Morgan Odriscoll Irish & International Art Auction 30th April 2018

Viewings: London | Cork | Dublin
MORGAN O’DRISCOLL
Irish & International Art Auction
Monday 30th April 2018 at 6pm

www.morganodriscoll.com
37
Paul Henry RHA (1876-1958)
COTTAGES (1930-1935)
Front Cover (detail of Lot 50)
Louis Le Brocquy HRHA (1916-2012)
RECONSTRUCTED HEAD OF A CHILD (1968)

IRISH & INTERNATIONALART AUCTION
VENUE: RDS (Royal Dublin Society)
Minerva Suite, Merrion Road, Ballsbridge, Dublin 4
AUCTION: Monday 30th April 2018 at 6pm
FINE ART AUCTIONEERS & VALUERS
LONDON VIEWING HIGHLIGHTS
La Galleria Pall Mall
30 Royal Opera Arcade, Pall Mall, London SW1Y 4UY, United Kingdom
Monday 16th April 2018: 10am - 6pm
Tuesday 17th April 2018: 10am - 6pm
Wednesday 18th April 2018: 10am - 2pm
CORK VIEWING
Our Offices
1 Ilen Street, Skibbereen, Co. Cork, Ireland
Saturday 21st April 2018: 12noon - 5pm
Sunday 22nd April 2018: 12noon - 5pm
Monday 23th April 2018: 12noon - 5pm
DUBLIN VIEWING
RDS (Royal Dublin Society)
Friday 27th April 2018: 2pm - 7pm
Saturday 28th April 2018: 11am - 6pm
Sunday 29th April 2018: 11am - 6pm
Phone No. For Viewing Dates and Sale Day
Ireland: 086 2472425
London:+353 86 2472425

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ENQUIRIES TO CORK OR DUBLIN OFFICE:
LONDON VIEWING HIGHLIGHTS
La Galleria Pall Mall
30 Royal Opera Arcade, Pall Mall, London SW1Y 4UY, United Kingdom
Tuesday 17th April 2018: 10am - 6pm
Wednesday 18th April 2018: 10am - 2pm
Morgan O’Driscoll
1 Ilen Street
Skibbereen
Co. Cork
Ireland
Tel: 01 6650425
028 22338
Mob: 086 2472425
Fax: 028 23601
email: info@morganodriscoll.com
International dialing code: +353 (drop the zero)
Morgan O’Driscoll
Lis Cara Business Centre
51/52 Fitzwilliam Square West
Dublin 2
Ireland
Tel: 01 6650425
email: info@morganodriscoll.com

IRISH & INTERNATIONAL ART AUCTION
MONDAY 30TH APRIL 2018 AT 6.00PM
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DUBLIN VIEWING
RDS (Royal Dublin Society)
Friday 27th April 2018: 2pm - 7pm
Saturday 28th April 2018: 11am - 6pm
Sunday 29th April 2018: 11am - 6pm
CORK VIEWING
Our Offices
1 Ilen Street, Skibbereen, Co. Cork, Ireland
Saturday 21st April 2018: 12noon - 5pm
Sunday 22nd April 2018: 12noon - 5pm
Monday 23th April 2018: 12noon - 5pm

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IMPORTANT INFORMATION FOR BUYERS
A full list of conditions of sale are available from our offices or on our website
at www.morganodriscoll.com
BID NUMBER
Intending purchasers must register for a paddle before the auction. Potential purchasers should allow time for
registration. We recommend registering on viewing days.
BIDDING FOR PEOPLE UNABLE TO ATTEND THE AUCTION IN PERSON
We are pleased to offer Absentee, Telephone and Live On-Line Bidding on our website www.morganodriscoll.com
PRE-SALE ESTIMATES
These are shown beneath each lot in this sale and they are intended merely as a guide and may be subject to change.
Amounts given in foreign currencies are approximate and are for convenience only. They are subject to fluctuation. The
legal amount due is always the Euro sum €. The auction shall be conducted in Euro.
BUYERS’ COMMISSION
The Purchaser shall pay the hammer price together with a buyers’ premium of 20% plus VAT (24.6% inc. VAT). For
Live Online bidding there is a further 3% service charge.
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.
ARTIST RESALE RIGHTS
No artist resale rights shall be paid by the purchaser, it is the responsibility of the vendor.
PAYMENT
All purchases must be paid for in Euro in full within 7 days of the sale. We accept cash, cleared personal cheques,
bankers drafts and debit cards. The auctioneers and house agents act under which we are licensed to hold public
auctions, only allows for lots to be handed over to purchasers when paid for in full.
COLLECTION OF LOTS
In some circumstances small or portable lots may be collected during the sale on production of a purchasers’ sale
receipt. Our staff are here to help, but please remember that the smooth conduct of the sale has to be their first
consideration at all times.
Purchasers are requested to remove their lots from the saleroom after the sale on Monday 30th April 2018 or on Tuesday
1st May between 9.30am and 1pm at our Dubin office. Alternatively, items can be collected from our office in Dublin or
West Cork by prior appointment.
DELIVERY
We can recommend a number of couriers who will deliver purchases for you at a reasonable charge payable by you.
This agreement is solely between the purchaser and the courier and no responsibility is held by the auctioneer.
International deliveries can be arranged, please contact us for details.
IMPORTANT INFORMATION FOR BUYERS
A Full List Of Conditions Of Sale Are Available From Our Offices Or On Our Website
at www.morganodriscoll.com
BID NUMBER
Morgan O’Driscoll’s operate a buyer bid number system. Persons bidding at the auction must register and receive a
bidding number on arrival. Proof of identity is required from new clients.
BIDDING FOR PEOPLE UNABLE TO ATTEND THE AUCTION IN PERSON
We are pleased to offer Absentee, Telephone and Live On-Line Bidding on our website www.morganodriscoll.com
PRE-SALE ESTIMATES
These are shown beneath each lot in this sale and they are intended merely as a guide and may be subject to change.
BUYERS’ COMMISSION
The Purchaser shall pay the hammer price together with a buyers’ premium of 20% plus VAT (24.6% inc. VAT).
For Live Online bidding there is a further 3% service charge.
ARTIST RESALE RIGHTS
No artist resale rights shall be paid by the purchaser, it is the responsibility of the vendor.
PAYMENT
All purchases must be paid for in Euro in full on the day of the sale. We accept cash, cleared personal cheques,
bankers drafts and Laser debit cards (Visa and Mastercard credit cards are accepted subject to a service charge of
2.00%). The auctioneers and house agents act under which we are licensed to hold public auctions, only allows for
lots to be handed over to purchasers when paid for in full.
COLLECTION OF LOTS
In some circumstances small or portable lots may be collected during the sale on production of a purchasers’ sale
receipt. Our staff are here to help, but please remember that the smooth conduct of the sale has to be their first
consideration at all times.
Purchasers are requested to remove their lots from the saleroom after the sale on Monday 14th September or no later
than 1pm on Tuesday 15th September 2015. Alternatively, items can be collected from our office in Dublin or West Cork
office by prior appointment.
DELIVERY
We can recommend a number of couriers who will deliver purchases for you at a reasonable charge payable by you.
This agreement is solely between the purchaser and the courier and no responsibility is held by the auctioneer.
International deliveries can be arranged, please contact us for details.
Amounts given in foreign currencies are approximate and are for convenience only. They are subject to fluctuation.
The legal amount due is always the Euro sum €. The auction shall be conducted in Euro.
Any bids submitted must be given in Euro only.

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Visualise the life-size artwork at home
by downloading the
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Our website provides many additional images
for all lots which may prove useful to prospective
purchasers as shown in the example
VISIT
Additional Images Include:
WALL
MOUNTED
IMAGE
SIGNATURE
FRAMED
BACK OF
PAINTING
FRAME SIZES ARE ALSO AVAILABLE ON THE WEBSITE

AT 6.00PM
OIL & ACRYLIC PAINTINGS
WATERCOLOURS
D
S
RAWINGS
CULPTURES
Auction Commences
AT 6.00PM
OIL & ACRYLIC PAINTINGS
WATERCOLOURS
D
S
RAWINGS
CULPTURES
Auction Commences
CONTENTS
Lots 1-147 page 8-123
Conditions of Sale page 124 & 125
Bid Forms page 126 & 127
Index of Artists page 128 & 129

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1
John Butler Yeats RHA (1839-1922)
ROSA BUTT (1902)
signed and dated July 16th, 1902
pencil drawing on paper
16.5 x 12cm (6.5 x 4.72in)
Provenance: Yeats family Collection;
Private Collection
€1,000-1,500 (£869-1,304)
2
Percy French (1854-1920)
CONNEMARA LANDSCAPE
signed lower left
watercolour
18.5 x 26.5cm (7.28 x 10.43in)
Provenance: Private Collection
€2,500-3,500 (£2,173-3,043)

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3
Percy French (1854-1920)
CONNEMARA
signed lower left
watercolour
18.5 x 28cm (7.28 x 11.02in)
William Percy French was born in County Roscommon in 1854. He grew up in Derby before
being sent to school in Derry as preparation for entering Trinity College Dublin. There he
studied engineering and for seven years he worked as an engineer spending his spare time
sketching and composing songs. He then abandoned his chosen career to pursue his artistic
interests and in addition to painting he wrote stories, verse and libretti for a musical comedy, a
comic opera and a full opera, all of which were produced in Dublin. He is best remembered for
his atmospheric watercolour paintings of Irish bogs and skies, typically painted using a ‘wet-
on-wet’ technique. His work as both an artist and popular entertainer is commemorated by the
Percy French Society, which was formed in the 1980s, and which has a collection of some eighty
watercolours by French on permanent display in the North Down Heritage Centre.
€2,500-3,500 (£2,173-3,043)

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4
Dermod William O’Brien PRHA (1865-1945)
DUBLIN DOCKS
oil on canvas
35.5 x 45.5cm (13.98 x 17.91in)
Provenance: Cynthia O’Connor & Co. Ltd, Dublin (label verso);
Collection of Senator and Professor Trevor West of Trinity College and Charleston, Ballinacurra, Cork
By descent
Exhibited: The Studio of Dermod O’Brien PRHA - Cynthia O’Connor & Co., Dublin, March - April 1983, No.33
€2,000-4,000 (£1,739-3,478)
Quite apart from his accomplishments as an artist, O’Brien’s contribution to Irish art in the first half of the 20th century is
immeasurable. He was a friend and encourager to Jack B. Yeats, and Paul Henry acknowledged that it was O’Brien who gave him
his first opportunity to show his pictures in Ireland. Until he produced his Studio Catalogue of 1,500 works, Nathaniel Hone’s
ability with watercolour was unknown, and he worked tirelessly with Sir Hugh Lane in his efforts to improve Dublin - against the
city’s own wishes, it seemed at the time. At the outset of his career he overcame the handicap of being an upper- class landowner
very much under the New Order, going on to become a Governor of the National Gallery of Ireland, President of the United Arts
Club, and champion of the Royal Hibernian Academy. From an affluent Cahirmoyle farming family, his move to Dublin saw
the Liffey - from source to industrial landscape - replace Limerick as his inspiration in landscape, ameliorated by his farmer’s
understanding of the Irish countryside.

