Adams Important Irish Art Auction 27th March 2018

Est1887
Auction Tuesday 27th
March 2018
IMPORTANT IRISH ART AUCTION

Front Cover Paul Henry Lot 23
Inside front cover Patrick Hennessy Lot 99
Page 1 (Opposite) Daniel O’Neill Lot 12
Page 2 Colin Middleton Lot 13
Page 5 Richard Doyle (Detail) Lot 57
Back cover William Conor Lot 29

IMPORTANT IRISH ART
Auction Tuesday 27th March, 2018, at 6pm

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AUCTION
Tuesday 27th March 2018 at 6pm
VENUE
Adam’s Salerooms,
26 St. Stephen’s Green, Dublin D02 X665,
Ireland
VIEWING: MARCH 23rd - 27th

Adam’s, 26 St. Stephen’s Green, Dublin D02 X665

Friday 23rd March 10.00am - 5.00pm
Saturday 24th March 12.00pm - 5.00pm
Sunday 25th March 2.00pm - 5.00pm
Monday 26th March 10.00am - 5.00pm
Tuesday 27th March 10.00am - 5.00pm

ADAM’S
Est.1887
26 St. Stephen’s Green
Dublin D02 X665
Tel +353 1 6760261
info@adams.ie
www.adams.ie
IMPORTANT IRISH ART

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Brian Coyle FSCSI FRICS
CHAIRMAN
James O’Halloran BA FSCSI FRICS
MANAGING DIRECTOR
j.ohalloran@adams.ie
Stuart Cole MSCSI MRICS
DIRECTOR
s.cole@adams.ie
Katie McGale BComm Intl MPhil
FINE ART DEPARTMENT
katie@adams.ie
David Britton BBS ACA
DIRECTOR
d.britton@adams.ie
Amy McNamara BA
FINE ART DEPARTMENT
amymcnamara@adams.ie
Eamon O’Connor BA
DIRECTOR
e.oconnor@adams.ie
Adam Pearson BA
FINE ART DEPARTMENT
a.pearson@adams.ie
Helena Carlyle
ADMINISTRATOR
h.carlyle@adams.ie
Niamh Corcoran
ADMINISTRATOR
niamh@adams.ie
Ronan Flanagan
FINE ART DEPARTMENT
r.flanagan@adams.ie
Nick Nicholson
CONSULTANT
n.nicholson@adams.ie
CONTACTS

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www.adams.ie Important Irish Art | 27th March 2018

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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 pro-
spective purchasers. They are approximate prices which are expected, are not definitive and are subject to revision. Reserves, if any, will
not be any higher than the lower estimate.
2. PADDLE BIDDING
All intending purchasers must register for a paddle number before the auction. Please allow time for registration. Potential purchasers
are recommended to register on viewing days.
3. PAYMENT, DELIVERY AND PURCHASERS PREMIUM
Wednesday 28th March 2018. Under no circumstances will delivery of purchases be given whilst the auction is in progress. All purchas-
es must be paid for and removed from the premises not later than Wednesday 28th March 2018 at the purchaser’s risk and expense.
After this time all uncollected lots will be removed to commercial storage and additional charges will apply.
Auctioneers commission on purchases is charged at the rate of 20% (exclusive of VAT). Terms: Strictly cash, bankers draft or cheque
drawn on an Irish bank. Cheques will take a minimum of five 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. 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 1.5% on the
invoice total. American Express is subject to a charge of 3.65% on the invoice total. Debit cards including laser card payments are not
subject to a surcharge, there are however daily limits on Laser card payments. Bank Transfer details on request. 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 released upon clearance through the bank of all monies due. Artists Resale Rights (Droit de Suite) is NOT payable by
purchasers.
4. VAT REGULATIONS
All lots are sold within the auctioneers VAT margin scheme. Revenue Regulations require that the buyers premium must be invoiced at a
rate which is inclusive of VAT. This is not recoverable by any VAT registered buyer.
5. It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. Whilst we make certain observations on
the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance
only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference
does not imply that an item is free from defects or restoration, nor does a reference to particular 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 Saturday 24th March as we cannot guarantee that they
will be dealt with after this time.
6. ABSENTEE BIDS
We are happy to execute absentee or written bids for bidders who are unable to attend and can 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
absentee and telephone bidding must be made before 5pm on the day prior to sale. Cancellation of bids must be confirmed before this
time and cannot be guaranteed after the auction as commenced.
Bidding by telephone may be booked on lots with a minimum estimate of €500. Early booking is advisable as availability of lines cannot
be guaranteed.
7. ACKNOWLEDGMENTS
We would like to acknowledge, with thanks, the assistance of Denise Ferran, Karen Reihill, Dr. S.B. Kennedy, Dickon Hall, Marianne
O’Kane Boal, Catherine Marshall, Hilary Pyle, Sean Kissane and Billy Shortall.
8. ALL LOTS ARE BEING SOLD UNDER THE CONDITIONS OF SALE AS PRINTED IN THIS CATALOGUE AND
ON DISPLAY IN THE SALEROOMS.

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1 MURIEL BRANDT RHA (1909-1981)
Study for The Breadline 1916
Ink and Watercolour, 17 x 18.5cm (6¾ x 7¼”)
Signed and inscribed with title
The finished work of this study is in the collection of the Crawford Gallery, Cork and featured on the front
cover of ‘Conflicting Visions in a Turbulent Age’
€ 400 - 600

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2 BEATRICE LADY GLENAVY RHA (1881 -1970)
The Irish Madonna (c.1907/10)
Pastel, 62 x 32cm (24½ x 12½’’)
Signed with monogram (Elvery)
Provenance: Originally in the collection of Emily Persse (nee Brooke) (1890-1953), daughter of Rose
Barton’s sister, Emily Alma Brooke; later in the collection of Margaret (Midge) Brooke (1895-1981)
who was married to Emily’s brother, John; and then to their son, Lt. Cdr. Geoffrey Brooke (1920-
2009); and thence by descent to the current owner.
€ 1,000 - 2,000

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3 BEATRICE LADY GLENAVY RHA (1881 -1970)
The Apple
Oil on canvas, 45.5 x 35.3cm (18 x 14’’)
Signed with monogram and dated 1936; also signed verso with title and address
Exhibited: Royal Hibernian Academy, Dublin, 1936, Catalogue No.161.
€ 4,000 - 6,000

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4 JOHN O’LEARY (1929 - 1999)
Wrecks in Concarneau, Brittany
Oil on canvas, 60 x 72.5cm (23½ x 28½”)
Signed and dated 1958
Exhibited: ‘John O’Leary’, Dublin Painters Gallery, 7 St Stephen’s Green, November 1961, Catalogue No. 18.
€ 300 - 500
5 CECIL FFRENCH SALKELD ARHA (1904-1969)
The Diver - Whatever Your Walk in Life (1956)
Pen and ink on scraper board, 22 x 22cm (8½ x 8½’’)
This work was part of a suite of designs for an
unrealized ad campaign for The Irish Sweepstakes.
€ 500 - 700

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6 EDWARD A. MAGUIRE SNR (1901-1992)
Veronica’s Towel
Oil on canvas, 71 x 50cm (28 x 19¾”)
Original artist’s label with title verso
Provenance: From the Collection of the late John Hunt and thence by descent
Exhibited: ‘Irish Exhibition of Living Art’, Dublin 1950, Catalogue No. 75,
where lent by John Hunt,Snr.
€ 1,000 - 2,000

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7 GLADYS MACCABE HRUA ROI FRSA (1918-2018)
Mother and Child
Oil on canvas board, 35.5 x 25cm (14 x 9¾’’)
Signed; title inscribed on original artist’s label verso
Exhibited: ‘Irish Exhibition of Living Art’, 1948, Catalogue No.23
€ 1,000 - 1,500

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8 NORAH MCGUINNESS HRHA (1901-1980)
Table of Apples
Oil on canvas, 28 x 58cm (11 x 23’’)
Signed with initials
Exhibited: ‘Norah McGuinness Exhibition’, The Keys Gallery, Londonderry, June 1976, Catalogue No.22.
€ 7,000 - 10,000

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9 GERARD DILLON (1916-1971)
Abstract Figure
Oil on canvas, 53 x 73cm (20¾ x 28¾’’)
Provenance: ‘Armstrong Studio Sale’, deVere’s 1998.
€ 1,000 - 2,000
10 PHIL RAFFERTY (1919-1996)
Sea Scene with Seals
Watercolour, 36 x 54cm (14 x 21¼’’)
Signed
Provenance: deVere’s Studio Sale 1997.
€ 300 - 400

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11 GEORGE CAMPBELL RHA (1917-1979)
Sunny Shapes
Mixed media, 46 x 37cm (18 x 14½’’)
Signed
Provenance: With The Ritchie Hendriks Gallery, April 1966, where purchased and thence by descent to
current owner (label verso).
€ 1,000 - 1,500

