Adams Important Irish art 25th September 2019

Est1887
Auction Wednesday 25th
September 2019
IMPORTANT IRISH ART

Front cover : Lot 101 Gerard Dillon
Back cover : Lot 44 Paul Henry
Inside front : Lot 19 Anne Madden
Inside back : Lot 26 Paul Henry
Opposite : Lot 117 Tony O’Malley

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CONTACTS
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
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
FINE ART DEPARTMENT
h.carlyle@adams.ie
Niamh Corcoran
FINE ART DEPARTMENT
niamh@adams.ie
Nick Nicholson
CONSULTANT
n.nicholson@adams.ie
Nicholas Gore Grimes
ASSOCIATE DIRECTOR
nicholas@adams.ie
Ronan Flanagan
FINE ART DEPARTMENT
r.flanagan@adams.ie
Claire-Laurence Mestrallet BA, G.G
ASSOCIATE DIRECTOR
HEAD OF JEWELLERY & WATCHES
claire@adams.ie
CONTACTS

AUCTION
Wednesday 25th September 2019 at 6pm
VENUE
Adam’s Salerooms,
26 St. Stephen’s Green,
Dublin
D02 X665,
Ireland
SALE VIEWING
ADAM’S
Est.1887
26 St. Stephen’s Green
Dublin D02 X665
Tel +353 1 6760261
Important Irish Art
ADAM’S
Est.1887
20TH
- 25TH
SEPTEMBER
Adam’s, 26 St. Stephen’s Green, Dublin D02 X665

Friday 20th
September 10.00am - 5.00pm
Saturday 21st
September 2.00pm - 5.00pm
Sunday 22th
September 2.00pm - 5.00pm
Monday 23rd
Tuesday 24th
Wednesday 25th

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IMPORTANT INFORMATION FOR PURCHASERS
1. Estimates and Reserves
These are shown below each lot in this sale. All amounts shown are in Euro. The figures shown are provided merely as a guide to prospective
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
Thursday 26th September 2019. Under no circumstances will delivery of purchases be given whilst the auction is in progress. All purchases
must be paid for and removed from the premises not later than Friday 27th September 2019 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 25% (inclusive of VAT).
Terms: Strictly cash, card, 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. Pur-
chasers 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. Condition
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 Tuesday 24th September 2019 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 tele-
phone. 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 S.B. Kennedy, Dr Roisin Kennedy, Aiden Dunne, Dr Julian Campbell, Niamh
Corcoran, Helena Carlyle, and Ciaran MacGonigal in the preparation of this catalogue.
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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www.adams.ie Important Irish Art | 25th September 2019

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1 CECIL MAGUIRE RHA RUA
(B.1930)
Working the Boats
Oil on board, 25 x 30cm (9¾ x 11¾’’)
Signed and dated (19)’88
Provenance: With The Bell Gallery, Belfast, label verso
€ 2,500 - 3,500

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2 CECIL MAGUIRE RHA RUA
(B.1930)
Burren Landscape from Ballyvaughan
Oil on board, 60 x 75cm (23½ x 29½’’)
Signed and dated (19)’71; inscribed verso
€ 2,000 - 3,000

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3 CECIL GALBALLY RHA
(1911-1995)
A View of Brian Boru Bridge and St Patrick’s Quay, Cork City
Oil on board, 38 x 45cm (15 x 17¾’’)
Signed
Galbally, who worked initially as a bank official, began exhibiting at the Royal Hibernian Academy in
1940 from an address in Ranelagh, Dublin. From 1941 he provided an address at Dollymount Avenue
on Dublin’s north side. He continued to exhibit at the annual RHA shows until 1954, in which year he
entered two works of Spanish subjects, having moved to Spain in the late 1940’s. He also exhibited at
the Victor Waddington Gallery in Dublin.
€ 1,500 - 2,000

11
(1911-1995)
Figure on a Country Path
Oil on board, 34 x 44cm (13¼ x 17¼’’)
Signed
€ 1,500 - 2,000
(1911-1995)
Figures by Cottages
Oil on board, 34 x 44cm (13¼ x 17¼’’)
Signed
€ 1,500 - 2,000

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6 LETITIA MARION HAMILTON RHA
(1878-1964)
Cottage at Durrus - Co. Cork
Oil on board, 13 x 18cm (4¾ x 7’’)
Signed with initials
Provenance: With Jorgensen Fine Art,
Dublin
€ 1,500 - 2,000
(1878-1964)
Courtyard of a Hotel in Andalusia
Oil on board, 19 x 23.5cm (7 ½ x 9 ¼”)
€ 2,000 - 3,000

13
8 JAMES LE JEUNE RHA
(1910-1983)
Cliff Top View with Rowing Boat
Oil on canvas, 51 x 61cm (20 x 24”)
Signed
€ 2,000 - 3,000

14
10 SEAN MCSWEENEY RHA
(1935-2018)
Trees on the Hill
Oil on board, 14 x 19.5cm (5½ x 7¾’’)
Signed and inscribed with title verso
Provenance: With Taylor Galleries, Dublin,
July/August 1978.
€ 1,500 - 2,000
(1935-2018)
Bogland Fire
Oil on board, 25 x 35cm (11 x 15’’)
Provenance: With the Gordon Gallery,
Derry, November 1989.
€ 2,000 - 4,000

15
(1935-2018)
May Growth
Oil on canvas, 60.5 x 81cm (24 x 31¾’’)
Signed and dated (19)’98; also signed, inscribed and numbered 9865 verso
€ 4,000 - 6,000

16
12 BARRIE COOKE HRHA
(1931-2014)
Lough Arrow Algae Bloom
Watercolour and oil on paper laid down on board,
45 x 46cm (17¾ x 18’’)
Signed, inscribed and dated 1998 verso
Provenance: Collection of Patrick and Antoinette
Murphy
€ 2,000 - 4,000

17
13 BARRIE COOKE HRHA
(1931-2014)
Study for Sphaerotilus I
Signed, inscribed and dated 1990 on verso
Provenance: With the Emer Gallery, Belfast
€ 3,000 - 5,000

18
14 PETER CURLING
(B.1955)
Over the fence
Watercolour, 43cm x 72cm (16.9 x 28.3”)
Signed
€ 2,000 - 3,000

19
15 PETER CURLING
(B.1955)
At the Start
Watercolour, 46cm x 75cm (18.1 x 29.5”)
Signed
€ 3,000 - 5,000

20
16 ROWAN GILLESPIE
(B.1953)
Peace II
Bronze, 78cm high (30¾’’)
Signed, inscribed and dated 1999 underneath the base
Female figures are quite prominent in Gillespie’s work, with his depiction of the body often acting
as a celebration of female liberty and the vitality of life. They are not treated in the same way as
a classical sculpture in which the female form was often depicted as an object of beauty. Instead
Gillespie strives to create thoughtful expressions of the free-spirited and independent nature of
modern women.
Freedom is a constant thread in Gillespie’s work, something his sculptures seem to always be
striving towards, whether they are scaling the side of a building, Aspiration (1995) or perched on a
window ledge, Birdy (1997). His figures seem to affect an act of defiance in the face of gravity. While
Gillespie’s sculptures are often struggling under the weight, literal and metaphorical, of the base,
elemental forces of life there is also a lightness, a joy found within his depictions of the human form.
There is a visual link between the outstretched arms in Peace II and the Blackrock Dolmen (1987),
although on this occasion the figures are not supporting the heavy weight of the stone. Instead
with their arms outstretched, reaching upwards towards an imaginary light, one is reminded of his
respective large-scale public commissions in Italy and Dublin, L’Eta della donna (2009) and The Age
of Freedom (1992). On both occasions the figures stand, similar to the present work, naked, offering
some form of thanksgiving to the sun. The two figures in Peace II, seem to grow upwards from the
same source, their bodies intertwined with one another. It is an expression of gratitude, a gesture
of sublimation and hope.
While he is known for his emotionally arresting Famine memorial, here there is a delicacy to the
treatment of the material which seems to hark back to his earlier investigations into the human
form. The finish of the bronze in this work is the antithesis of the cracking, raw patinas of his Famine
figures. However, once again he has created a visual as well as physical connection to the raised
arms of his Jubilant Man (2007) sculpture in Ireland’s Park, Toronto, who upon safe arrival in Canada
is utterly overcome with emotion.
Niamh Corcoran, September 2019
€ 15,000 - 20,000

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17 RORY BRESLIN
(B.1963)
Mask of the Erne
Bronze, 88.5 x 41.5cm (35 x 16’’)
Signed, AP
Bearing fishy life in abundance, salmon, a
pike with an eel in its jaws, shells and some
of the flora of the Erne’s banks, bullrush-
es, wildflowers etc, the River God’s mous-
tache and beard are rendered in a fashion
which suggests the Erne’s slow flowing
waters. The Mask of the Erne is an interpre-
tation of John Smyth’s River-God keystone
depiction on the South facade of Dublin’s
Customs House.
The Erne keystone, one of fourteen em-
blematic renditions of the larger rivers of
Ireland, is positioned to the left of the Dor-
ic tetra-style portico facing the Liffey. The
River-Gods have survived the fires of 1789
and 1883 and the most devastating fire of
May 25th 1921.
Our thanks to the artist for his help in
cataloguing this lot.
€ 6,000 - 8,000

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18 SANDRA BELL
(B.1954)
Standing Figures
A Pair, Bronze, 112cm high (44”)
Signed twice with initials, dated 2002 and numbered 6 from a limited edition of 8
€ 3,000 - 5,000

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19 ANNE MADDEN
(B.1932)
Chemins Éclairs (1988)
Triptych, Oil on canvas, 195 x 339cm (76¾ x 133½”)
Signed, inscribed and dated 1988 on verso
Exhibited: Galerie Jeanne Bucher, Paris 1989; Kerlin
Gallery, Dublin 1990; RHA Gallagher Gallery,
Dublin 1991; Limerick City Gallery of Art 1991;
Anne Madden - A Retrospective Exhibition
Provenance: Collection of Noeleen and Vincent
Ferguson; Private Collection, Ireland
Literature: Anne Madden - A Retrospective
Exhibition with Introductory Essay by Aiden
Dunne, Dublin 1991, Illus p. 63, Cat no. 50
The illuminated paths in Anne Madden’s triptych are,
figuratively, paths of light, and they are depictions
of an actual path, aglow amidst the enveloping shade
of the garden: the path to her studio. The studio, which
she shared with her partner Louis le Brocquy, was built
in 1962 at their home, Les Combes, in the foothills of
the Alps above Nice. Les Combes, and specifically the
studio, was the centre of their daily life for close on three
decades - they returned to settle in Ireland in 2000.
In 1984, Madden was devastated by the sudden death
of her younger, much loved brother, Jeremy Madden
Simpson. Over the following years, she found herself
adrift in mourning him. She likened it to being confined
in a dark room, and eventually felt that she was in ex-
ile from the studio; painting held no appeal. Talking to
Samuel Beckett in 1987, she explained her predicament.
He later wrote to her saying that she must deal with the
darkness, express it, rather than trying to elude it. She
took his words to heart, compiling a volume of Jeremy’s
writings - and trying to find her way back to the studio.
This process engendered a number of paintings partly
built around the metaphorical opposition of light and
dark. Light was the possibility of life, hope, creativity,
and darkness was the state of being cut off from all of
those things. The studio is not just an atelier, a work-
shop, it is the centre of life, a generative space. The illu-
minated path is a way out of darkness, back to life in all
its contingency and promise.
Madden was born in Chile. Her father was Irish, her moth-
er Anglo-Chilean, and they moved to England when she
was about four. Ireland became important as she visited
her father’s relations in Co. Clare with him, discovering
and spending time in the Burren, thereafter a landscape
of central imaginative importance to her. In 1950, she se-
riously injured her spine in a riding accident, necessitating serious surgery. When she and Louis le Brocquy (they mar-
ried late in the decade) moved to France, it was largely because the climate was more amenable to healing her bones.
From the 1950s onwards, Madden’s exceptionally ambitious paintings fuse elements of the extraordinary Burren
environment, its vast skies, limestone pavement and stone monuments, with the techniques and scale of American
abstraction. Gradually her range of reference diversified to encompass the city of Pompeii, some classical mythic
narratives, Odyssean voyages and the Aurora borealis. If mortality and mourning have been consistent underlying
concerns, so too is a sense of creative possibility and wonder, and a rapt appreciation of beauty.
Aidan Dunne, August 2019
€ 20,000 - 30,000