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5
Dermod William O’Brien
PRHA (1865-1945)
DUBLIN DOCKS
oil on panel
37.5 x 46cm (14.76 x 18.11in)
Provenance: Cynthia O’Connor & Co.
Ltd, Dublin (label verso);
Collection of the Senator and Professor
Trevor West of Trinity College and
Charleston, Ballinacurra, Cork
By descent
Exhibited: The Studio of Dermod O’Brien
PRHA - Cynthia O’Connor & Co., Dublin,
March - April 1983, No.34
€2,000-4,000 (£1,739-3,478)
6
Dermod William
O’Brien PRHA (1865-1945)
THE FARMSTEAD
oil on board
29.5 x 39.5cm (11.61 x 15.55in)
Provenance: Collection of the
Senator and Professor Trevor West
of Trinity College and Charleston,
Ballinacurra, Cork
By descent
€2,000-4,000 (£1,739-3,478)

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7
Edwin Hayes RHA RI (1820-1904)
The MuMbles lighThouse, swAnseA (1884)
signed lower left and titled on reverse
oil on canvas
31.5 x 51.5cm (12.40 x 20.28in)
Provenance: William Rodman & Co., Belfast (label verso);
Private Collection
The Irish watercolourist and marine painter Edwin Hayes was born in Bristol but grew up in Dublin. He studied drawing and
painting at the Dublin Society Art School and set his sights on becoming a marine painter, an ambition nurtured and encouraged
by living close to Dublin’s docks and quays, as well as his personal experience as a trans-Atlantic steward boy and sailor.
Hayes first exhibited at the Royal Hibernian Academy (RHA) in 1842, at the age of 22. He later moved to London in 1852 to
paint under the scene artist Telbin. Hayes exhibited “View of the River Liffey and the Custom House” at the British Institution in
1854, and the following year he showed at the Royal Academy (RA), continuing to do so for nearly 50 years. In addition, Hayes
exhibited at the Society of British Artists and at the Royal Institute of Painters in Watercolours, becoming an Associate in 1860
and a Member in 1863. Meanwhile, Hayes continued submitting to the Royal Hibernian Academy (RHA) to which he was elected
an associate member in 1853 and a member in 1871.
€1,500-2,500 (£1,304-2,173)

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8
George Mounsey Atkinson (1850-1908)
The eugenie off QueensTown (1887)
title inscribed lower left and dated 1887
oil on canvas
61 x 89.5cm (24.02 x 35.24in)
A self-taught artist, as Government Surveyor of Shipping and
Emigrants at Queenstown, now Cobh, Atkinson was ideally
located to capture his favourite subjects - the elegant sailing
ships docking under his nose.
€5,000-7,000 (£4,347-6,086)

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9
Walter Frederick Osborne RHA (1859-1903)
A sTreeT in AnTwerp (1894)
signed, titled and dated ‘94 lower right
pencil drawing on paper
25.5 x 18.25cm (10.04 x 7.19in)
Provenance: Daniel Egan, Dublin (framing label verso);
Private Collection
A key figure in 19th century Irish art, Osborne studied in Antwerp where he delighted in
documenting the intimate details of street life - women gossiping, carts unloading their wares,
all against the backdrop of the magnificent Gothic Cathedral.
€1,500-2,500 (£1,304-2,173)

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10
James Webb (1825-1895) British
THE PORT OF ALGIERS
signed lower left
oil on canvas
61.5 x 102cm (24.21 x 40.16in)
Paintings by British maritime artist Webb can be seen in the collections of the
Victoria and Albert Museum, and the Tate Gallery. He had a penchant for the
Mediterranean port, a scene often dominated by a stout fortress and the towering
dome of a mosque dazzling against azure skies.
€5,000-7,000 (£4,347-6,086)

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11
Neil Shawcross RHA RUA (b.1940)
sTill life - Vessels, boTTles AnD fruiT (2007)
signed and dated 2007
oil on board
120 x 174.5cm (47.24 x 68.70in)
Provenance: Acquired directly from the artist by the present owner
Neil Shawcross was born in Lancashire in 1940. He has been resident in Northern Ireland since 1962. Shawcross paints the figure
and still life, taking a self-consciously childlike approach to composition and colour. He sources his still-life subjects from his
surroundings, his home, local coffee shops and advertising. When representing a subject as simple as a cup and saucer or a bowl
of fruit, Shawcross translates the mundane domesticity of this object into a painterly statement invested with character. Objects
are demarcated by thick outlines in black or bold colour and the work is characterised by a remarkable control of medium. A noted
colourist and technical innovator, his still-lifes exude vitality and demonstrate a freshness of approach to this much-loved theme
which he has subjected to intense scrutiny over the years.
€3,500-4,500 (£3,043-3,913)

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12
Basil Blackshaw HRHA RUA (1932-2016)
BULLDOG
signed lower right
oil on canvas
41 x 51cm (16.14 x 20.08in)
Basil Blackshaw was without doubt one of the great painters of animals in 20th century Irish art. That is partly to do with the
fact that virtually every picture he painted is alive with an acute nervous energy. He never took anything for granted and his edgy
responses to his subject are ruthlessly honest. Without doubt, as well, his sympathies are firmly with the animals: with birds, dogs
and horses, all of whom he has depicted with tremendous accuracy and without facile sentiment. Eamonn Mallie, one of his
greatest fans, once wrote perceptively that Blackshaw paints “like a man wracked with guilt.” The blank canvas is always a puzzle
to be solved. The same qualities that mark his depictions of animals, and indeed people, serve him equally well in his landscapes
where the issue is, again, what should be left out. There is never anything extraneous in a painting by Blackshaw.
€15,000-20,000 (£13,043-17,391)

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13
Norah McGuinness HRHA (1901-1980)
A golDen eVening
signed lower right
oil on canvas
36 x 51cm (14.17 x 20.08in)
Provenance: Collection of Mr J.H.D. Ryan;
Private Collection
Exhibited: Norah McGuinness’, Dawson Gallery, June/July 1972, catalogue no. 6 where purchased by Mr J.H.D. Ryan.
Norah McGuinness’s style, with its strong, decisive outlines and simplified, graphic quality, is unmistakable. It was certainly
shaped by her work as a designer for the stage and as an illustrator, and perhaps it’s no coincidence that the great stained glass
artist Harry Clarke was one of her teachers. While she studied, in her late twenties, with Andre Lhote, the experience did not
greatly impinge on her own artistic personality.
€6,000-8,000 (£5,217-6,956)

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14
Letitia Marion Hamilton RHA (1875-1964)
The flower MArkeT, DubroVnik
signed ‘LMH’ lower right
oil on canvas
61 x 52cm (24.02 x 20.47in)
Provenance: original artist’s label verso with price of £100-0-0
Private Collection
A student of Orpen’s at the Metropolitan School of Art, Letitia Hamilton was an exceptionally accomplished painter. A keen
traveller, she painted at many locations in Europe. Her chief influences were French, but she also took note of Paul Henry and
Roderic O’Conor. She favoured a sunny palette with some impasto, using dark tones carefully, and her use of shades of white and
off-whites is masterly. Her study of The Flower Market is a beautifully airy exercise in light and shade, with great, relaxed vitality.
€10,000-15,000 (£8,695-13,043)

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15
John Shinnors (b.1950)
ST JOHN’S POINT LIGHTHOUSE + MARS
signed lower right on stretcher
oil on linen - diptych
25.5 x 53.5cm (10.04 x 21.06in)
An aficionado of lighthouses, John Shinnors is intrigued, his work suggests, by the rigorous, ship-shape maintenance that ensures
their pure glowing coat of whitewash and the occasional contrasting gloss black, and also their slightly spooky quality, their air of
potential menace. Here, in a typically story-board-like diptych, it is as if the lighthouse’s warning beacon is transmogrified into a
vision of the Red Planet as imagined in sci-fi rather than astronomy.
€5,000-7,000 (£4,347-6,086)

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16
Donald Teskey RHA (b.1956)
golD rush (2004)
signed lower right and titled on reverse
oil on canvas
90.5 x 112cm (35.63 x 44.09in)
Provenance: Kerlin Gallery, Dublin;
Private Collection
“When have I seen the hungry ocean gain
Advantage on the kingdom of the shore”
Shakespeare understood its awesome power, as does Donald Teskey. Interviewed by Brian McAvera for the Irish Arts Review he
confessed he’d once had a good canvas carried off by the wind and dumped in the ocean. Today he ties his equipment together
with rope and uses a two foot square slab of toughened glass as a palette placed on an old workmate which is collapsible but
heavy so it doesn’t blow over. Who dares - wins.
€10,000-15,000 (£8,695-13,043)

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17
CrAnes surMoDeles (1965)
signed ‘L Le Brocquy 1965’ on reverse and titled
oil on canvas
41 x 33cm (16.14 x 12.99in)
Provenance: The Dawson Gallery, Dublin (label verso);
Whyte’s, Dublin 24th November 2008, Lot 52;
Private Collection
€30,000-50,000 (£26,086-43,478)
Justly celebrated for his images of such Irish literary figures as
W.B. Yeats, Samuel Beckett and James Joyce, as well as many
others, Louis le Brocquy’s achievement as an artist extends
even further. The core of these works goes back to a moment
in the Musée de l’Homme in Paris in the early 1960s when
he chanced on a display of decorated Polynesian heads. The
nature of conventional portraiture is that it captures a likeness
at one moment in time. The problem that began to preoccupy
le Brocquy was how to get to grips with the image behind
this superficial image? Without getting too laboured, the point
is that the person one is today is the result not only of a life
lived to date, but also an inheritance, the accumulated family
and cultural histories that have shaped a being in this current
moment.
Le Brocquy, self-taught as an artist, had grasped Cubism more
comprehensively than any other Irish artist of his generation.
Rather than trying to grasp multiple, spatial views of a subject,
he thought, why not try to convey a sense of what lies behind
the visage that we present to the world. This painting based
directly on one of those Polynesian heads is one of his first
attempts to probe this hidden territory and open it up to
pictorial exploration. It led directly to his most famous and, in
many ways, more familiar works.
Aidan Dunne, March 2018

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17
CrAnes surMoDeles (1965)
signed ‘L Le Brocquy 1965’ on reverse and titled
oil on canvas
41 x 33cm (16.14 x 12.99in)
Provenance: The Dawson Gallery, Dublin (label verso);
Whyte’s, Dublin 24th November 2008, Lot 52;
Private Collection
€30,000-50,000 (£26,086-43,478)

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19
Maurice Canning Wilks
ARHA RUA (1911-1984)
CoTTAges, ConneMArA
signed lower right
oil on board
35 x 45cm (13.78 x 17.72in)
€2,000-3,000 (£1,739-2,608)
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Frank McKelvey
RHA RUA (1895-1974)
LOUGH CONN
oil on canvas
51 x 68.70cm (20.08 x 27.05in)
Provenance: Combridge Fine Arts,
Dublin (label verso);
Private Collection
€5,000-7,000 (£4,347-6,086)

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20
James Humbert Craig RHA RUA (1878-1944)
BRINGING HOME THE COWS
signed lower left
oil on board
38 x 48.5cm (14.96 x 19.09in)
Provenance: Eakin Gallery, Belfast (label verso);
Private Collection
The Irish landscape painter James Craig was born in Belfast but spent his youth in the countryside of County Down. Craig briefly
attended Belfast College of Art where he studied drawing and fine art painting. He took all his inspiration from the scenery, people
and culture of Ireland - above all, from what he saw with his two eyes. He never attempted to embellish or distort nature. His job,
as a landscape painter was to reflect nature as it was. Despite this fidelity to nature, Craig was not above dramatising his landscape
painting in the style of Paul Henry. Also, despite his indifference to Barbizon landscape art, Craig’s plein air painting method
was similar to that of the Impressionists, as he was at his happiest out-of-doors either painting or fishing. Many of his colour
schemes are consciously sober and the raw beauty of the landscape is expressed in rugged paintwork. He painted in many different
locations, including the Glens of County Antrim, as well as the more inhospitable coastal landscapes of Donegal and Galway. A
successful painter of his day, Craig exhibited regularly at the Royal Hibernian Academy from 1915 and was elected to both the
Royal Hibernian Academy (RHA) and the Royal Ulster Academy (RUA).
€5,000-7,000 (£4,347-6,086)