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12 DANIEL O’NEILL (1920-1974)
Country Cart
Oil on board, 35 x 46cm (13¾ x 18’’)
Signed; inscribed with title verso
Provenance: With the Waddington Galleries (label verso).
This work was probably executed between 1953- 1955 when O’Neill was living in Co. Down with his partner Sheilagh Dea-
con. The work is stylistically similar to the ‘Balloon Seller’ (1953) and ‘Two Heads’ (1955). An energetic painter, O’Neill’s style
changed a number of times from 1948-1955. In the early 1950’s, O’Neill reverted to an earlier expressionist style where elec-
tric colour evoked emotion and dramatic light caused melancholy but in 1953, O’Neill’s exhibition at Waddington Galleries
showed a move away from romantic emotion and introduced a sweeter palette and a fairyland narrative. Detail becomes
less important and brushwork and subject matter are more in keeping with the Impressionists.
Born in Belfast, O’Neill had little orthodox training except for a few classes at the College of Art, Belfast. Working as an
electrical engineer, he began painting full time after meeting the Dublin dealer, Victor Waddington in 1945. Several one
man shows followed and he was also represented in several overseas exhibitions organized by Waddington. In 1954 O’Neill
exhibited in at least two American shows, and held a joint exhibition with Colin Middleton at Tooth’s Galleries in London.
Preoccupied with painting techniques throughout his life, O’Neill was fascinated with the effects of texture on the painting
surface. In the 1940’s, liquid paint was applied to the surface in layers but in this composition paint is dragged, scumbled
and scrapped away to hold the viewer’s attention.
Facing the viewer, a family in a cart with their animals directly faces the viewer. Wrapped in a shawl a mother protects her
child during a stop in their journey. The cart and animals suggest a rural location, but the environment is illusive. Little de-
tail is provided but the focus is on concern and guardianship of a family as they travel on a journey. Susan Stairs stated that
‘O’Neill drew his subject matter from his life’s experiences‘, and imbued it with his own passionate nature. Being a man who
felt deeply about life, his work often betrayed his own feeling.’ (The Irish Figurists, Dublin, 1990 pg. 138)
Karen Reihill, March 2018
€ 6,000 - 8,000

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13 COLIN MIDDLETON RHA RUA (1910 - 1983)
Judy (1954)
Oil on canvas, 59 x 45cm (23¼ x 17¾’’)
Signed upper left; signed again, inscribed with title and dated 1954 verso (AR 188)
Exhibited: ‘Colin Middleton, Daniel O’Neill ‘Recent Paintings’ exhibition’, Arthur Tooth and Co. London, May 1954,
Cat. No. 10.
Judy was among a group of paintings Colin Middleton consigned to the Victor Waddington Galleries in Dublin in
March 1954, by which stage his relationship with his dealer was at breaking point and he was considering looking
for part-time work as a linen designer. Despite these difficulties, 1954 must have appeared to have been a year of
great success for Middleton, with a two person show alongside Daniel O’Neill at the Tooth Gallery in London and a
major retrospective at the Belfast Museum’s Stranmillis Gallery in the autumn.
It was also a time at which Middleton was painting some of his most dynamic and intensely coloured landscapes,
following his move from Ardglass to Bangor in January 1953. A number of paintings of young women around this
time were perhaps Middleton’s response to his daughter Jane, who had been born in 1950, as well as to her two
older half-sisters. It seems unlikely that this was a painting of a specific person, as Middleton generally seems to
have depicted imagined or composite figures inspired by his general experience of a place and its inhabitants, rath-
er than directly drawn from or inspired by a single person.
Judy is a painting of remarkable power that in its treatment of the young sitter and its handling of paint recalls
Chaim Soutine. The gradual and thoughtful progression through this expressionist manner in which Middleton
worked from around 1947 to 1958 is demonstrated by the increasing distortion of physical features and the em-
phasis on pigment equating with form that we see in paintings such as Judy and Girl with a Kali Sucker.
Dickon Hall February 2018
€ 25,000 - 35,000

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14 COLIN MIDDLETON MBE RHA RUA (1910-1983)
Matter and Kind - ‘Westerness Cycle’ No.1 (1974/75)
Oil on board, 61 x 61cm (24 x 24’’)
Signed; signed again, inscribed with title and dated 1974/5 verso
Exhibited: ‘Colin Middleton Exhibition’, The Hendriks Gallery, March-April 1976, Catalogue No.1.
The Westerness Series was one of the three significant bodies of work that occupied Colin Middleton
throughout the 1970s, alongside the Wilderness and Barcelona series of paintings. All three were related
in certain ways but retained their own distinct style and intentions. The Westerness Series was more
contained and defined than the larger Wilderness Series; eighteen paintings completed in 1974-5 were
exhibited under this name at the Ritchie Hendriks Gallery in 1976.
The series refers in its name to Finnegan’s Wake, from which the title of the second painting of the cycle,
‘Into the Shandy Westerness She Rain, Rain, Rain’, is taken. Within a range of literary references Middle-
ton integrated influences from recent travels, notably the Sanctuary of the Virgin of Montserrat, which he
had visited when in Barcelona. Like the concurrent Wilderness Series, the Westerness paintings depict a
stylised, dream-like landscape in which are brought together various elements from across Middleton’s life
and work.
The central form in Matter and Kind suggests the female archetype that was central to these late works, as
it had been throughout his career. The loose folds of fabric that seem to suggest a precariously balanced
figure recur throughout these paintings, indicating Middleton’s re-engagement in his later career with his
own early training and work as a damask designer.
The ambiguity of these suggestions of physical presence that are swallowed up by the immateriality of
form and the generality of the landscape is perhaps mirrored in the title, which raises the idea of matter
through an image which itself seems to question its uncertain physical nature, while also hinting at the
German ‘Mütter and Kind’, mother and child, which presents a more literal reading of the figure.
The Westerness Series has arguably remained relatively neglected and has been seen as an extension of
the Wilderness series, but in many ways it can be seen as one of Middleton’s major achievements in its
own right, dealing with, and in some ways perhaps resolving, spiritual and pictorial concerns that contin-
ued through his career.
Dickon Hall, March 2018
€ 8,000 - 12,000

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15 BASIL IVAN RÁKÓCZI (1908-1979)
Woman Resting in Bed (1956)
Gouache, 48 x 64cm (19 x 25¼’’)
Signed
Provenance: The artist’s family by descent.
This gouache was painted by Rakoczi in his studio
in Montrouge, Paris in early March 1956 just a few
weeks after he had acquired the place and moved
in. It would be his base for the rest of his life. The
subject matter is partially domestic, reflecting his
new found home in the city, but also partially more
seductive, perhaps imagining a time on one of his
many French south coast stays. He also remained
very short of money so that gouaches and waterc-
olours were the order of the day, having the money
for only one canvas since the previous August ‘55
until, in fact, the end of May ‘56.
€ 800 - 1,200
Knitting Yarn Woman
Gouache, 62 x 48cm (24½ x 19’’)
Signed
Provenance: The artist’s family by descent
This gouache was painted, in early June 1956, just
a few weeks after ‘Woman Resting in Bed’ (Lot 15)
and is likely to be a friend who posed for him in
his studio.
€ 800 - 1,200

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Le Poete et le Taureau (1949)
Oil on canvas, 45 x 60cm (17¾ x 23½’’)
Signed; inscribed with title and dated verso
Provenance: The artist’s family by descent
Basil Rakoczi was living in a friend’s flat on Rue Gregoire de Tours VI in Paris when this oil was painted in the early spring of
1949. This was the first of a small series of paintings with the bull as a central focus. It followed his continued interests in
ancient history and symbolism. The subject of bulls, for him, came from Mithraic history and culture where the slaying of
these creatures was much featured. The poet in the painting is likely a reference to Statius, a Latin poet who first put Mithraic
culture to verse. He sits alongside the calm bull, a reflection that words are more powerful than violence. Equally the painting
continued the artist’s lifelong experimentation with colour, often breaking barriers with the extravagant use of bright or
strong colours or both. Exemplifying this point, he wrote in his diary for the 9thMarch 1949: “Up early and painted ‘Le Poete et
le toureau’. Liberating purples and violets in oil”.
Rakoczi was continuing to live with friends, in cheap hotels or studios in both Paris and on the south coast of France. He had
done so since the end of the Second World War, a continued reaction of unsettledness following the loss of his dear friend
and lover, Kenneth Hall. Despite his many moves of accommodation, his painting was prolific and he continued to explore
different themes in his work, looking to bring in new ideas, as well as incorporating his love of bold colours.
Our thanks to Christopher Rakoczi for his help in cataloguing this and the previous two lots.
€ 2,000 - 3,000

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18 ESTELLA FRANCES SOLOMONS HRHA (1882-1968)
The Morrow Family and Frank Gallagher
Oil on canvas, 71 x 91.5cm (28 x 36’’)
Provenance: The Artist’s Estate.
Exhibited: ‘Estella Solomons Exhibition’, The Crawford Gallery, May-June 1986, Catalogue No.98.
This work depicts the family of fellow artist Jack Morrow (1872 - 1926) along with writer and journalist Frank Gallagher (1898 -1962).
Jack Morrow was one of eight artistic sons of the Belfast artist George Morrow. He was heavily involved in the republican move-
ment and it was thought that part of the planning of the Easter Rising took place in his studio. After his arrest in 1919 and while he
languished in Mountjoy Jail Estella gave support to the family and his daughter Moppie was to feature in a number of her works.
Frank Gallagher joined the Irish Volunteers and worked closely with Erskine Childers on the publication of ‘Irish Bulletin’. He took the
republican side after the treaty and was imprisoned and survived a lengthy hunger strike. He wrote of his visits to Estella’s studio in
‘The Four Glorious Years’ (Written under the pseudonym David Hogan) and among the people he met there were Padraic O’Conaire,
Austin Clarke, Seamus MacManus, Jack B. Yeats and Kathleen Goodfellow. Estella’s fine portrait of him was used as the frontispiece.
He was later to become the first editor of The Irish Press in 1931.
€ 2,000 - 4,000

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19 GEORGE RUSSELL AE (1867 - 1935)
Gathering Sticks in the Wood
Oil on canvas, 52.5 x 80cm (20½ x 31¼’’)
Signed with monogram
€ 4,000 - 6,000