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26
20 MICHEÁL MACLIAMMÓIR
(1899-1978)
‘Santa Maria della Salute, Venice’
Watercolour, 37 x 23cm (14 ½ x 9”)
Signed and dated 1924
€ 800 - 1,200
21 BASIL BLACKSHAW HRHA RUA
(1932-2016)
Boardmills
Watercolour, 17 x 28cm (6¾ x 11’’)
Provenance: From the Estate of the artist
Cherith McKinstry
€ 1,000 - 1,500

27
22 CHARLES BRADY HRHA
(1926-1997)
Envelope (1982)
Oil on board, 51 x 56cm (20 x 22”)
Signed
€ 6,000 - 10,000

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23 MAURICE MACGONIGAL PRHA
(1900-1974)
West of Ireland Landsacpe
Oil on board, 25 x 39cm (9¾ x 15¼”)
Signed
€ 2,000 - 3,000
(1900-1979)
Cows, Connemara
Watercolour, 16 x 31cm (6¼ x 12¼’’)
Provenance: With the Taylor Galleries, label
verso.
€ 800 - 1,200

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25 JAMES HUMBERT CRAIG RHA RUA
(1877-1944)
The Hills of Donegal
Oil on canvas, 51 x 61cm (20 x 24’’)
Signed; inscribed with title indistinctly verso
Provenance: Sale these rooms, 08/12/99, Lot 99.
€ 3,000 - 5,000

30
26 PAUL HENRY RHA
(1877-1958)
A Connemara Landscape
Oil on canvas, 35.5 x 40.5cm (14 x 16’’)
Signed
Provenance: Wilhelm Mueller, by whom acquired in Dublin c.1940 and in 1996 by
descent to his son, Robert Mueller.
Dr. S.B. Kennedy authenticated this painting in 2002 and in private correspond-
ence provided the owner with a provisional catalogue raisonne number 0400.
A wonderfully elegant composition, which combines all the classic iconography
associated with the artist at the height of his powers, this Connemara landscape
benefits from a fluid application of paint and glazes. The foreground, made up of
warm browns and deep yellows, is lit in patches by pale sunshine and highlights the
tiny habitation, the isolated white-washed thatched cottages and dark turf reeks
set off by the zig-zag of the bogland lake.
The New York Times, speaking generally of Paul Henry’s 1930 show at the Hackett
Gallery, thought that ‘in gentle fashion’ his landscapes ‘fulfil some of the promises
made by Irish literature. They are both lonely and self-contained.’ This loneliness
is exemplified in the present work but also generates feelings of serenity and con-
tentment, the undulating mountains, in all their magisterial grandeur, create a se-
cure and familiar backdrop while the light-filled cumulus clouds hover overhead,
bearing no threat.
€ 60,000 - 80,000

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27 DICK JOYNT
(1938-2003)
Earth Mother
Terracotta, 26.5 x 28 x 18cm (10½ x 11 x 7’’)
Unique
Provenance: The artist, thence by descent.
Dick Joynt was born in Clontarf, Dublin in 1938. He initially trained as a painter and turned to sculpture after joining the
Dublin Art Foundry in 1972. At this time he became interested in sculpture and excelled in the medium of clay, wood but
quintessentially found his means of expression in stone. He travelled extensively throughout the United States, Canada
and Mexico during the 1960s before returning to Ireland and setting up ‘Craan Studios’.
His first solo show was in The Painters Gallery in Dublin in 1966 follwed by solo shows at the Lincoln Gallery in 1979 and
the David Hendriks Gallery in 1988 to mention a few. He also was a regular exhibitor at the RHA Annual exhibitions be-
tween 1977-1996, Aer Rianta ‘Gateway to Art’, ‘Oireachtas’ 82-‘97 and many other venues. He received numerous public
sculptures commissions throughout his career including a 3 meter high limestone piece entitled The Victors sited in the
main street in Tallaght, Dublin (1988) The Ram for Wicklow County Council (1994) and The Music Makers (1995) by Kenmare
Bay.
His work is in the National self Portrait collection, AIB, Aer Rianta, & Bank Of Ireland.
€ 1,500 - 2,000

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28 JEROME CONNOR
(1876-1943)
The Siren
Bronze, 29 x 21.5 x 7cm (11¼ x 8½ x 2¾), attached to a green marble rectangular plaque
38 x 27cm (15 x 10¾”)
The marble inscribed ‘THE SIREN - JEROME CONNOR SC’
€ 3,000 - 5,000

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29 FRANK EGGINTON RCA FIAL
(1908-1990)
Upper Lough Mask, Co. Mayo
Watercolour, 54 x 74cm (21 x 29”)
Signed; inscribed with title verso
€ 1,200 - 1,600
30 FRANK EGGINTON RCA FIAL
(1908-1990)
Connemara Landscape
Watercolour, 53 x 74cm (20¾ x 29’’)
Signed
€ 1,200 - 1,600

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31 FRANK MCKELVEY RHA RUA
(1895-1974)
River Ray, Co. Donegal
Oil on canvas, 44 x 59cm (17.3 x 23.2”)
Signed, also inscribed with title verso
€ 5,000 - 8,000

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32 ERSKINE NICOL RSA ARA
(1825-1904)
‘Who’ll Tred on the Tail O’Me Coat’
Pencil on paper, 13 x 7cm (5 x 2¾”)
Signed with initials EN, dated (18)’84
and inscribed
Provenance: Gorry Gallery, Dublin,
May/June 2010
€ 200 - 400
33 WYCLIFFE EGGINTON RI RCA
(1875-1951)
Sheep Grazing
Watercolour, 36 x 53cm (14¼ x 20¾’’)
Signed
€ 400 - 600

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34 ERSKINE NICOL RSA ARA
(1825-1904)
A Village Conversation
Oil on board, 29.5 x 36cm (11½ x 14”)
€ 4,000 - 6,000

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35 WALTER FREDERICK OSBORNE RHA ROI
(1859-1903)
Study of a Girl
Pen and ink, 24 x 16cm (9½ x 6½”)
Dated 1891; With later inscription on backboard “Given to
Sammy by Mrs Jellett who was a friend of Walter Osborne.”
Refer to Department for further information.
Provenance: Given to a member of the current owner’s family
by Mrs Jellett, a friend of the artist.
€ 3,000 - 5,000

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36 WALTER FREDERICK OSBORNE RHA ROI
(1859-1903)
‘Old Inn’
Watercolour on card, 24.5 x 17cm (9.6 x 6.6”)
Signed
With a fragment of the original back panel board and an old label verso inscribed ‘ “Old Inn” / Walter Os-
borne / 1886 - His First Exhibited Watercolour / P.C Trench / 5 Fitzwilliam Place’
Exhibited: Possibly, Dublin Art Club, 1886 as The Village Inn, cat. no. 126
Julian Campbell has written : ‘Having earlier studied in Dublin and Antwerp and painted in Brittany, Os-
borne spent much of the second half of the 1880s working in English villages and towns, painting a series
of village, farming and coastal scenes. These are some of the finest pictures of his career. He painted much
in Berkshire and Oxfordshire, for instance at Newbury, Uffington, Didcot and on the Downs. Osborne was
inspired by the rich tones of English buildings that glowed warmly in the sunshine: reds and russets of brick
walls, brown of timber and maroons of roof tiles, as well as ochre clay and verdant foliage.’
€ 6,000 - 8,000

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37 NATHANIEL HONE RHA
(1831-1917)
Cattle Resting on a Headland with Distant Yachts
Provenance: The Artist’s Family, By descent, Sale Adam’s May 31, 2006; Private Collection Ireland
Nathaniel Hone was the first native artist to introduce the influence of 19th century French Natu-
ralism to Irish painting. He was born in Fitzwilliam Place, Dublin in 1831, the son of Brindley Hone,
a merchant and director of the Midland Great Western Railway and was the great-grandnephew of
the 18th century painter of the same name. Though a member of this very artistic family, his initial
training was as an engineer at Trinity College Dublin followed by a brief period of work for the Irish
Railway before going to Paris in 1853, at the age of twenty-one to study painting.
When Hone returned to Ireland in 1872 it was almost twenty years since he had first gone to Paris
to study at the studio of Yvon. On his return he married and settled at Seafield, Malahide, the family
estate. While there he continued to paint and to farm and indeed many of his paintings from this
period carry the influences of his Barbizon period and it can be difficult to distinguish untitled land-
scapes or coastal views as to whether they are French or Irish.
The paintings which he completed in Ireland after his return from France maintain the mood and
muted tonality characteristic of the Barbizon School. He chose similar subjects to those he had por-
trayed in France: woodlands, pastures and coastline; the major part of his output was of scenes
around Dublin Bay although he also painted in Wicklow, Donegal, Mayo and Clare.
The present work is undoubtedly painted on the coast, south of Malahide, on a headland overlook-
ing the great expanse of the Irish Sea. The composition carries two of Hone’s favourite themes in his
Irish paintings, the pastoral idyll, and the open sea with billowing cumulus clouds, both using rapid,
flecked brushstrokes suggesting an awareness of Impressionism. The foreground is anchored by a
group of resting cows and peaks with a border of yellow flowered gorse. A small seated figure at the
land’s edge enjoys a panoramic view of the open sea where numerous yachts are enjoying the sum-
mer breeze. It displays Hone’s great feeling for specific light and weather conditions. His concentra-
tion is on expansive skies, which echo, formally, the shape of the undulating countryside beneath.
We are indebted to Dr Julian Campbell whose writings on this artist have informed this note.
€ 20,000 - 30,000