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21
James Humbert Craig
RHA RUA (1878-1944)
MENDING THE NETS
signed lower left
oil on board
21.5 x 33cm (8.46 x 12.99in)
Provenance: De Veres, Dublin, 28th
September 2010, Lot 74;
Private Collection
€4,000-6,000 (£3,478-5,217)
22
Thomas Walmsley
(1763-1806)
figures by A sTreAM (1804)
signed lower left and dated 1804
gouache on paper
18.5 x 25.5cm (7.28 x 10.04in)
Provenance: Richard L. Feigen &
Co., New York (label verso);
Richard L. Feigen & Co.
Chicago (label verso);
Private Collection
€800-1,200 (£695-1,043)

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23
Maurice Canning Wilks ARHA RUA (1911-1984)
hAy MAking, whiTe-pArk bAy, Co AnTriM
oil on canvas
30.5 x 40.5cm (12.01 x 15.94in)
Maurice C. Wilks born in Belfast in 1911, the son of a linen designer. He received his academic education at Malone Public
School, Belfast and at Belfast College of Art. Wilks was only nineteen when he won the Dunville scholarship. He later exhibited
at the Royal Hibernian Academy, Dublin and also at the Oireachtas. In his early years as an artist he resided in Cushendun, in the
Glens of Antrim. He has sketched and painted all over Ireland, but he especially liked the atmosphere of Donegal and the West
of Ireland. He exhibited in London, Montreal, Boston and Toronto and his paintings have been shown at the Royal Academy,
London. He had several one-man exhibitions at the Victor Waddington Galleries, Dublin, and in more recent years at the Walker
Gallery, Coleraine; The Malone Gallery, Belfast; The Bell Gallery, Belfast and at the Oriel Gallery, Dublin. In his later years
he had a summer studio at Sutton, County Dublin which enabled him to paint many scenes of Dublin and Dublin Bay. He is
represented in many public and private collections including the Ulster Museum, Armagh County Museum and the Ulster Folk
and Transport Museum.
€4,000-6,000 (£3,478-5,217)

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25
Helen Sophie O’Hara
(1846-1920)
on The CoAsT,
CO WATERFORD
signed with monogram lower
right
watercolour
36.5 x 53.5cm (14.37 x 21.06in)
Provenance: Jorgensen Fine Art,
Dublin (label verso);
Private Collection
€600-900 (£521-782)
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Helen Sophie O’Hara
(1846-1920)
on The CoAsT,
CO WATERFORD
signed with monogram lower
right
watercolour
36.5 x 53.5cm (14.37 x 21.06in)
Provenance: Jorgensen Fine
Art, Dublin (label verso);
Private Collection
€600-900 (£521-782)

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a
n)
rt,
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Frank McKelvey RHA RUA (1895-1974)
CATTLE GRAZING
signed lower left
oil on canvas
51 x 69cm (20.08 x 27.17in)
Provenance: Combridge Fine Arts Ltd. (label verso);
Private Collection
Frank McKelvey first attracted attention with his pictures of ‘old’ Belfast, and his landscape painting. In 1917, his artwork was
accepted by the Royal Hibernian Academy (RHA) when he was only 23. For the next fifty-five years he showed every year at the
RHA. In 1921, McKelvey was elected a member of the Belfast Art Society. McKelvey was considered one of the most successful
Irish landscape painters of his time. He was gifted both with a superb technical fluency and an inquisitive mind so that painting
to him represented a sense of discovery which, notwithstanding the often repetitive nature of some of his landscapes, imbued his
work with a constant freshness.
€5,000-7,000 (£4,347-6,086)

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27
James Humbert
Craig
RHA RUA (1878-1944)
FISHING ON BELFAST
LOUGH
signed lower left
oil on board
24 x 34cm (9.45 x 13.39in)
Provenance: Ross’s, Belfast;
Private Collection
€3,000-5,000 (£2,608-4,347)
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George K. Gillespie
RUA (1924-1996)
shiMnA riVer, Mourne
MOUNTAINS
signed lower right
oil on canvas
51 x 76.5cm (20.08 x 30.12in)
Provenance: Private
Collection
€3,000-4,000 (£2,608-3,478)

31
29
John Butler Yeats RHA (1839-1922)
PORTRAIT OF A YOUNG LADY
oil on canvas
61 x 51cm (24.02 x 20.08in)
Provenance: Yeats Family Collection;
Dawson Gallery, Dublin (framing label verso);
Private Collection
Usually it is the children of famous parents who struggle to escape from their shadow, but
John Butler Yeats seemed to reverse this proposition. A barrister by training and a gifted
portrait artist by nature, he produced a great deal of work in sketch form: brilliant and lively
responses to a galaxy of sitters, but in the form of small, hard-to-reproduce drawings. He was
almost reluctant to make finished paintings, but this excellent portrait of a young lady is a
salutary reminder of his outstanding ability.
€8,000-12,000 (£6,956-10,434)

32
30
Charles J. McAuley
RUA ARSA (1910-1999)
FISHING FOR TIDDLERS
signed lower left
oil on canvas
35.5 x 46cm (13.98 x 18.11in)
€2,000-3,000 (£1,739-2,608)
31
John Faulkner
RHA (1835-1894)
THE MILL OF THE PLAINS
signed and titled lower right
watercolour heightened with white
43.5 x 73cm (17.13 x 28.74in)
Provenance: Whyte’s, 17th
December 2002, Lot 124;
Private Collection
€1,000-1,500 (£869-1,304)

33
32
Fr. Jack P. Hanlon (1913-1968)
MADONNA AND CHILD
oil on canvas board
50 x 35cm (19.69 x 13.78in)
Provenance: George Montague Gallery, Dublin;
Private Collection
By the time Jack P. Hanlon was ordained in 1939, he already had a thriving career as an artist. Largely self-taught, like several of
his contemporaries he did spend a short time at the atelier of Andre Lhote in Paris. Lhote’s variety of Cubism was less extreme
than that pioneered by Picasso and Braque, and more traditionally pictorial. That, and Post-Impressionism shaped Hanlon’s per-
sonal style, which favoured light tonality and bright colour in addressing a wide variety of themes. His Madonna and Child, with
its references to mosaic, is a good example.
€1,200-1,800 (£1,043-1,565)

34
33
Sean Keating PRHA HRA HRSA (1889-1977)
SELF PORTRAIT
signed lower right
pastel on paper
42.5 x 28.5cm (16.73 x 11.22in)
Provenance: The present owner acquired it in Kenny’s Gallery, Galway in the early 1970’s;
Sean Keating created many iconic paintings charting the history of Ireland’s struggle for independence and the emergence of the
Free State, later becoming a dominant presence in art education. This pastel sketch reflects his representational skills and his liking
for dramatising character - including his own.
€3,000-5,000 (£2,608-4,347)

35
34
Daniel O’Neill (1920-1974)
WOMAN AND TWO CHILDREN
signed top right and titled on reverse
oil on board
46 x 35.5cm (18.11 x 14in)
Provenance: Private Collection USA
Daniel O’Neill was born in Belfast in 1920 and is considered one of Irelands finest Romantic Painters. Gina Lynam in her thesis,
1996 TCD, entitled “Daniel O’Neill (1920-1974) Landscape and Figure Painter” stated of O’Neill that, “he imbued everything he
painted with a delicate, dreamy mood of serenity tinged with a certain melancholy.”
O’Neill received a gallery contract from Dublin art dealer Victor Waddington in 1945 and went on to exhibit abroad in group
shows held in Los Angeles, New York and Boston, Canada, London and Amsterdam. In 1949, he visited Paris where he was ex-
posed to and heavily influenced by Rouault, Vlaminck and Utrillo.
In a review of O’Neill’s paintings the Irish Times on 15th May 1953 referred to the “imaginative, often haunting, melancholic
interaction between figure and environment, mood and circumstance”.
€17,500-25,000 (£15,217-21,739)

36
35
William Conor RHA RUA ROI (1881-1968)
AT The rACes, CoMber, Co Down
pastel on card
19 x 15.90cm (7.48 x 6.26in)
Famed for his sympathetic depictions of working class folk in the North, on occasion Conor documented how the other half lived.
In this delightful pastel he gives us ladies and gents, kitted out in top hats and stylish footwear for a day at the races.
€2,500-3,500 (£2,173-3,043)

37
36
Harry Aaron Kernoff RHA (1900-1974)
howTh hArbour, eVening
signed and titled on reverse
oil on board
30.25 x 40.5cm (11.91 x 15.94in)
As a teenage apprentice to his cabinetmaker father, Kernoff was repeatedly rebuked for his ‘creativity’ - he had a habit of
drawing pictures on the underside of furniture. Night-school art classes set him on the right track. In 1935 he could add the letters
RHA to his name. In 1939 he represented Ireland at the New York World’s Fair and in 1942 the Irish Times said of him “Mr Harry
Kernoff RHA has probably a quicker eye for the pictorial possibility of the things he sees than almost any other of our artists.”
Here we have him in poetic mood, capturing the tranquillity of Howth Harbour at dusk.
€2,000-4,000 (£1,739-3,478)

38
37
Paul Henry RHA RUA (1876-1958)
CoTTAges (1930-1935)
signed ‘PAUL HENRY’ lower right
oil on board
25.5 x 30cm (10.04 x 12in)
Provenance: Collection of Hugh Francis Carey;
By Descent;
Christie’s London, The Irish Art Sale, 12th May 2006 Lot 81;
Private Collection
Literature: S.B. Kennedy: Paul Henry Paintings, Drawings
Illustrations, published by Yale, University press;
Catalogue No. 762, page 252 illustrated.
€50,000-70,000 (£43,478-60,869
This composition remarkable for the handling of the water in
the foreground, with its dabs of light colour and the few reeds
which brings the foreground to life (see for example Henry’s
treatment of ‘Kinsale’, 1939, with its dabs of a lighter colour
on the water which enlivens the foreground view of the Scilly
area.) Similar treatment is applied to the sky, although the
clouds are less distinct. The mountains in the background are
similarly lacking the direction of light so that the ‘Cottages’
themselves and the foreground are left to provide the interest
in the scene. This is one of the first times that Henry made use
of this device. ‘Cottages’ is numbered 762 in S. B. Kennedy’s
on-going catalogue of Paul Henry’s oeuvre.
Dr S.B. Kennedy, March 2018

39
37
Paul Henry RHA RUA (1876-1958)
CoTTAges (1930-1935)
signed ‘PAUL HENRY’ lower right
oil on board
25.5 x 30cm (10.04 x 12in)
Provenance: Collection of Hugh Francis Carey;
By Descent;
Christie’s London, The Irish Art Sale, 12th May 2006 Lot 81;
Private Collection
Literature: S.B. Kennedy: Paul Henry Paintings, Drawings Illustrations, published by Yale, University press;
Catalogue No. 762, page 252 illustrated.
€50,000-70,000 (£43,478-60,869)

40
38
Andrew Nicholl RHA (1804-1886)
fingAl’s CAVe, isle of sTAffA, sCoTlAnD
signed lower left
watercolour
60 x 46cm (23.62 x 18.11in)
Nicoll is best known for his exquisite watercolour depictions of flowers, but his horizons expanded beyond the wildflower
meadows of Ireland. For a time, he taught landscape drawing, painting and design at the Columbo Academy in Sri Lanka. He
illustrated a book, Ceylon, Physical, Historical and Topographical, and captured many an exotic location en route to the island.
The Giant’s Causeway in Co Antrim and the Inner Hebrides of Scotland were favourite haunts, and the subject of a series of
watercolours. When Queen Victoria bought several of his works his success was secured.
€2,500-3,500 (£2,173-3,043)