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20 MARGARET CLARKE RHA (1888-1961)
Portrait of the Artist Dermod O’Brien PRHA in his Studio
Oil on canvas, 125 x 100cm (49¼ x 39¼’’)
Exhibited: ‘Margaret Clarke: An Independent Spirit’, F.E. McWilliam Gallery, Banbridge September/ November 2017
Literature: “Palette and plough” by Lennox Robinson 1948 - this picture used as frontispiece.
The frame has a plaque inscribed ‘Presented to Dermod O’Brien PRHA by a number of Friends and Admirers, 13
December 1934’. The artist’s daughter, Brigid Ganly notes that the portrait on the easel is that of ‘Edward Bannon’ of
Broughal Castle, Offaly but also of New York, Newport and Florida; which she thinks is one of the best portraits her
father ever painted. It was presented by Mrs Banon to The National Gallery of Ireland.
Margaret Clarke (1884-1961) was commissioned to paint this portrait of Dermod O’Brien by his many friends and
admirers, who presented it to him as a gift in 1934. O’Brien was a prominent figure in Irish life in the early part of the
twentieth century, involved in many organisations, and a fervent supporter of Horace Plunkett’s co-operative move-
ment. His most enduring role was as President of the Royal Hibernian Academy (RHA) from 1910 until his death in
1945. He was born in 1865 into a wealthy landowning family in Limerick that traced their ancestry back to Brian Boru.
Though a Protestant and married to a Unionist, he was politically unaligned, committed to helping Irish society develop
socially and culturally. He said of himself that his driving force was ‘the thing to be accomplished. It does not matter to
me whether Ireland is saved by the priests, peoples, Orangemen or English...’
Margaret Clarke and Dermod O’Brien had known each other for many years. When Clarke’s husband, Harry Clarke,
died in 1931, O’Brien offered Clarke not only sympathy but assistance, should she need it. They had much in common.
Clarke had been elected a full member of the RHA in 1928 - only the second woman to be so honoured. They had
both been thoroughly schooled in the traditional, academic approach to art - O’Brien in Antwerp, Clarke in Dublin
under Orpen - but they were generous, active supporters of less traditional, more radical artists, and sat together on
committees such as the Irish Exhibition of Living Art. When O’Brien learnt that Clarke was to paint him, he wrote to her
to say how very pleased he was. Elsewhere, he praised the sincerity, insight and characterization of her portraiture,
and her ability ‘to search into the character of the sitter and get at the soul of him or her’.
However, always the organiser, O’Brien began to issue instructions: he did not want to be shown as an important
official in robes and chains, but neither did he want her to portray him as a plain citizen. Half-jokingly, he told her to
make him ‘beautiful and sympathetic and dignified, and at the same time humble and diffident’. Clarke painted him in
his role of artist, paintbrush in hand, standing in front of his easel, but not looking at it. He is formally dressed, bristling
with the air of a man of authority poised for action, seeking the next challenge. At Clarke’s suggestion, perhaps to bal-
ance his obvious dignity with the requested humility, he donned a crios, the belt worn by peasants of the Aran Islands.
According to his daughter, Brigid Ganly, herself an artist, this is the best portrait ever painted of O’Brien: ‘absolutely
characteristic in the pose of the head, the alert glance, the quick humour of the mouth’.
O’Brien remained a lifelong advocate of Clarke’s work, helping her to get commissions and advising bodies such as the
Haverty Trust to purchase her paintings.
Fiana Griffin
€ 5,000 - 7,000

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22 SEAN O’SULLIVAN RHA (1906-1964)
A Co. Galway Farmer
Signed, inscribed ‘Co. Galway’ and dated 1952
€ 5,000 - 7,000
21 SEÁN O’SULLIVAN RHA (1906-1964)
Bathers in a River
Oil on board, 50 x 58.5cm (19¾ x 23’’)
Signed and dated (19)45
Provenance: The Hamilton Family, Tulfarris House and thence
by descent.
€ 1,200 - 1,600

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23 PAUL HENRY RHA (1877-1958)
Looking Towards Achill from East of Achill Sound (c.1925)
Oil on board, 30.5 x 40.5 cm (12 x 16”)
Signed
Provenance: Private UK Collection.
In this view, which looks towards Achill Island from the East of Achill Sound, the sky already appears as
if rain is approaching, although there are gentle reflections in the water. The note of running fences in
the foreground is a typical ‘Henry’ feature, as is the feature in the lightness of the background, which
contrasts with the foreground and the mountain in the background. The area is literally strewn with
mountains, as a trip through it will confirm. Also the principal mountain, which dominates the scene,
is Slievemore. Before going to Achill, Henry was a plain-dweller and the abruptness of the mountain
contours he tells us in his Irish Portrait (Henry, 1951, p. 50) now ‘disturbed’ him. On Achill, too, the sea
was constantly encountered, its sudden changes of mood and temper often affecting life and fortune.
The fragility of man’s survival in the face of the powers of nature, which made such an impact on Henry’s
perceptions of the island, are clear to be seen in this striking picture. The simplicity of the composition,
which dominates no more than three separate elements-the sky, the mass of the mountain which domi-
nates all, the narrow strip of sea in the background-illustrates the severity of the artist’s Post Impression-
ism and the force of his compositional technique.
On the reverse are labels of James Bourlet, with the number 58538, also the number ‘30’ and the ad-
dress of ‘Bregazzi, Dublin. Also on the reverse it is numbered 1320-the next number, with the title, in Dr.
S. B. Kennedy’s ongoing catalouguing of Henry’s oeuvre.
Dr. S.B. Kennedy February 2018
€ 40,000 - 60,000

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24 MABEL YOUNG (1889 - 1974)
Wicklow in Autumn
Oil on canvas, 41 x 51cm (16 x 20”)
Signed
€ 800 - 1,200

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25 GRACE HENRY HRHA (1868-1953)
Strand Achill (1910-1912)
Oil on canvas, 40 x 61cm (15¾ x 24’’)
Signed
Grace Henry first went to Achill with her husband, Paul Henry, in the summer of 1910 and remained
there - on and off- until 1919. To begin with they were both enthralled by life on the island, as for
example her Top of the Hill, 1914-15 (Limerick Art Gallery) shows, but slowly Grace grew disenchanted
by its limitations. The handling of paint on the sand and on the water illustrates the simplicity which
typifies both the Henrys work of these years. One cannot be sure of the whereabouts of the scene, but
it may represent the southern shores of the Corraun Peninsula. Alternatively Keel Strand is a possibil-
ity, although the distant mountains seem far distant from the Menawn Cliffs which dominate the area.
Despite the representation of this picture, Grace Henry was arguably more avant-garde in her work than
her husband and she certainly veered more towards abstraction. Dated 1910-12 on stylistic grounds and
on the evidence of the signature.
Dr S.B. Kennedy
€ 5,000 - 7,000

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26 MAURICE C. WILKS RUA ARHA (1910-1984)
Landscape, Connemara
Signed; inscribed with title verso
€ 2,500 - 3,500
At Ballinahinch, Connemara, Co. Galway
Signed; also signed and inscribed with title verso
Provenance: With E. Walker & Co. Gallery, Coleriane.
€ 1,200 - 1,800

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Interior, Connemara, Co. Galway
Oil on canvas, 55.5 x 70cm (21¾ x 27½’’)
Signed
€ 4,000 - 6,000