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38 DERMOD O’BRIEN PRHA
(1865 - 1945)
‘Ballisodare’ and ‘Park Trees, Carrowgarry’
A pair, oil on canvas, each 25.5 x 35.5cm (10 x 14”)
Each with original exhibition labels verso
Provenance: With Victor Waddington Galleries, Dublin
These paintings were sent from the artist’s address at 65 Fitzwilliam Square, Dublin where he lived
from 1920 and probably date c.1942 when O’Brien also exhibited several scenes of Carrowgarry at
the RHA.
€ 2,000 - 3,000
39 CHARLES WYNNE NICHOLLS
(1831 - 1903)
‘Tired’
Oil on canvas, 40 x 52cm (15.7 x 20.4”)
Signed; also signed, inscribed with title
and with the artist’s London address
verso
Exhibited: Dublin, Royal Hibernian
Academy, 1881, No. 248
€3,000/5,000

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40 WILLIAM SADLER II
(1782-1839)
View of Ross Castle, Killarney
Oil on board, 49 x 77cm (19¼ x 30¼”)
Ross Castle was built in the late 15th century by local ruling clan the O’Donoghues Mor (Ross), though
ownership changed hands during the Second Desmond Rebellion of the 1580s to the MacCarthy Mór.
He then leased the castle and the lands to Sir Valentine Browne, ancestor of the Earls of Kenmare. The
castle was amongst the last to surrender to Oliver Cromwell’s Roundheads during the Irish Confederate
Wars, and was only taken when artillery was brought by boat via the River Laune. Lord Muskerry (Mac-
Carthy) held the castle against Edmund Ludlow who marched to Ross with 4,000 foot soldiers and 200
horse; however, it was by water that he attacked the stronghold.
At the end of the wars, the Brownes were able to show that their heir was too young to have taken part
in the rebellion and they retained the lands. By about 1688, they had erected a mansion house near
the castle, but their adherence to James II of England caused them to be exiled. The castle became a
military barracks, which remained so until early in the 19th century. The Brownes did not return to live at
Ross but built Kenmare House near Killarney.
€ 3,000 - 5,000

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41 ESTELLA FRANCES SOLOMONS HRHA
(1882-1968)
Portrait of the Artist’s Sister Sophie
Oil on canvas, 53 x 42cm (20¾ x 16½’’)
Signed with initials and dated 1910
€ 1,500 - 2,500
42 ESTELLA FRANCES SOLOMONS HRHA
(1882-1968)
A Portrait of the Artist’s Father, Maurice
Solomons (1832–1922)
€ 1,500 - 2,000

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43 LEO WHELAN RHA
(1892-1956)
Portrait of Louisa Lavery
Oil on canvas, 75 x 62cm (29½ x 24½’’)
Signed
€ 2,000 - 3,000

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44 PAUL HENRY RHA
(1877-1958)
Digging Potatoes (1916-19)
Oil on panel, 33 x 40.5cm (13 x 16’’)
Signed
Provenance: Acquired by a private collector c.1921; Sale Sotheby’s, London, 18/05/2000,
Lot 130; Private Collection.
Literature: S.B. Kennedy, ‘Paul Henry, Paintings, Drawings, Illustrations’, Yale 2007, Illustrat-
ed p.192, Catalogue No.454.
Exhibited: Possibly London, Leicester Galleries, ‘Pictures of Irish Life and Landscape by
Paul and Grace Henry’, January 1921, No.29.
€ 70,000 - 100,000

47

In his autobiography, ‘An Irish Portrait’ (London, 1951, p.48), Paul Henry wrote
that John Millington Synge had ‘touched some chord which resounded as no
other music ever had done’ and, he tells us, it was of Riders to the Sea that he
was thinking as he left London ‘on the couple of weeks’ holiday’ he had prom-
ised himself.
Despite Henry’s increasing reputation as a graphic artist in London, it was to
Achill he was drawn and so captivated was he that he was to spend nine years
there - as a sort of home-coming, for his maternal grandfather, the Rev. Thomas
Berry, had preached the gospel on Achill in the mid-1830s. Soon after his arrival
on the island Henry made for the village of Keel, on its southern shore. He was
enthralled by the life he found there. ‘Achill called to me as no other place had
ever done’, he wrote (An Irish Portrait, p.50), yet, he said, although ‘the persua-
siveness of it’s voice charmed me’, it was not easy to follow its meaning. It was,
however, an emotional call and he decided to settle there, ‘not as a visitor but to
identify myself with its life and to see it every day in all its moods.’ In particular
the peasantry working in the fields reminded him of Millet, whose work he knew
as a student in Paris.
The hatted male figure, digging with a spade, is almost a direct quote from
Millet’s The Spaders. The fields in Achill were very small - ‘a man might own a
field or two beside his door and another bit of land, about the size of a small
suburban front garden, a mile or so away’ - having, for hereditary reasons, been
sub-divided many times over the years. The potatoes are being harvested from
ridges, the traditional method of cultivation on Achill.
Here, like Millet, Henry wanted to paint a scene of life as it really was, the harsh-
ness of daily routine being evident from the back-breaking work and the small
return of crops produced. ‘I have yet to see people who worked so hard for so
little gain’, he wrote years later. ‘It meant incessant toil with the spade’, ploughs
being useless on those stony fields (An Irish Portrait, p. 57). In pictures such as
this, Henry introduced a new realism to Irish art. Gone is the ‘stage Irishness’
of much nineteenth century art and, as with Millet’s field workers, we realize
that life was difficult, being neither heroic nor idyllic, and the simple toil of the
figures gives a natural dignity to their efforts that is more convincing than much
academic painting of the time. In his early Achill period potato digging was a
favourite subject for Henry and he made numerous versions of this composition
and with similar poses appearing. The man digging may be Johnny Toolis, who
appears in The Potato Harvest (SBK425) and The Potato Diggers (SBK295).
We are indebted to Dr S.B.Kennedy whose writings formed the basis of this
note.

50
45 DESMOND TURNER RUA
(1923 - 2011)
Lake and Mountain Landscape
Oil on canvas, 49.5 x 59.5cm (19½ x 23¾”)
Signed lower right
To be sold on behalf of the The Mary
Peter’s Trust, ‘Race to a Million’
€ 400 - 600
46 DESMOND TURNER RUA
(1923 - 2011)
Cottages in a West of Ireland Landscape
Oil on canvas, 49.5 x 59.5cm (19½ x 23½”)
Signed lower right
To be sold on behalf of the The Mary
Peter’s Trust, ‘Race to a Million’
€ 400 - 600

51
47 BRIAN BALLARD RUA
(B.1943)
Still Life Study of a Bowl of Fruit and a Vase
Oil on canvas, 61 x 75cm (24 x 29½)
€ 3,000 - 5,000

52
48 NEIL SHAWCROSS RHA RUA
(B.1940)
Red Chair
Provenance: With the Emer Gallery,
Belfast
€ 1,500 - 2,000
(B.1940)
Red Barns
€ 600 - 800

53
50 BASIL BLACKSHAW HRHA RUA
(1932-2016)
White Cat
Oil on canvas, 44 x 34cm (17¼ x 13¼”)
Signed, also dated Oct 2000
€ 3,000 - 5,000

54
51 MAINIE JELLETT
(1897-1944)
Abstract Composition
Gouache, 30 x 23cm (12 x 9’’)
Provenance: Sale deVere’s, Dublin, 05/06/03, Lot 119
€ 3,000 - 5,000

55
52 MAINIE JELLETT
(1897-1944)
Abstract Composition
Gouache, 32 x 40cm (12½ x 15¾’’)
Provenance: Sale these rooms, 29/03/2000, lot 35.
€ 3,000 - 5,000

56
53 EVIE HONE HRHA
(1894-1955)
Window at Marley
Gouache, 25.5 x 18.5cm (10 x 7¼’’)
Signed
Provenance: With Dawson Gallery, Dublin,
label verso;
Collection of Patrick and Antoinette
Murphy.
€ 1,500 - 2,000
54 EVIE HONE HRHA
(1894-1955)
Landscape with Haystacks
Gouache, 27 x 37cm (10½ x 14½’’)
Provenance: With Taylor Galleries, Dublin;
Margaret Clarke Collection; David Hone;
Collection of Patrick and Antoinette
Murphy.
€ 1,500 - 2,500

57
55 GRACE HENRY HRHA
(1868-1953)
Connemara Landscape
Pastel and Gouache, 19 x 26cm (7½ x 10¼’’)
Signed
Provenance: With the Dawson Gallery, Dublin, label verso;
Collection of Patrick and Antoinette Murphy.
Exhibited: Clifden Arts Week, 1981.
€ 3,000 - 4,000

58
56 JACK BUTLER YEATS RHA
(1871-1957)
On the Skibbereen Light Railway (1924/5)
Oil on panel, 23 x 36cm (9 x 14’’)
Signed; also signed and inscribed verso
Provenance: Sold to Victor Waddington as a present for Leo Smith in 1940;
Michael Scott, Dublin; St. Mary’s College, Emo; Private Collection.
Exhibited: 1925 London, Catalogue No.19; 1925 Dublin, Catalogue No. 4; and
1927 Cork.
Literature: Hilary Pyle, ‘Jack. B. Yeats, A Catalogue Raisonné of the Oil Paint-
ings’, No.274.
€ 150,000 - 200,000

59

The narrow gauge Skibbereen Railway ran for over fifteen miles from
Schull to Skibbereen. It closed in 1947. Jack Yeats visited the area and
sketched there in 1919-20. Several of his sketchbooks dated 1915-20 re-
cord the people and landscape of the region. In one he noted the tradi-
tional shawls and long dresses that the women wore, rather like that of the
female passenger in the centre of this painting. She takes on a ghostly,
almost menacing demeanour, as she stares out across her crowded com-
panions. The severity of her costume and the pallor of her complexion
contrast with that of the corpulent and ruddy-faced gentleman seated
beside her. He wears a flamboyant blue jacket and cravat, and appears
to be dozing. To his right another passenger with hands clenched in front
of him appears to be in deep conversation. In the background against
the large window other passengers appear to be settling themselves on
to the train for the journey ahead. Their forms are silhouetted against a
spectacular view of the sky and coastline of West Cork.
Yeats painted many paintings of trains and trams, especially during the
1920s. The subject allowed him to explore the interaction between peo-
ple, often of different social classes, ages and genders, in close physical
proximity. It also enabled him to scrutinize the dynamism of modern life
as extolled through the comparatively speedy transportation of the pop-
ulace through the countryside or the city.
The painting was exhibited along with other train scenes, such as Music
on the Train, (1923, Private Collection) and Singing, Had I the Wings of a
Swallow, (1925, Private Collection) at the Engineers’ Hall, Dublin in Oc-
tober 1925. The work was also included in another Yeats one-man exhi-
bition at the Arthur Tooth Gallery in London in March 1925. Both shows
were critically acclaimed, with one critic proclaiming Yeats as ‘the most
truly national of all our painters … He depicts Life as he sees it, not as
told by others’.
Previous owners of On the Skibbereen Light Railway include Leo Smith,
the founder of the Dawson Gallery and great champion of Yeats’s work,
and the modernist architect, Michael Scott. The painting is a superb ex-
ample of how Yeats used painting to depict the encroachment of moder-
nity on the Irish landscape and in the social fabric of the country.
Dr. Róisín Kennedy, August 2019

