strange floating
landscape. The bird perched on a nest of twigs offers the only injection of colour within the otherwise grey
environment of the painting. Its yellow and black body is reflected in the waxing circular orb rising above it,
potentially the sun being overtaken by the moon and darkness setting in. Or is it an offering of hope by the
artist, of the coming dawn which will awaken our sleeping protagonist?
Clowns were very common in Dillon’s work from the 1950s onwards and he often depicted them in states of
slumber such as Dreaming (sold Whytes 2018) or the watercolour Face in Sky (sold these rooms 2020 as part
of the McClelland Collection) which depicts a harlequin figure awake while the clown dreams. In his works he
adopted the traditional figure of Pierrot, the commedia dell’arte character dressed in all white, wearing his
typical pointed hat.
Usually, the landscapes around the sleeping figures are expansive and filled with colour but in this instance,
it is a much more constrained composition. The only suggestion of something beyond this scene is the bird
enclosed within a frame, as if looking through a window out onto another world, into the subconscious mind
of our dreaming subject.
The darker palette and more sombre colour tones of this work may suggest the proximity to the danger or
fear within our dreams. Works of this period are often associated with the traumatic events occurring simul-
taneously in Dillons personal life, most notably the premature passing of his brothers. Through sombre and
somewhat haunting compositions, they are imbued with a sense of desolation and sorrow.
It has also been suggested that Dillon adopted the clown as an alter ego, a persona that he could express his
own emotions and fears, and it is true that in some works he even depicted them as artists. In The Artist, (sold
these rooms 2017), the protagonist stands before an easel painting an unseen canvas, potentially creating the
larger composition forming behind him. In this work the sleeping figure holds something aloft in his hand, his
arm outstretched and reaching triumphantly into the air. Is it an instrument of his trade, a prop used to enter-
tain? Or could it be a paint brush, the essential tool of Dillon’s own trade, referencing his vital role within the
creation of the work.
Niamh Corcoran, August 2022

37

38
34
HILARY HERON
(1923 - 1977)
Untitled
Copper wire, 129 x 40cm (503/4 x 153/4”)
€ 2,000 - 3,000

39
35
HILARY HERON
(1923 - 1977)
Untitled
Copper and wood, 49cm (191/4”) (H)
€ 4,000 - 6,000

40
36
JOHN BEHAN RHA
(B.1938)
The Bull Finnbhennach
Bronze, 30 x 51 x 15cm (12 x 20 x 6”)
Unique,
Provenance: With Taylor Galleries, Dublin, 1980
€ 5,000 - 8,000

41
37
ANTHONY SCOTT RUA
(B.1968)
Greyhound
Bronze, 49 x 43 x 16cm (191/4 x 17 x 61/4”)
Signed, numbered 3/6
€ 6,000 - 8,000

42
38
DOUGLAS ALEXANDER RHA
(1871 - 1945)
Connemara Lake and Mountain Landscape
Oil on canvas, 49 x 59cm (191/4 x 231/4”)
Signed
€ 1,500 - 2,000

43
39
JOHN CRAMPTON WALKER ARHA
(1890-1942)
West of Ireland Mountain Landscape
Signed
€ 1,000 - 1,500

44
40
NATHANIEL HONE RHA
(1831-1917)
Cattle Sheltering under Trees
Oil on canvas, 63.5 x 91.5cm (25 x 36”)
Provenance: With Godolphin Gallery, Dublin, label verso; Sale, de Veres, 31 May 1994, lot 83; again de Vere’s, 23rd November
2004, lot 37; Irish Sale, Sotheby’s, London 19 November 2019, lot 50.
€ 12,000 - 16,000
A small herd of cattle rests in the shade of trees, some of them standing, others lying down, while other cows approach from the
sunlit field. Nathaniel Hone represents this tranquil rural scene on a sultry summer’s day, and the verdant foliage on the right takes
up much of the composition. But the sunny pasture on the left, and the low horizon line, with the possible suggestion of sea beyond,
beneath a sky of light cloud with patches of blue, also evoke a sense of space.
Having studied in Paris as a young man in the 1850’s, then lived for many years near the Forest of Fontainebleau, Hone became a
dedicated painter of landscape, often of woodland and coastal scenes. Back in Ireland he settled in North Co. Dublin, residing in
large houses in Malahide and Raheny.
According to art historian Thomas Bodkin (later Director of the National Gallery of Ireland): “He lived there quietly, occupying him-
self with painting and farming” (1). Although, on his travels Hone had represented dramatic cliff and seascapes in the West of Ireland,
sunlit coastal scenes in the south of France, and ancient buildings in Greece and Egypt, at home in North Co. Dublin, fields, woods
and farm animals often viewed under overcast skies, provided the source for many of his paintings – such humble subjects, often
overlooked by other artists, exerted a deep affection upon Hone, and he painted many variations on this theme. Perhaps painted
on his land at Seafield, Malahide or St. Doulough’s, Raheny.
Cattle Sheltering Under Trees is one such subject, a quintessential pastoral painting by Hone, it may date from the mid 1890’s. He
eschews the careful manner of his Barbizon canvases, and indeed the detail of contemporary Victorian landscapes, for as much
broader, more vigorous style, to capture the changing light of the Irish weather. The brindled forms of the cows, for instance, are
boldly modelled, the thick greenery of the foliage, rendered in muted green and olive tones, are painted in swirling or scuffed ges-
tural brushstrokes, and impasto is employed on the tree trunks to indicate their rough, sunlit textures. Cattle Sheltering Under Trees
is painted on one of Hone’s large 24 x 36-inch canvases and is signed with his initials, so was evidently prepared for exhibition. A
companion picture on a similar large canvas is his Study - Cows in a Field.
Julian Campbell, August 2022.
1. Thomas Bodkin, Four Irish Landscapes Painters, Dublin and London, 1920, p53

45

46
41
JOHN FAULKNER RHA
(1835-1894)
Howth Harbour, Dublin
Watercolour, 44 x 72cm (17½ x 28½”)
Signed and inscribed
€ 2,000 - 3,000

47
42
THOMAS ROSE MILES
(1844-1916)
Cushla Bay, Connemara
Oil on canvas, 44 x 80cm (171/4 x 31½”)
€ 4,000 - 6,000

48
43
JAMES RICHARD MARQUIS RHA
(1833 - 1885)
A Busy City River Landscape at Sundown
Signed
€ 1,000 - 1,500
44
RICHARD STAUNTON CAHILL
(C.1827-1904)
A Mischievous Postman
Oil on canvas, 35 x 29.5cm (133/4 x 113/4”)
€ 800 - 1,200

49
45
STANHOPE ALEXANDER FORBES RA
(1857-1947)
Autumn Landscape
Oil on canvas on board, 29.5 x 39.5cm (11½ x 15½”)
Signed
Provenance: Sale, these rooms, 5th December 2006, lot 136
€ 5,000 - 8,000

50
46
RODERIC O’CONOR
(1860-1940)
Le Marin Barbu (c.1891)
Oil on canvas, 54.7 x 46cm (21½ x 18’’)
Stamped verso with ‘Atelier O’Conor’
€ 60,000 - 80,000
The technique used in this portrait is entirely consistent with Roderic O’Conor’s ‘a la prima’ method of painting, best de-
scribed as a wristy, or vigorous, and expressive use of the brush, with drawing and painting fully integrated in the one process.
The intensity of the sitter’s gaze is also typical of O’Conor’s portraiture, with the subject looking directly at the artist while the
work was in progress. The rugged appearance of this old bearded man suggests that he was most likely a local Pont-Aven
fisherman. The Aven is a tidal river that flows through Pont-Aven and gives direct access to the Atlantic Ocean.
The light cast from the left highlights the subject’s weathered skin, which O’Conor has captured with bold and loose brush
strokes. His use of colour on the face and beard stands out in strong contrast with the dark coat and background, emphasizing
the image of a man who has seen a life of hardship and hard labour.
The atelier stamp verso confirms that the painting was among the works included in the Drouot dispersal sale in Paris of the
contents of O’Conor’s studio, following his death in Neuil-sur-Layon in 1940.
Dr. Roy Johnston, August 2022