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29 WILLIAM CONOR RHA PRUA ROI (1881-1968)
Water Buckets
Oil on canvas, 59.5 x 44.5cm (23½ x 17½’’)
Signed; signed again and inscribed with title and dated 1923 verso
Provenance: Important Irish Art Sale, these rooms, 8th October 1987, Catalogue No.26, where purchased by current owner.
Literature: Illustrated Irish Times 23rd January 1988 Review of the Year, where they thought it fetched a ‘possible record price’.
William Conor began his career as a lithographer in David Allen & Sons in Belfast and this early training has certainly contributed to his
unique style and technique as an artist and colourist. Conor believed that the artist should record ‘his own epoch and give expression
to that which is happening around him.’ (Máirín Allen, October 1942). In 1944 Richard Rowley wrote of Conor; ‘He has devoted all his
manhood’s years to the praise and glory of the city which gave him birth; he has immortalised her beauty, and the steadfastness of
her people, in works which will last to carry her fame to remote generations…’ (Dictionary of Irish Artists). The artist himself was aware
of the transitory nature of the scenes and society he was chronicling, and he anticipated their passing, “...when we have trampled on
the best of the past and sacrificed everything of value to the much vaunted name of progress I trust these paintings and drawings will
recall a world that is quickly disappearing and could soon be forgotten.” (The People’s Painter).
‘Water Buckets’ is a lively and uplifting composition featuring two happy women carrying buckets up a steep hill. A row of houses in the
village or town behind them are wonderfully rendered as a pleasant contextual backdrop. Typically of Conor the background beyond
these houses is minimal and limited to some green trees and hills and an expanse of grey sky. This allows the action of the working
women pride of place and primary focus.
Unlike many of Conor’s paintings both figures in the work face directly out of the painting to meet the artist’s, now the viewer’s eye.
This is an excellent strategy of engagement on the part of Conor in that it includes the viewer as an additional participant in the overall
action. We feel both these women are walking purposefully in our direction, with water buckets laden, happy in their task, delighted to
meet us in the road. There is a strong resemblance between both women in terms of stature and facial features. The daughter, of mid-
dle age, walks in front carrying two metal buckets. She is robed in a simple full-length light brown dress, sleeves rolled up and a beauti-
fully rendered half apron, with brushstrokes capturing her purposeful stride. The buckets are held apart by a large circular metal hoop
that prevents them from knocking against the woman’s legs as she carries them. The hoop and buckets was a popular carrying device
particularly during the 1920s and was generally used by women and sometimes children in their daily task of fetching and carrying.
Behind this woman to the left, is apparently her elderly mother with grey hair carrying one bucket in her right hand. Again she is happy
and contented. Her attire is brighter and this helps give her parity with the other figure even though she is behind. She wears a rich
blue full length dress with a rust-red shawl, the colour of which is broken by a few simple white stripes. Although both figures face out
of the composition there is an inherent intergenerational camaraderie that links the figures both in familial and shared task capacities.
It is interesting to see that Conor has depicted the older lady in her shawl as this was an item of clothing that the artist felt was particu-
larly becoming on women. When he was drawing the ‘shawlies’ or mill girls he commented on the beauty of the shawl. Conor believed;
‘[The shawl] is…very feminine. After all is it not in a sense one symbol of motherhood…I like to make crayon sketches of Ulster people
in all walks of life. It was while I was making these that I came across the Ulster mill-lassie in her shawl and realised that this was the
headgear most suited to bring out beauty and personality.’ (Judith Wilson, p.43)
Conor regularly made studies and paintings of women at work and their most common task was fetching or carrying. This could be
water, fish, potatoes or turf depending on the scene selected by the artist. He continued to revisit this theme for many years. Examples
include ‘At the Pump’ 1908, where two female figures carry a bucket each and the foremost is smiling broadly. This is a much simpler
study in coloured chalks however than ‘Water Buckets’ 1923. ‘Gathering potatoes, near Portadown’ c.1939 and ‘Fisher girls at Ardglass’
1945 are both detailed works where the two women in each share the carrying between them of the potatoes and fish respectively.
In each of these compositions Conor has employed different techniques and he has also included more comprehensive backdrops
of the field and trees where the women have collected potatoes and of ships and cranes behind the fisher girls. ‘Bringing in the Turf’
and ‘Gathering Potatoes’ (both undated), are similar compositions featuring two female figure groups but the toil of the task is more
pronounced here and these groups lack the tangible glee of the figures at work in ‘Water Buckets.’
Marianne O’Kane Boal
€ 20,000 - 30,000

39

40
30 WILLIAM CONOR RHA RUA ROI (1881-1968)
‘The Delph Woman’
Crayon, 49 x 38cm (19¼ x 15’’)
Signed
€ 5,000 - 8,000

41
31 MAURICE MACGONIGAL PRHA (1900-1974)
Strand, Rush
Oil on canvas, 29.5 x 39cm (11.75 x 15.5 ‘‘)
Signed, with artist’s label inscribed with title verso, with The Victor Waddington Galleries framing label
verso
€ 2,500 - 3,500

42
32 MAURICE MACGONIGAL PRHA (1900 - 1979)
The Two Churches of St. Audeon
Oil on board, 19 x 56cm (7½ x 22’’)
Signed and inscribed with title verso
€ 1,500 - 2,000
Dutch Barge, Hazelhatch
Oil on board, 40.5 x 50.5cm (16 x 20’’)
Signed; signed again, inscribed with title and dated
1977 verso
Provenance: Important Irish Art Sale these rooms June
2010, where purchased and thence by descent to the
current owner.
The artist liked to paint the landscape along the Canal
between Clonsilla & Hazelhatch due to the reflections
of the water and its effect on the landscape; and the
scale of human activity when seen against the canal
locks, lockhouses and the humans in attendance on
the craft afloat. The Dutch barge had been brought
from Holland to ply along the canal and evoked for the
artist his time as young man in Holland and the many
colourful works he’d painted there when on an RDS
scholarship in the late 1920s,and his introduction to
that water laden landscape through the family of his
fellow pupil Hilda van Stockhum.
Our thanks to Ciarán MacGonigal for his help catalogu-
ing this lot.
€ 700 - 1,000

43
Bungowla, Inishmór, Aran
Signed; signed again, inscribed with title and dated (19)’76 verso
Provenance: Important Irish Art Sale these rooms June 2010, where purchased and thence by descent to the current owner.
Bungowla (Bungabhla,’’bottom of the fork’’) the westernmost village of the island of Inis Mór, is a series of jagged striations of stone, with
a long sloping launching place for the Currachs so typical of the Western Seas and the upturned craft form the dramatic counterpoint to
the landscape; and the diagonals of the evening skies over the Island and the fisherman trying to judge the kind of weather which would
enable them to take to the seas in safety.
Our thanks to Ciarán MacGonigal for his help cataloguing this lot.
€ 3,000 - 5,000

44
35 NORMAN J. MCCAIG (1929-2001)
Cushendun Bridge
Oil on board, 50 x 60cm (19¾ x 23¾’’)
Signed
€ 1,000 - 2,000
Harbour scene
Oil on canvas, 40 x 36cm (15¾ x 14¼’’)
Signed
€ 600 - 800

45
Connemara lake and mountain landscape
Oil on canvas, 58 x 120cm (22¾ x 47¼’’)
Signed
€ 2,000 - 3,000
Donegal scene, Buncrana
Oil on canvas, 51 x 81cm (20 x 31¾’’)
Signed
€ 1,200 - 1,600

46
Connemara Landscape with Cottages
Oil on board, 40.5 x 122cm (16 x 48’’)
Signed
€ 700 - 1,000
40 MARKEY ROBINSON (1918-1999)
Cottages amongst the Rocks
Oil on board, 10 x 32cm (4 x 12½’’)
Signed
€ 500 - 800

47
Returning Home at Dusk
Oil on board, 15.5 x 53cm (6¼ x 20¾’’)
Signed
€ 800 - 1,200
Looking out at Galway Hookers
Oil on board, 12.5 x 15.25cm (5 x 6’’)
Signed
€ 300 - 500

48
43 THOMAS ROSE MILES (1844-1916)
Loading Turf, Gurteen Bay, Connemara
Oil on canvas, 60.5 x 91.5cm (23¾ x 36’’)
Signed; title inscribed verso
€ 1,500 - 2,500

49
44 THOMAS ROSE MILES (1844-1916)
Coming Storm, Kilkeiran Bay, Connemara
Oil on canvas, 60 x 105cm (23½ x 41¼’’)
Signed; also signed and inscribed verso
€ 1,500 - 2,500

50
45 EDWIN HAYES RHA RI ROI (1819-1904)
Morning - Off the Pigeon House Fort, Dublin Bay
Oil on canvas, 25 x 35.5cm (9¾ x 14’’)
Signed ‘E Hayes ARHA’; inscribed in ink on label verso, also with old label ‘Purchased from the Birming-
ham Exhibition 1856’ and with fragments of other labels and catalogue entry
€ 1000 - 1500

51
Fishing Boat off Poolbeg Lighthouse, Dublin Bay
Signed; inscribed and signed twice verso
€ 1000 - 1500

52
Dover Beach
Watercolour, 25 x 36cm (9¾ x 14¼’’)
Signed
€ 500 - 800
A Squall Passing off Padstow Harbour
Gouache, 14 x 22.5cm (5½ x 8¾’’)
Signed
Original label verso
€ 500 - 800

53
49 ANDREW NICHOLL RHA (1804-1886)
A Bank of Wild Flowers - Daisies and Poppies
Watercolour, 33 x 44cm (13 x 17¼)
€ 2,000 - 4,000

54
The Giant’s Causeway, Antrim Coast
Watercolour, 24 x 32cm (9½ x 12½’’)
Signed
€ 500 - 800
Ballyraegh Castle, Portrush, Co. Antrim
Watercolour, 21 x 29cm (8¼ x 11½’’)
Signed
€ 500 - 800

55
52 JOHN FAULKNER RHA (1835-1894)
Home of the Fisherman
Watercolour, 43 x 75cm (17 x 29½’’)
Signed and inscribed
€ 1000 - 1500
53 JOHN FAULKNER RHA (1835-1894)
Black Castle, Co. Wicklow, Ireland
Watercolour, 42 x 75cm (16½ x 29½’’)
€ 1000 - 1500

56
54 HUGH DOUGLAS HAMILTON RHA (1734-1808)
Portrait of Maria Susanna Ormbsy, seated holding a sketch book
Oil on board, 67 X 61cm (26 x 24”)
Inscribed upper right ‘Maria Susanna, daughter of William and Hannah Ormsby, born 1745, died 1827’
Signed and dated verso ‘1796’
This excellent portrait, painted after Hamilton’s return to Dublin from Rome is not listed by Fintan Cullen.
[Oil Paintings of Hugh Douglas Hamilton, Walpole Society Vol. 50 1984] and is a welcome addition to the
inventory of Hamilton’s extant portraits (1796).
It re-emerged from the recent disposal of the Harlech Collection in Wales. The Ormsby-Gores, in spite of a
‘Welsh’ title and seat, represent two families from the West of Ireland who flourished in the 18th century.
The subject of the present lot, Maria Susannah Ormsby was the daughter of William Ormsby M.P for Sligo
and Hannah Wynne of Haselwood, County Sligo, the lovely Palladian villa designed by Richard Castle. Her
brother, Owen Ormsby married (1777) Margaret Owen who came into a great Welsh estate that had been
swollen by the Godolphin inheritance. Their only child and heiress Mary Jane Ormsby married (1815) William
Gore, M.P. for Leitrim from a family long influential in Counties Mayo, Sligo and Leitrim. Thereafter the family
became Ormsby-Gore and were subsumed into English high society with a title from the Barony of Harlech.
Our subject, Maria Susannah Ormsby, died unmarried so this portrait of a charming and artistic woman re-
mained with the Ormsby-Gores. As an observation of mature character it confirms Hugh Douglas Hamilton’s
place in the top rank of European portraiture.
€ 25,000 - 35,000