62
58 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 illustra-
tions, 111 in colour. Cloth in a slipcase
fine unopened condition. Definitive
catalogue raisonné of Ireland’s great-
est painter, bringing together every
known oil painting by Yeats, providing
further documentary illustrations
where appropriate and citing all
relevant sources and influences. No.
330 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
57 HARRY KERNOFF RHA
(1900-1974)
Israeli Land Girl
Oil on board, 35 x 26 cm (13¾ x 10¼”)
Signed
€ 800 - 1,200

63
59 HARRY KERNOFF RHA
(1900-1974)
‘Gaiety Girls’
Oil on board, 50 x 37cm
(19¾ x 14½”)
€ 8,000 - 12,000
Harry Kernoff was of London/Russian extraction, and is
primarily remembered for his interest in Dublin and its
people. He regularly depicted street and pub scenes,
as well as Dublin cultural landmarks such as the present
work, a partial view of a burlesque performance at the
Gaiety Theatre where we, as viewers, are amongst the
audience in one of the boxes to the edge of the stage.
Kernoff has however, depicted himself, amusingly,
peering out from behind the stage curtains.
Designed by architect C.J. Phipps and built in under 7
months, the Gaiety Theatre was opened on 27 Novem-
ber 1871 with the Lord Lieutenant of Ireland as guest of
honour and a double bill of the comedy ‘She Stoops to
Conquer’ and a burlesque version of ‘La Belle Sauvage’.
Extended by theatre architect Frank Matcham in 1883,
the Gaiety still retains many of it’s Victorian era features
and remains Dublin’s longest-established, continuously
producing theatre.

64
60 FATHER JACK P. HANLON
(1913-1968)
Golden Madonna
Oil on canvas, 45 x 30cm (17¾ x 11¾’’)
Inscribed verso and with artist’s label
verso
€ 1,500 - 2,000
61 FATHER JACK P. HANLON
(1913-1968)
Still Life of Flowers
Watercolour, 36 x 30cm (14¼ x 11¾’’)
Signed
€ 500 - 800

65
62 GERARD DILLON
(1916-1971)
White Make Up
Mixed media on board, 77 x 52cm (30¼ x 20½’’)
Signed
€ 4,000 - 6,000

66
(1935-2018)
Spring Pool
Oil on canvas stretched over board,
35.5 x 46cm (13¾ x 18”)
Signed and inscribed on verso
€ 2,000 - 3,000
(1935-2018)
Inlet
Oil on board, 15 x 19.75cm (6 x 8’’)
Signed
Provenance: With Taylor Galleries, Dublin,
June 1980, Catalogue No.30.
€ 1,000 - 1,500

67
(1935-2018)
Green Painting
Oil on canvas, 60 x 76 cm (23½ x 30”)
€ 3,000 - 5,000

68
66 TONY O’MALLEY HRHA
(1913-2003)
The Still, Enniscorthy, Co. Wexford
Gouache and pastel on paper, 52 x 26cm
(20½ x 10¼’’)
Signed with initials, inscribed and dated
(19)’77
€ 1,500 - 2,000
(1913-2003)
The Old Mill in Summer
Watercolour, 23 x 35cm (9 x 13¾’’)
Signed and inscribed
€ 800 - 1,200

69
68 PATRICK SWIFT
(1927-1983)
Hatch Street Garden
Oil on canvas, 63 x 76cm (24.8 x 30”)
Provenance: The artist’s family, by descent.
Hatch Street Garden dates to 1951 and forms part of an interesting body of early work created in Swift’s
studio on Hatch Street, Dublin. Swift was part of an influential Dublin cultural set that included Anthony
Cronin, Patrick Kavanagh, Nano Reid and Brendan Behan among others. About this time Swift met Claire
McAllister, a student in Trinity College and they moved into a large flat in a Georgian house on Hatch
Street with Swift subletting the front half to the painter Patrick Pye as a studio. Their relationship came to
an end after Swift was introduced to the beautiful Oonagh Ryan in May 1952 and later that year Swift left
Claire and followed Oonagh to London.
€ 6,000 - 8,000

70
69 MARKEY ROBINSON
(1918-1999)
‘Four Shawlies’
Oil on board, 23 x 29.5cm (9 x 11½”)
Signed
€ 800 - 1,200
70 ROSS WILSON ARUA
(B.1957)
Autumn Run
Oil on board, 81 x 111cm (32 x 43¾”)
Signed and inscribed verso
Provenance: With Roy Edwards Fine Arts
€ 1,500 - 2,000

71
71 SIMON MCWILLIAMS RUA
(B.1970)
Gateway
Oil on canvas, 116 x 132cm (45½ x 52”)
Signed verso
€ 2,500 - 3,500

72
72 SIMON MCWILLIAMS RUA
(B.1970)
Serpentine Gates
Oil on canvas, 97 x 114.5cm (38¼ x 45”)
Signed verso
€ 2,500 - 3,500
(B.1940)
Red Barn
India ink and watercolour, 46 x 56cm
(18 x 22”)
€ 600 - 800

73
74 COLIN DAVIDSON PPRUA
(B.1968)
The Liffey Quays, Dublin
Oil on canvas, 87 x 91cm (34¼ x 35¾)
€ 8,000 - 12,000

74
75 GERARD DILLON
(1916-1971)
Girl in a Bog
Oil on board, 45.7 x 64cm (18 x 25¼’’)
Signed
Provenance: With the Dawson Gallery, Dublin; Sale Christie’s, London, 08/05/08, Lot 120.
In his treatment of Connemara subjects Gerard Dillon found some of the conventions of synthetic cubism
useful. In common with his two artist friends, George Campbell and Arthur Armstrong, the challenges posed
by depicting the long landscape shapes of Connemara, particularly in the area just behind the mountain of
Errisbeg which dominates the village of Roundstone and easily seen from the artist’s Island dwelling on Inis
Lacken, were considerable. With no foreground interest one had to be constructed. Jack Yeats, Paul Henry,
Charles Lamb and Maurice MacGonigal all had the same problems to resolve and all found roughly similar
methode d’emploi to achieve this. Part of it is the use of the signature as a note of colour behind which the
landscape recedes and, like Norah McGuinness, the use of reeds or rocks also was found to be a useful
device. Seán Keating found the use of a massive figurative shape in the foreground to be doubly useful by
setting the place and the tone or the mood of the work which he wished to convey in as rapid a manner as
possible to the viewer.
Here, Dillon has taken the landscape of the bog road which runs from the Roundstone junction with the
Toombeola road westward over the bogs, on the north western flank of Errisbeg. This was a land described
in 19th century offers for development and mining as being the ‘El Dorado’ of Ireland. Indeed, there had
been some gold found in this area in the 19th century but not enough to keep prospectors and their spend-
ing power in Connemara. The time is spring as the farmer with turbary rights (rights to commonage and to
cut turf) is burning off the gorse, the smoke of which can be seen behind the red cart, the horse is not visible,
obviously grazing some patch of grass and the man is scything the tops of scraws, those loose peaty bits
which grow grass and always replaced to preserve the bog cuttings in order to prepare for the next stage of
saving the turf for the following winter’s fires.
The artist evolved some very personal pictorial approaches to his work in order to find his own picture mak-
ing voice or, if you prefer, a pictorial style. This is the sort of day with which the pastoral idyll conveys with
clarity and force as well as great charm and the child has come up close to see what the artist is doing. So,
the painter made her the focus of his large design and allows the shapes of bog cuttings to be seen as a long
pattern behind the child’s head and the rising shapes of the uplands behind Clifden in the far-off distance.
Like Colin Middleton, Dillon has made a pattern of the marks of the slane (the turf cutting implement) behind
the child’s head and the work is a mixture of nature observed and synthetic cubism to give his composition a
sense of the naïve, a faux sense let it be said to convey a kind of retrieved memory by a child, for Dillon was
often childlike himself in his essential inner innocence.
Ciarán MacGonigal
€ 15,000 - 25,000

75

76
76 CHUNG EUN-MO
(B.1946)
Composition (Tower) (C9520)
Oil on Canvas, 90 x 45cm (35½ x 17¾”)
Also, inscribed, dated and numbered
C9520 on verso
€ 600 - 800
77 CHUNG EUN-MO (B.1946)
Composition (C0218)
Tondo, Oil on Canvas, 40cm diameter (15¾”)
Also, inscribed, dated and numbered C0218 on
verso
€ 1,000 - 1,500

77
78 CHUNG EUN-MO
(B.1946)
Offering (C0308)
Oil on Canvas, 70.5 x 70cm (27¾ x 27½”)
Also, inscribed, dated and numbered C0308 on verso
Provenance: With the Fenderesky Gallery, Belfast
€ 1,500 - 2,000

78
79 FELIM EGAN
(B.1952)
Pink Still, 2000
Acrylic and mixed media on canvas,
75 x 75cm (29½ x 29½”)
Signed, dated (20)’00 and inscribed
C.OO.E.98.F on verso
Provenance: With the Fenderesky Gallery,
Belfast
€ 1,500 - 2,000
80 RICHARD GORMAN RHA
(B.1946)
‘Held Green’
Oil on canvas, 50 x 50cm (19½ x 19½)
Signed, inscribed and dated ‘Milan, 2003’
in verso
Belfast

79
81 RICHARD GORMAN RHA
(B.1946)
Slide Grey I, II & III
Triptych, Oil on board, Each panel 19.8 x 19.8cm (7¾ x7¾”)
Signed and inscribed on backing board
Provenance: With the Fenderesky Gallery, Belfast
€ 1,500 - 2,000

80
82 IMOGEN STUART RHA
(B.1927)
Biblical Scene - Feeding the Hungry
Bronze, 24 x 19cm (9½ x 7½’’)
Provenance: Collection of Patrick and
Antoinette Murphy.
€ 800 - 1,200
83 IMOGEN STUART RHA
(B.1927)
The Crucifixion
Bronze water font, 19cm high (7½’’)
Signed
€ 600 - 800

81
84 JOHN BEHAN RHA
(B.1938)
Rhino
Bronze, 32cm high, 65cm long x 14cm wide (12½ x 25½ x 5½’’)
Provenance: Collection of Patrick and Antoinette Murphy.
€ 4,000 - 6,000