51

52
47
GEORGINA MOUTRAY KYLE RUA
(1865-1950)
Boats
Oil on canvas, 44 x 34cm (171/4 x 13½”)
Signed
€ 1,500 - 2,000

53
48
CHARLES LAMB RHA
(1893-1964)
Cloudy Day
Oil on board, 32 x 39cm (12½ x 151/4”)
Signed; inscribed on artists label verso
€ 3,000 - 5,000

54
49
CHARLES LAMB RHA, RUA
(1893-1964)
Fisherman with Lobster, c.1937
Oil on canvas, 93 x 87cm (36½ x 341/4”)
Signed
Provenance: In private ownership with the same family since acquired.
€ 15,000 - 20,000
Charles Lamb was a talented painter whose output encompassed portraits, still-life, Breton subjects, western and northern
landscapes, harbour and fishing scenes, as well as depictions of the Famine, and the Claddagh. Fisherman with Lobster is a
leading work of Lamb’s mid-career purchased in the 1940s from the artist by Jack McCabe of Portadown. McCabe knew and
admired Lamb, and according to his son John, he purchased one of his paintings with his first pay packet (correspondence,
1998). McCabe continued buying works by Lamb when he was a young artist, and they formed the nucleus of the collection,
which hung in his wife’s hotel, the Seagoe Hotel, Portadown, in the restaurant that became known as ‘Lambs’. The Lamb
Restaurant opened in the early 1980s attended by many of the Lamb family. It was a popular venue and, in its heyday, dis-
played eleven works by Lamb ranging from northern landscapes painted in Rostrevor and around the River Bann to scenes
from the west of Ireland, the largest of which was Fisherman with Lobster (correspondence with Jack McCabe’s wife, 1994).
The painting dates to c.1937, when Lamb showed a work listed as The Lobster Man at Newry Feis, which is likely to be Fisher-
man with Lobster.
The portrait is of Pádraic Ghrealís from Rinn, Connemara, known as ‘the lobster man’. He was married to Nan Mhichil Liam Mc
Donagh, a close friend of the Lamb household, her portrait is in the National Gallery of Ireland. Ghrealís was a great sailor and
deep-sea fisherman, as the portrait shows, earning his livelihood from lobster fishing. The couple had several daughters and
four sons who, together with their father, were great rowers. The composition emphasises the large, seated figure, possibly
positioned above Caladh Thaidhg harbour, overlooking in the background the small island and village of Lettermullan across
from Carraroe. Ghrealís and his wife Nan modelled for other works by Lamb including, a commission from the Haverty Trust in
1934, to paint Pattern Day in Connemara, for University College Galway. The subject is the ancient ritual of the pattern, where
a traditional pilgrimage to a site associated with a local saint involved people doing circuits around a holy well with prayers
and penance.
At the time that Lamb painted Fisherman with Lobster he was living in Carraroe, Co Galway. Born in Portadown, he trained
at the Belfast School of Art, winning a scholarship to the Dublin Metropolitan School of Art (NCAD), where he graduated in
1921. Pádraic Ó Conaire, the Galway poet and writer, encouraged him to go to Connemara to find the landscape and skies
he wanted to paint. In 1923 he met Katharine, the daughter of Ford Madox Ford, who was studying veterinary medicine in
Dublin, and in 1927, after Lamb’s trip to Brittany, the couple were married. They settled in Carraroe, where in 1933, Lamb built
a house and studio to accommodate their growing family. In the 1930s he was elected an academician of the Royal Hibernian
Academy (RHA) and the Ulster Academy of Arts (RUA).
Lamb began painting single figures early in his career. An early example, The Lough Neagh Fisherman, 1921 (Ulster Museum),
portrays a young northern fisherman against the backdrop of Lough Neagh. It is a confident study that demonstrated Lamb’s
skill at portraiture and helped him to make his mark at the RHA. He developed this portrait style into an idealised form of
‘national type’, which by 1930, included figures from the west of Ireland, singly or in couples, most notably in the well-known
iconic painting, The Quaint Couple, 1931 (Crawford Art Gallery, Cork). In Fisherman with Lobster, Lamb employs a golden
light on the right of the figure leaving the left in shadow, placing Ghrealís in the foreground to stand out against a brilliant
background landscape and blue sky. His hands hold a lobster and pot, and his rugged weather-beaten face betrays a lifetime
of fishing. Ghrealís wears a well-used báinín jacket, brown striped geansaí, and black cap. The portrait is a work of great
assurance and confident painting, reflecting virtuosity of brushwork in the tonal build-up of the face, the vivid blue sea and
green island landscape. This is Lamb at his best illustrating a form of monumental portraiture at which he excelled, depicting
the people he felt reflected the ‘national essence’ and, in the process, becoming one of Ireland’s most influential 20th century
landscape painters.

55
During Lamb’s subsequent career, he ran a summer school from 1936 to 1950s in Carraroe, attended by numerous important
artists, and hosted a summer exhibition where visitors could see and buy his paintings. He illustrated ‘Cré na Cille’ by Máirtín
Ó Cadhain (1949) and ‘An Tincéra Buí’ by Séan Ó Coisdealbha (1962). His work was shown internationally in London, Brussels,
New York, Boston, and Ottawa, the 1933 Century of Progress Exhibition Chicago, the 1923 Olympic Games Exhibitions in Los
Angeles, and 1948 in London. He exhibited at the RA, RUA, RHA, Oireachtas, Aonach Tailteann, Dublin Painters Gallery, and
at art societies in Belfast, Cork, Galway, Limerick, Tipperary, and Waterford. Lamb died in 1964 and is buried in Carraroe.
Dr. Marie Bourke, August 2022

56
50
CHARLES LAMB RHA
(1893-1964)
In-shore Fishermen
Signed
Exhibited: Dublin, Hugh Lane Gallery, Charles Lamb Memorial Exhibition 1969
€ 8,000 - 12,000
Certainly not the first artist to become enchanted by the landscape and its people, a native of Armagh originally,
Lamb would eventually make the Gaeltacht village of Carraroe his permanent home. In 1935 he built his own
house, known affectionately, as his daughter Lailli Lamb reflects, as ‘Tigh Lamb’ or Lamb’s House (Catalogue
Essay ‘My Father’, Lamb in Connemara, Adam’s Exhibition at Clandeboy, 2012). It was also here where Lamb ran
an art school during the summer months, teaching painting classes.
One can’t help but imagine what the locals made of Lamb and his desire to make them the subjects of his
paintings. Though possibly not unused to artists travelling through the region, there must have been a certain
amount of apprehension and suspicion towards him. Outsiders are not easily welcomed in these remote places,
and it would not be surprising if it took many years before they trusted him entirely. Lamb’s cause was undoubt-
edly helped by his move to the area with his family.
Lamb often depicted fishermen, either as group scenes, observing them going about their work on the shore-
line or harbour in Taking in the Lobster Pots (The Armagh County Museum) or as a single figural study in Fisher-
man with Lobster (lot 49 in the present auction). They also appear in his portraits executed during his time spent
in Brittany in 1926/27 where he visited Pont Aven and Audierne. In particular a large-scale portrait entitled The
Breton Fisher Boy (Private Collection) in which the young boy stands confidently before the artist, hands tucked
into his vest. Behind him appear a sardine fleet, which are immediately reminiscent of the Galway Hookers of
Carraroe.
In this present example two men finely balanced in their currach, row backwards to the shore line. Lamb has
expertly captured the rhythmic movement, as one of the men controls the oars while the other holds out a net
pulling in their catch along the way. He uses quick impastoed brush strokes to create a sense of the waves lap-
ping against the boat as it moves through the water while the oars glide across and under its surface.
It appears the day’s work has come to an end, with the light slowly starting to fade, casting pale pink highlights
that fall along the edge of the boat. The surrounding landscape is a myriad of crosshatched strokes, yellows,
pinks and greens while the sky above is a mix of grey clouds. Perhaps the weather is also about to change, as
the mountains in the distance turn a midnight blue. He captures the chill and wildness of the Atlantic in the rich
blue and green tones.
The daily work and traditions of the native people fascinated Lamb. By depicting them in paint, on an expansive
scale, he elevated their ordinary lives, celebrating the daily tasks of working the sea as in this example or off the
land as in Connemara Harvesters or the weekly custom of the news being read aloud, literacy not a common
ability at the time, to a gathering of locals in Hearing the News (1921).
There is a real sense as if the men are moving across the surface of the painting, caught for a brief moment by the
artist. There is an economy of expression at play, using only small touches of colour to indicate their faces and
bodies. This work was included in the Memorial Exhibition held in the Hugh Lane Gallery in 1969, five years after
his death. It is reflective of the shift in his career from large-scale portraits towards the broader and more warm
toned landscape scenes of his later years.
Niamh Corcoran, August 2022