57

58
55 ALOYSIUS O’KELLY (1853-1936)
Figures in a Cottage Interior
Oil on canvas, 72 x 61cm (28¼ x 24’’)
Provenance: From the collection of the late Gillian Bowler.
Although originally catalogued by Christie’s in May 1989 as being by Augustus Burke, this unsigned painting features the same girl,
probably in the same kitchen, as O’Kelly’s unfinished “Kitchen, West of Ireland”, painted in the early 1880s, the seated woman, barely
blocked-in in the latter, being perhaps the older woman in this painting.
At the time, O’Kelly was living in Lugnanaugh in a cottage nestled below Maol Chnoc or Garraun Mountain which rises above Lough Fee
on the Kylemore estate of Mitchell Henry, the Home Rule MP. On his departure in 1884, O’Kelly left behind many unfinished works.
Burke was in the west of Ireland around the same time as O’Kelly, but the subject, location and style would indicate that O’Kelly was the
artist. The painting is probably a preliminary sketch for a larger work. The older woman in mid conversation, and the younger immersed
in her own sad thoughts, suggest a narrative, not evident in this fragment.
See Niamh O’Sullivan, Aloysius O’Kelly: Art, Nation, Empire, Field Day, 2010.
Niamh O’Sullivan
€ 1,000 - 2,000

59
56 JAMES ARTHUR O’CONNOR (1792-1841)
Two Figures in a Moonlit Landscape
Signed
€ 4000 - 6000

60
57 RICHARD DOYLE (1824 - 1883)
Pied Piper of Hamelin
Watercolour, 51 x 77cm (20 x 30¼”)
Signed
Exhibited: The Works of Thomas Gainsborough, R.A., and a collection of drawings by the late Richard Doyle, The
Grosvenor Gallery, London, 1885, no. 287 in the catalogue, lent by A. H Christie, esq of East Runton, Norfolk.
From an early age Richard Doyle or ‘Dickie Doyle’ as he was affectionately known, showed a natural ability for creating
original and humorous designs. A consummate draughtsman, during his teenage years he kept a manuscript journal,
now housed in the Print department of the British Museum, which consists of 156 pages of pen and ink sketches. He
developed a successful career as an book illustrator with William Thackeray declaring on the advent of a new trans-
lation of Brother Grimm’s fairytales ‘The Fairy Ring’ in 1846, that he was the new ‘master of the fairyland’ supplanting
the artist George Cruikshank. (The Adventures of Arthur Conan Doyle by Russell Miller, 2010). Doyle also worked for
many years as an illustrator for the satirical magazine Punch (1841 - 2002), designing their first cover and masthead
and producing more than one thousand drawings during his seven years of employment.
A staunch Catholic all his life, his relationship with Punch came to a drastic end in 1850 when he resigned due to their
hostility towards the current Pope. From this point onwards there is a significant shift in the trajectory of his artistic
career. Although he continued to provide fantastical illustrations for books, such as his celebrated ‘In Fairyland’ (1869),
by the mid-1870s, he had begun to experiment with larger scale works in watercolour, such as the present example.
It is important to note he never had any formal training in the medium; these works were therefore technically exper-
imental. This unconventional approach, lends itself to these mythological subjects in which he imbued them with a
surreal or dreamlike quality.
He exhibited in 1868 and 1871 with the RA and two years following his death in 1883, the Grosvenor Gallery in Lon-
don exhibited a collection of his drawings in which The Pied Piper of Hamelin was included.
The Pied Piper of Hamelin is a particularly interesting subject to depict, as there are numerous contradictory endings
to the story. The legend dates back to the Middle Ages, and tells the tale of people of Hamelin, Lower Saxony, whose
city is suffering from a plague of rats. The Pied Piper is hired by the mayor to lure the rats away with his magical
instrument, in return for payment. However, when he has accomplished his task, the mayor reneges on their agree-
ment. It is at this point that the sequence of events becomes confused. In certain versions, the piper takes revenge
on the town by returning and in the same manner and luring all of the children, bar three, from the town to the
Weser River, to their death. In others, again he transfixes them with his music but leads them instead to the beautiful
lands surrounding the Koppenberg Mountain. In this more pleasant account, once his debt has been paid he returns
all of the children unharmed.
It is difficult to ascertain from Doyle’s work which version of events he has decided to depict. What fate lies just be-
yond the frame for the innocent children of Hamelin? The two figures closest to the Piper seem to belie a more sinis-
ter turn of events, as they hold onto one another turning away from the music in fear. Their newfound understanding
is visually contrasted with the hoards of smiling children behind them, blindly following the Piper. They have not yet
crossed the town’s threshold, here a physical as well as metaphorical space, that seems to illustrate the moment in
our lives in which our childhood innocence is lost to the cruel adult world. This is further heightened by the anguish
and torment of the parents in the distance calling in desperation after their lost children.
NIAMH CORCORAN
€ 10,000 - 15,000

61

62
58 JOHN INGLIS (1867 - 1946)
Wooded river landscape
Oil on board, 46 x 61cm (18 x 24”)
Signed
€ 800 - 1,200
59 A. V. INGLIS (20TH CENTURY)
Summercove, Kinsale
Watercolour, 25 x 34.5cm
Signed and dated (19)’44; signed again, inscribed with
title and giving ‘Sandymount Castle’ as his address
€ 250 - 350
60 DOUGLAS ALEXANDER RHA (1871-1945)
Moll’s Gap, Co. Kerry
Watercolour, 25 x 36.5cm (9¾ x 14½”)
Signed, partial label inscribed with title verso; and The
Victor Waddington Galleries framing label verso
€ 300 - 500

63
61 MILDRED ANNE BUTLER RWS (1858-1941)
River Landscape, Glencar, Co. Kerry
Watercolour, 38 x 53.5cm (15 x 21”)
Signed and inscribed “Glencar”
€ 1,500 - 2,500
62 WILLIAM PERCY FRENCH (1854-1920)
A Donegal Bog
Watercolour, 15.5 x 24cm (6¼ x 9½’’)
Signed twice
Title inscribed on William Rodman label verso
€ 1,500 - 2,500

64
63 WILLIAM JOHN LEECH RHA ROI (1881 - 1968)
London Bridge and Soutwark Cathedral
Oil on canvas, 44 x 36cm (17¼ x 14¼”)
Signed
Exhibited: ‘William J. Leech Exhibition’ The Dawson Gallery, March 1947; ‘William John Leech: An Irish Painter Abroad’,
National Gallery of Ireland, October-December 1996, Catalogue No.100.
Born in Dublin, William John Leech studied at the Metropolitan School of Art and later at the RHA School under Wal-
ter Osborne and at the Academie Julian in Paris. From 1903 until 1917 Leech lived mainly in Concarneau in Brittany,
but visited Dublin regularly and continued to exhibit annually at the RHA, who elected him a full member in 1910. His
reputation was gaining similar status in Paris, where he won a bronze medal at the 1914 Salon. In 1918 Leech served
for a time in France, but this experience of World War I left him suffering from depression. He continued painting
however, and exhibited throughout the 1920s and 1930s at the RHA, RA and New English Club in London, and repre-
sented Ireland at a number of significant international locations including Venice in 1926 and Brussels in 1930.
From 1944 on Leech was represented by the Dawson Gallery in Dublin, where solo shows were held in 1945. A major
retrospective of his work was held at the National Gallery of Ireland in 1997 and toured to the Ulster Museum and
the Musee des Beaux Arts, Quimper, accompanied by an extensive catalogue by Denise Ferran.
Although he received a huge amount of recognition for his art throughout his life, Leech struggled financially, often
making his own frames to save money. His paintings can be found in major Irish collections such as the National
Gallery of Ireland, The Hugh Lane, The Office of Public Works, Ulster Museum and Crawford Gallery.
In her 1997 catalogue Denise Ferran wrote of this piece that it was one of a series of works painted by Leech in oils
and watercolour of the Thames around the Billingsgate area painted from 1939 onwards. She notes of this work “the
curve of the dock forms a lead-in to the expanse of cold water beyond which small wooden boats are moored at the
harbour. The piers wooden uprights offset the dominant horizontal of the bridge beyond. The swell of the icy water is
captured in strong brushstrokes in tones of blue. These works are evocative of Monet’s views of Westminster, seen in
muted tones and captured in atmospheric light”.
Several bridges named London Bridge have spanned the River Thames between the City of London and Southwark,
in central London. The ‘London Bridge’ depicted in this painting was built between 1824 and 1831, was known as the
‘New’ London Bridge and was the last project of engineer John Rennie and his son John Rennie, the Younger. It was a
conventional design of five stone arches and was 283 m long and 15 m wide. By the mid 1920’s it was apparent that
the bridge had begun to sink, so a century and a quarter after being built it was decided to replace it.
In 1967, the Common Council of the City of London placed the bridge on the market. The following year Rennie’s
bridge was purchased by the Missourian entrepreneur Robert P. McCulloch of McCulloch Oil for US$2,460,000. As
the bridge was taken apart, each piece was meticulously numbered. The blocks were then shipped via the Panama
Canal to California and trucked from Long Beach to Arizona. The bridge was reconstructed by Sundt Construction
at Lake Havasu City, Arizona, and re-dedicated on 10 October 1971. The reconstruction of Rennie’s London Bridge
spans the Bridgewater Channel canal that leads from the Uptown area of Lake Havasu City and to this day is a major
tourist attraction in the region.
Our thanks to Dr Denise Ferran whose scholarly writing on William J. Leech formed the basis of this catalogue entry.
€ 8,000 - 12,000