82
85 PAUL HENRY RHA RUA
(1876-1958)
Cottages in the West of Ireland Landscape
Oil on board, 12cm x 14cm (4.7 x 5.5”)
Signed
A diminutive work, probably painted during the artist’s early years in Achill, this
charming oil conveys an assured handling of paint, while the briskness of the
brushstrokes convey a rapidly executed work. The composition sparkles with
vitality with the row of whitewashed cottages given a luminosity by Henry’s
use of white glazes. They nestle in the low-lying landscape while the distant
dark blue mountains and grey clouds suggest a shower of rain is not too far
away. The use of muted pastel colours and the hint of pink behind the clouds is
unusual but creates a calm atmosphere despite the dense grey clouds, that just
impose themselves overhead, being a portent of weather to come.
Works on this tiny scale are common amongst Paul Henry’s oeuvre during the
period c.1910-1915, like so many of his plein-air contemporaries, presumably
because it was convenient to paint rapidly on these small panels while working
out in the open. Figurative scenes are more common on this scale, particularly
in his observations of life in the villages of Achill. Despite the size however, this
landscape composition still manages to convey the majesty of the Achill land-
scape and the fleeting sunshine and showers that beset the Irish summer.
€ 15,000 - 20,000

83

84
86 RODERIC O’CONOR
(1860-1940)
Reclining Nude (Nu Assoupi)
Charcoal, 20.5 x 25.5cm (8 x 10”)
Provenance: Dr. Robelet, Nueil Sur Layon;
Thierry & Lannon Brest, Sale October 14,
2009, Lot No 371
€ 1,000 - 1,500
87 RODERIC O’CONOR
(1860-1940)
Standing Nude (Nu Debout)
Charcoal, 31.5 x 25 cm (12¼ x 9¾”)
Provenance: Dr. Robelet, Nueil Sur Layon;
Thierry & Lannon Brest, Sale October 14,
2009, Lot No 350
€ 1,200 - 1,800

85
88 MAINIE JELLETT (1897-1944)
Abstract Composition (Holy Family)
Gouache over pencil on card, 20 x 22cm (8 x 8½’’)
Provenance: Formerly in the Collection of Bruce Arnold
€ 2,500 - 3,500

86
89 SIR JOHN LAVERY RA RSA RHA
(1856-1941)
The Red House - from the Phoenix Park (1923)
Oil on canvas board, 25 x 35cm (10 x 15”)
Signed
Inscribed verso with title ‘The Red House - From The Pheonix (sic) Park’ and
dedication “To the Misses Healy./with many compliments and thanks from John
Lavery. 1923”
Provenance: Gifted to Maev Healy, daughter of Tim Healy (the first Governor
General of Ireland), thence by descent.
€ 70,000 - 90,000

87

Sir John Lavery occupies a unique position in the history of Irish art. Although he was
the pre-eminent society portrait painter in England throughout the period in which
Ireland gained its independence, he wasn’t just sympathetic to the Irish cause: Michael
Collins was a close friend and stayed with Lavery and his wife Hazel at their home
in London during the Treaty negotiations. Lavery was a Northerner, born in Belfast.
Orphaned early on, he was raised by relatives and sent to school in Scotland, began
working and studying art in Glasgow, then Paris, then with the plein air painters at
Grez-sur-Loing (where he was, he said, happiest), all of which broadened his horizons
immensely. He always attributed a major part of his public success to Hazel (they mar-
ried in 1910), herself a painter, socially skilled and a natural communicator.
He knew - and painted - pretty much everyone involved in political developments
in Ireland from the pre-First World War years to the establishment of the Free State.
That is to say, he knew people on all sides, Irish, Unionist and English, and felt secure
enough to advise Churchill, when he asked his opinion, that the English should leave
Ireland to the Irish. It is hardly surprising, then, that he numbered among his friends the
Irish nationalist MP, barrister and writer Tim Healy. Born in Bantry in 1855, Healy moved
to England and worked for a rail company while still in his teens. He soon became in-
volved in the Irish Home Rule movement and grew close to Parnell, who encouraged
him to run for parliament in 1880, launching his political career.
Their relationship soured, however, over the O’Shea scandal. Healy, a famously wasp-
tongued, traditional catholic, objected fiercely to Parnell’s extra-marital affair. He
found his own path through the dramatic political developments, giving up the Home
Rule cause as lost and declaring himself a supporter of independence but against vio-
lence. He was legal consul for many Sinn Féin members in various legal proceedings.
Because, like Lavery, he knew and talked to everyone, he seemed an ideal candidate
for the new position of Governor General, the Crown’s representative in the Free State
(as it happened, Kevin O’Higgins was a nephew of his). He excelled in the role.
His home was Glenaulin in Chapelizod, which Lavery dubbed ‘The Red House’. Hence
his inscription, ‘The Red House - from the Pheonix (sic) Park, To The Misses Healy’ on
the back of this painting, which highlights Glenaulin in red, in a view towards the south-
west with the Dublin Mountains in the distance. In the foreground, seen from the rear,
four people are seated on a park bench.
The painting was a gift to Maev Healy, one of Tim Healy’s daughters (second from the
left). The others depicted are (left to right) Maev’s elder sister Lizzy Healy, Mick Buck-
ley of the Irish Army Medical Corps, and his sister, ‘May Buck’, who was married to the
Healy sisters’ younger brother Joseph Healy.
Tim Healy

90
90 JOHN BUTLER YEATS RHA
(1839-1922)
Portrait of Master Milo Ryan
Oil on canvas, 66 x 51cm (26 x 20’’) Unframed
Exhibited: Dublin, Royal Hibernian Academy, 1903, No. 100
Provenance: The sitter’s family, by descent.
Yeats completed a number of intriguing portraits of children throughout his career. Begin-
ning with his own offspring, he made multiple sketches of their early years, a particularly
touching example is a drawing of the infant W.B Yeats asleep in the family home. Portraits
of children are challenging for an artist, as they are faced with a subject whose personality is
not yet fully defined. However, this is part of their charm.
Though we do not know the exact age of the sitter, Master Milo Ryan looks to be around
eight or nine when the portrait was completed. Yeats chooses to depict him standing, with
an open book in hand as if he was just in the process of reading a passage out to us. Yeats
has painted the young boy in a strong light, which throws up the details of his formal attire.
Dressed in a suit jacket, with a shirt and tie, the clothes feel as if they are too big for him, the
triangles of the shirt collars extending out over his narrow shoulders. The face is beautifully
rendered especially the large brown eyes of his sitter, which express a sensitivity, a youthful-
ness behind the somewhat formal composition. Working from an almost black background,
Yeats introduces colour through flashes of white, pink and blue highlights. The pages of the
book appear as dabs of paint, which Yeats, using the end of a brush scrapes a line through
to suggest the folds in the paper. Despite the dark colour tones, there is warmth to the boy’s
features, the pink and orange highlights of his flushed cheeks. Milo Ryan, was born on June
7th, 1892 and educated at Trinity College, Dublin. He served with the Royal Army Medical
Corps during the Great War, taking a permanent commission as Captain in 1919 and becom-
ing a Major in 1927. He died at Lahore on December 4th, 1936 at the age of 44.
We know that this work was included in the Royal Hibernian Academy annual exhibition in
1903, so presumably it was painted around this time. This was a busy year for Yeats; he had
been commissioned by Hugh Lane to paint twenty portraits of figures from the Irish cultural
milieu for his modern art gallery. Lane had also helped Yeats secure his old studio at no. 7
St Stephen’s Green in Dublin. John Quinn, an American lawyer turned art collector visited
Ireland the year previously and purchased from Yeats his portrait of his son William, which is
now part of the NGI collection. He also requested a further three portraits of John O’Leary,
Douglas Hyde and George Russell. The portrait of AE was not finished until 1903 and he
persuaded Quinn to let him enter it into the annual RHA exhibition.
One would not consider Yeats to be a society portrait painter, in the traditional sense, in that
he did not make significant money from the commissions. He painted people he knew, family
friends and relatives, fellow artists and writers. As a result they feel familiar, more personal
than traditional portraits of the period. There is a sense of kinship between the artist and his
subjects, in which he is gently probing at a further understanding of their personality and
Yeats once remarked ‘The best portraits will be painted where the relation of the sitter and
the painter is one of friendship’. His portraits often have a sense of being unfinished, quick
sketch like brushstrokes move across the canvas. It seems the artist did not want to produce
static, conventional portraits in which the sitter is frozen in time, but rather allow them to act
as enquiries into the personality and thoughts of his subjects who, as with all human beings,
young and old, were ever evolving.
€ 10,000 – 15,000

91

92
91 LOUIS LE BROCQUY HRHA
(1916-2012)
Eight Irish Writers
Collotype lithographs, each 35 x 28cm (13¾ x 11”)
Edition 45/100, complete set, signed
€ 4,000 - 6,000

93
92 LOUIS LE BROCQUY HRHA
(1916-2012)
A Man is Run Over in Merrion Row
Watercolour and pencil, 36 x 44cm (14¼ x 17¼’’)
Signed, inscribed and dated Nov. (19)’42
In 1938, at the age of twenty-two, Louis Le Brocquy, then a capable chemistry student at Trinity College
Dublin, came to the realisation that a life dedicated to science was not the path he wanted to pursue. His
mind made up, he removed his lab coat in favour of the painter’s smock. With no artistic training, Le Broc-
quy took his education into his own hands and set off on a European tour to examine the great art collec-
tions of Venice, Paris, London and Geneva. Fully inspired, he returned to Dublin in the 1940s and set up a
studio at 13 Merrion Row.
It was here that Le Brocquy began to find himself as a painter. With a strong interest in the human condition
and a penchant for illustrating a story, it is no wonder that we are presented with A Man is Run Over in Mer-
rion Row. This rushed and chaotic piece, picked out in pencil and highlighted by watercolour, beautifully
captures the drama and the sensationalism of the scene. We can imagine Le Brocquy as the silent onlooker,
intent on recording the event as it unfolds on his doorstep. Despite being a member of the community, Le
Brocquy does not retell the scene with the concern that would be expected but rather focuses on the mor-
bid fascination that humans hold for tragedy. Jostling to get a better view of the struck man, onlookers leer
over the victim as they would an exotic creature. The figure to the upper left gapes in horror in an almost
pantomime-like fashion whilst the man carrying the stretcher, his arms elongated under the weight, proudly
carries out his part in the play.
Such studies of calamity clearly caught Le Brocquy’s attention as he revisits roadside misfortune a year later
in his sketch A horse falls between the shafts, held down, unharnessed, head covered.
Helena Carlyle, September 2019
€ 6,000 - 8,000

94
93 OISIN KELLY
(1915 - 1981)
Cross
Bronze, 26cm high (10¼)
Signed and dated 1967 verso
€ 800 - 1,200
94 DICK JOYNT
(1938-2003)
Fontstown, Spring II
Pastel and watercolour, 38 x 55cm (15
x 21½’’)
Signed, inscribed and dated June 19
‘83
Provenance: The artist, thence by
descent.
€ 500 - 800

95
95 CAROLYN MULHOLLAND RHA
(B.1944)
Little Fat Figure
Bronze, 66 x 19 x 15cm (26 x 7½ x 6’’)
Edition 7/9
€ 3,000 - 5,000

96
96 JOHN BEHAN RHA
(B.1938)
Bull
Bronze, 30cm high, 35cm long, 9.5cm wide (12 x 13¾ x 3¾)
€ 2,000 - 3,000