57

58
51
DONALD TESKEY RHA
(B.1956)
Broadhaven Bay V
Acrylic on paper, 76 x 105cm (30 x 411/4”)
Signed
€ 15,000 - 25,000
One of the leading Irish artists of his generation, Donald Teskey is so well known as a superbly tactile
painter of coastal landscapes, concentrated on the sea, it can be hard to credit that he devoted a consid-
erable part of his early career to drawing. More, his drawings were of the city. When he turned to paint-
ing, urban subject matter continued to dominate. But his work, whether drawing or painting, was always
dynamic, always in thrall to the rush and flow of light, wind and air through the topography of street and
alley, railway and canal, and through anomalous open spaces. In retrospect, we can see his rendering of
areas of, say, Milltown or Dublin 8, as, literally, urban landscapes, with for example the industrial expanses
of the Guinness complex around James’s St interpreted as manmade cliffs and canyons.
Of Palatine descent, Teskey was born in Rathkeale, and studied at Limerick School of Art and Design.
Limerick city featured in his early, exceptionally accomplished drawings, but he had long been based
in Dublin by the time he was seriously drawn back to the west. In the mid-1990s, he was invited to visit
the Ballinglen Arts Foundation in Ballycastle on the north Mayo coast. A monumental, uncompromising
terrain was at his doorstep. As he observed, his paintings were built on the armature of urban structure,
and for a time he did paint the structural fabric of Ballycastle and its surroundings. Besides returning of-
ten to Mayo, he also stayed at Ballinskelligs in Co Kerry and on the West Cork coast. Gradually he moved
beyond the coastal infrastructure of coastal villages, piers and harbours to address the sea itself. As he
put it: “It was a question of finding an organic structure that allows the paint to speak.”
He found that structure in the elemental clash of sea and shore. The moment when a wave hits rock crys-
tallises adynamic balance of matter and energy. This oil is an exceptionally pure expression of the artist’s
fascination with that moment of impact, when you are standing down on the rocks and the vast energy
of the ocean breaches the steadfast boundary of the shore. He has said that he aims to capture exactly
that moment in paint.

59

60
52
MIKE FITZHARRIS
(B.1952)
Untitled
Oil on board, 40 x 55cm
(153/4 x 21½”)
Signed
€ 1,200 - 1,600
53
MIKE FITZHARRIS
(B.1952)
Still Life (Apple)
(83/4 x 8”)
Signed
€ 400 - 600

61
54
MIKE FITZHARRIS
(B.1952)
Tilled Enclosure
Signed and dated (19) ‘91
€ 1,500 - 2,000

62
55
HUGHIE O’DONOGHUE RA
(B.1953)
Fallen Elm (Kilfane)
Signed, inscribed and dated 2007/’8 verso
€ 15,000 - 20,000
In 1995, Hughie O’Donoghue and his wife Clare moved to Ireland. They settled in Kilfane Glebe, an early
19th century property including some ten acres of what he described as “Arcadian” landscape close to
Thomastown in Co Kilkenny. In time he set about creating a substantial studio, capable of accommodating
even the largest paintings. After about twelve years, they thought of moving on, and have subsequently
divided their time between London and North Mayo, from where his mother had reluctantly emigrated to
England in 1937.
In the few years prior to leaving Kilfane, he increasingly incorporated the immediate landscape in his
paintings, perhaps aware that he would soon be leaving it behind. He walked the land every day and, as he
said, an overriding theme in his work is “fading memory.” There is a fondly elegiac cast to a great deal of the
paintings he made at this time. That applies equally to the Kilfane setting and to Mayo, where he was head-
ed: he came across the shattered statue in Fallen Angel (2007) in the remote cemetery where his grandfa-
ther is buried in Mayo.
Fallen Elm (Kilfane) is a close companion to Fallen Angel, and a variation on one of his recurrent subjects: the
sleeper or dreamer folded into the earth. It shares the template of a photographic element on the right, here
the horizontal trunk of a felled, hollowed elm, and a material insertion into the fabric of the painting on the
left. In Fallen Angel the insertion is a wooden cross; here it is a door or window-shaped rectangle, a meta-
phor, perhaps, for the painting as a point of access to the buried past. These insertions were found materi-
als, usually wood panels or planks retained during the restoration of Kilfane, an assertion of painting’s status
for him as a kind of concrete poetry.
O’Donoghue’s gifts as a tactile painter with a pitch perfect instinct for colour and tonal values are fully
evident in this exceptional work. The glorious burst of light - life itself - renders the elm as a symbol of all of
nature, heroic, fallen, but an integral part of earth’s regenerative cycle.

63

64
56
DERMOT SEYMOUR RUA
(B.1956)
Girl Smoking
(22½ x 191/4”)
Signed and dated (19)’81
€ 800 - 1,200
57
DERMOT SEYMOUR RUA
(B.1956)
Untitled
Gouache on paper, 62 x 39cm
(24½ x 151/4”)
€ 600 - 800

65
58
MARTIN GALE RHA
(B.1949)
Back of Town (2003)
Triptych, oil on canvas, 60 x 90cm (23½ x 35½’’)
Signed; each panel signed and dated verso
Provenance: Taylor Galleries, Dublin
€ 4,000 - 6,000

66
59
CHARLES BRADY HRHA
(1926-1997)
The Dark Hill
Signed
€ 1,500 - 2,500

67
60
BARRIE COOKE HRHA
(1931 – 2014)
Study II for Diana of the Tekapo
Oil on board, 35 x 35cm (133/4 x 133/4”)
Signed, inscribed and dated (19)’89 verso
€ 2,500 - 3,500

69
61
LOUIS LE BROCQUY HRHA
(1916 - 2012)
The Táin
A set of nine lithographs, 36 x
52cm (14 x 20½’’)
Signed, dated 1969 and numbered
from an edition of 70;
Together with a key to the images
(10)
€ 8,000 - 12,000

70
62
(1916 - 2012)
Children in a Wood III
Lithographic print on handmade
Japanese paper, 57 x 77cm
(22½ x 301/4”)
Edition 68/75
Signed
Provenance: With Taylor Galleries
Dublin, label verso
€ 1,500 - 2,000
63
(1916 - 2012)
Riverrun Procession with
Lilies I
(22½ x 301/4”)
Edition 68/75
Signed
Provenance: With Taylor Galler-
ies Dublin, label verso
€ 1,500 - 2,000
64
(1916 - 2012)
Riverrun, Procession with
Lilies III
(22½ x 301/4”)
Edition 43/75
Signed
Provenance: With Taylor Galler-
ies Dublin, label verso
€ 1,500 - 2,000

71
65
LOUIS LE BROCQUY
HRHA
(1916 - 2012)
Being
Watercolour, 26 x 18cm
(101/4 x 7”)
Signed and dated
(19)’97
Signed, inscribed with
title & dated verso
Provenance: With The
Taylor Gallery, Belfast,
label verso
€ 3,000 - 5,000

72
66
MICHAEL FARRELL
(1940 - 2000)
Self-portrait
Etching, 49.5 x 64cm (19½ x 251/4”)
Signed, titled and dated (19)’77
€ 700 - 1,000
67
MICHAEL FARRELL
(1940 - 2000)
Miss O’Murphy, d’après Boucher
Lithograph, 46 x 46cm (18 x 18”)
Edition 8/45
€ 600 - 800

73
68
PATRICK SCOTT HRHA
(1921-1914)
Untitled
Etching with gold leaf, 127 x 130cm (50 x 511/4”)
Edition 54/75
Signed
Provenance: With the Fenton Gallery, Cork, label verso
€ 5,000 - 7,000