65

66
64 FLORA MITCHELL (1890-1973)
George St. Limerick (1921)
Pen and ink, 25 x 35cm (9¾ x 13¾’’)
Signed, inscribed with title and dated 1921
€ 500 - 700
65 FLORA MITCHELL (1890-1973)
The Quays, Limerick
Pen and ink, 25 x 33.5cm (9¾ x 13¼’’)
Signed, inscribed with title and dated 1921
€ 400 - 600

67
66 NICCOLO D’ARDIA CARACCIOLO RHA (1941-
1989)
Place de L’Eglise
Provenance: With King Street Galley, London, label
verso.
€ 500 - 700
67 NICCOLO D’ARDIA CARACCIOLO RHA (1941-1989)
Via del Campaccio
Provenance: With King Street Gallery, London, label verso.
€ 500 - 700

68
68 ELIZABETH COPE (B.1952)
Still Life on Table
Diptych, oil on canvas, 61 x 61cm (24 x 24’’)
Signed and dated 1980/1 verso
€ 700 - 1,000

69
69 PETER COLLIS RHA (1929-2012)
The French Coffee Pot
Signed
Exhibited: Dublin, Royal Hibernian Academy, Annual Exhibition, 2009, Catalogue No.85.
€ 2,500 - 3,500

70
Reflected Light
Oil on board, 8 x 16cm (3 x 6¼’’)
Signed; artist’s label verso
€ 500 - 800
Trees, Roundwood
Oil on board, 20 x 25cm (7¾ x 9¾’’)
Signed; artist’s label verso
€ 1,000 - 1,500

71
Landscape over Annamoe
Signed
€ 3,000 - 4,000

72
73 JOHN SHINNORS (B.1950)
The Red Baron
Oil on board, 43 x 56cm (17 x 22”)
Signed twice
€ 3,000 - 5,000

73
74 JOHN SHINNORS (B.1950)
Field Forms, Shooting Star (c.2004)
Oil on canvas, 33.5 x 44cm (13¼ x 17¼’’)
Signed
Provenance: Acquired directly from the artist.
€ 4,000 - 6,000

74
75 WILLIAM CROZIER HRHA (1930-2011)
West Cork
Oil on canvas, 40.5 x 50.8cm (16 x 20’’)
Signed and inscribed with title
Provenance: With the Fenton Gallery, label verso.
€ 4,000 - 6,000

75
76 SEAN MCSWEENEY RHA (B.1935)
Flooded Land (1986)
Oil on board, 60.5 x 45.5cm (23¾ x 18’’)
Signed and dated 1986; also signed, inscribed and dated verso
Provenance: With Taylor Galleries, Dublin.
€ 4,000 - 6,000

76
77 TONY O’MALLEY HRHA (1913-2003)
St. Canices, Kilkenny (1988)
Oil on board, 57 x 118cm (22½ x 46½’’)
Signed with initials and dated 1988; also signed, inscribed and dated verso
Exhibited : “Tony O’Malley Exhibition’, Taylor Galleries, Dublin 1991, Cat. No. 63
Saint Canice’s Cathedral, so called after Kilkenny’s patron saint, was very dear to Tony O’Malley’s heart. One
of the best-preserved of Irish medieval buildings, it stands in an ancient graveyard, where a substantial
round tower and the ruined foundations of an earlier church, also dedicated to Canice, embed it in the
history of Kilkenny city and surrounding county. O’Malley was proud of his own Kilkenny background and
painted Saint Canice’s and other monastic ruins, like the abbeys of Jerpoint and Kilcooley, from the area on
a regular basis, although he tended to avoid Kilkenny’s even more dominant historical monument, Butler
Castle. His choice of one over the other, is consistent with O’Malley’s politics, favouring inclusion and partici-
pation, rejecting power and control.
In this painting from 1988, O’Malley opts for the overall atmosphere of the gothic building, with birdsong
and plant life and sunshine, toning down the weight of the limestone and granite edifice. Only a series of
horizontal, parallel lines in the top right remind us of the architecture. By 1988 O’Malley and his wife, Jane,
were increasingly spending summers in Ireland, prior to a permanent removal back to County Kilkenny in
1990 from Cornwall. They regularly cycled from Callan into the city to sketch and paint the cathedral. Earlier
depictions of medieval Kilkenny and the cathedral, emphasize its centuries of usage, with shadowy, ghostlike
figures mingling with self- portraits, set into grey niches, like medieval stone carvings. Here, however, the
artist celebrates the building and the wild life that flourishes around it, away from the bustle of the city
down below, offering forms inspired by long grasses and seed heads, birds in flight or their song, against
sun-drenched grey walls. A small triangular form in pink and maroon is probably a self-portrait, but even
this is sub-ordinated to the overall atmospheric rendering of the place. The colours are muted, with care-
fully –controlled flashes of brilliance, edges are softened, the only movement suggested is consistent with
summer breezes. This is about peace and slow time, not military conquest.
Catherine Marshall, February 2018
€ 15,000 - 20,000

77

78
78 TONY O’MALLEY HRHA (1913-2003)
Good Friday Painting (1983)
Oil on board, 120 x 39cm (47¼ x 15½’’)
Signed with initials, inscribed with title and dated 1983; signed again in Irish (AR 695)
1983 marked a big turning point in Tony O’Malley’s recognition as an artist in Ireland. From relative obscurity in
the previous decades he found himself featuring in three group exhibitions that year; Kilkenny Castle Gallery,
Saint Ives’s Artists at the Winchester Gallery in England and, more importantly he was one of the artists in
Six Artists from Ireland, a European touring exhibition jointly presented by the Arts Council and the Cultural
Relations Committee of the Department of Foreign Affairs. O’Malley had been included in an earlier travelling
exhibition within Ireland, Miles Apart, in 1981, and was the subject of a film documentary on RTE in 1982,
but inclusion in the Six Artists show, and having his work chosen for the cover of the catalogue, confirmed
his acceptance as a leading Irish painter. It paved the way for an extraordinary sequence of accolades and
successes, which were to culminate in 1993 in the award of Saoi of Aosdana, the highest honour that Irish
artists could confer on one of their peers.
O’Malley had, by then, a well-established practice of painting a ‘Good Friday’ painting each year. Although he
had no particularly religious feelings about the day, this theme provided one of the threads of continuity that
ran through his career from 1961 to 2002. His sense of history and ritual was exceptionally keen and Good
Friday was a rich source for both of these. O’Malley loved the idea that the mythology surrounding the most
significant event in the Christian narrative, was also the day of the death of the legendary, but pagan Irish king,
Connchubar Mac Nessa as well as that of the slaughter of Brian Ború as he celebrated his decisive victory
over the Danes at the Battle of Clontarf. Separated by approximately 12 monthly intervals, the Good Friday
paintings vary widely in wood, colour and iconography, but a regular theme that recurs in many of them,
as here, is a reference to the instruments of Christ’s Passion. In Good Friday 1983, overt references to the
historical events are handled discretely. O’Malley’s work generally leans towards abstraction, but the vertical
form and a delicately outlined cruciform shape could be read as a reference to the cross on which Christ died,
and line drawings of some of the more familiar symbols of Christ’s passion, the hammer used to drive the nails
connecting the body to the cross and the outline of the cock that crowed when Christ died, prompting Peter to
deny his leader. But these symbolic objects, usually designed to evoke suffering and horror are barely visible.
More provocatively their emotive power is gently undermined by the presence of a tiny bird’s head, visible
directly underneath the cock on the left.
Instead of the weight of history, or religious mourning the mood of the painting is light and warm, more linked
to the colours of Paradise Island in the Bahamas, which O’Malley visited each year from the mid 1970s with
his wife Jane, than to the sombre Good Fridays of his Irish childhood. O’Malley visited Paradise Island in 1983.
He told his friend Brian Fallon that he had hoped to paint the light there but found it so bright, at first, that it
reduced his palette to white. That is reflected in many of his paintings from 1983. It infects Good Friday 1983
with a sense of spring rather than death.
Catherine Marshall, February 2018
€ 15,000 - 20,000

79

80
79 RICHARD KINGSTON RHA RUA (1922-2003)
Seascape
Oil on board, 18 x 29cm (7 x 11½”)
Signed
€ 600 - 1,000
80 CECIL KING (1921-1986)
Dusk
Oil on card, 25.5 x 16.5cm (10 x 16½’’)
Signed and dated (19)’62
€ 250 - 350

81
81 CECIL KING (1921-1986)
Untitled (Two), 1986
Oil on canvas, 92 x 122cm (36 x 48”)
Artist’ Ref.20
Provenance: With The Oliver Dowling Gallery Dublin (label verso)
Exhibited: ‘Cecil King - A Legacy of Painting’, Irish Museum of Modern Art, Feb/May 2008, Catalogue No.76
€ 2,000 - 4,000

82
82 WILLIAM SCOTT OBE RA (1913-1989)
‘Angles Equal’ from a Poem for Alexander
Screenprint, 57 x 77cm (22½ x 30¼’’)
Signed, dated (19)’72 and numbered 2/72
€ 1,200 - 1,600
83 LOUIS LE BROCQUY HRHA (1916-2012)
Procession with Lilies
Lithograph, 49.5 x 64cm (19½ x 25¼’’)
Signed, numbered 22/50 and dated 1986
€ 800 - 1,200