41
39
Aloysius C. O’Kelly (1853-1936)
BRETON CHURCH INTERIOR WITH FIGURES
signed lower right
oil on canvas
91.5 x 64cm (36.02 x 25.20in)
Provenance: Sotheby’s, London, 9th May 2007, Lot 26;
Private Collection
Aloysius O’Kelly was born in Dublin in 1853. In 1874, Kelly travelled to Paris and attended the Ecole des Beaux-Arts where
he studied painting and drawing under the French masters Bonnat and Gérôme. In 1876 he visited Brittany, joining several other
artists in practising plein-air painting in order to capture the naturalism of its villages and fishing ports. In 1895, he emigrated to
America, settling in New York, where he painted many cityscapes and figurative scenes. This work was probably executed around
c.1905.
Aloysius O’Kelly exhibited in London and at the Royal Hibernian Academy (RHA) in Dublin. He also showed in Paris and New
York. His paintings are in many public and private collections, including the National Gallery of Ireland.
€10,000-15,000 (£8,695-13,043)

42
40
Elizabeth Rivers RHA (1903-1964)
CHILDREN CLIMBING A WALL
signed lower left
oil on canvas
54.5 x 65cm (21.46 x 25.59in)
Exhibited: Waddington Gallery: Irish Exhibition of Living Art, Summer 1953 catalogue no.77;
Independent Artists: 1961 catalogue no.10;
Memorial Exhibition: 1966 catalogue no.21:
Gorry Gallery: Elizabeth Rivers A Retrospective View, 1989 catalogue no.11
Gorry Gallery, Dublin: An Exhibition of 17th - 21st Century Irish Paintings, 15th - 29th June 2017, catalogue no. 40 page 29
illustrated
A formidable talent and a formidable organiser, Elizabeth Rivers, English by birth, is one of relatively few people to have opted to
live on the Aran Islands for a time. She wrote a book based on her year there, and on her life, Stranger in Aran, published in 1946.
One of the founders of the Graphic Studio Dublin, she was a gifted illustrator and printmaker. Her flair for design comes through
in her painting, which is economic in its expression and elegantly composed.
€3,000-5,000 (£2,608-4,347)

43
41
Jack Butler Yeats RHA (1871-1957)
THE BOLD CAPTAIN FRENAY I
signed lower right
watercolour and ink on paper
13 x 17cm (5.12 x 6.69in)
Provenance:Acquired directly from the artist in June 1955;
By Descent
€5,000-7,000 (£4,347-6,086)
42
Jack Butler Yeats RHA (1871-1957)
THE BOLD CAPTAIN FRENAY II
17.5 x 13.5cm (6.89 x 5.31in)
Provenance: Acquired directly from the artist
in June 1955;
By Descent
€5,000-7,000 (£4,347-6,086)
In 1955 an art lover made out a cheque for £25 to Jack B. Yeats - and took home a prize, two early watercolours.
A typewritten note on the back of lot 42 is a textbook lesson for the aspiring collector for it gives in great detail the circumstances
in which the purchase was made. “He showed me several of his latest impressionist type of oil paintings, priced at that time £100.
But I wanted one of his earlier works (of the style in the Irish Grammar books that he illustrated). After a search he discovered
these two at the back of a curtained shelf. They were already framed. When I challenged him that they might be a print from the
Cuala Press he said ‘Anyone can tell that these are original!’

44
43
George Campbell (1917-1979)
STRING QUARTET NO.3
signed lower left
oil on board
35 x 45cm (13.78 x 17.72in)
Provenance: David Hendriks Gallery, Dublin (label verso);
Private Collection
George Campbell is most closely associated with two distinct regions: the West of Ireland and Southern Spain. For some reason
he identified with Spanish culture from an early age, and he became an accomplished flamenco guitarist. That was no aberration:
music was always a passion, and he described the process of painting in musical terms, starting out with the line of tune, as though
on piano, and gradually filling it out with orchestration. He actually aspired to be an orchestra conductor when he was young, and
the direct depiction of music making of one form or another runs consistently through his work.
€5,000-7,000 (£4,347-6,086)

45
44
Daniel O’Neill (1920-1974)
THE CANAL
signed lower right
oil on board
41 x 61.25cm (16.14 x 24.11in)
Provenance: The Waddington Galleries, London (label verso);
Irish Life Assurance Company Limited;
De Vere’s Dublin, 20th November 2001 Lot 304A;
Private Collection
The Lagan was O’Neill’s stamping ground during his early years as a Belfast electrician - quietly taking evening art classes,
fuelled by the optimism of youth. His ship came in when Ireland’s most influential art dealer, Victor Waddington, decided he
was worthy of investment and guaranteed him an income so he could paint full time. The gamble paid off with a series of highly
successful paintings possessed of a dreamlike, melancholy quality. Doyen of Irish art critics Brian Fallon described them as being
‘within measuring distance of Yeats’. O’Neill moved with his wife and child to an artists’ colony in the village of Conlig Co.
Down where his colleagues included Gerard Dillon and George Campbell. Locals still recall the sight of the tall handsome young
man out walking with his wife and small daughter. The good times didn’t last. He descended into alcoholism and he died, while
drunk, in the back of a taxi. He should be remembered for the haunting beauty he produced at the height of his powers.
€12,000-18,000 (£10,434-15,652)

46
45
Roderic O’Conor (1860-1940)
figures in A pool (1898-1900)
stamped verso: ‘atelier / O’CONOR’
oil on board
31.25 x 40.5cm (12.30 x 16in)
Provenance: Hotel Drouot, Paris, Vente O’Conor, 7th February 1956;
Collection of Dr Henry M.Roland;
Collection of Sean O’Criadain;
Private Collection
Exhibited: Manchester and Leeds, City Art Galleries, Modern Works from the collection of Dr Henry M.Roland, 1962, no.88;
Pont-Aven. Musee de Pont-Aven, Roderic O’Conor (1860-1940), 1984, no.21;
London, Barbican Art Gallery, Roderic O’Conor (1860-1940), September - November 1985, no.28: this exhibition travelled to
Belfast, Ulster Museum, November 1985 - January 1986;
Dublin, National Gallery of Ireland, January - March 1986;
Manchester, Whitworth Art Gallery, March - May 1986.
Literature: J.Benington, ‘From Realism to Expressionism: The Early Career of Roderic O’Conor’, Apollo, April 1985, pp.
257,260;
J.Benington, Roderic O’Conor: A Biography, with a Catalogue of his Work, Blackrock, 1992, pp. 83,200, no.89, pl.30.
€60,000-90,000 (£52,173-78,260)
O’Conor is well known for the many studio nudes he painted after he settled in Paris in 1904. However, his first nude composi-
tions were scenes of female bathers that he executed in Brittany during the late 1890s, inspired in part by the region’s growing
popularity with seaside holiday-makers and, on a more personal level, by a life-changing encounter with Paul Gauguin. Figures
in a Pool is one of only four oil paintings of bathers to survive from O’Conor’s hand. Collectively they count amongst his most
sensual, personal and boldly executed works.
Prior to meeting Gauguin in April 1894, O’Conor had always relied on having a motif in front of him when embarking on a
painting. It is highly likely that Gauguin exhorted his Irish friend to rely less on nature and draw more from his memory and
imagination, echoing the master-pupil exchange played out in Arles six years earlier with Van Gogh. Gauguin’s final departure
for the South Seas in 1895 brought the friendship with the Irishman to an abrupt close, although one eye-witness later recalled
being given a letter addressed to O’Conor by Gauguin that was “too scatological for publication - details of the ideal position in
sexual intercourse - and I lost the letter when the Germans pillaged my house” (Alden Brooks to Denys Sutton, 12 July 1956, Tate
Archive). The same eye-witness further reported that O’Conor “went from mistress to mistress” after an engagement was abruptly
broken off, implying that he and Gauguin were on the same wavelength not just artistically, but also in their relationships with
women.
With Gauguin’s example in mind, especially works such as Woman in the waves of 1889 (Cleveland Museum of Art), O’Conor
developed a series of paintings that drew extensively from his imagination and appeared to be of symbolist intent. In some the
subjects and meanings are allusive, as confirmed by the titles subsequently given to them by later owners, for example The Good
Samaritan and Romeo and Juliet, which along with the present work and a later bathers picture are the only oil paintings by
O’Conor that combine more than one figure. However, none of these other compositions have the exuberance and spontaneity of
Figures in a Pool, in which a nude female bather with long red hair bursts from the water supporting another bather in her arms.
The subject is immersed in bright sunlight that glances off the limbs, shoulder and face of the figure held high, relegating the torso
and face of her companion to the shadows. Although the facial features are blurred due to the artist’s heavy build-up of paint, we
see enough to know that both women are looking towards the viewer, as if surprised at being discovered in this unselfconscious
act of playful intent.
In this work O’Conor has boldly combined the complementary colours orange and green so as to achieve maximum visual impact.
The technique was known at the time as simultaneous contrast; it involved placing complementary hues side by side so that
they reinforced each other. O’Conor would have noticed how Van Gogh set great store in this phenomenon, although it was not
a method of which Gauguin approved. The hint of striping that can be seen in the ripples of the water and in the green garment
abandoned on the far bank of the pool are further reminders of Van Gogh’s legacy. These links with major Post-Impressionist
artists demonstrate O’Conor’s enlightened connoisseurship, forged not through the recommendations of others, but rather through
his own personal connections - themes that will be fully explored in the forthcoming exhibition at the National Gallery of Ireland:
Between Paris and Pont-Aven, Roderic O’Conor and the Moderns (18 July to 28 October).
Jonathan Benington, March 2018.

47
45
Roderic O’Conor (1860-1940)
figures in A pool (1898-1900)
stamped verso: ‘atelier / O’CONOR’
oil on board
31.25 x 40.5cm (12.30 x 16in)
Provenance: Hotel Drouot, Paris, Vente O’Conor, 7th February 1956;
Collection of Dr Henry M.Roland;
Collection of Sean O’Criadain;
Private Collection
Exhibited: Manchester and Leeds, City Art Galleries, Modern Works from the collection of Dr Henry M.Roland, 1962, no.88;
Pont-Aven. Musee de Pont-Aven, Roderic O’Conor (1860-1940), 1984, no.21;
London, Barbican Art Gallery, Roderic O’Conor (1860-1940), September - November 1985, no.28: this exhibition travelled to
Belfast, Ulster Museum, November 1985 - January 1986;
Dublin, National Gallery of Ireland, January - March 1986;
Manchester, Whitworth Art Gallery, March - May 1986.
Literature: J.Benington, ‘From Realism to Expressionism: The Early Career of Roderic O’Conor’, Apollo, April 1985, pp.
257,260;
J.Benington, Roderic O’Conor: A Biography, with a Catalogue of his Work, Blackrock, 1992, pp. 83,200, no.89, pl.30.
€60,000-90,000 (£52,173-78,260)

48
46
Michael Augustine Power O’Malley (1878-1946)
ARAN WOMAN (1912)
signed lower left and dated ‘12
oil on canvas board
71.5 x 61.25cm (28.15 x 24.11in)
Emigrating to the United States in the 1920s, O’Malley soon had a reputation as a fine painter. Having worked as a Hollywood
scenic artist, he settled in Scarborough, New York, but made frequent visits back home. In this powerful portrait he gives us the
harsh reality of life in the ‘picturesque’ West of Ireland.
€3,000-5,000 (£2,608-4,347)

49
47
John Skelton Snr (1923-2009)
riDing The wAVes
signed lower right
oil on canvas
61 x 92cm (24.02 x 36.22in)
The counterpoint between the rhythm of stormy skies and solid undulating earth fascinated Skelton. “Things become visible only
when you look for them. When you do, you find they surrender up a painting without effort,” he said. “Painting is visible music
and can only work when, as the poet Patrick Kavanagh put it ‘you wait in the unconscious room of the heart for god to find you.’”
He mourned the passing of the traditional lifestyle he had grown up with and devoted his life to paying tribute to the courage of
the farmers and fisherfolk in their daily battle with the elements.
€6,000-9,000 (£5,217-7,826)