74
69
BASIL IVAN RAKOCZI
(1908 – 1979)
Faces I (Study for Three)
Indian ink and watercolour,
25 x 35.5cm (93/4 x 14”)
Signed
Provenance: With Charles
Gilmore Fine Art, Holy-
wood.
Exhibited, Holywood, Co.
Down, Charles Gilmore Fine
Art – White Stag Paintings,
15th November 2003
€ 800 - 1,200
70
BASIL IVAN RAKOCZI
(1908 – 1979)
Strange Landscape
55 x 45cm (21½ x 173/4”)
Signed
Gilmore Fine Art, Holy-
wood.
Exhibited, Holywood, Co.
Down, Charles Gilmore Fine
Art – White Stag Paintings,
15th November 2003
€ 800 - 1,200

75
71
BASIL IVAN RAKOCZI
(1908 – 1979)
Three
Oil on canvas, 51 x 61.5cm (20 x 24”)
Signed and inscribed indistinctly on reverse with sketch verso, flying figures
Provenance: With Charles Gilmore Fine Art, Holywood
Exhibited, Holywood, Co. Down, Charles Gilmore Fine Art – White Stag Paintings, 15th November 2003
€ 3,000 - 5,000

76
72
KENNETH HALL
(1913 - 1946)
Man in Room
Indian Ink and colour wash, 20 x
26cm (8 x 101/4”)
Signed
Provenance: With Charles Gil-
more Fine Art, Holywood, Co.
Down
€ 800 - 1,200
73
KENNETH HALL
(1913 - 1946)
Naked by Moonlight
27.4 x 25.5cm (103/4 x 10”)
Signed
Gilmore Fine Art, Holywood,
Co. Down
€ 800 - 1,200

77
74
KENNETH HALL
(1913 - 1946)
Trafalgar Square (1937)
Oil on Canvas, 76 x 101cm (30 x 393/4”)
Signed
Provenance: With Archer Gallery London,
Exhibited. Holywood, Co. Down, Charles Gilmore Fine Art – White Stag Paintings, 15th No-
vember 2003
€ 4,000 - 6,000

78
75
KENNETH HALL
(1913 - 1946)
Seated Woman
Oil on Canvas, 179 x 86.5cm
(70½ x 34”)
Signed, Unframed
Gilmore Fine Art, Holywood,
Co. Down
€ 3,000 - 5,000

79
76
FR. JACK P. HANLON
(1913 - 1968)
Madonna
Signed; inscribed with title on label verso
€ 2,000 - 3,000

80
77
PAULINE BEWICK RHA
(1935-2022)
Cock and Moon
Mixed media on card, 50 x 60cm (193/4 x 23½”)
Signed
€ 1,000 - 1,500

81
78
PAULINE BEWICK RHA
(1935-2022)
Summer Sun, Kerry
Ink, watercolour and metallic paint, 80.5 x 111cm (31½ x 43¾”)
€ 3,000 - 5,000

82
79
NORAH MCGUINNESS
HRHA
(1901-1980)
Country Life
Ink and watercolour, 24 x
36cm (9½ x 14”)
Signed
€ 700 - 1,000
80
NORAH MCGUINNESS
HRHA
(1901-1980)
Bar Scene
Ink and wash, 24.5 x 20cm
(9¾ x 8”)
Signed
€ 400 - 600

83
81
(1901 – 1980)
Waterfall in the Woods
Watercolour, 30 x 40cm (12 x 15¾”)
Provenance: Sold, Christies, South Kensington, 17th May, 2001 (lot 376)
€ 2,000 - 4,000

84
82
(1901 - 1980)
Days End on Dublin Bay
Oil on canvas, 91.5 x 122 (35¾ x 48”)
Signed
€ 30,000 - 40,000
Norah McGuinness was one of a number of remarkable women who, in essence, transformed Irish art in the first
half of the 20th century. They did so not only on the basis of gender, though they certainly did secure a central role
for women in the Irish visual arts, but also their varied though unmistakable commitment to aspects of modern-
ism - and modernity. Born in Derry, McGuinness was from early on a notably independent spirit (her family disap-
proved of her art studies, but she quickly became financially self-sufficient). A three-year scholarship brought her
to the Metropolitan School of Art in Dublin, where Harry Clarke, who became a good friend, saw her potential and
nudged her towards illustration. She proved to be a fine illustrator, but her sights were set on painting, and after
enjoying a year studying in London, a year that opened her eyes to the possibilities of contemporary painting, she
established herself in Wicklow; painting, illustrating and doing stage and costume designs for the Abbey and the
Peacock.
She also married the flighty literary figure Geoffrey Phibbs (later Geoffrey Taylor), hence finding herself an unwit-
ting participant in the emotional melodrama of his involvement with the ménage à trios comprising Laura Riding,
Robert Graves and Nancy Nicholson, initiating a scandal that inevitably ended their marriage in 1930 (when she
rebuffed Phibbs’s attempt at reconciliation).
Mainie Jellett had encouraged her to study Cubism with André Lhote, which she did. Technically adept, she easily
accommodated elements of Cubism in her own work, warming to Braque particularly, but also to the Post-Im-
pressionism of Raoul Dufy and the Fauvism of Maurice de Vlaminck. After time in Paris, London and New York she
settled in Dublin. Productive as an artist, she also designed window displays for Brown Thomas and was a found-
er-member of the Irish Exhibition of Living Art, serving as chair for many years. She and Nano Reid were the first
Irish artists to represent Ireland at the Venice Biennale, in 1950.
This audaciously spare work featuring a landmark location encapsulates her flair for pictorial design in a composi-
tion hinging on a dynamic arrangement of interlocking planes and forms, a beautifully engineered light-and-dark
tonal scheme and a minimal palette of black and white plus mauve-greys and yellows (and steering clear of her
customary greens and browns). She had, over the years, become expert at implying a wealth of detail with elegant
economy of means.

85

86
83
HILDA VAN STOCKUM
HRHA
(1908-2006)
Still Life with Bread
and Pottery
Oil on canvas, 37 x 45cm
(14½ x 17¾”)
€ 800 - 1,200
84
CAREY CLARKE
PPRHA
(B.1936)
Still life Study of
Mushrooms and
Pewter Jug
Oil on canvas, 25 x
30cm (9¾ x 12”)
Signed
€ 400 - 600

87
85
BARBARA WARREN RHA
(1925-2017)
Ballinakill Bay
Oil on linen, 61 x 71cm (24 x 28”)
Signed; inscribed verso
Exhibited: Dublin, Royal Hibernian Academy, Annual Exhibition 2003
€ 1,500 - 2,000