83
84 FELIM EGAN (B.1952)
Blue Motion (1986)
Triptych, acrylic on canvas, 90.5 x 60.6cm (35½ x 23¾’’) each panel, 181.8cm (71.25”) wide overall
Signed on reverse of panel 3
Provenance: From the Collection of the late John Hunt and thence by descent.
Exhibition: ‘Felim Egan, One Man Exhibition’, Oliver Dowling Gallery, Dublin, February-March 1986.
€ 3,000 - 5,000

84
85 PATRICK HICKEY HRHA (1927-1998)
Two Forests, September
Lithograph, 52 x 69.5cm (20½ x 27½’’)
Signed, inscribed with title and numbered 4/10
€ 250 - 350
86 PATRICK SCOTT HRHA (1921-2014)
No.27 (7 Series)
Pen and ink, 49.5 x 39cm (19½ x 15½’’)
Signed and dated (19)’63
Provenance: With the Dawson Gallery, where purchased; and
thence by descent to current owner.
€ 250 - 350

85
87 MICHAEL FARRELL (1940-2000)
Man Lost
Watercolour, 52.5 x 72.25cm (20¾ x 28½’’)
Signed, dated (19)’78 and inscribed ‘Un Uomo Perdato’ and ‘Bicchiere d’Acqua’
€ 800 - 1,200

86
88 COLIN DAVIDSON PPRUA (B.1968)
Looking South towards Belfast Lough from Windsor House
Oil on canvas, 167.5 x 183cm (66 x 72’’)
Signed, inscribed with title and dated 2004 verso
Provenance: With the Tom Caldwell Gallery, Belfast (label verso).
No Continuing City, his well-received solo exhibition at the Tom Caldwell Gallery in 2004, marked Colin
Davidson’s most extensive and concentrated engagement with his native city, Belfast, to that point. Amanda
Croft commented in the exhibition catalogue that “it is the architectural framework of the city as a whole,
its intersecting network of roads, rivers and bridges, and its geographical setting that attracts him, not the
social hustle and bustle of its inhabitants” [1].
Looking Towards Belfast Lough from Windsor House is dominated by its unusual aerial view into the City
Hall, luminous in the winter sunshine, with a complex geometric analysis of the streets in the foreground
echoed as the image of the city stretches away towards the river. Amanda Croft noted that the present
painting benefited from its large scale and that the “sheer breadth of these urban vistas is matched by the
physical scale of Davidson’s canvases” [2].
Even for those familiar with the city, the high vantage points from which Davidson was able to draw and
paint Belfast set them apart from the everyday experience of most people. While the paintings are topo-
graphically accurate there are “many areas of these paintings which function in a purely abstract manner”
[3] and they become images that are true to the city on many different levels, as much concerned with “the
energy and nature of the city as a whole, as they are about replicating preconceived notions of an image of
Belfast” [4].
€ 7,000 - 10,000
[1] Amanda Croft, ‘Introduction’, Colin Davidson – No Continuing City, Tom Caldwell Gallery, Belfast, 2004
[2] Ibid.
[3] Dickon Hall, ‘Introduction’, New Paintings by Colin Davidson, Solomon Gallery, Dublin, 2005
[4] Ibid.

87

88
90 BASIL BLACKSHAW HRHA RUA (1932-1916)
The Blackbird of Belfast Lough
Limited edition print, 51 x 42cm (20 x 16½’’)
Signed artist’s proof from an edition of 8 commis-
sioned in 2009.
with poems by John Hewitt, Seamus Heaney, Paul
Muldoon, Ciara Carson etc.
€ 400 - 600
In the Old Shop
Pen & Ink, 21 x 15cm (8.25 x 6’’)
Signed
€ 500 - 700

89
Head of Girl (1976)
Oil on paper, 20 x 20cm (7¾ x 7¾’’)
Signed
Provenance: With Tom Caldwell Gallery, Belfast.
€ 1,500 - 2,000

90
92 NEIL SHAWCROSS RUA (B.1940)
Girl Drying her Foot (1977)
Oil on canvas, 16 x 11cm (6¼ x 4¼’’)
Signed
Provenance: With The Bell Gallery, Belfast, exhibited
1977 (label verso).
€ 600 - 1,000
93 MARK O’NEILL (B.1963)
Window Thoughts
Oil on board, 25.5 x 23cm (10 x 9’’)
Exhibited: ‘2001 Summer Exhibition’, The Frederick
Gallery, June-July 2001, Catalogue No.57,
where purchased by current owner.
€ 1,000 - 1,500

91
94 ARTHUR K. MADDERSON (B.1942)
The Evening Light (Glen Shellane), Co. Waterford
Oil on board, 122 x 118cm (48 x 46½’’)
Signed and inscribed with title verso
€ 3,000 - 5,000

92
95 NOEL MURPHY (B.1970)
The Tunnel
Oil on panel, 61 x 51cm (24 x 20”)
Signed with monogram. Original exhibition label verso
Originally from London, Noel Murphy studied at the University of Ulster and trained later at the National
College of Art and Design in Dublin. His work has been shown at numerous galleries including The Emer
Gallery in Belfast and Pictoons Gallery in London. Murphy has won numerous prizes including The Arts
Council for Northern Ireland Award and The Ulster Museum Award. He lives and works in Co. Antrim.
€ 400 - 600

93
96 TOM ROCHE (B. 1940)
Skellig Michael (1996)
Oil on canvas, 91.5 x 91.5cm (36 x 36”)
Signed, also signed and inscribed verso
€ 3,000 - 5,000

94
97 CAREY CLARKE PPRHA (B.1936)
Patterns of Light, Tobacco Barn, Lot et Garonne, France
Tempera on gesso panel, 71 x 92cm (28 x 35¾”)
Signed, with artist’s label verso
€ 1,500 - 2,500
98 CAREY CLARKE PPRHA (B.1936)
Yellow Rose - Daylight
Oil on canvas board, 29 x 24cm (11½ x 9½’’)
Signed
Title inscribed on artist’s label verso (Ref 12-1985-2)
€ 600 - 800

95
99 PATRICK HENNESSY RHA (1915-1980)
The Flood
Oil on canvas, 75 x 100.5cm (29½ x 39½’’)
Signed (AR PH 128)
Provenance: With the Guildhall Galleries, Chicago. According to Harry Robertson Craig’s journal this work
was sold in March 1967 for £564.
Literature: Illustrated in ‘Patrick Hennessy Retrospective’ Catalogue published by the Guildhall Gallery 1975.
The buildings seem to be those of Tangier surreally set in a West of Ireland landscape.
Our thanks to Seán Kissane for his help in cataloguing this lot.
€ 5,000 - 7,000

96
100 NICCOLO D’ARDIA CARACCIOLO RHA (1941-1989)
Still Life with Chinese Vase
Oil on canvas, 71 x 75cm (28 x 29½’’)
Signed
Provenance: The Conrad Hotel Art Collection
€ 3,000 - 4,000

97
101 MARTIN MOONEY (B.1960)
Still life with rhubarb
Oil on board, 50.5 x 100.5cm (19.75 x 39.5’’) signed with monogram
Exhibited: ‘Martin Mooney Exhibition’, The Solomon Gallery, November 2000, where purchased by previous owner;
‘Ulster Artists Loan Exhibition’, The Ava Gallery, Clandeboye, April 2010, Catalogue no. 33 .
€ 5,000 - 7,000

98
102 ROBIN BUICK ARHA (B.1940)
Female Piper
Bronze, 19cm high (7½” high)
Signed and numbered 3/9
€ 700 - 1,000

99
103 ROWAN GILLESPIE (B.1953)
The Cashel Dancers
Bronze, 34cm high, on circular slate base, 29cm diameter
Signed and dated 1991. From an edition of 9.
Literature: “Rowan Gillespie: Looking for Orion” 2007, illustrated p.50
€ 4,000 - 6,000

100
104 HILARY HERON (1923-1976)
Bird Barking (1959)
Welded steel, 213cm long, 105cm high (83¾ x 41¼’’)
Provenance: From the Collection of the late John Hunt Snr who is thought to have bought it
directly from the artist circa 1965 and thence by descent to the current
owner.
Exhibited: Hilary Heron, The Waddington Galleries London, 1960. Cat. No. 2.
Ulster Society of Women Artists, Belfast, 1961.
Hilary Heron Sculpture, Queens University Belfast, Visual Arts Group. 1963. Cat. No. 2.
Literature: ‘Irish Women Artists: From the Eighteenth Century to the Present Day’, National Gallery
of Ireland/The Douglas Hyde Gallery. Illustrated Fig. 30. Page 44.
Hilary Heron (1923-77) was the pioneering figure in modern sculpture in Ireland in the 1940s,
1950s and 1960s. She attended the National College of Art in Dublin in the early 1940s and as a
student she won the Taylor Art Scholarship Prize in three successive years. Heron exhibited at the
first Irish Exhibition of Living Art in 1943 and continued to show with them for over twenty years.
Winning the IELA Mainie Jellett travelling scholarship, she spent most of 1948 in Paris and was
influenced by the Post War existentialist art she encountered.
She was related by marriage to playwright Samuel Beckett and he accompanied her to galleries
and introduced her to the Paris art world. It was here that she became enamoured with weld-
ing as a sculptural medium having seen works by Pablo Picasso, Alexander Calder, and Julio
González. The medium of ambitious modern sculpture between 1945 and 1960 was welded iron
and Heron was the first Irish artist to exhibit welded sculpture. In doing so she influenced future
generations of Irish sculptors. She was also something of a pioneer in two dimensional relief work
using lead and other media. When her gallery Waddingtons moved to London in the mid-fifties
she and Jack B. Yeats were the only two artists from their Dublin gallery who had London solo
shows with them. By this time reviewers and commentators were universally positive, writing that
Heron was Ireland’s only modern and most promising sculptor and in touch with outside influenc-
es. Her stature as Ireland’s foremost sculptor was re-enforced when she was selected with Louis
le Brocquy to represent Ireland at the important Venice Biennale in 1956 where she exhibited
nine carvings and three welded pieces.
In the late 1950s and early 1960s she shared a studio in London with the English sculptor
Elisabeth Frink. It was here that Heron completed this current work. It was exhibited in her first
London solo show which the review in The Observer newspaper described as ‘bringing something
fresh, diverting, and also very genuine to our inbred world of sculpture’. Birds were a theme in
Heron’s work and Bird Barking, 1959, in welded steel is one of the largest sculptures she made.
This surreal work was prompted by a comment made by a city friend of hers, who couldn’t sleep
while staying in the countryside, because of the “cuckoo barking”. Heron is an important sculptor
in Irish art history and she is under-represented in Irish public galleries, The Observer review
suggested that her work should be bought for a public collection, that opportunity now presents
itself again.
Billy Shortall March 2018
€ 5,000 - 7,000
Hilary Heron working on ‘Bird Barking’ in Elizabeth Frink’s studio in London circa 1959