97
97 BREON O’CASEY
(1928-2011)
Red Bird
Oil on canvas, 91.3 x 126.7cm (36 x 49½”)
In the late fifties while watching television, Breon (son of Sean O’Casey) saw a film about
Alfred Wallis, a primitive painter who had lived at St Ives in Cornwall. The film showed St
Ives and the studios of some of the artists living there at the time. He suddenly realised it
was the place he wanted to be. In his first few years in St. Ives, O’Casey worked part-time
as an assistant to both Denis Mitchell and Barbara Hepworth.
Rather than limiting himself to one method or medium, O’Casey is both a sculptor and
painter, and has dabbled in crafts such as weaving and jewellery. Birds are a common
subject within his oeuvre, particularly for his sculptures. His work is included in many pri-
vate and public collections, including a large sculpture, Ean Mor, situated in the grounds
of Farmleigh House in the Pheonix Park, and Bird in bronze and wood on view at the Tate
Britain, which also houses a number of his works on paper.
Provenance: The Shelbourne Hotel, Dublin
€ 4,000 - 6,000

98
(1935-2018)
Bogland Pool
Oil on canvas, 25 x 35cm (9¾ x 13¾’’)
Signed on stretcher verso; also inscribed
on frame verso
Provenance: With the John Martin Gallery,
London, label verso.
€ 2,000 - 3,000
(1935-2018)
The Pool
Oil on board, 20 x 25cm (7¾ x 9¾’’)
€ 1,500 - 2,500

99
(1935-2018)
May Pool
Oil on board, 45.4 x 60.5cm (17¾ x 23¾”)
Also, signed and inscribed verso
€ 5,000 - 8,000

100
101 GERARD DILLON
(1916-1971)
Fighting Tinkers
Oil on board, 40.5 x 50.8cm (16 x 20’’)
Signed
Provenance: With the Cynthia O’Connor Gallery, Dublin
Exhibited: Waddington Gallery, South Anne Street, Dublin, November 1950, Number 11;
Dawson Gallery, Dublin, November, 1959.
Literature: Reviews in the Irish press of the 1950 Waddington’s exhibition - Irish Times, “The
artist’s sense of humour appears in most of his pictures, notable in Tinkers Fighting”. Irish Inde-
pendent, by P.H.G, “This pattern of rectangular panels, cunningly bound into a unity is shown...
in Matchmakers’ Cottage, Fighting Tinkers and Goats in Stoney Field”.
Brought up amongst the concrete streets of Belfast, Gerard Dillon found a stark contrast to the
greyness of city life when he visited Western Ireland in the late 1930s. Falling in love with the
colour, culture and people, Dillon spent much of the 40s and 50s in Connemara and its sur-
rounding landscapes, painting visions of rural life.
Like many Irish artists at the time, such as Paul Henry and Charles Lamb, Dillon used Western
Ireland as an ‘authentic Ireland’, one whose people and landscape were untouched by the 20th
century and its subsequent commotion. Thus, the works produced tended to depict idyllic and
romanticised scenes that would charm their viewer and evoke sympathy. Each artist found their
own approach to this subject matter and Dillon, inspired by the sculptural relief work on Irish
high crosses, adopted his patchwork field technique which flattened the perspective to give
a comprehensive chronicle of rural life. Like those carved into the stone, Dillon’s figures often
took on a pseudo-naive form, picked out with bold lines and simple shapes, a style which in turn
further evoked the uncomplicated lifestyle of the West.
In contrast to some of his other works, Fighting Tinkers rejects its peaceful backdrop and throws
the country scene into turmoil. Immersing himself in Galway’s inhabitants, Dillon often inter-
acted with the travelling communities and would have carried an understanding for their way
of life. Here, he captures a moment where passion was ignited into fully fledged fury. A riot of
colour, Dillon’s swirling brushstrokes allow the walls to hum with energy, as if trying to contain
the anger and prevent it from sullying the idyll beyond. The figures themselves shun the veil of
classic femininity and instead are portrayed as columns of strength, the solid form of their legs
delineated under the loose fabric of their skirts. With faces contorted and snarling in emotion,
Dillion strips his figures down to their basic animalistic nature and contrasts these feral forms
against the watching couple in the middle ground.
Blending both figural and landscape painting, Dillon uses colour to connect his fighting women
with the environment in which they were raised. The black-haired figure mirrors the yellow
of the field behind her whilst her lilac highlights echo the rocky walls that ramble throughout
the West. Her counterpart’s wild red hair picks up on the auburn rust of the bare soil and her
bluey-green clothing is reminiscent of the great Atlantic whose salty air would fill their lungs. In
this manner, Dillon portrays the travelling community as an intrinsic part of Western Ireland and
the culture that it has both formed and preserved; a culture for which Dillon dedicated a large
portion of his time and artistic output.
Helena Carlyle, September 2019
€ 30,000 - 50,000

101

102
102 MARY SWANZY HRHA
(1882-1978)
Samoan Village (Samoa, 1930)
Pastel, 24.5 x 18.75 cm (9½ x 7½”)
Provenance: With Pyms Gallery, London;
Peter Nahum, London
€ 1,000 - 1,500
(1878-1964)
Yachts on a Breezy Day
Oil on board, 8 x 13cm (3¼ x 5’’)
Provenance: Sale Whyte’s, Dublin,
29/04/03.
€ 1,000 - 1,500

www.adams.ie
103
Important Irish Art | 25th September 2019
104 NANO REID
(1900-1981)
Bathers and Cockle Picker
Watercolour, 35 x 26cm (13¾ x 10¼’’)
Signed
Provenance: With The Dawson Gallery,
Dublin; Collection of Patrick and
Antoinette Murphy.
€ 1,500 - 2,000
105 NANO REID
(1900-1981)
Coastal Scene
Watercolour, 24.5 x 36.5cm (9¾ x 14¼’’)
Signed
€ 500 - 800

104
107 GEORGE RUSSELL AE
(1867-1935)
Seaweed Gatherers
Oil on canvas, 39.5 x 52cm (15½ x 20½’’)
George W. Russell was born in County Armagh in 1867 and moved to Dublin with his
family at the age of 11. In 1884 Russell began attending Dublin’s Metropolitan School of
Art where he met W.B.Yeats, who became a close companion and later rival. That same
year Russell experienced the first of many vivid waking visions, which would remain an
important source of knowledge and insight throughout his life. His mystical leanings
led to an affiliation with the Dublin Lodge of the Theosophical Society. Comprised of a
mélange of ideas involving reincarnation, past lives, astral planes, higher consciousness
and spiritual evolution, Theosophical doctrine appealed to legions of people in the late
19th century.
Russell’s interest in Theosophy is reflected in his first book of collected poems, ‘Home-
ward: Songs by the way’ which was published in 1894 confirmed his central role as a
figure of the Irish Literary Renaissance. It was an error in the printing of this book that
resulted in Russell becoming known as ‘AE’. Russell originally intended to have printed
the word AEON, the name of an eternal entity in the Pantheon of Gnosticism but by a
printer’s error this was altered to AE, the pseudonym which he adopted and became
known by. Though ostensibly some of his artworks may seem somewhat whimsical they
gain a complexity when viewed in relation to the multifarious - seemingly contradictory-
facets of Russell’s character. AE’s tendency toward mysticism and spiritual contemplation
was balanced with a politically active and deeply practical side. His work as a painter
and writer was carried out in tandem with his career as a devoted political and economic
thinker. In 1905 AE became the editor of the Irish Homestead, the main publication of
the Irish Agricultural Organisation Society, which was established in 1894 to advocate
agricultural cooperativism. Evidently, this role necessitated considerable practical and
logistical acumen.

AE spent summers in the west and northwest of Ireland and Donegal came to be a desti-
nation that he particularly favoured and where this work was most likely painted. The pair
depicted in this painting appear to be gathering seaweed, most likely carrageen moss.
In coastal regions of Ireland seaweed such as this was used as food for farm animals and
to enrich barren, stoney soils for agricultural purposes. As this painting demonstrates, AE
frequently focused upon individuals in various forms of collaborative activity. Notable ex-
amples of similar paintings include The Woodcutters (1908) and The Stone Carriers (1909)
which are held in the collection of Dublin City Gallery the Hugh Lane.
Pádraic E. Moore. August, 2019
€ 7,000 - 10,000

105

106
109 PETER COLLIS RHA
(1929-2012)
Winter Trees, Wicklow
Oil on board, 24 x 24cm (9½ x 9½”)
Signed
€ 700 - 1,000
108 JOHN KIRWAN
(B.1956)
Ireland’s Eye - Howth
Oil on canvas board, 65 x 90cm
(25½ x 36”)
Signed
€ 1,000 - 1,500

107
110 PETER COLLIS RHA
(1929-2012)
Mountain Landscape with Tall Trees
Oil on canvas, 63 x 76cm (24¾ x 30’’)
Signed
€ 2,500 - 3,500

108
111 CAREY CLARKE PRHA
(B.1936)
Wicklow Mountain Landscape
Signed
€ 2,000 - 3,000
(B.1936)
Hillside Pastures
Signed
€ 2,000 - 3,000

109
(B.1936)
Extensive Co. Wicklow Landscape
Signed
€ 2,000 - 3,000

110
115 GLADYS MACCABE HRUA ROI FRSA
(1918-2018)
Still life
Oil on board, 24 x 34cm (9 ½ x 13”)
Signed
€ 1,000 - 1,500
114 BARBARA WARREN RHA
(B.1925-2017)
Jug and Bone Fragment / Still life
Oil on canvas, 46 x 35cm (18 x 13¾”)
Signed, inscribed and dated 1980 on
stretcher verso
Provenance: With Taylor Galleries, Dublin
label verso
€ 500 - 700

111
116 LIAM BELTON RHA
(B.1947)
Pewter and Eggs
Oil on canvas, 40 x 61cm (15¾ x 24’’)
Signed; also signed, inscribed and dated 2015 verso
Provenance: Collection of Patrick and Antoinette Murphy.
€ 4,000 - 6,000