88
86
DANIEL O’NEILL
(1920 – 1974)
Girl in the Green Mask
Oil on board, 46 x 37.5cm (18 x 14½”)
Signed
Provenance: With The Oriel Gallery, Dublin; with Charles Gilmore, Holywood, Co. Down where purchased by the present own-
ers.
€ 15,000 - 20,000
Female figures are common in Belfast-born Daniel O’Neill’s oeuvre. His figures often inhabit an air of ambiguity, whether in full
portrait or set in serene Irish landscapes. His female subjects are distinct, with their almond eyes cast in shadow, un-naturally
slender yet elegant profiles, and dark features more akin to continental Europe than the island of Ireland.
Conceptually adrift and open to interpretation, the portraits composed by the artist inhabit many credible subjective readings:
maybe the women represent a sister lost in childhood - a life made all too short; the matriarchal anchor of the family, his mother,
who creatively encouraged the young artist; relationships past, a marriage to end in divorce; or later in life the birth of his first
child, a daughter. For the Catholic minority Belfast boy born into the Irish war of Independence, perhaps his figures were the rep-
resentation of Ireland herself, mourning those lost in her name and the countless many who emigrated, never to return. Any one
of these life story nodes, both personal and political, are credible interpretations of the artist’s work. Nevertheless, any resolve to
these narrative uncertainties remains veiled by O’Neill himself and his untimely death in 1974.
Remarking on the artist’s personality, Liam Kelly describes him as “something of a mystery man” - a trait of enigma that unfolds all
too well on canvas. Although, less so often do his figures quite literally wear this mystery as Girl in the Green Mask does.
The darkened green teal mask frames her distinctly O’Neill-style wide eyes, linking to her hairline and backdrop, all awash in dark-
ened turquoise turned teal. The borders between the flattened background, long flowing hair and mask all become mediating
zones rather than distinct boundaries. Girl in the Green Mask’s Delphian-like ambiguity seeks no resolve and instead gestures to
an alluring melancholy in motion. Does her head tilt in sorrow or in comfort to greet the upward vitalic brush strokes of O’Neill’s
flowers; do the flowers come to fall in her arms to embrace or drift upwards fleetingly; the far lines on the corner of her mouth
signal a modest smile rising or one which is fading. Girl in the Green Mask is a melancholic pivoting point, but whether to or from
is the punctum of unresolve.
Aside from a few classes at Belfast College of Art, O’Neill was primarily self-taught and much is owed to the people and places that
fostered his creativity into fruition. From his mother to a bygone bohemian Dublin, and not least of all people like Mr Jenkinson -
the head of Belfast reference library. Jenkinson bent the rules in lending out O’Neill illustrated books over weekends, resulting in
a young Irish artist’s introduction to the European Masters. A creative, fertile ground came to be when Sidney Smith opened up
his studio to O’Neill. The result was a space for contemporaries such as Colin Middleton, Markey Robinson and Gerard Dillon to
cross paths or creatively weave together as Dillon did in painting several portraits of O’Neill.
Professional certainty was ascertained in the 1940s when Victor Waddington signed the artist to his Dublin gallery, allowing him
to paint full time; the professional relationship would last until 1970. By his untimely passing in 1974, he had lived and worked in
Belfast, Dublin, London, and Paris; exhibited in over twenty overseas group exhibitions; held solo shows in Dublin, Belfast, and
Montreal; and had his first retrospective in 1952.
In 2022, Karen Reihill curated the artist’s first retrospective in seventy years at Farmleigh Gallery, Dublin, showcasing work bor-
rowed from collections of IMMA, the University of Limerick, and the Ulster Museum. Some work unseen by the public for over 50
years was opened to critics and audiences, old and new, welcoming new interpretations and further canonising the artist to the
status of his contemporaries.
Simon Bhuiyan, August 2022

89

90
87
JOHN LUKE RUA
(1906-1975)
Study of a Standing Male Nude
Pencil, 31.8 x 17.3cm (12½ x 6¾’’)
Provenance: The artist’s studio,
private collection.
€ 200 - 400
88
JOHN LUKE RUA
(1906-1975)
Study of a Baby
Pencil, 28 x 18.5cm (11 x 7¼’’)
Signed and dated 17th March 1933
Provenance: The artist’s studio, private collection.
€ 200 - 400

91
89
DANIEL O’NEILL
(1920 – 1974)
Study of a Woman
Indian ink and wash, 23 x 14.5cm (9 x 5¾”)
Signed
€ 3,000 - 5,000

92
90
TERENCE P. FLANAGAN PRUA RHA
(1929-2011)
Stream Through Sand Series
Oil on board, 30 x 39cm (11¾ x 15¼’’)
Signed
€ 2,000 - 3,000

93
91
TERENCE P. FLANAGAN PRUA RHA
(1929-2011)
Lough Coole from Castle Coole (1977/78)
Oil on canvas, 70 x 90cm (27½ x 35½’’)
Signed
Exhibited: Belfast, Ulster Museum Retrospective, Nov 1995-Feb 1996, illustrated in catalogue
p.70.
Literature: S. Brian Kennedy, ‘T.P. Flanagan Painter of Light and Landscape’, Lund Humphreys,
2013, illustrated p.109.
€ 4,000 - 6,000

94
92
TOM CARR ARHA HRUA ARWS
(1909 - 1999)
Tinkers’ Encampment
Watercolour, 19 x 20.5cm (7½ x 8”)
Signed
€ 400 - 600
93
TOM CARR ARHA HRUA ARWS
(1909 - 1999)
Sketch of a Young Girl
Ink and Pencil, 24 x 17cm (9½ x 6¾”)
Signed
€ 300 - 400

95
94
BASIL BLACKSHAW HRHA RUA
(1932 - 2016)
Orchard, Ballinderry
Mixed media on paper, 56 x 84 (22 x 23”)
Signed and inscribed with title verso
Exhibited: Tom Caldwell Gallery, March 1981
€ 3,000 - 5,000

96
95
PATRICK HICKEY HRHA
(1927 - 1998)
Harvest Fields II
Oil on canvas, 40 x 50cm (15¾ x 19¾”)
Signed
Provenance: With The Dawson Gallery,
Dublin, label verso
€ 800 - 1,200
96
MICHAEL FARRELL
(1940 - 2000)
Untitled
Signed and dated 1991
€ 800 - 1,200

97
97
MICHAEL FARRELL
(1940 - 2000)
Meeting of Proust, Joyce, and Picasso on May 18th 1917
Oil, charcoal and collage on canvas, 145 x 228cm (57 x 89¾”)
€ 6,000 - 10,000

98
98
RORY BRESLIN
(B.1963)
The September Mask
Bronze, 67(h) x 38cm(w) (26½ x 15”)
Edition 1/3
The ninth mask in the Clew Bay Series, which chronicles and celebrates the emergence of native flora and fauna as they
appear by month in the Co. Mayo Bay area, The September Mask is alert and engaging. With her deep dark eyes assertively
arresting the viewer and appearing in expression to address them, this assuredness is somewhat softened by the Nóinín
mór or Oxeye Daises, appropriately framing her eyes above and on her cheekbones. Leaves of the Ribwort Plantain, in folk-
lore chewed and applied to a sore to encourage healing, drape from her temples and envelope the lower part of the work
encasing Blackberries, Rosehips and Willowherb leaves.
Shaped like a Lunula with wings outstretched, below the Sparrow cuts through the undergrowth. Sacred to Aphrodite, but
lecherous to Shakespeare, this bird is escaping the dramatic dive of the Sparrow-hawk. This ‘bird of the wind’ energetically
crowns the piece, its dynamism softened only by the nexus of Bindweed flowers
€ 5,000 - 8,000

99
99
RORY BRESLIN
(B.1963)
General Michael Collins
Bronze, 71cm(h) x 63cm(w) (28 x 24¾”)
Signed
Edition 3/3
This Michael Collins bust is based on the interpretation of two images of him. The first is believed to have been taken not
long before the Treaty negotiations where his countenance is determined, his gaze fixed and his hair slightly tousled. The
second from a Pathé news reel possibly taken in Richmond Barracks in full uniform.
By combining elements of the images, the aura of resolve and tenacity, the uniform and subtly adjusting some aspects
of the presentation, i.e., bowing the head slightly in thought, and unbuttoning the uniform; the bronze depicts a Collins
resolute yet perhaps reflective. Deep in thought, he emanates the presence of a man with many things to contemplate and
difficult decisions to make. “To me the task is a loathsome one. I go in the spirit of the soldier who acts against his best judg-
ment at the orders of his superior” - on being sent to Downing St. for the negotiations.
€ 5,000 - 8,000

100
100
EDWIN HAYES
(1819 - 1904)
French Fishing Boats
Signed
€ 8,000 - 12,000
Edwin Hayes remains one of the most illustrious of Ireland’s maritime painters. Hayes may have been born in Bristol, but it was in
Dublin that his painting skills and career blossomed. He enjoyed a long career which saw his works exhibited regularly at both the
Royal Hibernian Academy and the Royal Academy from the mid-19thcentury onwards.
Hayes worked on transatlantic sailing vessels and was also a keen yachtsman. This time spent at sea gave Hayes a deep understand-
ing of the subject and bestowed on him a gift for handling marine subjects. Hayes was famed for his seascapes of the Channel and
the Irish Sea. In the present work we see French fishing vessels navigating stormy seas off the English south coast, probably close
to Folkstone. The piece focuses on the crew of a single lugger who skilfully steer clear of a rocky outcrop. The narrative creates a
nervous excitement within the viewer as they fear for the safety of the crew. The life buoy in the left middle ground highlights that
they are perilously close to rocks. The rocks indeed serve as a reminder of the dangers these fleets faced daily. The life buoy adds
tension to the piece as the onlooker momentarily dreads that a member of the crew has fallen overboard.
The white clouds are mirrored by the white capped waves crashing against the coast. The serene sky above the sailors contrasts to
the incoming dark clouds that have begun to roll across the mainland. The movement of the fishing boat is mirrored by the flight
of the gull that glides across the foreground with its attentively detailed black tipped wings. The tower and ruins on the headland
create an elegant backdrop to the coastal scene.
Daragh Geraghty-Singleton, August 2022