50
48
Mainie Jellet (1897-1944)
Design for A rug (CeADogAn - MAinie JelleTT 13)
gouache on board
36 x 25cm (14.17 x 9.84in)
Provenance: Whyte’s, Dublin, 15th March 2010, Lot 61;
Private Collection
Literature: Arnold, Bruce, Abstract Cubist Rugs, Art Deco Rugs designed by Mainie Jellett, Ceadogan Rugs,
2008, p.13 (illustrated).
A major figure in the history of Modernism in Ireland, Mainie Jellet was an exceptionally accomplished artist who
managed to reconcile her commitment to progressive artistic ideas with her Catholic faith. She absorbed Andre
Lhote’s theories on Cubism and was producing very sophisticated abstract paintings as early as 1922. By the
end of the decade, and into the 1930s, she was producing many fine rug designs, usually in the form of gouache
paintings. The concentric patterning and harmonious colour schemes of her paintings were well suited to weaving.
€4,000-6,000 (£3,478-5,217)

51
49
Patrick Scott HRHA (1921-2014)
burgunDy founT (1974)
signed lower right
tempera on unprimed canvas
61 x 61cm (24.02 x 24.02in)
Provenance: De Veres, Dublin;
Private Collection
Patrick Scott excelled in the fields of art and design in Ireland for well over 50 years. His spare, Japanese aesthetic - he once
said that the Japanese flag, a red disc on a flat white ground, was his greatest influence - led him to develop an art of simplicity,
tranquillity, bit also energy. The circle and the square, and the symmetrical elaborations of both, form the core of his compositions.
His ‘Device’ paintings of the 1960s referred to atomic explosions, and the idea of explosive energy remained central to his work.
€2,500-3,500 (£2,173-3,043)

52
50
reConsTruCTeD heAD of A ChilD (1968)
signed, titled and dated ‘69 on reverse
oil on canvas
142 x 141cm (56 x 55.5in)
Provenance: Gimpel Fils Gallery, Ltd. London (label verso);
The Irish Sale, Christies, London, 22nd May 1998, Lot 191;
Private Collection
Exhibited: Gimpel Fils Gallery, Ltd. London 1968;
Gimpel & Nanover, 1969, catalogue no.42
€80,000-120,000 (£69,565-104,347)
One of the leading Irish artists of the 20th century, Louis le
Brocquy is indelibly associated with the image of the human
head. He began painting heads in what we recognize as his own
distinctive manner around 1964. Throughout the 1950s, he had
produced a series of paintings that developed the motif of the
isolated human presence. The spectral human form seems to
materialize out of a pure white ground.
In time, he felt that he had exhausted this particular path of
exploration. It’s reliably reported that, dissatisfied, he destroyed
up to a year’s worth of work. Then, one day in the early 1960s,
in the Musée de l’Homme in Paris, he chanced on a display of
decorated Polynesian heads.
They struck a chord in his mind with popular, speculative
accounts of the Celtic head cult. Like the Polynesians, he
thought, the Celts viewed the head as “a magic box that held
the spirit prisoner.” These musings led him towards a new way
of painting the human head. Rather than merely capturing a
likeness, he tried to work towards a sense of the person as a
complex, imaginative, multi-layered being. To paint was to
attempt “an archaeology of the spirit.” That is what he sets
out to achieve in his many celebrated studies of such literary
figures as W.B. Yeats, Joyce and Beckett. He does so too in this
exceptionally fine painting of a child from 1960 which, with its
diagonal format, allows him to directly visualize the magic box
that holds the spirit, the essence of being, abuzz with feelings,
thoughts, dreams and memories.
Aidan Dunne, March 2018.

53
50
reConsTruCTeD heAD of A ChilD (1968)
oil on canvas
142 x 141cm (56 x 55.5in)
Provenance: Gimpel Fils Gallery, Ltd. London (label verso);
The Irish Sale, Christies, London, 22nd May 1998, Lot 191;
Private Collection
Exhibited: Gimpel Fils Gallery, Ltd. London 1968;
Gimpel & Nanover, 1969, catalogue no.42
€80,000-120,000 (£69,565-104,347)

54
51
George Campbell (1917-1979)
neAring Dun Aengus, inishMor (1971)
gouache on board
37 x 54.5cm (14.57 x 21.46in)
Private Collection
€1,200-1,800 (£1,043-1,565)
52
Neville Johnson (1911-1999)
ORDAINED ENIGMA (1992)
signed lower right and dated ‘92
acrylic on board
38.5 x 34.5cm (15.16 x 13.58in)
Provenance: Solomon Gallery, Dublin (label verso);
Collection of Senator and Professor Trevor West of Trinity
College and Charleston, Ballinacurra, Cork;
By descent
Neville Johnson was one of a number of progressive artists
in Ireland championed by the art dealer Victor Waddington
in his Dublin gallery from the late 1940s. While many of
the others are still household names, it was Johnson’s fate
to be recurrently forgotten and rediscovered. A thoughtful,
cerebral person, his earlier work showed a fine grasp of
Italian metaphysical surrealism, and he went on to explore a
succession of related modern styles with great skill. He is also
known for his street photographs of Dublin in the early 1950s.
His Enigma paintings see him look back on his own earlier
works in a spirit that recalls the Analytical phase of Cubism.
€1,000-1,500 (£869-1,304)

55
53
Colin Middleton RUA RHA (1910-1983)
eVening, CAsTlewellAn (1964)
signed lower left and right
oil on board
28 x 38cm (11.02 x 14.96in)
Provenance: Whyte’s, Dublin;
Private Collection
The work of Colin Middleton has long enthralled and puzzled viewers, on occasion simultaneously. Even in the 1940s he was
recognised as a technically adept chameleon, though he acknowledged that Surrealism was an early and consistent influence.
There’s a touch of the fantastic to his evocation of Castlewellan, Co Down in the gathering darkness, with the mass of Slievenaslat
in the background.
€6,000-8,000 (£5,217-6,956)
so
0s.

56
54
Camille Souter HRHA (b.1929)
JApAnese CoMposiTion ii (1956)
signed and dated ‘56 lower centre
gouache and watercolour on Japanese tissue
37.25 x 49.5cm (14.67 x 19.49in)
Provenance: Collection of Sir Basil Goulding;
His Estate Sale;
Taylor Galleries, Dublin, 1982;
Private Collection;
Literature: Camille Souter - The Mirror and the Sea by Garret Cormican, catalogue no.28, page 216 (illustrated page 218).
Brought up in Glenageary, as Betty Pamela Holmes, Camille Souter went to London to study nursing at Guys Hospital and, while
there, was diagnosed with TB. That could have been disastrous but she was never gravely ill, she said, and a year’s recuperation,
mainly spent reading, changed her life. Back in London and working as a private nurse, she absorbed the cultural buzz of Soho
and started to paint. Klee and Miro were important to her, as were Pollock and Franz Kline, who showed you could make art with
anything. All those influences are apparent here in the spontaneity, the audacious use of line and judicious choice of colour of this
playful but accomplished composition.
€4,000-6,000 (£3,478-5,217)

57
55
Patrick Collins RHA (1911-1994)
MENHIR ON THE PLAIN I
signed lower right
oil on canvas
51 x 69cm (20.08 x 27.17in)
Provenance: Tom Caldwell Galleries, Dublin (label verso);
Collection of the late Vincent Ferguson;
A key 20th century Irish artist, Patrick Collins was a consummate individualist who was deeply sensitive, well read, historically
aware and had an instinctive sympathy with the essence of pre-modernised Ireland. Fascinated by the existential predicament of
isolated communities and individuals, he harboured a regard for what he termed “the Celtic thing.” Late in life, encouraged by his
interest in Chinese painting, which disdained the Western adoption of perspective, he made cut-out paintings that enabled him to
make compositions in a new way.
€5,000-7,000 (£4,347-6,086)

58
56
sT. John’s nighT, CArrAroe, inishMor
oil on canvas on panel
108 x 143cm (42.52 x 56.30in)
€15,000-20,000 (£13,043-17,391)
Limerick artist John Shinnors is justly celebrated for his inventive pictorial puzzles based on the
most ordinary subject matter: mackerel laid out in the fishmongers counter, washing flapping on
the clothes-line, Fresian cattle in a field, scarecrows, badgers, Loop Head lighthouse. Many of
his chosen motifs share a monochrome, black-and-white palette. He prefers that colour, when he
uses it, makes a point. It certainly does so in St. John’s Night, Carraroe, Inishmor, which richly
displays his expertise with shades of black and white and volcanic bursts of colour, and another
trademark quality: an air of mystery and magic. St John’s Eve, usually coincident with the Summer
Solstice, is traditionally celebrated by communal bonfires, beacons in the night. Here, John
Shinnors counterpoints the intense glow of the flames with a stark, elemental terrain, the bonfire in
Carraroe with the forbidding sea-bound fortress of Inish Mór nearby. The dark shelf of the island’s
formidable cliffs juts out into the Atlantic waters, phosphorescent in the half-light of midsummer
darkness. Midsummer mirrors midwinter in a fine example of pictorial drama.
Aidan Dunne, March 2018.

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56
sT. John’s nighT, CArrAroe, inishMor
oil on canvas on panel
108 x 143cm (42.52 x 56.30in)
€15,000-20,000 (£13,043-17,391)

60
57
John Behan RHA (b.1938)
WEST OF IRELAND FAMINE SHIP
signed
bronze sculpture artist’s copy
68 x 67 x 29cm (26.77 x 26.38 x 11.42in)
€8,000-12,000 (£6,956-10,434)
John Behan first created The Famine Ship to
stand at the base of Croagh Patrick, County
Mayo. The large-scale sculpture faces west
overlooking the Atlantic Ocean symbolizing
the departure of so many emigrants who
sailed away in that direction. Fierce in impact,
the hull of the boat is birthed at land, the
mast laden with the skeleton bodies of lost
emigrants. In large or smaller scale, The
Famine Ship series carries an indescribable
depth of history, poignant loss and struggle for
life. Commissioned by the Irish government
to commemorate the contribution of Irish
emigrants worldwide, a 26-by-24-foot bronze
themed piece on The Famine Ship entitled
“Arrival” now stands in the plaza in front of
the United Nations headquarters in New York.