112
(1913-2003)
Orpheus, Autumn (1984)
Oil on board, 92 x 122cm (36 x 48”)
Signed with initials and dated 1984; Also signed and inscribed verso
Provenance: The Shelbourne Hotel, Dublin
The 1980s are generally regarded as being Tony O’Malley’s finest sustained period
as a painter; he had developed a personal artistic language and was entirely comfort-
able with it, without for a moment becoming complacent or lazy. His lively, intense
engagement is fully evident in this fine, supremely good-natured, lyrical composition
from 1984. That year, a landmark survey exhibition, Tony O’Malley – Painter in Exile,
with a catalogue by Brian Fallon, toured to Dublin, Cork and Belfast, consolidating his
reputation in Ireland.
At the time, he and his wife Jane (née Harris) were still based in St Ives in Cornwall,
though they had bought a cottage in Callan, Co Kilkenny, with the intention of
moving there at some point (they did so at the end of the decade). In the meantime,
from 1974 thay had been making annual, six-week winter visits to the Bahamas to visit
Jane’s father. To his surprise, the Bahamas proved to be enormously stimulating for
O’Malley’s painting, encouraging him to explore a lighter tonal range and a brighter
palette. As Peter Murray succinctly put it in a Gandon profile in 2000: “Muted dark
colours related to Cornwall and Ireland, warmer colours to the Bahamas or Lanzarote
(their winter destination when they no longer visited the Bahamas).”
The division is not quite as stark as that. The warm Bahamian influence is felt in paint-
ings of Cornwall and Ireland, and earlier on a stay on St Martin’s in the Scilly Isles had
provided a stimulating taste of subtropical light and vegetation. O’Malley borrowed
Gerard Manley Hopkins’ term “inscape” to describe his approach to landscape. That
is, he rarely makes a straightforward representational image. Instead he gathers a
number of features of the landscape, together with small, detailed elements within it,
including such related things as birdcalls and bird plumage, the darting movement of
fish in water and much more, knitting everything into one multi-layered composition.
Born in Callan in 1913 and regarded as one of the leading Irish painters of the 20th
century, O’Malley was a modest, self-taught artist. He was 19 when he began to work
in branches of the Munster & Leinster Bank. Diagnosed with TB around 1945, he
began to paint in earnest during his long convalesence. A painting holiday in St Ives,
Cornwall in 1955 introduced the idea of living and painting there and, after retiring
prematurely on health grounds, he did so in the early 1960s, living and working in the
thriving artists’ colony there until settling back in Callan in 1990.
€ 15,000 - 20,000

113

114
118 JANE O’MALLEY
(B.1944)
‘Twilight - Bahamas - Red Stems’
Oil on board, 90 x 87cm (35½ x 34¼”)
Signed, dated 1996 - 2006 and inscribed
verso
Provenance: The Shelbourne Hotel,
Dublin
€ 1,000 - 1,500
(1913-2003)
The Long Road
Oil on board, 9.5 x 60.5cm (3¾ x 23¾’’)
Signed with initials and dated 1975
€ 1,000 - 2,000

115
120 JOHN NOEL SMITH
(B.1952)
‘Third of May’ - United Field Painting II
Diptych, Oil on canvas, 200 x 100cm (78¾ x 39¼)
Signed, inscribed and numbered 04/2 on verso
Born in Dublin in 1952, John Noel Smith attended Dun Laoghaire School of Art followed
by postgraduate studies in Berlin. He lived in Berlin for twenty-two years where he was
an important member of its vibrant art community, returning to Ireland in 2002. He has
exhibited internationally since 1980. His work forms part of important public collections,
including the Irish Museum of Modern Art and Berlinische Galerie, the State Museum of
Modern Art in Berlin. He is represented by Hillsboro Fine Art Dublin, Fenderesky Gallery
Belfast and Waterhouse & Dodd London.
€ 5,000 - 8,000

116
121 STEPHEN MCKENNA PRHA
(1939-2017)
Circus
Signed with initials, signed and inscribed with
title verso
€ 400 - 600
122 ROBIN BUICK ARHA
(B.1940)
Figures Dancing
Bronze, 24cm high (9½”)
Signed, 1/10
€ 600 - 800

117
123 MARKEY ROBINSON
(1918-1999)
Two Figures with Houses
Oil on board, 60 x 80cm (23½ x 31½’’)
Signed
€ 3,000 - 5,000

118
124 DANIEL O’NEILL
(1920-1974)
The Posy
Oil on board, 35 x 45cm (13¾ x 17¾’’)
Signed
Provenance: Waddington Galleries, Montreal, label verso.
There is a particular magnetism to O’Neill’s portraits of young women. They are often
haunting in effect, set within isolated gloomy landscapes. This particular work is an electric
mix of deep blues and greys, with flashes of green and white highlights. The heavily im-
pastoed paint, applied in frenetic strokes across the skyline brilliantly evokes the turbulent
atmosphere. The village behind her, the white cottages and winding country road, are
immediately recognisable as a rural countryside scene and yet at the same time, the loca-
tion is completely unknown to us. He maintains a distance with the viewer, who feels they
cannot enter these timeless landscapes.
Equally we are unsure if the posy, held in the hands of the young girl, has been presented
to her or if they are a gift for someone. By placing her at the picture plane, the eerie and
darkening landscape spiralling out behind her, O’Neill creates a sense of movement as if
she is about to hand them to us. His sitters are usually unidentified and at times overcome
by the environment in which they are placed. In The Posy, the girls skin colour is almost
identical to that of her surroundings as if she is slowly being subsumed into the back-
ground. Perhaps she is not really there, dressed in white, she could be a spectre, a shadow
left behind on the landscape.
Throughout his career he painted images of women and girls with melancholic expres-
sions, their striking faces at the centre of the composition around which the whole work
was offset. These mysterious figures, stare out at us with their characteristically large eyes,
yearning for something ambiguous and unknown. The composition, is similar to another
work by O’Neill which was sold in these rooms in 2006, Girl with Blossoms. In both paint-
ings the figures stand with a bouquet of flowers grasped in their hands, with their delicate
facial features and dark hair that are synonymous with O’Neill’s female subjects and are
individualised by the subtle difference in the intense but equally unreadable gaze.
€ 10,000 - 15,000

119

120
125 JOHN BEHAN RHA
(B.1938)
Famine Ship
Bronze, 75 x 76 x 33cm (29½ x 30 x 13’’)
Unique
Born in Dublin in 1938 and now living in Galway, John Behan studied at the National
College of Art & Design, Dublin; Ealing Art College, London; and the Royal Academy
School, Oslo. He helped establish the Project Arts Centre in 1967 and the Dublin Art
Foundry in 1970. Beginning in the 1960s he exhibited in major group shows such as
the Irish Exhibition of Living Art, the Royal Hibernian Academy and the Oireachtas;
in addition, he has had frequent solo shows in Ireland and abroad, all combining
sculpture and drawing.
The artist’s ongoing exploration of links between the past, present and future is ex-
emplified by the monumental nature of the Famine Ship, referring to the great Irish
famine of 1846-1849 whilst at the same time referencing more universal notions of life
and death. The Office of Public Works commissioned Arrival, a bronze sculpture of
a famine ship, seven metres long and eight metres high, with 150 bronze figures on
deck and disembarking, for presentation to the United Nations by the Government of
Ireland in 2000. The piece mirrored his Famine Ship, the National Famine Memorial
at the base of Croagh Patrick in Murrisk, Co. Mayo, which was unveiled by President
Mary Robinson in 1996.
Other major commissions include Flights of the Earls Monument, Rathmullen, Co
Donegal (2007), Millennium Child for Barnados which was cast in a limited edition of
100; Wings of the World in Shenzhen, China (1992); Megalithic Memories, Allied Irish
Banks headquarters, Dublin (1982); Cúchulainn Relief Panels, Gresham Hotel (now
in Dublin Institute of Technology Kevin Street), 1970. He was a member of the Arts
Council from 1973 to 1978 and was conferred as a Doctor of Literature by NUI Galway
in 2000. He is represented by the Solomon Gallery, Dublin.
€ 10,000 - 15,000

121

122
127 FREDERICK E. MCWILLIAM RA
(1909 - 1992)
Monotype Drawing no. 5
Charcoal on paper, 40 x 25cm
Provenance: With The Solomon Gallery,
Dublin, label verso
€ 600 - 800
(1909 - 1992)
Study of Sculpture, 1934
Monotype drawing, 31 x 39cm
Signed
Dublin, label verso
€ 600 - 800

www.adams.ie
123
(1909 - 1992)
Lazarus and His Sisters, 1955
Pen, ink and wash, 51 x 38cm
Dublin, label verso
€ 800 - 1,200
(1909 - 1992)
Study of Sculpture, 1934
Monotype drawing, 51 x 38cm
Signed
Dublin, label verso
€ 800 - 1,200

124
131 FELIM EGAN
(B.1952)
Blue Note
Acrylic and Mixed Media on canvas on
board, 40 x 40cm (15¾ x 15¾”)
Signed, inscribed and dated (20)’04 verso
Belfast
€ 500 - 600
130 FELIM EGAN
(B.1952)
Pink Abstract
Acrylic and Mixed Media on board,
48 x 48cm (19 x 19”)
Signed, inscribed and dated (20)’03 verso
€ 1,000 - 1,500

125
132 WILLIAM CROZIER HRHA
(1930-2011)
Hampshire
Watercolour, 11.5 x 16cm (4½ x 6¼”)
Provenance: With The Scottish Gallery, Edinburgh; the Emer Gallery, Belfast
€ 1,500 - 2,000

126
(1935-2018)
Shoreline Shapes
Oil on board, 14 x 35.5cm (5½ x 14’’)
Signed and dated (19)’87; also signed,
inscribed and dated verso
Provenance: With the Taylor Galleries,
Dublin.
€ 1,000 - 1,500
134 NANCY WYNNE-JONES HRHA
(1922-2006)
Athenry, Co. Galway
Acrylic on paper, 30 x 41cm (11¾ x 16’’)
Provenance: The Collection of Nancy
Wynne-Jones and Conor Fallon, Sale,
Adam’s Dublin 2015.
€ 600 - 800

127
135 BRIAN BALLARD RUA
(B.1943)
Poppies in a Bowl
Oil on canvas, 60.5 x 76cm (24 x 30”)
Also signed, inscribed and dated verso
€ 3,000 - 5,000

128
136 FLORA H. MITCHELL
(1890-1973)
The Custom’s House, Dublin
Pen, Ink and Watercolour, 26 x 33cm (10¼ x 13”)
Signed & inscribed
€ 1,500 - 2,000

129
137 GEORGE RUSSELL (AE)
(1867-1935)
Walking the Strand
Oil on board, 28 x 45cm (11 x 17¾’’)
€ 2,500 - 3,500

130
138 HENRY HEALY RHA
(1909-1982)
Christchurch
Oil on board, 45 x 35cm (17¾ x 13¾’’)
Signed
€ 600 - 800
138A EAMONN COLEMAN
(B.1957)
Landscape (1991)
Mixed Media, 103 x 82 cm (40.5 x 32.2”)
Provenance: New Ireland Assurance Collection
€300 - 500

www.adams.ie
131
139A BRIAN BALLARD RUA
(B.1943)
Autumn Lough, Fermanagh
Oil on board, 29 x 40 cm (11.4 x 15.7”)
Artists label verso
Provenance: New Ireland Assurance
Collection
€800 – 1,200
139 GLADYS MACCABE HRUA ROI FRSA
(1918-2018)
Pony Rides on the Sands, Newcastle, Co.
Down
Gouache on paper, 26 x 31cm (10¼ x
12¼’’)
Signed
€ 600 - 800

132
(1900-1979)
Western Light, Connemara
Oil on board, 36 x 46 cm (14 x 18”)
Signed
Provenance: With The Grafton Gallery, Dublin;
New Ireland Assurance Collection
€3,000 – 5,000

133
141 MARY SWANZY HRHA
(1882-1978)
Farm Buildings near St. Brendan’s, Malahide
Oil on canvas, 51 x 61 cm (20.7 x 24”)
Signed
Provenance: New Ireland Assurance Collection
€8,000 – 12,000