101

102
101
GEORGE CHINNERY
(1774-1852)
View of a Ruined Tower
on a Lake in Southern
Ireland
Watercolour, 15.5 x 18cm
(6¼ x 7”)
Provenance: With The
Bell Gallery, Belfast, label
verso; with Squire Gallery,
London, label verso
€ 700 - 1,000
102
WILLIAM CALLOW
(1812-1908)
The River Lee near Cork
Pencil and Watercolour, 26 x 36cm
(10¼ x 14”)
Signed
€ 700 - 1,000

103
103
ANDREW NICHOLL RHA
(1804-1886)
Dunluce Castle, Co. Antrim
Watercolour, 34.5 x 51cm (13½ x 20”)
Signed
€ 1,500 - 2,500

104
104
ALFRED DE BREANSKI
(1852-1928)
In the Gap of Dunloe, Killarney, Ireland
Signed; also signed and inscribed verso
Provenance: With Roberts Art Gallery, Toronto, Canada 1934
€ 3,000 - 5,000

105
105
WILLIAM SADLER II
(1782-1839)
Carriages on College Green, Dublin
Oil on panel, 21.2 x 33cm (8¼ x 13”)
€ 1,500 - 2,500

106
106
JOSEPH WILLIAM CAREY
ARUA
(1859-1937)
Entrance, Port of Dublin
Watercolour, 30 x 57cm (11¾
x 22½”)
Signed, dated 1916 and
inscribed
€ 500 - 800
107
HELEN O’HARA
(1846-1920)
Coastal Scenes on the
South Coast of Ireland
A pair, watercolour, 36 x 53cm
(14¼ x 21”)
€ 800 - 1,200

107
108
GEORGE RUSSEL ‘AE’
(1867 - 1935)
Coastal Landscape with Two Figures on a Headland
€ 5,000 - 8,000

108
109
WILLIAM CONOR RHA RUA ROI
(1881 – 1968)
The Fiddler
Pastel on paper, 38.5 x 28cm (15¼ x 11”)
Signed
€ 3,000 - 5,000

109
110
(1881-1968)
The Farm Gate
Wax crayon and charcoal, 45 x 36cm (17¾ x 14’’)
Signed twice
€ 3,000 - 5,000

110
111
(1881-1968)
Smiling Girl
Pastel, 13 x 9.5cm (5 x 3¾”)
Signed
Provenance: With The Bell Gallery, Belfast, label
verso
€ 800 - 1,200
112
CLARKE STAINED GLASS STUDIO
A Study for a Stained Glass Window
Ink and watercolour, 23 x 6.3cm (9 x 2½”)
Unframed;
Together with ‘The History of a Great House’ -
Origin of John Jameson Whiskey, with Drawings by
Harry Clarke, published by Maunsel & Roberts, Ltd.
1924. (2)
€ 300 - 500

111
113
HARRY CLARKE RHA
(1889 - 1931)
Sketch for the “Drinking Scene”, Geneva Window
Pencil and watercolour, 23 x 7.5cm (9 x 3”)
€ 3,000 - 5,000

112
114
ESTELLA FRANCES SOLOMONS
HRHA
(1882-1968)
Portrait of a Woman
Oil on canvas, 53.5 x 43.5cm (21 x 17¼”)
€ 1,200 - 1,600
115
ESTELLA FRANCES SOLOMONS
HRHA
(1882-1968)
Landscape
€ 600 - 800

113
116
ESTELLA FRANCES SOLOMONS HRHA
(1882-1968)
Woman in an Interior, Reading
Oil on canvas, 43 x 53cm (17 x 20¾”)
Signed
€ 1,800 - 2,200

114
117
JOHN BUTLER YEATS RHA
(1939-1922)
Sketch of a Lady
Pencil, 24.5 x 17cm (9½ x 6¾”)
Indistinctly inscribed and dated March 28th, 1901
Provenance: The Yeats Family; Sale, Sotheby’s, Lon-
don, ‘The Yeats Family Collection’, 27th September
2017, lot 43
€ 1,000 - 1,500
118
JOHN BUTLER YEATS RHA
(1939-1922)
In the Library (possibly Lily reading)
Pencil, 24 x 17cm (9½ x 6¾”)
Provenance: The Yeats Family; Sale, Sotheby’s,
London, ‘The Yeats Family Collection’, 27th
September 2017, lot 43
€ 1,000 - 1,500

115
119
JACK BUTLER YEATS RHA
(1871-1957)
Watching Cricket
Watercolour on paper, 8.5 x 13cm (3½ x 5”)
Exhibited: London, Fine Art Society, 1982;
With Peppercanister Gallery, Dublin, label verso
€ 1,000 - 1,500
120
WILLIAM BUTLER YEATS
(1865-1939)
Poems, London T Fisher Unwin, 1895. 8vo
Illustrated title-page by H. Granville Fell.
Original cream cloth covered boards pic-
torially stamped in gilt with a design by H.
Granville Fell
€ 1,000 - 1,500

116
121
OISIN KELLY RHA
(1915-1981)
Four Ducks
Earthenware, 18 x 22 x 11cm (7 x 8¾ x 4¼”)
Kilkenny Design stamp verso
€ 800 - 1,200
122
SOPHIA ROSAMUND PRAEGER HRHA
(1867 - 1954)
The Child Francis of Assisi
Plaster panel 28 x 12.5cm (11 x 5”)
Signed
€ 500 - 800

117
123
OISIN KELLY RHA
(1915-1981)
Kilcorban Madonna
Terracotta, 62cm(h) (24½”)
€ 2,000 - 3,000

118
124
CHARLES HARPER RHA
(B.1943)
End Race II
Acrylic on canvas, 130 x 110cm (51¼ x 43¼”)
Exhibited: Hallward Gallery, Dublin, 2005
€ 2,000 - 4,000
125
HUGHIE O’DONOGHUE RA
(B.1953)
‘I am the One Who Will Leave’
Oil and mixed media on board, 66 x 46cm
(26 x 18”)
Signed; inscribed and dated 2005 verso
€ 5,000 - 8,000

119

120
126
NEIL SHAWCROSS RHA RUA
(B.1940)
Telephone
Acrylic on paper, 81 x 94cm (32 x 37”)
€ 1,500 - 2,000

www.adams.ie
121
Important Irish Art | 28 September 2022
127
JOHN B. VALLELY
(B.1941)
Fred Finn, Fiddler
Oil on Canvas, 60 x 50.5cm (23¾ x 20”)
Fred Finn (1919 - 1986) was a popular musician in south Sligo, known for his wit and humour as well as his fiddle
playing.
€ 5,000 - 8,000

122
128
BRETT MCENTAGART
RHA
(B.1939)
Winter Farm
(20 x 31”)
Exhibited: Dublin, Royal
Hibernian Academy, An-
nual Exhibition 2007
€ 800 - 1,200
129
BRETT MCENTAGART
RHA
(B.1939)
Flower Garden
Oil on canvas on board, 35
x 46cm (13¾ x 18”)
Signed with initials; also
signed and inscribed on
artists label verso
€ 1,000 - 1,500

123
130
PETER COLLIS RHA
(1929-2012)
Killiney Bay (2003)
Oil on canvas, 63 x 76cm (24¾ x 30’’)
Signed
Provenance: With John Martin Gallery, London.
€ 3,000 - 4,000

124
131
THOMAS RYAN PRHA
(B.1929)
Garden Pond
(12 x 15¾”)
verso
€ 1,000 - 1,500
132
THOMAS RYAN PRHA
(B.1929)
Basilica at Lourdes
Watercolour, 40 x 32cm
(15¾ x 12½”)
€ 600 - 800