101

102
106 FREDERICK E. MCWILLIAM HRUA RA (1909-1992)
16th June Bloomsday (Banner series)
Bronze, 23cm high x 22cm wide x 12cm diameter (9 x 8¾ x 4¾’’)
Signed with initials and numbered 1/5
Exhibited: ‘F.E. McWilliam Retrospective’ travelling exhibition, Arts Council of Ireland, The Ulster Museum, April/May 1981, Douglas
Hyde Gallery, May/June 1981, Crawford Gallery, Cork, July/August 1981, Cat. No. 123.
Literature: ‘The Sculpture of F.E. McWilliam’ by Denise Ferran and Valerie Holmes, 2012, Cat. No. 432 illustrated P162.
After working on his ‘’Women of Belfast’’ series between 1972 - 74, McWilliam turned his attention from the victims of the troubles
in Northern Ireland to the survivors. A prologue to the new series ‘’Banners’’ was a piece called ‘’Survivor’’ which he completed early
in 1975. He then started ‘’Banners’’ - women as survivors and campaigners for peace: ‘’United as mothers across the religious and
political divide we marched through towns, held rallies, galvanised speakers’’. This series shows again that Mc William had not lost
his Ulster roots and was concerned about what was happening there. He continued with this ‘’Banner’’ series until the end of 1976
completing 30 different pieces in the series some of which contained non- Ulster references like this one with its Joycean reference
or ‘’Buy more art’’ and other witty titles.
We thank Dr Denise Ferran whose various writings on F.E. Mc William formed the basis of this catalogue entry.
€ 4,000 - 6,000
105 JACK BUTLER YEATS RHA (1871-1957)
“Jack B. Yeats: A catalogue Raisonné of the oil paintings” by Hilary Pyle London: André Deutsch, 1992. Three volumes, 1856pp with
1822 illustrations, 111 in colour. Cloth in a slipcase fine unopened condition. Definitive catalogue raisonné of Ireland’s greatest
painter, bringing together every known oil painting by Yeats, providing further documentary illustrations where appropriate and
citing all relevant sources and influences. No.1105 from an edition limited to 1500, a must have for anyone interested in the history
of Irish art and work of Jack B. Yeats. Mint unopened condition.
€ 300 - 500

103

104
107 JOHN BEHAN RHA (B.1938)
Mother and Child
Bronze, 43 x 23 x 24cm (17 x 9 x 9½”)
€ 1,500 - 2,500

105
108 GERARD COX (B.1954)
Biome No. 2
Bronze, 32cm high, 41cm wide (12½” high, 16” wide)
Signed
€ 1,000 - 1,500

106
109 RORY BRESLIN (B 1963)
Mask of the Slaney
Bronze, 88.5cm high x 41.5 wide (35 x 16 “) Number 1 from an edition of 3
Oysters, scallops, whelks, clams and a huge crab adorn the crown and the sides of The Mask of the
Slaney indicative of the abundance of shell-fish in Wexford harbour. Besides the crustaceans, ears of
corn and other vegetation narrate a river, which for a great part of its length has been notable for its
corn crops. The lively and undulating waves of the hair of the beard suggest a river of rapid flow.
With its course roughly parallel to those of the Barrow and the Nore, the Slaney rises under Lugnaquilla
and flows through Bunclody and Enniscorthy eventually flowing vigorously through the narrow gorge at
Ferrycarrig.
The Mask of the Slaney is a larger than life-size adaptation of Edward Smyth’s River-God keystone
depiction on the Western facade of Dublin’s Customs House. Vigorously modelled, the face reveals an
interesting fusion of baroque energy and classical control.
€ 5,000 - 7,000

107

108
110 HECTOR MCDONNELL RUA (B.1947)
North Down Hunt, Winter 1977
Signed
Provenance: With Fischer Fine Art, London; UTV Art Collection
Exhibited: ‘A Selection from the UTV Collection’, RHA, April 1993; “40 Years of Ulster Art” The Water
front Hall, November / December 1999
Literature: ‘Hector McDonnell’, The Ulster Museum, 2003, listed p.40; ‘UTV Art Collection’ 2009,
illustrated p.39
€ 700 - 1,000
111 MARK O’NEILL (B.1963)
Riding Home
Oil on board 54.5 x 61cm (21½ x 24’’)
Exhibited: ‘Mark O’Neill Exhibtion’ , The Frederick Gallery, May 2001. Catalogue No.38, where
purchased by the present owner.
€ 3,000 - 5,000

109

110
112 MARJORIE FITZGIBBON HRHA (B.1930)
Riding Out on Killiney Beach
Oil on canvas, 91.5 x 70cm (36 x 27½’’)
Exhibited: ‘1998 Summer Exhibition’, The Frederick Gallery, June-July 1998, Catalogue No.44.
This is a portrait of the artist’s daughter, Una (then aged seven), riding a pony called ‘Duffy’ on Killiney Beach.
€ 1,000 - 1,500

111
114 ROY LINDSAY (B.1945)
Sunday Horse Fair, Smithfield
Oil on canvas, 76 x 120cm (30 x 47¼’’)
Signed
€ 4,000 - 5,000
113 ROY LINDSAY (B.1945)
Ladies’ Day, RDS
Oil on canvas, 76 x 120cm (30 x 47¼’’)
Signed
€ 4,000 - 6,000

112
115 PETER CURLING (B.1955)
A collection of five signed and numbered coloured prints, comprising:
I) Getting Serious, 57 x 76cm (22½ x 30’’)
II) The Rock of Cashel from Kilbreedy, 35 x 86.5cm (13¾ x 34’’)
III) At the Foot of Slievenamon, 52.7 x 66cm (20¾ x 26’’)
IV) Early Morning Cheltenham, March, 49.3 x 71cm (19¼ x 28’’)
V) Highland Ponies, 37.3 x 53.4cm (14¾ x 21’’)
Published by Cashel Fine Art, numbered 4/220; together with a mounted pencil
drawing of A Horse and Rider - ‘Point Duty’, 22 x 30cm (8½ x 11¾’’), signed, the entire
contained in a limited edition hand made portfolio and numbered 4/30. (6)
€ 2,000 - 3,000

113
116 PETER CURLING (B.1955)
Study of Thady Ryan
Oil on canvas, 36 x 46cm (14¼ x 18”)
Signed
Provenance: Gifted by the artist to the vendor’s father
€ 4,000 - 6,000

114
117 THOMAS RYAN PPRHA (B.1929)
Figures on the Riverbank
Watercolour, 30 x 40cm (11¾ x 15¾”)
Signed (AR 91-98)
€ 300 - 500
118 THOMAS RYAN PRHA (B.1929)
A set of six views of Boland Mills, Dublin
Watercolour, 40 x 50cm (15¾ x 19¾”)
Signed and inscribed (6)
€ 2,000 - 3,000

115

116
Christmas cards 1976-1979, 1981, 1982 (STW edition)
Six screen prints, 30 x 25cm (11¾ x 9¾’’) (variations)
Signed and dated
Unframed
See extra images in online catalogue
€ 600 - 800

117
Christmas cards 1983-1988 (STW edition)
Six screen prints, 30 x 25cm (11¾ x 9¾’’) (variations)
Signed and dated
Unframed
€ 600 - 800

118
Christmas cards 1989, 1991-1995 (STW edition)
Six screen prints, 28 x 23cm (11 x 9’’) (variations)
Each signed and dated
Unframed
€ 600 - 800
Christmas cards 1997-2003 (STW edition)
Six screen prints, 28.6 x 22cm (11¼ x 8¾’’) (slight
variations)
Each signed and dated
Unframed
€ 600 - 800

119
Christmas cards 2004, 2005, 2007, 2008, 2009 and 2011 (STW edition)
Six screen prints, 28.5 x 21.7cm (11¼ x 8½’’) (with variations)
Each signed and dated (except 2011 - printed signature)
Four framed, two unframed. (6)
€ 600 - 800

120
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Adams Important Irish Art Auction 27th March 2018

Adams Important Irish Art Auction 27th March 2018

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