134
143 MARK O’NEILL
(B.1963)
Geraniums
Oil on board, 51 x 40cm (20 x 15¾’’)
Signed and dated 2017; signed, inscribed and
dated 2017 verso
€ 2,500 - 3,500
142 MARK O’NEILL
(B.1963)
The Old Greenhouse
Oil on board, 34 x 39cm (13¼ x 15¼’’)
Signed and dated 2017; signed, inscribed
and dated 2017 verso
€ 1,600 - 2,200

135

136
144 RICHARD KINGSTON RHA RUA
(1922-2003)
‘Living Balance’ (c.1966)
Oil on board, 76 x 101cm (30 x 39 ¾”)
Signed; inscribed with title verso
Provenance: Acquired directly from
the artist
€ 2,000 - 3,000
145 RICHARD KINGSTON RHA RUA
(1922-2003)
Still Life Study of Sunflowers
Oil on board, 59 x 49cm (23 x 19 ¼”)
Provenance: Acquired directly from
the artist
€ 1,500 - 2,000

137
146 TREVOR GEOGHEGAN
(B.1946)
‘Amalfi Coast’
Oil on board, 60 x 60cm (23½ x 23½”)
Signed
€ 2,000 - 3,000

138
148 DAVID CLARKE
(1920-2005)
Aodh Rua
Oil on canvas, 60 x 50cm (23½ x 19¾’’)
€ 1,000 - 1,500
(1913-2003)
Lanzarote
Oil on board, 11.5 x 42cm (4½ x 16½”)
€ 1,000 - 1,500

139

140
149 SARAH PURSER HRHA
(1848-1943)
Portrait of a Lady
Pencil, 20.5 x 11.5cm (8 x 4 ½”)
& 20.5 x 11.5cm (8 x 4 ½”)
€ 600 - 800
150 COLIN MIDDLETON RHA RUA MBE
(1910-1983)
Sketch of a Lady
Ink on paper, 22 x 16cm (8¾ x 6¼’’)
Provenance: With The Bell Gallery label verso,
where it states the piece is signed in red pencil
and dated 1948
€ 300 - 500

141
151 KEN HAMILTON
(B.1956)
Portrait of a Girl
Oil on board, 24 x 19cm (9½ x 7½’’)
Signed with monogram
€ 2,000 - 3,000

142
152 JOYCE, JAMES.
Chamber Music
Elkin Mathews, London 1907, 1st Edition,
thin 12 mo, original green cloth, gilt let-
tered on front cover and spine, 3rd variant
with end papers of thin wove paper
€ 800 - 1,200
153 TWELVE IRISH ARTISTS
A folio of prints for framing by Victor
Waddington Publications, Dublin, print-
ed by the Sign of the Three Candles and
introduction by Thomas Bodkin, Dublin
1940
€ 100 - 150

143
154 PATRICK LEONARD HRHA
(1918-2005)
A Summer Day, Farm near Tervuren,
Belgium 1979
Oil on panel, 40 x 50cm (15¾ x 19½”)
Signed
€ 800 - 1,200
155 DESMOND HICKEY
(1937 - 2007)
Landscape with Geese, Connemara
Oil on canvas laid on board, 44 x 59cm
(17¼ x 23½”)
€ 700 - 1,000

144
157 RONALD OSSORY DUNLOP
RA RBA NEAC
(1894-1973)
The Orchestra
Oil on board, 50 x 60cm (19¾ x 23½’’)
Signed
€ 800 - 1,200
156 MABEL YOUNG RHA
(1889-1974)
Tuscan Villas in a Mountain Landscape
Oil on board, 30 x 40cm (11¾ x 15¾’’)
Signed
Provenance: With the Frederick Gallery,
Dublin, label verso.
€ 700 - 1,000

www.adams.ie
145
158 CHARLES MCAULEY RUA ARSA
(1910-1999)
Orrah Bridge, Glendun
Signed
€ 1,200 - 1,800
CONCLUSION OF SALE

146
GENERAL TERMS & CONDITIONS OF BUSINESS
The Auctioneer carries on business on the following terms and conditions and on such other terms or conditions as may be
expressly agreed with the Auctioneer or set out in any relevant Catalogue. Conditions 12-21 relate mainly to buyers and con-
ditions 22-32 relate mainly to sellers. Words and phrases with special meanings are defined in condition 1. Buyers and sellers
are requested to read carefully the Cataloguing Practice and Catalogue Explanation contained in condition 2.
DEFINITIONS
1. In these conditions the following words and expressions shall have the
following meanings:
Auctioneer - James Adam and Sons trading as Adam’s.
Auctioneer’s Commission - The commission payable to the Auctioneer by
the buyer and seller as specified in conditions 13 and 25.
Catalogue - Any advertisement, brochure, estimate, price or other publi-
cation.
Forgery - A Lot which was made with the intention of deceiving with re-
gard to authorship, culture, source, origin, date, age or period and which
is not shown to be such in the description therefore in the Catalogue and
the market value for which at the date of the auction was substantially
less than it would have been had the Lot been in accordance with the
Catalogue description.
Hammer Price - The price at which a Lot is knocked down by the Auction-
eer to the buyer.
Lot - Any item which is deposited with the Auctioneer with a view to its
sale at auction and, in particular, the item or items described against any
Lot number in any Catalogue.
Proceeds of Sale - The net amount due to the seller being the Hammer
Price of the Lot after deducting the Auctioneer’s Commission thereon
under condition 25 the seller’s contribution towards insurance under
condition 26, such VAT as is chargeable and any other amounts due by
the seller to the Auctioneer in whatever capacity howsoever arising.
Registration Form or Register - The registration form (or, in the case of
persons who have previously attended at auctions held by the Auctioneer
and completed registration forms, the register maintained by the Auction-
eer which is compiled from such registration forms) to be completed and
signed by each prospective buyer or, where the Auctioneer has acknowl-
edged pursuant to condition 12 that a bidder is acting as agent on behalf
of a named principal, each such bidder prior to the commencement of an
auction.
Sale Order Form - The sale order form to be completed and signed by
each seller prior to the commencement of an auction.
Total Amount Due - The Hammer Price of the Lot sold, the Auctioneer’s
Commission due thereon under condition 13, such VAT as is chargeable
and any additional interest, expenses or charges due hereunder.
V.A.T. - Value Added Tax.
Cataloguing Practice & Catalogue Explanations
2. Terms used in Catalogues have the following meanings and the Cata-
loguing Practice is as follows:
The first name or names and surname of the artist - In the opinion of the
Auctioneer a work by the artist.
The initials of the first name(s) and the surname of the artist - In the opin-
ion of the Auctioneer a work of the period of the artist and which may be
in whole or in part the work of the artist.
The surname only of the artist - In the opinion of the Auctioneer a work of
the school or by one of the followers of the artist or in his style.
The surname of the artist preceded by ‘after’ - In the opinion of the Auc-
tioneer a copy of the work of the artist.
Signed/Dated/Inscribed - In the opinion of tile Auctioneer the work has
been signed/dated/inscribed by the artist.
With Signature/With date/With inscription’- In the opinion of the Auction-
eer the work has been signed/dated/inscribed by a person other than the
artist.
Attributed to - In the opinion of the Auctioneer, probably a work of the
artist.
Studio of/Workshop of - In the opinion of the Auctioneer a work executed
in the studio of the artist and possibly under his supervision.
Circle of - In the opinion of the Auctioneer a work of the period of the
artist and showing his influence.
Follower of - In the opinion of the Auctioneer a work executed in the
artist’s style yet not necessarily by a pupil.
Manner of - in the opinion of the Auctioneer a work executed in artist’s
style but of a later date.
GENERAL CONDITIONS
Auctioneer Acting as Agent
3. The Auctioneer is selling as agent for the seller unless it is specifical-
ly stated to the contrary. The Auctioneer as agent for the seller is not
responsible for any default by the seller or the buyer. The auctioneer
reserves the right to bid on behalf of the seller.
Auctioneer Bidding on behalf of Buyer
4. It is suggested that the interests of prospective buyers are best
protected and served by the buyers attending at an auction. However,
the Auctioneer will, if instructed, execute bids on behalf of a prospective
buyer. Neither the Auctioneer nor its employees, servants or agents shall
be responsible for any neglect or default in executing bids or failing to
execute bids.
Admission to Auctions
5. The Auctioneer shall have the right exercisable in its absolute discretion
to refuse admission to its premises or attendance at its auctions by any
person.
Acceptance of Bids
6. The Auctioneer shall have the right exercisable in its absolute discretion
to refuse any bids, advance the bidding in any manner it may decide, with-
draw or divide any Lot, combine any two or more Lots and, in the case of
a dispute, to put any Lot up for auction again.
Indemnities
7. Any indemnity given under these conditions shall extend to all actions,
proceedings, claims, demands, costs and expenses whatever and howso-
ever incurred or suffered by the person entitled to the benefit of the in-
demnity and the Auctioneer declares itself to be a trustee of the benefit of
every such indemnity for its employees, servants or agents to the extent
that such indemnity is expressed to be for their benefit.
Representations in Catalogues
8. Representations or statements made by the Auctioneer in any
Catalogue as to contribution, authorship, genuineness, source, origin,
date, age, provenance, condition or estimated selling price or value is
a statement of opinion only. Neither the Auctioneer nor its employees,
servants or agents shall be responsible for the accuracy of any such opin-
ions. Every person interested in a Lot must exercise and rely on their own
judgment and opinion as to such matters.
9. The headings of the conditions herein contained are inserted for con-
venience of reference only and are not intended to be part of, or to effect,
the meaning or interpretation thereof.
Governing Law
10. These conditions shall be governed by and construed in accordance
with Irish Law.
Notices
11. Any notice or other communication required to be given by the
Auctioneer hereunder to a buyer or a seller shall, where required, be
in writing and shall be sufficiently given if delivered by hand or sent by
post to, in the case of the buyer, the address of the buyer specified in the
Registration Form or Register, and in the case of the seller, the address of
the seller specified in the Sale Order Form or to such other address as the
buyer or seller (as appropriate) may notify the Auctioneer in writing. Every
notice or communication given in accordance with this condition shall be
deemed to have been received if delivered by hand on the day and time
of delivery and if delivered by post three (3) business days after posting.
CONDITIONS WHICH MAINLY CONCERN THE BUYER
The Buyer
12. The buyer shall be the highest bidder acceptable to the Auctioneer
who buys at the Hammer Price. Any dispute which may arise with regard
to bidding or the acceptance of bids shall be settled by the Auctioneer.
Every bidder shall be deemed to act as principal unless the Auctioneer
has prior to the auction, acknowledged in writing that a bidder is acting as
agent on behalf of a named principal.
The Commission
13. The buyer shall pay the Auctioneer a commission at the rate of 25% of
the Hammer Price, inclusive of VAT at the applicable rate on all individual
lots.

Adams Important Irish art 25th September 2019

Adams Important Irish art 25th September 2019

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