125
133
ROY LYNDSAY
(B.1945)
On the Beach, Inisheer
Oil on canvas, 48 x 63cm (19 x 24¾”)
Signed and dated (19)’88, inscribed with title verso
€ 2,000 - 3,000

126
134
ROY LYNDSAY
(B.1945)
Born and Bred in Dublin
€ 1,500 - 2,000

127
135
ROBERT TAYLOR CARSON HRUA
(1919-2008)
Turf Party
Oil on board, 50 x 60cm (19¾ x 23½”)
Signed; inscribed and dated (19) ‘68 verso
€ 2,000 - 3,000

128
137
FRANK MCKELVEY RHA
RUA
(1895-1974)
Misty Coastal Scene with
Figures and Moored
Boats
Watercolour, 37 x 52.5cm
(14½ x 20¾’’)
Signed
€ 1,500 - 2,500
136
JOHN HENRY CAMPBELL
(1757-1828)
Luggala, Co. Wicklow
Watercolour, 21 x 30cm (8¼ x
11¾”)
Provenance: With The Bell Gal-
lery, Belfast, label verso; with
Fine Art Society label verso
€ 600 - 800

129
138
CHARLES LAMB RHA
(1893 - 1964)
Coastal Landscape Near Carraroe, Connemara
Oil on board, 26 x 34cm (10¼ x 13¼”)
Signed
€ 2,000 - 4,000

130
139
TREVOR GEOGHEGAN
(B.1946)
Frost in the Morning
Oil on canvas, 50 x 70cm (19¾ x 27½”)
Signed
€ 2,500 - 3,000

131
140
VICTOR RICHARDSON
(B.1952)
Willow at St. Aubin
Oil on canvas, 61 x 92cm (24 x 36¼")
Signed
Provenance: With Jorgensen Gallery, Dublin, label verso
€ 4,000 - 6,000

132
141
GAVIN LAVELLE
(B.1969)
Faul, Ardbear
Oil on canvas, 60 x 90cm (23½ x 35½’’)
Signed, also signed and inscribed verso
€ 500 - 800
142
DENISE FERRAN RUA
(B.1942)
Patricia’s Garden
Oil on canvas, 30.5 x 30.5cm (12 x 12’’)
Signed
Provenance: With The Gordon Gallery, Derry.
€ 300 - 500

133
143
PATRICK LEONARD HRHA
(1918-2005)
Ladies Day - The Curragh
Oil on board, 28.5 x 39cm (11¼ x 15¼”)
signed
€ 1,000 - 1,500

134
144
ALEXEY KRASNOVSKY
(1945-2016)
Cox Apples
(20 x 26”)
Signed and inscribed verso
€ 1,500 - 2,500
145
ALEXEY KRASNOVSKY
(B.1945)
Still Life with Fruit and
Glass
(17 x 18”)
Signed, inscribed, and
dated, 2005 verso
€ 1,000 - 1,500

135
146
TERENCE P. FLANAGAN PPRUA RHA
(1929-2011)
A Study in Stillness (Four Bowls)
Quadriptych, oil on canvas, 153 x 182.5cm (50¼ x 71¾’’)
Signed
Provenance: With David Hendriks Gallery, Dublin as ‘Stillness’ (Series No.2).
€ 3,000 - 5,000

136
147
TOM ROCHE
(B.1940)
The Artist’s Studio
Watercolour, 22 x
37cm (8¾ x 14½’’)
Signed
Provenance:
Purchased by the
present owner di-
rectly from the artist,
1991.
€ 300 - 500
148
MANUS WALSH
(B.1940)
Island Dusk
Watercolour, 23 x
28cm (9 x 11”)
Signed
€ 120 - 160

137
149
PATRICK COLLINS HRHA
(1910-1994)
Old Lady in Window
Oil on Canvas, 25.5 x 30.5cm (10 x 12”)
Signed
Provenance: With Tom Caldwell Gallery, label verso.
€ 2,500 - 3,500

138
150
CHARLES MCAULEY
RUA ARSA
(1910-1999)
Cattle Grazing in
Glendun
(15 x 21½’’)
Signed
€ 1,500 - 2,000
151
GEORGE K. GILLESPIE
RUA
(1924-1995)
Ards, Donegal
(15¾ x 30”)
Signed
€ 1,500 - 2,500

139
152
GEORGE K. GILLESPIE RUA
(1924-1995)
Feeding the Chickens
Oil on board, 27 x 35cm (10½ x 13¾”)
Signed
€ 1,500 - 2,500

140
153
ROBERT TAYLOR CARSON HRUA
(1919-2008)
The Deal over a Bottle of Stout
Oil on canvas, 49.5 x 59.5cm (19½ x 23½”)
Signed, inscribed and dated (19)‘78 verso
€ 700 - 1,000
154
MARKEY ROBINSON
(1918-1999)
Figures with Cottages
Gouache on board, 13 x 36.5cm (5 x 14½”)
Signed
€ 1,200 - 1,800

141
155
MARKEY ROBINSON
(1918 - 1999)
Coastal Landscape with Cottages and Figures
Gouache on board, 64 x 94cm (25¼ x 37”)
Signed
€ 4,000 - 6,000

142
156
HARRY KERNOFF RHA
(1900-1974)
Portrait of John Millington Synge
Pastel, 39 x 30cm (15¼ x 11¾”)
Signed lower left
€ 800 - 1,200
157
GRAHAM KNUTTEL
(B.1954)
Sailors
Acrylic on canvas, 122 x 91.5cm (48 x 36”)
Signed
€ 3,000 - 5,000

143
158
GRAHAM KNUTTEL
(B.1954)
Three Gangsters
Acrylic on paper, 50 x 70cm (19¾ x 27½”)
Signed
€ 1,200 - 1,600
159
GRAHAM KNUTTEL
(B.1954)
Ladies at Lunch
Acrylic on canvas, 91 x 91cm (36 x 36”)
Signed
Provenance: With Charles Gilmore Fine
Art, Holywood, Co. Down
€ 2,000 - 4,000

144
160
GRAHAM KNUTTEL
(B.1954)
Couple in a Wine Bar
Signed
€ 2,000 - 3,000
161
GRAHAM KNUTTEL
(B.1954)
Still Life with Gull
Signed
€ 2,500 - 3,500

CONCLUSION OF SALE

145
Alexander, Douglas 38
Behan, John 36
Bewick, Pauline 77, 78
Blackshaw, Basil 94
Brady, Charles 59
Breanski, Alfred de 104
Breslin, Rory 98, 99
Cahill, Richard Staunton 44
Callow, William 102
Campbell, George 13
Campbell, John Henry 136
Carey, Joseph William 106
Carr, Tom 92, 93
Carson, Robert Taylor 135, 153
Chinnery, George 101
Clarke, Carey 84
Clarke, Harry 113
Clear, Ciaran 4
Collins, Patrick 149
Collis, Peter 130
Conor, William 109 - 111
Cooke, Barrie 60
Dillon, Gerard 14, 15, 33
Farrell, Michael 66, 67, 96, 97
Faulkner, John 41
Ferran, Denise 142
Fitzharris, Mike 52 - 54
Flanagan, T. P 90, 91, 146
Forbes, Stanhope A 45
Gale, Martin 58
Geoghegan, Trevor 139
Gillespie, George 151, 152
Hall, Kenneth 72 - 75
Hamilton, Letitia Marion 8
Hanlon, Jack. P 76
Harper, Charles 124
Hayes, Edwin 100
Hennessy, Patrick 10, 11
Heron, Hilary 34, 35
Hickey, Patrick 95
Hone, Nathaniel 40
Jeune, James le 7
Kelly, Oisin 121, 123
Kernoff, Harry 16- 18, 156
Knuttel, Graham 157 - 161
Krasnovsky, Alex 144, 145
Kyle, Georgina Moutray 47
Lamb, Charles 48 – 50, 138
Lavelle, Gavin 141
Le Brocquy, Louis 61 - 65
Leonard, Patrick 143
Luke, John 87, 88
Lyndsay, Roy 133, 134
MacGonigal, Maurice 6
Maguire, Cecil 1 - 3
Marquis, James Richard 43
McAuley, Charles 150
McEntagart, Brett 128, 129
McGuinness, Norah 19, 79 - 82
McKelvey, Frank 137
Middleton, Colin 23 - 32
Miles, Thomas Rose 42
Nicholl, Andrew 103
O’Conor, Roderic 46
O’Brien, Kitty Wilmer 9
O’Donoghue, Hughie 55, 125
O’Hara, Helen 107
O’Neill, Daniel 22, 86, 89
Praeger, Sophia Rosamund 122
Rakoczi, Basil Ivan 69 - 71
Reid, Nano 12
Richardson, Victor 140
Robinson, Markey 154, 155
Roche, Tom 147
Russell, George (AE) 108
Ryan, Thomas 131, 132
Sadler, William II 105
Salkeld, Cecil Ffrench 20, 21
Scott, Anthony 37
Scott, Patrick 68
Seymour, Dermot 56, 57
Shawcross, Neil 126
Solomons, Estella Frances 114 - 116
Stockum, Hilary van 83
Teskey, Donald 51
Vallely, John B 127
Walker, John Crampton 39
Walsh, Manus 148
Warren, Barbara 85
Webb, Kenneth 5
Yeats, Jack Butler 119
Yeats, John Butler 117, 118
Yeats, William Butler 120
INDEX