61
58
Patrick O’Reilly (b.1957)
beAr wiTh The golDen gloVes
signed
unique bronze
36.5 x 34 x 16cm (14.37 x 13.39 x 6.30in)
€4,000-6,000 (£3,478-5,217)
59
FOUR OARSMEN
signed
unique bronze
64.5 x 35 x 10.5cm (25.39 x 13.78 x 4.13in)
€2,500-3,500 (£2,173-3,043)

62
60
Melanie Le Brocquy HRHA (b.1919)
CHILD AND MOTHER WALKING (1988)
signed and numbered 5/6
bronze on granite base - number 5 from an edition of 6
29 x 21 x 15cm (11.42 x 8.27 x 5.91in)
Provenance: Acquired directly from the artist family
€2,000-3,000 (£1,739-2,608)
61
Michael Foley (b.1963)
PATERA CALIDUM (2018)
signed, dated and numbered 4/9
bronze - number 4 from an edition of 9
18.5 x 36.75 x 36.75cm (7.28 x 14.47 x 14.47in)
Provenance: Acquired directly from the artist;
Private Collection
€2,000-3,000 (£1,739-2,608)

63
63
CANAL BULL
34.5 x 57 x 21cm (13.58 x 22.44 x 8.27in)
€5,000-7,000 (£4,347-6,086)
62
Rory Breslin (b.1963)
MASK OF THE FOYLE
85 x 42 x 24cm (33.46 x 16.54 x 9.45in)
Private Collection
€5,000-7,000 (£4,347-6,086)

64
65
Paddy Campbell (B.1942)
ASHLEY READING A BOOK
bronze on granite base - number 1 from an edition of 11
35 x 25 x 27.5cm (13.78 x 9.84 x 10.83in)
€3,000-5,000 (£2,608-4,347)
64
Patrick O’Reilly (b.1957)
BUBBLE BATH
bronze with gold leaf - number 1 from an edition of 3
102 x 66.5 x 73cm (40.16 x 26.18 x 28.74in)
€10,000-15,000 (£8,695-13,043)

65
66
Patrick Pye RHA (1929-2018)
The Virgin of sT. John of The
Cross (1953)
signed lower left ‘Patrick Pye’ and dated
Dec.1953
oil on board
92 x 46cm (36.22 x 18.11in)
Patrick Pye, who died in February was
the foremost Irish Catholic religious artist
of the 20th century. Although he was a
late convert to Catholicism, his faith was
always at the heart of his work. He was
inspired by the example of El Greco and
pre-Renaissance, Catalan Romanesque art,
and identified with early Byzantine sacred
art. This exceptional painting from 1953
is a striking visualization of a verse by the
16th century Spanish mystic and cleric
John of the Cross, still regarded as one
of Spain’s greatest poets. His Christmas
meditation on the Virgin reads:
“The Virgin, weighed
With the Word of God,
Comes down the road:
if only you will shelter her!”
€2,000-4,000 (£1,739-3,478)

66
67
Felim Egan (b.1952)
oCeAn - blue (2010)
signed, titled and dated 2010 on reverse
oil on canvas
140 x 140cm (55.12 x 55.12in)
Provenance: De Veres, Dublin, 25th March 2014, Lot 90;
Private Collection
Felim Egan is an elegantly minimalist painter renowned for the cool poise of his compositions, his refined colour sense and his
grasp of rhythm and texture. If that makes him sound more like a composer than a painter, in some respects he is. He creates
carefully pitched, ambient visual experiences that are endlessly engaging for the eye.
€6,000-9,000 (£5,217-7,826)

67
68
William Crozier HRHA (1930-2011)
POOL AT MIDNIGHT
signed lower left
oil on canvas
86 x 91cm (33.86 x 35.83in)
Provenance: Purchased from the RHA in 2008 by the present owner
Born in Scotland, William Crozier, with his wife, art historian Katherine Crouan had often visited West Cork before settling in
Kilcoe, Ballydehob in 1983. Though they still spent part of the year in England, the West Cork landscape became the stimulus for
much of Crozier’s best work. Always a bold colourist, he responded to the surrounding environmental richness with zeal, simpli-
fying and concentrating the essential elements so that his compositions are almost like stage-sets in which plants and objects have
a radiant intensity.
€15,000-25,000 (£13,043-21,739)

68
69
birDs oVer loop i (2004)
signed lower right
oil on canvas, six panels (each 25.5cm x 30.5cm)
61.5 x 79cm (24.21 x 31.10in)
Provenance: Taylor Galleries, Dublin (label verso);
Private Collection
For many years, John Shinnors was in the habit of making an annual pilgrimage to Loop Head and visiting the lighthouse. On one
occasion, he opened a door into a building and was startled by the flutter and swoops of terrified birds. He realised that a number
of swallows had become trapped and, with the help of his hat, ushered them to freedom. Birds Over Loop brings us into a close-up
view of birds on the wing.
€8,000-12,000 (£6,956-10,434)

69
70
Donald Teskey RHA (b.1956)
NIGHT WALKERS (1998)
signed lower right and dated ‘98, titled on reverse
oil on paper
57.5 x 79.5cm (22.64 x 31.30in)
Provenance: Rubicon Gallery, Dublin (label verso);
Private Collection
One of the most collected Irish artists in recent years, Limerick artist Donald Teskey’s mastery of the elements can create a
wilderness by the ocean or in an urban space, charging it with an unsettling sense of mystery. Are the walkers an innocent couple
making their way home through the woods - or not?
€8,000-12,000 (£6,956-10,434)

70
71
Barrie Cooke HRHA (1931-2014)
woMAn unDer slieVe nA gluisADh
oil on canvas on board
146 x 129cm (57.48 x 50.79in)
Provenance: Ritchie Hendriks Gallery, Dublin;
Purchased by Alan Tate Esq, April 1965;
James Wray Gallery, Belfast;
Private Collection
Through the first half of the 1960s, Barrie Cooke created a series of Sheela-na-Gigs, paintings usually incorporating modelled
ceramic figures based on the mysterious rock carvings of female figures in several parts of Ireland. Spending time in Holland in
1964, he was struck by the related thought that the figure of a woman might reside within those rock mounds in the Burren - a
vital presence in an enclosing, nutritive space - and made a series of paintings, collectively titled Woman in the Burren, based on
the idea. Here he locates the figure more precisely, but it’s likely that Slieve na Gluisadh is a misspelling. He may well have had in
mind Slieve na Glaisé near Kilnaboy, the home of a mythical, magical cow called Glas Ghoibhneach.
€4,000-6,000 (£3,478-5,217)

71
72
Tinker ChilDren in spring (1946)
30.5 x 23.5cm (12.01 x 9.25in)
Provenance: Collection of the late Maurice Collis, Autor and Art Critic;
England & Co. Gallery, London;
Private Collection
Exhibited: Ernest Brown & Phillips Ltd, Leicester Galleries, London - Exhibition of Works by Living Irish Art - October 1946
(labels verso);
Literature: La France Libre, December 1946 - January 1947 - illustrated on page 172;
Louis le Brocquy began making paintings with Travellers as a subject in the mid-1940s, several years before Samuel Beckett
wrote ‘Waiting for Godot’. Their shared motivation for gravitating towards outsider protagonists was that society truly sees itself
reflected in those it casts as outsiders. Le Brocquy, self-taught as an artist, had quickly absorbed the lessons of European modern-
ism and his ease with Cubism and subsequent developments is evident in his vibrant Traveller and Family compositions of the
time, though the work proved too challenging for Dublin’s conservative art establishment.
€30,000-50,000 (£26,086-43,478)

72
73
Damien Hirst (b.1965) British
UNTITLED GOLD GIFT SPOT (2008)
screenprint in colours with gold glitter on wove paper - number 39 from an edition of 100
75.5 x 95.30cm (29.72 x 37.52in)
Provenance: Bonhams, London, 19th November 2013, Lot 148;
Private Collection
In contemporary art history, Damien Hirst’s Spot paintings and prints have turned out to be stunningly successful conceptual
works. The idea, and the branding, are his. The works are produced by assistants according to strict instructions and controls.
Gerhard Richter had earlier on made several colour-card paintings, a comparable idea that he did not extend into a prolonged
series (unlike Hirst, he disclaims all associations with conceptualism), and they did not become as instantly recognisable as Hirst’s
Spots, with their toy-like quality and cheerful colours.
€5,000-7,000 (£4,347-6,086)

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74
William Scott CBE RA (1913-1989)
CoMposiTion froM ThirTy-fiVe ArTisT’s (1982)
signed, dated ‘82 and numbered HC
limited edition lithograph in colours on wove paper - numbered HC from an edition of 50
50 x 65cm (19.69 x 25.59in)
Provenance: Nicholas Gallery, Belfast (label verso);
Private Collection
Literature: Published by The Royal College of Art, London - Printed to the sheet edges as issued.
An impeccable composition of spare clarity from a painter who also took naturally to print. Egyptian art had become a significant
influence by the time he made this lithograph, as is evident from the formal, processional arrangement of the kitchen still life
forms.
€4,000-6,000 (£3,478-5,217)

74
75
Sean Scully (b.1945)
pAris blACk (2004)
signed, dated ‘04 and numbered 21/40
limited edition lithograph - numbered 21 from an edition of 40
75 x 106cm (29.53 x 41.73in)
Based in New York, Sean Scully is a global figure in contemporary art, but retains a particular connection to Ireland. His signature
pictorial style, which features colour in bands and blocks, arranged on a right-angled grid, is geometric but emphasises the deli-
cacy and fallibility of the human touch. As it happens, it turned out to be well suited to printmaking, and he has produced many
fine series of prints, working with skilled printmakers. The give and take of the process suits him and, it is said, that the decisive
moment has arrived when he tells the printmaker that it’s time to use black.
€5,000-7,000 (£4,347-6,086)

75
76
Joan Miro (1893-1983) Spanish
unTiTleD (1964)
signed lower right
mixed media on card
30.5 x 44.25cm (12.01 x 17.42in)
Private Collection
The great Catalan painter Joan Miro is almost impossible to categorise. One of the foremost surrealist artists, he never lost touch
with his homeland and the day-to-day life of people in the countryside. His mature style of looping, curvilinear, biomorphic forms
is abstract without being intimidating: as easy to relate to as a cartoon, and as humorous.
€10,000-14,000 (£8,695-12,173)

76
77
Gwen John (1876-1939) Welsh
sleeping TAbby (1905-8)
signed lower right with Artist’s Stamp EJ1068 on reverse (also
another sketch on reverse)
watercolour and pencil on paper
31 x 20cm (12.20 x 7.87in)
Provenance: The artist’s estate;
Anthony d’Offay Gallery, London November 1987;
Private Collection
€2,000-3,000 (£1,739-2,608)
78
William Scott CBE RA (1913-1989)
yellow sQuAre plus QuArTer blue, froM “A
poeM for AlexAnDer” (1972)
signed lower right, numbered AC and dated ‘72
limited edition lithograph - artist’s proof aside from an edition
of 72
58 x 77.5cm (22.83 x 30.51in)
€1,200-1,800 (£1,043-1,565)

77
79
Mark Francis (b.1962)
unTiTleD (2007)
signed, numbered and dated 2007
serigraph - number 20 from an edition of 33
77 x 54cm (30.31 x 21.26in)
€800-1,200 (£695-1,043)
80
heyTesbury lAne, bAllsbriDge, Dublin (1942)
signed lower right, titled and dated 1942
watercolour on paper
14 x 18cm (5.51 x 7.09in)
Provenance: Dawson Gallery, Dublin (framing label verso);
Private Collection
€4,000-6,000 (£3,478-5,217)

78
81
Andy Warhol (1928-1987) American
MAo Tse-Tung
signed by the artist
original catalogue from 1972
17.5 x 35cm (6.89 x 13.78in)
€8,000-12,000 (£6,956-10,434)
82
Robert Motherwell (1915-1991) American
sT. MiChel iii (1979)
signed and numbered 76/99 lower right
lithograph & screenprint - number 76 from an edition of 99
104.5 x 83cm (41.14 x 32.68in)
Provenance: Waddington Galleries, London (label verso);
Private Collection
€2,500-3,500 (£2,173-3,043)

79
99
);
83
Alan Davie (1920-2014) Scottish
TKZ BY NIGHT (2012)
signed three times and dated 2012
oil on paper
26 x 29cm (10.24 x 11.42in)
Provenance: Gimpel Fils Gallery, London (label verso);
Hillsboro Fine Art, Dublin (label verso);
Private Collection
A Scot by birth, Alan Davie was a jazz musician as well as a painter, a free creative spirit of amazing energy. Tapping into Abstract
Expressionism early on, he was a hit in New York but initially met with incomprehension back in the UK. Major success did
arrive, though fashions changed. There was a revival of interest in his work in the last ten years of his life and since. His exuberant
inventiveness is fully apparent in this little, incandescent improvisation, which could refer to the South African house music group
of that acronymic title.
€1,500-2,000 (£1,304-1,739)

80
84
John Kingerlee (b.1936)
leTTer (srik series) (2015)
signed with monogram lower left and titled on reverse
oil and collage on card
38 x 45.5cm (14.96 x 17.91in)
Private Collection;
Exhibited: Beyond the Beyonds: Work by John Kingerlee, The Crescent Gallery,
Belfast, 11th - 31st January 2018
€2,000-4,000 (£1,739-3,478)
The Letter belongs to an ongoing series of work known as the SRIKs - a term
that Kingerlee invented in homage to two members of his pantheon of great
modern artists: Kurt Schwitters (1887-1948), who had links with Hanover
in Germany and Ambleside in the Lake District; and on the other side of the
Atlantic Robert Rauschenberg (1925-2008), the New York-based precursor of
Pop with whom Kingerlee also feels a strong connection. As Kingerlee explains:
“SRIK is a word derived from three surnames - Schwitters, Rauschenberg,
Kingerlee. A small family tree. A line of inheritance. I have always had a love of
Kurt Scwhitters - the man himself and his work. And this love continued on into
the work of Robert Rauschenberg. Work done in the fifties when he was a poor
man and unknown. The SRIKs are absorbing and housing a lifetime’s random
collection of memorabilia. Old notes, old letters, old drawings etc. which I
carried for years, all passing out of my life and into the world of pictures.”
Kingerlee’s explanation reveals that he identifies with both artists and is inspired
as much by their commitment to innovation and experimentation as he is by
their non-commercial dedication to their craft. This passion for his illustrious
forebears remains as strong today as it was at the beginning of his career, more
than fifty years ago. There was certainly never any question of it surviving his
move to West Cork in 1982.
On one level the SRIKs are a compendium of the artist’s past, given that they
incorporate collaged pieces of paper which, in many instances, are decades old
and provide glimpses into his personal life. One of the most poignant examples is
the present work, aptly titled The Letter, referring to a hand-written note sent by
the headmaster at John’s school in Devon to his mother. Addressing her formally
as Mrs Kingerlee, he thanks her for sending a cheque to help cover the costs of
her son’s education. The letter was written at least 65 years ago when Kingerlee
was a teenager. That it survived the ravages of time is proof of the artist’s love
of paper ephemera and his instinct to preserve them. By deciding to embed this
morsel of autobiography in a SRIK, he literally resurrected an episode from his
past so it could be shared with others.
In the artwork the words of the headmaster have been highlighted with a
loop drawn in red crayon, while just to the right a double line of franked
postage stamps peers through the layers of dragged and rubbed paint, which in
themselves evoke the passage of time. The stamps bear images of mammals,
birds, mountains and the Virgin and Child, serving as a reminder of Kingerlee’s
love of the vernacular.
Jonathan Benington, March 2018.

81
84
leTTer (srik series) (2015)
signed with monogram lower left and titled on reverse
oil and collage on card
38 x 45.5cm (14.96 x 17.91in)
Private Collection;
Exhibited: Beyond the Beyonds: Work by John Kingerlee, The Crescent Gallery, Belfast, 11th - 31st January 2018
€2,000-4,000 (£1,739-3,478)

82
85
TowArDs The wesT (2) (1986)
oil on paper
101 x 68cm (39.76 x 26.77in)
De Vere’s, Dublin;
Private Collection
€5,000-7,000 (£4,347-6,086)

83
86
GREY HORSE IN A STABLE
signed lower left
oil on canvas
86.5 x 101.75cm (34.06 x 40.06in)
€20,000-30,000 (£17,391-26,086)

84
88
Robert Motherwell (1915-1991) American
sT MiChel ii (1975-9)
signed and numbered 9/46 lower left
lithograph and screenprint - number 9 from an edition of 46
153 x 45cm (60.24 x 17.72in)
Provenance: Hillsboro Fine Art, Dublin (label verso);
Private Collection
Exhibited: Hillsboro Fine Art, Dublin: International
Collection; 23rd February - 25th March 2017
€2,500-3,500 (£2,173-3,043)
87
Evie Hone HRHA (1894-1955)
ROCK OF AGES
titled lower right
gouache on paper
182 x 55.5cm (71.65 x 21.85in)
Provenance: De Veres, Dublin, 28th September 2010, Lot 185;
Private Collection
€1,500-2,500 (£1,304-2,173)

85
90
Gerard Dillon (1916-1971)
RECLINING FEMALE NUDE
signed lower right
wax crayon on paper
37.5 x 51cm (14.76 x 20.08in)
Provenance: De Veres, Dublin 13th
April 2010, Lot 120;
Private Collection
€1,500-2,500 (£1,304-2,173)
89
William Crozier
HRHA (1930-2011)
NIGHT GARDEN III
signed lower left
oil on canvas
37 x 44cm (14.57 x 17.32in)
€7,000-10,000 (£6,086-8,696)

86
91
FLIGHT OF BIRDS
signed
unique bronze
78 x 40 x 38cm (30.71 x 15.75 x 14.96in)
€6,000-8,000 (£5,217-6,956)
92
Melanie Le Brocquy HRHA (b.1919)
horse AnD riDer (1994)
signed and numbered ac
bronze on marble base - artist’s copy aside from an edition of 6
28.5 x 25.5 x 16.5cm (11.22 x 10.04 x 6.5in)
Literature: Melanie Le Brocquy RHA Gallagher Gallery,
Dublin 1999; No.44 illustrated on page 56
€2,000-3,000 (£1,739-2,608)

87
93
Stella Shawzin (b.1923) South African
MOTHER AND CHILD
signed and numbered
bronze on stone base - number 1 from an edition of 6
34 x 19 x 18cm (13.39 x 7.48 x 7.09in)
Provenance: Crane Kalman Gallery, London;
Private Collection
€2,500-3,500 (£2,173-3,043)
94
Rory Breslin (b.1963)
DE PROFUNDIS (2009)
unique bronze
59 x 48 x 48cm (23.23 x 18.90 x 18.90in)
Private Collection
€3,000-5,000 (£2,608-4,347)

88
95
Sandra Bell (b.1954)
STANDING FIGURE (2000)
signed, numbered 2/8 and dated 2000
42 x 8.5 x 10cm (16.54 x 3.35 x 3.94in)
€1,200-1,800 (£1,043-1,565)
96
Anna Linnane (b.1965)
LITTLE TALL HORSE
45.5 x 21 x 9cm (17.91 x 8.27 x 3.54in)
Private Collection
€800-1,200 (£696-1,043)

89
98
CÚChulAinn (2017)
bronze sculpture number 1 from an edition of 9
60.26 x 26 x 33cm (23.72 x 10.24 x 12.99in)
€8,000-12,000 (£6,956-10,434)
97
Michael Foley (b.1963)
FUSIONE 2 (2018)
bronze and stainless steel - number 1 from an edition of 9
8.5 x 30 x 30cm (3.35 x 11.81 x 11.81in)
Private Collection
€1,000-1,500 (£869-1,304)

90
99
Neil Shawcross RHA RUA (b.1940)
Apple JuiCe (2004)
mixed media on card
133.5 x 91cm (52.56 x 35.83in)
€3,500-4,500 (£3,043-3,913)

91
100
Charles Tyrrell (b.1950)
SWING (1989)
oil on board
120 x 120cm (47.24 x 47.24in)
Provenance: Whyte’s, Dublin, 23rd February 2015, Lot 40;
Private Collection
One of Ireland’s foremost abstract artists, Charles Tyrrell makes works in series. His paintings are process-driven and the starting
point is usually a symmetrical subdivision of the surface. Here diagonals divide a square into four right-angled triangles. There
is some interplay between the areas but mostly each seems animated by its own internal energy: a four seasons, perhaps? Tyrrell
is not a landscape artist, but it has been noted that his palette and textures became notably atmospheric following his move to the
Beara Peninsula in 1984.
€4,000-6,000 (£3,478-5,217)

92
101
John Noel Smith (b.1952)
uniDenTifieD fielD pAinTing no.48 (2004)
oil on canvas - diptych
51 x 30cm (20.08 x 11.81in)
€700-1,000 (£608-869)
102
Evie Hone HRHA (1894-1955)
BOATS BY THE SHORE
signed lower left
gouache
23 x 30.5cm (9.06 x 12.01in)
Provenance: Dawson Gallery, Dublin;
Private Collection
€500-750 (£434-652)

93
103
Albert Irvin RA (1922-2015) British
broMpTon V (2001)
signed and dated on reverse
acrylic on canvas
40.60 x 40.60cm (15.98 x 15.98in)
Provenance: Gimpel Fils, London (label verso);
Hillsboro Fine Art, Dublin (label verso);
Private Collection
Exhibited: Hillsboro Fine Art: International Collection; 23rd February - 25th March 2017
Albert Irvin’s abstract paintings delight in the play of a consistent repertoire of marks and repeat patterns, including crosses and
disks, squares and circles, boldly painted in vibrant acrylic colours, built up in fast, rhythmic, dynamic arrangements. His titles
usually refer to places, often street, many in London, where he lived. But the paintings don’t depict the locations. He attached the
names because the places were of personal significance to him. As with a piece of music, he felt, don’t ask what it represents, just
experience it.
€4,000-6,000 (£3,478-5,217)

94
104
Ciaran Lennon (b.1947)
Colour ColleCTion (2007)
signed lower right and dated 2007
acrylic paint on acrylic sheet on brass mesh on copper
76 x 114.5cm (29.92 x 45.08in)
Dubliner Lennon’s future was set in stone on the day when, as a small child in school the teacher stopped the lesson and an-
nounced ‘Children, we have an artist in the class’. Colour, pure and simple, applied to paper, aluminium, and copper fills his
horizons - a riposte, and a balm to the grim reality of existence. He has described his work as “in a sense landscape paintings in
that we scan them to see them, picking and choosing what we desire to see… as in life.”
€3,000-5,000 (£2,608-4,347)

95
105
Seán McSweeney HRHA (b.1935)
SHORELINE BOG POOL
signed and titled on reverse
oil on board
25 x 35.5cm (9.84 x 13.98in)
Private Collection
In the mid-1980s, Seán McSweeney moved to coastal Co Sligo with his family. In his case, he was returning to the place where
he had grown up. The building where he’d gone to school became, and remains, his studio. Close to Lissadell, Ballyconnell is a
beautiful shoreline realm. Between McSweeney’s home and studio, and the rocky coast, there is a generous expanse of coastline
bog, rich in vegetation and punctuated by cuttings which carve out remarkably geometric pools in the wild landscape. McSweeney
has made much of his finest work - that is, much of the finest Irish landscape paintings - in this familiar terrain.
€2,500-3,500 (£2,173-3,043)

96
106
heAD (2015)
signed with monogram lower right, titled and dated on reverse
oil on board
34 x 26.5cm (13.39 x 10.43in)
Private Collection
€1,500-2,500 (£1,304-2,173)

97
107
Tony O’Malley HRHA (1913-2003)
COASTAL LANDSCAPE
signed with monogram and dated June ‘90 lower left
oil and mixed media on board
58.5 x 42cm (23.03 x 16.54in)
Provenance: Yellow Gallery, Kinsale;
Private Collection
For Tony O’Malley, painting was an essential daily ritual. His responses to his surroundings incorporate not only superficial
appearances but also nuances of atmosphere, tiny details, and chance events such as birdsong and birds in flight. Here he adopts a
bird’s eye view of a coastal setting in a poised, lyrical arrangement of colour and form.
€4,000-6,000 (£3,478-5,217)

98
108
Makiko Nakamura (b.1951)
before A sweeT rAin - loVers (2009)
oil on canvas
80 x 80cm (31.5 x 31.5in)
Japanese artist Nakamura travelled to Paris and the US before her interest in Samuel Beckett led her to Dublin. Dis-
tinguished by a highly burnished reflective surface, her enigmatic abstract paintings rely on meditative repetition and
erasure of grid-like structures; works to get lost in.
€2,000-4,000 (£1,739-3,478)