146
GENERAL TERMS & CONDITIONS OF BUSINESS
The Auctioneer carries on business on the following terms and conditions and on such other terms or conditions as may be expressly agreed with the Auction-
eer or set out in any relevant Catalogue. Conditions 17-22 relate mainly to buyers and conditions 24-40 relate mainly to sellers. Words and phrases with special
meanings are defined in condition 1. Buyers and sellers are requested to read carefully the Cataloguing Practice and Catalogue Explanations contained in condi-
tions 2 and 8.
DEFINITIONS AND GENERAL CONDITIONS
Definitions
1. In these conditions the following words and expressions shall have the
following meanings:
‘Auctioneer’ – James Adam and Sons trading as Adam’s
‘Auctioneer’s Commission’ – The commission payable to the Auctioneer by
the buyer and seller as specified in conditions 22 and 26.
‘Catalogue’ – Any advertisement, brochure, estimate, price list or other
publication.
‘Forgery’ – A Lot which was made with the intention of deceiving with re-
gard to authorship, culture, source, origin, date, age or period and which
is not shown to be such in the description therefore in the Catalogue and
the market value for which at the date of the auction was substantially less
than it would have been had the Lot been in accordance with the Catalogue
description.
‘Hammer Price’ – The price at which a Lot is knocked down by the Auction-
eer to the buyer.
‘Lot’ – Any item which is deposited with the Auctioneer with a view to its
sale at auction and, in particular, the item or items described against any
Lot number in any Catalogue.
‘Proceeds of Sale’ – The net amount due to the seller being the Hammer
Price of the Lot after deducting the Auctioneer’s Commission thereon un-
der condition 26 the seller’s contribution towards insurance under condi-
tion 28, such VAT as is chargeable and any other amounts due by the seller
to the Auctioneer in whatever capacity howsoever arising.
‘Registration Form or Register’ – The registration form (or, in the case of
persons who have previously attended at auctions held by the Auctioneer
and completed registration forms, the register maintained by the Auction-
eer which is compiled from such registration forms) to be completed and
signed by each prospective buyer or, where the Auctioneer has acknowl-
edged that a bidder is acting as agent on behalf of a named principal, each
such bidder prior to the commencement of an auction.
‘Sale Agreement Form’ – The sale agreement form to be completed and
signed by each seller prior to the commencement of an auction.
‘Total Amount Due’ – The Hammer Price of the Lot sold, the Auctioneer’s
Commission due thereon under condition 22, such VAT as is chargeable
and any additional interest, expenses or charges due hereunder.
‘V.A.T.’ – Value Added Tax.
Cataloguing Practice and Catalogue Explanations
2.Terms regarding cataloguing practice used in catalogues have specific
meanings, and attention is drawn to these explanations in each published
catalogue.
GENERAL CONDITIONS
Auctioneer Acting as Agent
3. The Auctioneer is selling as agent for the seller unless it is specifically
stated to the contrary. The Auctioneer as agent for the seller is not respon-
sible for any default by the seller or the buyer. The Auctioneer reserves the
right to bid on behalf of the seller.
Auctioneer Bidding on behalf of Buyer
4. It is suggested that the interests of prospective buyers are best protected
and served by the buyers attending at an auction. However, the Auctioneer
will, if instructed, execute bids on behalf of a prospective buyer. Neither the
Auctioneer nor its employees, servants or agents shall be responsible for
any neglect or default in executing bids or failing to execute bids.
Admission to Auctions
5. The Auctioneer shall have the right exercisable in its absolute discretion
to refuse admission to its premises or attendance at its auctions by any
person.
Acceptance of Bids
6. The Auctioneers shall have the right exercisable in its absolute discretion
to refuse any bids, advance the bidding in any manner it may decide, with-
draw or divide any Lot, combine any two or more Lots and, in the case of a
dispute, to put any Lot up for auction again.
Indemnities
7. Any indemnity given under these conditions shall extend to all actions,
proceedings, claims, demands, costs and expenses whatever and howso-
ever incurred or suffered by the person entitled to the benefit of the in-
demnity and the Auctioneer declares itself to be a trustee of the benefit of
every such indemnity for its employees, servants or agents to the extent
that such indemnity is expressed to be for their benefit.
Representations in Catalogues
8. Representations or statements made by the Auctioneer in any Cata-
logue as to attribution, authorship, genuineness, source, origin, date, age,
provenance, condition or estimated selling price or value is a statement of
opinion only. Neither the Auctioneer nor its employees, servants or agents
shall be responsible for the accuracy of any such opinions. Every person
interested in a Lot must exercise and rely on their own judgement and
opinion as to such matters.
Governing Law
9. These conditions shall be governed by and construed in accordance with
Irish Law.
Notices
10. Any notice or other communication required to be given by the Auction-
eer hereunder to a buyer or a seller shall, where required, be in writing and
shall be sufficiently given if delivered by hand or sent by post to, in the case
of the buyer, the address of the buyer specified in the Registration Form or
Register, and in the case of the seller, the address of the seller specified in
the Sale Agreement Form or to such other address as the buyer or seller (as
appropriate) may notify the Auctioneer in writing. Every notice or commu-
nication given in accordance with this condition shall be deemed to have
been received if delivered by hand on the day and time of
delivery and if delivered by post three (3) business days after posting.
Conflict of Interest
11. The Auctioneer affirms that no conflict of interest exists that prevents
him/her providing the property service for the Client.
Records
12. The Auctioneer will keep a record of the services provided on foot of
any Agreement for 6 years. All financial records must be kept for 7 years.
Bank Account
13. The Auctioneer’s “Client Account” is held at:
Bank of Ireland
39 St. Stephen’s Green
Dublin 2
Client Monies
14. Any interest credited to the Client Account in respect of monies held by
the Auctioneer will be dispersed in accordance with the Property Services
(Regulation) Act 2011 (Client Moneys) Regulations 2012.
Complaints
15. Any complaint which the Client may have arising under this Agreement
may be dealt with by Eamon O’Connor - email: e.oconnor@adams.ie - tel:
+353 1 6760261. A response will issue within 10 working days of receipt of
the complaint.
Where the Client is dissatisfied with the response to the complaint received
from the Auctioneer, the Client may make a complaint to: Property Services
Regulatory Authority, Abbey Buildings, Abbey Road, Navan, Co Meath, C15
K7PY.
Statement of obligations on the Auctioneer pursuant to section 42
and 43 of the Criminal Justice (Money Laundering and Terrorist Fi-
nancing) Act 2010
16. The Auctioneer is obliged under sections 42 and 43 of the Criminal Jus-
tice (Money Laundering and Terrorist Financing) Act 2010 to report to An
Garda Síochána and the Revenue Commissioners suspicious transactions
and transactions involving places designated under section 32 of that Act.
The maximum cash accepted per transaction is €8,000. For any cash pay-
ments in excess of €500, a PSRA cash origin form will have to completed.
1
6
16

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