99
109
Hughie O’Donoghue RA (b.1953)
The ChAnging fACe of Moo Cow fArM V (2007)
signed lower centre left and dated 2007
mixed media on paper
38 x 57.5cm (14.96 x 22.64in)
Private Collection
Hughie O’Donoghue is best known for epic series of paintings that explore the relationships between people and place, from the
hard lives experienced by small farmers in the West of Ireland to the challenges of migration and conflict as individuals become
caught up in large historical events. Both come into play here. Moo Cow farm was the colloquial term among Allied (mostly Aus-
tralian) troops for Mouquet Farm on the Somme. Once a beautiful, pastoral farm, it became a heavily defended German redoubt
and was reduced to a cratered, muddy wilderness in the course of the battle in 1916.
€4,000-6,000 (£3,478-5,217)

100
110
Alice Maher (b.1956)
DiD i reAlly kill All seVen of TheM? (1990)
signed on reverse
mixed media on paper
133 x 103.5cm (52.36 x 40.75in)
Provenance: Hillsboro Fine Art, Dublin (label verso);
Private Collection
Exhibited: Irish Museum of Modern Art: SIAR 50: 50 Years of Irish Art from the collections of the Contemporary Irish Art
Society (CIAS) 2006
Recognised as one of Ireland’s foremost artists, Alice Maher explores contemporary female experience through the prisms of
history, fairytales and myth. She has ranged freely across quite a range of media, from sculpture, often using unorthodox materials,
to animated film and painting. But it’s fair to say that, from the beginning, graphic work has been at the heart of her vision. Some
of her best series of drawings feature a capricious young heroine, perhaps an Alice in Wonderland alter ego, who gains a sense of
her own power and potential even as the world conspires to deny it to her.
€3,000-5,000 (£2,608-4,347)

101
111
Nick Miller (b.1962)
whiTeThorn, snow (2006)
signed lower right and dated 2006, titled on reverse
oil on canvas
61 x 56cm (24.02 x 22.05in)
Provenance: Rubicon Gallery, Dublin (label verso);
Private Collection
Nick Miller’s approach to painting involves intense, close observation and being absolutely true to the lived encounter with his
subject, be that subject a person, a landscape or still life objects, notably flowering plants. His landscape are often centimetre-
by-centimetre accounts of burgeoning, abundant nature. Based in Co Sligo, to bring himself closer to the landscape, he set up a
mobile studio in a truck helpfully supplied by a sponsor and painted Truckscapes. As in this case, the paint-spattered interior of the
truck often frames the view. Late winter snowfalls drew the artist out to record a world transformed.
€2,000-4,000 (£1,739-3,478)

102
112
Arthur K. Maderson (b.1942)
BY THE POND
oil on board
118 x 80cm (46.46 x 31.5in)
€3,000-5,000 (£2,609-4,348)

103
114
Robert Chailloux
(1913-2006) French
sTill life - fruiT AnD
Vessels on TAbleTop
signed lower left
oil on canvas
46 x 55cm (18.11 x 21.65in)
€800-1,200 (£695-1,043)
113
Markey Robinson (1918-1999)
SHAWLIES BY THE SHORE
signed lower left
gouache on board
58 x 114.5cm (22.83 x 45.08in)
Provenance: Eimear Gallery, Belfast;
Private Collection
€6,000-9,000 (£5,217-7,826)

104
115
Brian Ballard RUA (b.1943)
BOOKS WITH POPPIES (2010)
oil on canvas
61 x 82cm (24.02 x 32.28in)
€3,000-5,000 (£2,608-4,347)
116
Annick Bouvattier
(20th/21st Century) French
SILHOUETTE (2000)
signed lower right, titled and dated 2000 on reverse
oil on canvas
92 x 60cm (36.22 x 23.62in)
Provenance: Artclub Gallery, Paris;
Private Collection
€3,000-4,000 (£2,608-3,478)

105
117
Martin Gale (b.1949)
LOOKING FOR THE LOST DOG
titled verso
acrylic on canvas
76.5 x 91.5cm (30.12 x 36.02in)
Provenance: James Adam’s, Dublin;
Private Collection
Martin Gale is justly renowned for his exceptionally realistic paintings of Irish rural life. They are attentive to the practicalities,
the economic, social and psychological facts of a world that is otherwise often treated in terms of the picturesque. But beauty is
there as well in his work. At an earlier point in his career he explored a more overtly magical approach, with a touch of allegory,
perhaps reflecting the influence of the English painter David Inshaw, a member of the Brotherhood of Ruralists in the early 1970s.
There is a playful resonance between the hare in the foreground and the man in search of his lost dog further back.
€3,500-4,500 (£3,043-3,913)

106
119
Ivan Sutton (b.1944)
GALWAY HOOKERS RACING
CArrAroe bAy, Co gAlwAy
signed lower right and titled on
reverse
oil on canvas board
50 x 76cm (19.69 x 29.92in)
Provenance: Acquired directly
from the artist;
Private Collection
€1,500-2,000 (£1,304-1,739)
118
Mark O’Neill (b.1963)
SEASONS BEST (2018)
signed lower left and dated 2018,
titled on reverse
oil on board
31 x 43cm (12.20 x 16.93in)
€2,400-3,000 (£2,086-2,608)

107
120
Kenneth Webb RWA FRSA RUA (b.1927)
RED BOG IN WINTER
oil on canvas
51 x 76.5cm (20.08 x 30.12in)
Provenance: Blue Door Studio, Dublin (label verso);
Private Collection
Homage to the secret life of colour’ is how the Irish poet and philosopher John O’Donohue described Kenneth Webb’s paintings of
the ever-changing shapes and moods of Connemara, never truer than in this winter abstract of the region’s most lively ecosystem.
€5,000-7,000 (£4,347-6,086)

108
121
John Boyd (b.1957)
STILL LIFE ON TABLETOP
signed lower left
oil on board
Provenance: Whytes, Dublin;
Private Collection
€1,200-1,800 (£1,043-1,565)
122
Basil Ivan Rakoczi (1908-1979)
CONARDS
oil on canvas
38.5 x 55cm (15.16 x 21.65in)
€2,000-3,000 (£1,739-2,608)

109
123
Markey Robinson
(1918-1999)
suMMer, wesT of
IRELAND
signed lower right
oil on board
61 x 89.5cm (24.02 x 35.24in)
Provenance: Stables Gallery,
Northern Ireland (label verso);
Collection of Darren Clarke;
Private Collection
€8,000-12,000 (£6,956-10,434)
124
Michael Gemmell (b.1950)
WILD WESTERN LANDSCAPE
signed lower right
oil on canvas
91.5 x 91.5cm (36.02 x 36.02in)
€1,200-1,800 (£1,043-1,565)

110
126
Kenneth Webb
RWA FRSA RUA (b.1927)
CONNEMARA PONY
signed lower right
oil on canvas
41 x 51cm (16.14 x 20.08in)
€4,000-6,000 (£3,478-5,217)
125
Markey Robinson (1918-1999)
fishing VillAge, wesT of irelAnD
signed lower right
gouache on board
21 x 70cm (8.27 x 27.56in)
Provenance: Mackenzie & McCarthy Fine Art, Molesworth Place, Dublin;
By Descent;
Private Collection
€4,000-6,000 (£3,478-5,217)

111
n
127
Peter Collis RHA (1929-2012)
STILL LIFE ON TABLETOP
signed lower right
oil on canvas
63.5 x 76.5cm (25 x 30.12in)
Peter Collis, the twentieth century master of still life and landscape painting, was born in England, absorbed drawing and fine art
painting at the Epsom College of Art in London from 1947 to 1952, and moved to Ireland in 1969. His French Post-Impressionist
style derives from Cezanne, as well as Gaugin and Vlaminck, albeit in an Irish setting.
Collis painted many subjects but those to which he returned constantly were landscapes and still life. He was elected an Associate
Member of the Royal Hibernian Academy in 1990 before becoming a full member in 1993. He was part of the annual selection
committee for 10 years where he also held the position of treasurer. Collis has had many solo and group shows in Ireland and
abroad. He has also won several awards including Oireachtas, Maurice MacGonigal Landscape Prize and the James Adam Sales-
room Award, RHA.
€4,000-6,000 (£3,478-5,217)

112
128
Arthur K. Maderson (b.1942)
APPROACHING GANGE
oil, acrylic and oil pastel on board
108 x 77cm (42.52 x 30.31in)
€3,000-5,000 (£2,609-4,348)

113
129
Peter Curling (b.1955)
EXERCISING ON A CLOUDY MORNING
oil on canvas
82 x 71cm (32.28 x 27.95in)
The sport of kings is the focus of Curling’s photorealist equine paintings as he charts the journey from early morning gallops to
the thrill of the chase. His reward is adoration from fans and critical acclaim worldwide.
€8,000-12,000 (£6,956-10,434)

114
130
Martin Gale (b.1949)
lATe in noVeMber
signed lower left
oil on canvas
30 x 40cm (11.81 x 15.75in)
Provenance: Taylor Galleries, Dublin (label verso);
Whyte’s, Dublin, 21st February 2006, Lot 200;
Private Collection
€2,000-3,000 (£1,739-2,608)
131
Ken Hamilton (b.1956)
GIRL WITH GOLD EARRING
signed with monogram lower left
oil on board
25 x 20cm (9.84 x 7.87in)
€2,000-3,000 (£1,739-2,608)

115
132
James MacIntyre RUA (1926-2015)
MISTY MORNING SLEMISH
oil on board
46 x 57cm (18.11 x 22.44in)
Slemish mountain looks volcanic, and it is in fact a volcano, luckily extinct. It was Saint Patrick’s first experience of Ireland.
Having been brought there as a slave, he spent six years on its slopes as a shepherd, and in the tough, isolated conditions he turned
to prayer for solace, and eventually escaped. MacIntyre has a modern-day shepherd stand in for the Saint in a charming spring
landscape.
€3,000-5,000 (£2,608-4,347)

116
133
Mark O’Neill (b.1963)
A heAVy frosT (2018)
signed lower right and dated 2018,
titled on reverse
oil on board
22 x 37cm (8.66 x 14.57in)
€1,200-1,600 (£1,043-1,391)
134
Charles J. McAuley
RUA ARSA (1910-1999)
AnTriM CoAsT, MooreD
BOATS
signed lower left
oil on board
37 x 53.5cm (14.57 x 21.06in)
Provenance: A wedding gift from
the artist to the present owner
€1,200-1,800 (£1,043-1,565)

117
136
Henry Healy
RHA (1901-1982)
howTh, Co Dublin
signed lower right
oil on board
50.5 x 60.5cm (19.88 x 23.82in)
€1,000-1,500 (£869-1,304)
135
Peter Collis
RHA (1929-2012)
The rounDwooD,
ENNISKERRY ROAD
signed lower right
oil on canvas
56 x 76cm (22.05 x 29.92in)
Provenance: John Martin Gallery (label
verso);
Nicholas Gallery, Belfast (label verso);
Private Collection
€3,000-5,000 (£2,608-4,347)

118
137
James S. Brohan (b.1952)
fAir DAy, kenMAre
signed lower right
oil on canvas
76 x 101.5cm (29.92 x 39.96in)
Look and observe’ was the advice given by Liam Treacy to Brohan when after fifteen years as a motor mechanic he became a
fulltime artist. His muse is Irish tradition and here he captures the jubilant mood and colour of the centuries-old Fair Day when
country folk bring their wares to the town.
€6,000-9,000 (£5,217-7,826)

Morgan Odriscoll Irish & International Art Auction 30th April 2018

Morgan Odriscoll Irish & International Art Auction 30th April 2018

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Morgan Odriscoll Irish & International Art Auction 30th April 2018